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Symphonic Music - Released November 16, 2018 | XXI Music

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Symphonies - Released November 16, 2018 | RCA Victor

Distinctions The Qobuz Ideal Discography
This is an absolute MUST LISTEN. One of André Previn’s greatest recordings captured in the 1960s in London – truly a golden era for the American conductor! Here, the London Symphony Orchestra, galvanised and operating in the very heart of its repertoire, is at its most beautiful: the brass section is electric (listen to the Scherzo!), the woodwinds are poetic and the strings unrelenting in their rhythmicity... What sets this recording apart from any other are the very fast tempos, always kept within bounds by André Previn, that help unveil Walton’s great architectural sense in the most unique way – check out the magnificent coda of the initial Allegro assai; throughout this interpretation, Sibelius and Hindemith influences progressively fade away in favour of a truly distinctive orchestration and management of musical time that make this score what it really is: a real oddity in the British musical landscape of the 1930s. André Previn’s performance on the 26th and 27th of August 1966 – he went on to create a new version with the RPO for Telarc − is all the more striking when we consider that around the same time, with the same musicians, he was working on the complete symphonies of Ralph Vaughan Williams which lack in poetry, most probably suffering from the type of analytical frankness that actually exalts Walton’s Symphony No.1. A few years later, he also recorded Walton’s Symphony No.2 for EMI, again with the LSO. This can be enjoyed with wonderful sound recording by the Decca team, conducted here by James Lock. © Pierre-Yves Lascar
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Symphonies - Released November 16, 2018 | Deutsche Grammophon (DG)

Booklet Distinctions Diapason d'or / Arte
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Symphonies - Released November 9, 2018 | Aparté

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Symphonic Music - Released November 2, 2018 | Musical Concepts

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Symphonic Music - Released November 2, 2018 | Aparté

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Symphonic Music - Released November 2, 2018 | Chandos

Booklet Distinctions Gramophone Editor's Choice - 5 étoiles de Classica
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Symphonic Music - Released November 2, 2018 | Omega Vanguard

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Regard this Vanguard "ultra analog" CD with caution. Having Handel's Music for the Royal Fireworks in its original scoring is an obvious attraction, but Water Music is drastically shortchanged in the 11-movement suite offered here. Since it is possible to fit the complete Water Music and Music for the Royal Fireworks on a single disc, the loss of the Suite in G major and half of the Suite in D major is unreasonable. Be that as it may, Johannes Somary and the English Chamber Orchestra offer fairly enjoyable performances, though modern instruments are used and some niceties of Baroque interpretation -- such as swung rhythms and freely improvised ornamentation -- are used sparingly. The woodwind and brass sonorities in Fireworks should be more impressive and massive, but the microphone placement puts the horns and trumpets rather close and makes the choirs of oboes, bassoons, and serpents seem remote and echoic. The 1973 analog recordings have been cleaned of tape hiss, though few other enhancements are evident.

Cinema Music - Released November 2, 2018 | DUX

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Ballets - Released November 2, 2018 | H.M. Chapel Music

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Symphonic Music - Released October 26, 2018 | Universal Digital Enterprises

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Symphonic Music - Released October 26, 2018 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Symphonic Music - Released October 26, 2018 | Abbey road

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Symphonic Music - Released October 26, 2018 | Universal Digital Enterprises

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Symphonies - Released October 26, 2018 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
With Symphony No.6 in A Minor "Tragic" written in 1904 (the title, for once, is not a publisher's gimmick, but was indeed given by Mahler in the programme for the first performance in Vienna in 1906), Mahler almost returns to the classical symphony format; we find more voices in the score (a technique that he had already used in No. 5) and a four-movement structure (whereas No. 5 was articulated in five movements thrown into three "parts", with the absence of a programme or philosophical content). Admittedly, the orchestra remains huge, with four woodwinds, eight horns, and six trumpets, not to mention an impressive arsenal of percussion instruments including alpine bells, hammer and xylophone, which he never used elsewhere; in this respect, Mahler contributed to putting an end to the late romantic trend of gigantic works for titanic orchestras. It must be said that the last movement, which lasts at least half an hour, is of a truly tragic expression with its indelible darkness. This frightened the critics, who found the work somewhat bloated. It is therefore up to the conductor to make the score as transparent as possible, the contrapuntal lines readable and the orchestral colours perceptible through the orchestral immensity. Equipped with his MusicAeterna, Teorod Currentzis embarks on the adventure. © SM/Qobuz
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Symphonic Music - Released October 19, 2018 | Nar Classical

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Symphonic Music - Released October 19, 2018 | Aparté

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Symphonic Music - Released October 12, 2018 | CAvi-music

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Symphonic Music - Released October 12, 2018 | NoMadMusic

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Symphonic Music - Released October 12, 2018 | Naxos

Booklet Distinctions 5 de Diapason
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