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Symfonieën - Verschenen op 10 mei 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason d'or / Arte - 5 Sterne Fono Forum Klassik
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Symfonische muziek - Verschenen op 23 september 2016 | Actes Sud Musicales

Onderscheidingen 5 de Diapason - 4F de Télérama - 5 Sterne Fono Forum Klassik
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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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Symfonische muziek - Verschenen op 18 januari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica
A new aesthetic calls for new forms: such is the challenge the composer set for himself in the two works presented here. In Les Nuits d’été, Berlioz pioneered, well before Mahler and Ravel, a song cycle for voice and orchestra. In Harold in Italy, scored for large orchestra and solo viola, he experimented with the symphonic genre. These period-instrument performances by Les Siècles, led by François-Xavier Roth, with violist Tabea Zimmermann, also feature Stéphane Degout in the vocal cycle, heard here in the composer’s own version for baritone. File under: out of the ordinary. © harmonia mundi
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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 februari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
The premiere of Mahler’s Third Symphony took place in June 1902 in Krefeld (not far from Düsseldorf), but it was indeed the Gürzenich Orchestra of Cologne which gave that first performance... greeted with acclaim – this was not always the composer’s experience with his masterpieces. Originally conceived as a hymn to Nature, in which the inert chaos of the opening movement is gradually left behind, the work calls for enormous forces (large orchestra, women’s choir, boys’ choir, and contralto soloist) and at each hearing leaves an unforgettable impression on the audience. Such was the case in October 2018, when François-Xavier Roth led the esteemed successors of the work’s first interpreters in this latest Mahler adventure. © harmonia mundi
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Volledige opera's - Verschenen op 28 augustus 2020 | Bru Zane

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte
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Symfonieën - Verschenen op 25 oktober 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 7 april 2015 | Actes Sud Musicales

Onderscheidingen Choc de Classica
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Symfonische muziek - Verschenen op 25 maart 2013 | Actes Sud Musicales

Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 23 oktober 2020 | LSO Live

Hi-Res Booklet
François-Xavier Roth, Principal Guest Conductor of the London Symphony Orchestra, displays his deep affinity with the music of Debussy and Ravel on his latest LSO Live album. A fascination with his Spanish heritage would be a recurring theme in many of Ravel's creations. Mysterious melodies weave delicately throughout his early work Rapsodie espagnole, punctuated by bursts of Spanish-inspired fanfares and Habanera dance rhythms. The voluptuous flute opening of the Prélude à l'après-midi d'un faune immediately conjures a world of luxurious fantasy, weaving through the music's changing scenes with effortless spontaneity. Every instrument adds something unique, and the whole work appears to float free of form and convention. In La mer, Debussy tells the story of the eternal odyssey of the ocean. He sails through storm and calm, wind and rain, in music that rises and falls with the rhythms of the sea. The score is so vivid that you can almost smell sea salt and see the crests of the waves. © LSO Live
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Symfonieën - Verschenen op 24 november 2017 | harmonia mundi

Hi-Res Booklet
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Symfonieën - Verschenen op 21 augustus 2020 | Myrios Classics

Hi-Res Booklet
The year 1841 finally marked Robert Schumann’s breakthrough as a composer for orchestra. That year, he created no less than two works: his First Symphony, also known as the “Spring Symphony”, and a piece which he initially planned as a “Symphonic Fantasy” in one move- ment, and which would later become his Symphony in D Minor.The Spring Symphony was composed in the coldest winter. Full of longing, it is a work that knows only one direction: growing, blossom- ing, the path to light and new life. The Symphony in D minor seems much more somber and intimate, “a work from the innermost depths of his soul”, as Clara Schumann noted in her diary. However, the audience could not warm up to this bold, impetuous work, and Schumann set it aside. Ten years later, after a major revision, he published it as his 4th Symphony.This album pairs the Spring Symphony with the original version of the Symphony in D minor, the version which friends such as Johannes Brahms preferred over the later edition. Schumann never heard it again in his lifetime, and it was not until 1889 that it was performed in public once more, by the Gürzenich Orchestra Cologne under the baton of Franz Wüllner.François-Xavier Roth, the Gürzenich Orchestra’s current chief conductor, also prefers the original version. With its leaner orchestration, it is certainly the more radical one, and thus requires a higher degree of commitment from the orchestra musicians in forming crescendi, melodic phrases, and extended arcs of formal development. © Myrios Classics
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Symfonische muziek - Verschenen op 19 november 2013 | Actes Sud Musicales

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Symfonische muziek - Verschenen op 2 december 2013 | Musicales Actes Sud

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