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Beethoven: Symphonie No. 9 (Transcription de F. Kalkbrenner pour solistes, chœur et piano)

Etsuko Hirosé

Symphonies - Released October 2, 2020 | Mirare

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Ludwig van Beethoven : Symphonie n° 9

Christian Thielemann

Symphonic Music - Released December 12, 2011 | Sony Classical

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Beethoven: Symphonie No. 9

Berliner Philharmoniker

Classical - Released January 1, 1958 | Les Indispensables de Diapason

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Antonín Dvořák: Symphonie du nouveau monde

Philippe Fournier

Classical - Released October 7, 2000 | iMD-ORCHESTRE-CONFLUENCES

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Beethoven: Symphonie No. 9 (Transcription de F. Kalkbrenner pour solistes, chœur et piano)

Etsuko Hirosé

Classical - Released October 2, 2020 | Mirare

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Debussy: Complete Orchestral Work

Jun Märkl

Classical - Released January 30, 2012 | Naxos

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Beethoven: Symphonies Nos. 1 - 9

Berliner Philharmoniker

Classical - Released May 13, 2016 | Berlin Philharmonic Orchestra

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Beethoven: 9 Symphonies

Leonard Bernstein

Symphonies - Released January 2, 1980 | Deutsche Grammophon (DG)

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Beethoven: Diabelli Variations

Mitsuko Uchida

Classical - Released April 8, 2022 | Decca Music Group Ltd.

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The late Beethoven recordings of pianist Mitsuko Uchida have been career makers, and it is cause for celebration that she has capped them with the 33 Variations on a Waltz by Diabelli, Op. 120, a work that perhaps poses deeper interpretive challenges than any of the late sonatas. The Variations often show a kind of rough humor, and a performer may pick up on that, or the player may deemphasize the humor and seek out the epic qualities of the Piano Sonata No. 30 in E major, Op. 109, and Piano Sonata No. 32 in C minor, Op. 111. Uchida does neither. The outlines of her usual style, high-contrast and a bit dry, are apparent, but she does not let them dominate her reading. What Uchida realizes is that the abrupt transition from humor to the deepest existential ruminations is part and parcel of Beethoven's late style, and she works to hone the particular character of each Beethoven variation. Her left hand, as usual, is strikingly powerful, and this brings out many striking details (consider the stirring variation 16). The trio of slow minor variations toward the end are given great seriousness but are not in the least overwrought; Uchida achieves an elusive Olympian tone through the final variations. There is much more to experience here, for each variation is fully thought out, but suffice it to say that this is one of the great performances of the Diabelli Variations.© TiVo
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Beethoven: Symphony No. 9

Berliner Philharmoniker

Classical - Released December 18, 2020 | Berlin Philharmonic Orchestra

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Beethoven: Symphonies 1-9 & Overtures (Remastered HD)

Herbert von Karajan

Classical - Released March 24, 2014 | Warner Classics International

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The Karajan Official Remastered Edition is a series of remasterings, from the original master tapes, of the finest recordings the Austrian conductor made for EMI between 1946 et 1984 including Karajan's first — and probably most thrilling — recording of the complete Beethoven Symphonies, made in the early 1950s (1951-1955) with London's Philharmonia Orchestra recently founded by Walter Legge. The recording of the Ninth Symphony is available here in stereo for the very first time, taken from original, unreleased tapes.
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Beethoven: The Complete Symphonies

Gewandhausorchester Leipzig

Classical - Released June 30, 2017 | Accentus Music

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Beethoven: Symphony No. 9 in D Minor, Op. 125 "Choral" (Live)

Pittsburgh Symphony Orchestra

Classical - Released February 12, 2021 | Reference Recordings

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Conductor Manfred Honeck and his Pittsburgh Symphony Orchestra recorded this live reading of Beethoven's Symphony No. 9 in D minor, Op. 125, in 2019. The marketplace was not exactly crying out for a new Beethoven's Ninth, even considering Honeck's strong track record in Classical-era repertory and Reference Recordings' increasingly fine results in Pittsburgh's Heinz Hall. However, it is absolutely worth experiencing Honeck's accomplishment here. The reading is distinctive and justified at length in a booklet essay by Honeck. His reading is fast, blazing, kinetic, with moments of high contrast, such as the ethereal third movement in its entirety, giving the listener breathing space. The first movement is quick, but Honeck relaxes the tempo just slightly as things proceed, making room for the brass to give their stentorian statements. The scherzo is very fast throughout, which has the effect of not stealing the delicate discourse from the slow movement, and the finale, though also fast, is never rushed. There is a certain logic in playing the work this way, inasmuch as the impossible-to-sing passages in the solos become just a bit less impossible at these speeds. Most impressive is that Honeck holds the musicians and the singers together at his blazing speeds; his 22:30 timing for the finale comes in more than two minutes faster than, say, Fritz Reiner's classic Chicago Symphony recording, and Honeck would have been even faster had he not offered a rather deliberate reading of the movement's recitative introduction. The soloists shine, and they deliver in a difficult reading that, at its best, feels like the cry of exultation Beethoven envisioned. The slightly American accent of the Mendelssohn Choir of Pittsburgh is somehow not a detriment but an inducement here; there is real energy running through the performance and real joy. Reference Recordings has once again produced audiophile-quality sound whose depth and transparency are awesome even on everyday equipment. © TiVo
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Beethoven: Variations

Angela Hewitt

Classical - Released September 1, 2023 | Hyperion

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Beethoven: Symphonies Nos. 1-9 (Live)

Malmö Symphony Orchestra

Classical - Released June 5, 2020 | Ondine

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How intriguing! American conductor Robert Treviño has dedicated his debut release with Ondine to Beethoven’s symphony cycle. This is the first time the Finnish label has visited these landmarks of Western symphonic culture with a traditional Scandinavian orchestra, namely the Malmö Symphony Orchestra, which will celebrate its centenary in 2025. With a rather faded palette of sound-colour and a smooth legato, this is undoubtedly a traditional version of the nine symphonies that transports us back to an era of discographies from Herbert von Karajan and Otto Klemperer. But by no means does it belong in the past…Treviño has worked closely with the likes of Leif Segerstam, David Zinman and Michael Tilson Thomas, the two latter conductors having, incidentally, made many interventions of their own in the Beethovenian symphonies as each attempted to produce worthy reinterpretations. Tilson Thomas drastically reduced the number of musicians in his complete cycle for CBS, whilst David Zinman based his work on Jonathan Del Mar’s Barenreiter edition which restored many of the lost accents and phrases that had been altered from one hundred and fifty years of, at times, rather unscrupulous interpretations. Here, Robert Treviño’s interpretations are lyrical and rich, precise as regards polyphony and mindful of the need to find a balance rather than overstress the text. Treviño ensures that each section finds its proper place and doesn’t get lost in the overall composition, creating dialogues with a chamber-like aesthetic. The unusual “concertato” at the beginning of the last movement of Eroica is the prime example of this. © Pierre-Yves Lascar/Qobuz
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Beethoven: Complete Symphonies & Concertos

The Netherlands Symphony Orchestra

Classical - Released October 9, 2020 | Challenge Classics

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Beethoven: The 9 Symphonies by Herbert von Karajan

Herbert von Karajan

Classical - Released May 29, 2023 | Alexandre Bak - Classical Music Reference Recording

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Debussy: Préludes, Livres 1 & 2

Vestard Shimkus

Classical - Released March 31, 2023 | ARTALINNA

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Beethoven: Symphonies Nos. 1-9

Bernard Haitink

Classical - Released September 12, 2006 | LSO Live

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Beethoven's nine symphonies -- what can one say? The greatest body of orchestral works ever composed? Probably. The most performed body of orchestral works ever composed? Certainly. The most recorded body of orchestral works ever composed? Absolutely. Not only has virtually every conductor recorded a Beethoven cycle, some of them have gotten to record it multiple times: Abbado, Bernstein, Solti, Karajan, and Haitink, among others. What does this proliferation tell us? Usually nothing about the music that hasn't been heard before, but sometimes something about what the conductor thinks about the music. These performances with the London Symphony Orchestra recorded in 2005 and 2006 tell what Bernard Haitink thinks about the greatest body of orchestral works ever composed. And what does Haitink think? Pretty much nothing that hasn't been thought before. His tempos are neither too fast nor too slow, but straight down the moderato. His dynamics are neither too loud nor too quiet, but right in the mezzo. His textures are clear and lucid. His colors are blended and smooth. His interpretations are solid and sincere. But what does Haitink tell us about what he thinks about Beethoven's symphonies? Pretty much nothing except that he is an experienced conductor with a superb baton technique who keeps his opinions to himself. The London Symphony's playing is enthusiastic but too often ragged around the edges for comfort. LSO Live's recording is transparent but the perspective seems to shift from work to work -- sometimes the strings are too far away, other times the brass are too close.© TiVo