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Chamber Music - Released November 18, 2016 | Onyx Classics

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The strengths of this recording by the Ehnes Quartet, led by the remarkable Canadian violinist James Ehnes, are manifold. First there is the unusual pairing of the two D minor quartets, Schubert's String Quartet No. 14, D. 810 ("Death and the Maiden") and Sibelius' String Quartet, Op. 56 ("Voces Intimae"), which have rarely if ever been put together but have everything to do with each other, beginning with the threat of death faced by each composer at the time. Second is the extremely sharp recording of the much-recorded Schubert, which tends toward the hyper-emotional end of the spectrum but cages the emotions into hard-edged, slashing counterpoint. Sample the first movement for a taste; the four movements are all well thought out. Then there is the five-movement Sibelius quartet, his only work in the form and a difficult piece to come to terms with: it does not fit into the epic vision of the composer's symphonies, nor into the transparent language of his theater music, nor even into the gloom of the contemporaneous Symphony No. 4 in A minor, Op. 63, even though it clearly shares that work's creative genesis. For the Ehnes Quartet, the quartet is something like a Scandinavian expressionist drama, with a flow of darkly submerged inner emotions. Finally, Onyx's engineering work in England's Potton Hall, Suffolk, is vivid and sharp. This is an exceptional recording of chamber music. © TiVo
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Classical - Released September 10, 2013 | Avie Records

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Classical - Released December 9, 2016 | Challenge Classics

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Classical - Released January 1, 1994 | Claves Records

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Classical - Released September 1, 2017 | Champs Hill Records

Distinctions Gramophone Editor's Choice
Tenor Ilker Arcayürek – born in Istanbul and raised in Vienna in the full Austrian tradition – is the winner of the 2016 International Art Song Competition of Germany’s Hugo Wolf Academy and a BBC Radio 3 New Generation Artist. The Opera Now Magazine voted him into the top ten of a „new generation of rising stars“ and hailed for his „golden tenor” voice. Here comes his highly anticipated first album Der Einsame featuring a generous choice of Schubert Lieder accompanied by Simon Lepper. Some rather famous Lieder, but most of them quite rare as they belong to no cycle, Arcayürek chose not to do one of these alas ubiquitous « me-too albums » that so many a discographical first-timer insist upon imposing on the public. This selection shows his talent as a singer, without taking the risk – even if there would be none whatsoever – of being negatively comapred to his illustrious predecessors. Since the 2015-16 season, Ilker Arcayürek has been a member of the ensemble of the Staatstheater Nürnberg ; his upcoming engagements will lead him to London, Zürich, Heidelberg, Madrid and Salzburg, to name just a few. © SM/Qobuz
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Classical - Released August 28, 2011 | Resonus Classics

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Vocal Music (Secular and Sacred) - Released October 14, 2016 | Groupe Analekta, Inc

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Classical - Released March 22, 2013 | Challenge Classics

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Franz Schubert's song cycle Winterreise was composed in 1827, the year before his premature death. The tones of depression and desolation that dominate this setting of 24 poems by Wilhelm Müller might seem to be a reflection of Schubert's own gloomy state of mind as he faced mortality, though the depiction of a lonely wanderer who cuts himself off from the world was a commonplace of Romantic literature and was not necessarily a projection of the composer's emotional state. Even so, Winterreise is not a cheerful work, and performances of it often emphasize a brooding tone, as well as dark sonorities. The way Winterreise is presented by tenor Christoph Prégardien and pianist Michael Gees on this 2013 Challenge Classics release prevents an easy analysis, for much of the music's darkness is alleviated by the singer's lyrical tone and the accompanist's light touch. Indeed, the sound of the performance and the transparent quality of the super audio recording make this one of the brighter sounding Winterreise performances available, so much so that listeners should sample it to see if it meets their expectations. With that caveat in mind, this is a sensitive interpretation that conveys tenderness and gentleness, and Prégardien's presentation is a refreshing, if unexpected, change of pace. © TiVo
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Chamber Music - Released January 1, 2007 | Analekta

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Classical - Released April 28, 2015 | Ancalagon LLC

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The disorganized booklet and diverse program may make it hard for potential buyers to tell what they're getting into with this Schubert program, featuring the (former?) enfant terrible of the violin, Lara St. John. In fact St. John's performance in the Sonatina for violin and piano, D. 384, is straightforward. The aim seems to be to present a chamber program as it might have occurred in the 19th century, heavy on arrangements for the musicians on hand at the time. The unusual element is the harp, in the person here of Berlin Philharmonic principal Marie-Pierre Langlamet. She appears in an accompanimental role in Schubert's Gesänge des Harfners, appropriately enough, although this thematic aspect isn't developed in the rest of the program. She plays several of Schubert's impromptus solo, with delightful effect. Outside of that there are other chamber pieces, including the Sonata for arpeggione and piano, D. 821. Although it's time people began to try this out on the instrument for which it was written (reconstructions exist), the combination of cello and harp here catches something of what must have been the flavor. This is something of a mixed bag, but it's a Schubert recital with a novel idea. © TiVo
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Classical - Released January 1, 1996 | Channel Classics Records

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

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Vocal Music (Secular and Sacred) - Released May 20, 2016 | Onyx Classics

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Classical - Released September 12, 2020 | UMG Recordings, Inc.

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Classical - Released August 29, 2020 | UMG Recordings, Inc.

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Classical - Released August 15, 2020 | UMG Recordings, Inc.

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Classical - Released November 10, 2014 | Onyx Classics

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Published shortly after Franz Schubert's death in 1828, Schwanengesang is a collection of 14 lieder on seven texts by Ludwig Rellstab, six by Heinrich Heine, and one by Johann Gabriel Seidl, whose poem became Die Taubenpost, claimed to be Schubert's final song. Unlike most performances of Schwanengesang, which follow the published edition, baritone Florian Boesch's rearranged version on Onyx lacks Die Taubenpost, which was not included in Schubert's fair copy of the cycle. Instead, Boesch adds five songs on Sturm und Drang poems by Johann Wolfgang von Goethe, making this recording somewhat controversial among purists. But Boesch and accompanist Malcolm Martineau have delivered a compelling interpretation of this unsettling collection, and overall, this expanded Schwanengesang has a greater scope and a more satisfying duration, comparable to the 20 songs of Die schöne Müllerin and the 24 songs of Winterreise. Boesch's powerful voice communicates the full range of Schubert's emotions, from the melancholy sweetness of Ständchen and the gentle lyricism of Das Fischermädchen to the bleak despair of Die Stadt and Der Doppelgänger, though his reedy tone and the darker quality of his vocal range add a degree of menace at times. This recording has received critical praise, so it is well worth hearing, notwithstanding differences of position on the song order. © TiVo
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Classical - Released January 1, 1973 | Mezhdunarodnaya Kniga Musica

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Classical - Released May 5, 2017 | Claves Records

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

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