5657 albums sorted by Date: from newest to oldest and filtered by Symphonic Music

Symphonic Music - To be released June 30, 2017 | San Francisco Symphony

Hi-Res Booklet

Symphonic Music - Released June 22, 2017 | GRF-Records

Symphonic Music - Released June 16, 2017 | MUNCHNER PHILHARMONIKER GBR

Symphonic Music - Released June 16, 2017 | Halidon - Musical Dorica - Lanzetta - I Virtuosi


Symphonies - Released June 16, 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet
With Yannick Nézet-Séguin conducting, the Chamber Orchestra of Europe here presents Mendelssohn’s complete Symphonies (Nos. 1 to 5), composed between 1824 and 1842. Considered by some to be “the best chamber orchestra in the world” (BBC2 Television), the Chamber Orchestra of Europe was born three decades ago from the desire of several young musicians of the former European Union Youth Orchestra (EUYO) to pursue the adventure as an orchestra. After a few – unavoidable – changes within its ranks, this ensemble – currently – based in London retains the spirit that prevailed over its creation, shaped by complicity, generosity and liberty. Without a dedicated music director or conductor, the orchestra is now reunited with Yannick Nézet-Séguin, with whom there is, according to the latter, “a completely unique bond”. Their most recent releases, such as in Mozart’s operas, highlighted this shared complicity. And, after a complete collection on Schumann, it is only fair that the conductor and his musicians explore the effusive lyric, the “classical” side of German romanticism, by working on Felix Mendelssohn-Bartholdy’s five symphonies. But the aim however with these five symphonies is to explore widely differing universes: the very romantic Symphony No. 3, “the Scottish”, in which Wagner heard a “prime landscaper”; Symphony No. 4, “the Italian”, is almost a great symphonic poem, as illustrated (by?) numerous composers after 1834; Symphony No. 2, “Lobgesang”, ends on an immense cantata full of praise, which approach was inspired by Beethoven’s Ninth; Symphony No. 5 is strongly linked to Protestant religion, as its fugue finale cites one of the Lutheran chorales used, notably, by Johann Sebastian Bach: “Eine feste Burg ist unser Gott” (Our God is a secure fortress) (cf. Cantata BWV 80). © Qobuz, based on a Philarmonie de Paris leaflet for concerts in Paris, February 2016.

Symphonic Music - Released June 9, 2017 | MUNCHNER PHILHARMONIKER GBR


Symphonies - Released June 9, 2017 | Naxos

Hi-Res Booklet
Villa-Lobos’ symphonies Nos. 8, 9 and 11 were all created by major North American orchestras: Philadelphia (respectively under the leadership of the composer in 1950 and Eugene Ormandy in 1952) for the first two, then Boston under the direction of Munch in 1955 for the third. They constitute intense masterpieces from a composer at the height of his maturity, a character then celebrated across the musical sphere, but whose music seems to have been somewhat neglected since his death in 1959, with the exception of a few inescapable hits such as the famous Bachianas Brasileiras. It’s a shame his (often very impressive) symphonies aren’t played more often outside Brazilian borders, even if we can only rejoice to hear them here, recorded by the São Paulo Orchestra, undeniably the best in the country, directed by just as Brazilian and brilliant conductor Isaac Karabtchevsky. Do note that these are not rereleases but recent recordings made in 2015 and 2016, which vitality does justice to the Promethean music of tireless Villa-Lobos who, until his last breath, never ceased radiating imagination and genius. © SM/Qobuz

Symphonic Music - Released June 2, 2017 | Schmitti Music

Symphonic Music - Released May 24, 2017 | Bam

Symphonic Music - Released May 13, 2017 | Paul Silber

Symphonic Music - Released May 12, 2017 | SWR Classic


Symphonic Music - Released May 5, 2017 | Oehms Classics