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Jazz - Released April 24, 2020 | ACT Music

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Classical - Released September 1, 2008 | BIS

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Now that the team of conductor Thomas Dausgaard and the Swedish Chamber Orchestra have completed a survey of the symphonies and major orchestral works of Robert Schumann, it can safely be declared a thorough-going success. Indeed, it might persuasively be argued that Dausgaard's cycle should take its place beside the greatest sets of Schumann's orchestral works ever recorded: Klemperer's, Sawallisch's, and Szell's. That claim may at first seem bold; after all, Dausgaard is a young, nearly unknown Scandinavian conductor without the experience and reputation of Klemperer, Sawallisch, and Szell, and the Swedish Chamber Orchestra is truly a chamber orchestra and thus without the weight and mass of a modern orchestra. And yet these are startling, even revelatory performances of Schumann's Third and Fourth symphonies. Dausgaard has a virtuoso technique and complete command of the orchestra, plus what sounds like a passionate attachment to Schumann's music. The Swedish musicians respond with astonishing power -- their strings are searing and their brass blistering, and their timpani bludgeoning -- but also amazing poetry -- the inner movements of the Third are particularly beautiful, especially the woodwinds. Together, they create performances that move in a straight line from start to finish, savoring every emotion, relishing every climax, and triumphing in codas with a joyous ecstasy that recalls Furtwängler. Coupled here with an intensely dramatic account of the familiar overture to Manfred and a wryly entertaining reading of the nearly unknown overture to the opera Hermann und Dorothea, this disc can take its place with the previous two volumes as the digital Schumann cycle. As in previous volumes, BIS' super audio sound is spectacularly realistic. © TiVo
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Symphonic Music - Released January 1, 2007 | BIS

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This is certainly among the finest recordings of Schumann's orchestral music ever made, standing alongside the classic recordings of Szell, Sawallisch, Solti, Kubelik, Klemperer, and above all Walter and Furtwängler. How could this be? Because Thomas Dausgaard and the Swedish Chamber Orchestra have accomplished the impossible: they make the music sound new. They accomplish this miracle in part through brilliant programming. Of the four works here, only the Second Symphony is standard-repertoire Schumann while the rest range from his hardly known overtures to Faust and Julius Caesar to the only relatively recently re-discovered original version of his Fourth Symphony. But the orchestra accomplishes this miracle more because of its performances, all of which have the excitement of world premieres. The Swedish Chamber Orchestra is a chamber orchestra in name only: the power of tone, the strength of sonorities, and the vigor of attacks would blow down the walls of any room smaller than a full-scale concert hall. With it as his instrument, Dausgaard creates performances that are at once musically lucid and emotionally passionate. The myth that Schumann couldn't orchestrate is demolished as one hears in these performances the work of an inspired composer working at a red-hot heat to transform into music the deepest feelings of his heart and the profoundest thoughts in his head. Recorded in stunning super audio sound that seats the listener 10 feet in front of the conductor, this disc should be heard by anyone who loves Schumann's orchestral music. © TiVo
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Classical - Released February 21, 2020 | PM Classics Ltd.

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Classical - Released November 10, 2017 | Lotus Records

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Classical - Released March 1, 2010 | Claves Records

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Classical - Released January 1, 2007 | BIS

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Is this the greatest recording of Schumann's First Symphony in a generation? Some would assert it is. Is this the greatest recording of Schumann's First Symphony ever? Some would argue that it very well might be. Certainly, Thomas Dausgaard and the Swedish Chamber Orchestra have done everything right with Schumann's music. Their tone is powerful but nuanced, their colors strong and blended, their textures clear but balanced, and their rhythms muscular but agile. But those are just the fundamentals. The better virtue of their performance is the sense of freedom, freshness, and enthusiasm they bring to the music. Here, Schumann's First Symphony, called the "Spring Symphony" by its composer, really does sound like a work meant to evoke and celebrate the vernal season. The fanfares that start the opening Andante un poco maestoso have true joy and the tempo of the following Allegro molto Vivace has actual vivacity. The central Larghetto has a real feeling of organic growth and the closing Allegro animato e grazioso has both grace and energy. But best of all is the unity of the interpretation. Some performances seem cobbled together out of disparate parts. Other performances seem forced together out of sheer desperation. But Dausgaard and the Swedish Chamber Orchestra's interpretation sounds perfectly natural, as if this and no other way could be the only way the music ought to go. Coupled with first-rate versions of the infrequently heard Overture, Scherzo, and Finale, the rarely heard Overtures to Schiller's Braut von Messina and to the opera Genoveva, plus the almost never heard "Zwickau" Symphony, this disc demands to be heard by anyone interested in nineteenth century German orchestral music. BIS' super audio sound is cool, clear, and deep. © TiVo
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Classical - Released March 4, 2016 | Paraty Productions

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Classical - Released February 14, 2009 | Claves Records

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Classical - Released September 11, 2015 | Sony Classical

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Classical - Released May 2, 2011 | Claves Records

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Classical - Released January 1, 2006 | Claves Records

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Classical - Released September 27, 2019 | Brilliant Classics

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Keyboard Concertos - Released February 1, 2011 | Mirare

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Classical - Released January 1, 2006 | Claves Records

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Duets - Released March 16, 2018 | Le Palais des Dégustateurs

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Classical - Released August 26, 2016 | ICA Classics

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For this 2016 release on ICA Classics, Antonio Pappano leads the Orchestra dell'Accademia Nazionale de Santa Cecilia in live performances of Robert Schumann's Symphony No. 2 in C major, recorded in 2012, and the Symphony No. 4 in D minor, recorded in 2010. Some critics have discounted Schumann's symphonies for their heavy orchestration, particularly in the revised version of the Symphony No. 4 heard here, mostly because of the muddy textures and aural fatigue that result from excessive doublings of woodwinds and strings. Typically, conductors manage these problems by adjusting dynamics and achieving greater clarity through phrasing and crisp articulation. Pappano certainly follows this course, and draws out clear details and energizes the Santa Cecilia orchestra to play as cleanly as possible, so the doublings are minimized, the counterpoint has crisp definition, and attention is properly focused on the symphonic argument. On the whole, these performances are consistent with mainstream interpretations in tempo, pacing, and expression, and the musicians play up to their usual high standards of excellence. © TiVo
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Classical - Released October 20, 2017 | Blue J Music

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Classical - Released February 12, 2021 | First Hand Records

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1839 was Schumann’s most productive year of writing for solo piano, and the last year he wrote a major work for piano solo. The following year, Schumann wrote no works for solo piano, focusing a new energy in writing songs. 1840 is famously known as his "Year of Song" ("Liederjahr"), hence our coined title "Year of Piano" with all the works on this album, apart from three "Stücklein", written in 1838. This is Papastefanou’s third album for FHR. © First Hand Records
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Classical - Released February 5, 2021 | First Hand Records

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