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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
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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 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 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 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 6 januari 2015 | Gramola Records

Booklet Onderscheidingen 5 de Diapason