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Sacred Oratorios - Verschijnt op 13 november 2020 | LSO Live

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Symfonieën - Verschenen op 25 september 2020 | Berlin Philharmonic Orchestra

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Symfonieën - Verschenen op 21 augustus 2020 | Myrios Classics

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The year 1841 finally marked Robert Schumann’s breakthrough as a composer for orchestra. That year, he created no less than two works: his First Symphony, also known as the “Spring Symphony”, and a piece which he initially planned as a “Symphonic Fantasy” in one move- ment, and which would later become his Symphony in D Minor.The Spring Symphony was composed in the coldest winter. Full of longing, it is a work that knows only one direction: growing, blossom- ing, the path to light and new life. The Symphony in D minor seems much more somber and intimate, “a work from the innermost depths of his soul”, as Clara Schumann noted in her diary. However, the audience could not warm up to this bold, impetuous work, and Schumann set it aside. Ten years later, after a major revision, he published it as his 4th Symphony.This album pairs the Spring Symphony with the original version of the Symphony in D minor, the version which friends such as Johannes Brahms preferred over the later edition. Schumann never heard it again in his lifetime, and it was not until 1889 that it was performed in public once more, by the Gürzenich Orchestra Cologne under the baton of Franz Wüllner.François-Xavier Roth, the Gürzenich Orchestra’s current chief conductor, also prefers the original version. With its leaner orchestration, it is certainly the more radical one, and thus requires a higher degree of commitment from the orchestra musicians in forming crescendi, melodic phrases, and extended arcs of formal development. © Myrios Classics
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Symfonische muziek - Verschenen op 12 augustus 2020 | Infinity

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Klassiek - Verschenen op 31 juli 2020 | Decca Music Group Ltd.

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Vocale muziek (wereldlijk en religieus) - Verschenen op 24 juli 2020 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
Conductor Antonio Pappano gladly trades in his conductor’s baton for his piano keys in this recording during which he accompanies some of the greatest voices in music today. He plays in perfect complicity with English tenor Ian Bostridge in this exciting program devoted to a selection of Beethoven’s Lieder. The centrepiece of this album is, of course, An die ferne Geliebte (“To the distant beloved”), which is considered to be the first ever Lieder cycle in the history of music. The six poems depict an unknown woman that the composer had idealised from their very first encounter, quickly followed by their separation. His longing for her caused him so much torment that even the joyous awakening of spring could not take away his melancholy in this heart-rending lover’s lament. The other twenty or so Lieder on this album, including the famous Adelaide, which was also set to music by Schubert, are a testament to Beethoven’s mastery of the lied and popular songs, which he liked to harmonise. Ian Bostridge and Antonio Pappano interpret these rare gems with sensitivity and sophistication. © François Hudry/Qobuz
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Klassiek - Verschenen op 22 mei 2020 | Idil Biret Archive

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Klassiek - Verschenen op 15 mei 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
After "Inventions", Apotheosis is the third and last volume in a complete set of the Beethoven quartets that breaks new ground: it aims to regroup the works according to their position within the three broad creative divisions of the composer’s life – the formative years, the ‘heroic’ period and the ‘late’ period. This programme assembles the ‘late’ quartets in a new sense, in other words those works in which the stylistic innovations of each of these creative periods reach their full flowering. © harmonia mundi
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Kamermuziek - Verschenen op 15 mei 2020 | Avie Records

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Four years passed between the recording of Schubert's Quintet in A major and its release on record to coincide with the 80th birthday of pianist Christoph Eschenbach. During those four years, the musicians sought to complete the program of this album to make the timing perfect. In addition to the very lively Truite, we find a few waltzes arranged for string quartet by Olivier Dejours and a bouquet of Ländler played on the piano by Jean-Frédéric Neuburger, friend and regular partner of the Thymos Quartet. The essence of the program is therefore this Truite played in such a friendly way, with a fresh simplicity. It is the ideal vision of one of the few perfectly happy and tender works by Schubert, who seems to have forgotten his deep melancholy in the summer of 1819, at least for a while. The Thymos Quartet was formed in 2003 when four musicians from the Paris and Lyon Conservatories met, all members of the Orchestre de Paris directed at the time by Christoph Eschenbach, who became their mentor. They had already recorded Dvořák’s Quintet n° 2 with piano together in 2011. The Thymos performed in France and Europe before conquering the United States, China, Korea and Japan. © François Hudry/Qobuz
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Concerten voor klavier - Verschenen op 1 mei 2020 | Sony Music Entertainment

Klassiek - Verschenen op 10 april 2020 | LSO Live

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Sir John Eliot Gardiner and the London Symphony Orchestra bring their survey of Schumann's symphonic works to a close with the Overture, Scherzo & Finale. Dating from 1841, Schumann's Overture, Scherzo & Finale was originally conceived as a symphony, or 'symphonette' as he liked to call it, but having no slow movement he eventually republished it as this three-movement work. The work begins with a graceful and delicate Overture, which quickly transforms into a stormy Scherzo. The lyrical trio section that follows provides a welcome contrast before the fast, fugato style Finale brings the work to a rousing close. © LSO Live
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Concertmuziek - Verschenen op 3 april 2020 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or
As the symbiosis between the art of the poet and that of the composer, the French mélodie became the jewel of the salons of the ‘Belle Époque’. By placing a string quartet and a piano around the singer, Chausson’s Chanson perpétuelle, Lekeu’s Nocturne and Fauré’s La Bonne Chanson oscillate between chamber musical intimacy and orchestral ambition. Alongside these famous pioneering pieces, this programme devised by the Palazzetto Bru Zane champions a return to the art of transcription, so popular in the nineteenth century, with the aim of expanding the repertory for voice, strings and piano in order to unearth some forgotten treasures. Hence Hahn, Berlioz, Saint-Saëns, Massenet, La Tombelle, Ropartz, Louiguy and Messager all appear in a programme whose guiding thread is the emotions of nocturnal abandonment: the charms of twilight, the trajectory of dreams, the terror of nightmare or the exhilaration of festive occasions. Alexandre Dratwicki has made these arrangements in the style of the nineteenth century. Appropriately enough, the programme ends with La Vie en rose, for this music offers a kaleidoscope of all the colours of human feeling. The texture of solo strings and piano sets Véronique Gens’s incomparable storytelling artistry in a new ligh. © Alpha Classics
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Klassiek - Verschenen op 3 april 2020 | Warner Classics

Hi-Res Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 2 april 2020 | Aeolus

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BONUS VIDEOAeolus' first collaboration with the cathedral organist Daniel Beckmann from Mainz leads us to a Bernhard Dreymann organ, which has just been restored to its former glory, located in the St. Ignazkirche in Mainz. The instrument, built in 1837 at the beginning of the Romantic period, was praised by Christian Heinrich Rinck as exemplary for the then modern organ building and fits exactly into the time when Robert Schumann wrote his works for pedal piano or organ. At the time when Robert Schumann was composing his studies and fugues for pedal piano in Dresden in 1845, the organbuilding was in shadow in most European countries. Clara wrote in her diary about the purchase of a pedal board for the Schumanns: "On April 24th [...] we received a pedal board under our piano [...]. Robert found greater interest in the instrument and composed some sketches and studies for the pedal piano, which will certainly be very well received as something new." In one of the earliest reviews of the B-A-C-H fugues, Magdeburg cathedral organist August Gottfried Ritter wrote: "Those familiar with Robert Schumann will not be surprised by such a change. Such a profound and sensitive composer, so thoroughly hostile to all effects daubed on the outside, must be attracted to the instrument so closely related to his inner being, finding in it the most appropriate expression of his thoughts". As he wrote in a letter, Schumann was convinced that the fugues were "a task of which I believe they will perhaps outlive my other ones the longest".Due to its abundant foundation stops and the resulting diverse possibilities of dynamic gradations, the Dreymann organ is almost predestined for a recording of these three cycles. (Aeolus)
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Klassiek - Verschenen op 27 maart 2020 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Klassiek - Verschenen op 20 maart 2020 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Choc de Classica
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Klassiek - Verschenen op 13 maart 2020 | B Records

Hi-Res Booklet Onderscheidingen 5 de Diapason
Two centuries ago Die Schöne Mullerin founded the German romanticism. Since then, the great story of this young man and its tragic and poetic love keeps all its emotionnal strengh: this heart touching version recorded live in the Théâtre de l’Athénee in Paris renews the Schubert masterpiece thanks to Thomas Oliemans vibrating voice and the sensitive touch of Malcolm Martineau. © B Records
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Klassiek - Verschenen op 6 maart 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 6 maart 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 6 maart 2020 | Decca