Albums

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Symfonieën - Verschenen op 5 april 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Symfonische muziek - Verschenen op 22 februari 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Symfonische muziek - Verschenen op 18 januari 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Le Choix de France Musique - Choc de Classica
Alpha begins a complete cycle of the symphonies by Sibelius alongside some of his symphonic poems with Gothenburg Symphony and its new chief conductor Santtu-Matias Rouvali. In the great tradition of Finnish conductors, Santtu-Matias Rouvali is known for his extremely physical and organic interpretations: ‘Music unmistakeably flows from him’, commented The Sunday Times. This was evident when, at a very young age, he stepped in to conduct a concert with the Finnish Radio Symphony Orchestra which began the journey to his first tenure as Chief Conductor with the Tampere Philharmonic; a meteoric rise to a career working at the highest musical level internationally; and a third post as Principal Guest Conductor of the Philharmonia Orchestra in London. When Bachtrack asked him how he shapes the orchestral sound, he replied: ‘I sing it, I move my hands the way I want it (…) the conductor should be able to show tempo somewhere in the body (…) I was also a drum kit player, so my feet and hands can do different things at the same time. When you read the score, you sing it in your head (…) I think it’s the sense of inside groove that you get from playing percussion which is very important in Sibelius’s music.’ In the Gothenburg Symphony he finds a prestigious cohort of musicians with an impressive discography, and joins a line of their illustrious musical directors, notably Neeme Järvi, the orchestra’s principal conductor from 1982 to 2004, but also Gustavo Dudamel, who is honorary conductor. © Outhere Music
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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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Symfonieën - Verschenen op 9 november 2018 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Exceptional sound - 5 Sterne Fono Forum Klassik
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Symfonische muziek - Verschenen op 10 september 2018 | Channel Classics Records

Hi-Res Booklet Onderscheidingen Diapason d'or
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Symfonische muziek - Verschenen op 27 april 2018 | La discothèque idéale de Diapason

Onderscheidingen Diapason d'or
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Symfonische muziek - Verschenen op 13 april 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
Recording Ravel's music on period instruments is the kind of thing that might raise a smile... until you realise just how much the production of instruments has changed in less than a hundred years: it's the return of catgut strings, skin drum heads, the French basson (and not the German system bassoon which is used across all the world's orchestras today), shaper tips, trumpets and trombones of French manufacture. At the head of his orchestra Les Siècles, François-Xavier Roth gives a new, orthodox, historically-informed version of Ma Mère l’oye (complete ballet), the Tombeau de Couperin and Shéhérazade, the long-neglected "ouverture de féérie" [Fairy Overture] which is pure Ravel. This return to the roots is clearly easier and more straightforwardly authentic for this period of music history, because, unlike earlier works, we possess recordings which date back to the 1920s, and even earlier, which can tell us about the style, the colours, the phrasing and the tempo. But it isn't enough just to have all this historical information to hand to make something interesting. What makes this record thrilling is that all the musicians in the Siècles are excellent, and François-Xavier Roth is a talented artist himself, who knows this music inside out. At which point, his complete recording of Stravinsky's Firebird has already struck us with its quality. This rediscovery of Ravel resounds with clarity and finesse; it is a feast of well-defined timbres which cuts against the "beautiful sound" which prevails in orchestras around the world today. © François Hudry/Qobuz
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Symfonieën - Verschenen op 6 april 2018 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Exceptional sound