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Klassiek - Verschijnt op 5 november 2021 | Sony Classical

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Klassiek - Verschijnt op 22 oktober 2021 | Sony Classical

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Klassiek - Verschijnt op 8 oktober 2021 | Sony Classical

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Klassiek - Verschijnt op 8 oktober 2021 | Sony Classical

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Klassiek - Verschijnt op 24 september 2021 | Sony Classical

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Klassiek - Verschenen op 17 september 2021 | Sony Classical

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Klassiek - Verschenen op 10 september 2021 | Sony Classical

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Igor Levit knows no half measures - it’s either all in or nothing. In 2019, he recorded Beethoven's complete 32 piano sonatas for Sony Classical; in 2020, he played the longest work in music history in concert - Eric Satie's 18-hour long Vexations; and then there were his daily concerts from his home during the first lockdown. Now comes a new musical extreme. With On DSCH, Levit embraces the 20th century, his own Russian roots, and turns to two composers who, like him, were much more than just musicians. The album is divided into two parts: It includes the complete 24 Preludes and Fugues, Op. 87, by Shostakovich, complemented by Ronald Stevenson's homage to the Russian master, Passacaglia on DSCH. Levit acknowledges this connection and bridges the gap between these two Cold War artists with a project that leaves the listener breathless. As his friend and musicologist Anselm Cybinski would say, "nothing less than 360° totality."When Shostakovich heard the Well-Tempered Clavier in Leipzig in 1950, on the 200th anniversary of Bach’s death, he shortly thereafter decided to compose a modern equivalent. Unlike Bach, his 24 preludes and fugues are arranged in a circle of fifths rather than chromatically. His pieces focus less on complex compositional and formal features and more on the versatility of motifs as well as inner expression at a time when the composer was still struggling under Stalinism. Ten years later, Stevenson, a native of Scotland, composed Passacaglia on DSCH, a political statement at the height of the Cold War. Stevenson refers directly to Shostakovich by using the monogram D-S-C-H, which his elder (whose name is spelt ‘Schostakowitsch’ in German) had himself incorporated into several of his works. Throughout his nearly hour-long work, Stevenson explores the Russian composer’s leitmotif in a new and expanded way, and his variations build on each other, creating a kind of ‘perpetual motion’.One could argue that this ever-turning musical wheel is Levit’s trademark. With incredible stamina, sustained energy and enormous dynamic and tonal flexibility, he gives each moment its own meaning, whether it be the powerful and mystical Passacaglia of Prelude No. 12 in G sharp minor or the much more provocative and almost dance-like Fugue No.15 in D flat major. Levit manages to unite these two extremes of Shostakovich’s work not only musically but also intellectually, but Stevenson is not to be outdone here: a work dedicated to the victims of the Holocaust (something which Levit also considers as one of his great callings in life), the Dies Irae that concludes the vast Triple Fugue Over Ground Bass is indusputably one of the other highlights of this triple CD. © Lena Germann/Qobuz
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Wereldmuziek - Verschenen op 10 september 2021 | Sony Classical

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Klassiek - Verschenen op 10 september 2021 | Sony Classical

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Klassiek - Verschenen op 10 september 2021 | Sony Classical

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Originele soundtracks - Verschenen op 10 september 2021 | Sony Classical

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Originele soundtracks - Verschenen op 10 september 2021 | Sony Classical

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Klassiek - Verschenen op 3 september 2021 | Sony Classical

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Originele soundtracks - Verschenen op 3 september 2021 | Sony Classical

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Klassiek - Verschenen op 3 september 2021 | Sony Classical

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Klassiek - Verschenen op 3 september 2021 | Sony Classical

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Klassiek - Verschenen op 27 augustus 2021 | Sony Classical

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How to put something into words that is difficult or impossible to grasp? Something like feelings or thoughts? One possibility would be to turn those emotions into music, as in Victor Hugo's famous quote, “Music expresses that which cannot be put into words and that which cannot remain silent”.Lucas Debargue goes for one simple word - Żal. It describes a particularly complex feeling of sadness, regret, or loss, through which, however, greater enlightenment can be achieved at the same time. With this arguably unusual title, it quickly becomes clear that Żal is not simply a new interpretation of familiar material. Debargue, accompanied by violinist Gidon Kremer and his ensemble Kremerata Baltica, devotes himself in this project wholeheartedly for the first of his time to the works of Polish composer Miłosz Magin.Almost all aspiring pianists are taught pieces by Bach, Beethoven or Chopin at an early age, and Lucas Debargue is no exception. Eventually, however, thanks to his first piano teacher, Christine Muenier, the latter had the opportunity to explore Miłosz Magin's music from the same beginning. When Debargue played Magin's Nostalgie du pays as an encore at a concert in Paris in 2017, he was contacted by none other than Magin's granddaughter herself. With the support of his close colleague Kremer, he decided to record a total of six of the composer's works, his sixth album to date on Sony Classical.Beginning with the Andante for violin and piano, the spark of this enchanted music is immediate. The piano and the violin are introduced as equal instruments, dreamy, melancholy harmonies are developing, coupled with dance-like aspects, with the influence of Debussy and Ravel quickly apparent. In the following Piano Concerto No. 3, the impressionistic, partly atonal phrases become even more clear. Debargue proves himself once again here as an outstanding concert pianist - sensitive and sentimental and at the same time powerful and energetic in the middle movements - always serving the composer. This is also the case with Kremer, as he demonstrates in the later Concerto Rustico No. 1. Here the Polish roots of the composer become particularly clear, as Magin incorporates the two traditional dances Kujawiak (slow) and Oberek (rhythmically moving). Via the Four Vocalises and Nostalgie du pays, the performers close the album with the climax Stabat Mater, a highly spiritual work to which the artists pay all tribute and which musically and respectfully takes up its title Żal one last time. © Lena Germann/Qobuz
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Originele soundtracks - Verschenen op 27 augustus 2021 | Sony Classical

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Klassiek - Verschenen op 1 december 1971 | Sony Classical

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Leonard Bernstein's Mass: A Theatre Piece for Singers, Players and Dancers is the composer/conductor's most ambitious and most controversial work. Commissioned to create a stage production to inaugurate the opera house at the John F. Kennedy Center for the Performing Arts in Washington, D.C., on September 8, 1971, Bernstein, who had recently left his post as the music director of the New York Philharmonic Orchestra to spend more time composing, turned to the Roman Catholic mass as a structure to investigate issues of faith and doubt, and of the political and social upheavals of the era of the late '60s and early '70s. An outspoken eclectic who had already composed for the concert hall and the Broadway stage, he had also expressed admiration for contemporary pop and rock music, and he incorporated all these elements into this music, along with other styles. And, as he had with his successful Broadway musical West Side Story, he collaborated with a young songwriter on the lyrics, in this case 23-year-old Stephen Schwartz, who had written both music and lyrics for the similarly themed Off-Broadway musical Godspell. The large-scale work, incorporating a pit orchestra, an on-stage band, an adult choir, a boys choir, and a dance company in addition to the actual cast of singers and actors, actually had a simple premise. Although the American Catholic Church had recently abandoned celebrating the mass in Latin, Bernstein adopted the Latin text, with its cries of "Kyrie eleison!" ("Lord, have mercy!") and "Agnus Dei" ("Lamb of God"), and he followed the usual course of a mass, with its prayers and sermon, leading up to communion. Instead of a priest, there was a "Celebrant," who appeared on-stage initially in jeans with an acoustic guitar, singing "A Simple Song," but then was invested with a priest's garments. The formal parts of the mass were sometimes set to lively music, notably the "Prefatory Prayers," played by a marching band out of John Philip Sousa. As the mass went on, its proceedings were infiltrated and interrupted by a series of "street" performers who sang in light rock and blues styles, using slangy language and expressing irreverent, skeptical, and, eventually, outright hostile attitudes toward the Celebrant and God. Near the end, the Celebrant himself suffered a sort of musical nervous breakdown before the congregation finally came together in a call for peace and understanding. As such, Mass was very much in the style of such recent predecessors as Hair, Jesus Christ Superstar, and Godspell in its attempts to reflect and reconcile the religious, cultural, and political rifts of its time. Predictably, it earned Bernstein criticism from those on either side of those rifts, largely ignored by the pop/rock audience that had sent Jesus Christ Superstar to the top of the charts earlier in the year (although it did reach number 53 in the Billboard pop LP chart), while offending some classical and religious figures. On purely musical terms, however, it contains some of Bernstein's most exciting non-classical music, its songs tuneful, but with surprising turns and echoes of Candide and West Side Story. Schwartz and Bernstein's lyrics (with a small assist from Paul Simon) are less impressive, but they manage to articulate the doubts and temptations that people of faith were encountering in modern society, circa 1971. In fact, the main flaw of the work as a dramatic effort may be that the problems were better articulated than the resolution, which seemed facile and tacked on. Conducted by the composer, this recording, featuring the original Kennedy Center cast, is an excellent representation of a unique composition that, because of its scale, is rarely performed. Alan Titus, in the role of the Celebrant, is particularly impressive. © William Ruhlmann /TiVo
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Klassiek - Verschenen op 27 augustus 2021 | Sony Classical

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  • Igor Levit Lock-down Recital
    Igor Levit Lock-down Recital The latest album ‘Encounter’ by the German-Russian pianist is a particularly astonishing one, blending the diverse works of great composers such as Bach, Brahms and Morton Feldman.
  • Qobuz Interview with Igor Levit
    Qobuz Interview with Igor Levit During the recording of his new album, the young pianist Igor Levit invited Qobuz to the legendary Funkhaus in Berlin...
  • Lang Lang: Qobuz video interview
    Lang Lang: Qobuz video interview In his latest album, one that is entirely dedicated to Mozart, Lang Lang has worked closely with Nikolaus Harnoncourt and the Wiener Philharmoniker. In an exclusive interview with Qobuz, Lang Lang ...