Albums

6792 albums sorted by Date: from newest to oldest and filtered by Symphonic Music
£7.99

Cinema Music - Released December 7, 2018 | Intense Media GmbH

£7.99

Cinema Music - Released December 7, 2018 | Intense Media GmbH

£7.19

Ballets - Released December 7, 2018 | Navis Musik

£14.99
£10.49

Symphonic Music - Released December 7, 2018 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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
£12.74

Symphonic Music - Released November 30, 2018 | Auris-Subtilis

Booklet
£18.49

Symphonic Music - Released November 30, 2018 | San Francisco Symphony

Booklet
£9.49

Symphonic Music - Released November 30, 2018 | Asociación Orquestas Infantiles y Juveniles del Perú

£3.99

Symphonic Music - Released November 30, 2018 | La Bambolina sas

£4.79

Symphonic Music - Released November 30, 2018 | La Bambolina sas

£17.99
£12.74

Symphonic Music - Released November 30, 2018 | Aparté

Hi-Res Booklet
The four Nations by François Couperin (also known as "Couperin the Great") consist of France, Spain, the Empire and Piedmont (Italy, therefore), though it would be rather futile to look for any truly national characteristics in each of the movements of these four suites. And all the more so due to the fact that many of the pieces had already been composed well before the collection’s publication in 1726, and they were simply renamed... Yes, throughout the thirty-six movements of the work we do hear the French style on the one hand and the more Italianising style on the other, but the many interpolations make it, in fact, a kind of mixed European collection. At most, Spain is entitled to a few rare and truly Iberian turns of phrase, even though they are only visible under a microscope. Christophe Rousset and his musical ensemble Les Talens Lyriques approach these "trios" with joy and respect, knowing that the term "trio" does not necessarily imply three musicians; in fact, the melodic parts are entrusted to two oboes, two flutes and two violins, both together and alternately, while the continuo is played by the bassoon, harpsichord, gamba and theorbo, again either together or in various combinations depending on the musical texture. In this way, the thirty-six movements demonstrate the immense musical richness of these various nations, with all the diversity and contrasts that Couperin has assigned to them. © SM/Qobuz
£7.99

Ballets - Released November 30, 2018 | Onyx Classics

Booklet
It was an excellent idea to bring together the Suite from Rimski-Korsakov's Golden Cockeral with the complete ballet The Firebird by Stravinsky on one single album. We specify "complete ballet" because he often records one of the three suites that were later established for the concert hall rather than for the ballet. The idea is brilliant in that it highlights the heavy influence of Rimsky-Korsakov on the young Stravinsky, whose Firebird logically pursues the magical orchestral sounds developed by Rimsky-Korsakov. Not to mention that The Golden Cockeral> precedes The Firebird only by one year, 1909 for the first, 1910 for the latter. And suddenly, the old master appears in all his mind-blowing modernity! The Royal Liverpool Philharmonic is here under the precise and sharp direction of Vasily Petrenko, who underlines all the subtleties of both scores. © SM/Qobuz
£20.99
£18.49

Symphonic Music - Released November 30, 2018 | San Francisco Symphony

Hi-Res Booklet
Berlioz's preface for his dramatic symphony Romeo and Juliet reads as follows: "Although voices are frequently used in it, it is neither a concert opera, nor a cantata, but a choral symphony. The reason there is singing almost from the start is to prepare the listener’s mind for the dramatic scenes where the feelings and passions are to be expressed by the orchestra. This latter scene depicts the reconciliation of the two families and is the only one to belong to the genre of opera or oratorio. If, in the celebrated scenes in the garden and in the cemetery, the dialogue of the two lovers, Juliet’s asides and the impassioned pleas of Romeo are not sung, if in short the love duet and the duet of despair are entrusted to the orchestra, the reasons for this are numerous and easy to grasp. First, and this would by itself be a sufficient justification for the author, the work is a symphony and not an opera. Then, since duets of this kind have been treated countless times in vocal form by the greatest masters, it was wise as well as interesting to try another mode of expression. It is also because the very sublimity of this love made its depiction so dangerous for the composer that he needed to allow his imagination a freedom which the literal meaning of the words sung would have denied him. Hence the resort to instrumental language, a language which is richer, more varied, less finite, and through its very imprecision incomparably more powerful in such a situation." This new recording by the San Francisco Symphony Orchestra brings together American mezzo-soprano Sasha Cooke and tenor Nicholas Phan, as well as Italian bass-baritone Luca Pisaroni with Music Director Michael Tilson Thomas. Some people may disagree with the absence of French voices; it is true that the pronunciation of the soloists is a little wobbly at times, but let’s not forget that this is Berlioz: the overwhelming majority of the score is symphonic, and that is where the San Francisco Symphony Orchestra truly shines through. © SM/Qobuz
£14.39

Symphonic Music - Released November 30, 2018 | Nar Classical

£4.79

Symphonic Music - Released November 16, 2018 | XXI Music

£13.99

Cinema Music - Released November 9, 2018 | WM Italy

£13.49
£9.49

Symphonies - Released November 9, 2018 | Aparté

Hi-Res Booklet
£11.99

Symphonic Music - Released November 5, 2018 | GMI

£6.39

Symphonic Music - Released November 2, 2018 | Musical Concepts

Booklet
£6.39

Symphonic Music - Released November 2, 2018 | Musical Concepts

Booklet