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Rachmaninoff: Symphony 1 + Symphonic Dances
Yannick Nézet-Séguin
Classical - Released January 29, 2021 | Deutsche Grammophon (DG)
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The crushing failure of Rachmaninov's Symphony No. 1 at its premiere on 15 March 1897 plunged its young author into a deep depression from which he would later issue Concerto No. 2, composed in compensation for this disaster and under the influence of a medical treatment based on hypnosis. This first Symphony was ambitious. The young artist wanted to express so many feelings that the score bulged, opaque in terms of its form and profuse by the admission of the writer, who would go on to denigrate it later. This cursed score would never be played again during the composer's lifetime and the manuscript remains lost. It was reconstructed, probably with the help of orchestral parts, and recreated in Moscow in 1945. Captured in concert in 2018, here it is adorned with a thousand and one colours from the Philadelphia Orchestra under the charged, powerful and imaginative direction of Yannick Nézet-Seguin who believes in this work and conducts it as a masterpiece and not in any sense for the purpose of rehabilitation. Under such an inspired baton, this youthful opus 13 can happily be presented next to Rachmaninov's final score for orchestra, one of the most successful: the famous Symphonic Dances that are a metaphor for the three ages of man. Rachmaninov's obsession with bells and the Catholic theme of the Dies Irae is well known, both of which he sets to music in virtually all of his works; it is already the case in Symphony No. 1 and it will be the case again in the masterful Symphonic Dances performed here by the orchestra for which they were written in 1940, three years before the composer's death in California, where he had gone into exile. © François Hudry/Qobuz
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Mendelssohn: Symphonies 1-5
Yannick Nézet-Séguin
Symphonies - Released June 16, 2017 | Deutsche Grammophon (DG)
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With Yannick Nézet-Séguin conducting, the Chamber Orchestra of Europe here presents Mendelssohn’s complete Symphonies (Nos. 1 to 5), composed between 1824 and 1842. Considered by some to be “the best chamber orchestra in the world” (BBC2 Television), the Chamber Orchestra of Europe was born three decades ago from the desire of several young musicians of the former European Union Youth Orchestra (EUYO) to pursue the adventure as an orchestra. After a few – unavoidable – changes within its ranks, this ensemble – currently – based in London retains the spirit that prevailed over its creation, shaped by complicity, generosity and liberty. Without a dedicated music director or conductor, the orchestra is now reunited with Yannick Nézet-Séguin, with whom there is, according to the latter, “a completely unique bond”. Their most recent releases, such as in Mozart’s operas, highlighted this shared complicity. And, after a complete collection on Schumann, it is only fair that the conductor and his musicians explore the effusive lyric, the “classical” side of German romanticism, by working on Felix Mendelssohn-Bartholdy’s five symphonies. But the aim however with these five symphonies is to explore widely differing universes: the very romantic Symphony No. 3, “the Scottish”, in which Wagner heard a “prime landscaper”; Symphony No. 4, “the Italian”, is almost a great symphonic poem, as illustrated (by?) numerous composers after 1834; Symphony No. 2, “Lobgesang”, ends on an immense cantata full of praise, which approach was inspired by Beethoven’s Ninth; Symphony No. 5 is strongly linked to Protestant religion, as its fugue finale cites one of the Lutheran chorales used, notably, by Johann Sebastian Bach: “Eine feste Burg ist unser Gott” (Our God is a secure fortress) (cf. Cantata BWV 80). © Qobuz, based on a Philarmonie de Paris leaflet for concerts in Paris, February 2016.
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Beethoven: The Symphonies
Yannick Nézet-Séguin
Classical - Released July 15, 2022 | Deutsche Grammophon (DG)
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For a long time, the scores of Beethoven’s nine symphonies have been carefully studied by both conductors and musicologists alike. Combined, they have published “original editions” to correct the faulty editions which had arisen in the past from both the negligence of the first editors and general misinterpretation, due to indecipherable manuscripts.In 1982, conductor Igor Markevitch had published a rigorous and well-documented edition alongside a team of experienced musicologists. In 1998, Norman Del Mar decided to conduct a new edition with Bärenreiter. This new work was immediately recorded by David Zinman with the Tonhalle Orchestra of Zurich. Though, sadly, it went almost unnoticed next to the “historically informed” versions which were popular at the time.It’s now time for Yannick Nézet-Seguin's take released with Deutsche Grammophon, a complete recording based on a brand-new critical edition, namely: “The New Beethoven Complete Edition”. In this, we find minor details of articulation and expression. The crucial aspect of this new recording, made over four concerts in July 2021 with the Chamber Orchestra of Europe, is the position of a young, gifted conductor who has perfectly assimilated to the playing styles that were rediscovered by his elders. Notably, Nikolaus Harnoncourt, whose complete works with the same orchestra caused a sensation upon their release in 1990 (Teldec).The young Canadian, unlike Harnoncourt, Brüggen and Norrington, is far less radical. Yannick seeks—above all—to emphasise “the way Beethoven’s music can surprise us today.” His tempos are often brisk and his articulations salient, and his modest approach has resulted in music that’s thoroughly unpretentious. This playful, energetic and humble approach makes Beethoven’s music sound as topical as ever and employs a classicism which leaves no room for eccentricity. © François Hudry/Qobuz
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Schumann : The Symphonies
Yannick Nézet-Séguin
Symphonies - Released March 3, 2014 | Deutsche Grammophon (DG)
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As Yannick Nézet-Séguin continues to explore the Romantic symphonic repertoire, it becomes increasingly apparent that he has a strong affinity for German composers, something not readily guessed of this Canadian maestro. There might be an underlying connection between his recordings of the symphonies of Anton Bruckner, for which he has received considerable attention and acclaim, and this 2014 Deutsche Grammophon album of the four symphonies of Robert Schumann, which shows Nézet-Séguin as a strong advocate for this somewhat discounted symphonist. Like Bruckner, Schumann was not a brilliant composer for the orchestra, which has put both composers at a disadvantage with audiences, and Nézet-Séguin has to do some careful balancing of the sections and dynamics to produce a transparent sound, which is not easy to do, in light of Schumann's frequent doubling of strings and woodwinds. The Chamber Orchestra of Europe responds well to Nézet-Séguin's direction, so Schumann's music is substantially lighter sounding, thanks to the lean sound of the ensemble, as well as to the noticeable care the conductor takes in drawing out distinctive timbres, and not letting the music become too homogenous in color. Of course, the expression is affected by this fresh airing of these symphonies, and as might be expected, the music is lighter, cleaner, quicker, and more exciting, due in part to the streamlining of Schumann's textures. These live recordings were made in Paris in 2012, and while they are a little shallow sounding, details are perfectly clear with the proper volume setting.© TiVo
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Florence Price: Symphonies Nos. 1 & 3
Yannick Nézet-Séguin
Classical - Released September 24, 2021 | Deutsche Grammophon (DG)
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These readings of symphonies by African-American composer Florence Beatrice Price originated as a pandemic-time online digital concert, but Philadelphia Orchestra conductor Yannick Nézet-Séguin promises a full exploration of Price's orchestral output. Such a thing is certainly welcome, for although Price was the first Black woman to have a work performed by a major symphony orchestra, her music has been only sparsely recorded. That "first" was the Symphony No. 1 in E minor heard here, played by the Chicago Symphony under Frederick Stock in 1933, and it is all the more remarkable in that it was Price's first orchestral work of any kind. Her model is Dvořák, with African-American materials sprinkled through the music beyond simply Dvořák's basic pentatonic tunes. These vary in their level of success; the "Juba" movements in each symphony render Black music through a white filter, and Nézet-Séguin can't do much with them. The slow movements, however, are something else again. They have Dvořák's lyrical mood, but they are entirely original in structure, especially that of the Symphony No. 1; Nézet-Séguin and the Philadelphians catch some lovely harmonic junctures there, more accurately than the few other groups that have recorded this music. One awaits more of Price from these forces, especially the Symphony No. 4, to these ears, the strongest of Price's symphonic output.© TiVo
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Mahler: Symphony No. 1 in D Major
Yannick Nézet-Séguin
Classical - Released March 4, 2016 | BR-Klassik
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5 Sterne Fono Forum Klassik
Yannick Nézet-Séguin's performances of the symphonies of Gustav Mahler have yielded fascinating results, though his progress in recording them has been sporadic, so this 2016 release of the Symphony No. 1 in D major with the Symphonieorchester des Bayerischen Rundfunks is a welcome addition to his discography. In this live performance of the published score, Nézet-Séguin makes no apologies for not including the rejected Blumine movement or, for that matter, not attempting to revert the symphony to its earlier state as the symphonic poem Der Titan, as several conductors have. To the contrary, Nézet-Séguin lets the four-movement version stand on its own without recourse to historical revisionism, and the trajectory of the work is almost ideally realized without the extraneous Blumine. Indeed, the energy generated in the first movement spills over into the Scherzo, and the slow third movement comes as a welcome relief before the volatile Finale. Beyond preserving the feeling of momentum and balanced proportions, Nézet-Séguin also draws out the wonderful colors in Mahler's masterful orchestration that make this symphony a delight, and every detail comes across vividly in the recording. Highly recommended.© TiVo
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Pokhara
Yannick Noah
French Music - Released August 25, 2003 | SME Strategic Marketing Group
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Shostakovich : Symphony No.4 in C Minor, Op.43
Yannick Nézet-Séguin
Symphonies - Released June 8, 2018 | Deutsche Grammophon (DG)
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La Marfée
Yannick Noah
French Music - Released October 21, 2022 | Play Two
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Poulenc: Organ Concerto - Saint-Saëns: Symphony No. 3 "Organ"
Yannick Nézet-Séguin
Concertos - Released November 1, 2014 | London Philharmonic Orchestra
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In terms of concert programming, pairing the Organ Concerto in G minor of Francis Poulenc with the Symphony No. 3 in C minor, "Organ," of Camille Saint-Saëns is an obvious and easy choice, and this explains their frequent appearances together on CD. The concerto calls for organ, strings, and timpani, while the organ is treated in the symphony as a significant instrument, though not quite a solo part. Even so, the pieces work well together because Poulenc's gothic music creates a dark, brooding mood that is contrasted by the brightness and transparent scoring of the symphony, which ends with a suitably triumphant Finale. This recording by Yannick Nézet-Séguin and the London Philharmonic Orchestra features James O'Donnell as the organ soloist, and the live recording presents everyone to best advantage in the resonant acoustics of London's Southbank Centre. One problem organists find in playing both works is the time lag between the orchestra and the sound coming from the pipes, which often requires that the soloist play a fraction of a beat before the conductor to come out together. O'Donnell's timing seems to be impeccable, and his precision pays off in the fast passages of the concerto, while the mostly chordal organ part in the symphony is exact and seems effortless. The recorded sound of the performances is warm, deep, and full of presence, and there is virtually no audience noise except the enthusiastic applause at the end.
© TiVo
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Poulenc: Piano Concerto, Organ Concerto & Stabat Mater
Yannick Nézet-Séguin
Concertos - Released August 1, 2018 | London Philharmonic Orchestra
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The Janus Files - An Espionage Score
Yannick Zenhäusern
Pop - Released February 23, 2021 | Yannick Zenhäusern
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Introspection: Solo Piano Sessions
Yannick Nézet-Séguin
Classical - Released June 4, 2021 | Deutsche Grammophon (DG)
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Bonheur indigo
Yannick Noah
French Music - Released September 6, 2019 | Columbia
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Métisse(s)
Yannick Noah
French Music - Released June 6, 2005 | Saint George
French pop star/ex-tennis pro Yannick Noah’s seventh studio album, Métis(se), features 11 tracks, including “La Voix des Sages," "No More Fighting," “Mon Eldorado," "Du Soleil," “Take Your Time,” and the soulful title cut.© James Christopher Monger /TiVo
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