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Balletten - Verschenen op 13 oktober 2019 | Elevate.

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Symfonische muziek - Verschenen op 4 oktober 2019 | Christian Deepwood

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Symfonische muziek - Verschenen op 21 september 2019 | Siam Masterpiece Records

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Symfonische muziek - Verschenen op 30 augustus 2019 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
This is the eagerly anticipated second volume of Rumon Gamba’s fascinating survey of lesser-known British musical gems. Two works (Cowen’s Rêverie and Hadley’s Kinder Scout) are world premiere recordings, and the entire repertoire is very rarely heard. Dating from 1903 to 1932, these works show the remarkable variety of compositional styles in Britain during that period. Owing to its strong rhythmic elements, Mêlée fantasque pre-echoes Bliss’s later ballet scores. Vaughan Williams’s Harnham Down, inspired by the Wiltshire countryside, is one of many works reflecting the British landscape (along with Goossens’s By the Tarn, Foulds’s April-England, and Hadley’s Kinder Scout). Not every composer’s inspiration was local or nationalistic though: Dorothy Howell’s Lamia, based on the eponymous poem by Keats, retelling Greek myth, caused such a sensation at its premiere at the Proms that it was repeated three days later! Eric Fogg’s Merok is based on a Norwegian folk tune, and named after a village at the head of the Geiranger Fjord. © Chandos
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Symfonische muziek - Verschenen op 30 augustus 2019 | Chandos

Hi-Res Booklet Onderscheidingen Diapason d'or
Best known as a composer of film music, Korngold was born in Brünn, Austria-Hungary (present-day Brno, Czech Republic) and – as both a pianist and composer – was a child prodigy. Mahler and Strauss were impressed by the young musician, and recommended he study with Zemlinsky rather than ‘waste his time’ attending music conservatory. Korngold emigrated with his family to the USA in 1934, where he went on to revolutionise the Hollywood soundtrack, composing scores for films such as The Sea Hawk, Captain Blood, and The Adventures of Robin Hood. Composed between 1947 and 1952, and dedicated to the memory of Franklin Delano Roosevelt, his (only) Symphony is a heartfelt response to the conflict of WWII. The premiere, in 1954 in Vienna, was under-rehearsed and not a success, and the work remained neglected until Rudolf Kempe came across a set of score and parts in Munich and resurrected it. The Theme and Variations and Straussiana were both commissioned by the Association of American School Orchestras, but Korngold makes no concessions to youth in his writing. Straussiana also reflects his lifelong love of the music of Johann Strauss II. This is the first recording with John Wilson and his new orchestra, the Sinfonia of London. The hand-picked players represent the cream of London’s orchestral musicians, and create an outstanding quality of sound that is evident throughout this exceptional recording. © Chandos
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Symfonische muziek - Verschenen op 9 augustus 2019 | Naxos

Hi-Res Booklet
The celebrity status of Russian composer Sergei Taneyev pales in comparison to his contemporary Tchaikovsky (to whom he was a pupil in his composition class at the Moscow Conservatory) and The Five Mighty. Neither is his music well established in our concert halls. Fortunately, there exist a few recordings that make up for the shortage, like this one here by conductor Dmitry Yablonsky heading the Kiev Virtuosi Symphony Orchestra. This Concert Suite for violin and orchestra by Taneyev creates an atmosphere that is both familiar and shocking. The romantic score deploys a dramatism specific to a concerto (the Prelude and Grave are perfect illustrations of this) however the genre is subverted by the reworking of the suite. Inspired and with a well-tempered musicality, the composer exploits a variety of tones from his orchestra and weaves a thick thread of sound around the violin. The tone evokes images of a Don Quichottesque epic by Strauss more than it does a simple retelling of century-spanning traditional Russian tales… The work lacks perhaps a touch of Annelle K. Gregory’s temperament, yet the intonation is perfect: the playing is rife with colour and expressionism and favours a certain elegance in discourse over severity. Dmitry Yablonsky’s charismatic direction nevertheless succeeds in keeping the soloist in check, following in the steps of David Oistrakh. Taneyev’s music therefore unveils itself progressively like an initiation with the Tarentella and Presto providing the complete picture at the end of this Concert Suite. The Fantasia on Russian Themes for violin and orchestra by Rimski-Korsakov is cleverly placed after Taneyev’s œuvre, breaking with custom. Such a decision highlights the piece in an original manner and prevents the work from appearing too orderly. Upon listening, there is little opportunity for recovery as each track moves seamlessly onto the next. It is worth mentioning that Annelle K. Gregory choses a spirited tempo here and the central Lento allows us just enough time for breath. © Elsa Siffert/Qobuz
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Symfonische muziek - Verschenen op 8 augustus 2019 | I Am Music Ent.

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Symfonische muziek - Verschenen op 6 augustus 2019 | Liquid Sound Studio

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Symfonieën - Verschenen op 2 augustus 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen Diapason d'or
These concert recordings give the lie in stunning style to the reputation for slowness which has dogged the great Otto Klemperer. The image of a partially-paralysed old man directing Beethoven's symphonies at a deathly slow pace is dispelled by these two concert versions of Symphony No.101 "The Clock" by Haydn and Symphony No.4 by Brahms recorded in Munich in 1956 and 1957, with the excellent Bavarian Radio Symphony Orchestra, one of Germany's best.Here is a perfectly-balanced Haydn, both biting and joyful. The opening Presto launches with sparkling élan, and sets the tone for the whole album. It reminds us how, in his youth, Otto Klemperer had always been a conductor ready to take to the barricades for contemporary music, and to play the great works of the repertoire with a style whose grandeur was only rivalled by its vivacity.His vision of the Fourth Symphony by Brahms alternates between a sense of immensity (Allegro giocoso) and a versatility in terms of tempo that most conductors today wouldn't dare tackle. He cleverly structures the Finale, to underscore the thread linking Brahms and the contrapuntists of musical history, the crowning summit of which writing being a Bach cantata and the use of a passacaglia that holds together the whole magisterial performance. Starting at a relatively moderate tempo, the movement reaches its climax, as Brahms instructs on the score (Più Allegro), in a fateful and liberating whirlwind. © François Hudry/Qobuz
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Symfonische muziek - Verschenen op 1 augustus 2019 | Vinyl Diamonds

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Symfonische muziek - Verschenen op 1 augustus 2019 | Ucf Marching Knights

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Symfonische muziek - Verschenen op 26 juli 2019 | Melodiya

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Symfonische muziek - Verschenen op 26 juli 2019 | Melodiya

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Balletten - Verschenen op 26 juli 2019 | Melodiya

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Symfonische muziek - Verschenen op 21 juli 2019 | Soundtrack by Qkj

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Symfonische muziek - Verschenen op 14 juli 2019 | Soundtrack by Qkj

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Symfonieën - Verschenen op 12 juli 2019 | Naxos

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Symfonische muziek - Verschenen op 3 juli 2019 | RevOla

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Symfonische muziek - Verschenen op 3 juli 2019 | RevOla

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Symfonische muziek - Verschenen op 3 juli 2019 | Warner Classics