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Klassiek - Verschenen op 19 maart 2021 | Arcana

Hi-Res Booklet Onderscheidingen 5 de Diapason
Following the success of his solo recordings, Paolo Zanzu returns at the head of his ensemble Le Stagioni with "Officina Romana", featuring the countertenor Carlo Vistoli. In the early eighteenth century, Rome was one of the great music capitals of Europe. In the space of a few years, Corelli, Handel, Alessandro and Domenico Scarlatti, Caldara, Cesarini and many others crossed paths there, surrounded by painters, sculptors, poets and philosophers who were among the great names of the age. The fruit of long reflection and research, "Officina Romana" crystallises this unique moment in the history of music by recreating an idealised musical evening, a conversazione, a sort of liberal meeting of lofty minds in the palace of a Roman cardinal, with a programme mingling vocal and instrumental music in both orchestral and chamber formation. This programme highlights the creative genius, the "estro" of the time, its musical and technical inventiveness, combining famous pieces with previously unrecorded ones. The Cristofori fortepiano also makes an appearance here: Cardinal Ottoboni owned one. © Arcana
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Piano solo - Verschenen op 12 maart 2021 | MUSO

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 5 maart 2021 | L'Encelade

Hi-Res Booklet Onderscheidingen 5 de Diapason
Nostalgia for the Ancien Régime has been growing in recent years among the very rich pool of French and foreign musicians. While music was one of the most important instruments of the power of the absolute monarchy in France, it was also highly appreciated at all levels of the state and aristocracy, starting with the sovereigns themselves. The young Louis XIV was an excellent dancer and also excelled at playing the harpsichord.From this starting point, Fabien Armengaud has built this interesting album. It follows in the footsteps of Étienne Richard, composer, instrumentalist and, subject of this publication. He was also a teacher of the nineteen-year-old king, who, it seems, greatly admired his master. The three Suites by Étienne Richard are flanked here by contemporary pieces from the same manuscript deposited at the Bibliothèque Nationale.This album was played on an Alain Anselm harpsichord, built in 2014 in the spirit of late seventeenth-century French craftsmanship (at 392 Hz and tuned in a meantone temperament). The manuscript also contains a smattering of pieces by Chabanceau de La Barre, Marin Marais, Jacques Hardel, Louis Couperin, Luigi Rossi and some others. Fabien Armengaud sums it up: "To conclude", he writes in the notes of the libretto, "I will not say that Richard is a small or obscure master. The originality of his preludes, the touching poetry of his allemandes, the classically elegant stature of his courantes, the melancholy of his sarabandes, his enigmatic gigue in 4/4, all suggest to me that he was a leading master who is entirely worthy of his place on the Parnassus of the French harpsichord". © François Hudry/Qobuz
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Klassiek - Verschenen op 5 maart 2021 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
‘The dreamer! That double of our existence, that chiaroscuro of the thinking being’, wrote Gaston Bachelard in 1961. ‘The old is dying, the new cannot be born, and in that chiaroscuro, monsters appear’, adds Antonio Gramsci. Sandrine Piau has chosen to use these two quotations as an epigraph to her new recording: ‘My family and friends know about this obsession that never leaves me completely. The antagonism between light and darkness. The chiaroscuro, the space in between...’ This programme, recorded with the Orchestre Victor Hugo under its conductor Jean-François Verdier, who is also principal clarinettist of the Paris Opéra, travels between the chilly Rhenish forest of Waldgespräch, a ballad by Zemlinsky composed for soprano and small ensemble in 1895, the night of the first of Berg’s Seven Early Songs (1905-08), and the sunlight of Richard Strauss’s Morgen, which are followed by the Four Last Songs, composed in 1948, the first two of which, Frühling and September (evoking spring and autumn respectively) are also, as Sandrine Piau concludes, ‘the seasons of life’. © Alpha Classics
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Klassiek - Verschenen op 5 maart 2021 | NoMadMusic

Hi-Res Booklet Onderscheidingen 5 de Diapason
After the critical success of her last two solo albums, Célimène Daudet comes back with her most personal project. "Haïti my love" is a passionate declaration to her Caribbean origins through the prism of her music and her little-known classical composers. Lamothe, Elie and Saintonge will know how to surprise you and take you on a musical journey that tells the rhythms, landscapes and colours of the country. Fascinated by Chopin, who influenced him a lot, Ludovic Lamothe was even nicknamed "the Chopin Noir" because of his dreamlike, deeply sensitive and lyrical music. So many unpublished gems just waiting to be shared and known! © nomadmusic
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Klassiek - Verschenen op 26 februari 2021 | SFS Media

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 26 februari 2021 | Arcana

Hi-Res Booklet Onderscheidingen 5 de Diapason
The heterogeneous output of Santiago de Murcia, one of the key figures in the Baroque guitar repertory, includes a number of transcriptions from the Op. 5 of Arcangelo Corelli, the famous collection of "sonatas with violin and string bass or harpsichord" published in Rome in 1700. The diffusion of Corelli’s works in Spain, and in particular in Madrid, suggests how highly the Italian style was valued at the court of Philip V, where Santiago taught Queen Maria Luisa of Savoy between 1704 and 1706. This gave rise to the idea of investigating the relationship between the Spanish and Italian styles in de Murcia’s guitar music. Pieces such as the fandango, jacaras and canarios, here presented in original arrangements that attempt to achieve a synthesis between historical research and creativity, are coupled with two Corelli Sonatas and a set of original or anonymous variations on the Follie italianas. The result is a stimulating kaleidoscope of sonorities in which different aesthetics and instrumental techniques dialogue, contrast and blend together. After his CD "Intavolatura", devoted to the solo theorbo music of Kapsberger ("hypnotisant" - Le Devoir; "terrific" - American Record Guide; "outstanding" - Lute News), Stefano Maiorana turns his attention to the Baroque guitar, investigating its unique sound and its ability to adapt to different languages and styles. © Arcana
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Klassiek - Verschenen op 26 februari 2021 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 26 februari 2021 | NoMadMusic

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Vocale muziek (wereldlijk en religieus) - Verschenen op 19 februari 2021 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
"This programme reflects a personal journey: I am Belgian, I studied at the Royal Academy of Music in London, and now I live in France. I wanted to present composers from these three countries, taking as my cornerstone the English song repertory and the English language. It was Britten’s On this Island that started me thinking in this direction. William Walton’s Daphne and Ivor Gurney’s tiny but intensely fresh Spring touch me enormously and form a part of my life experience. Nicolas Krüger and I then chose other songs that we liked, such as Let Beauty awake by Ralph Vaughan Williams... I also wanted to give my listeners a chance to hear French or Belgian composers who set English poems to music: Darius Milhaud, Germaine Tailleferre (one of those female composers who deserves to be better known) and Irene Poldowski... and to commission a work from the Belgian composer Patrick Leterme, who has often accompanied me... But I discovered Queen before I discovered opera. When I heard Freddy Mercury singing You take my breath away at the piano in Hyde Park, I was overwhelmed. I had to include that love song in my recital!" (Jodie Devos)
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Kamermuziek - Verschenen op 19 februari 2021 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Religieuze vocale muziek - Verschenen op 12 februari 2021 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
Le Concert de la Loge and Julien Chauvin continue the Haydn adventure with the "Paris" Symphonies No. 84 and No. 86. The conductor and his period instruments orchestra complete the programme with the beautiful Stabat Mater, one of Haydn’s most performed ones during his lifetime. Composed in 1767 during the "Sturm and Drang" period, the Stabat Mater’s strikingly sober and plain expression (« Fac me vere tecum flere ») doesn’t exclude some outstanding passages, as in the « Sancta Mater, istud agas ». © Aparté Music
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Concertmuziek - Verschenen op 12 februari 2021 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
Riga-born Ksenija Sidorova is today one of the most eminent global ambassadors of the classical accordion. She has proudly borne the colours of her instrument in appearances in the world’s leading halls and with the foremost orchestras. Here she pays homage to Piazzolla in her own way: ‘Piazzolla the revolutionary, the ground-breaker, a man thinking ahead of his time ... Playing this repertoire gave me a sense of artistic freedom and ignited my belief in advocacy of my instrument. For this album, I wanted to celebrate Piazzolla the innovator by pairing some his masterworks with pieces written by other composers for classical accordion, the majority of which I have premiered in recent years. Being of Russian heritage, I couldn’t help noticing the similarity between the nostalgia of the tango and that of Russian composer Sergey Voitenko’s "Revelation". French accordionist-composer Franck Angelis’s Fantasia is based on Piazzolla’s Waltz-tango, and the programme is completed by the Nocturne of Italian accordionist-composer Pietro Roffi and a piece by Sergey Akhunov’. © Alpha Classics
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Religieuze vocale muziek - Verschenen op 12 februari 2021 | Arcana

Hi-Res Booklet Onderscheidingen 5 de Diapason
The Musicalische Exequien of Heinrich Schütz, composed for the ceremonial obsequies of Heinrich II Posthumus, count of Reuß-Gera, is probably the best-known example of German funeral music of the seventeenth century. However, it is not an isolated piece; there were in fact a great number of virtually unknown vocal compositions from the same period, which were commissioned to commemorate the death of specific personalities and performed at their funeral services. The third album from Voces Suaves on the Arcana label offers a fresh perspective on Schütz’s famous masterpiece, complementing it with works by other major German composers of the seventeenth century such as Rosenmüller and Schein. The music is performed by singers and a continuo group without any additional instruments, so that the focus remains throughout on a flexible vocal presentation of these striking and moving works. © Arcana
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Opera - Verschenen op 29 januari 2021 | Academy of Ancient Music

Hi-Res Booklet Onderscheidingen 5 de Diapason
Academy of Ancient Music, Cambridge Handel Opera Company, Cambridge Early Music and Julian Perkins are proud to present the first professional recording of John Eccles’s Semele (ca 1707), a notable early setting of the great English libretto by William Congreve better known in a version by Georg Friedrich Handel from 1744. Academy of Ancient Music’s mission is to explore, reveal and preserve the great treasure house of baroque and classical music, and a spirit of newfound discovery runs through all our work : Eccles’s Semele is the next step on this journey, released here on a double album with an extensive accompanying full-color booklet containing scholarly essays, Stephen Fry’s modern re-telling of the story, autograph manuscript images of Eccles’ score, the full libretto text and much more. A fascinating insight into how opera in England might have developed after Henry Purcell’s death had not Handel moved to London in 1712, Eccles’s Semele is the perfect addition to any baroque-music lover’s library. © AAM
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Klassiek - Verschenen op 29 januari 2021 | Decca (UMO) (Classics)

Hi-Res Onderscheidingen 5 de Diapason
Josquin des Prés, who died exactly five centuries ago (1521) in Condé-sur-l'Escaut (in today's Hauts de France region near Valenciennes), is one of the great figures of the Franco-Flemish school and one of the greatest composers in the history of Western music. The reputation of this musician-traveller spread throughout Europe during his lifetime and he was known in Burgundy, France and throughout Italy. He was a member of the Pope's Chapel in Rome, after having assumed offices in Milan and Ferrara in the service of the Sforza family. Widely distributed thanks to the invention of the printing press, his music has survived, in the form of over two hundred and forty works.This album is part of a trilogy of recordings planned by Decca to constitute a portrait of Josquin des Prés according to current practices and knowledge. Recorded in July 2020 by the Stile Antico ensemble, it presents master works: the sublime Messe Pange lingua, with motets and songs, including Vivrai-je tousjours, recorded here for the first time. Coming from the English choral tradition of Oxford and Cambridge, Stile Antico offers us a decanted vision, out of time and stripped of any sensuality, as if to better emphasise the abstraction of Josquin's harmonic research. © François Hudry/Qobuz
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Klassiek - Verschenen op 29 januari 2021 | L'Encelade

Hi-Res Booklet Onderscheidingen 5 de Diapason
François Couperin’s Suites de violes are his last will and testament in chamber music form and one of the peaks of the repertoire written for the instrument. Together with this highly personal language, Claire Gautrot and Marouan Mankar-Bennis have chosen to combine the Concert royal No. 3 originally intended for the private concerts of the “late King” Louis XIV. Obeying the laws of the art of conversation, the two take it in turns to act as solo and accompanying instrument, with a succession of aristocratic grandeur and pastoral evocations. © L'Encelade
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Klassiek - Verschenen op 29 januari 2021 | Arcana

Hi-Res Booklet Onderscheidingen 5 de Diapason
With its debut recording, the Bernardini Quartet takes us on a journey into the golden age of its formation, consisting of oboe, violin, viola and cello. The programme consists of a selection of exemplary pieces written between 1780 and 1818 by composers of different nationalities who are united by their diversity. Alongside Alfredo and Cecilia Bernardini, father and daughter, respectively oboist/director and first violin of the Ensemble Zefiro, the members are the German violist Simone Jandl and the Dutch cellist Marcus van den Munckhof. The programme begins with one of the earliest quartets for these forces, by Johann Christian Bach; continues with Mozart’s Quartet KV370/360b, a milestone of the genre, followed by a romance with variations by the French composer Charles Bochsa, a substantial four-movement quartet by the cellist Dotzauer and a delightful little quartet by Alessandro Rolla, violinist and conductor of La Scala, Milan; and ends with a meditative perpetual canon by the Bohemian Georg Druschetzky, based on a famous Lutheran chorale. In this recording, Alfredo Bernardini used five different period oboes. © Arcana
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Kamermuziek - Verschenen op 22 januari 2021 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason
"Violins of Hope" presents instruments that were owned by Jewish musicians before and during the Holocaust, representing strength and optimism for the future during mankind’s darkest hour. They have been refurbished by luthiers Amnon and Avshalom Weinstein, founders of the "Violins of Hope" project. On this album, recorded live at Kohl Mansion, the instruments are used to perform two string quartet masterpieces by Schubert and Mendelssohn, alongside a new composition by Jake Heggie, inspired by the violins’ histories. Schubert’s unfinished Quartettsatz is often considered Schubert’s first mature work, and displays a typically Schubertian mix of impetuous agitation and sublime lyricism. Mendelssohn wrote his Quartet in F Minor as a “Requiem” for his deceased sister Fanny, not knowing that – tragically enough – he would follow her fate only two months later, at the age of 38. These two captivating works are performed by Kay Stern, Dawn Harms, Patricia Heller and Emil Miland, who join forces with mezzo-soprano Sasha Cooke, violinist Daniel Hope and the young violin talent Sean Mori on Heggie’s Intonations. The recording took place in the context of Holocaust Memorial Day 2020. © Pentatone
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Jazz - Verschenen op 15 januari 2021 | Klarthe

Hi-Res Onderscheidingen 5 de Diapason
Although she was born, clutching a bandoneon, in Gennevilliers, Hauts-de-Seine, Louise Jallu continues her career at the service of the music of the Buenos Aires slums: the powerful Tango. In defying sexist and geographical taboos, although France has a soft spot for Argentine expression, her approach is holistic and luminous. In particular, she built her encompassing love on the back of the intoxicating work of Astor Piazzolla, the great revolutionary of this ecstatic form of musical expression, a lover of classical music who broadened its horizons and blazed it a path to modernity and freedom. At the head of her brilliant quartet, rounded out by Mathias Lévy (violin and guitar), Marc Benham (piano) and Alexandre Perrot (double bass), Louise Jallu pays tribute to the master on the occasion of the hundredth anniversary of his birth. A tribute that matches the stature of its subject, it is respectfully inventive.For proof, just listen to the unexpected revival of the classic Libertango. Or indeed see the presence of Gustavo Beytelmann, Piazzolla pianist from the 70s who caresses the ebony and ivory on half of the covers gathered here. Like Piazzolla himself, Jallu flirts with the spirit of jazz, taking risks, while favouring swing and an atmosphere of passion. On Oblivion, a composition from the later part of the big beast's life, she invites one of the most daring bugle players of the French jazz scene, Médéric Collignon. Even in the Porteño district of San Telmo that saw the birth of tango, Piazzolla 2021 should command much admiration. Louise Jallu brings a very contemporary and personal dimension, coloured by her origins. She co-wrote the arrangements with the director of the Gennevilliers Conservatory, Bernard Cavanna, a contemporary pianist and composer, a companion of Henri Dutilleux and Georges Aperghis, who certainly encouraged revolutionary aspirations in his former student. © Benjamin MiNiMuM/Qobuz