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397 albums gesorteerd op Date: from newest to oldest en gefilterd op Symfonieën
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Symfonieën - Verschenen op 17 januari 2020 | MUNCHNER PHILHARMONIKER GBR

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Symfonieën - Verschenen op 17 januari 2020 | Deutsche Grammophon (DG)

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Symfonieën - Verschenen op 13 december 2019 | MUNCHNER PHILHARMONIKER GBR

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Symfonieën - Verschenen op 8 november 2019 | Aparté

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Beethoven are both composers and were both born in the year 1770. They met in Bonn and even played together for several years in Bonn’s orchestra pit. The Concert de la Loge takes the opportunity of their 250th birthday to pay them a tribute, with this recording that brings together Beethoven’ Septet op.20 (for an atypical string quartet with violin, viola, cello and double bass, plus clarinet, horn and bassoon) and Reicha’s Grande Symphonie de Salon no.1 (for string quintet, oboe, clarinet, cor and bassoon). These hybrid works are situated at crossroads between chamber music and symphony and reflect the taste of experimentation of their composers. The sophisticated instrumental lines of Beethoven’s work meet here the great orchestral charism of Reicha, whom Berlioz hailed as a “true revolutionary” when he was nominated at the head of the Académie des Beaux-Arts’s music section. © Aparté
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Symfonieën - Verschenen op 25 oktober 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonieën - Verschenen op 4 oktober 2019 | Deutsche Grammophon (DG)

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Symfonieën - Verschenen op 26 september 2019 | Les Indispensables de Diapason

Onderscheidingen Diapason d'or
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Symfonieën - Verschenen op 2 augustus 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen Diapason d'or
These concert recordings give the lie in stunning style to the reputation for slowness which has dogged the great Otto Klemperer. The image of a partially-paralysed old man directing Beethoven's symphonies at a deathly slow pace is dispelled by these two concert versions of Symphony No.101 "The Clock" by Haydn and Symphony No.4 by Brahms recorded in Munich in 1956 and 1957, with the excellent Bavarian Radio Symphony Orchestra, one of Germany's best.Here is a perfectly-balanced Haydn, both biting and joyful. The opening Presto launches with sparkling élan, and sets the tone for the whole album. It reminds us how, in his youth, Otto Klemperer had always been a conductor ready to take to the barricades for contemporary music, and to play the great works of the repertoire with a style whose grandeur was only rivalled by its vivacity.His vision of the Fourth Symphony by Brahms alternates between a sense of immensity (Allegro giocoso) and a versatility in terms of tempo that most conductors today wouldn't dare tackle. He cleverly structures the Finale, to underscore the thread linking Brahms and the contrapuntists of musical history, the crowning summit of which writing being a Bach cantata and the use of a passacaglia that holds together the whole magisterial performance. Starting at a relatively moderate tempo, the movement reaches its climax, as Brahms instructs on the score (Più Allegro), in a fateful and liberating whirlwind. © François Hudry/Qobuz
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Symfonieën - Verschenen op 1 augustus 2019 | Digital Planet

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Symfonieën - Verschenen op 19 juli 2019 | London Philharmonic Orchestra

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Wie schön, die vielen Glissandi! Die haben uns gefehlt. Zu einer Zeit, in der sich alle Dirigenten, ob jung oder alt, verpflichtet fühlen, ihren Beitrag zu Mahlers Werk zu leisten, während so viele andere Repertoires es verdienen, entdeckt zu werden, scheut Vladimir Jurowski, der sich bereits mehrfach ausgezeichnet hat, und zwar mit großer Freude in der Welt des "tschechischen" Komponisten (Symphonie Nr. 1, Symphonie Nr. 2, Totenfeier), nicht davor zurück, Lösungen zu finden, die heute besonders zweifelhaft erscheinen. Es ist eigenartig, aber so viel Stil kann man nicht ablehnen... Wie Ruhevoll es hier ist! Jurowski setzt seine mahlersche Reise hier mit der Symphonie Nr. 4 fort. Und er bietet einen völlig neuen Weg, bei dem sich die Stimmen von Dvořák und Janáček mit denen von Bruckner und Strauss verbinden. Wäre Mahler vielleicht eine Synthese? Auf jeden Fall ist er gerade deshalb modern und Jurowski weiß das. All dies scheint für ihn zu einem Spiel zu werden. Suchen Sie nicht nach Äther (Auf Wiedersehn Abbado) und auch nicht nach der Ewigkeit (Haitink). Stattdessen gurgeln die großen Flöten, meckern die Klarinetten, erröten die Fagotte, toben die Pauken, und über all diesem böhmischen Lärm fangen die Geigen vor lauter "Beißen" sogar zu singen an. Die vielschichtige Poetik von Bedächtig ist noch nie so um jeden Preis lebendig, natürlich, in strahlendem Dur erklungen. Die Skordatur des zweiten Satzes gibt uns eine kleine Vorstellung von der Hölle und eine Art Vorgeschmack auf die Burleske der Neunten. Aber das Horn besteht immer noch darauf, gehört zu werden, und die Lyrik wird alles gewinnen, auch im Herzen der wiedergekehrten Hölle. Im Schlusslied (Sehr behaglich) führt die perfekte Stimme der Sofia Fomina ihren luftigen Tanz auf, mit einem Hauch kindlichen Geists (Reinheit, Einfachheit), der über „Kein' Musik ist ja nicht auf Erden die unsrer verglichen kann werden“ hinausgeht. Und plötzlich stellt sich die Frage, ob etwa Seefried und Walter die Inspiration für Jurowskis bezaubernde Lesart, einem wahren "Sacre du Printemps" Mitteleuropas, sind? Und wann erscheint die Symphonie Nr. 6? © Pierre-Yves Lascar/Qobuz
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Symfonieën - Verschenen op 12 juli 2019 | Naxos

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Symfonieën - Verschenen op 28 juni 2019 | Deutsche Grammophon (DG)

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Symfonieën - Verschenen op 7 juni 2019 | Accentus Music

Hi-Res Booklet
In an important moment, the great interpreter of Anton Bruckner’s symphonies for Eternal Records (the ethereal symphonies nos. 4 and 7 in Dresden during the seventies, the subtle Symphony No. 6 in San Francisco with Decca, all those with Gewandhaus during his years with Querstand), Herbert Blomstedt returns to head the Bamberger Symphoniker with a 9th by Mahler. But there seems to be something up here. Blomstedt seems to have concentrated his efforts on all that is intrinsically ‘new’ in Mahler’s sonic universe. Blomstedt has stripped back the instrumentals, accusing some of being “ugly” or out of place. He has put emphasis on the harshness of the writing and the explosive character of the changes between string, brass and woodwind parts (Im Tempo eines gemàchlichen Ländlers); even the lyricism has gone under the knife (the central episode of Rono-Burleske). What’s going on? Where are we being taken? We are clearly at the conception of a completely new world here in which the tempos carry a feeling of moderation throughout the symphony and allow one to live, intensely, in the moment: the end of Rondo-Burleske acts as an initial cataclysm. The symphony could have come to an end here but it is followed by the enormous 20-minute-long Adagio postlude in which one asks if it could possibly get more sad or morbid. The colors dull, the tones themselves inexorably fade and the polyphonic layers die down. Emotions fly. With this 9th, recorded in June 2018 in the Joseph-Keilberth-Saal of the Bamberg Konzerthalle, Herbert Blomstedt returns to deliver true Mahler: the abstract. Love is mystical, cosmic and human. It is without hope. Bruckner’s 19th Century is blown away. Fascinating. © Pierre-Yves Lascar/Qobuz
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Symfonieën - Verschenen op 10 mei 2019 | Berlin Philharmonic Orchestra

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Symfonieën - Verschenen op 10 mei 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason d'or / Arte - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 3 mei 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Record of the Month - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 3 mei 2019 | Challenge Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
In September 2018, the first volume of Franz Schubert’s complete symphonies was released under the bright, precise and joyful lead of Jan Willem de Vriend (featuring Symphony No. 2 and Symphony No. 4). This second volume mostly fulfils expectations, with a few unforeseen nuances. It’s worth mentioning that the Symphony No. 1 in D major written by sixteen-year-old Schubert is touching, in more ways than one. First of all because it is constructed with brazen confidence, and casually – without any attempt at hiding it – covers Mozart’s Symphony No. 40 in G minor, oscillating incessantly between major and minor modes with the subtle mastery of modulation, which the Austrian composer would use throughout his life.As for the Symphony No. 3, also in D major, it is more Haydn − who died only six years before Schubert started working on this piece – who inspired the young composer. While the structure stemmed from his London symphonies, the melodies already bore the marks and melodic contours of the future composer of Die schöne Müllerin. At the other end of the corpus is the Unfinished Symphony, written in a radically different language because in the meantime, classicism had mutated into apprehensive romanticism, with a form of weariness growing around this magnificent music, rich with dizzying melancholy. Dropped by its author, like many others he left unfinished, it yet seems to end in pain and disarray, as a masterful question mark upon our miserable human destiny… © François Hudry/Qobuz
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Symfonieën - Verschenen op 5 april 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 5 april 2019 | BR-Klassik

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Symfonieën - Verschenen op 5 april 2019 | CPO

Booklet Onderscheidingen Choc de Classica - 5 Sterne Fono Forum Klassik