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Symfonische muziek - Verschenen op 10 april 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
Some music lovers are familiar with Ce qu’on entend sur la montagne, Liszt’s symphonic poem based on Victor Hugo. But who knows that, ten years earlier, César Franck was inspired by the same poem? This early piece is recorded here by the Orchestre Philharmonique de Radio France conducted by Mikko Franck. They couple it with the famous Symphony in D minor, dedicated to Henri Duparc and premiered, without much success, in 1889. Even if the score is quite well-known today, in the end it is performed quite rarely, which is a pity, because it really has all the characteristics of a masterpiece: melodic and harmonic inspiration, refined orchestration, variety of mood, an ingenious structure. Two works by Franck ... by Franck! This album marks the beginning of a collaboration between Alpha and the Orchestre Philharmonique de Radio France, which will focus on very varied repertories. © Alpha Classics
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Symfonische muziek - Verschenen op 6 maart 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 7 februari 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
After the resounding success of Volume 1 (Gramophone Editor’s Choice, Preis der Deutschen Schallplattenkritik, Diapason d’Or, Choc de Classica, FFFF Télérama), the project to record the complete Sibelius symphonies continues with the Gothenburg Symphony Orchestra and Santtu-Matias Rouvali, whose career as a conductor is entering top gear: he has just been appointed Principal Conductor of the Philharmonia Orchestra in London. At the turn of the twentieth century, as Finland struggled to free itself from Russian rule, Sibelius and his wife faced several domestic dramas, including the loss of one of their daughters, Kirsti, to typhoid fever. The Second Symphony, written in the brilliant key of D major, seems to be marked by the events of the composer’s private life, but many of his contemporaries nevertheless saw it as a political manifesto! In 1898, Sibelius composed the incidental music for Adolf Paul’s play King Christian II, the story of the downfall of a king of Scandinavia (Denmark, Sweden and Norway) in the sixteenth century. The suite derived from it was successfully performed in several European cities. © Alpha Classics
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Symfonische muziek - Verschenen op 17 januari 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Symfonieën - Verschenen op 25 oktober 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 6 september 2019 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 15 maart 2019 | London Philharmonic Orchestra

Hi-Res 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 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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Symfonische muziek - Verschenen op 11 januari 2019 | Profil

Booklet 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 7 januari 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
Like every year, the Vienna Musikverein welcomes the musicians of the Vienna Philharmonic Orchestra to its great hall! German conductor Christian Thielemann will be the man with the baton for the traditional 2019 New Year concert, which will open with Carl Michael Ziehrer’s Schönfeld Marsch op.422. Named as musical director of the imperial court balls in 1907, putting an end to the Strauss dynasty’s tenure in this position, Ziehrer wrote around 600 compositions for orchestra (waltzes, polkas, marches etc.) and 23 operettas, including the Schönfeld Marsch. Named as the head of the Viennese orchestra for the first time, succeeding many renowned conductors (from Daniel Barenboim to Lorin Maazel, Nikolaus Harnoncourt or Gustavo Dudamel), Thielmann is familiar with the Strauss dynasty’s repertoire - he recorded (amongst others) An Alpine Symphony, Op. 64 and Der Rosenkavalier (The Knight of the Rose) in March 2011 with the Wiener Philharmoniker. For this concert, which is broadcast in 92 countries, he leads the most beautiful of repertoires from the Strauss era (Künstlerleben op. 316, Die Tänzerin. Polka française op. 351, Lob der Frauen. Polka Mazur, op. 315…). © Sandra Dubroca/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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Symfonische muziek - Verschenen op 7 september 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Symfonische muziek - Verschenen op 10 augustus 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month - Exceptional Sound Recording - 5 étoiles de Classica
If Leonard Bernstein was one of the greatest conductors from the second half of the 20th Century, his interpretation job never outshone his composer one. But the durable and worldwide success of West Side Story has often irritated him, as it left in the shadowed the rest of his abundant and varied catalog. Antonio Pappano has had the good idea to gather the three symphonies from Bernstein in a single album recorded in several concerts in Rome with his Orchestra dell'Accademia Nazionale di Santa Cecilia, which reaches under his baton an international dimension. Bernstein had a special relation with this institution that he has frequently conducted. Jeremiah, Bernstein’s first symphony, dates from 1944. Bernstein was 26 and wrote it the same year as his first ballet for Broadway, Fancy Free.He blends genres in a way that is now typical of him, disturbing many timorous music lovers who don’t understand that this dichotomy is the result of his genius. This first symphony sung in Hebrew denounces the horror of the Holocaust in Europe. 1949 is the year of The Age of Anxiety, his strange second symphony inspired by a long and difficult poem by W. H. Auden. Rarely played because of his difficult solo piano section that few interprets possess in their repertoire, this symphony is a succession of “themes and variations”. If the beginning flirts with the European Art music, notably from Prokofiev, it ends in a syncopated sentimentalism in the style of the great Hollywood movies. The excellent pianist Beatrice Rana (who has recorded for Warner Classics a very exciting Second Concerto by Prokofiev with the same conductor, as well as, more recently, the most talked-about Goldberg Variations by J. S. Bach) is here a brilliant and convinced performer of the work. Written in 1963 and dedicated to President Kennedy, Kaddish, his third symphony, is probably the most personal work of this trilogy. Heterogeneous as is all Bernstein music, it goes together with a text written by him that caused a scandal because of his iconoclastic arrogance, as Bernstein is giving advice to God to better rule mankind… Unsatisfied with his text, the composer did several revisions of his work to give it the form that is mostly used today. © François Hudry/Qobuz
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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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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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Symfonische muziek - Verschenen op 11 mei 2018 | Decca

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 9 maart 2018 | Decca Music Group Ltd.

Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice