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Concerten voor viool - Verschenen op 28 augustus 2008 | Alpha

Hi-Res Booklet Onderscheidingen Choc de Classica
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Klassiek - Verschenen op 31 mei 2019 | naïve classique

Hi-Res Booklet
When it comes to posterity, Vivaldi has been quite lucky. Thanks to a series of happy accidents, his personal manuscript collection has survived through the centuries, allowing his music to be preserved and later played and recorded. Contralto Delphine Galou and Ottavio Dantone, the director of the Accademia Bizantina, drew from this invaluable batch of nearly 450 compositions to develop this album’s program of sacred music dedicated to the alto voice.This recording includes two “introdutioni” for alto, a kind of motet whose form would have been devised by Vivaldi for his Venetian work for the Pietà. You can also find the vespertine hymn Deus tuorum militum for alto and tenor (Alessandro Giangrande), as well as a Regina coeli, a Marian antiphon played on Easter Sunday.At the heart of this album is a violin concerto written for the day of the The Assumption of Mary (August 15th). The importance of this celebration in the Italian liturgical calendar is underlined here by a score of an unusual length for a Vivaldi concerto, with it being divided into two orchestral parts that exchange a sometimes and sometimes joyous dialogue. Written for his student Anna Maria, the solo violin part preserved in the archives is played here by Alessandro Tampieri, who has once again enriched it with a very virtuoso "capriccio" of his own making. © François Hudry/Qobuz
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Concertmuziek - Verschenen op 11 mei 2018 | naïve classique

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Concertos for viola d'amore represent a fairly atypical part of Vivaldi's work, and he was probably the first composer to write pieces for this work in the solo concerto format. The viola d'amore was certainly well-liked for its soft, suggestive sound, which evoked the moods and climes of the orient thanks, in particular to its sympathetic strings which vibrate with those strings the player bows. But it was little-used because of its complex tuning and objective difficulties involved in playing it. In fact, the instrument would be tuned in different ways to fit the tonality of the piece being played – the famous scordatura, so finicky for the musicians – and it is believed that Vivaldi wrote these specifically for one of the musicians at Venice's Pietá: the famous Anna-Maria. Another characteristic of these concertos for viola d'amore, the rapid movements are also much longer and fuller than in most of Vivaldi's writing, for example in the seven string concertos which figure at the start of the album, or in the miniatures which were intended as showcases for the talent of the greatest possible number of soloists in the public concerts at the Pietá. A little curiosity is offered up here in the shape of the original concerto La Conca RV163, whose themes mimic the sound of the "conca", a kind of large marine conch used as an instrument since prehistoric times. The recording includes a conch being sounded at the start of the first movement by way of explanation. © SM/Qobuz
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Operafragmenten - Verschenen op 31 mei 2019 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
When it comes to prosperity, Vivaldi got pretty lucky. Thanks to a succession of happy accidents, his personal collection of manuscripts has survived through the centuries, allowing his music to be preserved, then later played and recorded. The contralto Delphine Galou and Ottavio Dantone, the director of the Accademia Bizantina, drew from this priceless batch of nearly 450 compositions to develop the program for this album of sacred music pieces dedicated to the alto voice.This new recording of the Vivaldi Edition, begun by NAÏVE many years ago, offers cantatas and arias for viola, functioning as perfect companions for the album of works sung by the same Delphine Galou. The lyrics, often by unknown authors, do not have a strong literary interest. Here, we find a pastoral world populated by shepherds in need of love as well as cruel and fickle nymphs, obeying the cannon of the time.Vivaldi takes advantage of these stereotypical characters to vary his expressive palette in a very subtle way and introduce the operatic style into works primarily intended for living rooms. The exceptional quality of his music generally transcends the commissioned work he is obliged to do, both in Mantua and Venice. These cantatas are accompanied here by some arias from his many operas. They allow Delphine Galou to fully express the variety and range of her singing through the pathetism of Liquore ingrato (Tito Manlio), the sweetness of "Andrò fida e sconsolata" of the same opera or the innocent grace of a childish song in the aria "È pure dolce ad un'anima amante" (Il Giustino). © François Hudry/Qobuz
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Concerten voor viool - Verschenen op 28 september 2018 | naïve classique

Hi-Res Booklet Onderscheidingen 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
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Concerten voor cello - Verschenen op 4 oktober 2019 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
Christophe Coin continues his complete collection of the Vivaldi cello concertos. There are some  pieces on this new album which show the cello to be more of an ensemble instrument than a solo one. Working from the premise that the cello’s vocal-like tone was Vivaldi’s favourite thing about the instrument, Christophe Coin’s rendition puts this voice at the forefront of this score. Using a smaller, five-stringed cello which he plays upright on a small wooden table to increase its volume and resonance, as seen in some paintings, the cellist underlines how attentive Vivaldi was to vary his simple and repetitive lyricism using simple techniques that still manage to move both the artist and the audience: “A taught dissonance, a well-placed ornament, a well-chosen interval, just quick moments, he emphasises, bring excitement to the routine of our lives.” The Onda Armonica play in a rich continuo with three instruments used either simultaneously or alternately: the organ, the harpsichord and the theorbo, as well as a mandolin (an instrument Vivaldi also engaged with a lot) to liven up the Concerto in C major, RV 400. © François Hudry/Qobuz
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Operafragmenten - Verschenen op 23 november 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
This new Vivaldi album marks a double anniversary, the thirty-year anniversary of the close collaboration between Cecilia Bartoli and the famous English label Decca, and the twenty-year anniversary of the very successful first Vivaldian opus. This time leaving behind Giovanni Antonini and his Il Giardino Armonico ensemble, Cecilia Bartoli has selected French musicians well versed in Vivaldi’s music, as if to demonstrate the universal nature of the Red Priest’s compositions. In fact, Jean-Christophe Spinosi and his Ensemble Matheus have distinguished themselves with Vivaldi’s instrumental music since their early days. They started off their collaboration with five concerts, dedicated of course to the Venetian composer, in Munich, Prague, Baden-Baden and Versailles. For their first recording together they selected ten opera titles, nine of which weren’t featured on the 1999 album. The plethora of Vivaldi operas provides an endless supply to recitalists who can easily put together, as is the case here, an extremely lively programme featuring the most beautiful gems of an extraordinarily expansive composer whose melodic liveliness has been a constantly fascinating topic. This release is also beautiful in itslef (accessible on your Qobuz account), as it features a photo book containing beautiful portraits of Cecila Bartoli taken by Roman photographer Viviane Purdom, who has devoted her life to masterfully shooting great classical musicians. Happy anniversary indeed! © François Hudry/Qobuz
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Wereldlijke vocale muziek - Verschenen op 25 oktober 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 7 februari 2020 | Glossa

Hi-Res Booklet
Violinist Fabio Biondi has a singular capacity for finding something new and exciting in the music of Antonio Vivaldi whenever he considers it, a prodigious feat which he demonstrates with "Concerti per La Pietà", a new collection of works calling for a variety of demanding solo challenges, superbly met by Biondi and his colleagues from Europa Galante. In his Venetian years the well-spring of Vivaldian inventiveness was fed by the composer working with one of the leading orchestras of early eighteenthcentury Europe: the one at the Ospedale della Pietà, the charitable institution which took in, cared for – and educated – girls who had been orphaned or abandoned. Within the ospedale were nurtured instrumental virtuosos – known today only by their “sporting nicknames”: Bettina della viola, Margherita del arpa doppia, Lucieta della tromba, etc. Calling variously for solo violin, two violins, lute, cello, organ, or viola d’amore (Biondi plays an unreconstructed 1758 Vinaccia instrument), the concertos recorded here are drawn from across the thirty years in which Vivaldi worked at the ospedale. The freshness and personalness of Fabio Biondi’s musicmaking with Europa Galante has itself now been in evidence for a remarkable three decades and this new Album, conceived as a special 30thanniversary recording, won’t disappoint listeners ready to have their preconceptions challenged yet be stimulated by consummate musicianship. © Glossa
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Klassiek - Verschenen op 15 november 2019 | naïve classique

Hi-Res Booklet
Antonio Vivaldi had terrific luck with posterity, as almost the entirety his own collection of manuscripts made it down the years to the present day intact. Deposited in the National Library of Turin, this archive has been gradually pared down and published by the Italian musicologist Alfredo Basso. This new album presents six concertos for violin dating from Vivaldi's later period, marked by a very high quality of writing and inspiration. "The concertos of the late period are characterised by extremely refined soloist writing, even a certain affectation in the figural diversification, in the variety of articulations and phrasing, in the richness of the ornamentation, in the sumptuous inventiveness of a lyrical and cantabile virtuosity, marked from end to end by romantic inflexions", writes musicographer Cesare Fertonani.We know nothing of Vivaldi's final voyage to Vienna, where he would die alone and forgotten. This shortened series of concertos (eight are lost) is the last written trace of Vivaldi, which attests to his presence in the Austrian capital a month before his death. We have a receipt for a delivery of music to the Count Collalto, representative of an illustrious family of Venetian nobility, who were living in Vienna at the time, on diplomatic exchange. There is every reason to believe that the six concertos played here by violinist Alessandro Tampieri were a part of this delivery. © François Hudry/Qobuz
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Sacred Oratorios - Verschenen op 25 oktober 2019 | Alia Vox

Hi-Res Booklet
 For a long time, we have subsisted on a fine version recorded in concert in Berlin, in 1974, performed by Vittorio Negri for the now-defunct Philips label. It was graced by some very lively conducting from great soloists including Elly Ameling (a magnificent Vaghaus), Birgit Finilä and Julia Hamari. The memory of this Juditha Triumphans is reinforced once again by the display on this album from Alia Vox which reproduces the famous work by Cristofani Allori, which hangs today in the Palazzo Pitti in Florence.First performed in Venice in 1716 to mark the victory of the Most Serene Republic over the Turks, this religious opera was written for the orphans of the girls' orphanage of Ospedale della Pietà, hence its all-female cast. This is the only one of Vivaldi's oratorios which has survived to the present day, and in its dramatic force and expressive power it heralds the coming of Georg Friedrich Handel's great oratorios. Recorded at the Philharmonie de Paris at a concert played in October 2018, this is one of the latest projects of the ever-inventive Jordi Savall. And it is Savall who captivates us most of all, thanks to the care taken over the details of an orchestra made up of a very wide variety of the instruments that were used in the famous Venetian institution: end-blown flutes, a chalumeau, clarinettes, a viola and a mandolin.Among the soloists on this recording, we should give particular attention to the vocal valiance of Rachel Redmond, who plays a very convincing servant of Holofernes, her musical agility reaching its peak in the aria Armatae Face. Jordi Savall shines new light on this score, imbuing it with an energy that unites charm and drama in a perfect balance. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 16 november 2018 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
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Klassiek - Verschenen op 2 december 2013 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - Exceptional Sound Recording - Hi-Res Audio
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Concerten voor viool - Verschenen op 23 september 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Award - Gramophone Editor's Choice - Le Choix de France Musique
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Klassiek - Verschenen op 20 november 1981 | Deutsche Grammophon (DG)

Hi-Res Booklet
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Klassiek - Verschenen op 6 september 2019 | Glossa

Hi-Res Booklet
With her version of Vivaldi’s Four Seasons, Leila Schayegh continues her exploration of the violin repertory, always combining musical insight, virtuosic brilliance and historical understanding. Over the last years, the Swiss musician has become one of the leading violinists of her generation (and is helping the next one, thanks to her position as professor in the Schola Cantorum Basiliensis). On this dazzling new exhibition, Schayegh – who plays a late 17th-century Andrea Guarneri instrument – is joined by the fine and colourful ensemble Musica Fiorita, directed by Daniela Dolci. The opera composer Vivaldi is omnipresent in all of these four violin concertos, also thanks to the use of elements of Baroque theatre: the sounds of wind machines or bird whistles contribute to making this a delightful, fascinating and “different” version of one of the most recorded works of all times. The album also includes Vivaldi’s Follia (Sonata Op. 1 No. 12) and the Ciaccona from the Violin Concerto in D major. An essay by Schayegh herself complement a project which will be a pleasurable surprise for lots of listeners. © Glossa
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Concerten voor blaasinstrumenten - Verschenen op 20 november 2015 | naïve classique

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
At the dawn of the 20th century, Naive music label decided to uncover and release some 450 of Vivaldi's works held at the National University Library of Turin - many of which had hardly had the honour of being recorded. This amazing collection is a personal library handwritten by Vivaldi, and is the largest collection of scores that belonged to the eighteenth century composer to have survived to the present day. The thirty-nine bassoon concertos by Vivaldi constitute the largest collection of works devoted to this noble instrument. Clearly, the creativity of Vivaldi was greatly boosted by the phenomenal flexibility and nostalgic sound of the bassoon, which is still remarkable in the way it can "imitate" the human voice. It should also be emphasized that Vivaldi, a violinist, was always very attracted to the instruments with deep range. So much so that apart from the considerable number of works he dedicated to his own instrument, it is for bassoon and cello that he composed the greatest number of works. It is Italian bassoonist Sergio Azzolini who offers these six concertos, the fourth component of an box set published by Naive. The richness and invention of Vivaldi makes for an exhilirating listening experience from start to finish. © SM / Q
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Concertmuziek - Verschenen op 30 januari 2007 | naïve classique

Booklet
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Klassiek - Verschenen op 19 mei 2014 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or