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Klassiek - Verschenen op 28 mei 2021 | Sony Classical

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Thematic albums have become widespread, and often enjoy varying degrees of success. The pianist Leif Ove Andsnes, long known for his seriousness and exceptional musical talent, has chosen two crucial years of Mozart's output as the programme for this album and the one that is set to follow it. In 1785, Mozart was at the height of his genius. He had just been initiated into Freemasonry, which was then in vogue in Vienna; he had finished the 6 Quartets dedicated to his friend Haydn; he had begun composing the Marriage of Figaro and gave numerous "Academies", playing his own works on the piano.These productive times form the basis of Leif Ove Andsnes's project, which brings together three contemporary and very different concertos, from the dramatic D minor (n° 20, K. 466), to the luminous C major (n° 21, K. 467), and the most original (and longest at 23 minutes), the powerful E flat major (n° 22, K. 482). The prodigious year of 1785 also saw the creation of the Fantasia in C minor which seems to recall the teachings of the fickle Carl Philipp Emanuel Bach, the Masonic Funeral Music in the same dark tone and the Quartet with piano in G minor, another key in which Mozart wrote some masterpieces. By turns a pianist, a chamber musician and a conductor, the distinguished musician Leif Ove Andsnes offers up an album that is as historically coherent as it is musically successful. © François Hudry/Qobuz
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Symfonieën - Verschenen op 1 januari 1975 | Deutsche Grammophon (DG)

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Karl Böhm's set of the last Mozart symphonies, recorded for Deutsche Grammophon between 1959 and 1966, rank among the greatest performances of these extraordinary works. The Berlin Philharmonic brings genuine warmth and vitality to the symphonies, yet maintains a poise throughout, which, in terms of balance and measured phrasing, is decidedly Classical. Böhm's rendition of the Symphony No. 35 "Haffner" is exciting in the outer movements, but steadily paced in the Andante and the stately Menuetto. The Symphony No. 36 "Linzer" is admirable for its clarity of form and sturdiness, though the performance is briskly paced to keep the music from seeming rigidly architectural. The Symphony No. 38 "Prager" glows with amorous feeling and humor, and Mozart's orchestral palette is at its most colorful in the Andante. After an intensely dramatic introduction, the Symphony No. 39 proceeds in a relaxed, gemütlich manner, and the slower tempi allow the winds to be fully resonant. In the Symphony No. 40, tenderness and pathos are emphasized over anxiety and drama, and Böhm's dynamics are carefully gauged to make this distinction clear. The Symphony No. 41 "Jupiter" is grand and energetic, and the Berlin Philharmonic's performance of the miraculous finale is this set's crowning achievement. © TiVo
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Volledige opera's - Verschenen op 16 juni 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
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Klassiek - Verschenen op 30 september 2016 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Choc Classica de l'année - Uitzonderlijke Geluidsopnamen
  
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Klassiek - Verschenen op 21 mei 2021 | harmonia mundi

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By modifying the balance of the dialogue between the two protagonists, whom he turns into genuine alter egos, Mozart leads the genre of the sonata for fortepiano and violin onto the road to modernity. Isabelle Faust and Alexander Melnikov present here the third volume of an exciting complete set on period instruments. Their playing, showing "great elegance and utter rigour", is distinguished by "a tender and delicate expressiveness served by exceptionally subtle nuances" (Classica). © harmonia mundi

Klassiek - Verschenen op 7 mei 2021 | harmonia mundi

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When Mozart took up the popular genre of the serenade, it was to transcend it and lend it new lustre. A festive masterpiece of simplicity and emotion, his Gran Partita quickly became a genuine "hit"! Thanks to the distinctive, spellbinding timbres of their period instruments, the members of the Akademie für Alte Musik Berlin give a unique flavour to these two extraordinary serenades, over which there blows – as it were – a tremendous wind of freedom. © harmonia mundi
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Klassiek - Verschenen op 28 mei 2013 | Naxos

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Klassiek - Verschenen op 25 juni 2021 | Alpha Classics

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Olga Pashchenko is one of today’s most versatile keyboard players. Equally at home on the fortepiano, the harpsichord, the organ and the modern piano, she radiates extraordinary virtuosity and passion. Her discography has hitherto enabled her to explore the music of Beethoven, her great passion, but also that of Dussek and Mendelssohn among others. A key figure was missing until now: Wolfgang Amadeus Mozart. That omission has now been repaired with this recording of his Piano Concertos No. 9 and No. 17, written in 1777 and 1784. This initial collaboration with the ensemble Il Gardellino, founded more than thirty years ago by the oboist Marcel Ponseele and the flautist Jan De Winne, is scheduled to continue with other Mozart concertos in the next few years. © Alpha Classics
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Klassiek - Verschenen op 9 oktober 2020 | Sony Classical

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The Mozart's Violin title of this cycle of Mozart's violin concertos by Christoph Koncz, playing violin and leading the historical-instrument ensemble Les Musiciens du Louvre, is not a vague marketing concept. Koncz plays a violin owned by Mozart, very likely the one the composer played in the premiere performances of the five concertos. The instrument, built in Bavaria in the middle 18th century, probably belonged to Leopold Mozart, and Wolfgang gave it to his sister Nannerl when he moved to Vienna; from there, it took a winding road before being acquired by the Salzburg Mozarteum in 1956. It apparently had not been played for decades or even centuries when Koncz asked for and received permission to use it. The album comes with descriptions of how the wood took time to condition as Koncz played it, with no shoulder rest as Mozart seems to have done. Whatever the situation, the instrument has an attractive sound that combines the rough quality of gut-strung Baroque violins with the brilliant top characteristically appearing in modern-instrument performances of Mozart. The results are appealing for general listeners beyond the historical-performance crowd, as Koncz and Les Musiciens du Louvre, generously sized by historical-performance standards, achieve the sweet lyricism usually associated with these concertos in the modern era without losing the rhythmic vitality of historical performances. There could be a bit more of that vitality in the Violin Concerto No. 5 in A major, K. 219 ("Turkish"), but, in general, these are performances that both common audiences and historical-performance devotees will enjoy. The sound from the 19th century Großer Saal of the Mozarteum is too live and spacious, not idiomatic to the music. © TiVo
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Klassiek - Verschenen op 3 mei 2019 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Klassiek - Verschenen op 16 juni 2017 | Warner Classics

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Concerten voor viool - Verschenen op 28 oktober 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Record of the Year - Gramophone Award - Choc de Classica - Choc Classica de l'année
"Not another complete recording of Mozart's violin concertos!", some might complain, and in absolute terms they wouldn’t necessarily be wrong. Except that this complete edition is signed by star violinist Isabelle Faust, accompanied by Il Giardino Armonico (who plays on instruments from Mozart’s time, including natural horns, nine-key bassoons, six-key flutes, two-key oboes), and – last but not least – the cadenzas are signed by Andreas Staier, since Mozart has left us no cadenzas for his violin concertos (unlike several piano concertos, as well as his Sinfonia concertante for violin and viola). Far from playing the star, Isabelle Faust prefers to blend in with the whole orchestra, a kind of primus inter pares attitude quite refreshing in this repertoire which, in fact, does not require so much emphasis of the part of soloist – the sound engineering and balance itself favours an overall sound rather than an opposition between solo violin and orchestra. This is a new and very original interpretation, whatever the abundant discography of these works may already be. In addition to the five concertos, Faust plays the three single movements for violin and orchestra – two Rondos and one Adagio – which are actually "spare" movements for one or the other of the concertos written on request for soloists of that time. One wonders what Mozart would have written had he had Isabelle Faust by his side! © SM/Qobuz
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Opera - Verschenen op 17 februari 2014 | Sony Classical

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica - Hi-Res Audio
There are many splendid recordings of Mozart's Le nozze di Figaro that appeal to every taste, but there are relatively few that can be categorized as historically authentic, in the truest sense of the term. Of these, the 2014 Sony release by Teodor Currentzis and Musicaeterna may be the most thoroughly researched and carefully restored version available. Taking pains to consult original sources, and to use period instruments or modern replicas (including a fortepiano, a lute, and even a hurdy-gurdy), Currentzis creates a Classical sound that works brilliantly with the score as written and as Mozart intended, and makes the music as vivid and exciting as possible. Currentzis also has called for a historical approach to singing, and embellishments that were typical of Mozart's day are employed, as well as a more intimate delivery and purer vocal style with less vibrato. The cast may not feature international stars, but the artists are well-suited to Currentzis' goals of presenting Figaro in true period practice. Prominent in this production are Andrei Bondarenko as Count Almaviva, Simone Kermes as the Countess, Fanie Antonelou as Susanna, Mary-Ellen Nesi as Cherubino, and Christian van Horn as Figaro, who give their roles distinctive characterizations along with their impeccable vocal production. Sony's recording is rich in details and close enough to the musicians to give a front-row feeling. Le nozze di Figaro is presented on three CDs in a deluxe hardcover book that includes an interview with the conductor and the complete libretto in English, Italian, German, and French. © TiVo
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Missen, passies, requiems - Verschenen op 2 december 2016 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Award - Gramophone Editor's Choice - Uitzonderlijke Geluidsopnamen - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 4 september 2020 | Sony Classical

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In 2016, Sony Classical published its first recital dedicated to Mozart’s arias sang by the young cantata singer Regula Mühlemann alongside the Chambre de Bâle Orchestra under the direction of Umberto Benedetti Michelangeli (the nephew of the famous pianist). After the success of this first part, the same artists are back four years later to do it all again, with this new rosary of concert and opera airs from the Noces de Figaro, The Magic Flute and the sublime “Ruhe sanft, mein holdes Leben” extracted from Zaide. Here, we hear the vocal quality of this full-bodied and fresh voiced soprano with a fine and joyous musicality. The nine tracks on this new album demonstrate the full extent of Regula Mülemann’s sensitivity and the variety of his Mozartian incarnations. Present at the 2020 Salzbourg Festival for his interpretation of Pamina (The Magic Flute), the young soprano was victim, like most of his colleagues, to the ongoing pandemic which heavily impacted the arts this year, leading to an array of cancellations all over the world. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 5 november 2001 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or
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Opera - Verschenen op 7 oktober 2016 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Qobuzism
As Mozart wrote to his father in 1778: "I love it when an aria fits a singer as perfectly as a suit". This, by reasoning, means that virtually all of his greatest melodies – for both prima donna and secondary (supporting) roles - were designed for a specific type of voice. This means that anyone who wants to tackle numerous Mozart roles must know how to adapt their suit accordingly – no simple task, to say the least. Swiss soprano coloratura Regula Mühlemann, with her sumptuous, clear and precise vocals, has perfectly adapted to all of these melodies, as well as the wide range of genres, styles and characters explored. Among the works, one will find Exultate, Jubilate and also a melody that Mozart had written to be inserted in The Barber of Seville by Paisiello, although this did not materialize and Mozart left the work unfinished. Regula Mühlemann, whom we have already witnessed in Salzburg, Berlin, Paris, Zurich, and many other prestigious cities and settings, is accompanied here by the Basel Chamber Orchestra conducted by Umberto Benedetti Michelangeli, the nephew of famous Italian pianist Arturo Benedetti Michelangeli. © SM / Qobuz
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Opera - Verschenen op 7 oktober 2010 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - Uitzonderlijke Geluidsopnamen
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Klassiek - Verschenen op 21 mei 2021 | Myrios Classics

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Klassiek - Verschenen op 1 januari 1971 | Deutsche Grammophon (DG)

Onderscheidingen The Qobuz Ideal Discography