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Klassiek - Verschenen op 15 mei 2020 | Decca Music Group Ltd.

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Klassiek - Verschenen op 24 juli 2020 | Decca Music Group Ltd.

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Three composers are particularly well suited to conductor Daniel Barenboim: Bruckner, Wagner and Sir Edward Elgar; no doubt a question of orchestral colour and texture. Since his collaboration with the Universal labels has resumed (Decca for orchestral projects, Deutsche Grammophon for piano), he has once again been exploring the English composer's orchestral works with his beloved Staatskapelle Berlin, an ensemble characterised by dark timbres. After beautiful versions of the two symphonies and The Dream of Gerontius, what a joy it is to now be able to immerse ourselves in Sea Pictures, one of the most poetic song cycles of the late 19th century. The broad spectrum of the Latvian mezzo-soprano Elīna Garanča's voice and her silky timbre fit perfectly with the lyrical yet tragic lines of Where Corals Lie (the most beautiful “song” of the cycle), as well as with the more theatrical The Swimmer, which takes on a truly extravagant tone. Unlike many other recordings since the legendary 1965 recording by Dame Janet Baker and Sir John Barbirolli with the London Symphony Orchestra (His Master's Voice), Elīna Garanča and Daniel Barenboim willingly drop the melancholy and contemplative tone of Sea Pictures. More in keeping with the romantic performances of the early 19th century (Berlioz), following a pattern of "Introduction" (Sea Slumber Song), "Aria I" (In Haven), an alternating form mixing recitatives and ariosos (Sabbath Morning at Sea), "Aria II" (Where Corals Lie) and "Conclusion" (The Swimmer), they have created a much more dramatic atmosphere despite very measured tempo contrasts. Barenboim's clearly drawn phrasings in the introduction of the last "song" can testify to this new approach, which in this respect is very different from the earlier recording with Yvonne Minton (CBS). Daniel Barenboim and the Staatskapelle Berlin continue the programme with the symphonic study Falstaff, composed in 1912, on which the conductor underlines its links with the work of Richard Strauss (Don Quixote, Ein Heldenleben). As always, Daniel Barenboim's conducting is full of verve (Falstaff's March). A truly wonderful rendition. © Pierre-Yves Lascar/Qobuz
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Concertmuziek - Verschenen op 23 maart 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
What if this album turned out to be the new standard version of Edward Elgar's Cello Concerto in E Minor? Judging from what we get to see of the young cellist Marie-Elisabeth Hecker, it might well be, thanks to the sumptuous, smouldering sounds that fill this interpretation from beginning to end. It would be far too tempting to compare the young German to her distant colleague Jacqueline Du Pré, for whom this concerto was a signature piece. The publisher was on the right track when they took Marie-Elisabeth Hecker's picture striking exactly the same pose as the English cellist does in one of her most famous photographs, taken when she was the young wife of Daniel Barenboim: but Hecker's head is cocked the other way to throw the observer off. Born in Zwickau in 1987, she was one of the youngest participants ever to win the Rostropovich Competition in Paris. In 2010, she enjoyed a thrilling success in her hometown, playing Concerto in A minor to mark the bicentenary of Robert Schumann's birth (he was born in the same town), conducted by Daniel Barenboim, who would no doubt have felt very touched by a scene that recalled his own youth. The attentive and careful accompaniment by Edo de Waart shows off the sonic riches of the Antwerp Symphony Orchestra, which he led from 2011 to 2016. Yet more proof of the high quality achieved by so many orchestras around the world today. This is an interesting pairing with a short, ultra-romantic piece by Elgar, Sospiri, transcribed here for cello and strings, whose secrets are laid bare by cellist Sol Gabetta. The Quintet for Piano in A Minor is the other major piece by Elgar to feature on this new recording. Composed in 1918, it is a very refined work, which often takes on orchestral tones, in a very Brahmsian language. © François Hudry/Qobuz
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Klassiek - Verschenen op 5 juni 2007 | LSO Live

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Klassiek - Verschenen op 8 februari 2010 | Warner Classics

Onderscheidingen Choc de Classica
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Klassiek - Verschenen op 24 april 2020 | PM Classics Ltd.

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Klassiek - Verschenen op 1 januari 2014 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Klassiek - Verschenen op 11 maart 2016 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
At the time when Hans Richter, dedicatee and creator of the First Symphony by Edward Elgar, began rehearsals in London for the London premiere of that symphony (the creation of which took place a few days earlier in Manchester), he told the orchestra: "Gentlemen, let us now rehearse the greatest symphony of modern times, written by the greatest modern composer, and not only in this country." This was saying something ... Certainly, at the time the twentieth century was only eight years old and it is not known exactly what Richter meant by "modern times", but the tribute is not lacking in grandeur. Shortly after it's establishment, the symphony was exported around the world: New York, Vienna, Leipzig - Germany then being very sensitive to music by Elgar. It is perhaps very suiting that we return to Germany now for the First Symphony as performed by the Staatskapelle Berlin, recorded in September 2015 at the Philharmonie under the direction of Daniel Barenboim. ©SM/Qobuz
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Klassiek - Verschenen op 3 september 2012 | Halle Concerts Society

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Kamermuziek - Verschenen op 3 mei 2019 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
The three great chamber works, the String Quartet, Piano Quintet, and Violin Sonata, were among the very last works that Elgar wrote, composed during an intensive and productive period in 1918 and 1919 whilst living at Brinkwells in Sussex, and under the twin shadows of the horrors of the Great War and the terminal illness of his wife, Alice. The String Quartet was dedicated to the original Brodsky Quartet (the name subsequently taken by the current group when they arrived as students at the Royal Northern College of Music) and was championed by this new Brodsky Quartet from the off, sitting alongside Delius’s Quartet on their debut recording (1984). It has remained a cornerstone of their repertoire ever since. The Brodsky Quartet took the opportunity of the centenary year of both works to perform the String Quartet alongside the Piano Quintet with their frequent co-performer Martin Roscoe, and this recording is a result of that commemoration. © Chandos
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Klassiek - Verschenen op 21 april 2017 | Chandos

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Klassiek - Verschenen op 24 september 2013 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 1 januari 1963 | Warner Classics

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Klassiek - Verschenen op 29 maart 2019 | Onyx Classics

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Concertmuziek - Verschenen op 3 april 2012 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - Hi-Res Audio
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Symfonische muziek - Verschenen op 2 november 2018 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 étoiles de Classica
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Klassiek - Verschenen op 1 januari 1966 | Warner Classics

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Klassiek - Verschenen op 1 april 2007 | Lyrita

Hi-Res Booklet