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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Record of the Month - Gramophone Editor's Choice - Hi-Res Audio
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or - Exceptional Sound Recording - Hi-Res Audio
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Classical - Released May 5, 2017 | Channel Classics Records

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Editor's Choice
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or - Hi-Res Audio
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Classical - Released October 21, 2016 | Channel Classics Records

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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Classical - Released June 22, 2018 | Channel Classics Records

Hi-Res Booklet Distinctions 4F de Télérama
With one of the very best orchestras in the world, the Budapest Festival Orchestra, one of today’s most fascinating conductor, Iván Fischer, offers one of the most beautiful recent interpretations of Mendelssohn’s integral A Midsummer Night's Dream. In other words: first the Overture, the phenomenal stroke of genius of a seventeen-year-old – one can only wonder where he discovered all of these orchestral inventions, as in 1826, templates were still rare and Berlioz had yet to enter the musical scene. Afterwards, the remaining pieces were composed sixteen years later for the theatrical presentation of Shakespeare’s play with musical interludes: thirteen very diverse pieces, ranging from the fabulous Scherzo − a masterpiece of finesse and orchestral invention – to delicious singing moments, as well as a pre-Mahler funeral march (reminiscent of Frère Jacques from Mahler’s Symphony No. 1), the overly well-known wedding march, the grotesque dance, and many more. There is little doubt that this is, if not Mendelssohn’s greatest masterpiece, at least one of his absolute pinnacle works. Presented here in a truly irresistible interpretation. © SM/Qobuz
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Hi-Res Audio
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Hi-Res Audio
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Hi-Res Audio
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Classical - Released October 16, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions 5 de Diapason
As Iván Fischer and the Budapest Festival Orchestra progress through the symphonies of Johannes Brahms, one album at a time, the makings of a box set are becoming apparent. Not only has Fischer covered the First, Second, and now the Fourth, but the filler pieces have included the Variations on a Theme of Haydn, the Tragic Overture, the Academic Festival Overture, and assorted Hungarian Dances, giving this series the required selections for a deluxe reissue. Like the earlier recordings, the Fourth is expertly played in a mainstream interpretation, and the sound of the orchestra is rich and vibrant, sure to attract listeners who like their Brahms to have a traditional feeling. Fischer clearly communicates the intellectual and emotional sides of the symphony, and he inspires the orchestra to play with transparent textures, crisp details, and passionate intensity, producing an ideal combination. The sound of this hybrid SACD is superb, and Channel Classics' multichannel recording gives the orchestra credible presence and plenty of room to breathe. Highly recommended. © TiVo
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Classical - Released May 20, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or
This is only the second installment in Iván Fischer's series of the symphonies of Johannes Brahms on Channel Classics, but it already seems that the standard box set is being planned. His 2009 release of the Symphony No. 1 in C minor was paired with the Variations on a Theme by Haydn, while this hybrid SACD presents the Symphony No. 2 in D major with the Tragic Overture and the Academic Festival Overture. Assuming the next volumes offer the Symphony No. 3 in F major and the Symphony No. 4 in E minor, with no other filler pieces, then Fischer will have completed the customary Brahms symphonic set, ready for immediate reissue. This possibility may influence prospective buyers to get the recordings in one convenient package, but Fischer's Brahms is good enough to have as the albums are being released. It's hard to argue with Fischer's interpretive choices, because he fully grasps Brahms' intellectuality as well as his deep expressiveness, and touches the emotional core of the Second Symphony with complete sympathy and clarity of purpose. The Budapest Festival Orchestra is easily inspired by Fischer, and the musicians play with the fullness of tone and rhythmic flexibility of a world-class orchestra. Add to this the extraordinary audio quality that gives the orchestra credible presence and wonderful resonance, and it's easy to understand why connoisseurs might want to snap up the separate releases and not wait for a future complete cycle. Highly recommended. © TiVo
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Hi-Res Audio
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Hi-Res Audio

Classical - Released September 9, 2016 | Channel Classics Records

Booklet Distinctions 4 étoiles Classica
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Miscellaneous - Released June 11, 2021 | Channel Classics Records

Hi-Res Booklet
Founded in 1983 by Iván Fischer and the late pianist and conductor Zoltán Kocsis, the Budapest Festival Orchestra quickly became one of the world's more prominent orchestras. The handpicked young virtuosos who fill its ranks produce a beautiful sound and superior ensemble performances. Supported from the outset by the City of Budapest and the Hungarian Ministry of Culture, it quickly made a name for itself by attracting top conductors and soloists, and thanks to its proactive policy of recording and touring internationally.Following the examples set by István Kertész and Claudio Abbado in their respective complete recordings, Iván Fischer presents a Serenade alongside his recording of the Symphony No. 3 . The Serenades, which were the young Brahms's first works for orchestra, represent a very assured piece of work, where wind instruments are foregrounded against an often pastoral backdrop, accented with hints of folk music. The First is written for a large orchestra, and the Second, dedicated to Clara Schumann and present on this album, was written for a chamber orchestra without violins.The closeness of the young Brahms to the Schumanns is still very evident in the opening theme of the Third Symphony, which sounds like a slightly modified echo of the beginning of Robert Schumann's 'Rhenish' Symphony, something that few commentators have really remarked upon. Iván Fischer gives a rather melancholic reading of the Symphony No. 3, particularly the Poco allegretto which has been made popular in cinema and song, most notably by Yves Montand and Serge Gainsbourg. The final Allegro, on the other hand, launches into joyous tumult and ardour. It seems unstoppable, and then dissolves into thin air, as this splendid symphony closes in a disconcerting pianissimo that is very rare for a romantic symphony.This recording concludes Montana the complete recordings of Brahms's symphonies by Iván Fischer and the Hungarian orchestra, of which he has been artistic director since its debut in 1983. Golden colours and an Austro-Hungarian style that fits Brahms perfectly combine to make this a most exciting series. © François Hudry/Qobuz
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Classical - Released September 4, 2020 | Channel Classics Records

Hi-Res Booklet
Founded in 1983 by Iván Fischer and Zoltán Kocsis, the Budapest Festival Orchestra has quickly cemented itself as one of the best formations in the world thanks to an exceptional ensemble of soloists, its cohesion and a particular warmth in its string sections. Numerous recordings have come to confirm their reputation of holding a extremely vast repertoire which dominates the works of Bartók, Kodály and Dvořák. It must now fight for its existence in the midst of considerable cuts imposed by the Hungarian government whose political ideas are opposed to those of the conductor and his musicians.Recorded in 2017 at the Palais des Arts in Budapest after a series of concerts, this new version of The Song of the Earth by Gustav Mahler gets off to a striking start with an almost telluric force. The power and fragility of the tenor Robert Dean Smith is paradoxically moving when faced with the amplitude of the timbre and eloquent, authentic voice of the alto Gerhild Romberger, who's singing is accurate and homogenous across all registers.At the podium, Iván Fischer sends forth the best of his imagination and a sense of subtlety by literally sculpting each lied until the deeply moving Abschied (“Adieu”) finale in which the tormented harmony opens a door to nothingness, in an almost serial atmosphere where the air becomes scarce. A great interpretation. © François Hudry/Qobuz
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet
From
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet