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Koormuziek - Verschenen op 7 oktober 2016 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 5 juli 2019 | BIS

Hi-Res Booklet
It is striking that two of the true classics in English orchestral music were composed within the short space of some fifteen years around the turn of the previous century. Edward Elgar's Enigma Variations have charmed as well as fascinated listeners since the first performance in 1899. In 14 remarkably diverse variations Elgar demonstrates his compositional mastery while creating miniature portraits of his closest friends, as well as of his wife and himself. By turns gentle, idyllic, tempestuous and boisterous, the pieces which often run seamlessly into each other nevertheless make up a coherent whole, like a group portrait taken during a country weekend. In 1916 Gustav Holst completed another set of musical character sketches his suite The Planets, in seven movements. These have little to do with astronomy and even less with the Roman deities whose names they carry. Holst was rather inspired by astrology and the suite actually concerns human character as influenced by the planets. Performing the programme in the warm acoustics of Bergen's Grieg Hall, the Bergen Philharmonic Orchestra under Andrew Litton give it their all in this sonic spectacular. © BIS Records
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Klassiek - Verschenen op 1 november 2006 | BIS

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Klassiek - Verschenen op 1 januari 2000 | BIS

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Klassiek - Verschenen op 3 november 2017 | Chandos

Hi-Res Booklet
Among the rare works by Bartók for a full orchestra, the Dance Suite "immediately" precedes the Concerto for Orchestra, albeit by more than two decades... As with the Concerto, this was commissioned by Budapest City Hall for the 50th anniversary in 1923 of the unification of Buda, on the north bank of the Danube, with Pest, on the south. As so often with Bartók, this is "imaginary folk music": the themes are assembled on a formal melodic and rhythmic base, made up from a stock of popular airs from Hungarian villages, but also from Romanian, Slovak and North African Arab sources. Unlike the two major orchestral works recorded here - the Concerto for Orchestra and the Dance Suite - the two rhapsodies for violin and orchestra from 1928 show us a Bartók who is returning to the "export" style of Eastern Europe, which he had inherited – like Brahms and Liszt before him – from Viennese café musicians: that is, from musicians much closer to the Romany accents than to the reality of Magyar folk music. The First Rhapsody is tinted with local colour thanks to the addition of a cimbalom in the orchestra, his one and only use of this instrument. As for the score for the Concerto for Orchestra - the most major work that he would produce in the last five years of his life in the USA, where he was a sick and demoralised refugee - it was commissioned by Serge Koussevitzky. Bartók began the work in August 1943 and completed it in eight weeks, a remarkably short period which proves that the was genuinely reinvigorated by the work: "Perhaps it's thanks to this improvement that I was able to write the work Koussevitzky commissioned – or vice versa," he wrote. The work was performed in December 1944 by the Boston Symphony Orchestra, and Bartók then altered the final portion, which became a little longer. On solo violin for the Rhapsodies we have James Ehnes, while Norway's Bergen Orchestra is conducted with admirable clarity by Edward Gardner. © MT / Qobuz
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Klassiek - Verschenen op 4 december 2012 | BIS

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Klassiek - Verschenen op 1 januari 2007 | BIS

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Klassiek - Verschenen op 5 augustus 2016 | BIS

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Klassiek - Verschenen op 6 januari 2000 | Simax Classics

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Klassiek - Verschenen op 4 november 1999 | Simax Classics

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Klassiek - Verschenen op 10 januari 2000 | Simax Classics

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Klassiek - Verschenen op 4 november 1999 | Simax Classics

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Klassiek - Verschenen op 4 januari 2011 | Ondine

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