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Classical - Released March 28, 2011 | Saphir Productions

Hi-Res Distinctions 5 de Diapason - Hi-Res Audio
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Classical - Released July 1, 2010 | Halle Concerts Society

Distinctions Diapason d'or
Musical literalists may not be pleased with Colin Matthews' free orchestral arrangements of the 24 movements of Debussy's two books of Préludes pour le piano; this is certainly not the equivalent of Ravel's faithful orchestration of Mussorgsky's Pictures at an Exhibition. Fans of impressionist orchestral music and some fans of the piano originals, though, may well experience a thrill, as if a lost Debussy orchestral piece had been rediscovered. Matthews has a consummate, almost uncanny understanding of Debussy's orchestrational style, and the occasional sonorities that betray the work's modern provenance clearly sound like intentional artistic decisions and not miscalculations. Debussy was a composer whose language and orchestration were always evolving, and it requires no stretch whatsoever to imagine that these orchestrations could have been his own. Listeners who know the piano preludes will be fascinated to hear the ways in which Matthews has reimagined them, sometimes even adding material, extending their length, and altering note values to make the music fit the orchestral idiom with complete naturalness. Matthews reorders the preludes, mixing the two books, opening with Brouillards, the first prelude from the second book and ending the set with a gorgeous, grand, radiant version of La cathédrale engloutie. He also adds an original postlude, titled Monsieur Croche (the composer's pen name as a music critic), which he describes as being closer to Debussy's style than he had "intended or expected." The commissioners of the arrangement, Mark Elder and the Hallé Orchestra, perform it with luminous transparency and idiomatic sensitivity to roots in Impressionism. The sound is clean, clear, and present. Highly recommended. © TiVo
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Classical - Released August 8, 2020 | UMG Recordings, Inc.

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Chamber Music - Released December 10, 2020 | Danacord Records

Booklet
Messiaen Quartet Copenhagen comprises four experienced chamber, solo and orchestral musicians: violinist Malin William-Olsson, cellist Carl-Oscar Østerlind, pianist Kristoffer Hyldigand clarinetist Viktor Wennesz. Formed in January 2018, the quartet has already become established as a vibrant and versatile group, regularly broadcasting on Danish Radio P2 and collaborating with internationally recognized musicians such as violinists Ray Chen and Carolin Widmann. Messiaen Quartet Copenhagen has performed at many festivals throughout Denmark and Sweden and completed a critically-acclaimed tour of Sweden organized by “Musik i Syd” in January 2020. © Danacord
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Classical - Released August 22, 2020 | UMG Recordings, Inc.

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Classical - Released December 21, 2020 | UMG Recordings, Inc.

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Classical - Released November 14, 2020 | UMG Recordings, Inc.

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Classical - Released March 7, 2013 | Bringins Music

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Classical - Released January 2, 2021 | UMG Recordings, Inc.

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Classical - Released October 3, 2020 | UMG Recordings, Inc.

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Classical - Released February 5, 2007 | Halle Concerts Society

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Classical - Released July 18, 2020 | UMG Recordings, Inc.

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Classical - Released September 19, 2020 | UMG Recordings, Inc.

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Classical - Released October 17, 2020 | UMG Recordings, Inc.

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Classical - Released February 4, 2015 | Heritage Records

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Chamber Music - Released March 18, 2016 | Onyx Classics

Hi-Res Booklet
The three violin sonatas on James Ehnes' and Andrew Armstrong's 2016 release on Onyx Classics were composed between 1915 and 1919, the first being Claude Debussy's Violin Sonata in G minor, followed chronologically by Ottorino Respighi's Violin Sonata in B minor and Edward Elgar's Violin Sonata in E minor. These works, along with the Berceuse of Jean Sibelius, which dates from the same period, were composed in the midst of World War I and its grim aftermath, yet there is little in these pieces to show the trauma of that war and the hardships it brought. Indeed, they resist categorization as "war sonatas," and instead reflect the late Romanticism of the belle époque, rather than the modernism of the same time period. Because these works share lush harmonies, gentle moods, and more or less conventional tonality, they are accessible to listeners today who crave a traditional approach in their chamber music. Even so, these pieces have fallen into relative obscurity, notwithstanding their obvious appeal, so Ehnes and Armstrong have performed a valuable service by making them available on this album. Their performances are highly expressive and tinged with melancholy and nostalgia, which are appropriate for the style, though there isn't a trace of sentimentality. Onyx provides clear and roomy sound, and the recording captures every note, even in the softest passages. © TiVo
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Classical - Released July 8, 2020 | UMG Recordings, Inc.

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Classical - Released February 21, 2021 | UMG Recordings, Inc.

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Classical - Released July 11, 2020 | UMG Recordings, Inc.

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Classical - Released February 2, 2009 | Halle Concerts Society