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Masses, Passions, Requiems - Released October 7, 2013 | harmonia mundi

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Classical - Released September 29, 2011 | Zig-Zag Territoires

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Concertos - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Exceptional Sound Recording - Hi-Res Audio
There are numerous recordings of Bach's concertos avec plusieurs instruments, or with several instruments, as he called them. Posterity has labeled them double and triple concertos, but Bach's characterization lends support to Rachel Podger's interpretation here, which is based on the supposition that Bach's orchestra in such works consisted of one instrument per part. There are still many objections to this idea, beginning with the fact that the concertos of Vivaldi that served as Bach's model were demonstrably played by larger forces (Rousseau called the ensemble at the Ospedale della Pietà a "great orchestra"). However, if you want to try out Podger's playing, or the one-instrument-per-part approach, or historically oriented performance in general, this release (or its companion album of violin concertos) makes a good starting point. Podger, who has emerged as one of the leading Baroque violin players in Britain, is altogether appealing here, interacting almost playfully with her partner soloists and her hand-picked and -developed Brecon Baroque ensemble, and delivering sober slow movements that correctly prize contrapuntal detail. The one-instrument-per-part idea is especially defensible in these concertos even if you don't buy it general; Bach even called the Concerto for two violins in D minor, BWV 1043, a "concerto a sei," concerto for six. The Baroque-era instruments have wonderful timbres that define the constantly shifting textures of this music (its primary appeal) beautifully, and the Challenge Classics engineering team gets a big sound out of London's St. John the Evangelist church without booming resonance or stodgy cathedral hollowness. Very well done on all counts. © TiVo
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Chamber Music - Released September 25, 2012 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4 étoiles Classica - Qobuzissime - Hi-Res Audio
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Classical - Released October 7, 2013 | harmonia mundi

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Classical - Released January 24, 2012 | Phi

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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
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Choirs (sacred) - Released May 26, 2011 | Phi

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Exceptional Sound Recording - Hi-Res Audio
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
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Classical - Released August 28, 2009 | ECM New Series

Hi-Res Distinctions The Qobuz Ideal Discography - Hi-Res Audio
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Classical - Released May 7, 2012 | Alia Vox

Hi-Res Booklet Distinctions Choc de Classica - Hi-Res Audio
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Classical - Released September 9, 2003 | ECM New Series

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Concertos - Released November 8, 2011 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica - Hi-Res Audio
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Solo Piano - Released January 28, 2014 | Aeon

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Cantatas (sacred) - Released January 28, 2014 | Phi

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 4 étoiles Classica - Exceptional Sound Recording - Hi-Res Audio
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Classical - Released November 5, 2013 | Aparté

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Classical - Released January 1, 2013 | Decca Music Group Ltd.

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Classical - Released January 7, 2013 | Alia Vox

Hi-Res Booklet Distinctions Choc de Classica - Hi-Res Audio
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Concertos - Released March 25, 2013 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Classical - Released February 25, 2013 | naïve classique

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Exceptional Sound Recording - Hi-Res Audio
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Classical - Released February 10, 2014 | harmonia mundi

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Classical - Released September 25, 2012 | Phi

Hi-Res Booklet Distinctions 4 étoiles Classica - Exceptional Sound Recording - Hi-Res Audio