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Symphonic Music - Released September 4, 2012 | Chandos

Hi-Res Booklet Distinctions Gramophone Award - Hi-Res Audio
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Symphonic Music - Released October 28, 2008 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Symphonic Music - Released April 5, 2011 | Chandos

Hi-Res Booklet Distinctions 4 étoiles de Classica - Hi-Res Audio
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Ballets - Released March 1, 2019 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason
In this fascinating recording the legendary Neeme Järvi explores two lesser-known French ballets by Sauguet and Ibert, complemented by the Ballet Suite from Massenet’s opera Hérodiade. Sauguet studied composition with Canteloube and Koechlin. He wrote in a variety of genres, notably for radio and for film, but his ballet scores – more than twenty of them – were central to his output. Les Forains (‘The Showfolk’) was first performed at the Théâtre des Champs-Élysées in March 1945. The cast was led by the work’s brilliant young choreographer, Roland Petit, and conducted by André Cluytens. Sauget’s wide-ranging influences, notably the orchestration of Richard Strauss as well as the works of Satie and les Six, give his work a flowing, openly melodic style that is immediately appealing and full of wit and charm. Following the success of Les Forains, and the formal establishment in October 1945 of Les Ballets des Champs-Élysées, Roland Petit and Boris Kochno devised a number of new ballets for the company. One of these was Ibert’s Les Amours de Jupiter, premiered on 9 March 1946 with a cast led by Petit himself as Jupiter. © Chandos
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Ballets - Released November 6, 2012 | Chandos

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Opera Extracts - Released March 1, 2006 | Chandos

Distinctions The Qobuz Ideal Discography
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Symphonic Music - Released January 1, 2008 | Chandos

Hi-Res Booklet Distinctions Hi-Res Audio
Though the work is essentially an arrangement of Wagner's original, this 2008 recording of Henk de Vlieger's The Ring, an orchestral adventure with Neeme Järvi leading the Royal Scottish National Orchestra can't be expected to compete with Wagner's Der Ring des Nibelungen on its own terms. Also, because it is a continuous orchestral précis of Der Ring with the vocal parts rescored for orchestra, it also doesn't compete with more usual offereings of orchestral excerpts from the gargantuan tetrology. Vlieger's Ring's only real competition is from Lorin Maazel's Ring Without Words, his arrangement of Der Ring into a continuous orchestral précis that he recorded with the Berliner Philharmoniker back in 1990 for Telarc. And though the sound here by Chandos is splendid and the playing of the Scottish orchestra is superb, neither can beat Telarc at the peak of its game and the Berlin orchestra at the peak of its form. Järvi elicits a strong and colorful performance from the Scot's players and Vlieger's arrangement is a cogent and well-crafted series of episodes. But Maazel's virtuosity on the podium and the more convincing totality of his arrangement put his recording out of the reach of this one. If you're looking for one and only one orchestral précis of Wagner's Ring, make it Maazel's. If you're looking for two, check out Järvi's. It should be added that the inclusion of Wagner's Siegfried Idyll as an encore was inspired. The performance itself, while expertly executed, is a bit on the quick and cool side.
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Symphonic Music - Released June 5, 2012 | Chandos

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Classical - Released September 3, 2013 | Chandos

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Symphonic Music - Released October 6, 2017 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason
At the start of the 20th Century, "Hungarian Music" was still under the influence of the Magyaresque writing of Brahms and Liszt, which was more a mix of the sounds of the Viennese salons with Romany themes than a real reflection of popular musical traditions. It was not until the advent of the ethnomusicological research of Bartók and Kodály that the "real Hungary" made its appearance in the smart press. No-one will be surprised, then, to learn that Leo Weiner's Serenade Op. 3, written in 1906, still contains many Brahmso-Liszto-Viennese elements, whereas the further forward we move through time, the more his Hungarian language (and Romanian language, as a large eastern chunk of historic Hungary was ceded to Romania after the First World War) converges with the real folk music sound. That said, what sets Weiner apart from Bartók and Kodály is that the former suffuses his harmonisations and his transcriptions with a symphonic and post-romantic spirit (the same spirit that inspired Enescu's folk music explorations, for example), without the harmonic research of his two Hungarian colleagues, who drew upon the same trove of people's music to produce works that were ever-more-cutting edge, more avant-garde, more modern. Until the Fourth and Fifth (and last) Divertimentos of 1951, the tone remains romantic. And oh: how delicious! Neeme Järvi and the Estonian National Orchestra perform.
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Classical - Released October 2, 2012 | Chandos

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Classical - Released May 7, 2013 | Chandos

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Classical - Released February 1, 2011 | Chandos

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Classical - Released September 6, 2011 | Chandos

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Classical - Released November 1, 2011 | Chandos

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Classical - Released February 5, 2013 | Chandos

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Classical - Released June 4, 2013 | Chandos

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Symphonic Music - Released March 30, 2010 | Chandos

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Classical - Released March 6, 2012 | Chandos

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Symphonic Music - Released March 1, 1985 | Chandos

Distinctions Gramophone Award

Artist

Neeme Järvi in the magazine