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Beethoven: Symphony No. 9

Ukrainian Freedom Orchestra

Classical - Released February 23, 2024 | 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: Complete Symphonies & Concertos

The Netherlands Symphony Orchestra

Classical - Released October 9, 2020 | Challenge Classics

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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

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Beethoven: Symphonie No. 9

Berliner Philharmoniker

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

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Ludwig van Beethoven : Variations Diabelli

Grigory Sokolov

Classical - Released January 1, 1991 | naïve classique

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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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Rachmaninov : 24 Preludes

Nikolai Lugansky

Solo Piano - Released February 16, 2018 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 5 Sterne Fono Forum Klassik
Unfortunately no, dear reader, there is no such thing as a cycle of “24 Preludes” by Rachmaninoff; however there are indeed 24 Preludes: a collection of ten Op. 23 from 1903, 13 other Op. 32 from 1910 and one isolated Prelude from the Morceaux de fantaisie Op. 3 (Fantasy Pieces) from 1893. In total: 24 Preludes, in which as a simple count shows Rachmaninoff − much like Chopin and of course Bach − illustrated all major and minor tones. Deliberately random, or the involuntary drive to create a reasonably coherent cycle? Contrary to his two illustrious predecessors, Rachmaninoff didn’t order his Preludes according to a specific tonal plan: the musician’s fantasy develops bit by bit. Nikolai Lugansky – described by the famous magazine Gramophone as “the most innovative and transcendent interpreter of all” (so much for the others…), truly an extraordinarily deep and polyvalent pianist – decided to present the Preludes in the order prescribed by partitions, rather than reorganising them according to some hypothetical tonal logic, without knowing if Rachmaninoff would even have recommended or even considered it, particularly as the constant alternation of moods, independently of any tonal consideration, gives the piece a sense of perfect coherence. Finally it’s worth mentioning that Lugansky offers a very “original” interpretation of this divine music, which may feel like a re-discovery to some listeners. © SM/Qobuz
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Beethoven: 9 Symphonies

Leonard Bernstein

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

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Beethoven: Complete String Quartets

Takács Quartet

Classical - Released January 1, 2017 | Decca Music Group Ltd.

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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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Childhood Tales

Isata Kanneh-Mason

Classical - Released May 26, 2023 | Decca Music Group Ltd.

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One sometimes feels trepidation about the prodigious Kanneh-Mason siblings, who must be under tremendous pressure, but they've shown an admirable ability to pick projects that they connect with and are comfortable with. Childhood Tales, from pianist Isata Kanneh-Mason, is a case in point. Most of the music is standard for this kind of program; Mozart's 12 Variations on "Ah, vous dirai-je, Maman," K. 265, Schumann's Kinderszenen, Op. 15, and Debussy's Children's Corner have hundreds of recordings in the catalog. However, Kanneh-Mason inserts a considerably less well-known piece into the sequence: Ernst von Dohnányi's Variations on a Nursery Song, Op. 25. The theme of this set is the same as that of Mozart's, a tune better known in English as "Twinkle, Twinkle Little Star." The Dohnányi piece is a real gem, full of wit and beginning with an imposing introduction whose function becomes clear only at the end of the work. Kanneh-Mason's reading catches the humor and really is worth the price of admission all by itself. Her readings of the standards are quite strong as well; she doesn't necessarily break new ground, but her Schumann scenes of childhood are often engrossing. Sample her deliberate approach in the well-trodden Träumerei for an idea. With Decca contributing fine sound from the Liverpool Philharmonic Hall, this release marks a new step in the upward trajectory for Isata Kanneh-Mason. It is unsurprising that this release made classical best-seller charts in the spring of 2023.© James Manheim /TiVo
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Beethoven: The Complete Symphonies

Gewandhausorchester Leipzig

Classical - Released June 30, 2017 | Accentus Music

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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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Bruckner:Symphonies No. 4 - No. 9

Herbert von Karajan

Symphonies - Released June 28, 2019 | Deutsche Grammophon (DG)

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Sviatoslav Richter plays Alexander Scriabin

Sviatoslav Richter

Classical - Released January 1, 2017 | Praga Digitals

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Lucerne Festival Historic Performances: Wilhelm Furtwängler (Beethoven: Symphony No. 9)

Wilhelm Furtwängler

Classical - Released November 21, 2014 | audite Musikproduktion

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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