Albums

370 albums gesorteerd op Date: from newest to oldest en gefilterd op Symfonieën
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Symfonieën - Verschenen op 26 juli 2018 | LSO Live

Hi-Res Booklet
€ 30,99
€ 21,99

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
€ 21,99

Symfonieën - Verschenen op 6 juli 2018 | Deutsche Grammophon (DG)

Booklet
€ 10,99

Symfonieën - Verschenen op 6 juli 2018 | Decca

Onderscheidingen Diapason d'or
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€ 12,49

Symfonieën - Verschenen op 8 juni 2018 | Deutsche Grammophon (DG)

Hi-Res
€ 23,49

Symfonieën - Verschenen op 8 juni 2018 | Decca

Onderscheidingen 5 de Diapason
€ 9,99

Symfonieën - Verschenen op 4 mei 2018 | CPO

Booklet Onderscheidingen 5 de Diapason
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€ 14,99

Symfonieën - Verschenen op 20 april 2018 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Pärt's four symphonies stretch across a period of 45 years, from 1964 and 1966 respectively for the first two, 1971 for the third, and 2008 for the fourth. His first steps into the works of the symphony were still marked by dodecaphonism, although Pärt would not resist the gradual appearance of tonal poles in his work and "accidental" encounters between consonant notes and the harmonies that resulted; but the discourse remains very much linked to modernist principles, while exploring older forms of prelude and fugue, or indeed polyphony. With the Second, Pärt's avant-gardist period came to an end. From the 1970s, Pärt would completely revise his language, and come to concentrate on religious and medieval music, in such a way that his Third Symphony throws out dodecaphonism and all its theories, developing in their place a tonal, melodic, modal idiom (the old ecclesiastical styles, in fact). And within this personal revolution, Pärt would take a step into "tintinnabulum", which formed the basis of the Fourth Symphony, written for strings, harp and percussion: a wide world of meditation, stunning, unreal, intangible, and fundamentally tonal, in which the movements from one phenomenon to another move immensely slowly, allowing the listener to savour every moment. © SM/Qobuz
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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 Diapason d'or - Gramophone Editor's Choice - Exceptional sound
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€ 19,99

Symfonieën - Verschenen op 6 april 2018 | BIS

Hi-Res Booklet Onderscheidingen Choc de Classica
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Symfonieën - Verschenen op 23 februari 2018 | UMC - Decca Gold

Hi-Res
The 2018-2019 season marks Jaap van Zweden's debut as musical director of the New York Philharmonic Orchestra, which, under the leadership of their Dutch conductor (the 26th in the illustrious lineage of those who have preceded him since 1842), has recently signed a new contract with Universal Music. His 2007 recording of the same symphonies with the Dallas Symphony was marked by its intensity and rapid tempi. With the New York Orchestra, here very fit, Jaap van Zweden maintains the same ardor (except for the beginning of the 5th on the reserve), but without excess, always in the respect of music, while rebalancing the beat of his metronome. A promising future sequel.
€ 3,99

Symfonieën - Verschenen op 29 december 2017 | AAO Music

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€ 9,99

Symfonieën - Verschenen op 1 december 2017 | Phi

Hi-Res Booklet Onderscheidingen 5 de Diapason

Symfonieën - Verschenen op 24 november 2017 | harmonia mundi

Booklet
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€ 78,49
€ 55,99

Symfonieën - Verschenen op 2 januari 1980 | Deutsche Grammophon (DG)

Hi-Res Booklet
€ 14,99
€ 9,99

Symfonieën - Verschenen op 17 november 2017 | Orfeo

Hi-Res Booklet Onderscheidingen Diapason d'or
€ 14,99
€ 9,99

Symfonieën - Verschenen op 3 november 2017 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
€ 16,99
€ 14,49

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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Symfonieën - Verschenen op 13 oktober 2017 | Naxos

Hi-Res Booklet Onderscheidingen Choc de Classica
Let’s start by saying this is not a “complete” collection of Havergal Brian’s symphonies in the true sense of the word, meaning a complete collection in which all symphonies are recorded by the same orchestra, with the same conductor over a more-or-less-precise period of time. However Naxos can boast about being able to offer all thirty-two of this unique composer’s symphonies, the oldest recordings dating back twenty years and just a few months for the most recent ones. It’s also worth mentioning that several of these symphonies had never been recorded before, further highlighting the rarity of this collection. The first one, Gothic − started in 1919 and only completed in 1927 − is highly majestic, with an orchestra of 210 performers and a choir that would need to exceed 500 people to be heard over the 17 percussionists, 68 brass and 32 woodwinds of the ensemble. Lasting almost two hours in total it is one of the most imposing of the entire repertoire. Quickly however Brian had to make amends and move towards more reasonable formats, with the vast majority lasting around 20 minutes, and the shortest – the aptly named 22nd, Sinfonia brevis from 1965 – doesn’t exceed nine minutes. In this complete collection, the listener will find everything and its opposite, big surprises, others more staggering or odd, never radical, but Havergal Brian will undeniable move you, with a personal language that can’t quite be categorised, neither modern nor old, but stubbornly Havergalbrianian. In addition to his symphonies, some albums also feature concertos, overtures and isolated orchestral pieces that offer a different way to approach the work of this unique character.