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Klassiek - Verschenen op 3 juli 2020 | PentaTone

Hi-Res Booklet
After a proliferation of recordings from Marc Minkowski and The Musicians of the Louvre for several years, they have now become scarcer. Fans will, therefore, be very pleased to find him here in this well-polished version of the Great Mass in C minor, a work that was left unfinished by Mozart. It is difficult to play in its current state and has been reconstructed a dozen times with varying degrees of success. Here, Minkowski set his sights on the version reconstructed by Austrian composer and conductor Helmut Eder, who published it in the New Mozart Edition in 1985. It is well known that this monumental work, which should have been as long as Bach’s Mass in B minor or Beethoven’s Missa Solemnis had it been completed, was never commissioned and was composed as a thanksgiving for the recovery of his fiancé, Konstanze Weber. It is still a mystery why the work was left incomplete but there are probably multiple reasons for this. The original manuscript was found at the end of the 1970s and contains three-quarters of the work. It represents a kind of culmination of Western sacred music with the complete assimilation of earlier styles and a distinct Mozartian sound. Recorded in concert in Grenoble in 2018 following a European tour, this new version is performed using a reduced choir in keeping with its premiere performance in the small St. Peter’s Abbey in Salzburg, 1783. © François Hudry/Qobuz
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Opera - Verschenen op 3 juli 2020 | Accent

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Opera - Verschenen op 27 maart 2020 | ATMA Classique

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Concerten voor klavier - Verschenen op 28 februari 2020 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
Jean-Efflam Bavouzet’s acclaimed series of piano concertos by Mozart reaches its fifth instalment. Concertos Nos. 5, 6, 8, and 9 are complemented by the overtures to Il sogno di Scipione, Lucio Silla, La finta giardiniera, Il re pastore, and Zaide. That all of these works were composed by Mozart between the ages of fifteen and twenty-five serves as a vivid reminder of his unique talents as a child prodigy: these are not childhood efforts but mature works. The Fifth Concerto was actually Mozart’s first, as Nos 1 – 4 are arrangements of works by other composers. As in the previous volumes, Bavouzet is partnered by Manchester Camerata and Gábor Takács-Nagy, all recorded in The Stoller Hall in Manchester. © Chandos
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Symfonieën - Verschenen op 28 februari 2020 | deutsche harmonia mundi

Hi-Res Booklet
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Duo´s - Verschenen op 7 februari 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
Using period instruments, Isabelle Faust and Alexander Melnikov breathe new life into these ‘sonatas for keyboard with violin accompaniment’, a tradition Mozart renewed from within, blazing the trail for Beethoven, Schubert and Schumann. The first volume was widely praised: ‘The greater similarity of tone between Faust’s sparkling violin and Melnikov’s glittering fortepiano (within an airier acoustic) results in a sound more akin to the jingling of small bells. It’s delicious’ (Gramophone). ‘In a world full of star violinists, all with technical facility and individual style, it’s rare to find one that everyone agrees is just – brilliant. Isabelle Faust is that violinist’ (The Strad). © harmonia mundi
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Klassiek - Verschenen op 7 februari 2020 | Decca Music Group Ltd.

Hi-Res Onderscheidingen 5 de Diapason
The “discoveries” mentioned in the title of this record are mostly pieces of occasional light music, including a few marches, written by Luigi Cherubini when he was director of the French academy of music in Paris. But the lion’s share of the album conducted by Riccardo Chailly, head of the Filamornica della Scala in Milan, is the Italian composer’s sole symphony commissioned in London as a replacement of Beethoven’s Ninth Symphony which could not meet the required deadline. The German composer greatly admired Cherubini. But, unfortunately, Cherubini is not Beethoven and his skillful Symphony in D major, once championed by Arturo Toscanini, cannot bear comparison with Beethoven’s. Maestro Chailly’s performance generates beautiful energy and excitement but the conductor’s effort cannot turn the symphony into a masterpiece. The album is released to celebrate Beethoven’s birthday. It is worth listening to if you want to discover a composer that Beethoven praised and admired. © François Hudry/Qobuz
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Symfonische muziek - Verschenen op 7 februari 2020 | Decca

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Symfonische muziek - Verschenen op 17 januari 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Concerten voor blaasinstrumenten - Verschenen op 22 november 2019 | NoMadMusic

Hi-Res Booklet Onderscheidingen 5 de Diapason
After "Waiting for Clara", which focused on the music of Brahms and Schumann, this second album on NoMadMusic from the clarinetist Julien Hervé looks back another few years, to the apex of Classical style, with Mozart’s Quintet and Concerto. After discovering the instrument later in his life, Mozart fell entirely in love with it and dedicated these sublime pieces to it. This hedonistic, luminous programme, recorded live, offers us the opportunity to discover - or rediscover - two of the greatest masterpieces in the clarinet repertoire. © NoMadmusic
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Symfonieën - Verschenen op 15 november 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
If we take a closer look at the first symphonic attempts by the young Mozart, we can see that they are motivated by a lot more than mere curiosity, musicologist Henning Bey, the author of the texts that accompany this new recording, points out. He shows how the young boy, without the presence of his bedridden father, managed to set down on paper his first symphony after a few efforts for the clavier and violin. The manuscript still bears the traces of the young composer's experimentations and difficulties with ink and an ill-cut quill. The lesson of this first orchestral outing is that "form develops from content". Mozart came to composition when his father taught him to write minuets. And it was also with dance that he would finish his oeuvre, writing the 5 Contredanses, K. 609, just a few days before his death, for the imperial balls in the Redoute. They are presented here by way of closing the circle, interspersed between each of the five youthful symphonies which make up the substance of this album. The excellent performance from Gottfried von der Goltz and the musicians of the Freiburger Barockorchester whom he directs with his violin, have a mature take on this childish music, written before Mozart the traveller starts taking in everything he sees and hears to elaborate his own unique language. What's troubling about it is the assuredness of the writing from a child of nine years old, who seems already to know exactly where he will go and what he will become. © François Hudry/Qobuz
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Missen, passies, requiems - Verschenen op 15 november 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Joseph Haydn composed around 15 masses between 1748 and 1802. The Missa Cellensis in honorem Beatissimae Virginis Mariae, presented here in this new release from the Akademie für Alte Musik and the excellent RIAS-Kammerchor Berlin conducted by Justin Doyle, is better known by the later name Missa Sanctae Caeciliae ("Mass for Saint Cecilia").It's the most vast of Haydn's masses and his only mass-cantata in the solemn Neapolitan style, whose numbers alternate between arias, ensembles and choirs. It seems that Haydn had intended the composition of this mass to be a great coup: it is a deft mix of the "modern" writing of his day and the "baroque" writing of his predecessors. In his monumental biography of the composer, Marc Vignal notes correctly that Haydn's masses are first-rate, not only set against the production of his quartets or symphonies, but also when set against the religious music of his times. This recording, taken at a June 2018 concert at the Berlin Konzerthaus, completes a RIAS-Kammerchor discography which is already rich in choral works but which hadn't yet tackled Haydn's masterpieces. © François Hudry/Qobuz
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Symfonische muziek - Verschenen op 18 oktober 2019 | Decca

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Kwartetten - Verschenen op 11 oktober 2019 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica - Qobuzism
Six quartets that are key to understanding what Joseph Haydn brought to the history of western music. This effort by the Quatuor Hanson is particularly successful because they know how to construct and express the quintessence of this subtle art. And what's more, they bring it off with a fascinating level of instrumental skill. Listening to this piece, we have to bow down once again before the genius of a composer who, along with Boccherini, invented a new genre and immediately studded it with masterpieces of staggering quality. Its title, All shall not die, is the international translation of the Latin epigraph engraved onto Haydn’s tombstone (non omnis moriar). The choice of this phrase indicates the permanence and universality of Haydn's body of work. Judiciously picked out from among Haydn's vast corpus, these six quartets are touching both in their expressiveness and in the perfection of their writing. Not a single note out of place, a perfect balance of four voices and an inspiration at every moment. The closing Opus 77, left unfinished, was a contemporary of Beethoven's first Quartets, Opus 18 – works that betray the lessons their writer learned from his master.More than two hundred years after his death, Haydn has only just found recognition as one of the greats, a status denied him in life. More than a forerunner, Haydn is a founder, a genius whose influence was felt by those who came after him, foremost amongst whom Beethoven and Schubert. This splendid album puts him (back) in his rightful place. © François Hudry/Qobuz
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Klassiek - 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
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Symfonische muziek - Verschenen op 4 oktober 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
The Haydn series continues with the Paris Symphony No. 87. Julien Chauvin and his orchestra keep shaking us up with historical instruments listening to Haydn’s works and several other forgotten scores from the same period. All of them were commissioned for the Concert de la Loge Olympique - ancestor and model for Julien Chauvin and his musicians – and all of them sank into oblivion during the 19th century, except for Haydn’s symphonies. The record offers an opportunity to experience some rare works of Grétry, Lemoyne and Ragué, and to revive the success that they once knew. © Aparté
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Klassiek - Verschenen op 26 september 2019 | Les Indispensables de Diapason

Onderscheidingen Diapason d'or
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Piano solo - Verschenen op 20 september 2019 | SOMM Recordings

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Opera - Verschenen op 30 augustus 2019 | harmonia mundi

Hi-Res Booklets Onderscheidingen Choc de Classica
A challenge. This is a disorienting, provocative, and terribly refreshing album. Before launching headlong into the "Da Ponte-Mozart Trilogy", Raphaël Pichon undertakes a spirited exploration of the themes, throwing all these pieces together into a three-part "pasticcio", with the help of Mozart's earlier works and those of his contemporaries. To do this, Pichon and his arrangers use concert arias, nocturnes, canons, unfinished operas with characters and situations that evoke those of the trilogy. They have thrown together a delicious miniature trilogy "like a sort of musical apéritif." The result is all the more pleasing because it allows us to follow the evolution of Mozart's thought, at the same time as underlining the continuity of his literary choices and situations that he would set to music throughout his short life. Add that to some lively conducting and soloists who have great fun prefiguring the coming masterpieces. The result is a real gourmet feast. © François Hudry/Qobuz
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Klassiek - Verschenen op 2 augustus 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet
Yannick Nézet-Séguin’s saga on Mozart for Deutsche Grammophon continues: after The Clemency of Titus in 2018, it’s now time for The Magic Flute to pass under the Quebecois’ baton at the Festspielhaus in Baden-Baden. His direction breathes life into all the magic that is required for such a fairy-tale, Mozart’s final opera, and the Chamber Orchestra of Europe successfully communicates the opera’s majesty and depth, as heard in the radiant “Priest’s March”. When it comes to the singers, Christiane Karg is captivating in the role of Pamina, and Klaus Florian Vogt – who’s tonality is explosive here – embodies an innocent Tamino that is consistently dazzling. Rolando Villazón, Yannick Nézet-Séguin’s faithful companion in this Mozartian adventure (he has been present since the beginning of the recording of Don Giovanni), takes on the role of the bird catcher Papageno, written for a baritone voice; the former tenor is convincingly at one with the character’s personality. What’s more, despite their unequal distribution, the singers seem to be at home with this extraordinary singspiel. The orchestra whets our appetite with their clear love for playing together and invites us to dive once more into the discography of such a luxurious and dramatic work that is both humorous and spectacular. Nézet-Séguin’s orchestration is tight and the variation in the writing is that of a phenomenal musician. One thinks of Strauss’ Rosenkaalier for the sensual intermingling of voices in the final trio. The Magic Flute is almost masonic as the development of its spiritual storyline is akin to an initiation. Its enchanting atmosphere is typical to the German composer, much like the later Oberon by Weber. © Elsa Siffert/Qobuz