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Symfonische muziek - Verschenen op 19 mei 2017 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica
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Klassiek - Verschenen op 2 juni 2017 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Symfonische muziek - Verschenen op 31 maart 2009 | Chandos

Hi-Res Booklet Onderscheidingen Diapason d'or - Hi-Res Audio
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Klassiek - Verschenen op 26 februari 2016 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 30 juni 2015 | Chandos

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Klassiek - Verschenen op 4 maart 2014 | Chandos

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 25 september 2015 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 2 oktober 2020 | Chandos

Hi-Res Booklet
For the second volume of the music of Eric Coates, John Wilson has built his programme around three contrasting ‘major’ works. The Suite "Summer Days was premiered in October 1919, shortly after Henry Wood had fired Coates from his position as lead viola in the Queen’s Hall Orchestra. An immediate hit, the suite received rave reviews and many more performances. It was recorded in 1926, Sir Edward Elgar telling Coates that he had played it so often that he had worn out the disc! The Selfish Giant, from 1925, based on Oscar Wilde’s story, was the first in a series of highly successful musical retellings of fairy tales. The Enchanted Garden originated in a commission from the Swedish Broadcasting Company. Although he described The Enchanted Garden as a ballet, Coates conceived it principally as a concert work. Composed in June and July 1938, it was premiered in a BBC radio broadcast in November that year, immediately before Coates took it on tour to Stockholm. Of the other, shorter pieces on the album, Calling All Workers is arguably Coates’s best-known work, composed in the summer of 1940 and dedicated ‘to all who work’. The march was adopted by the BBC as the signature tune for their new daily radio show ‘Music While You Work’, and was heard twice daily for twenty-seven years – clocking up more than 16,000 broadcast performances. © Chandos
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Klassiek - Verschenen op 22 januari 2021 | Signum Records

Booklet
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Klassiek - Verschenen op 27 maart 2020 | Chandos

Hi-Res Booklet
1905 was a year of revolutionary upheaval in pre-Soviet Russia. Shostakovich based this work on the events of one episode of that year, when thousands of workers and their families converged on the Winter Palace in St. Petersburg to petition the Tsar over their working and living conditions. The Tsar had been advised to leave, no-one was there to accept the petition, and the authorities resorted to cavalry charges to disperse the crowd. With 200 dead and 500 wounded, this incident damaged the Tsar’s reputation and flamed the fire of revolution in the masses. Whether the work was intended as a politically correct commemoration to please his Soviet paymasters, or actually as a commentary on the 1956 Hungarian uprising, remains under debate. There is no doubt, however, that this majestic score, almost filmic in its conception, remains a milestone in Shostakovich’s output. The BBC Philharmonic under John Storgårds captures here the tremendous intensity of the work. For perhaps the first time for sixty years, this recording uses four church bells, on loan from the Royal Liverpool Philharmonic Orchestra, rather than the standard orchestral tubular bells. Church bells may be heard on the earliest recording of the Eleventh Symphony, by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky in 1959, and may therefore be presumed to have the composer’s approval. John Storgårds has chosen to let them ring on after the end of the work, an option also favoured in performance by Mstislav Rostropovich. © Chandos
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Klassiek - Verschenen op 4 oktober 2019 | Chandos

Hi-Res Booklet
Eric Coates studied at the Royal Academy of Music under Frederick Corder (composition) and Lionel Tertis (viola), and played in string quartets and theatre pit bands before joining symphony orchestras conducted by Thomas Beecham and Henry Wood. His experience as a player added to the rigorous training which Coates had received at the academy and contributed to his skill as a composer. In 1919 he gave up the viola permanently and from then until his death made his living as a composer and occasional conductor. His prolific output includes the suite London (1932), of which the well-known march ‘Knightsbridge’ is the concluding movement, the waltz By the Sleepy Lagoon (1930), and The Dam Busters March (1954). The early compositions of Coates were influenced by the music of Arthur Sullivan and Edward German, but his style evolved in step with changes in musical taste, and his later works incorporate elements derived from jazz and dance-band music. His output consists almost wholly of orchestral music and songs. With the exception of one unsuccessful short ballet, he never wrote for the theatre, and only occasionally for the cinema. John Wilson has spent many years editing all the orchestral works of Coates, and will now be using these new editions for this cycle of recordings with the BBC Philharmonic. © Chandos
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Klassiek - Verschenen op 30 juli 2021 | Chandos

Hi-Res Booklet
Considered by some to be the "Cinderella" of his symphonies, the Sixth Symphony of Anton Bruckner was composed in 1879-1881. It may well demonstrate a reaction to the severe criticism of the first Viennese performance, in 1877, of his Third Symphony, which Eduard Hanslick described as "a vision of how Beethoven’s Ninth befriends Wagner’s Walküre and ends up being trampled under her horses’ hoofs". Much the shortest of his mature symphonies, the Sixth also reverts to a more classical form than its predecessors. This recording was made in 2012, during the first season of Juanjo Mena as Chief Conductor of the BBC Philharmonic, and just a month before their acclaimed performance of the work at the BBC Proms. Classical Source commented: "Mena didn’t miss a trick and the result for the whole symphony was a revelation, and you don’t get many of those. This was a thrilling, delightful performance". © Chandos
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Klassiek - Verschenen op 8 juli 2016 | Chandos

Booklet
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Klassiek - Verschenen op 27 mei 2016 | Chandos

Booklet
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Klassiek - Verschenen op 2 november 2018 | Chandos

Hi-Res Booklet
This is the fourth in the BBC Philharmonic's series of Copland's orchestral music under conductor John Wilson, and it retains the strengths of the earlier releases. One of those strengths is the exposure of Copland works that have fallen into obscurity, generally for no good reason, and that virtue is on special display here. The two short pieces at the end of the program, Letter from Home and Down a Country Lane, the latter arranged for school orchestras, are rarely played, and both are marvelous examples of Copland's melodic gift. The Connotations of 1962, one of Copland's few ventures into the 12-tone system, has also been avoided by programmers who have a host of tonal, broadly popular Copland scores from which to choose. Wilson gets the key challenge with this work, which is to find the characteristic Copland beneath the modernist overtones. The Symphony No. 3 from the mid-1940s, performed in its original version, is not exactly rare, but the reworked Fanfare for the Common Man in the finale is less common than the freestanding work itself. The symphony suggests an American Shostakovich, minus the folk elements (which Copland studiously avoided) and the sardonic edge. The BBC Philharmonic may not have the silken quality of the Koussevitsky-era Boston Symphony for which the work was composed, but it comes close; sample the clean string work in the slow movement. Another fine Copland release from across the pond. © TiVo
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Klassiek - Verschenen op 1 september 2005 | Chandos

Booklet
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Klassiek - Verschenen op 4 november 2016 | Chandos

Hi-Res Booklet
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Klassiek - Verschenen op 3 juni 2014 | Chandos

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Klassiek - Verschenen op 29 april 2016 | Chandos