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Klassik - Erschienen am 28. März 2019 | Deutsche Grammophon (DG)

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HI-RES3,99 Fr.
CD2,99 Fr.

Klassik - Erschienen am 28. März 2019 | Deutsche Grammophon (DG)

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HI-RES3,49 Fr.
CD2,99 Fr.

Klassik - Erschienen am 7. April 2017 | Masterworks

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HI-RES7,49 Fr.
CD5,49 Fr.

Klassik - Erschienen am 13. Juni 2018 | Decca Music Group Ltd.

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HI-RES5,49 Fr.
CD3,99 Fr.

Klassik - Erschienen am 29. Mai 2020 | Deutsche Grammophon (DG)

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HI-RES8,99 Fr.
CD6,49 Fr.

Klassik - Erschienen am 22. Mai 2020 | Deutsche Grammophon (DG)

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HI-RES8,99 Fr.
CD6,49 Fr.

Klassik - Erschienen am 5. Juni 2020 | Deutsche Grammophon (DG)

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HI-RES15,99 Fr.
CD11,99 Fr.

Klassik - Erschienen am 11. Mai 2010 | Deutsche Grammophon (DG)

Hi-Res Booklet
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HI-RES19,99 Fr.
CD14,49 Fr.

Klassik - Erschienen am 21. Juni 2011 | Deutsche Grammophon (DG)

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HI-RES28,99 Fr.
CD20,49 Fr.

Klaviersolo - Erschienen am 25. Januar 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet
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HI-RES25,49 Fr.
CD17,99 Fr.

Klassik - Erschienen am 16. März 2014 | Deutsche Grammophon (DG)

Hi-Res Booklet
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HI-RES19,99 Fr.
CD14,49 Fr.

Klassik - Erschienen am 20. November 1981 | Deutsche Grammophon (DG)

Hi-Res Booklet
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HI-RES21,99 Fr.
CD15,49 Fr.

Klassik - Erschienen am 7. Oktober 2013 | Deutsche Grammophon (DG)

Hi-Res Booklet Auszeichnungen Hi-Res Audio
Milanese-born pianist Maurizio Pollini has a flawless technique that, for his champions, seems to merge with the virtuosic aspect of Beethoven's music. Few would disparage his readings of the late Beethoven sonatas, which like the composer's other late music reside at the limits of playability; Pollini does wonderful things there. Likewise, for Pollini's detractors, he has a willful interpretive streak that can jangle the nerves if you don't connect with what he's doing. There's plenty of ammunition for both sides of the debate on this recording, comprising an attractive selection of four early sonatas, two of them grand four-movement pieces of symphonic scope, and two, the pair of Op. 14 works, small lyrical works that look forward to the Romantics. Pollini does very well with the outer pair, the Piano Sonata No. 4 in E flat major, Op. 7, which was the first sonata to depart decisively from Haydn's world, and the Piano Sonata No. 11 in B flat major, Op. 22, which in Pollini's hands really looks forward to the monumental accomplishments of Beethoven's middle period. The two smaller works of Op.14, however, are a good deal more troublesome. Generally taken as calm, pastoral, Mendelssohnian works, they become with Pollini nervous mutterings, with the major-key passages having the flavor of rushed little etudes. It's without question an original take, but there's a question as to whether it can stand up to precedent. Nevertheless, Pollini has lost neither technical flair nor boldness in his old age, and it's always worth hearing what he has to say. © TiVo
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HI-RES19,99 Fr.
CD14,49 Fr.

Instrumentalmusik - Erschienen am 24. September 2021 | PM Classics Ltd.

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This recording of Mendelssohn's Violin Concerto in E minor, Op. 64, by veteran player Augustin Dumay, betters his earlier recording of the work with the London Symphony Orchestra. Here, he is in control of the proceedings, leading the Orpheus Chamber Orchestra from the violin. The orchestra is the right size, not putting the violinist under strain as full-size symphony orchestras do, and this brings out the essentially lyrical, somewhat pastoral qualities of this well-worn standard. The result is a fresh reading where Dumay offers a gentle tone and a good deal of flexibility in the phrasing. The first movement is lovely right from the violin's opening statements, and the slow movement is soaring and peaceful. The program is filled out by violin-and-piano works: the unpublished Violin Sonata in F major and a group of Songs Without Words from various sets. These are a good deal less satisfactory. Young accompanist Jonathan Fournel doesn't quite seem to jibe with Dumay, and the sound is noisy and harsh, but these issues are secondary, for what is on offer here is a major summation of thinking about the Mendelssohn concerto from a leading modern exponent of the French violin school. © TiVo
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HI-RES21,99 Fr.
CD15,49 Fr.

Klassik - Erschienen am 12. Januar 2015 | Deutsche Grammophon (DG)

Hi-Res Booklet Auszeichnungen 5 de Diapason - 4F de Télérama
Due to his charismatic personality and special rapport with orchestras, Gustavo Dudamel has become one of the leading conductors of his generation, and his dramatically physical performances of exciting repertoire have made him a celebrity. His acclaimed renditions of the symphonies of Gustav Mahler have won devoted fans, particularly since he conducted the entire cycle with the Los Angeles Symphony and the Simón Bolívar Symphony Orchestra of Venezuela in a series of historic concerts in 2012. Because of his success, he has been recording the symphonies on Deutsche Grammophon, giving his musicians the opportunity to become one of the best-known Mahler orchestras in the Americas. However, the Symphony No. 7 in E minor, "The Song of the Night," is not one of the most popular of Mahler's symphonies, and for many conductors, it is the most difficult to interpret. It is certainly the weirdest of the cycle, with four of its movements depicting scenes of nocturnal gloom, mystery, grotesquerie, and romance, only to be followed by a manic rondo-finale that bursts with daylight. The temptation to treat these movements as separate tone poems is strong, and many conductors have neglected the work's formal needs to emphasize its unofficial program. Dudamel succeeds in conveying the symphony's bizarre qualities, yet at the same time he maintains its propulsion and energy to hold the work together formally, and the Simón Bolívar Symphony Orchestra plays with so much vitality and color that interest nevers flags. This is certainly one of the most compelling Mahler recordings Dudamel has made, and it's inspiring to hear what he has achieved with the oddest of Mahler's symphonies. Highly recommended. © TiVo
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HI-RES21,99 Fr.
CD15,49 Fr.

Klassik - Erschienen am 28. September 2004 | Archiv Produktion

Hi-Res Auszeichnungen Hi-Res Audio
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HI-RES30,99 Fr.
CD21,99 Fr.

Klassik - Erschienen am 26. Dezember 2011 | Sony Classical

Hi-Res Booklet Auszeichnungen Choc de Classica - Hi-Res Audio
To celebrate the 200th anniversary of Franz Liszt's birth, virtuoso pianist Lang Lang has selected some of the composer's most characteristic pieces for his 2011 Sony release, Liszt: My Piano Hero. Prominent on this album is the Piano Concerto No. 1 in E flat major, which features Lang Lang in a high-energy performance with Valery Gergiev and the Vienna Philharmonic. Without a doubt, most of Lang Lang's fans will savor this Romantic showpiece, and for technical brilliance and drama, the performance doesn't disappoint. He is especially lively and vivid in this work, and his interactions with the orchestra seem spontaneous and playful, as one might well imagine Liszt would have been. But Lang Lang seems more introspective and personally involved with the solo keyboard pieces that make up the greater part of the album. Here also is the flashy side of Liszt, but there is a greater emphasis on the poetic and rhapsodic, so Lang Lang indulges in reflective pieces as much as the flashy encores. Highlights include La Campanella, the Grand Galop chromatique, Liebestraum No. 3, the Hungarian Rhapsody No. 6, and the arrangement of Schubert's Ave Maria. © TiVo
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HI-RES30,99 Fr.
CD21,99 Fr.

Klassik - Erschienen am 7. Oktober 2016 | Sony Classical

Hi-Res Booklet
Man ahnt es schon beim Titel: Mit seinem Album Dolce Vita zeichnet Startenor Jonas Kaufmann ein Bild von Italien. Er singt hier 18 Titel, die wie ein Streifzug durch die italienische Musik abseits der großen Opern wirken: Darunter sind Filmsongs wie "Non ti scordar di me" aus dem gleichnamigen Film von 1935 oder "Parlami d'amore, Mariù" aus Gli uomini, che mascalzoni von 1932, neapolitanische Songs wie "Passione" oder "Torna a Surriento" und Poplieder wie "Un amore così grande" von Mario del Monaco oder Lucio Dallas "Caruso". Auch "Volare" darf dabei nicht fehlen. Das Album stieg in Deutschland und Österreich auf Platz 7 in die Charts ein. © TiVo
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HI-RES30,99 Fr.
CD21,99 Fr.

Klassik - Erschienen am 26. August 2013 | Sony Classical

Hi-Res Booklet Auszeichnungen 4 étoiles Classica - Hi-Res Audio
Before automatically dismissing the idea of the 72-year-old tenor Plácido Domingo reincarnated as a baritone, consider that he started out as one on the zarzuela stage many moons ago. In this selection of Verdi baritone arias, he sounds like the same Domingo so many millions of people have known and loved, just taken down a few scale degrees. That's both a good thing and a bad thing. You don't necessarily want a baritone to sound like a tenor, and in a few of these arias, which move the action along more than a tenor aria would, you feel that he's not really digging into the lyrics. But let's face it: who else among Domingo's tenor contemporaries could have pulled this off? The voice is not just recognizably Domingo but pleasingly Domingo, with the characteristic mixture of power and relaxed flexibility that has endeared him to listeners who have never heard any other opera singer, or any other opera singers than the Three Tenors. Domingo sounds terrific. He gets dry, competent support from the Orquesta de la Comunitat Valenciana and its associated chorus under Pablo Heras-Casado; the orchestra keeps the focus on Domingo's voice, right where it belongs. If this album were by anyone else, it would hardly work; from Domingo it is something to prize. © TiVo
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HI-RES30,99 Fr.
CD21,99 Fr.

Klassik - Erschienen am 8. September 2017 | Masterworks

Hi-Res Booklet
There have been several strong boychoirs in the U.S. down through the years, but The Boys of St. Paul's Choir School, formed in Cambridge, Massachusetts, in 1963 in response to a directive of Pope John XXIII that central-city churches should have their own choral schools, may be the first to enter the turf of the longstanding British cathedral choirs. They are apparently the only American choir directly associated with the Catholic church. The Marian program mixes chant with choral pieces from the Renaissance through the Romantic eras, almost all in Latin, some of them accompanied on organ by choirmaster John Robinson, and featuring the men of the choir as well. Robinson was imported from Britain, but the sound of the choir, one might say, remains American. What the young choristers lack in tonal precision they make up for with a big sound and a good deal of spiritual enthusiasm. If you want to see where they go wrong, sample Bach's Bist du bei mir, whose not especially vocalist-friendly melody, with irregular leaps, poses problems for the singers. But it's better to enjoy their strengths: Bruckner's Virga Jesse floruit has a distinctive powerful sound and builds to an impressive climax. The choir made one recording, Christmas in Harvard Square, before this one, but Ave Maria marks their debut on the major Sony label, whose investment seems likely to be repaid with strong sales. © TiVo