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Beethoven: Symphony No. 9

Ukrainian Freedom Orchestra

Classical - Released February 23, 2024 | Deutsche Grammophon (DG)

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Furtwangler: Beethoven Symphony No. 9

Wilhelm Furtwängler

Classical - Released January 14, 2013 | Orfeo

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Beethoven: The Complete Piano Trios

Suk Trio

Classical - Released July 16, 2021 | Supraphon a.s.

Booklet
Supraphon made these recordings for Nippon Columbia within a short timeframe, from June 1983 to April 1984, at the Rudolfinum in Prague. They capture the mature ensemble when it included the pianist Josef Hála, who in 1980 had replaced Jan Panenka. The trio’s sound was dominated by the strings, primarily the violin of Josef Suk, who also defined the interpretation principles. The singularity of the ensemble and their recordings alike rests in infallible technique, sonic refinement, admirable interplay and profound musicality devoid of any showboating. © Supraphon
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Beethoven Symphonies

Emmanuel Krivine

Symphonic Music - Released March 21, 2011 | naïve

Booklet Distinctions Gramophone Editor's Choice
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Beethoven: Symphony No. 7 - The Creatures of Prometheus

Freiburger Barockorchester

Symphonies - Released February 19, 2021 | harmonia mundi

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A true ‘apotheosis of the dance’ in the words of Richard Wagner, Beethoven’s Seventh has enjoyed perennial popularity ever since its premiere - unlike his sole ballet, The Creatures of Prometheus, of which only the overture has remained (more or less) familiar to us. To offer a new version of a key work in Beethoven’s corpus while reviving the complete version of one of his most unjustly forgotten masterpieces: such is the challenge brilliantly taken up by the musicians of the Freiburger Barockorchester, under the direction of their Konzertmeister Gottfried von der Goltz. © harmonia mundi
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Ludwig van Beethoven : Symphonie n° 9

Christian Thielemann

Symphonic Music - Released December 12, 2011 | Sony Classical

Hi-Res Distinctions 5 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: Symphonies Nos. 1-9

Concertgebouworkest

Classical - Released November 20, 2020 | Royal Concertgebouw Orchestra

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Beethoven Edition, Vol. 20: Diabelli Variations, Op. 120

Idil Biret

Classical - Released July 24, 2020 | Idil Biret Archive

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Beethoven: 9 Symphonies

Leonard Bernstein

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

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Liszt: Piano Sonata & Transcendental Etudes

Francesco Piemontesi

Solo Piano - Released September 1, 2023 | PentaTone

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To hear pianist Francesco Piemontesi tell it, he waited until middle age to attempt the Liszt Transcendental Etudes, even though these works are often programmed by hotshot young pianists intent on displaying their technical mastery. What Piemontesi gets is that Liszt's most difficult works have technical depths that are still achieved by only a few. A piece like "Scarbo," from Ravel's Gaspard de la nuit, was at the edge of the technically possible when it was written, but now any competent conservatory graduate can play it. The Transcendental Etudes and the Liszt Piano Sonata in B minor are different. A good performance is quite possible, but great ones that evoke the spell in which Liszt held his audiences are rarer. The latter is what the music gets here from Piemontesi. He is strong throughout, but it is in the dense virtuosic passages, with sheets of sound issuing from his piano, unfortunately unidentified in the booklet, that leave the listener amazed. Sample "Mazeppa" from the Etudes or the fugal treatment of the main sonata material for an idea; those sheets of sound never lose their individual notes. Piemontesi is hardly less effective in the slower passages, which have a kind of majesty. He records on home ground at the Auditorio Stelio Molo in Lugano, and it is an appropriate venue for his remarkable achievement.© James Manheim /TiVo
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Beethoven: Diabelli Variations

Mitsuko Uchida

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

Hi-Res Distinctions Gramophone: Recording of the Month
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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Chopin: 24 Préludes, Piano Sonata No. 2

Martha Argerich

Classical - Released January 1, 1977 | Deutsche Grammophon (DG)

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Unlocked, Brescianello Vol. 2

La Serenissima

Classical - Released October 27, 2023 | Signum Records

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The title "Unlocked" for this album by the historical performance group La Serenissima and director/violinist Adrian Chandler refers to the making of the album as the musicians emerged from pandemic-time lockdowns. However, it also might indicate the status of composer Giuseppe Antonio Brescianello, whose music has been little explored even though he was among the first composers to write symphonies (here, "sinphonie") in Germany. Brescianello was certainly a transitional figure. It is likely that he encountered the music of Vivaldi in Venice before moving to Germany to work as a valet for the Electress of Bavaria (who paved his way to lucrative court positions). The works here, mostly taken from the composer's Op. 1 publication of Concerti & Sinphonie, resemble Vivaldi's in general sound, but the consistent harmonic rhythm of the Baroque is starting to break up, and in the violin concertos, especially there is a new kind of expressiveness. Chandler is quite effective in these, catching the small details that an audience of the time would have found new. In the final Ouverture for strings and continuo in A major, Brescianello seems a bit constrained by the French Baroque dance forms, but this sets off the innovations that were present in the concertos and symphonies. The second of a pair of albums devoted to Brescianello by La Serenissima, this may be of most interest to those fascinated by the pre-Classical era, but it is listenable in a Vivaldian vein for anyone.© James Manheim /TiVo
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Parry: Scenes from Shelley's Prometheus Unbound, Blest Pair of Sirens

London Mozart Players

Choral Music (Choirs) - Released September 8, 2023 | Chandos

Hi-Res Booklet Distinctions Gramophone: Recording of the Month
Hubert Parry's Scenes from Shelley's Prometheus Unbound, from 1880, here receives its world-recorded premiere. Perhaps recording companies thought there wouldn't be much of a market for a heavy 19th century choral work with, it must be said, a ponderous text by Percy Bysshe Shelley (Prometheus was a play intended to be read, not performed, just to give an idea). How wrong they were. This release made classical best-seller lists in the summer of 2023, and it is altogether enjoyable. At the time, Parry was under the spell of Wagner, whom he traveled to Bayreuth to meet. That influence certainly shows up in Scenes from Shelley's Prometheus Unbound, with its basically declamatory text, partly through-composed music, wind-and-brass-heavy orchestration, and splashes of chromaticism. Yet what is remarkable is that the music does not come off as an imitation of Wagner at all. Rather, it uses elements of his style to match a specific kind of English literary text. The work gradually disappeared, but it would be surprising if Elgar, whom it clearly prefigures, did not know it well. The performances here are luminous, with William Vann using the lighter-than-expected London Mozart Players to create transparent textures against which he can set the substantial voices of Sarah Fox, Sarah Connolly, and other soloists. Parry did write some shorter pieces that remain in the repertory; one of these, Blest Pair of Sirens, is included here as a finale. However, the Scenes from Shelley's Prometheus Unbound are the main news here, and this performance, showing how this kind of thing should be done, may generate a new life for the work. © James Manheim /TiVo
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Beethoven: Symphony No. 9

Berliner Philharmoniker

Classical - Released December 18, 2020 | Berlin Philharmonic Orchestra

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Beethoven Violin Sonatas Nos. 2, 4 & 9 „Kreutzer“

Antje Weithaas

Classical - Released March 31, 2023 | CAvi-music

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Beethoven: The Complete Symphonies

Gewandhausorchester Leipzig

Classical - Released June 30, 2017 | Accentus Music

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