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3997 albums gesorteerd op Best verkocht en gefilterd op Symfonische muziek en € 5,00 tot € 10,00
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Symfonische gedichten - Verschenen op 1 december 2017 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Symfonische muziek - Verschenen op 18 januari 2019 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason découverte - 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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Symfonieën - Verschenen op 21 april 2015 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica
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Symfonische muziek - Verschenen op 6 november 2012 | Glossa

Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Symfonieën - Verschenen op 31 maart 2017 | Berlin Classics

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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 27 juli 2010 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - The Qobuz Ideal Discography - Exceptional Sound Recording
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Symfonische muziek - Verschenen op 9 oktober 2012 | Zig-Zag Territoires

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica - Exceptional Sound Recording - Hi-Res Audio
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Symfonische muziek - Verschenen op 1 maart 2001 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Record of the Year - The Qobuz Ideal Discography - Hi-Res Audio
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Symfonische muziek - Verschenen op 4 november 2014 | Naxos

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Symfonische muziek - Verschenen op 22 februari 2019 | Alpha

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Symfonische muziek - Verschenen op 7 december 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
The originality of this recording (which presents works that are, in fact, rather common) comes from the orchestra Les Siècles playing on periodic instruments, in this case from the period in which Debussy wrote these masterpieces. This is particularly relevant for woodwinds and brass, whose mechanisms and sounds around 1900 were very different - more incisive perhaps, and undoubtedly more differentiated - which for music like Debussy's offers a real plus in the orchestral balance. Moreover, the number of strings remains reasonable, this way the woodwind is never swallowed up as it often is with large international orchestras. The listener will be able to hear this music as Debussy heard it, or at least how he would have liked to have heard it because in his time orchestras and conductors did not always have a clear understanding of his style or the infinite colours on his palette. © SM/Qobuz
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Symfonische muziek - Verschenen op 8 mei 2012 | Naxos

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - Exceptional Sound Recording - Hi-Res Audio - La Clef du mois RESMUSICA
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Balletten - Verschenen op 17 maart 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Award - Gramophone Editor's Choice - 4 étoiles Classica
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Symfonische muziek - Verschenen op 1 januari 2000 | LSO Live

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Symfonieën - Verschenen op 9 november 2018 | Ondine

Hi-Res Booklet Onderscheidingen 5 de Diapason - Exceptional Sound Recording
What a curious and charming piece of work the First Symphony by Witold Lutosławski is! Written in 1947, it is still borrowing from Stravinski, Bartók, Prokofiev and clearly Roussel, and yet it display the composer's own personal ideas, and his flawless skill in orchestration. But he had not yet made the dodecaphonic style his own, nor the principle of randomness which would be found later in 1961's Jeux vénitiens (Venetian Games). In his case, randomness refers to musicians or groups of musicians having the freedom to play their different parts when they feel like it, or when the conductor gives them a cue. But for sure, this piece's formal framework is still constrained: every performance will shed a different light on it, but it is still the same work. The album finishes with the Fourth Symphony, the composer's last, written between 1988 and 1991, performed in 1993 with Lutosławski himself conducting before his death a few months later. In this work he makes a clear return to his harmonic and melodic ideas, which at times approach Mahler or Bartók, even though the discourse remains decidedly modern. The contrast between the First Symphony, Jeux vénitiens and the Fourth Symphony could not be more spectacular, and it gives a brilliant picture of the evolution of a musical genius who embraced a wide range of influences, constantly adapting them to his own style. © SM/Qobuz
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Symfonische muziek - Verschenen op 12 oktober 2018 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonieën - Verschenen op 17 november 2017 | Orfeo

Hi-Res Booklet Onderscheidingen Diapason d'or
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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.
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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