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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
Continuing his series of the symphonies of Dmitry Shostakovich with the Boston Symphony Orchestra, Andris Nelsons presents the Symphony No. 4 in C minor and the Symphony No. 11 in G minor, "The Year 1905" on this 2018 Deutsche Grammophon release. Of the two works, the Symphony No. 4 has enjoyed tremendous post-millennial popularity in the west, with competitive releases by Neeme Järvi, Vasily Petrenko, Mariss Jansons, Valery Gergiev, and Mikhail Pletnev; its accessibility may be due in part to the symphony's strong associations with Gustav Mahler, whose influence is evident and provides listeners a handle on this bracing work. At the same time, the Symphony No. 11 has fared less well, perhaps because its programmatic commemoration of the first Russian revolution is too remote for modern audiences to appreciate, but its reception is complicated by other factors, such as Shostakovich's veiled critiques of the Stalin years. Musically, the Fourth is abstract, assertive, and virtuosic, with the innovative spirit of early Shostakovich, before the denunciation of 1936, while the more reflective Eleventh is almost cinematic in its scene painting. The live performances by the BSO are first-rate, with expressive depth and sonorous playing, particularly in the incisive brass, and the sound of the recording is exceptional to match, with a vividness, spaciousness, and clarity comparable to SACD quality. © TiVo
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Symfonische muziek - Verschenen op 31 oktober 2011 | Sony Music Japan International

Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 8 februari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
The premiere of Mahler’s Third Symphony took place in June 1902 in Krefeld (not far from Düsseldorf), but it was indeed the Gürzenich Orchestra of Cologne which gave that first performance... greeted with acclaim – this was not always the composer’s experience with his masterpieces. Originally conceived as a hymn to Nature, in which the inert chaos of the opening movement is gradually left behind, the work calls for enormous forces (large orchestra, women’s choir, boys’ choir, and contralto soloist) and at each hearing leaves an unforgettable impression on the audience. Such was the case in October 2018, when François-Xavier Roth led the esteemed successors of the work’s first interpreters in this latest Mahler adventure. © harmonia mundi
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Symfonieën - Verschenen op 18 januari 2019 | Sony Music Labels Inc.

Hi-Res Booklet Onderscheidingen 5 de Diapason
Estonian conductor Paavo Järvi has recorded a lot of Sibelius: there are at least a couple of complete symphony sets as well as single recordings. In general, he has tended toward the abstract, toward the view that Sibelius, despite his adherence to tonality, was essentially a modern composer with a unique conception of form on both the small and large scales. Consider the finale of the Symphony No. 5 in E flat major, Op. 82, with its popular half-note theme of open fifths and sixths. It's been thought to evoke anything from Thor's hammer to swans taking flight, but here the epic quality of the motif is toned down, and what emerges instead is the depth to which the fifths and sixths are all over this finale. Järvi's recordings of all three of the final symphonies are masterful, and the one-movement Symphony No. 7 in C major, Op. 105 unfolds with an organic inevitability that's mysterious and miraculous. Perhaps Järvi's approach is a little less desirable in the Symphony No. 1 in E minor, Op. 39, a genuinely Tchaikovskian work that is a bit drained of sentiment here, or in the Symphony No. 4 in A minor, Op. 63, which lacks the requisite gloom in this darkest of all symphonies. But the Second and Third symphonies have sweeping power, and the Orchestre de Paris is precise and sharp throughout. The Eiffel Tower on the cover does not exactly say Sibelius, but Järvi conducted this orchestra for several years, and it responds to his every wish. Your mileage may vary, for these readings are toward one extreme in the interpretation of Sibelius, but many will find the last three symphonies to be capstones of Järvi's Sibelius career -- unless he returns to Sibelius again. © TiVo
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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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Symfonische muziek - Verschenen op 11 september 2015 | CSO Resound

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 11 januari 2019 | Profil

Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 1 maart 2019 | CapriccioNR

Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 1 november 2011 | Glossa

Booklet Onderscheidingen 5 de Diapason - Diamant d'Opéra - Choc de Classica - Uitzonderlijke Geluidsopnamen
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Symfonieën - Verschenen op 6 januari 2015 | Gramola Records

Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 1 mei 2013 | Music and Arts Programs of America

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 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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Symfonische muziek - Verschenen op 1 januari 1943 | Universal Music Australia Pty Ltd.

Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 11 januari 2019 | Decca

Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 11 mei 2018 | Decca

Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 2 februari 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Uitzonderlijke Geluidsopnamen
In addition to Prokofiev’s two violin concertos – whose ample discography is brilliantly enriched by this interpretation of Georgian violinist Lisa Batiashvili and the excellent conductor Yannick Nézet-Seguin –, the album also features three treats from Prokofiev arranged by Tamás Batiashvili, the father of the aforementioned Lisa and a renowned teacher in his country. These are rewritings for solo violin and orchestra of the Dance Of The Knights from Romeo and Juliet, the Grand Waltz from Cinderella and the nefarious and quirky Grand March from The Love For Three Oranges. Batiashvili – the father – streamlines the message, allowing the solo violin to showcase its full power in moments that were bloated in the original partition, particularly in the rather bulky Dance Of The Knights which, losing some of its imposing weight, gained lyricism in return. As for the two concertos, they benefit greatly from the reasonably sized Chamber Orchestra of Europe, as it perfectly lets Prokofiev’s writing shine through. © SM/Qobuz
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Symfonische muziek - Verschenen op 9 maart 2018 | Decca Music Group Ltd.

Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Symfonische muziek - Verschenen op 9 augustus 2013 | audite Musikproduktion

Hi-Res Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Symfonische muziek - Verschenen op 30 september 2016 | MUNCHNER PHILHARMONIKER GBR

Hi-Res Booklet Onderscheidingen 5 de Diapason