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Vocal Music (Secular and Sacred) - Released January 1, 2006 | Ondine

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Vocal Music (Secular and Sacred) - Released January 3, 2012 | Ondine

Hi-Res Booklet Distinctions 4 étoiles Classica - Hi-Res Audio
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Choral Music (Choirs) - Released June 4, 2013 | Ondine

Hi-Res Booklet Distinctions Diapason d'or - Diapason d'or / Arte
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Classical - Released January 7, 2014 | Ondine

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Chamber Music - Released March 4, 2014 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Hi-Res Audio
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Chamber Music - Released June 9, 2015 | Ondine

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Choral Music (Choirs) - Released April 21, 2017 | Ondine

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Violin Solos - Released September 8, 2017 | Ondine

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - Choc de Classica - Exceptional Sound Recording - 5 Sterne Fono Forum Klassik
Of course, since years Bach’s Sonatas and Partitas for solo violin have been recorded over and over again, including by world’s best and most prestigious solists. But when violinist Christian Tetzlaff releases a brand new recording, we can only say: “Friends, countrymen, lend Qobuz your ears”. Concerts with Christian Tetzlaff often become an existential experience for interpreter and audience alike; old familiar works suddenly appear in an entirely new light, also – of course – within the frame of a new studio recording such as this one. Essential to Tetzlaff’s approach are the courage to take risks, technical brilliance, openness and alertness to life. Such an interpretation becomes a real challenge for the aficionado and guarantees a brilliant musical adventure.
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Classical - Released October 13, 2017 | Ondine

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Classical - Released November 10, 2017 | Ondine

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Vocal Music (Secular and Sacred) - Released November 10, 2017 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason
The main attraction of this album is to present, in addition to a few already established recorded works such as Brahms’ Nänie, Gesang der Parzen (Song of the Fates) and Schicksalslied (Song of Destiny), the Liebeslieder Walzer in its orchestral version as imagined by the composer himself. Surprisingly while the versions for piano duet and vocal quartet have often been recorded, that is not the case for the nine waltzes selected by Brahms in 1870 for his orchestral rewriting; indeed they were only edited in the 1930s, most likely forgotten in favour of more marketable versions. Another relative rarity is the Begräbnisgesang (Burial Song) op. 13 for choir and wind, an instrumentation that made the work usable for outdoor celebrations. The excellent Eric Ericson Chamber Choir, funded in 1945 by the notorious choral conductor, accompanied by the Gävle Symphony Orchestra from Sweden perform these sumptuous pieces in a stunningly beautiful recording. © SM/Qobuz
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Duets - Released February 9, 2018 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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Symphonic Music - Released February 9, 2018 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason - Exceptional Sound Recording
‘Travel’ and ‘journey’ are often appropriate metaphors for the music of the Estonian composer Erkki-Sven Tüür (b. 1959). The composer himself describes his viola concerto Illuminatio as a “pilgrimage towards eternal light”, and with his Symphony No. 8 he stresses the importance of a “constant sense of ‘being on the road’”. This says something essential about the dynamics, growth and development of his music. To take a broader view, Tüür’s entire career may be described as a journey: in the course of his professional life beginning in the 1980s, he has thoroughly revised and reformed his idiom and compositional precepts. His ambitious journey began in rock music while at the same time he was studying flute, percussion and composition at the Conservatory. Since 1992 he has been a freelance composer. In his early career, Tüür developed a ‘polystylistic’ approach that combined minimalist and tonal elements on the one hand, modernist features on the other, into an idiom where he juxtaposed elements from different and seemingly incompatible styles, seeking both contrasts and syntheses. In the early 2000s, he went through a transition that resulted in his new composition technique. Here, “the entire composition is encapsulated in a source code – a gene which, as it mutates and grows, connects the dots in the fabric of the whole work”. All the works on the present album are from this period. The core of Tüür’s output consists of extensive orchestral works (including nine symphonies and several concertos), chamber music and vocal works. Whereas the viola concerto can be compared to a journey, Whistles and Whispers from Uluru (2007) for recorder and chamber orchestra was inspired by a landscape and a sonority. The piece was written to a commission from the Australian Chamber Orchestra for recorder virtuoso Genevieve Lacey, who also plays on this album – several different recorders, from sopranino to bass. Some sonorities are enhanced by electronic means. When a composer has written nine symphonies, the genre is obviosuly very important for him. In the case of Tüür, the term ‘symphonic’ must be understood in a broad sense – not as a strict formal scheme, but rather as a uniquely shaped and independently formed structure in each work. Tüür’s symphonies form the hard core of his output, spanning the length of his career, the first dating from 1984 and the latest from 2017. The symphonies vary greatly in terms of form, ensemble and idiom. Symphony No. 8 was commissioned by the Scottish Chamber Orchestra and was completed in 2010. Considering the resources of the commissioning party, Tüür scored the work for a sinfonietta-type ensemble instead of a large symphony orchestra, and as a result the music has at times a chamber music feel. © SM/Qobuz
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Keyboard Concertos - Released March 2, 2018 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
This is the final volume in a Beethoven concerto cycle by German pianist Lars Vogt that has been generally acclaimed for its freshness and detail. Vogt both plays and conducts the Royal Northern Sinfonia, of which he is music director, and the result has been interpretations in which pianist and orchestra achieve an unusual kind of sync. The results are spectacular in the Piano Concerto No. 4 in G major, Op. 58, where Vogt eases into each movement, as it were, letting details accrete and add power. Sample the final movement, where the orchestra begins at a very low dynamic level, and Vogt weaves piano and orchestra together convincingly as the music proceeds. The first two movements open in circumspect ways but, as they develop, reveal Beethoven the virtuoso as Viennese audiences must have experienced him; note especially the curious clipped treatment of the second movement's orchestral theme, so different from the stomping giant favored by most conductors. The final diminished fifth comes out in sharp, chilling relief here. Vogt's approach is a bit less successful in the early Piano Concerto No. 2 in B flat major, Op. 19, where the syncopations ring and rock, but the basic Mozartian shapes of the themes are indistinct. Nevertheless, Vogt's Beethoven recordings are major statements, and this album is no exception.
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Chamber Music - Released April 13, 2018 | Ondine

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Classical - Released May 11, 2018 | Ondine

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It's hard not to think of Rachmaninov's Vespers when listening to this masterpiece for a capella choir by Georgy Sviridov; which is perfectly natural, some would say inevitable: Vespers dates from 1915, the year of Sviridov's birth. Sviridov's Canticles and Prayers were written between the years 1990 and 1998, when he died, leaving the work incomplete – but this impressive quantity of musical material surely represents the majority of the planned opus. In it, we hear the same borrowings from Orthodox liturgy, a rich harmony – perhaps so rich as to be even closer to the original liturgy – as when Rachmaninov unfurled an extravagant harmonic carpet which was all his own, in spite of his relative lack of religious feeling. Sviridov saw his work as a part of the tradition of Russian religious song, and his pieces could quite easily form a part of religious services – if he finds choirs which are capable of mastering the extremely difficult score. That's where the Latvian Radio Choir steps in, and with great talent. The parts which are heavier on soloists are given over to voices which are closer to what we might hear at an Orthodox service: that is, quite a long way from the power and volume of lyrical voices which would, to be sure, be completely out of place in this repertoire. © SM/Qobuz
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Choral Music (Choirs) - Released May 11, 2018 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason
One doesn't often get a chance to hear Schumann's Vom Pagen und der Königstochter ("Of the Page and the King's Daughter") a score from 1852 in the form of an epic drama in four movements, for soloists, choir and orchestra. In it, the composer uses the form of a recitative with accompaniment which surely prefigures high Wagner in terms of the vocal and orchestral treatment. The album continues with another rarity, the Cantata BWV 105 by Bach as revised by Schumann, probably for a performance when he was the musical director at Düsseldorf. For sure, the "arrangement" is pretty modest – or, rather, non-existent – in the choral overture and the first recitative, with the first big surprise coming in for the first soprano air: instead of an oboe interweaving finely with the singing, Schumann plumped for... the clarinet! You'll love it or hate it. The following recitative, a sublime bass arioso, also unadulterated; the bass aria which follows uses a romantic horn instead of the corno da tirarsi stipulated by Bach, a fairly modest alteration; the final chorale is also untouched, up to and including the extraordinary "slowing-down" writing for strings, which is entirely Bach's. The main difference here has to do with the fact that the Helsinki Baroque Orchestra plays on instruments from Schumann's century and in keeping with Romantic attitudes – something which Bach's score can happily handle, precisely because this is one of his most "Romantic" cantatas. The album closes – as remarkable as it may seem – on a discographic world first for Schumann! It seems that the Adventlied Op. 71 was never recorded until this album was made. That being said, it's clear why singers and orchestras haven't been in a hurry to tackle this rather ethereal, bloodless score: a blind listen would rather give the impression that this is a nice try by a forgotten composer at putting out some sub-Schumann stuff. But at least the enthusiast can now boast of having heard a "lost" Schumann! © SM/Qobuz
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Classical - Released June 8, 2018 | Ondine

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It's hard to believe that the editions by Frans Brüggen (1934-2014) of Bach's works for solo violin and solo cello, transcribed for solo recorder, are now forty years old. But it was in the 1970s that he undertook this remarkable work, and committed it to vinyl. Flautist Bolette Roed has taken a dive into the world of transcriptions – and we can't repeat this enough: the art of transcription, of re-writing, of re-arrangement, of recycling, of transposition, is an integral part of the baroque repertoire, and in particular of baroque itself! Roed has given us the complete recording of what Brüggen transcribed for recorder: eleven movements of the Sonatas and Partitas for Solo Violin (because not everything can reasonably be transcribed for recorder), and the first three suites initially written for cello. For the violin works, Roed has used a whole panoply of different flutes, so as to keep within Bach's original keys; and so she alternates between alto recorders,"fourth" flutes (that is, a flute in B-flat, the fourth in question being calculated from the standard recorder of the baroque era, in F), and a "fifth" flute (see above). These sounds are radically different from one another, of course, which is made quite clear in the recording. As for the Suites for Cello, these are played on a "voice flute", an instrument between tenor and alto, with some very deep low notes. But its range corresponds to the range of a soprano voice... It goes without saying that the move from violin (or cello) to the recorder gives the listener the impression of hearing brand-new works: but they are very much by the Cantor, note for note. © SM/Qobuz
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Chamber Music - Released October 5, 2018 | Ondine

Hi-Res Booklet Distinctions Gramophone Editor's Choice