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Mendelssohn: Symphonies 1-5

Yannick Nézet-Séguin

Symfonieën - Verschenen op 16 juni 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Record of the Month - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
After establishing a secure reputation as an interpreter of the large-scale symphonies of Anton Bruckner and Gustav Mahler, Yannick Nézet-Séguin turns his attention from late Romanticism to its earlier phase, as represented by the five symphonies of Felix Mendelssohn. Over three successive concerts in February 2016, Nézet-Séguin and the Chamber Orchestra of Europe performed the cycle to critical acclaim in the Grande salle Pierre Boulez of the Philharmonie de Paris. The vibrant sonorities of the orchestra and the hall's resonance are major attractions for this 2017 Deutsche Grammophon release, because Nézet-Séguin is focused on crisp articulation and clean instrumental colors, while the acoustics give the music a luminous sheen without blurring it. This is nowhere more evident than in the purely orchestral works, particularly the underplayed Symphony No. 1 in C minor, the ever-popular Symphony No. 3 in A minor, "Scottish," and the Symphony No. 4 in A major, "Italian," which offer infectious melodies, lively rhythms, and the warm tone colors that Deutsche Grammophon's expert engineering captures so well. The sound quality is less appealing in the choral movements of the Symphony No. 2 in B flat major, "Hymn of Praise," due to the RIAS Kammerchor's hazy blend and Mendelssohn's heavier scoring, which make this quasi-oratorio suffer in comparison with the transparent "Scottish" and "Italian." The Symphony No. 5 in D minor, "Reformation" is perhaps the least compelling, owing to its earnest treatment of Lutheran hymns and the lack of effervescence that made the other orchestral symphonies so delightful, and to which Nézet-Séguin seems more attuned. © TiVo
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Bernstein : Symphony No. 2 "The Age of Anxiety"

Krystian Zimerman

Symfonieën - Verschenen op 24 augustus 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason d'or / Arte - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik - 5 étoiles de Classica
The Second Symphony by Leonard Bernstein, The Age of Anxiety, based on a poem of the same name by W. H. Auden, is a work of the composer-conductor's relative youth, dating from 1948-1949, when he was just turning thirty. The symphony is presented as a series of variations, but not variations around an initial theme. No: each variation takes on elements of the previous variation, varies in turn, and so on. It brings to mind an unbroken metamorphosis. As one might imagine, Bernstein mixes classical symphonic elements with jazz, in particular in the solo piano passage – tackled here by Krystian Zimerman, who had the good fortune to perform with Bernstein several times. In its own way, it is a kind of homage to the centenary of the composer's birth: as Zimerman mentions in the liner notes, Bernstein asked him if he wanted to play this symphony with him for his hundredth birthday. And he almost keeps the promise, although the orchestra is the Berlin Philharmonic, under Sir Simon Rattle. © SM/Qobuz
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Tchaikovsky : Symphony No.6

Teodor Currentzis

Symfonieën - Verschenen op 27 oktober 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month - Diapason d'or / Arte - Choc de Classica - 5 Sterne Fono Forum Klassik
An album, a symphony: you would think that we had returned to the days of the Long Play, and the era of Mravinsky, Doráti, Markevitch, Karajan as well as many other performers and interpreters who have marked the discographic history of the last symphony from Piotr Ilitch Tchaikovsky. The album cover also seems to confirm it: it brings to mind the old RCA covers from the 50s and 60s. Sony Classical, being very supportive of the artistic endeavours of the Greco-Russian master, didn't hesitate to bring out a roughly 45-minute album - they had done better with the Rites of Spring (2015), which was feted in the press. Here, Teodor Currentzis continues his exploration of Tchaikovsky's world, with the Pathétique, putting the accent on the dynamic contrasts, sometimes naturally, sometimes by technical means (adagio lamentoso), and bringing to bear some methods that are normally specific to pop music. He exploits the sombre tone of the work, even above its rhythmic energy, and looks to create atmospheres that one could often call morbid. For record-lovers, this release is a great opportunity to revisit his discography, and for all other ardent Qobuz users it is an opportunity to rediscover this true emblem of the orchestral repertoire. © TG/Qobuz
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Shostakovich : Symphonies Nos. 4 & 11 "The Year 1905"

Andris Nelsons

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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Schumann : The Symphonies

Yannick Nézet-Séguin

Symfonieën - Verschenen op 1 januari 2014 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - Hi-Res Audio
As Yannick Nézet-Séguin continues to explore the Romantic symphonic repertoire, it becomes increasingly apparent that he has a strong affinity for German composers, something not readily guessed of this Canadian maestro. There might be an underlying connection between his recordings of the symphonies of Anton Bruckner, for which he has received considerable attention and acclaim, and this 2014 Deutsche Grammophon album of the four symphonies of Robert Schumann, which shows Nézet-Séguin as a strong advocate for this somewhat discounted symphonist. Like Bruckner, Schumann was not a brilliant composer for the orchestra, which has put both composers at a disadvantage with audiences, and Nézet-Séguin has to do some careful balancing of the sections and dynamics to produce a transparent sound, which is not easy to do, in light of Schumann's frequent doubling of strings and woodwinds. The Chamber Orchestra of Europe responds well to Nézet-Séguin's direction, so Schumann's music is substantially lighter sounding, thanks to the lean sound of the ensemble, as well as to the noticeable care the conductor takes in drawing out distinctive timbres, and not letting the music become too homogenous in color. Of course, the expression is affected by this fresh airing of these symphonies, and as might be expected, the music is lighter, cleaner, quicker, and more exciting, due in part to the streamlining of Schumann's textures. These live recordings were made in Paris in 2012, and while they are a little shallow sounding, details are perfectly clear with the proper volume setting. © TiVo
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Per Nørgård : Symphonies Nos. 2 & 6

John Storgårds

Symfonieën - Verschenen op 10 juni 2016 | Dacapo

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Wolfgang Amadeus Mozart : The Last Symphonies (n°39, 40 & 41) Mozart's Instrumental Oratorium

Nikolaus Harnoncourt

Symfonieën - Verschenen op 13 augustus 2014 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 4 étoiles Classica
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Beethoven : Symphonies Nos. 4 & 5

Nikolaus Harnoncourt

Symfonieën - Verschenen op 13 november 2015 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - Choc Classica de l'année
Nothing new under the sun ? Oh but yes! This recording of the Fourth and Fifth Symphonies of Beethoven by the venerable Nikolaus Harnoncourt lives and breathes brand new. The difference is most notable seeing as he calls on an instrumentarium (along the lines of what Beethoven had in his time) particularly wind-based, whose sound is frankly different from what we know today. Listeners beware: you'll never listen to these two Beethoven symphonies with the same ear once you've had a taste of the original fountain that is sourced here in the 85th year of Harnoncourts wonderful musical mind © SM / Qobuz
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Schumann : Symphonies

Christian Thielemann

Symfonieën - Verschenen op 5 april 2019 | Sony Classical - Sony Music

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Allan Pettersson : Symphonies Nos. 5 & 7

Christian Lindberg

Symfonieën - Verschenen op 6 april 2018 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Uitzonderlijke Geluidsopnamen
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Symphonies

Matthias Bamert

Symfonieën - Verschenen op 24 juni 2010 | Chandos

Hi-Res Booklet Onderscheidingen Choc de Classica - Uitzonderlijke Geluidsopnamen - Hi-Res Audio
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Schubert : Symphony No. 7 "Unfinished" & Lieder

Stefan Gottfried

Symfonieën - Verschenen op 2 november 2018 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Uitzonderlijke Geluidsopnamen - 5 Sterne Fono Forum Klassik
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Muzio Clementi : Symphonies

Ivor Bolton

Symfonieën - Verschenen op 20 januari 2017 | Sony Classical

Onderscheidingen Gramophone Editor's Choice - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Beethoven : Symphonies Nos. 2 & 8 (Live)

John Eliot Gardiner

Symfonieën - Verschenen op 29 september 2014 | SDG

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Berlioz : Symphonie fantastique - Lélio (Excerpts)

Michael Tilson Thomas

Symfonieën - Verschenen op 3 maart 1998 | RCA Red Seal

Onderscheidingen Choc du Monde de la Musique - 10 de Répertoire - 4F de Télérama
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Per Nørgård : Symphonies Nos. 1 & 8

Sakari Oramo

Symfonieën - Verschenen op 3 juni 2014 | Dacapo

Hi-Res Booklet Onderscheidingen Gramophone Award - Gramophone Editor's Choice - 4 étoiles Classica
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Shostakovich: Symphonies Nos. 5, 8 & 9; Suite From "Hamlet"

Andris Nelsons

Symfonieën - Verschenen op 27 mei 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
  
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Dvorák: Symphonies,Tone Poems, Requiem...

István Kertész

Symfonieën - Verschenen op 1 november 2016 | Decca

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte - Choc de Classica
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Mahler : Symphony No. 6

Teodor Currentzis

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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Mozart : Symphonies Nos. 40 & 41

Herbert Blomstedt

Symfonieën - Verschenen op 7 september 2018 | BR-Klassik

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