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Piano solo - Verschenen op 6 december 2019 | TACET Musikproduktion

Booklet Onderscheidingen 5 de Diapason
At first sight, the programme of this album could seem extravagant. Indeed, it assembles into one single volume all of Brahms’ intermezzi, the works that the composer held so dear. In doing so, Evgeni Koroliov isolates them from pieces which Brahms classifies under the same opus number and whose sequence is almost too well-known by music lovers. Frustrated by this fact and inviting us to gloss over it, Koroliov instead explores a more secretive side of Brahms: one of melancholy emotions and solitary twilight walks. And the result is overall successful: there is decidedly no monotony in this suite of slow pieces which Brahms wallowed in throughout his entire life. The almost nonchalant version which the Russian pianist portrays here seems almost to be like a series of improvisations for a few select friends. The seriousness of the expression helps us understand why Schönberg referred to Brahms as “progressive”, just as the “dissonance” of opus 117 to 119 heralds the music of the future, with its harmonic audacity so displeasing to the ears of a certain Clara Schumann, to whom some of the pieces are dedicated. © François Hudry/Qobuz
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Piano solo - Verschenen op 15 november 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
One never comes across any ordinariness when following Alexandre Tharaud’s career. This new album is as impressive in the originality of its conception as much as its meticulous musical delivery. The French pianist appears to be nostalgic towards two different golden ages: that of 17th-century music, and that of the French piano during the 1950s, specifically Marcelle Meyer’s inspiring playing which Tharaud remains motivated by. The “Versailles” which has attracted Alexandre Tharaud, and serves as the title for this recital is less Louis XIV’s opulent world of wonder and more of an intimate world of secret music. Without any difficulty, the pianist manages to make these pieces specifically written for the harpsichord his own, even going as far as inviting young harpsichordist Justin Taylor to join him for a rendition of Rameau’s Les Sauvages... for four hands on the piano! If the pianist Marcelle Meyer had recorded Rameau and Couperin in an era more liberal than today, Alexandre Tharaud has the audacity to go against musicological rules for the listener’s benefit. Of course, we are accustomed to Bach, Scarlatti, Couperin and Rameau on the modern piano, but Pancrace Royer, Robert de Visée, Jean-Henry D’Anglebert and Jacques Duphly are suddenly thrust into the limelight of this musical collection which incidentally highlights their relevance. © François Hudry/Qobuz
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Operafragmenten - Verschenen op 8 november 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
The Franco-Italian tenor Roberto Alagna associates much of his childhood memory with the figure of Enrico Caruso, the first modern tenor. Alagna superimposes the memory of his great grandparents, who knew the illustrious tenor in New York at the beginning of the last century, with that of the Richard Thorpe film The Great Caruso starring Mario Lanza which he watched when he was a little boy. These memories never left him and, with his teacher Rafael Ruiz, a young Roberto listened with passion to Caruso’s recordings while trying to pull apart the art of his singing. And now, fully matured, it makes sense that Alagna should finally dedicate an album to his idol, a project long in the waiting. Respecting the style and vocal delivery of Caruso all while conserving his own vocal identity, Robert Alagna has released here a generous album that endeavours to re-establish the discography of his glorious fellow-singer from 1902 to 1920. All in all, the work consists of twenty tracks that interpret the songs recorded by Caruso: sometimes operatic and sometimes more popular in style, Alagna includes an interpretation of Lucio Dalla’s Caruso, a tune written in 1986 about the final days of the tenor in the Sorrente Vittoria Hotel, with an arrangement by Yvan Cassar that does not undermine the rest of the album. A true 2019 vintage if you will. © François Hudry/Qobuz
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Operafragmenten - Verschenen op 8 november 2019 | Klarthe

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 1 november 2019 | Ramée

Hi-Res Booklet Onderscheidingen 5 de Diapason
The Moravian-born multi-instrumentalist and composer Gottfried Finger is often found in the footnotes in modern music histories, yet during his lifetime few other composers could boast of the number of firsts and career milestones. In a varied and active career spanning more than half a century, he crossed paths with some of the leading composers of his day (Biber, Purcell, Telemann, Silvius Leopold Weiss and perhaps François Couperin, to name just a few). Finger could switch with great ease between faithful versions of the dominant French and Italian styles, but thanks to his experiences across such wide geographies, variety of musical styles, languages and cultures, his primary style is a truly pan-European phenomenon. Although Italian music was his main inspiration, it is difficult to assign Finger consistently to any kind of national style or regional school. This album presents premieres of twelve pieces from the second half of his career show-casing some of the breathtaking scope and scale of his output and his particular strength in deft handling of ear-tickling instrumental sonorities and virtuosity. © Ramée
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Wereldlijke vocale muziek - Verschenen op 25 oktober 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Operafragmenten - Verschenen op 25 oktober 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
Built around the young soprano Katherine Watson and suggested by the conductor and flutist Alexis Kossenko, supported by the Centre de Musique Baroque de Versailles, this operatic program revives the splendor of Versailles. Blending operatic airs and instrumental pieces, this baroque collection offers a selection of the major works of the Sun King’s court, from André Campra to Marin Marais, but rediscovers as well several long-forgotten works from this period, as Louis de Lully’s opera Orphée. It also allows us to glimpse into the dramatic power of the rôles tendres, that mostly suit to women in love, leading roles of the tragédie lyrique, and for which Katherine Watson proves to be the ideal interpreter. The smoothness of her timbre and the clarity of the orchestra, under Alexis Kossenko’s sure direction, reveal all the treasures of these French airs that explore the depths of the human soul. Often exposed to torments, victims of the avarice of the gods, suffering from love and cruelty, the heroins of the tragédie lyrique nevertheless embody tragic beauty and majesty. © Aparté
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Piano solo - Verschenen op 25 oktober 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonieën - Verschenen op 25 oktober 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 25 oktober 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor blaasinstrumenten - Verschenen op 25 oktober 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 18 oktober 2019 | Decca Music Group Ltd.

Hi-Res Onderscheidingen 5 de Diapason - Choc de Classica
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Kamermuziek - Verschenen op 18 oktober 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
 Do you know Albert de Rippe or Alberto da Ripa, Alberto da Mantova, or indeed Alberto Mantovano? Thanks to the new album from lutenist Paul O'Dette recorded in Quebec in 2016, we have become acquainted with one of the most important lute players and composers of the Renaissance. Born around 1500 in Mantua or in... Ripa (currently Riva di Suzzara), at a very young age he entered the service of the King of France François I, along with a number of other Italian artists including Leonardo da Vinci. The King granted him lands in the Dombes and sums of money besides. This royal recognition is surely testament to the exceptional quality of the work of the Italian composer, who had written many "fantasies", but also arrangements for songs which were then in vogue, and several dances. Rippe also probably refused to have his works be published, preferring to keep them for himself: so they have survived to the present day only through copies made by his student Guilliaume Morlaye.Rippe's music is richly expressive and rounded off by a very accomplished writing technique, which produces rich and full sounds. Not content with 3-note chords, as most of his contemporaries were, Rippe explores his instrument with rich harmonic combinations of 5 or 6 notes, to imitate the luxuriant sound of a large choir. A passionate fan of Rippe's music, Paul O'Dette wanted to present the widest possible range from the repertoire of those times, ending his record with a stunning piece, La Séraphine. The identity of the writer isn't known precisely, but there are good reasons to believe that it is the master himself. © François Hudry/Qobuz
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Wereldlijke vocale muziek - Verschenen op 18 oktober 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
The Second Book of Madrigals of Carlo Gesualdo provides the focal point for the latest in La Compagnia del Madrigale’s stunning reappraisals of the glories of the Italian madrigal on Glossa. Probably written by Gesualdo between the time of the double honour killing of his first wife and her lover and his subsequent remarriage, the second book presents a sophisticated compositional mastery quite in keeping with the later books, albeit offering a calmer and gentler approach compared to the more tortured and twisted musical and psychological turns found in the last books. Notwithstanding, much is required from the singers on the Secondo libro di madrigali a cinque voci and La Compagnia del Madrigale bring their muchpraised sensitivity to the text, balance of ensemble and dynamic control. In the booklet, both Marco Bizzarini and Giuseppe Maletto investigate the state of mind of this fascinating composer, over four centuries since his death. The substantial second part to this recording offers a set of contrasts with Book 2: nine tracks devoted to madrigalists inspired by Gesualdo’s style, from contemporaries in Nenna, Macque and Palazzotto Tagliavia to the later Sigismondo d’India. A veritable bonus! © Glossa
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Volledige opera's - Verschenen op 18 oktober 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
The remarkable Hypermnestre by Charles-Hubert Gervais is the latest unremembered early 18th-century French opera to be recorded afresh for Glossa, and conducted by György Vashegyi. Gervais was a contemporary of Campra and Destouches, learning from Lully and paving the way for Rameau and, like Marais and François Couperin, open to the Italianising trends of “les goûts réunis”. A high-quality libretto from Joseph La Font tackles the story of Hypermnestra which proved so popular in the early eighteenth century. The Glossa recording contains both the original fifth act and the major revision of it from 1717 and Vashegyi drives the whole tragedy expertly to its bitter (and not-so-bitter!) end. Musically, this “tragédie lyrique” provides powerful opportunities for the trio of leading characters, here taken by Katherine Watson (Hypermnestre), Thomas Dolié (Danaüs, her father) and Mathias Vidal (Lyncée, her betrothed), but they are ably supported by Juliette Mars, Chantal Santon-Jeffery, Manuel Núñez Camelino and Philippe-Nicolas Martin. No French opera of this time would have been complete without a generous helping of choral or instrumental music and Gervais – a master of melody, harmony and orchestration – serves these up in a dazzling set of divertissements and festive set pieces full of dances (including a massive passacaille); all this performed with great stylistic awareness and vivacity by Vashegyi’s Orfeo Orchestra and Purcell Choir. © Glossa
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Concerten voor viool - Verschenen op 18 oktober 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason
Don't be fooled: this youthful face belongs to an 18 year old violinist with a wealth of knowledge and a tried-and-tested technique. For proof, just look at his Bach record, which came out before this Tchaikovsky Concerto, also on Deutsche Grammophon. With every new outing, Daniel Lozakovich surrounds himself with famous formations: for Bach, the Bavarian Radio Chamber Orchestra; for Tchaikovsky, the Russian National Philharmonic under Vladimir Spivakov (himself a great violinist who conducted his first recital in 2010). This gutsy concerto is addressed by a musician with an ample, sparkling sound, capable of an intense virtuosity and a very tender melancholy. Alongside Spivakov, who also recorded this score, he is quite at home. The hands-on sound recording seeks out the fullness of lyricism here, without robbing the strings of their bite. Note that the young soloist learned his scales under Eduard Wulfson in Karlsruhe. This student of giants like Henryk Szeryng, Nathan Milstein and Yehudi Menuhin (no less) taught his young disciple the violin of the Russian school.This young artist's voracious curiosity did the rest. And so, the second part of his programme here offers passages where pure melancholy has been distilled into music, as in Lensky's aria from Eugene Onegin, an opera that the violinist adores and knows by heart. His performance is inspired by previous interpretations by Fritz Wunderlich and Ivan Kozlovsky. And no-one could deny it: Daniel Lozakovich's violin sings! © Elsa Siffert/Qobuz
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Liederen - Verschenen op 18 oktober 2019 | Solo Musica

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor klavier - Verschenen op 11 oktober 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason
Daniil Trifonov's journey around the world of Rachmaninov is at an end. The pianist has arrived safely into the harbour with Yannick Nézet-Seguin's Philadelphia Orchestra. This finale was inspired by the bells which are ubiquitous in the Great Russian soundscape. Alain Corbin explained their importance to the rhythmic and symbolic scansion of everyday life in 19th Century France in his book Village Bells. To the historian's analysis, we can now add the testimony of the pianist – who, like Rachmaninov, grew up in Novgorod. Russian bells leant Russian music its nobility and colouring of folk nostalgia. Daniil Trifonov hasn't forgotten this, as is clear from his piano transcription of the first episode of Les Cloches. He was wise enough to respect the operatic power of the score and the splendour of its orchestration: harp, celesta and flutes are all truly transformed into bells in the hands of a musician who stays true to the aura of disquieting oddness (with its shades of Edgar Allen Poe) which surrounds the first movement. His technique matches his capricious and bubbling imagination. While we might find ourselves yawning a little at the Vocalise, the first and third Concertos move us from thrilling ecstasies to tears of pleasure. A very fine record, in which the orchestra, perhaps a little distant, fulfils its role as a soundbox for the soloist. © Elsa Siffert/Qobuz
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Liederen (Duitsland) - Verschenen op 11 oktober 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
Although he's alone on the cover, baritone Christian Gerhaher has given a lot of space over to soprano Camilla Tilling in his Schumann record. And so the original tones – and therefore the cycle's structure – are preserved. The voices mingle and their dialogue reminds us that these Lieder were presented to Clara like a wedding bouquet. The sound recording sometimes plunges both voice and piano into a maelstrom of noise. But happily, the performers offer an amorous reading of these poems borrowed from Goethe, or Rückert, or Burns. Both singers savour each consonant and give the poems a resounding, perfect pronunciation, and an unerring sense of diction (take Camilla Tilling's oh-so-sensual repetition of Kuß in Die Lotosblume, every bit as distracting as Margaret Price's), and of recital (the successive episodes of Hochländers Abschied take life in the hands of Christian Gerhaher, a virtuoso of nuance). With accompaniment from pianist Gerold Huber, they have created a very fine record that brings to life that marvellous poet of sound, Schumann. © Elsa Siffert/Qobuz
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Kwartetten - Verschenen op 11 oktober 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
After a first album devoted to Mozart quartets (awarded a ‘Choc de Classica’ and a ‘Diapason Découverte’), a second to French music (Debussy, Ravel and Chausson) and a third to two quartets by Schubert, Nos. 10 and 14 (the mythical "Death and the Maiden"), the group founded by Nicolas Van Kuijk returns to its first love by recording more Mozart. This recording is the second part of an eventual triptych that will contain the six string quartets dedicated to Haydn: No. 14 in G major, K.387, the first of them, was composed in 1782, when Mozart had just arrived on the Viennese musical scene; No. 15 in D minor K421, the second, is the only one in the minor mode and was completed in 1783 while his wife Constanze was in labour – she related that the rising intervals of the second movement recalled her cries from the room next door as he composed. © Alpha Classics/Outhere