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Klassiek - Verschenen op 1 mei 2020 | Orlando Records

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Klassiek - Verschenen op 1 mei 2020 | Paladino Music

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Koormuziek - Verschenen op 10 april 2020 | Gloriae Dei Cantores

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Klassiek - Verschenen op 13 maart 2020 | Ramée

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The era of Ludwig van Beethoven and Friedrich Kuhlau was one of great stylistic changes in music, as composers searched for new forms of expression and tonal possibilities while stimulating a rapid pace of innovation in the field of instrument design and manufacturing. This recording is anchored by two pillars of the nineteenth century repertoire for flute and piano: Beethoven’s Serenade, originally conceived as a trio for flute, violin and viola, bends the boundaries of classicism with impulsive dynamic changes and measured attention to timing, while Kuhlau’s Grande Sonate concertante reaches eagerly for a more Romantic aesthetic, inviting expressive freedom in its virtuosic writing and rich harmonic textures. The juxtaposition of works of Beethoven and Kuhlau on this recording is inspired by the delightful account of their personal encounter in September 1825, after which Beethoven wrote a canon on the text "kühl, nicht lau" ("cool, not lukewarm"), a friendly pun on Kuhlau’s name. © Ramée
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Opera - Verschenen op 6 maart 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
The multitude of incomplete manuscripts of so many baroque operas and oratorios offers a very tempting playground for today's performers and musicologists. However, it is quite rare for a 21st century artist to compose an entire act from scratch. This was what has happened with El Prometeo by Italian composer Antonio Draghi, who was active at the Habsburg court in Vienna. Composed in 1669, it is one of the few operas from that time written in Castilian, which gives this discovery a vital historical importance. Draghi is a direct heir to Monteverdi and Cavalli, whose works he sang in his youth and whose style he carried forward. As was the style in his day, his music is made up of a deft mixture of comic scenes. This was a tradition that would stretch all the way down to Mozart, via the Jommelli operas that the young composer so admired. Convinced that what he had discovered was the complete manuscript, Leonardo García Alarcón had found himself trapped when he realised his mistake just as the work was due to open at the Dijon Opera. So he was obliged to either cancel the production, or to assemble other works into a "pasticcio" of the style of the 18th century. The conductor wasn't paralysed by the fear of a blank page: he put himself into Draghi's shoes to compose a whole third act: the densest, most dramatic part of the artwork, the original of which was irretrievably lost. Going beyond mere plagiarism, García Alarcón had some fun, paying tribute to Austrian opera, borrowing from Draghi of course, but also from Cesti, Caldara, and all the way up to Mozart. The result of this tour de force is a perfect illusion: his assimilation of different styles allows him to create music that's inspired by and in perfect harmony with the rest of the score. The Namur Chamber Choir, the many soloists and the bewitching colours of the Cappella Mediterranea all contribute greatly to a production whose success you can feel on this new album. © François Hudry/Qobuz
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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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Kamermuziek - Verschenen op 17 januari 2020 | Ricercar

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 22 november 2019 | Naxos

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Beethoven’s contribution to the development of German song was significant - he wrote some 90 songs - but it has inevitably been overshadowed by his mastery of orchestral and instrumental music. Unlike mozart and Schubert’s works in the genre, little is known about the composition and performance of Beethoven’s songs, but he is known to have greatly respected Goethe, as his settings amply show, not least in the incidental music to Egmont, from which Freudvoll und leidvoll is taken. © Naxos
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Kamermuziek - Verschenen op 1 november 2019 | Ramée

Hi-Res Booklet Onderscheidingen 5 de Diapason
The Moravian-born multi-instrumentalist and composer Gottfried Finger is often found in the footnotes in modern music histories, yet during his lifetime few other composers could boast of the number of firsts and career milestones. In a varied and active career spanning more than half a century, he crossed paths with some of the leading composers of his day (Biber, Purcell, Telemann, Silvius Leopold Weiss and perhaps François Couperin, to name just a few). Finger could switch with great ease between faithful versions of the dominant French and Italian styles, but thanks to his experiences across such wide geographies, variety of musical styles, languages and cultures, his primary style is a truly pan-European phenomenon. Although Italian music was his main inspiration, it is difficult to assign Finger consistently to any kind of national style or regional school. This album presents premieres of twelve pieces from the second half of his career show-casing some of the breathtaking scope and scale of his output and his particular strength in deft handling of ear-tickling instrumental sonorities and virtuosity. © Ramée
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Klassiek - Verschenen op 11 oktober 2019 | Reference Recordings

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Reference Recordings proudly presents Holst’s best known and beloved works in a new interpretation from Michael Stern and the Kansas City Symphony. This release was recorded in the beautiful and acoustically acclaimed Helzberg Hall, Kauffman Center for the Performing Arts. It was produced by David Frost. The Kansas City Symphony has a vision to transform hearts, minds and its community through the power of symphonic music. Founded in 1982, the Symphony has established itself as a major force in the cultural life of the community. Praised for performances of uncompromising standard, the orchestra is the largest in the region and holds a national reputation under the artistic leadership of Music Director Michael Stern. This is the seventh in Reference Recordings’ series with Kansas City Symphony. © Reference Recordings
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Klassiek - Verschenen op 4 oktober 2019 | Alpha

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This programme highlights the performers and composers championed by "La Belle Saison", and is derived from residencies and concerts, ‘precious means to enable us to experience and bring to life such monumental works as Schubert’s Octet’, says the violinist Pierre Fouchenneret, heard here alongside his prestigious partners Shuichi Okada (violin), Marc Desmons (viola), Victor Julien-Laferrière (cello), Yann Dubost (double bass), Nicolas Baldeyrou (clarinet), Julien Hardy (bassoon) and David Guerrier (horn). They also present a new work by the composer, conductor and ex-cellist of the Quatuor Ébène Raphaël Merlin: ‘We were inspired by the asymmetry of Schubert’s Octet, in which three wind instruments are set against five stringed instruments; this is in keeping with the laws of acoustics and dynamics, but gives a relatively dark colour to the ensemble. The numbers 3, 5 and 8 evoke the Fibonacci sequence, which, like the golden section, underpins a very large number of works of the past and today. We enter into musical time in reference to the timespan of human life on earth and the acceleration of history...’© Alpha Classics
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Klassiek - Verschenen op 20 september 2019 | Alba

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The young, rising pianist Janne Oksanen performs the complete piano works of Toivo Kuula on his debut album. His playing on this record is powerful, rich and colourful thus shedding light to these rare piano gems and giving them the interpretation they deserve. The album includes Kuula’s best known pieces like The Wedding March, La Folia and Fairytale Pictures as well as many rare pieces. To this day Toivo Kuula (1883-1918) stands as one of the most significant Finnish composers. His music is poetic, epic and deep and it showcases a very sophisticated musical taste and tonal language. In his lifetime he was hailed as Finland’s finest composer after Sibelius. Kuula’s music has been said to entail rare power and raw energy, which exposes the listener for self-reflection. As a whole these 20 pieces portray a versatile palette of different stages of Kuula the composer. Included are unforgettable melodies, heartbreaking stories and top-class pianism. Oksanen (born 1994) talks about the recording: ”The album manifested itself as a result of a snowball-effect. Initially I was supposed to play Kuula’s piano works only once at Sibafest 2018. The show raised a lot of interest and I ended playing it in 7-8 cities. I received so much positive feedback from these concerts that I understood there was need for a record: it was almost inevitable to do it just for the sake of cultural service.” © Alba Records
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Kamermuziek - Verschenen op 13 september 2019 | Da Capo

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Klassiek - Verschenen op 16 augustus 2019 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Koormuziek - Verschenen op 9 augustus 2019 | Delos

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Born in 1986, Jake Runestad, an Illinois native, has studied with such figures as Bernard Rands, David Lang, Tania León, Christopher Rouse and Jake Heggie: all composers with very diverse aesthetics. Runestad is clearly influenced by simplicity in harmony, and classicism in textures, which he will have found in Heggie, Lang or Rands to a lesser extent. His aim as a composer of vocal works? “A desire for beauty”. The music supports lyrics inspired by the poet Todd Boss (a great friend of the composer, upon whom he left a lasting imprint), which tell authentic stories of profoundly human experiences, all within the framework of an immediate, seductive writing style, which encourages communion with others. Jake Runestad is ecumenical, for sure. The works presented here, including the very beautiful Waves which opens the album, are given a magisterial interpretation in all their harmonic splendour, and not without the naïveté which we sometimes find in the performances of Craig Hella Johnson's Conspirare ensemble, which is well-versed in contemporary music and has created many magnificent albums for harmonia mundi. How could one resist the engrossing Let My Love Be Heard, with its distant echoes of Adagio (or Agnus Dei) by Barber? © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 21 juni 2019 | Reference Recordings

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Kamermuziek - Verschenen op 21 juni 2019 | Metier

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Kamermuziek - Verschenen op 7 juni 2019 | Reference Recordings

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Klassiek - Verschenen op 17 mei 2019 | Reference Recordings

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Kamermuziek - Verschenen op 3 mei 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
‘The senses reign, and Reason now is dead’ (Petrarch). Giovanni Antonini, flautist and founder of the legendary Italian ensemble Il Giardino Armonico, enjoys musical voyages, the discursiveness of music. He begins with an anonymous 16th century pavane, La Morte della Ragione ("The Death of Reason"), which he believes refers to In Praise of Folly, in which its author Erasmus distinguishes between two forms of madness: ‘a sweet illusion of the spirit', and a negative form, ‘one that the vengeful Furies conjure up from hell...’. This succession of ‘musical pictures’ leads us to the threshold of the baroque era, starting out with the Puzzle Canon by John Dunstable (1390- ca.1453), whose manuscript is an enigma, via the ‘bizarre’ style of Alexander Agricola (1446- ca.1506) and his obsessive, ostinato rhythm – almost an anticipation of minimalist music… to the improvisatory freedom of the Galliard Battaglia de Scheidt (1587-1654), a battle piece involving a great many diminutions or ‘divisions’, a common technique of improvisation in the Renaissance... This grand instrumental musical fresco of time and space is a kind of self-portrait of Giovanni Antonini and his longstanding musical colleagues. To accompany this recording, a richly-illustrated booklet presents a free-ranging iconographical tour combining pictures and contemporary photos. © Alpha Classics

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