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Klassiek - Verschenen op 1 januari 2004 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 1 januari 2008 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 24 augustus 2010 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 6 maart 2012 | PentaTone

Hi-Res Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 1 januari 2003 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 1 januari 2003 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 11 oktober 2019 | Berlin Classics

Hi-Res Onderscheidingen 5 Sterne Fono Forum Klassik
Together with the Berlin-based Deutsches Symphonie-Orchester (DSO) Mari Kodama and her husband Kent Nagano have now completed the recording of all of Beethoven's piano concertos by jumping, as it were, back in time twice: the last element of this recording series that has spanned more than 13 years was Beethoven's concerto "number nought" (WoO 4) – personally edited by Mari Kodama from the autograph score. The original manuscript of this piano concerto is kept at the State Library in Berlin. This is not a completed score, because there is no orchestration. That said, Beethoven annotated the short score, especially in the first two movements, with indications as to which instrument was to play which part. The orchestra score which is available today was written in the early twentieth century based on those annotations. The only problem is: "Today, armed with the knowledge we now have acquired about the young Beethoven, we would perform this concerto quite differently in places," explain Mari Kodama and Kent Nagano in unison. They therefore present a very personal adaptation that emerged during rehearsal with the orchestra and at the recording sessions, and which reflects Kodama's and Nagano's individual image of Beethoven. They aim to make audible the exuberant freshness and urgent sense of awakening in the young, almost childlike Beethoven's writing shortly before his artistic powers were to burst forth, the joie de vivre and vital energy in a style that owes something to the playfulness of both Haydn and Mozart. That is Mari Kodama's intention, and she plays it in precisely such a versatile manner. Combined with the classical canon of the piano concertos nos. 1–5, the resulting comprehensive edition is complemented by the Triple Concerto for piano, violin and cello op. 56, the Rondo WoO 6 and the Eroica Variations op. 35, offering insight into the artist's longstanding involvement with her musical companion Ludwig van Beethoven. And the recordings of his works seem to lead the listener through the composer's life. "If you play all of them, it is like accompanying Beethoven on a journey through his life," explains Mari Kodama, and Kent Nagano adds: "You acknowledge the musical genius and at the same time you recognise the development of European music, because Beethoven was undoubtedly its pioneer." He led the way in changing the structure, form and harmony of music, just as there was an equally radical shift in the world around him; after the French Revolution society and business and the incipient industrial revolution began to alter the way people lived. "He is and remains an optimist, someone who can do no other than believe in what he wishes to communicate to us through his music," explains Kodama. She says this helps her. The fact that she herself is an optimist can partly be attributed to Beethoven. Kodama, Nagano and the DSO – one might imagine them almost as a trio where all the musicians have blind faith in each other and are therefore able to produce a degree of musical intensity that brings the young Beethoven back to life. © Berlin Classics
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Klassiek - Verschenen op 1 januari 2006 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 6 november 2012 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 27 augustus 2013 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 1 maart 2011 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 18 november 2016 | PentaTone

Hi-Res Booklet
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Klassiek - Verschenen op 17 april 2020 | PentaTone

Hi-Res Booklet
After having recorded and performed all thirty-two of Beethoven’s Sonatas in concert, Mari Kodama, the Japanese pianist who grew up in Paris and was a student of Geneviève Joy-Dutilleux has now made a rather original contribution to the “Year of Beethoven”, with a selection of relatively unknown transcriptions, almost all of which are first recordings. This anthology includes piano interpretations of excerpts from Beethoven’s five string quartets in the style of the arrangements in vogue in the 18th and 19th centuries, which delighted many amateur musicians in private settings at a time when music only circulated through practice. Of course, these types of transcriptions are in great abundance, which Cyprien Katsaris demonstrated most tenaciously in his "A Chronological Odyssey" (Piano 21). Yet, what makes Mari Kodama’s choices so special here is that they have all been interpreted by Saint-Saëns, Balakirev and Moussorgski, who each added a little of their personality to the great maestro’s music. The grand finale of the album is a special treat as the last tracks are variations of Mozart’s Quintet with clarinet K. 581 in a transcription for fortepiano that was attributed to Beethoven and first published in Edinburgh in 1812 under the name of “ A Wonderful aria with variations of Mozart by Lewis van Beethoven”. © François Hudry/Qobuz
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Klassiek - Verschenen op 10 juli 2020 | PentaTone

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Klassiek - Verschenen op 6 december 2019 | PentaTone

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Klassiek - Verschenen op 10 oktober 2014 | Berlin Classics

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Klassiek - Verschenen op 27 januari 2009 | Analekta

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