Albums

2178 albums sorted by Date: from newest to oldest
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Duets - Released November 9, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason
At a time when Mozart was writing his first sonatas for violin and clavier, in 1778, it was the done thing to write piano sonatas with violin accompaniment in which the violin part is fairly unobtrusive. The purpose of this was not to put off the target audience for the scores: educated amateurs. But Mozart paid no heed to this convention and took off into a new world with real duets, in which the two instruments found themselves on an even footing. At the same time, he avoided the corrective exaggeration which would appear in some scores which resembled violin concertos with a little piano support. Here we have a perfect balance between the two players: Isabelle Faust on the violin and Alexander Melnikov at the clavier. The latter of the two plays on a copy of a Viennese fortepiano made in 1795 by Anton Walter. The sound balance is utterly perfect, which is a relief, as all too often these sonatas either favour the keyboard part when played on the piano or the violinist tries to force it. We have here two sonatas written in Paris shortly after the death of Mozart's mother (who accompanied him on the journey), and then another from 1787 written in the wake of Leopold Mozart's death. Despite this the composer seems to be putting on a brave face, flashing a smile tinged with a tender nostalgia on the Sonata in E Minor K. 304. © SM/Qobuz
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Solo Piano - Released November 2, 2018 | Chandos

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Sacred Vocal Music - Released October 26, 2018 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
For his first album as a soloist, the Polish countertenor Jakub Józef Orliński chose to explore some of the rarest repertoires, to the point that several of the pieces presented here are world premieres. As a result, we are introduced to composers who are almost unknown today: Gaetano Schiassi (1698-1754), Domènec Terradellas (1711-1751) and Nicola Fago (1677-1745), alongside other composers who are famous today such as Hasse, Zelenka or Durante. Helped by the bass-baritone Yannis François, Orliński covers a large amount of time, from the end of the 17th century to the last third of the 18th century, though solely in the spiritual domain, with Masses, Dixit Dominus or sacred oratorios. That said, the vocal and instrumental writing borrows from baroque, with its vocalisations, its embellishments and its brightness. On top of this, the ensemble il pomo d'oro performs the work with great confidence. © SM/Qobuz
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Vocal Music (Secular and Sacred) - Released October 26, 2018 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
Two composers who in one way or another sang about the horrors of war, and two who lost their lives in it: Ian Bostridge's takes a successful gamble here, with masterful accompaniment on the piano by Antonio Pappano. The first two are from Kurt Weill with Four Walt Whitman Songs in which the poet laments over the soldiers who died in the War of Succession, and Gustav Mahler, three of whose Lieder(s) taken from Knaben Wunderhorn cruelly and repugnantly evoke the lives of poor young people, peasants and people who are barely through with their school years, sent to be torn apart on every possible and imaginable front. More directly concerned, if one may say so, are George Butterworth - who fell at the Somme in 1916, aged thirty-one, and whose A Shropshire Lad is without a doubt the greatest masterpiece here. Rudi Stephan fell at the Galician front in 1915 aged twenty-eight. His cycle Ich will dir singen ein Hohelied is a climax of unsettling eroticism... Would the fate of German music have been different if this genius had been able to act as a counterbalance, for example, to the emerging dodecaphonic music? Bostridge gives it his all here in this sad centenary of the end of the “war to end all wars”, which we know was tragically not the case. © SM/Qobuz
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Solo Piano - Released October 26, 2018 | hat[now]ART

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Classical - Released October 26, 2018 | HORTUS

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Chamber Music - Released October 19, 2018 | Mirare

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Chamber Music - Released October 19, 2018 | HORTUS

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Solo Piano - Released October 12, 2018 | Andante Spianato

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Solo Piano - Released October 5, 2018 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Lieder (German) - Released October 5, 2018 | Challenge Classics

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Solo Piano - Released October 5, 2018 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
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Cello Concertos - Released October 5, 2018 | La Dolce Volta

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Classical - Released October 5, 2018 | Warner Classics

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Opera Extracts - Released October 5, 2018 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Chamber Music - Released October 5, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Quartets - Released October 5, 2018 | Chandos

Distinctions 5 de Diapason - 5 étoiles de Classica
For its very first recording on Chandos, the Arcadia String Quartet presents what has been at the very heart of its musical career and influences: the complete string quartets by Bartók. With the music of the Hungarian composer, the members of this Romanian ensemble, neighbours of his birthplace, have won such major careershaping competitions as Osaka, the Wigmore Hall, and Hamburg. Bartók’s attachment to the string quartet – as to no other genre – was to the keystone of the Viennese tradition, but with the aim of moving the medium out of its native city a little, into the countryside of alternative tonalities and rhythms. The six mature works he wrote are being revealed here with all the singular patterns, mixed modalities, bitterness, lamentations, and, at times, bright folk influences which they contain. © Chandos
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Concertos - Released October 4, 2018 | EPR-Classic

Hi-Res Booklet Distinctions 5 de Diapason
This release features the best Belgian clarinettist, Roeland Hendrikx, in collaboration with one of the world’s oldest and finest orchestras, the London Philharmonic. Hendrikx, incidentally, is the first Belgian virtuoso to team up with this illustrious ensemble. On the programme is the most famous clarinet concerto (Mozart’s), an undeservedly lesser known concerto (Bruch’s Double Concerto for Clarinet and Viola), and an erroneously forgotten one (by Gerald Finzi). All three concertos are more appropriately dubbed “clarinettist” concertos instead of clarinet concertos: more than any other instrument, the clarinet is a medium for personal dedication to specific virtuosi. Mozart created his clarinet concerto for Anton Stadler, while Max Bruch dedicated his (double) concerto to his son Max Felix. In some cases, however, the link between piece and performer is even stronger. Hendrikx had front row access to Gerald Finzi’s delicately autumnal concerto via his teacher Thea King, doyenne of British clarinettists and spouse of Frederick Thurston, who premiered the Finzi-concerto in 1949. According to Hendrikx, “Thea must have witnessed the creation process. In her own hand, she scribbled helpful recommendations in my score, which may have been passed on from Thurston, if not from Finzi himself”. But there is more. On 27 April 1998, Thea King bequeathed to Hendrikx the letters Finzi had written to her late husband between 1948 and 1953: they document the first ideas for the concerto, its genesis, and its growing post-premiere fame. These letters enable Hendrikx to go beyond the notes of the concerto, meet the protagonists, and do some sightseeing in the music’s spatiotemporal context. The Finzi-Thurston letters are extensively dealt with in the liner notes to this album, which is a veritable tribute to the concert clarinet: Hendrikx and the London Philharmonic Orchestra pay homage to a genre, its gems, and its genius performers. © EPR-Classic
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Sacred Vocal Music - Released September 28, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason
It's thanks to a complete stroke of luck that several of Pierre Bouteiller's rare works have been preserved for posterity, including this Messe à cinq voix. During a long journey from Paris to Strasbourg, Sébastien de Brossard – who was relying on the collegial hospitality of chapel masters at various churches along the route – found himself lodging with Bouteiller, who was working at Châlons-sur-Marne. The two musicians exchanged manuscripts, including thirteen motets and the Messe pour les défunts by Bouteiller, which have been found in Brossard's private library. In order to bring these works by Brossard and Bouteiller to life, and to perform them in the manner that they were sung in their day, during funerals, Paul Agnew, leader of the Arts Florissants has chosen to insert plain-chant sections to mark different points along the cortège and the funeral rites. In the reconstruction offered in this recording, Brossard's Miserere comes sandwiched between two organ pieces – the instrumental Kyrie by André Raison – which figures in the procession towards the tomb, and then the return to the church. The time of the Sun King is reconstructed with care, right down to the choice of acoustics (the Abbey of the Holy Trinity in Lessaye, Manche) and the selection of vocalists. © SM/Qobuz
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Violin Concertos - Released September 28, 2018 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason
Fabio Biondi had his work cut out for him with the complete recordings of Vivaldi's violin concertos, as the Venetian left behind more than 250 works for one, two, three or four violins. Volume VI here offers a group of six concertos written in Prague and Bohemia in the course of his stay there between 1730 and 1731. Today, musicology has become much more of a science, and it is possible to put a date on these manuscripts by means of a precise analysis of the paper used by the composer if the music doesn't speak for itself. The Antonio Vivaldi of these pieces retains the style for which he is known and loved across Europe. Fabio Biondi notes that as there are only a few hints of Bohemian music in these concertos, which are more resemblant of Vivaldi's younger work. We might conclude that while abroad, the composer was writing pieces which, while new, were destined for use by his beloved students in the Pietà. Venetian chroniclers from the time often wrote of Vivaldi's virtuoso violin playing, admiring the inventiveness that he brought to the cadenzas of his concertos (the section at the end of a movement which is left open for creative improvisation) and the fantasy that he worked into his improvisations. While we have no proof that Vivaldi was the soloist for his own works during his Bohemian trip, Fabio Biondi, a true connoisseur of Vivaldi's style, clearly aims to apply this spirit to his recordings, and nowhere more so than here. © François Hudry/Qobuz