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1884 albums gesorteerd op Price: from most expensive to least expensive en gefilterd op Symfonische muziek en € 10,00 tot € 20,00
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Symfonische muziek - Verschenen op 11 maart 2011 | harmonia mundi

Booklets Onderscheidingen Gramophone Editor's Choice
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Symfonieën - Verschenen op 7 juni 2019 | Accentus Music

Hi-Res Booklet
In an important moment, the great interpreter of Anton Bruckner’s symphonies for Eternal Records (the ethereal symphonies nos. 4 and 7 in Dresden during the seventies, the subtle Symphony No. 6 in San Francisco with Decca, all those with Gewandhaus during his years with Querstand), Herbert Blomstedt returns to head the Bamberger Symphoniker with a 9th by Mahler. But there seems to be something up here. Blomstedt seems to have concentrated his efforts on all that is intrinsically ‘new’ in Mahler’s sonic universe. Blomstedt has stripped back the instrumentals, accusing some of being “ugly” or out of place. He has put emphasis on the harshness of the writing and the explosive character of the changes between string, brass and woodwind parts (Im Tempo eines gemàchlichen Ländlers); even the lyricism has gone under the knife (the central episode of Rono-Burleske). What’s going on? Where are we being taken? We are clearly at the conception of a completely new world here in which the tempos carry a feeling of moderation throughout the symphony and allow one to live, intensely, in the moment: the end of Rondo-Burleske acts as an initial cataclysm. The symphony could have come to an end here but it is followed by the enormous 20-minute-long Adagio postlude in which one asks if it could possibly get more sad or morbid. The colors dull, the tones themselves inexorably fade and the polyphonic layers die down. Emotions fly. With this 9th, recorded in June 2018 in the Joseph-Keilberth-Saal of the Bamberg Konzerthalle, Herbert Blomstedt returns to deliver true Mahler: the abstract. Love is mystical, cosmic and human. It is without hope. Bruckner’s 19th Century is blown away. Fascinating. © Pierre-Yves Lascar/Qobuz
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Symfonische muziek - Verschenen op 4 januari 2019 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or
It's hardly common to become a global star at the age of 96; and even less so to record Beethoven's nine symphonies at that age – especially if these recordings rejuvenate our whole approach to a corpus that seemed to have no secrets left. And as the most familiar landscape can suddenly take on a new appearance when viewed from a new angle, so can music. The Swede Herbert Blomstedt, son of a strict pastor and cut from the same cloth as his countryman Ingmar Bergman, is possessed of a freshness and physical appearance that belie his age: the greatest concession he has made has been to cut down from 100 concerts a year to 70, conducting the greatest orchestras in the world. After his recent refreshing reinterpretation of Beethoven and Mozart's last two symphonies, recorded in concert in 2017, we find him here dealing with the works of the great Swedish composer Wilhelm Stenhammar, recorded at concerts given in Gothenburg in 2013 and 2014. Bowled over by hearing his friend Sibelius's Second Symphony, Stenhammar tried to renew his own style, writing a "second symphony" of his own, and as soon as it was done, in May 1915, he wrote to the Finnish composer. Written for the Gothenburg Symphony Orchestra, which plays it in this recording, it is structured classically around four movements. The first is built on a folk music theme; the second is a kind of great nocturnal procession that precedes a Scherzo written as a stylised dance whose central Trio is played on wind instruments whose quality Stenhammar looked to underline. As for the Finale (which, how to put it, gave some critics a headache...), it is to this day one of the most masterful pages of symphonic music written in Sweden. First performed in 1914, the Serenade in F major, written after a trip to Florence, was quickly withdrawn by the composer, who made a new version in five movements which was performed in 1919 and enjoyed lasting success at home. Just like Mendelssohn's "Italian" Symphony, Tchaikovski’s Souvenir de Florence and Italian Capriccio , or indeed Strauss's Aus Italien the work highlights the magic attraction that Italy exercises on Northern composers. It is an illuminating and idealised description of a dreamy Arcadia, largely inspired by antiquity. © François Hudry/Qobuz
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Symfonische muziek - Verschenen op 1 september 2004 | BIS

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Balletten - Verschenen op 23 februari 2010 | Ondine

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Symfonische muziek - Verschenen op 28 oktober 2002 | BIS

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Symfonische muziek - Verschenen op 1 maart 2019 | CapriccioNR

Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 27 april 2018 | La discothèque idéale de Diapason

Onderscheidingen Diapason d'or
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Symfonieën - Verschenen op 6 april 2018 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Exceptional Sound Recording
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Symfonische muziek - Verschenen op 1 juni 2001 | BIS

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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 27 februari 2015 | La discothèque idéale de Diapason

Booklet
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Symfonische muziek - Verschenen op 3 mei 2011 | BIS

Booklet
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Symfonische muziek - Verschenen op 1 juni 2008 | BIS

Booklet
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Symfonieën - Verschenen op 6 april 2018 | BIS

Hi-Res Booklet Onderscheidingen Choc de Classica
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Balletten - Verschenen op 1 augustus 2010 | CapriccioNR

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Symfonische muziek - Verschenen op 23 februari 2010 | BIS

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Symfonische muziek - Verschenen op 1 september 2007 | BIS

Booklet
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Symfonische muziek - Verschenen op 31 oktober 1996 | BIS

Booklet
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Symfonische muziek - Verschenen op 1 januari 2010 | BIS

Booklet