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Symfonische muziek - Verschenen op 8 februari 2019 | harmonia mundi

Hi-Res Booklet
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 21 december 2018 | RTS Radio Télévision Suisse - Evasion Music

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Symfonische muziek - Verschenen op 26 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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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 12 oktober 2018 | CAvi-music

Hi-Res Booklet
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Symfonische muziek - Verschenen op 17 september 2018 | Fonè Records

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Symfonische muziek - Verschenen op 10 september 2018 | Channel Classics Records

Hi-Res Booklet Onderscheidingen Diapason d'or - Hi-Res Audio
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Symfonische muziek - Verschenen op 10 september 2018 | Channel Classics Records

Hi-Res Booklet
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Symfonische muziek - Verschenen op 10 september 2018 | Channel Classics Records

Hi-Res Booklet
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Symfonische muziek - Verschenen op 10 september 2018 | Channel Classics Records

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Symfonische muziek - Verschenen op 1 augustus 2018 | RTS Radio Télévision Suisse - Evasion Music

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Symfonische muziek - Verschenen op 31 juli 2018 | Český rozhlas

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Symfonische muziek - Verschenen op 5 juni 2018 | ORF SHOP

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Symfonieën - Verschenen op 13 april 2018 | SWR Classic

Booklet Onderscheidingen Diapason d'or
What utter happiness to find probably one of the greatest performances (ranking alongside Barbirolli, Bernstein, Tennstedt) of the complex Sixth by Mahler, which came out a few years ago on Hännsler: the performance by Kirill Kondrashin at the head of the Baden-Baden Südwestfunk. In 1981, Kirill Kondrashin had been regularly directing the Amsterdam Concertgebouw for several years, tackling material from the most varied repertoires, and several times performed the works of Gustav Mahler, of which he was one of the USSR's most ardent partisans, having made the first-ever complete recording of the symphonies with the Moscow Symphonic Orchestra (Melodiya). Benefiting from some of the most captivating orchestras of the West, he never gave up on his fluid, rapid visions, his strident polyphonies, or his implacable rhythms. For Kirill Kondrashin, Mahler wasn't the post-romantic composer that he is often taken for: he didn't look for song at any cost, or even any particular lyrical virtues. The formal balances accompany a drive for minute precision in the most up-to-date sonic alloys. As a vision, it is sometimes abstract: it fits into the more experimental branch of Haydn's descendants. And it gives us cause to regret not having a "Western" version of a 9th Symphony conducted by Kondrashin! © Pierre-Yves Lascar
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Symfonieën - Verschenen op 6 april 2018 | BIS

Hi-Res Booklet Onderscheidingen Choc de Classica
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Symfonische muziek - Verschenen op 16 maart 2018 | CAvi-music

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Symfonische muziek - Verschenen op 1 januari 1948 | Universal Music Australia Pty. Ltd.

Onderscheidingen Diapason d'or
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Symfonische muziek - Verschenen op 9 februari 2018 | harmonia mundi

Hi-Res Booklet
Although a valedictory mood underpins it, Mahler’s Ninth Symphony offers above all a profound meditation on the fate of humanity and seems to exude an immense love of life. Sustained by the commitment and excellence of the artists, this recording reveals the formal, technical and orchestral modernity of a work that was to exert a genuine fascination on the Viennese composers of the following generation. © harmonia mundi

Symfonieën - Verschenen op 24 november 2017 | harmonia mundi

Booklet
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Symfonische muziek - Verschenen op 12 oktober 2003 | LucasRecords