Similar artists

Albums

£11.99
£8.49

Symphonic Music - Released November 14, 2006 | harmonia mundi

Hi-Res Booklet Distinctions Hi-Res Audio
£5.59

Concertos - Released January 10, 2006 | harmonia mundi

Distinctions Choc de l'année du Monde de la Musique
£8.72
£5.76

Symphonic Music - Released March 23, 2018 | Onyx Classics

Hi-Res Booklet Distinctions Gramophone Editor's Choice
£9.59

Symphonies - Released March 3, 2017 | PentaTone

Booklet Distinctions 4 étoiles de Classica
Mendelssohn’s warmly lyrical and evocative Scottish symphony is paired with his confident and precocious first symphony for the first in a series of recordings in multi-channel surround sound for PENTATONE by the conductor Andrew Manze and the NDR Radiophilharmonie. It’s no wonder that Robert Schumann dubbed Mendelssohn the “Mozart of the nineteenth century”; with his felicitous gift for melody and meticulous craftsmanship, his music positively brims with youthful spontaneity and exuberance, blending dreamy poetic flights with moments of affecting tenderness and serenity. Inspired by his visits to Scotland and the Hebrides and the romantic novels of Sir Walter Scott, his outstanding Symphony No. 3 in A minor (“Scottish”) is a colourful reminiscence of its rugged landscapes steeped in history, and an affectionate homage to the proud Highlanders he met there. It was an instant success on its first performance and rivals the popularity of the overture The Hebrides, also inspired by the splendour of Scotland. No less impressive is his masterly Symphony No. 1 in C minor, composed when he was just 15 years old. From its noisy and impetuous opening to its triumphant conclusion, this confident and adventurous work shows the influence of Mozart, Haydn and Weber but the effect is unmistakeably Mendelssohnian with fugal passages, unforgettable melodies and busy, inventive scoring. (Text from the Pentatone website)
£7.99

Symphonic Music - Released June 3, 2014 | CPO

Booklet Distinctions 4 étoiles de Classica
£8.49

Classical - Released December 13, 2005 | harmonia mundi

Booklet
With the exception of the fragmentary Sonata in C major, K. 403, here, Artaria published these sonatas by Mozart in 1781 as being for piano with violin accompaniment, as was done with many similar works of the time. Most people would agree, however, that these are true duo sonatas with the violin and piano being equal partners. In this recording, Andrew Manze's violin is obviously the star, even though Richard Egarr's fortepiano is more than mere accompaniment. The recording has excellent, close, clear sound, and it tends to favor the violin, even making allowances for the fact that the fortepiano is quieter than a modern piano. In the first movement of the Sonata in F major, K. 377, there is quite a bit of trading of melody between the two instruments. Both Manze and Egarr are aware of when each of them has the more important or interesting part, but the listener has to put more effort into finding it when it is in the keyboard part. Other than that, the two give these sonatas a rich reading, full of verve and spirit. Any Classical elegance in the music is given a dramatic turn. Manze and Egarr use Beethoven-like sudden, sharp contrasts between soft and loud, smooth and sharp, with great effectiveness. They restrain themselves a little in slower movements such as the Andante of the Sonata in E flat major, K. 380, where the interest of Mozart's brief dissonances is enhanced by Manze's and Egarr's staged turns of phrase. The fragmentary sonata has a natural refinement to it that the two can't help feeling, but they still give it an energy and broadness of shaping that makes it very appealing. The two practiced partners make these Mozart sonatas capture and hold attention for all the right reasons.
£14.99

Classical - Released December 21, 2012 | harmonia mundi

£14.99

Classical - Released August 17, 2005 | harmonia mundi

Heinrich Ignaz Franz Biber's Rosary Sonatas were written in Salzburg in the 1670s or 1680s, and they're really unlike anything else in the violin literature. Scordatura, or unconventional tuning of an instrument's strings, was common enough during the Baroque era, but Biber's cycle of 15 pieces for violin and continuo explores the technique exhaustively: each of the 15 sonatas uses a different tuning. The result is music of fearsome difficulty for the player, and, as with Bach's best music, technical complexity generates spiritual intensity. Each sonata represents one of the Mysteries of the Catholic Rosary, which are divided into five Joyful Mysteries (the Annunciation, for example), five Sorrowful Mysteries (concluding with Christ's crucifixion), and five Glorious Mysteries (centered on the Resurrection and on Mary's Assumption). Some of the sonatas have three movements, often with two slow, quasi-improvisatory movements surrounding a central "Aria" or piece in dance rhythm. Others are series of dances, and a few are long single movements approaching the elaborate architecture of the Chaconne from Bach's Partita No. 2 for solo violin. Some of the tunings are downright outlandish; as the music reaches its spiritual climax in the "Resurrection" sonata, Biber specifies that the violin be played with its two central strings crossed, perhaps to symbolize the meeting of heaven and earth. A helpful short commentary by Andrew Manze included at the end of disc two explains the scordatura technique for those who would rather listen than read. Manze, a British Baroque violinist who has led the English Concert and the Academy of Ancient Music, brings these pieces alive. Performing on a 1700 violin with sheep gut strings, he retunes the instrument for each sonata rather than playing on a set of pre-tuned instruments. This allows the listener to hear the radical changes in tone the violin undergoes as the levels of pressure on its strings are altered. Manze puts it this way in his notes: "As it is pulled into different tunings, the violin undergoes experiences, some pleasant (as in the Visitation and Coronation), some traumatic (the Agony and Crowning with Thorns, for example)." The sequence of tunings matches the events of Christ's life, with the Sorrowful Mysteries rendered in harsh, tense tones. This hasn't always been clear in earlier performances of the work, and observers have tried with dubious success to find more overt pictorialism. Biber shifts mood rather than painting pictures, and the scordatura technique plays a primary role. There are a few problems with this recording. The break between the two discs is unfortunate; the "Crucifixion and Death of Jesus" sonata is orphaned at the beginning of disc two, and the listener, changing CDs, will miss the highly dramatic transition from the carrying of the cross to the crucifixion. And the continuo accompaniment by Richard Egarr can be questioned. He shifts between organ and harpsichord, bringing out the more improvisatory flights of the violin nicely but creating some contrasts that Baroque audiences might or might not have found idiomatic. Neither of these complaints, however, detracts from Manze's impressive achievement here.
£11.99
£7.99

Symphonic Music - Released June 29, 2010 | BIS

Hi-Res Booklet
£7.99

Classical - Released January 27, 2010 | Denon

£8.49

Classical - Released December 21, 2012 | harmonia mundi

£7.99

Chamber Music - Released November 28, 2006 | Channel Classics Records

£12.49

Classical - Released January 1, 2000 | Decca

£14.39

Symphonic Music - Released March 6, 2012 | CPO

£8.59

Classical - Released June 17, 2016 | harmonia mundi