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Symfonieën - Verschenen op 1 april 2014 | Naxos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - La Clef du mois RESMUSICA
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Symfonische muziek - Verschenen op 8 februari 2019 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
Without question the figurehead of classical Brazilian music will always be Villa-Lobos. But of course, that’s not counting his friend and unfaltering mentor, Alberto Nepomuceno, the man who founded the country’s national music school. With the encouragement of Edvard Grieg, from the 1890s Nepomuceno began to explore traditional popular music in Brazil and tentatively began to incorporate it into his compositions. As time went by, he did so more and more boldly and Villa-Lobos then picked up where he left off, building on the foundations he had laid. None other than Richard Strauss conducted the opening of his O Garatuja (which is featured on this album) at the Rio Opera during his first tour of South America, just a few days before the composer’s untimely death. His Série Brasileira from 1897 paved the way for many of the Brazilian styles that later emerged, such as for Milhaud who took themes directly from music on the streets at the time and incorporated a wide variety of percussion instruments into his music. This is an impeccable orchestral composition and a testament to the excellent teaching Nepomuceno received during his long period in Europe – in Germany he conducted the Berlin Philharmonic playing two of his works, in Austria he had a famous encounter with Mahler, in France he became friends with Debussy, Saint-Saëns and Indy and he also went to Norway, Switzerland and Belgium. Here, his music is performed by a very impressive orchestra based in Belo Horizonte called the Philharmonic Orchestra of Minas Gerais. © SM/Qobuz
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Symfonische muziek - Verschenen op 20 januari 2015 | Signum Records

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Symfonische muziek - Verschenen op 3 november 2014 | Halle Concerts Society

Hi-Res Onderscheidingen Gramophone Editor's Choice
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Symfonische muziek - Verschenen op 3 november 2017 | Chandos

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Qobuzism - 5 étoiles de Classica
Aside from Elgar’s fascinating and obligatory Falstaff composed in 1913 (a Symphonic Study according to the partition, but in reality a symphonic poem in the grand tradition of Strauss— about whom Elgar probably thought when he wrote his masterpiece, and the rather present solo cello cannot help but remind us of Strauss’ Don Quixote, composed sixteen years earlier), the album distinguishes itself by a few melodies with orchestra from the same Elgar, a repertoire unfortunately too often neglected and yet of breathtaking beauty (we hear, in a pinch, the Sea Pictures performed from time to time, but that’s all folks). And when you know that it’s the now very famous baritone Roderick Williams on the mic, we can only applaud the initiative of Andrew Davis and the BBC Philharmonic to feature these splendors once again. Elgar proves to us here that, far from just being a great master of large symphonic-vocal soundscapes in the form of oratorio (we obviously think about The Dream of Gerontius, The Apostles and The Music Makers), he handles the miniature with genius. Roderick Williams, one of the most beautiful voices of today’s British scene, grasps these rarities with a joy that is as rare as these pieces. The album closes on a hilarious wink, the Smoking Cantata, a cantata with a ginormous orchestration but that lasts… only 49 seconds, and whose text is limited to: “Kindly, Kindly, kindly do not smoke in the hall or staircase”. It’s the best British humor! Qobuz technical commentary on sound qualityThe sound quality for this wonderful orchestration is refined; the level ratios are well-judged; and the distances between the consoles are just right, in this airy piece of mixing that renders the lines exceptionally clear. Clear and enveloping reverberation never hides the discourse: the result is a rare evenness between the different families within the orchestra. The tutti certainly aren’t lacking any liveliness, thanks to the remarkably assured dynamic, and when the percussion gets going we discover a beautifully-proportioned hall, which gives the sound room to develop without constraints. Without falling into the very (too?) popular trap of ultra-proximity, and because the acoustics allow it, Chandos has produced a mix which really respects the score, the performance, and the sound scene... what a relief! © SM/Qobuz
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Symfonische muziek - Verschenen op 1 januari 2013 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Hi-Res Audio
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Symfonische muziek - Verschenen op 26 oktober 2010 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Hi-Res Audio
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Symfonische muziek - Verschenen op 19 mei 2017 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles de Classica
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Symfonische muziek - Verschenen op 23 maart 2018 | Onyx Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Symfonische muziek - Verschenen op 2 november 2018 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 étoiles de Classica
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Symfonische muziek - Verschenen op 6 april 2018 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Symfonieën - Verschenen op 5 augustus 2016 | BIS

Hi-Res Booklet Onderscheidingen Gramophone Award - Gramophone Editor's Choice
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Symfonische muziek - Verschenen op 4 november 2016 | Toccata Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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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 10 november 2017 | Alpha

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Haydn2032, the ambitious project of recording the complete symphonies of Haydn, has been placed from the start under the artistic direction of Giovanni Antonini, with two ensembles, Il Giardino Armonico, which made the first four volumes, and the Kammerochester Basel, to which this fifth volume and the next two are assigned. Another characteristic of the edition is that each time Haydn is set in perspective with another composer; here it is Joseph Martin Kraus (1756-92): ‘Kraus was the first man of genius that I met. Why did he have to die? It is an irreparable loss for our art. The Symphony in C minor he wrote in Vienna specially for me is a work which will be considered a masterpiece in every century’, said Haydn in 1797. Though he long remained forgotten after his death, Kraus made an active contribution to the movement of poetic renewal called ‘Sturm und Drang’ or ‘Geniezeit’ (time of genius) because such artists as the young Goethe broke free of all tradition to follow their hearts alone. When Haydn called Kraus homme de génie, in French, he probably had this context in mind. The two composers had met in Vienna in 1783. © Alpha Classics
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Symfonieën - Verschenen op 10 mei 2019 | Berlin Philharmonic Orchestra

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Symfonieën - Verschenen op 19 juli 2019 | London Philharmonic Orchestra

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Symfonische muziek - Verschenen op 8 januari 2016 | Sony Classical

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
It is the third time that Latvian conductor Mariss Jansons is invited to direct the prestigious New Year's Concert with the Vienna Philharmonic, having previously done so in both 2006 and 2012. This concert, broadcast direct across the planet to about 90 million viewers, will certainly honour the Strauss dynasty: Johann father, Johann son, Josef and Eduard, but also the composer of operettas and film scores Robert Stolz (1880 - 1975), Carl Ziehrer, Emil Waldteufel and Josef Hellmesberger. The majority of waltzes and polkas by Strauss from a big part of the habitual content for the New Year's Concert supply, but eight works are really offered first. They will end unquestionably with Vienna's least kept secret, The Blue Danube Waltz and The Radetzky March. It is worth noting that this will mark the 75th anniversary of the birth of the New Years Concert in Vienna. © SM/Qobuz
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Toneelmuziek - Verschenen op 10 augustus 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason - 3F de Télérama - Gramophone Editor's Choice
Composed by Stravinsky in 1933 in the wake of the French oratorio fashion whose figureheads are Milhaud (Les Choéphores) and Honegger (Le Roi David, Jeanne d’Arc au bûcher), and his own Oedipus Rex, Perséphone sanctifies the French period of the Russian composer, after he left Switzerland and before he settled definitely in the United States. Ordered by Ida Rubinstein, to whom music history already owed Debussy’s Martyre de Saint-Sébastien and Ravel’s Boléro, this melodrama, profane in its story and hybrid regarding its musical form, glorifies spring -without it being a new “Consecration” in its language) on a text by André Gide, thus prolonging the emotion created by the novel Si le grain ne meurt. The three acts of the work (Perséphone enlevée, Perséphone aux enfers, Perséphone renaissante) are close to human nature and psyche with an empathy reinforced by Stravinsky’s music. Conceived for a tenor (Eumolpe), a narrator, a mixed chorus, a chidren’s chorus and an orchestra, this work, so original in the production of its author, has however never found its audience. People long blamed Stravinsky for wringing the neck of the prosody of Gide’s text without understanding that it was however one of its more sensitive works, possessed with a melodic verve, a clear lyricism and a warmth for which he wasn’t known for. Under Esa-Pekka Salonen’s inspired and aerial baton, Perséphone finds here a second youth which might finally allow it to impose itself to a new generation of music lovers. This “strange profane mass” (as described by Marcel Marnat) is probably one of the most touching works of a composer that is always looking for new springs. © François Hudry/Qobuz
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Symfonische muziek - Verschenen op 31 januari 2013 | Challenge Classics

Hi-Res Onderscheidingen Gramophone Editor's Choice