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Die Alben

Ab
HI-RES23,24 Fr.
CD15,49 Fr.

Klassik - Erschienen am 1. Januar 1992 | Phi

Hi-Res Booklet Auszeichnungen Gramophone Editor's Choice
Vom Reichtum des Goldes und der Mosaiken der Basilika von San Marco in Venedig sind wir in dieser neuen Version der Marienvesper von Claudio Monteverdi, die Philippe Herreweghe im Laufe des Sommers 2017 aufgenommen hat, weit entfernt. Der flämische Dirigent, der dieses einzigartige Werk in- und auswendig kennt, es oft aufgeführt und 1986 mit dem Collegium Vocale Gent, La Chapelle Royale und den Sacqueboutiers von Toulouse bereits ein erstes Mal (für harmonia mundi) aufgenommen hat, stellt hier vor allem die Intimität in den Vordergrund. Philippe Herreweghe zielt mit Hilfe der gesamten Palette von Affekten auf den reinsten Ausdruck von Frömmigkeit ab - bis zu einem gewissen Grad sogar auf gekünstelte Weise und in perfekter Übereinstimmung zwischen Vokal- und Instrumentalsolisten. In diesem Meisterwerk, das auf so kühne Weise den „stile antico“ mit dem „stile moderno“ verbindet, scheint Philippe Herreweghe ersteren betonen zu wollen. Die schöne Kirche San Francesco von Asciano, die nicht weit von Siena entfernt liegt und von der berühmten heiligen Jungfrau Della Robbias und dem Rätsel der unterirdischen Gänge, deren Ausgang man nicht kennt, umgeben ist, wird zunehmend für Konzerte und Aufnahmen genutzt. Ihre sehr inspirierende Atmosphäre schreit anscheinend geradezu nach Musik. © François Hudry/Qobuz
Ab
HI-RES17,99 Fr.
CD11,99 Fr.

Klassik - Erschienen am 23. Oktober 2020 | Phi

Hi-Res Booklet
Die Messe Nr. 2 von Anton Bruckner, 1866 für die Einweihung einer Votivkapelle im Linzer Dom komponiert, ist ein schönes Beispiel für die Verbindung von Modernität und jahrhundertealter religiöser Tradition, da die Blasinstrumente in einen Dialog mit der vom gregorianischen Gesang inspirierten Chorschrift gesetzt werden. Sein Te Deum von 1881, das zwar kürzer ist, aber für Chor und großes Orchester mit vier Solisten komponiert wurde, wurde von so illustren Zeitgenossen wie Hans Richter und Gustav Mahler gefeiert, während der meist sehr selbstkritische Komponist meinte, dass die Partitur dieses Werkes Gott dazu bringen würde, ihn "gütig zu beurteilen". Als bedeutender Interpret des geistlichen Repertoires, der er ist, vermittelt Philippe Herreweghe hier mit großer Inbrunst seine Vision dieser beiden großen religiösen Werke der zweiten Hälfte des 19. Jahrhunderts. © Phi
Ab
CD10,99 Fr.

Klassik - Erschienen am 26. Mai 2011 | Phi

Booklet
In this exemplary recording of six Bach motets Philippe Herreweghe leads Collegium Vocale Ghent (an ensemble that includes both singers and instrumentalists) and ten soloists in performances of exceptional finesse and elegance. That's no easy task given the dense contrapuntal textures that characterizes several of the motets written for double chorus and orchestra. It takes great skill to keep the music, in a movement like the opening to "Singet dem Herr ein neues Lied," from turning into a murky undifferentiated stew of busyness, but Herreweghe keeps the sound open and varied. One crucial element is the absolutely pristine intonation and pure tone of the singers, which makes the harmonies clear and distinct. Herreweghe's graceful shaping of the phrases creates the sense of overlapping waves rising and falling rather than a monolithic wall of sound. The choruses' discipline in their precise observance of producing matching vowels is another factor that allows the intricacies of the music to come across as clean and well-defined. Although it is scored it for the same forces, in Komm, Jesu, komm Bach works with gleaming, transparent textures, where the felicities of Herreweghe's leadership and the refinement of the soloists, choruses, and orchestra are even more clearly in evidence. His attention to the emotional content of the piece gives the music a powerfully yearning warmth that, in spite of the large number of performers, feels intensely intimate. The engineers deserve much credit for creating such a carefully balanced aural environment, where details pop with amazing clarity and the sound is at the same time warm and enveloping. This is a release best experienced on a sound system that provides optimal separation and definition. Highly recommended; these are performances that should delight and dazzle fans of Baroque choral music. © TiVo
Ab
HI-RES17,99 Fr.
CD11,99 Fr.

Vokalmusik (weltlich und geistlich) - Erschienen am 1. März 2019 | Alpha

Hi-Res Booklet
Franz Liszt was 67 when he composed his Via Crucis, yet it did not receive its first performance until 1929, 43 years after the composer’s death. This work of his mature years is in 15 sections, retracing the Stations of the Cross that mark the stages of Christ’s Passion, from being condemned to death to being laid in the tomb. Combining Gregorian chant, the Lutheran liturgy and the Latin, German and Aramaic languages, the Via Crucis shows real formal originality. A devout believer, Liszt gives us here his most important sacred work. He composed several versions: for mixed choir, soloists and organ (with the organ part optionally transcribed for piano), for piano solo, organ solo, and two pianos. After a first programme devoted to Janáček, the Collegium Vocale founded by Philippe Herreweghe is once again conducted by Reinbert de Leeuw in this Alpha recording. © Outhere
Ab
HI-RES16,49 Fr.
CD10,99 Fr.

Klassik - Erschienen am 28. Oktober 2016 | Phi

Hi-Res Booklet
Ab
CD25,79 Fr.

Klassik - Erschienen am 24. Januar 2012 | Phi

Booklet
Philippe Herreweghe founded Collegium Vocale Ghent in 1970 and has been its primary conductor since, so it's no surprise that after 40 years, on this 2011 recording of J.S. Bach's B minor Mass, the conductor and choir project an organically unified approach to the masterpiece. From the opening Kyrie Eleison, the singers' intuitive understanding of each other is evident in the surging waves of sound expressing urgent supplications for God's mercy. Throughout, the group responds to Herreweghe's nuanced leadership with supple fluency. Herreweghe draws a bright, vibrant sound from his singers and instrumentalists. His approach to the music is fleet and buoyant, and the musicians respond to his tempi with agility. This reading is nearly 10 minutes shorter than the average version, but it never feels hurried. The group's instrumental ensemble, using period instruments, can produce a full, colorful, rounded sound in the larger choruses, but pares its tone to appropriate leanness in movements like the alto solo Agnus Dei. The horn obbligato in the bass solo Quoniam tu solus sanctus is particularly impressive, especially since it is played on a natural horn. The five vocal soloists are not international superstars but they are expert interpreters of this music, technically solid and distinguished in the purity and expressiveness of their voices. The sound of the Out Here CD is clean and crisp, and somewhat on the bright side. In music of this contrapuntal intricacy, that clarity makes it easy to hear Bach's elaborate interweaving of lines. The ambience is not lacking in warmth and depth, though, and the balance and stereo definition are excellent. © TiVo
Ab
HI-RES23,29 Fr.
CD17,99 Fr.

Klassik - Erschienen am 26. Mai 2011 | Phi

Hi-Res Booklet
In this exemplary recording of six Bach motets Philippe Herreweghe leads Collegium Vocale Ghent (an ensemble that includes both singers and instrumentalists) and ten soloists in performances of exceptional finesse and elegance. That's no easy task given the dense contrapuntal textures that characterizes several of the motets written for double chorus and orchestra. It takes great skill to keep the music, in a movement like the opening to "Singet dem Herr ein neues Lied," from turning into a murky undifferentiated stew of busyness, but Herreweghe keeps the sound open and varied. One crucial element is the absolutely pristine intonation and pure tone of the singers, which makes the harmonies clear and distinct. Herreweghe's graceful shaping of the phrases creates the sense of overlapping waves rising and falling rather than a monolithic wall of sound. The choruses' discipline in their precise observance of producing matching vowels is another factor that allows the intricacies of the music to come across as clean and well-defined. Although it is scored it for the same forces, in Komm, Jesu, komm Bach works with gleaming, transparent textures, where the felicities of Herreweghe's leadership and the refinement of the soloists, choruses, and orchestra are even more clearly in evidence. His attention to the emotional content of the piece gives the music a powerfully yearning warmth that, in spite of the large number of performers, feels intensely intimate. The engineers deserve much credit for creating such a carefully balanced aural environment, where details pop with amazing clarity and the sound is at the same time warm and enveloping. This is a release best experienced on a sound system that provides optimal separation and definition. Highly recommended; these are performances that should delight and dazzle fans of Baroque choral music. © TiVo
Ab
CD11,99 Fr.

Klassik - Erschienen am 3. Juni 1996 | harmonia mundi

Ab
HI-RES23,29 Fr.
CD17,99 Fr.

Klassik - Erschienen am 28. Oktober 2016 | Phi

Hi-Res Booklet
Ab
HI-RES23,29 Fr.
CD17,99 Fr.

Klassik - Erschienen am 29. September 2017 | Phi

Hi-Res Booklet
Philippe Herreweghe, nun auch schon über 70, ist und bleibt der elegische Lyriker unter den führenden Bach-Interpreten unserer Zeit. Diese Qualität ist essenziell, das „Technologische“ seiner Einspielungen dagegen durchaus flexibel. Dennoch besteht sein Chor in der jüngsten Aufnahme von drei Werken des Choralkantaten-Jahrgangs 1724/25 wieder, wie schon bei den vorangehenden Kantaten-Einspielungen, aus zwölf Stimmen inklusive der Solisten, und das Streicherensemble bleibt kammermusikalisch reduziert, sodass die Bläser farbbestimmend hervortreten und die Chorstimmen als koloristische Werte in ein völlig homogenes Klangganzes eingebettet werden: weich ineinandergleitend und verschmelzend zu herbstlich gedämpfter Tonigkeit, die sich bestens zu den oft verzagt um Erbarmen flehenden und dennoch erwartungsvollen Texten der drei Werke fügt. Dass diese fast mystische Tönung, dunkel glimmend wie farbige Kirchenfenster im Halblicht, manchmal zu Lasten der Textverständlichkeit geht, muss man wohl in Kauf nehmen. Das ist umso eher möglich, als bei dem akribischen Detailarbeiter Herreweghe die Musik selbst sprechend wird, genaue rhetorische Akzente, Klangbildlichkeit und Atmosphäre mindestens genauso wichtig werden wie die großräumigen Entwicklungszusammenhänge. Charakteristisch dafür ist der keineswegs liebliche, sondern dringlich insistierende Einsatz der Blockflöte in BWV 103. Auch das Solistenquartett hält sich fern von der bei Bach anderswo oft nachgefragten naiven Frische, betont eher Züge inniger, ins Transzendente strebender Schwermut, wie besonders Dorothee Mields in ihrer Gebets-Arie aus BWV 115; auch Thomas Hobbs agiert (mit bisweilen recht auffälligem Vibrato) samtig-weich und anti-heroisch, lässt selbst in der zuversichtlichen Ermunterungs-Arie aus BWV 103 Untertöne leiser Ängstlichkeit mitschwingen. Im Ganzen kein Auftrumpfen, stattdessen viel melancholisch gestimmte Nachdenklichkeit. © Felber, Gerhard / www.fonoforum.de
Ab
HI-RES23,29 Fr.
CD17,99 Fr.

Klassik - Erschienen am 25. September 2012 | Phi

Hi-Res Booklet
Ab
HI-RES33,59 Fr.
CD25,79 Fr.

Klassik - Erschienen am 16. Oktober 2015 | Phi

Hi-Res Booklet
The entire creation of the world in an hour a quarter… it had to be through Haydn’s extraordinary powers of concentration that this insane wager could possibly succeed; others would not even dare attempt it. The Creation, dating from 1798, is one of the most ultimate and powerful of Haydn’s masterpieces. The great composer was always a master of surprise, and his invention of the Big Bang in musical form – including an introduction proclaiming ‘And then there was light’ – is chorally orchestrated to phenomenal effect. The work also retains a wonderful description of the various creations of the Lord; the extravagant evocation of whales remains an intense moment of orchestral invention, and the score is full of a genius which Beethoven had merely tapped into… Philippe Herreweghe has chosen to focus on a certain transparency of place, rather than perpetuating the traditional, bombastic dramatic gestures of orchestras within the German sphere. And, thus, the score gains greater clarity.
Ab
HI-RES23,29 Fr.
CD17,99 Fr.

Klassik - Erschienen am 28. Januar 2014 | Phi

Hi-Res Booklet
Ab
HI-RES23,29 Fr.
CD17,99 Fr.

Klassik - Erschienen am 26. Mai 2011 | Phi

Hi-Res Booklet
In this exemplary recording of six Bach motets Philippe Herreweghe leads Collegium Vocale Ghent (an ensemble that includes both singers and instrumentalists) and ten soloists in performances of exceptional finesse and elegance. That's no easy task given the dense contrapuntal textures that characterizes several of the motets written for double chorus and orchestra. It takes great skill to keep the music, in a movement like the opening to "Singet dem Herr ein neues Lied," from turning into a murky undifferentiated stew of busyness, but Herreweghe keeps the sound open and varied. One crucial element is the absolutely pristine intonation and pure tone of the singers, which makes the harmonies clear and distinct. Herreweghe's graceful shaping of the phrases creates the sense of overlapping waves rising and falling rather than a monolithic wall of sound. The choruses' discipline in their precise observance of producing matching vowels is another factor that allows the intricacies of the music to come across as clean and well-defined. Although it is scored it for the same forces, in Komm, Jesu, komm Bach works with gleaming, transparent textures, where the felicities of Herreweghe's leadership and the refinement of the soloists, choruses, and orchestra are even more clearly in evidence. His attention to the emotional content of the piece gives the music a powerfully yearning warmth that, in spite of the large number of performers, feels intensely intimate. The engineers deserve much credit for creating such a carefully balanced aural environment, where details pop with amazing clarity and the sound is at the same time warm and enveloping. This is a release best experienced on a sound system that provides optimal separation and definition. Highly recommended; these are performances that should delight and dazzle fans of Baroque choral music. © TiVo
Ab
HI-RES23,29 Fr.
CD17,99 Fr.

Klassik - Erschienen am 6. November 2012 | Phi

Hi-Res Booklet
Philippe Herreweghe's 2011 recording of Ludwig van Beethoven's Missa Solemnis in D major receives high marks, not only for the elegant period treatment, but also for the profound conviction of the performance. The Collegium Vocale Ghent and the Orchestre des Champs-Élysées deliver the music with a somewhat smaller sound than one usually hears in modern performances; the Classical proportions of the ensembles allow details to stand out with utter clarity and the choral parts to move with greater fluidity and transparency than permitted with much larger choruses. Herreweghe's attention to the authentic instrumentation and distinctive tone colors reveals Beethoven's subtle orchestration, and the modest scale of forces permits the balancing of voices and orchestra into a lucid blend. Soprano Marlis Petersen, mezzo-soprano Gerhild Romberger, tenor Benjamin Hulett, and bass David Wilson-Johnson sing with great control and clear diction, and their quartet passages are remarkably coherent, despite the occasional awkwardness of Beethoven's vocal writing. Yet for all the separate features that contribute to the excellence of this rendition, their combination under Herreweghe's leadership makes this an organic and unified interpretation that is compelling for its vitality and emotional depth. Far from an exercise in historical re-creation, Herreweghe's Missa Solemnis has the ring of expressive truth, and the musicians' commitment makes this a worthy CD for any Beethoven collection. © TiVo
Ab
HI-RES23,29 Fr.
CD17,99 Fr.

Klassik - Erschienen am 13. November 2015 | Alpha Classics

Hi-Res Booklet
Ab
HI-RES23,29 Fr.
CD17,99 Fr.

Klassik - Erschienen am 15. Mai 2012 | Phi

Hi-Res Booklet
The recorded repertoire of Belgian conductor Philippe Herreweghe is centered on Bach, but stretches from the Renaissance to Mahler and Bruckner. Regardless of era, he seems to do best in sober, complex structures that he can unpack with a combination of perfect control and great surface beauty. He has rarely obtained more perfect results than with this recording of works by the towering figure of the Spanish Renaissance, Tomás Luís de Victoria. The Officium Defunctorum, described in the album annotations as a swan song, in fact fulfilled that role both for its dedicatee, the Empress Maria of Spain (Victoria's longtime employer), and for Victoria himself, who wrote nothing else after publishing this music in 1605; he died in 1611. The Offices consist of a requiem mass (Missa pro defunctis), a pair of motets, and a Libera me separate from the mass. The collection seems disparate, but everything is knit together in Victoria's setting. Each section absorbs plainchant seamlessly into the texture, and the overall somber mood is broken by the anguished pleas of the Offertory, asking God for deliverance from the trials of Hell. Herreweghe deploys a 13-voice version (all adults, mixed gender) of his Collegium Vocale here; many of the singers are stars of modest repute on their own, and the vocal textures he draws from them are awesomely rich despite the restricted palette of the music. A selection of Victoria motets rounds out the program, and any one of them would be worth the purchase price. Renaissance choral singing just does not get better than this. © TiVo
Ab
HI-RES33,59 Fr.
CD25,79 Fr.

Klassik - Erschienen am 1. Januar 1992 | Phi

Hi-Res Booklet
Nach rund drei Jahrzehnten kehrt Philippe Herreweghe wieder zurück zu Claudio Monteverdis 13-teiliger Schatzsammlung „Vespro della beata vergine“. Herreweghe tritt wiederum mit dem Collegium Vocale Gent an (das damals noch unter altem Namen firmierte), doch bis auf den Bassisten Peter Kooij findet sich kein vertrauter Sänger von einst wieder. Dennoch lebt die derzeitige Formation von einer gesunden Mischung aus erfahrenen Sängern wie eben Kooij und Dorothee Mields und jüngeren Kräften wie Reinoud Van Mechelen und William Knight. Seit der letzten Einspielung hat sich interpretationsgeschichtlich natürlich einiges getan, und so nimmt man anfangs vielleicht verwundert zur Kenntnis, dass die aktuelle Einspielung auf grundlegend Neues verzichtet. Doch wie so oft steckt die Erkenntnis im Detail. Wirkte in der früheren Aufnahme der Fluss manchmal gehemmt bzw. die Linienführung sämig fließend, so ist davon in der neuen Produktion nichts geblieben. Monteverdi klingt hier ungemein licht und natürlich. Alles bleibt frei von Zutaten aus der Manierismus-Kiste. Keine Romantizismen, keine zur Schau gestellte Brillanz. Dorothee Mields und Barbora Kabátková glänzen etwa im „Laudate pueri“, überhaupt gelingt die Balance der Stimmen mit feiner Äderung der Verläufe, etwa im freudigen, dezent jubilierenden Psalm „Lauda Jerusalem“. Nun kann der Drang nach Perfektion oft zu Penetranz führen, doch davon ist hier nichts zu spüren. Herreweghe möchte nicht dozieren, sondern geschehen lassen, etwa beim vokal-instrumentalen Wechselspiel in „Esurientes implevit bonis“. Eindringlich auch, wenn die Sonata in die Bitte „Sancta Maria, ora pro nobis“ mündet. Man könnte viele weitere Einzelstellen herauspicken, am Fazit ändert das nichts: eine beglückende Aufnahme, die Erfahrung, Neugierde, Genauigkeit und Entspanntheit vereint. © Vratz, Christoph / www.fonoforum.de
Ab
HI-RES23,29 Fr.
CD17,99 Fr.

Klassik - Erschienen am 4. November 2014 | Phi

Hi-Res Booklet
Ab
HI-RES23,29 Fr.
CD17,99 Fr.

Klassik - Erschienen am 1. März 2019 | Alpha Classics

Hi-Res Booklet
Franz Liszt was 67 when he composed his Via Crucis, yet it did not receive its first performance until 1929, 43 years after the composer’s death. This work of his mature years is in 15 sections, retracing the Stations of the Cross that mark the stages of Christ’s Passion, from being condemned to death to being laid in the tomb. Combining Gregorian chant, the Lutheran liturgy and the Latin, German and Aramaic languages, the Via Crucis shows real formal originality. A devout believer, Liszt gives us here his most important sacred work. He composed several versions: for mixed choir, soloists and organ (with the organ part optionally transcribed for piano), for piano solo, organ solo, and two pianos. After a first programme devoted to Janáček, the Collegium Vocale founded by Philippe Herreweghe is once again conducted by Reinbert de Leeuw in this Alpha recording. © Outhere