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Klassiek - Verschijnt op 18 september 2020 | PentaTone

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Klassiek - Verschijnt op 28 augustus 2020 | PentaTone

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Klassiek - Verschijnt op 21 augustus 2020 | PentaTone

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Klassiek - Verschijnt op 21 augustus 2020 | PentaTone

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Opera - Verschijnt op 21 augustus 2020 | PentaTone

Hi-Res Booklet
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Klassiek - Verschijnt op 14 augustus 2020 | PentaTone

Booklet
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Klassiek - Verschijnt op 14 augustus 2020 | PentaTone

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Klassiek - Verschenen op 7 augustus 2020 | PentaTone

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Klassiek - Verschenen op 24 juli 2020 | PentaTone

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Klassiek - Verschenen op 17 juli 2020 | PentaTone

Hi-Res Booklet
A new link in the Shostakovich cycle undertaken by the Russian National Orchestra and the Pentatone label, this Symphony No. 13 is a huge work of memory. It revived the question of anti-Semitism in the USSR during its eventful premiere in 1962 at the Moscow Conservatory before the entire cultural elite. Despite immense public success, the new work was covered with insults by a critical press paid by the government, accusing the composer of "dishonour" and "chasing after cheap effects". The Thirteenth Symphony is dedicated to the victims of the Babi Yar massacre where 3,371 Jews were shot dead by the Nazis in 1941. Structured in five movements, all departing from traditional models, this powerful and dramatic symphony calls for a bass voice, a male choir and a large symphony orchestra on a text by Yevgeny Yevtushenko evoking Babi Yar as well as other anti-Semitic acts such as the Dreyfus Affair, the Bialystok Pogrom, and the life and death of the young Anne Frank. The work also honours other texts. This monument of humanity was recorded in November 2017 in Moscow under the direction of Ukrainian conductor Kirill Karabits at the head of the Russian National Orchestra founded in 1990 by Mikhail Pletnev just after the collapse of the Soviet Union. In a few short years, this new group has reached the artistic level of the greatest Russian and international orchestras. His extensive discography for Pentatone is growing with this current recording of Shostakovich's complete Symphonies with various conductors. © François Hudry/Qobuz
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Klassiek - Verschenen op 10 juli 2020 | PentaTone

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Klassiek - Verschenen op 3 juli 2020 | PentaTone

Hi-Res Booklet
After a proliferation of recordings from Marc Minkowski and The Musicians of the Louvre for several years, they have now become scarcer. Fans will, therefore, be very pleased to find him here in this well-polished version of the Great Mass in C minor, a work that was left unfinished by Mozart. It is difficult to play in its current state and has been reconstructed a dozen times with varying degrees of success. Here, Minkowski set his sights on the version reconstructed by Austrian composer and conductor Helmut Eder, who published it in the New Mozart Edition in 1985. It is well known that this monumental work, which should have been as long as Bach’s Mass in B minor or Beethoven’s Missa Solemnis had it been completed, was never commissioned and was composed as a thanksgiving for the recovery of his fiancé, Konstanze Weber. It is still a mystery why the work was left incomplete but there are probably multiple reasons for this. The original manuscript was found at the end of the 1970s and contains three-quarters of the work. It represents a kind of culmination of Western sacred music with the complete assimilation of earlier styles and a distinct Mozartian sound. Recorded in concert in Grenoble in 2018 following a European tour, this new version is performed using a reduced choir in keeping with its premiere performance in the small St. Peter’s Abbey in Salzburg, 1783. © François Hudry/Qobuz
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Klassiek - Verschenen op 3 juli 2020 | PentaTone

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Klassiek - Verschenen op 26 juni 2020 | PentaTone

Hi-Res Booklet
Marc Albrecht and the Netherlands Philharmonic Orchestra present Zemlinsky’s lush symphonic poem Die Seejungfrau. Zemlinsky was a child of fin-de-siècle Vienna, who for decades has been overshadowed by colleagues such as Gustav Mahler – the man who married Alma, the woman Zemlinsky also loved - and Arnold Schoenberg – the man who would later become his brother-in-law. In recent times, Zemlinsky is finally gaining the recognition he deserves. The same applies to his symphonic poem Die Seejungfrau, based on Andersen’s Little Mermaid story. Zemlinsky withdrew the score after its premiere in 1905; the three movements were first reunited in the 1980s thanks to scholars, after which the piece could start its second life. Die Seejungfrau seems inspired by Zemlinsky’s love in vain for Alma, clothed in cinematic fin-de-siècle music with Debussy-like evocations of the sea. © Pentatone
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Klassiek - Verschenen op 19 juni 2020 | PentaTone

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Star violinist Arabella Steinbacher presents Antonio Vivaldi’s world-famous Four Seasons alongside Astor Piazzolla’s Cuatro estaciones porteñas, creating a lively combination of baroque and tango. The enormous popularity of Vivaldi’s Four Seasons tends to make us forget the original and ground-breaking nature of these violin concertos. Coupling them with Piazzolla’s tango-inspired Four Seasons of Buenos Aires makes both pieces sound fresher than ever before, thanks to Steinbacher’s personal engagement with the repertoire and the inspired accompaniment of the Münchener Kammerorchester. Piazzolla’s music is performed here in a new arrangement for violin and string orchestra by Peter von Wienhardt, whose Strauss song arrangements on Steinbacher’s previous album "Aber der Richtige…" (2018) were extensively praised by the press. © Pentatone
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Klassiek - Verschenen op 19 juni 2020 | PentaTone

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Klassiek - Verschenen op 12 juni 2020 | PentaTone

Hi-Res Booklet
The Orchestre Philharmonique du Luxembourg and its Music Director Gustavo Gimeno present a composer portrait of César Franck. The album features the famous Symphony in D Minor, as well as the lesser known, but equally enchanting Symphonic Variations for piano and orchestra, with Denis Kozhukhin as soloist. Born in Liege but raised in Paris, Franck synthesized Wagnerism with French musical traditions, resulting in a fine equilibrium between a voluptuous orchestral sound and audacious harmonies on the one hand, and lucidity and graceful charm on the other. While the three-movement symphony follows a from-darkness-to-light trajectory, the delightful Variations oscillate between symphonic poem and miniature piano concerto. © Pentatone
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Klassiek - Verschenen op 5 juni 2020 | PentaTone

Hi-Res Booklet
The Rundfunkchor Berlin, led by its chief conductor Gijs Leenaars and accompanied by wind players from the Rundfunk-Sinfonieorchester Berlin, presents masses by Bruckner and Stravinsky. The mass is arguably the oldest genre in music history, full of traditions, but also an inexhaustible soil for originality and innovation. This mix of tradition and innovation makes the genre an ideal vehicle for Bruckner and Stravinsky, who were both masters at blending the old and new into a uniquely personal musical idiom. Bruckner’s Mass in E Minor and Stravinsky’s Mass share their unusual orchestrations of almost a cappella voices with a sparse, extraordinary wind accompaniment. While Bruckner was inspired by open air “country masses”, Stravinsky’s Mass is emblematic of his neo-classical style. © Pentatone
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Klassiek - Verschenen op 22 mei 2020 | PentaTone

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Opera - Verschenen op 15 mei 2020 | PentaTone

Hi-Res Booklet
Vinceró! , "I will win!". A whole program is hidden behind the famous and peremptory injunction that Calaf gives himself to conquer the love of the intractable Princess Turandot. It is under this banner, in the form of a bet, that Piotr Beczala places his first Pentatone recital, illustrating his evolution from the lyrical tenor repertoire to the dramatic roles of verismo. Puccini features prominently on this album with the famous arias from Tosca, Manon Lescaut, La Fanciulla del West, Edgar, Gianni Schicchi, Madame Butterfly and, of course, Turandot, which the star-studded Polish tenor had not yet performed on stage. Recorded in 2019 at the Queen Sofia Palace of Arts in Valencia with the Orquestra de la Comunitat Valenciana conducted by Marco Boemi, this recital also features some verismo composers from the end of the 19th century: Cilea, Mascagni, Giordano and Leoncavallo. A new turning point for Piotr Beczala, who will continue to play Radames and Lohengrin in Zurich and New York © François Hudry/Qobuz

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