Chamber Orchestra of Europe
The Chamber Orchestra of Europe is one of the top smaller orchestral ensembles in the world. It was formed in 1981 by a group of young professional musicians based in Europe. At that time an international trend was developing to establish permanent orchestras of between 30 and 60 members, smaller than the usual symphony orchestra, but the right size to play many Classical- and Baroque-era works and numerous works for smaller orchestras composed in the twentieth century. Although many of the founding members have gone on to important positions in standard orchestras and prominence as solo artists, most of them have remained with the COE since then. The orchestra's schedule usually calls for 150 days a year of commitment, including rehearsals, appearances at major music festivals, individual concerts, and limited tours (mostly in Europe, but sometimes to North America and Japan). The orchestra is a self-governing organization. Its 50 members elect, annually, a four-man executive committee, who are responsible for business and artistic management of the COE, together with a chairman and general manager. There is no principal conductor, music director, or artistic adviser. Instead, its members bring their widely diverse backgrounds to their gatherings and make suggestions as to repertory. The COE, however, commonly performs with a conductor. A stellar array of maestros have led them. The ones most closely linked to them are Claudio Abbado and Nikolas Harnoncourt (who have recorded a Schubert and a Beethoven symphony cycle, respectively, with the COE). However, other famous conductors, including Pierre Boulez, Christoph Eschenbach, Heinz Holliger, Paavo Berglund, Edo de Waart, and Herbert Blomstedt, have appeared on the COE's podium, in just one typical year. The COE records frequently and won Gramophone Record of the Year awards three times, for the above-mentioned Beethoven and Schubert cycles and for their work on Abbado's recording of Rossini's Il Viaggio à Reims. It is not identified with a particular city, but has a working relationship with a number of orchestras and rehearsal-performance venues, including the Kammermusiksaal der Philharmonie in Berlin, Ferrara Musica in Italy, the Alte Oper in Frankfurt, and the Styriarte Festival in Graz and the Salzburg Festival, where the members often assemble to work and perform.
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Classical - Released June 16, 2017 | Deutsche Grammophon (DG)
Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Gramophone Record of the Month - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
With Yannick Nézet-Séguin conducting, the Chamber Orchestra of Europe here presents Mendelssohn’s complete Symphonies (Nos. 1 to 5), composed between 1824 and 1842. Considered by some to be “the best chamber orchestra in the world” (BBC2 Television), the Chamber Orchestra of Europe was born three decades ago from the desire of several young musicians of the former European Union Youth Orchestra (EUYO) to pursue the adventure as an orchestra. After a few – unavoidable – changes within its ranks, this ensemble – currently – based in London retains the spirit that prevailed over its creation, shaped by complicity, generosity and liberty. Without a dedicated music director or conductor, the orchestra is now reunited with Yannick Nézet-Séguin, with whom there is, according to the latter, “a completely unique bond”. Their most recent releases, such as in Mozart’s operas, highlighted this shared complicity. And, after a complete collection on Schumann, it is only fair that the conductor and his musicians explore the effusive lyric, the “classical” side of German romanticism, by working on Felix Mendelssohn-Bartholdy’s five symphonies. But the aim however with these five symphonies is to explore widely differing universes: the very romantic Symphony No. 3, “the Scottish”, in which Wagner heard a “prime landscaper”; Symphony No. 4, “the Italian”, is almost a great symphonic poem, as illustrated (by?) numerous composers after 1834; Symphony No. 2, “Lobgesang”, ends on an immense cantata full of praise, which approach was inspired by Beethoven’s Ninth; Symphony No. 5 is strongly linked to Protestant religion, as its fugue finale cites one of the Lutheran chorales used, notably, by Johann Sebastian Bach: “Eine feste Burg ist unser Gott” (Our God is a secure fortress) (cf. Cantata BWV 80). © Qobuz, based on a Philarmonie de Paris leaflet for concerts in Paris, February 2016.
Classical - Released January 1, 1986 | Deutsche Grammophon (DG)
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