Albums

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Symphonic Music - Released August 14, 2018 | Český rozhlas

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Symphonies - Released October 27, 2017 | Sony Classical

Hi-Res Booklet Distinctions Gramophone Record of the Month - Diapason d'or / Arte - Choc de Classica - 5 Sterne Fono Forum Klassik
An album, a symphony: you would think that we had returned to the days of the Long Play, and the era of Mravinsky, Doráti, Markevitch, Karajan as well as many other performers and interpreters who have marked the discographic history of the last symphony from Piotr Ilitch Tchaikovsky. The album cover also seems to confirm it: it brings to mind the old RCA covers from the 50s and 60s. Sony Classical, being very supportive of the artistic endeavours of the Greco-Russian master, didn't hesitate to bring out a roughly 45-minute album - they had done better with the Rites of Spring (2015), which was feted in the press. Here, Teodor Currentzis continues his exploration of Tchaikovsky's world, with the Pathétique, putting the accent on the dynamic contrasts, sometimes naturally, sometimes by technical means (adagio lamentoso), and bringing to bear some methods that are normally specific to pop music. He exploits the sombre tone of the work, even above its rhythmic energy, and looks to create atmospheres that one could often call morbid. For record-lovers, this release is a great opportunity to revisit his discography, and for all other ardent Qobuz users it is an opportunity to rediscover this true emblem of the orchestral repertoire. © TG/Qobuz

Symphonic Music - Released September 1, 2017 | LPO

Booklet Distinctions 5 de Diapason
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Symphonic Music - Released March 31, 2017 | Supraphon a.s.

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Ballets - Released April 12, 2011 | Warner Classics International

Videos
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Symphonic Music - Released November 4, 2016 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone Record of the Month - 5 Sterne Fono Forum Klassik

Ballets - Released May 11, 2016 | AAO Music

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Symphonic Music - Released December 23, 2015 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or

Symphonic Music - Released November 2, 2015 | Orfeo

Distinctions 4 étoiles de Classica
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Symphonies - Released November 2, 2015 | Orfeo

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Symphonies - Released November 2, 2015 | Orfeo

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Symphonies - Released November 2, 2015 | Orfeo

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With more than 150 recordings of Tchaikovsky's Fifth Symphony available, it could be argued that there should be a moratorium on recording this piece. After Mengelberg, Mravinsky, Stokowski, Svetlanov, Ormandy, Karajan, Bernstein, Solti, Dorati, and dozens of other masters have recorded the work, some of them multiple times, is there anything new left to do with Tchaikovsky's Fifth? Conductor Andris Nelsons demonstrates in this 2009 recording of the work with the City of Birmingham Symphony Orchestra that there are indeed new approaches, but they are not good. Though Nelsons is a talented conductor and the orchestra is more than capable, they only seem interested in inflating the Fifth's size by raising its emotional temperature. Nelsons does this in part by exaggerating the dynamics and dynamic contrasts. Forte is fortissimo, piano is pianissimo, and the distance between the two is huge. He is also continually speeding up and slowing down tempos, making the relationships between tempos hazy at best and haphazard at worst. The opening and closing movements rarely hold to any single tempo for long, and second themes tend not to return at anything like the same tempo as their first appearance. Nelsons' reading sounds at any moment like it could go off the tracks, and the fact that it doesn't is testimony to Nelsons' control and the Birmingham musicians' skill, but it makes the performance scary to sit through. The performers also take on Tchaikovsky's Hamlet Overture and the result is similarly unsuccessful. Orfeo's digital sound is clear, direct, and well-balanced.

Symphonies - Released November 2, 2015 | Orfeo

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Dmitry Shostakovich's Symphony No. 7 in C major, "Leningrad," has been extremely popular since it was premiered in 1942, and its use as wartime propaganda gave it legendary status among symphonies composed during World War II. Yet despite its supposed simplicity, and widespread publicity of the symphony as a symbol of resistance, it remains an enigmatic work that takes on new meanings and interpretations over the years. While he contemplated titles for the four movements, Shostakovich never supplied it with a program, so the symphony can be taken as absolute music that functions purely by its own formal design and expressive needs. Or it can be read as one of Shostakovich's profoundly personal testaments, where nothing is truly as it seems on the surface. Andris Nelsons may well have interpreted it in this light, for his handling of the piece's moods tends to emphasize veiled sonorities and dark turns of expression, aspects that would be played down in a more overtly heroic reading. Nelsons and the City of Birmingham Symphony Orchestra even play it with the elegiac tone and sardonic edge usually reserved for the Tenth or Fifteenth symphonies, giving the music a grieving and sometimes bitter tone that seemingly puts the lie to the victorious outcome of the Finale. This 2011 recording shows nothing of the manipulated wartime image of Shostakovich, but leans more toward an understanding of the composer that has emerged since his death in 1975: one of a troubled artist who suffered for his art, even when hailed as a hero in the service of the Soviet government. This performance is highly recommended for its insights, if not necessarily for the quality of the live recording.
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Symphonic Music - Released January 1, 1987 | Philips

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Symphonic Music - Released December 20, 2013 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or

Symphonic Music - Released May 7, 2013 | Naxos

Booklet Distinctions Hi-Res Audio
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Symphonic Music - Released January 28, 2013 | Classic Style

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