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Symfonieën - Verschenen op 10 mei 2019 | Berlin Philharmonic Orchestra

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Symfonieën - Verschenen op 3 mei 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Record of the Month - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 5 april 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 22 maart 2019 | Deutsche Grammophon (DG)

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Symfonieën - Verschenen op 8 maart 2019 | Deutsche Grammophon (DG)

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Symfonieën - Verschenen op 11 januari 2019 | Decca Music Group Ltd.

Hi-Res Booklet
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Symfonieën - Verschenen op 16 november 2018 | Deutsche Grammophon (DG)

Booklet Onderscheidingen Diapason d'or / Arte - Choc de Classica
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Symfonieën - Verschenen op 9 november 2018 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Prise de Son d'Exception - 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 19 oktober 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 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 6 juli 2018 | Deutsche Grammophon (DG)

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Symfonieën - Verschenen op 8 juni 2018 | Deutsche Grammophon (DG)

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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 6 april 2018 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Prise de Son d'Exception
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Symfonieën - Verschenen op 6 april 2018 | BIS

Hi-Res Booklet Onderscheidingen Choc de Classica
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Symfonieën - Verschenen op 23 februari 2018 | UMC - Decca Gold

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The 2018-2019 season marks Jaap van Zweden's debut as musical director of the New York Philharmonic Orchestra, which, under the leadership of their Dutch conductor (the 26th in the illustrious lineage of those who have preceded him since 1842), has recently signed a new contract with Universal Music. His 2007 recording of the same symphonies with the Dallas Symphony was marked by its intensity and rapid tempi. With the New York Orchestra, here very fit, Jaap van Zweden maintains the same ardor (except for the beginning of the 5th on the reserve), but without excess, always in the respect of music, while rebalancing the beat of his metronome. A promising future sequel.
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Symfonieën - Verschenen op 27 oktober 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month - Diapason d'or / Arte - Choc de Classica - 5 Sterne Fono Forum Klassik
An album, a symphony: you would think that we had returned to the days of the Long Play, and the era of Mravinsky, Doráti, Markevitch, Karajan as well as many other performers and interpreters who have marked the discographic history of the last symphony from Piotr Ilitch Tchaikovsky. The album cover also seems to confirm it: it brings to mind the old RCA covers from the 50s and 60s. Sony Classical, being very supportive of the artistic endeavours of the Greco-Russian master, didn't hesitate to bring out a roughly 45-minute album - they had done better with the Rites of Spring (2015), which was feted in the press. Here, Teodor Currentzis continues his exploration of Tchaikovsky's world, with the Pathétique, putting the accent on the dynamic contrasts, sometimes naturally, sometimes by technical means (adagio lamentoso), and bringing to bear some methods that are normally specific to pop music. He exploits the sombre tone of the work, even above its rhythmic energy, and looks to create atmospheres that one could often call morbid. For record-lovers, this release is a great opportunity to revisit his discography, and for all other ardent Qobuz users it is an opportunity to rediscover this true emblem of the orchestral repertoire. © TG/Qobuz
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Symfonieën - Verschenen op 29 september 2017 | MUNCHNER PHILHARMONIKER GBR

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - 5 Sterne Fono Forum Klassik
Gustav Mahler and the Munich Philharmonic share a very special connection. As a composer he sustainably linked the 19th century Austro-German tradition and the modernism of the early 20th century. The world premiere of his Symphony No. 4 took place under his baton on 25 November 1901 in Munich’s Großen Kaim-Saal with the then called Kaim-Orchester, present day Munich Philharmonic. His works have been a substantial part of the Munich Philharmonic’s core repertoire ever since and the orchestra has excelled on many occasions. After the MPHIL release of Mahler’s Symphony No. 2 in September 2016 now follows the release of the Symphony No. 4 with which the orchestra’s history is so closely intertwined. The live concert recording released on this album took place at the Philharmonie im Gasteig in Munich, the orchestra’s home, with Salzburg soprano Genia Kuehmeier. Valery Gergiev has paid the Austro-German repertoire particular attention throughout his career, which ignited a lasting fascination for Gustav Mahler. Over recent decades he has continued to explore the Austro-German repertoire, garnering adulation, especially for his interpretations of Wagner, Strauss, Mahler and Bruckner – music that is at the very heart of the Munich Philharmonic’s repertoire. © Warner Classics
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Symfonieën - Verschenen op 25 september 2017 | Philharmonia Records - Opernhaus Zürich

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