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Concerten voor klavier - Verschenen op 2 maart 2018 | Ondine

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Klassiek - Verschenen op 10 mei 2019 | Ondine

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
After a cycle of Beethoven Piano Concertos, solo albums of works by Bach and Schubert in addition to a number of award-winning recordings of piano chamber music on Ondine label, pianist Lars Vogt releases an album of Sonatas by Wolfgang Amadeus Mozart (1756–1791). In this album, two baroque-influenced and virtuosic early sonatas are coupled together with a touching A minor Sonata K. 310 – written at the time of the composer’s mother’s death – and a delightful, Haydnesque Sonata K. 333. Mozart wrote Piano Sonatas K. 280 and K. 281 (Nos. 2 & 3) most likely in 1774, at the age of 18. The elements of Baroque influence are clearly evident in the K. 280 Sonata. A prominent feature in the K. 281 Sonata is, besides its virtuosity, the beautiful slow-movement, “Andante amoroso”. The K. 310 Sonata (No. 8) was written four years later, during the summer of 1778, and is written in a minor key: a rarity among Mozart’s Sonatas. The K. 333 was published in 1784, but the time of its composition might have been earlier. This joyful work with virtuosic passages can be described almost as a Piano Concerto for the solo piano. © Ondine
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Klassiek - Verschenen op 14 augustus 2015 | Ondine

Hi-Res Booklet Onderscheidingen 5 de Diapason
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CD€ 9,99

Concerten voor klavier - Verschenen op 13 oktober 2017 | Ondine

Hi-Res Booklet Onderscheidingen 5 de Diapason
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 14 oktober 2016 | Ondine

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 17 juni 2016 | CAvi-music

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 12 mei 2017 | Ondine

Hi-Res Booklet Onderscheidingen 5 de Diapason
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 1 november 2019 | Ondine

Hi-Res Booklet
Lars Vogt continues his series of concerto recordings with the Royal Northern Sinfonia with this new recording of Johannes Brahms’ (1833–1897) First Piano Concerto together with Four Ballades (Op. 10) for solo piano. As in previous albums, Lars Vogt conducts from the keyboard. The evolution of Brahms’ 1st Piano Concerto took several steps. Originally conceived to become a Sonata for Two Pianos through orchestration it was developed into a four-movement "Symphony" until reaching into its final form of a "Piano Concerto" in three movements. During the process, which lasted from 1854 to 1856, some movements were also discarded and replaced by new material. This music is packed with much drama. No wonder since these years were particularly tumultuous in Brahms’ personal life: it was during this period when his great mentor Robert Schumann was sent into an asylum and ultimately died. It was also time when Brahms formed a close, lifelong friendship to Clara Schumann. Some of these feelings might well be echoed in the peaceful second movement, Adagio. Brahms’ Four Ballades, Op. 10 are works written in 1854 by a young composer barely in his 20s, yet these pieces are technically mature and profound in such a manner that they could even be compared to his final piano opuses. © Ondine
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Klassiek - Verschenen op 3 april 2020 | Ondine

Hi-Res Booklet
The second album in Lars Vogt’s Johannes Brahms concerto series with the Royal Northern Sinfonia includes Brahms’ 2nd Piano Concerto combined with a solo piano work, Handel Variations Op. 24, which was dedicated to Clara Schumann by the composer. Brahms’ Piano Concerto No. 2 is a romantic 4-movement concerto written two decades after its predecessor and one of the cornerstones in the concerto repertoire. This remarkable opus with a great number of beautiful solo passages and with a duration of over 45 minutes has been intrepreted by numerous pianists since its premiere in 1881. In this album, Vogt performs the concerto conducting from the keyboard. Variations and Fugue on a Theme by Handel Op. 24 for solo piano were written by the young composer in his late 20s. This work, which includes some technically demanding passages for the pianists, reveals Brahms’ profound interest in the work of the great masters of the Baroque era which served as a source of inspiration in the composer’s creative work. This set of 25 variations and a fugue shows Brahms as a great successor to the tradition of piano variations exemplified by Mozart and Beethoven. ©: Ondine
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Klassiek - Verschenen op 6 februari 2009 | CAvi-music

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Klassiek - Verschenen op 2 september 2013 | CAvi-music

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Klassiek - Verschenen op 14 november 2014 | CAvi-music

Hi-Res Booklet
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Klassiek - Verschenen op 9 juni 2006 | CAvi-music

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Klassiek - Verschenen op 10 augustus 2018 | CAvi-music

Hi-Res Booklet
No, No, Gershwin didn’t write three preludes for saxophone and piano; he has admittedly written several preludes for piano (in the desire of writing twenty-four in the end, like Chopin or Rachmaninoff, but the project was never finished), among which three have been gathered in a collection. And of course, soon many arrangement for various instruments have flourished, like this one for saxophone and piano (whose author isn’t specified); you will note, with the piano partition at hand, that saxophonist Asya Fateyeva takes a lot of musical liberties, which only does justice to the music. However, Poulenc has well and truly written a Sonata for horn, trumpet and trombone in 1923, one example of the most facetious Poulenc, the most “bad boyish”; as well as in 1926, a Trio oboe, bassoon and piano, somewhat borrowing to Stravinsky. Marc Eychenne, a French composer born in 1933 in a then French Algeria, doesn’t hesitate to incorporate elements of folkloric essence—maybe imaginary?—in his Cantilene and dance for violin, saxophone and piano from 1961, deliberately written in a neo-classical way: it’s a rare composer that is worth discovering. Lutoslawski doesn’t need any introduction. His Partita for violin and piano from 1984 closely fits the neo-Baroque format of the rest, but none of the language; this is an incredibly original partition. All those works have been recorded live during the Chamber music festival directed by Lars Vogt that took place in June 2017 in the very singular hydroelectric plant of Heimach in Germany, now a summit of culture even if the turbines are still working. It must be said that the building from 1905 has been built in the purest Jugendstil—the German Art Nouveau—, including the machinery whose beauty is surreal. © SM/Qobuz
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Concertmuziek - Verschenen op 1 januari 2009 | Oehms Classics

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Klassiek - Verschenen op 12 november 2008 | CAvi-music

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Klassiek - Verschenen op 3 juni 2011 | CAvi-music

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Kwintetten - Verschenen op 13 juni 2008 | CAvi-music

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Klassiek - Verschenen op 17 september 2010 | Berlin Classics