Available languages: EnglishHannu Lintu is a prominent Finnish conductor, known for exploring neglected orchestral repertoire, as well as for promoting contemporary music. Trained in piano and cello at the Turku Conservatory and the Sibelius Academy, he studied conducting with Atso Almila, Jorma Panula, and Eri Klas, and participated in master classes with Ilja Musin. He also received instruction from Myung-Whun Chung. In 1994 he won the the Nordic Conducting Competition in Bergen, and in 1996 graduated with honors from the Sibelius Academy. Lintu was the chief conductor of the Turku Philharmonic Orchestra from 1998 to 2001, and served as chief conductor and artistic director of the Helsingborg Symphony Orchestra from 2002 to 2005. In 2005 he was the artistic director of the Summer Sounds Festival of the Finnish contemporary music ensemble, the Avanti! Chamber Orchestra. In 2009 he became chief conductor of the Tampere Philharmonic Orchestra, and in 2010 was named chief conductor designate of the Finnish Radio Symphony. Lintu is also the principal guest conductor of the RTÉ National Symphony Orchestra in Dublin. In addition to performing with orchestras across Europe, he has guest conducted in North America, South America, Asia, and Australia. He has led many of the world's finest orchestras, including the Los Angeles Philharmonic, the Toronto Symphony Orchestra, the Baltimore Symphony Orchestra, and many others. Lintu has recorded for Ondine, Alba, Naxos, Ricordi, Claves, Hyperion, and Danacord.
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Classique - Verschenen op 8 februari 2019 | Ondine
Hi-Res Booklet Onderscheidingen Choc de Classica - 5 Sterne Fono Forum Klassik
Unlike usual opera sequences, the ones excerpted from Zimmerman’s Die Soldaten (‘The Soldiers’) which he named Vokal-Sinfonie (Vocal Symphony) were created before the opera as proof that the music was playable. Indeed, its final score posed quite the challenge for the singers, the orchestra, the theatres and for the audience: with sixteen singing roles, around ten spoken roles, an orchestra of about one hundred musicians, crazy percussion instruments, film projectors, tape recordings and extra-musical sound effects – it’s enough to make any opera house fear for their budget! Not to mention the fact that the audience was also subject to the strict dodecaphonic system and some of the opera scenes actually overlapped. Zimmermann initially wanted the piece to be performed on twelve different stages that surrounded the audience who would be sitting on swivelling chairs and would rotate themselves accordingly. However, the idea was rejected by the theatre where the first performance was to take place and the composer finally abandoned the idea and remodelled his work to render it – almost – performable. Here, you can listen to Vokal-Sinfonie from 1963 which has some noticeable similarities with Berg’s Wozzeck, particularly in the raw and deeply moving lyricism of the vocal material. The Sinfonie is followed by the 1968 Photoptosis for full orchestra, one of the composer’s last two works before he died two years later after having suffered from severe depression. The score is both dark and light at the same time and is a work of sheer orchestral genius. The album opens with the 1950 Violin Concerto, which despite its supposedly classic form (Sonata-Fantasia-Rondo) explores the world of modernism in an intense and beautifully dark lyricism. © SM/Qobuz
Symphonies - Verschenen op 9 november 2018 | Ondine
Hi-Res Booklet Onderscheidingen 5 de Diapason - Prise de Son d'Exception
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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