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Viool solo - Verschenen op 19 juli 2019 | CAvi-music

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Viool solo - Verschenen op 26 april 2019 | Channel Classics Records

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Still relatively unknown outside of Northern Europe, Rosanne Philippens is one of the best Dutch violinists of her young generation. She has an exclusive recording contract with label Channel Classics. The fifth album of this fruitful collaboration, "Insight", is also the young musician’s very first solo programme, proposing works from Biber, Bach, Enescu and Ysaÿe, as well as a few improvisations, bridging the gap between pieces. Right from the incipit of Biber’s Passacaglia, Rosanne Philippens amazes with the fleshy, woody sonority of her instrument, the brightness of her phrasings and the flow of her conceptions. This programme features a dialogue between centuries, a conversation between wildly diverse aesthetics, and must be approached like a genuine journey, without markers, a dive into the unknown. The works are fragmented; J. S. Bach’s Partita No. 2 for instance is presented in two distinct pieces, and doesn’t even include the final Chaconne − maybe in volume two? Biber’s wonderful Passacaglia (perhaps its most beautiful recorded interpretation on a violin) opens and closes the album. To go along, some fantastic pieces by Enescu, starting with the Sarabande, a clear homage to the Thomaskantor. In the very rare Airs dans le genre roumain, Rosanne Philippens attests her natural insight into Eastern European compositions – she has already recorded many of Bartók and Szymanowski’s works. An artist worth discovering in a particularly bold programme. © Pierre-Yves Lascar/Qobuz
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Viool solo - Verschenen op 19 april 2019 | Channel Classics Records

Hi-Res Booklet Onderscheidingen Diapason d'or
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Viool solo - Verschenen op 19 april 2019 | Channel Classics Records

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Viool solo - Verschenen op 15 maart 2019 | Accentus Music

Hi-Res Onderscheidingen Diapason d'or / Arte
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Viool solo - Verschenen op 5 oktober 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
A student of the last student of Ysaÿe, American violinist Hilary Hahn has played Bach's solo violin music since she was nine, and inaugurated her recording career seven years later with a recording of half the cycle of six, in 1997. That recording rightly won acclaim with its flawless technique and Apollonian lines straight out of the best of the French violin school. Uniquely, she has returned to complete the set 21 years later, and the results are marvelous. It's sometimes hard to pin down the ways in which Hahn's style has changed, but it has to do with a kind of inner relaxation, with a willingness to let the meter vary a bit and pick it up again in the longer line. The flawless tone is still there, but it's not so much an end in itself. It's not an accident that some of the graphics picture Hahn smiling, nor that her quite relevant notes to the album detail the long creative process that went into making it. Sample anywhere, but you could try the very beginning, the first movement of the Sonata for solo violin No. 1 in G minor, BWV 1001, where Hahn takes just a bit of time, draws you in, and lets the rest of the movement flow from there. Decca's engineers do excellent work in a Bard College auditorium that one might not have picked as a venue for this. A superb release from one of the preeminent violinists of our time. © TiVo
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Viool solo - Verschenen op 7 september 2018 | Aparté

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In his turn the conductor and first violin of the Freiburger Barockorchester engraved these emblematic pages for violin. On his instrument by the Milanese lutenist Paolo Antonio Testore (1690-1767), Gottfried von der Goltz tackles without any bluff this corpus for solo violin. He plays them in an authentic, personal and sober (a little too reserved?) way with a constant concern to put forward their rich architecture and polyphony always in a deep understanding of the writing. © Qobuz 2018
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Viool solo - Verschenen op 25 mei 2018 | LSO Live

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Viool solo - Verschenen op 12 januari 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica
There comes a moment in the career of any respected violinist (and even some who aren't), when they dream of playing, and perhaps recording, Paganini's 24 Caprices. And that is precisely what German star violinist Augustin Hadelich (b. 1984) has done. Hadelich has been a regular fixture in the orchestras of Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia, San Francisco, London, Munich and Salzburg, for whom he has given some of the greatest concertos that exist, but he has also performed a repertoire of much rarer, contemporary works, which he has decided to champion. Hadelich tackles these 24 Caprices, which Paganini wrote over about 15 years, from 1802 to 1817, without intending to make them into a cycle in their own right - much less a programme to be played in a single concert; indeed, it seems that he never performed them in concert himself - like many small Italian operas (but French ones as well, in the tradition of grand opéra), each one is concentrated down into a few minutes. They run from grandiose tragedy in the style of Meyerbeer, to lighter shades of Rossini, with a real lyrical and vocal vision which is as far removed as can be from pure and demonstrative virtuosity. At 33 years old, Hadelich shows consistent maturity, but also humility, and a sense of experience which one would expect to see in a much older musician. © SM/Qobuz
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Viool solo - Verschenen op 20 oktober 2017 | Solo Musica

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Viool solo - Verschenen op 8 september 2017 | Ondine

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - Choc de Classica - Uitzonderlijke Geluidsopnamen - 5 Sterne Fono Forum Klassik
Of course, since years Bach’s Sonatas and Partitas for solo violin have been recorded over and over again, including by world’s best and most prestigious solists. But when violinist Christian Tetzlaff releases a brand new recording, we can only say: “Friends, countrymen, lend Qobuz your ears”. Concerts with Christian Tetzlaff often become an existential experience for interpreter and audience alike; old familiar works suddenly appear in an entirely new light, also – of course – within the frame of a new studio recording such as this one. Essential to Tetzlaff’s approach are the courage to take risks, technical brilliance, openness and alertness to life. Such an interpretation becomes a real challenge for the aficionado and guarantees a brilliant musical adventure.
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Viool solo - Verschenen op 20 april 2016 | Magnatune

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Viool solo - Verschenen op 18 maart 2016 | Berlin Classics

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Viool solo - Verschenen op 31 oktober 2014 | a-b.violin

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Viool solo - Verschenen op 28 januari 2011 | Berlin Classics

Booklet
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Viool solo - Verschenen op 22 april 2010 | harmonia mundi

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Viool solo - Verschenen op 9 april 2010 | Berlin Classics

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Viool solo - Verschenen op 31 maart 2008 | Aeon

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Viool solo - Verschenen op 23 maart 2001 | deutsche harmonia mundi

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Viool solo - Verschenen op 5 augustus 1997 | Sony Classical

Onderscheidingen Diapason d'or de l'année - Diapason d'or - Choc du Monde de la Musique - 9 de Répertoire - 4F de Télérama