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Image Alcina & Tamerlano (Blu-Ray)
This Handelian diptych, the brainchild of the director Pierre Audi, was conceived in a style of great purity, right down to the costumes, the decors and the sumptuous chiaroscuro lighting. In order to replicate this aesthetic, reminiscent of Renaissance paintings, with the greatest possible fidelity, the performances, filmed in high resolution, are being released on BLU RAY only. Christophe Rousset and his orchestra convey exceptional fervor in this music, here served by the finest Handelian voices imaginable, foremost among them Sandrine Piau, who enjoyed a genuine triumph in the stage production. Nor can one forget the dramatic performance of Jeremy Ovenden in Tamerlano, or the beauty of the voices of Ann Hallenberg, Sophie Karthauser, Delphine Galou and the countertenor Christophe Dumaux. Christophe Rousset writes of this production: “…In Alcina, Handel gives us one of his most dramatically accomplished scores, in which each character follows a wholly individual trajectory, and the different “stages” of love are delicately handled.”

kr 319
Image Thousands of Miles
Closing the distance between classical music and Broadway, between the old world and the new, this album is born out of a stunning encounter between two performers. Kate Lindsey is an opera star whose career is skyrocketing. She has stunned audiences with her performances of Mozart and Purcell, but grew up steeped in the music of Broadway, from Gershwin to Cole Porter. Baptiste Trotignon is a multi award-winning jazz pianist who plays with big names like Brad Mehldau or Tom Harrell, but who has a long-held interest in classical music, even composing a piano concerto for Nicholas Angelich. Together, they have produced a rich and varied programme around the songs of Kurt Weill, from Nanna’s Lied to Trouble Man, as well as the classics from The Threepenny Opera and Lost in the Stars. This journey through three European languages brings the listener to the very beginnings of jazz, and features all-new arrangements and deft improvisations by pianist Baptiste Trotignon. Lindsey and Trotignon also pay homage to three composers who, like Weill, all emigrated to the United States: Alma Mahler, Zemlinsky and Korngold. London-based American mezzo-soprano Kate Lindsey joins Alpha Classics for several recordings over the coming years.

kr 169
Image Visions
After an album of French songs (Néère, Alpha 215) that earned her a Gramophone Award in 2016, Véronique Gens presents her new recital, this time with orchestra, which gives her an opportunity to display the maturity of her ‘Falcon’ soprano, the central tessitura typical of French Romantic opera, which takes its name from Cornélie Falcon, who created the works of Meyerbeer and Halévy staged in the 1830s. She pays tribute here to a number of composers whose unknown operas she was the first to reveal in projects mounted by the Palazzetto Bru Zane (which also coproduced the present recording), including David, Godard, Saint-Saëns and Halévy. The programme selects arias from all the genres in vogue in the Romantic era: opera (Saint-Saëns, Halévy, Godard, Février), opéra-comique (David), oratorio (Franck, Massenet) and the cantata for the Prix de Rome (Bizet, Bruneau). A nod to Wagner and his Tannhäuser – in its French translation of the 1860s – completes this programme conducted by a longstanding colleague of the soprano, one of the leading specialists in French music, Hervé Niquet.

kr 169
Image Telemann
The year 2017 will mark the 250th anniversary of the death of Georg Philipp Telemann, one of the most prolific composers of the Baroque era. Giovanni Antonini and Il Giardino Armonico have taken this opportunity to pay tribute to his eclecticism in a programme juxtaposing works that move constantly between French and Italian stylistic traditions. On this release, Giovanni Antonini not only directs the ensemble, but also returns to the recorder, his own instrument of choice (as it was the composer’s), and performs the Suite in A minor, the Concerto in C major and the Concerto da camera in G minor. We will also discover a curiosity, a sonata for chalumeaux. This instrument of folk origins is comparable to the clarinet, and Telemann was the first composer to show an interest in it. Like volume 3 of the Haydn2032 Edition, this programme will be released on both CD and LP, thus asserting the common desire of the Alpha label and the Milanese ensemble to make these new recordings available to lovers of vinyl, who are more and more numerous.

kr 169
Image Piano Sonata No. 29, Hammerklavier / 6 Bagatelles
Nelson Goerner, piano

He is nicknamed ‘the poet of the piano’, an epithet confirmed by each of his appearances in concert or on record, most recently with his multi-award-winning Debussy and Chopin CDs. Nelson Goer-ner already has an imposing discography, but this is the first time he has tackled Beethoven on a recording: he has chosen the ‘Hammerklavier’, a work of unparalleled dimensions, complexity and profundity . . . But is this artist, whom a Buenos Aires newspaper praised after a recital at the famous Teatro Colón for his ‘ability to combine intellectual lucidity, undeniable depth, and a technical ease that enables him to express his ideas’, not the perfect interpreter for that monumental composition? ‘Here is a sonata that will make pianists work hard’, said Beethoven to his publisher after labouring on it for almost three years, at a time when his deafness was constantly worsening. Forty-five minutes of immense difficulty for the performer (and also the listener?): between a first movement as fiery as Beethoven ever wrote and a finale that seems to foreshadow jazz improvisations, comes a splendid and deeply moving slow movement that Goerner renders with deep emotion. He then invites us to move from the monumental to the miniature, with the Six Bagatelles op.126, subtle gems of late Bee-thovenian style, constructed with formidable skill.

kr 169
Image Messiah 1754 (2CD)
Why yet another Messiah? ‘I went through the different scores that exist and decided on the very interesting 1754 version, which features five soloists. You must remember that, when Handel arrived somewhere to perform his oratorio, he had soloists of varying standards available to him. So he quickly revised his score accordingly... All this is directly related to the reality of Handel’s situation as a concert promoter. In those days, to earn a living from his music, a composer absolutely had to get his works performed and make a profit on the evening. The idea of not retouching a work to avoid “spoiling” or “distorting” it is a much more modern one. There must be around a dozen versions of Messiah (I won’t list them all). The 1754 version is rarely played because it calls for five soloists: two sopranos, alto, tenor and bass... I’ve opted here for an operatic interpretation, taking its cue from the drama inherent in this account of the life of Christ.’ (Herve Niquet) This CD-book edition also includes a fascinating portrait of Herve Niquet, an interview organised around thirty keywords (from ‘Dance’ to ‘Nerves’) that sheds new light on one of the most atypical conductors on today’s musical scene.

kr 318
Image Jeanne d'Arc au Bucher
Jeanne d'Arc au Bucher, written by the Swiss composer Arthur Honegger in 1938, is a fascinating oratorio. The text by Paul Claudel is constructed like a flashback, in which Joan looks back over her life just before she dies.Marion Cotillard plays Joan with an intensity and sincerity that leap from the screen. The last moments of the martyr's life, illustrated by the evocative and innovative music of Honegger, resound like a heartrending cry. With an exceptional cast of performers, this live recording offers a gripping new version of one of the masterpieces of twentieth-century music.Cotillard will star in the U.S. premiere of this fully staged production June 11-13, 2015, with the New York Philharmonic. More information is available on the Lincoln Center website.

kr 169
Image Jeanne d'Arc au Bucher (DVD)
Jeanne d'Arc au Bucher, written by the Swiss composer Arthur Honegger in 1938, is a fascinating oratorio. The text by Paul Claudel is constructed like a flashback, in which Joan looks back over her life just before she dies.Marion Cotillard plays Joan with an intensity and sincerity that leap from the screen. The last moments of the martyr's life, illustrated by the evocative and innovative music of Honegger, resound like a heartrending cry. With an exceptional cast of performers, this live recording offers a gripping new version of one of the masterpieces of twentieth-century music.Cotillard will star in the U.S. premiere of this fully staged production June 11-13, 2015, with the New York Philharmonic. More information is available on the Lincoln Center website

kr 318
Image Violin Sonatas
Two great interpreters, poets and lovers of the French repertory and chamber music join forces here: the violinist Tedi Papavrami and the pianist Nelson Goerner. They have chosen to devote this programme to the two violin sonatas of Gabriel Fauré and the Sonata of César Franck. It was in 1875 that Fauré composed his First Sonata for violin and piano, characterised by its originality and its formal design, which marked the start of a new era for French chamber music. In 1916, having continued to write for small ensembles all his life, he composed the Second Sonata, imbued with both heartfelt lyricism and complexity. Nine years after Fauré’s Sonata no.1, Franck – less prolific in the intimate chamber genre – composed his only sonata, now one of the most frequently played of all works for violin and piano.

kr 169
Image Entführung aus dem Serail (Die)
Jane Archibald (Konstanze), Norman Reinhardt (Belmonte), David Portillo (Pedrillo), Rachele Gilmore (Blonde), Mischa Schelomianski (Osmin), Christoph Quest (Pacha Selim)

Le Cercle de l’harmonie / Jérémie Rhorer

The conductor Jérémie Rhorer is today regarded as one of the finest interpreters of the music of Mozart in general and his operas in particular. After conducting Die Entführung aus dem Serail at the Festival d’Aix-en-Provence in 2015, he performed it again at a memorable concert at the Théâtre des Champs-Élysées in Paris in September of that year with his orchestra, Le Cercle de l’Harmonie. It is this exceptional event, captured in a live recording conveying all the dramatic intensity of the opera, that we present today.

‘In Die Entführung, Mozart presents a completely unprecedented vision of the singspiel, with highly developed ensembles and musical continuity at a time when contemporary spectators were expecting the standard alternation between spoken and sung sections’, says Jérémie Rhorer in the interview that accompanies the discs. That musical dramaturgy lies at the centre of this interpretation, which is served by an outstandingly homogeneous cast. This recording launches a series of recordings of concerts at the Théâtre des Champs-Élysées and a collaboration between Alpha Classics and Le Cercle de l’Harmonie, who will continue to place their excellence at the service of the great masterpieces of Mozart – and of other composers: watch this space!

kr 319
Image Solve et Coagula
This new recording pays tribute to an ill-known, mysterious figure of 18th-century Naples: Prince Raimondo di Sangro. A soldier, scientist, poet, alchemist and freemason, he bequeathed us a palace and a magnificent chapel, the site of a tragedy that was at the origin of the murder committed by the great composer Gesualdo.This chapel still houses artistic and scientific works both beautiful and mysterious, which serve as an initiatory itinerary for the visitor. The intuition of Guido Morini and Marco Beasley was to use this itinerary and make it the dramatic framework for a singular, innovative work that they have entitled Solve et Coagula, an alchemist maxim meaning Dissolve and congeal. A veritable dramma per musica, this work calls on different historical creative processes in order to let us discover a unique story, featuring the rhythm of tarantellas, ostinati and mysterious fugues...

kr 169
Image Il était une fois…
With the rise of Romanticism, the topics of opera changed from the mythological fantasy of Baroque operas to the fairytale fantasy which graced the French stage long before Romanticism reached other European nations. + Initiated by the Palazzetto Bru Zane, this project is built like a universal fairytale, inspired by Cinderella, Sleeping Beauty, Bluebeard, and others, as set to music by French composers of the Romantic period, alternating between famous composers such as Offenbach and Rossini and little known masters like Viardot, Silver, and Isouard. + This imaginary opera was conceived and transcribed by Alexandre Dratwicki for piano quartet and two singers- a soprano and a mezzo, the roles of which are performed here by Jodie Devos and Caroline Meng.

kr 169
Image DE BRICENO: El Fenix de Paris
kr 169
Image Polyphonies Jeune France
Ensemble Sequenza 9.3 / Catherine Simonpietri

1936: foundation of the group «Jeune France » created in a spirit of musical cohesion, quality and friendship. Whereas the conditions of life become more and more difficult, often mechanical and impersonal, the role of music is to bring to its lovers its spiritual violence and its generous reactions. In this context, four French composers belonging to diverse religious, ideological and philosophical tendencies decided to react against the prevailing neo-classicism: Olivier Messiaen, André Jolivet ,They united to propagate "live" music, which beats to the tune of spirituality and human life. Daniel-Lesur and Yves Baudrier. Three common features unite the works performed on this record: the theme of love, interpreted according to the personalities and sensitivities of the composers, the choice of texts emanating form very diverse sources (biblical or personal) and the use of onomatopoeias and finally the harmony produced by the organist and head of the Choir Marcel Couraud. 2008 will be the centenary of the births of Olivier Messiaen and Daniel-Lesur. On this occasion, Catherine Simonpietri and the vocal ensemble of soloists "Sequenza 9.3", whose achievements were awarded a Diapason d'or in 2006, have decided to honour the composers through this beautiful recording.

kr 89
Image New York
Here is the third release in the collaboration between the Ensemble Intercontemporain and Alpha. This time the musicians of the ensemble and their conductor Matthias Pintscher focus on American music: Intégrales by Edgar Varèse (1924), Music for Wind Instruments by John Cage (1938), Instruments I for six instruments by Morton Feldman (1974), Elliott Carter’s Concerto for clarinet and ensemble (1996), Steve Reich’s WTC 9/11 for string quartet (2009-10), Sean Shepherd’s Blur (2011), and David Fulmer’s Within his bending sickle’s compass come for solo horn and ensemble (2014-15). More than ninety years of creativity and musical profusion at the heart of the global city that the Ensemble Intercontemporain celebrates today. This double album is released to coincide with the fortieth anniversary of the EIC: forty years of discoveries and of promotion of contemporary music at the highest level of performance.

kr 319
Image Trio Sonatas
For the 300th anniversary of C. P. E. Bachs birth, Alpha proposes discovering the work of one of the Cantors sons from an original angle: that of the Alexis Kossenkos flute. In this boxed set, Alpha has brought together the complete Flute Concertos as well as the marvellous Trio Sonatas, masterpieces that allow for discovering Carl Philipp Emanuels close connection with the traverso, and also perceiving Alexis Kossenkos strong ties with this brilliant composer.Collection Black Box

kr 319
Image La chair et lesprit (6CD)
kr 719
Image Venus & Adonis
kr 359
kr 89
kr 89
kr 119
kr 169
Image Chamber Music
Belcea Quartet
Nicolas Bone, 2nd violin
Antônio Meneses, 2nd cello

With a complete recording of the Beethoven quartets that caused a stir and enchanted concert halls everywhere, the Belcea Quartet is henceforth considered one of the finest quartets in the world. 'The principle characteristic of their playing is [...] intensity,' wrote BBC Music Magazine in 2013.

With this new recording, the Quartet tackles another summit of chamber music: the Second Viennese School. With their passion and technical abilities, this breathtaking music, which drastically changed the history of music, rings out in all its force and mystery.

kr 169
kr 89
Image Produzioni Armoniche
...en sällsynt charmfull cd...


Musik av den kvinnliga, franska kompositören Antonia Bembo (1640-1710).
Convoce Coeln:

Maria Jonas, sopran

Bernhard Hentrich, cello

Stephan Rath, teorb

Markus Märkl, cembalo

Antonia Bembo

1. Clizia amante del sole: Lungi dal patrio tetto

2. Aria Adagio: Habbi pieta di me

3. Aria: Volgete altrovi il guardo

4. Aria affettuosa: S'è legge d’Amore

5. Aria allegra: Mi consolo, non son solo

Robert de Visée

6. Prélude und Silvains, théorbe seul

Antonia Bembo

7. Lamento della Vergine: D'omnipotente Padre

Robert de Visée

8. Tombeau, théorbe seul

Antonia Bembo

9. Aria: Anima perfida

Giuseppe Maria Jacchini

10. Sonata per violoncello

Antonia Bembo

11. Aria: Passan veloci l’hore

12. Aria: Beata sirena

Elisabeth Claude Jacquet de la Guerre

13. Chaconne pour clavecin

Antonia Bembo

14. Air: Ha, que l'absence

15. Aria: Mi basta cosi

kr 89
Image Tirannique Empire
Impatience, Jealous Mars and Héraclite & Démocrite are three French Cantatas composed between 1706 et 1714 by Jean-Baptiste Stuck (1680-1755), also known as Batistin. This composer of Tuscan origin spent most of his career working for the Régent and his ambition was to unite the taste for Italian music with French texts. The theme of this record is jealousy, which contrives to somehow disturb the harmonious landscapes of a French garden.
Jean-François Novelli, Arnaud Marzorati
Ensemble Les Lunaisiens

kr 89
kr 169
Image Le Magazin Zinzin
kr 89
Image Don Giovanni (3 CD)
Third and last instalment in the ‘Live at the Théâtre des Champs-Élysées’ series of Mozart operas conducted by Jérémie Rhorer. After Die Entführung aus dem Serail and La Clemenza di Tito comes Don Giovanni, recorded in 2016.

Of the performances (directed by Stéphane Braunschweig), during which Radio France recorded the present discs, Le Figaro wrote: ‘Jérémie Rhorer expertly conducted his orchestra “Le Cercle de l’Harmonie”.

On the stage, Jean-Sébastien Bou sang and acted the title role impeccably. He was seconded by his valet Leporello, superbly played by the Canadian Robert Gleadow.

A thrilling production both musically and intellectually.

The cast is completed by the ardent Myrtò Papatanasiu in the role of Donna Anna, the lovely voice of Julie Boulianne as Donna Elvira and the elegant timbre of Julien Behr as Don Ottavio, not forgetting the magnificent Commendatore of Steven Humes and the lively Zerlina and Masetto of Anna Grevelius and Marc Scoffoni.

kr 379
kr 449
Image SAMANIEGO / La vida es sueno
kr 89
kr 169
Image Harke Harke
With this new recording, Bruno Cocsets Les Basses Réunies propose a journey back to 17th-century England, centring on the work of Tobias Hume, an emblematic musician of the viola da gamba and, more precisely, the lyra violl. This exploration in terms of music as much as of sound, presents three instruments that have just come from the hands of instrument-maker Charles Riché (seconded by Friederike Dangel). A distinguished guest, the talented Italian gambist Guido Balestracci, plays a selection of solo pieces by the famous soldiercomposer. The Lyra violl is also accompanist for pieces composed for a dessus and Lyra violl, in which case Bruno Cocset plays his little bastarda alto viol. The continuo, subtle and lush, brings together Bertrand Cuiller on the two harpsichords (one strung with brass wire, the other with gut strings), and Richard Myron on the large bass in G.

kr 169
Image Chants de la Mer, Les
Inspelningar gjorda mellan åren 1927-1940 med kompositören, dirigenten, instrumentalisten och musikläraren Philippe Gaubert.

Orchestre de la Société des Concerts du Conservatoire;
Orchestre Symphonique/Philippe Gaubert

Philippe Gaubert

Inscriptions pour les portes de la ville

Les Chants de la Mer

Johann Sebastian Bach


Philippe Gaubert

Soir sur la plaine


Carl Maria von Weber

Uvertyr till Friskytten

Camille Saint-Saëns

Danse macabre

Henri Duparc

Aux étoiles

Maurice Ravel

La Valse

kr 89
Image Manuscript Susanne van Soldt
In Nobody's Jig (Alpha 502), the Witches had explored the English country dance repertoire found in notebooks published by John Playford as from 1650, which had been hugely successful as we know. For this new release, Alpha asked the Witches to work on Susan Van Soldt's famous manuscript of the end of the 16th century, comprising dances, songs and psalms adapted to the virginal or the harpsichord. Aged 16 when she noted in this copy-book the pieces she probably enjoyed playing at home, Susan was a young protestant who had to leave Flanders for England with her family at this time of raging religious conflict between Christians. The majority of pieces in the manuscript are reductions for the keyboard. Contrary to what is usually the case, the Witches had therefore to imagine, on the basis of these reductions, the «original » versions for instrumental ensembles and hence recreate the tonal colours that we see in Brueghel's country fairs, weddings and village feasts. Let's get up and dance!

kr 169
Image Les cris de Paris / ENCORES
kr 89
Image SCHUMANN / Klavier&Kammermusik V
kr 319
Image Dans un bois solitaire Recordings, 1938-51
On seeing a list of her recordings included in the French Radio Sound Archives, Yvette Grimaud smiles with surprise: "I had forgotten all about those recordings. We would meet for a recording session without knowing when or how the record was going to be produced, and without mentioning money problems, which were no longer important. We were alive. We spoke very little when working; music was our means of communicating. We had great respect for one another: I was in contact with Oubradous (a discreet man) and my fellow musicians on this recording at the Paris Conservatoire. Mozart brought us together, simply, without our needing to talk about it. Listen to the plenitude, the feeling of perfect communion that pervades the slow movement of the Quintet! We understood one another and I was receptive to the music. I was twenty-eight at the time and there was something elusive and ineffable about that precious moment."

Sinfonia Concertante K. 297b
Pierre Pierlot (oboe); Pierre Lefebvre (clarinet); Jean Devemy (horn); Maurice Allard (bassoon); Orchestre de chambre Fernand Oubradous 1946

Quintet K. 452
Pierre Pierlot (oboe); Ulysse Delecluse (clarinet); Jean Devemy (horn); Maurice Allard (bassoon); Yvette Grimaud (piano) 1948

Oboe Concerto K314 / 271k
Pierre Pierlot (oboe); Orchestre des Concerts Lamoureux / Arthur Goldschmidt, Paris 1951

Dans un bois solitaire K308, Ariette, An Chloe K524
Irène Joachim (soprano); Ludwig Bergmann (piano) 1938

Die Verschweigung K518
Irène Joachim (soprano); Jean Germain (piano) 1947

kr 89
Image Piano Works & Chamber Music, Vol. 4
On this CD, the fourth volume of the complete works for the piano and for chamber music with piano, Eric Le Sage takes on four monuments of Schumann's solo piano repertoire: the Humoreske op.20 and the Klaviersonate op.11 (CD1), the Albumblätter (topped up by three pieces from the Klavierstücke) and the Études in the form of variations op.13 (CD2). The acoustic qualities of the mythical « Chaux-de-Fonds » hall is caught in all its magic by Jean-Marc Laisné. This box contributes to strengthening Eric Le Sage and his complete works as THE reference among great Schumann interpreters. The exceptional beauty of the publication and the quality of texts offered by Brigitte François-Sappey further enhance the value of this set. The very wide recognition of the first volumes by the critics and the impressive concert attendance (the series at Salle Pleyel last January was sold out!) all serve to emphasise the validity of this endeavour.

kr 319
Image String Quintets
Lise Berthaud, viola
Quatuor Voce

After its first two recordings, devoted to Schubert then Beethoven, highly praised and recommended by the critics (both ffff in Télérama, recommended by The Strad...), this eclectic, innovative quartet is now celebrating its tenth anniversary by tackling the string quintets of Mozart and Brahms.

These two scores, representative of the culmination of a career in the case of Brahms and, for Mozart, the end of a life, are sustained by vigorous inspiration and frothing energy. Whereas the Brahms Quintet, both brilliant and highly moving, recalls some of his best known themes (including that of the Sextet, Op. 18, used by Louis Malle in his film The Lovers), Mozart jotted down on paper the four movements of a work that speaks intensely about him, in the diversity of its moods and the complexity of its writing.

Named 'Rising Star' for the last season by the European Chamber Hall Organisation, the Voce Quartet has performed in venues the world over. For this project, it calls on Lise Berthaud, one of the most brilliant French violists, to round out the quintet.

kr 169
Image Au Sainct Nau
Humor and reverence. With all the delicacy allowing humor and talent, Dominique Visse and his Ensemble Clément Janequin do mingle several faces of Christmas, between sacred vocal pieces and parodies the crisp text, with the young trio Musica Humana.

kr 169
Image The Tempest
A profoundly modern dimension emerges from this confrontation between English works from the 17th century (Henry Purcell, Matthew Locke) and works from the 20th and 21st centuries (Philippe Hersant, Franck Martin, Thierry Pécou). Coming from highly different musical universes, each composition is, however, largely inspired by the founding themes of Shakespeares play, sometimes taking up excerpts from it. The text is recited in English, or rather Shakespeares Old English, as are all the sung parts, in order to reproduce the strong, sweet accent of that tongue.

kr 169
kr 169
Image Last Three Sonatas
Eric Le Sage approaches this cycle with the sensitive vision of a great interpreter, henceforth renowned for his complete Schumann and Fauré recordings.

kr 169
Image Bridges
Guillaume De Chassy, Laurent Naouri, Thomas Savy & Arnault Cuisinier

Guillaume de Chassy, Arnault Cuisinier and Thomas Savy have long made up a trio exploring original paths between jazz and classical. Laurent Naouri, the well known baritone so impressive in numerous, famous operatic roles, is a passionate aficionado of jazz in general and of Broadway songs in particular. 'In a parallel life,' says Guillaume de Chassy about him, 'he turns out to be a fantastic crooner.'

This album was born from their meeting. Naouri sings Hanns Eisler's marvellous Hollywood Songbook, composed in 1943 on poems by his companion in exile in Los Angeles, Bertolt Brecht. The trio accompanies the singer and improvises bridges between the songs. In complement, De Chassy dares Prokofiev: 'For a long time I've wanted to transcribe for voice themes by Prokofiev originally written for piano or violin, but of which the evidence makes them naturally vocal.' He adapted texts by Russian poets (Tsvetaeva, Chulkov, Lermontov, Pushkin and Esenin) to ex-cerpts from the Violin Concerto No.1 (1917), Piano Concerto No.2 (1923) and the Piano Sonata No.6 (1939). 'So we reversed the usual process, which consists of adapting the music to the text. 'I don't know if Prokofiev liked jazz, but it so happens that the harmonies colouring his themes are very inspiring vehicles for improvisation. So I proceeded as on Cole Porter songs: a theme, followed by an improvisation on the harmonic sequence, followed by a final theme.'

kr 169
Image Egmont
John Malkovich
Herbert Föttinger

Wiener Akademie Orchester / Martin Haselböck

With RESOUND we bring the orchestral works of Beethoven back to the halls and theatres of their Viennese premieres or other venues where they received their earliest performances. Four of the six venues where first performances of one or more of the nine symphonies were held still exist today, as do the eight Viennese halls and theatres where the composer’s works were performed in his lifetime. Our orchestral forces correspond in size and instrumentarium to those used by the composer, and our performances even respect unusual platform layouts, such as placing the chorus in front of the orchestra in Symphony no. 9.

Our producer Stephan Reh masterfully captures the specific acoustical qualities of each room: the mellow full-ness of the Baroque Landhaussaal, the powerful intimacy of the Eroica-Saal in the Palais Lobkowitz, the trans-parency of the Old University Hall, the dry clarity of the Theater in der Josefstadt, and the voluminous acoustic of the Redoutensaal, in Beethoven’s day the largest concert venue available in Vienna.

Theatre Music - the dialogue in the service of great poetry - is the focus of this recording. We have already been able to perform Egmont with several renowned actors. That the part of the narrator is here taken by Herbert Föttinger, currently the director of the theatre for which Beethoven himself wrote music, is beautifully fit-ting. Christopher Hampton has modeled the combined texts of Goethe and Grillparzer into his poetic English translation. It fills us with great joy and gratitude that John Malkovich - with whom we have already had the pleasure of collaborating for several years - has taken on the part of the narrator in the English version. With our interpretations we wish to offer you music in the sound of its own time: we want to add to the possibilities of historical instruments the sound and the aura of the concert halls in which the composer himself conducted and experienced his works. At every step in Vienna one encounters places and signs of a great musical past: to make historic architecture echo with great music and to communicate that perceived authenticity to modern ears – that is the ultimate goal of RESOUND Beethoven.

kr 169
Image Pro Organico
Jean-Charles Ablitzer (organ Hans Scherer de Tangermünde 1624)

The works of Michael Praetorius (1571-1621), an outstanding composer and great innovator, have mainly come to the contemporary public's attention thanks to his collection of dances under the name of Terpsichore and to his theoretical writings.

Jean-Charles Ablitzer here gives us the first recording of 10 organ pieces selected from his Musae Soniae (phantasies on Lutherian melodies) and from his Hymnodia Sonia (Latin hymns).

This interpretation, already acclaimed by a « Choc » from the Monde de la Musique, reveals Praetorius as an inspired and gentle colourist, whose musical idiom will leave a deep imprint on the first generation of baroque composers.

The musicological rigour and the great sensitivity of the interpreter is further expressed by the choice of the historic organ of the church of St. Stephan in Tangermünde. Not only is it contemporary of the composer, but an identical model by the same maker is extensively described in Preatorius' Syntagma Musicum. For once, as a unique exception, Alpha forfeits its role as a producer in order to bring this record to the public. It had been auto-produced by the artist but never commercialised while its unique quality soon turned it into an absolute, although unavailable reference.

kr 89
Image L'orgue romantique tchèque
For fifty years, with his country under Austro-Hungarian rule, Josef Klicka, organist, concert musician, conductor and teacher championed Czech culture.

Recorded on the Stoltz-Dargassies organ of the church of St Joseph-des-Nations in Paris, Klicka's organ works express not only his suffering at Bohemia's fate, but also his love for the folk tunes of his native land.

Michel Estellet-Brun, organ

Josef Klicka

1. Fantaisie de concert sur le choral de Saint-Wenceslas - Hymne tchèque en ré mineur

2. Fantaisie de concert en fa# mineur

3. Légende en ré mineur pour harmonium (transcription pour orgue Michel Estellet-Brun)

4. Fantaisie de concert en ut mineur

kr 89
Image Dom Quichotte: Cantates & Concertos Comiques
kr 89
Image J.S Bach: Motets
kr 169
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Min bruker
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