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Klassiek - Verschenen op 1 januari 1960 | Warner Classics

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Balletten - Verschenen op 9 oktober 2015 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Toneelmuziek - Verschenen op 10 augustus 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason - 3F de Télérama - Gramophone Editor's Choice
Composed by Stravinsky in 1933 in the wake of the French oratorio fashion whose figureheads are Milhaud (Les Choéphores) and Honegger (Le Roi David, Jeanne d’Arc au bûcher), and his own Oedipus Rex, Perséphone sanctifies the French period of the Russian composer, after he left Switzerland and before he settled definitely in the United States. Ordered by Ida Rubinstein, to whom music history already owed Debussy’s Martyre de Saint-Sébastien and Ravel’s Boléro, this melodrama, profane in its story and hybrid regarding its musical form, glorifies spring -without it being a new “Consecration” in its language) on a text by André Gide, thus prolonging the emotion created by the novel Si le grain ne meurt. The three acts of the work (Perséphone enlevée, Perséphone aux enfers, Perséphone renaissante) are close to human nature and psyche with an empathy reinforced by Stravinsky’s music. Conceived for a tenor (Eumolpe), a narrator, a mixed chorus, a chidren’s chorus and an orchestra, this work, so original in the production of its author, has however never found its audience. People long blamed Stravinsky for wringing the neck of the prosody of Gide’s text without understanding that it was however one of its more sensitive works, possessed with a melodic verve, a clear lyricism and a warmth for which he wasn’t known for. Under Esa-Pekka Salonen’s inspired and aerial baton, Perséphone finds here a second youth which might finally allow it to impose itself to a new generation of music lovers. This “strange profane mass” (as described by Marcel Marnat) is probably one of the most touching works of a composer that is always looking for new springs. © François Hudry/Qobuz
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Klassiek - Verschenen op 5 mei 2014 | Actes Sud Musicales

Hi-Res Onderscheidingen 5 de Diapason - Hi-Res Audio
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Klassiek - Verschenen op 1 januari 2003 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Religieuze vocale muziek - Verschenen op 24 mei 2016 | Phi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Choc Classica de l'année
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Klassiek - Verschenen op 5 februari 2016 | PentaTone

Hi-Res Booklets
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Balletten - Verschenen op 2 november 2018 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 3 juni 2016 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - Exceptional Sound Recording - 5 Sterne Fono Forum Klassik
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Symfonische muziek - Verschenen op 2 november 2015 | Orfeo

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Symfonische muziek - Verschenen op 26 april 2013 | Sony Classical

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Volledige opera's - Verschenen op 1 september 2017 | Orfeo

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 14 november 1994 | Sony Classical

Onderscheidingen The Qobuz Ideal Discography - Cultalbums
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Klassiek - Verschenen op 6 september 2011 | Actes Sud Musicales

Onderscheidingen Gramophone Editor's Choice
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Symfonische muziek - Verschenen op 9 februari 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
One of the big events of 2017 was the opening of the Hamburg Philharmonie. Krzysztof Urbański and the NDR Elbphilharmonie Orchestra gave inaugural concerts there that made a lasting impact on audiences and critics alike. On this occasion, the Polish conductor chose to record one of the works closest to his heart, The Rite of Spring: "Stravinsky invented a new language. For me, The Rite is not a score, but a painting: on each page, I see Matisse, Gauguin, the Fauve painters . . . It’s an explosion of colours, emotions, and surprises too: if you don’t know the piece, you never know what’s going to happen. It’s so suggestive that you don’t need to do all that much with the orchestra, the magic is written into the music. . . . When I conduct The Rite, I don’t think: the music penetrates your backbone, it’s inside you . . . It’s a ballet, and perhaps it’s because I was a dancer when I was younger that I can’t control my body when I hear and conduct this piece. It’s a mystical experience for me!". © Alpha Classics
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Klassiek - Verschenen op 1 januari 1961 | BnF Collection

Hi-Res Booklet
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Klassiek - Verschenen op 9 januari 2020 | SFS Media

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Klassiek - Verschenen op 1 maart 2005 | Naxos

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Symfonische muziek - Verschenen op 12 januari 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Choc de Classica
The rediscovery of Stravinsky's Funeral Song, from a recording made in St Petersburg in Spring 2015, was a major event. Composed over the summer of 1908 in honour of his late teacher Rimsky-Korsakov, who died in June that year, it marked a moment where Stravinsky was working at many different types of writing, looking for a personal language. The work was first performed at a memorial concert in St Petersburg in January 1909 but thereafter it disappeared without a trace: the only evidence of its existence was in accounts of the concert and the composer's own nostalgic memories of the work he saw as "the best of my works before Firebird, and the most advanced in terms of chromatic harmonies." And here at last is the world's first ever recording of it! A stunning little treasure in which we can still hear Rimsky, and also the Stravinsky of Firebird, but perhaps also still the Stravinsky of the Rite of Spring, which was still very recent, a testimony to the composer's breakneck evolution. It was in the same year, 1908, that Stravinsky interrupted his writing of Fireworks when he heard the news of Rismsky's death in order to compose his Funeral Song; the Scherzo Fantastique was the last score by the young composer that the old master would ever get to read, although he never heard it performed. With this recording, Riccardo Chilly offers us a judicious selection of four works from the composer's youth (we also find The Faun and the Shepherdess of 1906, a little cycle of three melodies with orchestra, sung in French, here with Sophie Koch) followed by the big turning point that is the Rite of Spring, with a reading which is both clear and fiery. © SM/Qobuz
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Symfonische muziek - Verschenen op 16 februari 2010 | CSO Resound

Booklet Onderscheidingen 4F de Télérama - Choc de Classica - Exceptional Sound Recording