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Klassiek - Verschijnt op 28 augustus 2020 | Mirare

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Kamermuziek - Verschijnt op 7 augustus 2020 | Centaur Records, Inc.

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Klassiek - Verschenen op 31 juli 2020 | Universal Music Australia Pty. Ltd.

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Kamermuziek - Verschenen op 24 juli 2020 | Pan Classics

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Klassiek - Verschenen op 8 juli 2020 | Paula

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Klassiek - Verschenen op 4 juli 2020 | ISDEMA

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Kamermuziek - Verschenen op 3 juli 2020 | Piano 21

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Ever imagined an entire programme devoted to marrying the sounds of the harp and the piano? Yes, of course there is quite a comprehensive repertoire for these two instruments, but, to be honest, not many of their works retain much significance. Years later, a young French composer, Régis Chesneau (born 1986), took an interest in this unusual instrumental pairing; working from three of his arrangements, the harpist Isabelle Courret – sometime soloist at La Scala in Milan – and the pianist Cyprien Katsaris have devised this surprising programme, a veritable journey through centuries. This recital begins with two extracts from Suite No. 1 for Two Pianos, Op. 5 by Sergei Rachmaninoff (1873-1943), namely Nos. 2 and 3. In this recording, Isabelle Courret and Cyprien Katsaris alternate the playing of the two piano parts to exploit the scope provided by the harp. A piece well overdue for rediscovery, the impressive Concerto for Harp Op. 182 by Carl Reinecke (1824-1910) is one of the foundation stones for this instrument’s repertoire. It was composed in Leipzig in 1884, dedicated to Edmund Schuecker (1860-1911), an exact contemporary of Gustav Mahler. Isabelle Courret and Cyprien Katsaris continue their journey with two movements from Histoire du Tango by Astor Piazzolla (1921-1992). In this suite of four pieces written in 1986, originally for flute and guitar, Astor Piazzolla aspired to present to us his own account of the tango, from the “bordellos” of Argentina in the early 20th century through to modern concert halls. There follow the three pieces by Régis Chesneau. Composed for Cyprien Katsaris and Isabelle Courret in 2015, the two neotonal Contemplations are both contrasting and complementary. Impreso (impression in Esperanto) is in the neoclassical style, recalling French music of the early 20th century. Arranged in five movements in simple numerical order (to avoid influencing the listener), Tableaux was written in 2016 at the request of Cyprien Katsaris, especially for this recording. The programme for this recording ends with Isaac Albéniz’s Pavana-Capricho, played here in the composer’s own arrangement for piano with four hands. Published in 1884, this Pavana-Capricho is imbued with popular Spanish rhythms. © Pierre-Yves Lascar/Piano 21
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Klassiek - Verschenen op 3 juli 2020 | Promarket

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Klassiek - Verschenen op 26 juni 2020 | Naxos

Booklet
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Klassiek - Verschenen op 23 juni 2020 | Torill Music

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Klassiek - Verschenen op 19 juni 2020 | Z-Trading LTD

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Klassiek - Verschenen op 5 juni 2020 | Nimbus Records

Booklet
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Klassiek - Verschenen op 5 juni 2020 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 5 juni 2020 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 22 mei 2020 | Ars Produktion

Hi-Res Booklet
Aeolus' 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, 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". All of these compositions were written in Dresden in 1845. 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 15 mei 2020 | Genuin

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Shinnosuke Inugai is an exceptional artist: not only has he won numerous competitions and possesses a vast repertoire; the young Japanese pianist feels at home in jazz as well as in classical music and has a special gift for improvisation. Therefore, what could be more natural for Inugai than to record his own music on his new Genuin programme in addition to orchestral piano music from early Romanticism to Classical Modernism? Stravinsky, Schumann, Albéniz, and Scriabin frame sparkling improvisations in colorful interpretations: from playing with white keys to the reverberation of distant bells to echoes of folk music – utterly enchanting! © Genuin
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Klassiek - Verschenen op 7 mei 2020 | Foreman Records

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Klassiek - Verschenen op 5 mei 2020 | GuitArt collection

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Klassiek - Verschenen op 30 april 2020 | G.O.P.

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Klassiek - Verschenen op 27 april 2020 | Eagle Records, S.L.

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