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Symfonieën - Verschenen op 26 februari 2016 | Universal Music Group International

Hi-Res Onderscheidingen 5 de Diapason - 4F de Télérama
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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 6 oktober 2017 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
At the start of the 20th Century, "Hungarian Music" was still under the influence of the Magyaresque writing of Brahms and Liszt, which was more a mix of the sounds of the Viennese salons with Romany themes than a real reflection of popular musical traditions. It was not until the advent of the ethnomusicological research of Bartók and Kodály that the "real Hungary" made its appearance in the smart press. No-one will be surprised, then, to learn that Leo Weiner's Serenade Op. 3, written in 1906, still contains many Brahmso-Liszto-Viennese elements, whereas the further forward we move through time, the more his Hungarian language (and Romanian language, as a large eastern chunk of historic Hungary was ceded to Romania after the First World War) converges with the real folk music sound. That said, what sets Weiner apart from Bartók and Kodály is that the former suffuses his harmonisations and his transcriptions with a symphonic and post-romantic spirit (the same spirit that inspired Enescu's folk music explorations, for example), without the harmonic research of his two Hungarian colleagues, who drew upon the same trove of people's music to produce works that were ever-more-cutting edge, more avant-garde, more modern. Until the Fourth and Fifth (and last) Divertimentos of 1951, the tone remains romantic. And oh: how delicious! Neeme Järvi and the Estonian National Orchestra perform.
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Symfonische muziek - Verschenen op 30 september 2016 | MUNCHNER PHILHARMONIKER GBR

Hi-Res Booklet Onderscheidingen 5 de Diapason
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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 18 juli 2014 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 26 februari 2016 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 16 februari 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason
No, this is not a re-edit, but really a brand new recording – January 2017 – made by the WDR Symphony Orchestra Cologne and Marek Janowski. In addition to the vigorous and explosive Symphonic Metamorphosis of Themes by Carl Maria von Weber, the theme in question stemming from Schiller’s version of Gozzi’s Turandot, the recording also features the rarer – and much less “fun” – Nobilissima visione suite. In the initial eponymous ballet from which the suite is derived, Hindemith depicted in musical tones a few episodes of the life of Giovanni di Pietro di Bernardone, better known as Saint Francis of Assisi. The last movement depicts, provided such a text can even be depicted, the Canticle of the Sun; Hindemith turns it into an immense and intense passacaglia that instead of actually “telling” the Canticle, manages to convey its sheer grandeur. The album closes on another splendour, Konzertmusik for Brass and String Orchestra, Op. 50 from 1930, as ordered by Serge Koussevitzky and the Boston Orchestra. In the great polyphonic tradition, the composer “opposes” groups, in this case the brass – 4 trumpets, 4 horns, 3 trombones, 1 tuba – and the strings (for which the partition requires the largest possible headcount), resulting in a fantastic musical, contrapuntal and architectural richness, not to mention a touch of humour in the race between both ensembles in the second part, as the brass play a rather quirky waltz with jazzy accents and the strings a much more “serious” style is adopted. For anyone barely familiar with Hindemith, these two latest works are a must-have, and more than likely a true revelation! © SM/Qobuz
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Symfonische muziek - Verschenen op 9 december 2011 | Sony Classical

Hi-Res Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 9 december 2011 | Sony Classical

Hi-Res Onderscheidingen 5 de Diapason
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CD€ 14,49

Symfonische muziek - Verschenen op 9 december 2011 | Sony Classical

Hi-Res Onderscheidingen 5 de Diapason
HI-RES€ 16,99
CD€ 14,49

Symfonische muziek - Verschenen op 9 december 2011 | Sony Classical

Hi-Res Onderscheidingen 5 de Diapason
HI-RES€ 16,99
CD€ 14,49

Symfonische muziek - Verschenen op 9 december 2011 | Sony Classical

Hi-Res Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 6 november 2015 | Coviello Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Symfonische muziek - Verschenen op 14 maart 2014 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Balletten - Verschenen op 1 maart 2019 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
In this fascinating recording the legendary Neeme Järvi explores two lesser-known French ballets by Sauguet and Ibert, complemented by the Ballet Suite from Massenet’s opera Hérodiade. Sauguet studied composition with Canteloube and Koechlin. He wrote in a variety of genres, notably for radio and for film, but his ballet scores – more than twenty of them – were central to his output. Les Forains (‘The Showfolk’) was first performed at the Théâtre des Champs-Élysées in March 1945. The cast was led by the work’s brilliant young choreographer, Roland Petit, and conducted by André Cluytens. Sauget’s wide-ranging influences, notably the orchestration of Richard Strauss as well as the works of Satie and les Six, give his work a flowing, openly melodic style that is immediately appealing and full of wit and charm. Following the success of Les Forains, and the formal establishment in October 1945 of Les Ballets des Champs-Élysées, Roland Petit and Boris Kochno devised a number of new ballets for the company. One of these was Ibert’s Les Amours de Jupiter, premiered on 9 March 1946 with a cast led by Petit himself as Jupiter. © Chandos
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Balletten - Verschenen op 7 juni 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Symfonieën - Verschenen op 7 september 2018 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Balletten - Verschenen op 2 november 2018 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonieën - Verschenen op 3 november 2017 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica