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Symfonieën - Verschenen op 16 juni 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Record of the Month - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 6 juli 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - Grammy Awards
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Symfonieën - Verschenen op 1 januari 2014 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - Hi-Res Audio
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Symfonieën - Verschenen op 10 juni 2016 | Dacapo SACD

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 13 augustus 2014 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 4 étoiles Classica
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Symfonieën - Verschenen op 7 oktober 2014 | SDG

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 26 oktober 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
With Symphony No.6 in A Minor "Tragic" written in 1904 (the title, for once, is not a publisher's gimmick, but was indeed given by Mahler in the programme for the first performance in Vienna in 1906), Mahler almost returns to the classical symphony format; we find more voices in the score (a technique that he had already used in No. 5) and a four-movement structure (whereas No. 5 was articulated in five movements thrown into three "parts", with the absence of a programme or philosophical content). Admittedly, the orchestra remains huge, with four woodwinds, eight horns, and six trumpets, not to mention an impressive arsenal of percussion instruments including alpine bells, hammer and xylophone, which he never used elsewhere; in this respect, Mahler contributed to putting an end to the late romantic trend of gigantic works for titanic orchestras. It must be said that the last movement, which lasts at least half an hour, is of a truly tragic expression with its indelible darkness. This frightened the critics, who found the work somewhat bloated. It is therefore up to the conductor to make the score as transparent as possible, the contrapuntal lines readable and the orchestral colours perceptible through the orchestral immensity. Equipped with his MusicAeterna, Teorod Currentzis embarks on the adventure. © SM/Qobuz
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Symfonieën - Verschenen op 7 september 2018 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Symfonieën - Verschenen op 26 februari 2016 | Universal Music Group International

Hi-Res Onderscheidingen 5 de Diapason - 4F de Télérama
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Symfonieën - Verschenen op 20 april 2018 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Pärt's four symphonies stretch across a period of 45 years, from 1964 and 1966 respectively for the first two, 1971 for the third, and 2008 for the fourth. His first steps into the works of the symphony were still marked by dodecaphonism, although Pärt would not resist the gradual appearance of tonal poles in his work and "accidental" encounters between consonant notes and the harmonies that resulted; but the discourse remains very much linked to modernist principles, while exploring older forms of prelude and fugue, or indeed polyphony. With the Second, Pärt's avant-gardist period came to an end. From the 1970s, Pärt would completely revise his language, and come to concentrate on religious and medieval music, in such a way that his Third Symphony throws out dodecaphonism and all its theories, developing in their place a tonal, melodic, modal idiom (the old ecclesiastical styles, in fact). And within this personal revolution, Pärt would take a step into "tintinnabulum", which formed the basis of the Fourth Symphony, written for strings, harp and percussion: a wide world of meditation, stunning, unreal, intangible, and fundamentally tonal, in which the movements from one phenomenon to another move immensely slowly, allowing the listener to savour every moment. © SM/Qobuz
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Symfonieën - Verschenen op 9 november 2018 | Ondine

Hi-Res Booklet Onderscheidingen 5 de Diapason - Exceptional Sound Recording
What a curious and charming piece of work the First Symphony by Witold Lutosławski is! Written in 1947, it is still borrowing from Stravinski, Bartók, Prokofiev and clearly Roussel, and yet it display the composer's own personal ideas, and his flawless skill in orchestration. But he had not yet made the dodecaphonic style his own, nor the principle of randomness which would be found later in 1961's Jeux vénitiens (Venetian Games). In his case, randomness refers to musicians or groups of musicians having the freedom to play their different parts when they feel like it, or when the conductor gives them a cue. But for sure, this piece's formal framework is still constrained: every performance will shed a different light on it, but it is still the same work. The album finishes with the Fourth Symphony, the composer's last, written between 1988 and 1991, performed in 1993 with Lutosławski himself conducting before his death a few months later. In this work he makes a clear return to his harmonic and melodic ideas, which at times approach Mahler or Bartók, even though the discourse remains decidedly modern. The contrast between the First Symphony, Jeux vénitiens and the Fourth Symphony could not be more spectacular, and it gives a brilliant picture of the evolution of a musical genius who embraced a wide range of influences, constantly adapting them to his own style. © SM/Qobuz
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Symfonieën - Verschenen op 3 november 2017 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Symfonieën - Verschenen op 23 september 2016 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 6 november 2015 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Symfonieën - Verschenen op 7 april 2017 | CPO

Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 27 oktober 2009 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Symfonieën - Verschenen op 3 maart 2017 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Symfonieën - Verschenen op 18 januari 2019 | Sony Music Labels Inc.

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonieën - Verschenen op 2 oktober 2015 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonieën - Verschenen op 3 mei 2019 | Challenge Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
In September 2018, the first volume of Franz Schubert’s complete symphonies was released under the bright, precise and joyful lead of Jan Willem de Vriend (featuring Symphony No. 2 and Symphony No. 4). This second volume mostly fulfils expectations, with a few unforeseen nuances. It’s worth mentioning that the Symphony No. 1 in D major written by sixteen-year-old Schubert is touching, in more ways than one. First of all because it is constructed with brazen confidence, and casually – without any attempt at hiding it – covers Mozart’s Symphony No. 40 in G minor, oscillating incessantly between major and minor modes with the subtle mastery of modulation, which the Austrian composer would use throughout his life.As for the Symphony No. 3, also in D major, it is more Haydn − who died only six years before Schubert started working on this piece – who inspired the young composer. While the structure stemmed from his London symphonies, the melodies already bore the marks and melodic contours of the future composer of Die schöne Müllerin. At the other end of the corpus is the Unfinished Symphony, written in a radically different language because in the meantime, classicism had mutated into apprehensive romanticism, with a form of weariness growing around this magnificent music, rich with dizzying melancholy. Dropped by its author, like many others he left unfinished, it yet seems to end in pain and disarray, as a masterful question mark upon our miserable human destiny… © François Hudry/Qobuz