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627 albums gesorteerd op Date: from newest to oldest en gefilterd op Symfonieën
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Symfonieën - Verschenen op 17 september 2021 | CAvi-music

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Symfonieën - Verschenen op 3 september 2021 | London Philharmonic Orchestra

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Symfonieën - Verschenen op 3 september 2021 | harmonia mundi

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After two recordings devoted to Mahler’s Third and Fifth symphonies, François-Xavier Roth continues his exploration of the major works premiered by the Gürzenich Orchestra. In the spotlight this time are two of the young Richard Strauss’s most brilliant achievements: Till Eulenspiegel and Don Quixote. In the latter, a symphonic poem in the guise of a double concerto, Jean-Guihen Queyras and Tabea Zimmermann form a picaresque duo playing the Knight of the Doleful Countenance and his squire Sancho Panza. © harmonia mundi
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Symfonieën - Verschenen op 27 augustus 2021 | Berlin Philharmonic Orchestra

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Symfonieën - Verschenen op 13 augustus 2021 | CPO

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Wilhelm Furtwängler was an avid composer even as a boy. His natural talent developed continuously until he had reached early adulthood. His compositions from these early years included symphonic works and an impressive Te Deum, but the promise they contained was not fulfilled: while Furtwängler quickly was able to obtain increasing success as a conductor, his creative juices ceased to flow for almost a quarter of a century. It was first after his open conflict with the new German regime (in the “Hindemith Affair”), causing him to resign from all his official posts, that his compositional energies once again streamed forth. The yield from the last twenty years of his life, when he apparently was in search of lost times past, included two Violin Sonatas, a Piano Quintet, a Piano Concerto, and three monumental symphonies. And the search was successful: already the Symphony No. 1 in B minor composed between 1938 and 1941 releases with elemental force the energies formerly held back and sends them flowing into architectures of Brucknerian dimensions without the composer ever slavishly following the precedents set by the Austrian master. With this work Wilhelm Furtwängler, standing firmly on Late Romantic tonal ground, thoroughly acquainted with the resources of the philharmonic orchestra, slow and deliberate in his composing, introduced a triptych that can be understood as a memorial to a bygone era and at the same time is to be heard as a hopeful signal. © CPO
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Symfonieën - Verschenen op 1 augustus 2021 | Chandos

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Symfonieën - Verschenen op 30 juli 2021 | Berlin Philharmonic Orchestra

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The Mahlerian tradition of the Berlin Philharmonic Orchestra is not very old, neither Furtwängler nor Karajan conducted much of Gustav Mahler's music. The famous Berlin phalanx has since made up for it under its later artistic directors, starting with Claudio Abbado, whose exceptional performances in Berlin and Lucerne are well remembered. This new direction has just been confirmed with the release of a splendid box set on the Berliner Philharmoniker's own label. It presents Mahler's ten Symphonies in versions recorded over the last ten years under today's finest batons: Daniel Harding, Andris Nelsons, Gustavo Dudamel, Kirill Petrenko, Sir Simon Rattle, Bernard Haitink and, of course Claudio Abbado who is chosen for the Adagio from Symphony N° 10.The last individual publication is the pastoral Fourth conducted by Yannick Nézet-Seguin, a musician adored as much by the Berlin musicians as by all the orchestras he conducts. It has to be said that the Québecois has a very rare, capital sympathy and charisma, not to mention his exceptional musical sense. His vision mixes supreme lyricism with an elegance at every moment, in a majestic art that succeeds in reconciling extremes with a great modesty, until the final explosion of the wonderful Ruhevoll. Then the final Lied bursts out, a true hymn to nature or a slightly ironic evocation of a vision of a paradise that is more earthly than it seems, sung with naive wonder by the soprano Christine Karg.This is a superb new recording that enriches the abundant discography of this happy symphony, so different from its nine sisters. © François Hudry/Qobuz
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Symfonieën - Verschenen op 9 juli 2021 | Warner Classics

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The time has come at last to rescue the history of music from the male condescension that has relegated female composers to the status of a handful of oddities. Heir to Beethoven, revered in Paris through the teaching of her foreign teachers Hummel and Reicha, Louise Farrenc left behind her a collection of strong and dramatic symphonic works. Unlike Clara Schumann or Alma Mahler, Louise Farrenc was not hindered by a husband who set her to cooking, cleaning or bearing many children. Coming from an artistic background and strongly encouraged by her husband, she had every opportunity to develop as a composer, but also as a pianist, teacher, editor and musicologist.This album is the first volume of Louise Farrenc's complete set of three Symphonies conducted by Laurence Equilbey at the head of the Insula Orchestra, which she assembled in order to explore little-known repertoire, in particular to bring to the forth works by the great forgotten composers such as Fanny Hensel-Mendelssohn or Clara Schumann.Despite the success she was beginning to enjoy in Paris, Louise Farrenc found it very difficult to stage her symphonic works in the French capital. It was in Brussels that her Symphony No. 1 in C minor was first performed. Its writing follows brilliantly in the wake of the best of the 1840s, in a style where craftsmanship competes with the influences of the great masters of the time: Beethoven, Schubert and Mendelssohn.Premiered this time around in Paris under the direction of François-Antoine Habeneck, whose interpretations of Beethoven's symphonies are known throughout Europe, the more personally written Symphony No. 3 in G minor begins with a cantilena for solo oboe preceding an Allegro full of dramatic energy, syncopations and harmonic surprises.In her symphonies, Louise Farrenc has managed to combine contemporary Viennese style with great intensity and originality. Far from being mere curiosities, Farrenc's symphonies deserve to be included in the repertoire of French orchestras, like those of Albéric Magnard, which are also forgotten in his own country, but that's another story... © François Hudry/Qobuz
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Symfonieën - Verschenen op 1 juli 2021 | Chandos

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Symfonieën - Verschenen op 25 juni 2021 | Berlin Philharmonic Orchestra

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In a volcanic outburst of creativity, the 27-year-old Gustav Mahler wrote his First Symphony within just a few weeks. He then struggled significantly longer to find a definitive shape for this unprecedentedly novel work, which shook the musical public like an earthquake and divided heated tempers into Mahler lovers and Mahler loathers. No one was left cold by the overpowering sound of this work he initially entitled Titan (after Jean Paul’s novel). It begins as a quivering surface (“Wie ein Naturlaut” – “Like a sound of nature”) out of which motivic ideas emerge – fanfare and birdcall fragments from near and far, including an obstinate cuckoo – until a melody is articulated, derived from the Lieder eines fahrenden Gesellen (Songs of a Wayfarer), where it is sung to the words “Ging heut Morgen übers Feld…Wird’s nicht eine schöne Welt?” (“This morning I went across the fields…Isn’t the world looking lovely?”). In programmatic indications that he later withdrew, Mahler describes the movement as “the awakening of Nature after a long winter’s sleep”. The earthy ländler-scherzo is followed by a whimsical funeral-march parody based on a minor-mode version of the folksong canon Bruder Jakob (Frère Jacques). Naïve humour and obscure tragedy clash very much as in Jean Paul’s writings. The “horrifying outcry” that launches the finale definitively exposes the “lovely world’s” ambiguity. The violence of this last movement tears open a roaring abyss. According to Mahler, in the tumultuous masses of sound the “hero” – is it the composer himself? – is locked in a terrible battle “with all the sorrows of this world”. Then, almost imperceptibly, out of a reminiscence of the shimmering sounds of nature that began the symphony, a “victory chorale” takes shape and, with the mobilization of all forces, is elevated into a gigantic apotheosis. Mahler’s First: a hero’s life – or indeed a commedia humana? © 2020 Berlin Phil Media GmbH
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Symfonieën - Verschenen op 18 juni 2021 | CAvi-music

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Tempo, accentuation, phrasing, or structural architecture are not the first thing that strikes the listener when he listens to Arthur Schoonderwoerd’s performances of classical orchestral music for the first time. Instead, the first thing we can notice is that the music sounds different. The orchestra is unusually small. You might want to judge whether this is good or not, but that will not truly help you deal with the phenomenon in itself. Apart from the winds – in the usual line-up as called for in the score – the string section is barely larger than a string quartet. It is pointless to dispute whether this is preferable to a large orchestra. More significant is the striking effect this has on the senses. If you want to do justice to Schoonderwoerd’s interpretation concept, it is best to start by focusing on what you are hearing. © CAvi-Music
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Symfonieën - Verschenen op 1 juni 2021 | Chandos

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Symfonieën - Verschenen op 28 mei 2021 | harmonia mundi

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Vivid testimony to the multifaceted partnership of James Gaffigan and the Lucerne Symphony Orchestra, their latest release invites us to explore the conductor’s American roots, from the most mischievous (Leonard Bernstein’s West Side Story) to the spiritual (Charles Ives’ Symphony No. 3, based on his works for solo organ). With dramatically potent dissonances, Ruth Crawford’s Andante for Strings casts a spell in the form of a hypnotic and restless nocturne, while Samuel Barber’s boldly athletic Toccata for Organ and Orchestra reveals a rarely heard aspect of this well-known master. An electrifying performance! © harmonia mundi
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Symfonieën - Verschenen op 28 mei 2021 | Berlin Philharmonic Orchestra

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Symfonieën - Verschenen op 21 mei 2021 | Aparté

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Concentus Musicus Wien continues its exploration of works of the Classical and pre-Romantic periods as envisioned by Nikolaus Harnoncourt. Stefan Gottfried conducts Schubert’s Symphony No. 5, written in 1816 at the age of 19, and the seventh of Haydn’s 12 London symphonies, No. 99, written in 1793. The former shows the melodic inventiveness and admirable mastery of form of a young composer, heir to the giant Haydn. Recorded live at the famous Musikverein in Vienna, this concert immortalises yet again the skill and the exceptional sound quality of this renowned progenitor of historically informed performance, which continues to perpetuate the work of its visionary founder. © Aparté
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Symfonieën - Verschenen op 19 maart 2021 | LSO Live

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One of Rachmaninoff’s most popular pieces, the Second Symphony is an indulgently melancholic and sentimental work: a magic box of the late-Romantic orchestra. Dramatic sections played by the full orchestra contrast heart-breaking swells that only this composer could have written. The LSO has a long history with the Second Symphony, recording it many times with conductors such as André Previn, Gennady Rozhdestvensky and Valery Gergiev. For this recording, which was captured during the opening of the London Symphony Orchestra's 2019/20 season at the Barbican Hall, Sir Simon Rattle conducted from memory, performing the uncut version of this symphonic treasure. © LSO Live
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Symfonieën - Verschenen op 1 februari 2021 | Chandos

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Symfonieën - Verschenen op 1 november 2020 | Chandos

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Symfonieën - Verschenen op 1 november 2020 | Chandos

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Symfonieën - Verschenen op 1 oktober 2020 | Chandos

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