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Mi T Koné

Guimzy

Hip-Hop/Rap - Released June 1, 2017 | STEP Production

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Fxxxen (Nur mit Liebe)

Gonzales G-Punkt

Germany - Released May 11, 2023 | Xtreme Sound Recordings

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Geh mit mir tanzen

Marco Konegger

Schlager - Released July 29, 2014 | Johnny Matrix International

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Einfach so mit der Steirischen Harmonika

Boštjan Konečnik

Pop - Released April 27, 2019 | Boštjan Konečnik

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Magnetic Islands

Commandant Coustou

World - Released June 21, 2019 | MaAuLa Records

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We Said We Didn't Know but We Knew

KO:MI

Pop - Released November 13, 2020 | Soliti

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We Said We Didn't Know but We Knew

KO:MI

Pop - Released September 11, 2020 | Soliti

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Where Fear and Weapons Meet

1914

Metal - Released October 22, 2021 | Napalm Records

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Kontakte reduzieren (Tanzen nur mit Abstand) [Radio Edit]

N&T

Pop/Rock - Released November 26, 2021 | iMD-Not und Tugend

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Michael Gielen, Vol. 6: Mahler Symphonies, Orchestral Songs

Michael Gielen

Symphonic Music - Released September 8, 2017 | SWR Classic

Booklet Distinctions 4F de Télérama - 4 étoiles Classica
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Mahler Symphony No. 5

Orchestre Symphonique de Montréal

Classical - Released March 3, 2023 | PentaTone

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Conductor Rafael Payare is the podium wunderkind of the moment, a product of the El Sistema system in Venezuela that produced Gustavo Dudamel. Recently elevated to the music directorship of the Orchestre Symphonique de Montréal, he quickly made his debut with the group on this 2023 PentaTone Classics release, and his Mahler Symphony No. 5 is quite a promising thing. There is nothing epic about it, as there was with the classic recording of Leonard Bernstein. He does not try to turn the famed Adagietto into a transcendent counterpart of the Symphony No. 9 finale but rather moves through it songfully, cognizant of its status as a serenade to Alma Mahler. It is true that Mahler marked the movement Sehr langsam (very slowly), but the conductor who knew him best, Willem Mengelberg, took it at seven minutes, and so, apparently, did Mahler himself. Payare comes in at just under nine minutes, refreshing in comparison with Osmo Vänskä's 12 and a half plus with the Minnesota Orchestra, and it is the same with the rest. It is not so much that his tempos are quick; they are about average, but he keeps things moving. This is not the neurotic Mahler that Bernstein made the norm for so long, but one that moves implacably to the big collapsing climaxes. Payare's finale is unusually joyous. The Orchestre Symphonique de Montréal sounds great in a difficult work where conductors more often wait until they get better acquainted. PentaTone Classics moves confidently into the Maison symphonique in Montreal and finds a spacious acoustic that brings out the many details Payare finds in the score. One hopes for more Mahler from this combination.© James Manheim /TiVo
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Mahler's Breakdown

Jazzrausch Bigband

Jazz - Released October 27, 2023 | ACT Music

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Wer hat hier schlechte Laune

Max Raabe

Pop - Released October 14, 2022 | We Love Music

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Bach : Johannes-Passion, BWV 245

Philippe Herreweghe

Classical - Released February 7, 2020 | Phi

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Bach’s St. John Passion, with its famous opening chorus traversed by shadows and light, is a powerful musical and spiritual reflection. Dramatic, grandiose, complex, resolutely theatrical: there has been no lack of superlatives to describe this supreme masterpiece of western music. Philippe Herreweghe and Collegium Vocale Gent present an accomplished reading that reflects their knowledge of the composer, based on extensive research and deepened by countless concerts. Soloists Krešimir Stražanac and Maximilian Schmitt demonstrate the breadth of their talents in the roles of Jesus and the Evangelist. © Phi
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Mahler: Symphony No. 5

Czech Philharmonic

Symphonies - Released October 14, 2022 | PentaTone

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Refined rendition of an enigmatic symphony. After their recording of Mahler’s Fourth Symphony, the Czech Philharmonic and Semyon Bychkov continue their Pentatone Mahler cycle with a rendition of the composer’s Fifth. The Fifth Symphony marks an important turning point in Mahler’s symphonic output, away from the prominence of vocal movements in his previous symphonies. And whereas the Fifth seems to follow a teleology from darkness to light like its predecessors, the trajectory is much less straightforward, and full of enigmatic turns. Bychkov’s exceptional eye for detail and pacing make him an ideal guide through this work, while the Czech Philharmonic is capable of letting all the colours of Mahler’s score shine. © Pentatone
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Mahler: Symphony No. 5

Berliner Philharmoniker

Symphonies - Released May 20, 2022 | Berliner Philharmoniker Recordings

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Mahler: Symphonies Nos. 1-9

Gustav Mahler

Symphonic Music - Released April 7, 2017 | Signum Classics

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Mahler: Symphony No. 5

Iván Fischer

Classical - Released October 8, 2013 | Channel Classics

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The Fifth is the most Jewish of all Mahler’s symphonies. The first movement takes usto the unmistakable mood of Jewish lamentation, the finale to the childlike visionof messianic joy.As we know, Mahler converted to Catholicism. Views may differ as to whether hisdecision was opportunistic or a question of religious conviction. Christianity plays animportant part in much of Mahler’s music, though not in this particular work.Perhaps I may take the liberty of referring briefly to my own family. My ancestors(like Mahler’s) were merchants in a small shtetl in the Habsburg Empire. They wereobservant Jews. My grandfather, three years older than Gustav Mahler, decided toleave this religious lifestyle behind him when he went to study in Vienna. My fatherand his brothers were brought up without any religious education. They adoredGoethe, Mozart, Beethoven and Richard Wagner. One of the four brothers convertedto Catholicism when he married a daughter of a converted family. Later, underNazi occupation, when it seemed for a while that converting might help them avoiddeportation, two of my uncles and an aunt became Catholics; the other members of thefamily did not.Whether or not these decisions were opportunistic was never discussed in myfamily. Nobody cared - these were considered unimportant, personal decisions, partlydictated by circumstances. Converts or no converts, nobody practised any religion andeverybody adored culture. And they all hummed tunes like those in Mahler’s FifthSymphony.Iván Fischer
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Bach: St John Passion

John Eliot Gardiner

Choral Music (Choirs) - Released March 1, 2011 | SDG

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John Eliot Gardiner, the Monteverdi Choir, and the English Baroque Soloists come to Bach's St. John Passion after their ambitious traversal of all the church cantatas, so they are immersed in the subtleties of the composer's expressive sensibilities and musical styles. Their performance of the St. John Passion is emotionally explosive and often darkly dramatic; the opening chorus, for instance, is roiling and tumultuous, almost chaotic, a wrenching opening to the passion narrative. As dark as the tone is, it is never murky; this is the darkness of obsidian whose blackness is revealed when light glints off its sharply defined surfaces. The performances of the soloists match the brilliance, finesse, and clarity of the chorus and orchestra. As the Narrator, tenor Mark Padmore sings with urgency and acute sensitivity to the text; he comes across as an engrossing storyteller. His voice has an exemplary purity and he is equally impressive in the lyrical tenor arias. Bass Hanno Müller-Brachmann is a warmly sympathetic Jesus, and bass Peter Harvey is a forceful Pilate. The remaining soloists, all of whom are excellent, have relatively small parts in the passion, but soprano Joann Lunn and Bernarda Fink are standouts. The recording offers clean and exceptionally well-defined sound. Gardiner's version should be especially attractive to listeners looking for a polishedperformance that emphasizes the emotionally charged atmosphere of the score. © TiVo
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Mahler: Symphony No. 5

London Symphony Orchestra

Symphonic Music - Released February 8, 2011 | LSO Live

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