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Ravel : The Complete Piano Music

Anne Queffélec

Classical - Released September 7, 1998 | Warner Classics

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Ravel: Complete Works for Solo Piano

Jean-Yves Thibaudet

Classical - Released January 1, 1992 | Decca Music Group Ltd.

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Haydn: Symphony No. 92 'Oxford'; Symphony No. 104 'London'

Academy of St. Martin in the Fields

Classical - Released January 1, 1978 | Universal Music Australia Pty. Ltd.

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Symphonie Bretagne

Didier Squiban

Classical - Released February 11, 2000 | Coop Breizh

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Karel Ančerl dirige Haydn (Symphonie n° 92), Franck (Symphonie en ré mineur)

Karel Ancerl

Classical - Released April 1, 2020 | Alexandre Bak - Tahra

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Antonín Dvořák: Symphonie du nouveau monde

Philippe Fournier

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

Haydn: Symphonies Nos.88 - 92; Sinfonia concertante, H.I No.105

Wiener Philharmonic Orchestra

Classical - Released January 1, 1991 | Deutsche Grammophon (DG)

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Beethoven: 2./7. Symphonie

Haydn Orchester von Bozen und Trient

Classical - Released January 1, 2006 | col legno

Booklet
The Haydn Orchestra of Bolzano and Trento, in northeastern Italy, might or might not seem likely to have something worthwhile to add to the long dialogue on Beethoven's symphonies. In the event, however, this disc offers a distinctive interpretation of the Symphony No. 2 in D major, Op. 36, that's worth the time even of those with large collections of Beethoven symphonies. The disc is part of a cycle undertaken by the group and recorded by Germany's Col Legno label; other discs in the series were recorded live, but this one has no crowd noise. Conductor Gustav Kuhn is of Austrian origin, and his readings are of the conservative Viennese sort. His precise, rather deliberate approach works best in the smaller scale. In the Symphony No. 2, he puts the emphasis in an unusual place: on the slow movement, which emerges as a harbinger of the serene acceptance of Beethoven's later music and is linked in the impressionistic, rather-too-breathless booklet notes to the composer's roughly contemporaneous "Heiligenstadt testament," a long unmailed letter in which he bewailed but also came to terms with his encroaching deafness. The following scherzo, which is given a lot of twisting momentum in so many readings, here is very much a Haydn minuet, and the two outer movements are balanced and restrained. The Symphony No. 7 in A major, Op. 92, is not so successful; the opening movement somehow fails to cut loose like the riotous thing it is, and the final movement is also quite reined in. The entrance of the horns with their brilliant martial passage in A major is curiously handled: the horns are almost made to blend in with the ensemble. The horns at this point, especially the horns Beethoven knew, would have shocked his audience to the core. The orchestra itself is a nice find, obviously capable of responding to interpretive fine points offered by its conductor, and this pair of symphonies has its place in good Beethoven collections.© TiVo
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Symphonie N°1 Mouvement 2 Victoire sur un frère (Allegretto)

Florian Herzig

Alternative & Indie - Released April 2, 2023 | Indépendant

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Debussy: Complete Orchestral Work

Jun Märkl

Classical - Released January 30, 2012 | Naxos

Booklet
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Ravel : Complete Works for Solo Piano

Bertrand Chamayou

Classical - Released January 15, 2016 | Erato - Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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The Great Cello Concertos: Elgar, Dvořák, Saint-Saëns, Haydn...

Jacqueline du Pré

Classical - Released July 28, 2023 | Warner Classics

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Pancrace Royer: Surprising Royer, Orchestral Suites

Les Talens Lyriques

Symphonic Music - Released May 5, 2023 | Aparté

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Beyond the neglect of French Baroque music in general, it is a bit hard to understand why composer Pancrace Royer was almost completely unknown until Christophe Rousset came along to champion him, first in harpsichord music and now, with these suites of music drawn from operas, in orchestral music. In the 18th century, Royer was quite well known and admired among others by Rameau, whose music he helped along considerably. Royer certainly inhabited Rameau's stylistic world, but from the evidence here, his music is distinctive and merits the adjective "surprising" that Rousset has attached to it. It is colorful, given to unexpected turns of harmony, and vivid in its evocation of the exotic scenes of French opera. Sample the "Air pour les turcs" ("Air for the Turks") from Zaïde, reine de Grenade, with its crackling percussion. Royer challenged his orchestra with virtuoso ensemble writing in the likes of the "Premier et second tambourins" from Almasis, and Rousset and Les Talens Lyriques step up with precise, vigorous readings that one imagines would have made the composer overjoyed. The inclusion of two alternate versions for movements from Zaïde is also unusual and gives insight into the compositional thinking of the day. Essential for specialists and enthusiasts interested in the French Baroque, this album is a lot of fun for anyone, with only overdone church sound detracting from the overall effect. © James Manheim /TiVo
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Haydn: Cello Concertos Nos. 1 & 2 - Monn: Cello Concerto

Freiburger Barockorchester

Concertos - Released March 27, 2003 | harmonia mundi

Hi-Res Booklet
This admirable Harmonia Mundi release presents Franz Josef Haydn's two cello concertos and the Cello Concerto in G minor by Georg Matthias Monn with the luster of period instruments; refined, idiomatic playing; and exceptional sound quality, with full resonance; and cellist Jean-Guihan Queyras and the Freiburg Baroque Orchestra, directed by Petra Müllejans, render these works with exquisite details and emotional depth. In a real sense, their performances are acts of rediscovery, for Haydn's cello concertos have become routine fare from too many modern renditions, and Monn's piece is unfamiliar from too few performances. Indeed, all three concertos have suffered the vagaries of preservation and interpretation. Haydn's Cello Concerto No. 1 in C major was once considered lost until its discovery in 1961; the Cello Concerto No. 2 in D major suffered false attribution and its authorship was debated until the appearance of the manuscript in 1954; and Monn's concerto survived only in an arrangement for harpsichord and strings until Arnold Schoenberg edited it in 1912. To set the record straight, this disc presents the concertos intelligently refurbished, with appropriate eighteenth century style and color. Through their insightful scholarship and sensitive performances, Queyras and Müllejans have produced a fine alternative to the less authentic mainstream recordings.© TiVo
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Haydn : The Complete Symphonies

Joseph Haydn

Classical - Released February 2, 2009 | Nimbus Records

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Debussy: Images 1 & 2; Children's Corner

Arturo Benedetti Michelangeli

Classical - Released January 1, 1971 | Deutsche Grammophon (DG)

Hi-Res Distinctions The Qobuz Ideal Discography
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Take 3

Patricia Kopatchinskaja

Classical - Released January 26, 2024 | Alpha Classics

Hi-Res Booklet
Take 3 is the third release in a deliberate series by violinist Patricia Kopatchinskaja, clarinetist Reto Bieri, and pianist Polina Leschenko (Take 2 appeared almost a decade before the 2024 release of this album). All have had innovative programs, and anticipation for this release helped propel it onto classical best-seller charts in early 2024. Listeners will not be disappointed. The booklet notes contain some rather murky reflections from the players about the repertory included, but the basic idea is that most of the music reflects influences from roots traditions, jazz above all. Only one of the composers, Paul Schoenfield, is American, and his Trio for violin, clarinet, and piano draws not on jazz but on Eastern European Hasidic music. The works by Europeans show various ways of tentatively embracing jazz. Interspersed among the selections are movements from Poulenc's rarely heard L'invitation au château, which works well enough inasmuch as the work was written as incidental music from a play. Poulenc evokes the waltz and other European dance forms, but his Clarinet Sonata, written for jazz clarinetist Benny Goodman, has a stronger jazz flavor. So, too, does Bartók's trio Contrasts, also written for Goodman. This is the most distinctive performance on the album, as the players give it a rhythmically free treatment that is certainly jazzy but that diverges somewhat from the notated music. The three players have a remarkable rapport throughout, whether playing klezmer (in Serban Nichifor's closing Klezmer Dance) or in the divergent idioms of the other composers. The album both breaks new ground and is a lot of fun, and it is very nicely recorded at a Radio RSF studio in Zurich.© James Manheim /TiVo