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Symphonies - Released September 7, 2018 | BR-Klassik

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
This 2018 BR Klassik release by Herbert Blomstedt and the Bavarian Radio Symphony Orchestra appears to be yet another mainstream rendition of Mozart's Symphony No. 40 in G minor and the Symphony No. 41 in C major, "Jupiter," but in this time of historically informed performances on period instruments, it's almost a novelty. In these live performances, Blomstedt doesn't make any overt attempts at following 18th century practices, nor does he scale down the ensemble to the size of a Classical orchestra, and the only aspects of historical interpretation that are obvious are the fairly brisk tempos and the taking of repeats, which are comparatively small concessions to authenticity. Beyond that, little separates Blomstedt's readings from many recordings from the mid-20th century, which predated the movement for early music scholarship, and listeners who grew up hearing Mozart played by modern symphony orchestras will take to this album readily. However, Blomstedt avoids the over-blending and bland homogeneity of many older performances and instead strives for distinctive tone colors, particularly in the woodwinds, and transparency of the counterpoint, which is essential in Mozart. Because so much attention is paid to conveying the music with absolute clarity, listeners from the traditionalist and revisionist camps can find much to appreciate in Blomstedt's meticulous and intensely focused performances. © TiVo
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Symphonic Music - Released January 4, 2019 | BIS

Hi-Res Booklet Distinctions Diapason d'or
It's hardly common to become a global star at the age of 96; and even less so to record Beethoven's nine symphonies at that age – especially if these recordings rejuvenate our whole approach to a corpus that seemed to have no secrets left. And as the most familiar landscape can suddenly take on a new appearance when viewed from a new angle, so can music. The Swede Herbert Blomstedt, son of a strict pastor and cut from the same cloth as his countryman Ingmar Bergman, is possessed of a freshness and physical appearance that belie his age: the greatest concession he has made has been to cut down from 100 concerts a year to 70, conducting the greatest orchestras in the world. After his recent refreshing reinterpretation of Beethoven and Mozart's last two symphonies, recorded in concert in 2017, we find him here dealing with the works of the great Swedish composer Wilhelm Stenhammar, recorded at concerts given in Gothenburg in 2013 and 2014. Bowled over by hearing his friend Sibelius's Second Symphony, Stenhammar tried to renew his own style, writing a "second symphony" of his own, and as soon as it was done, in May 1915, he wrote to the Finnish composer. Written for the Gothenburg Symphony Orchestra, which plays it in this recording, it is structured classically around four movements. The first is built on a folk music theme; the second is a kind of great nocturnal procession that precedes a Scherzo written as a stylised dance whose central Trio is played on wind instruments whose quality Stenhammar looked to underline. As for the Finale (which, how to put it, gave some critics a headache...), it is to this day one of the most masterful pages of symphonic music written in Sweden. First performed in 1914, the Serenade in F major, written after a trip to Florence, was quickly withdrawn by the composer, who made a new version in five movements which was performed in 1919 and enjoyed lasting success at home. Just like Mendelssohn's "Italian" Symphony, Tchaikovski’s Souvenir de Florence and Italian Capriccio , or indeed Strauss's Aus Italien the work highlights the magic attraction that Italy exercises on Northern composers. It is an illuminating and idealised description of a dreamy Arcadia, largely inspired by antiquity. © François Hudry/Qobuz
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Full Operas - Released April 1, 2014 | Brilliant Classics

Distinctions 5 de Diapason
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Classical - Released April 23, 2021 | PentaTone

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Herbert Blomstedt and the Gewandhausorchester Leipzig continue their complete Brahms symphonies project with a recording of the composer’s Second Symphony in D Major, alongside his Academic Festival Overture. Although idyllic and pastoral at first sight, Brahms himself remarked that he had “never written anything so sad”. Blomstedt and the orchestra bring out all the different moods and colours of this exceptional work, while the Academic Festival Overture provides a jubilant, glorious conclusion. Blomstedt’s work as a conductor is inseparably linked to his religious and human ethos, and his interpretations combine great faithfulness to the score and analytical precision with a soulfulness that awakens the music to pulsating life. In the more than sixty years of his career, he has acquired the unrestricted respect of the musical world. © Pentatone
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Classical - Released April 24, 1991 | Decca Music Group Ltd.

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Symphonic Music - Released June 29, 2020 | Eterna

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Symphonic Music - Released July 6, 2020 | Eterna

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Classical - Released January 1, 2014 | Decca Music Group Ltd.

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Symphonic Music - Released June 8, 2020 | Eterna

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Classical - Released September 1, 1988 | Decca Music Group Ltd.

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Symphonic Music - Released June 15, 2020 | Eterna

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Symphonic Music - Released July 13, 2020 | Eterna

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Symphonic Music - Released June 22, 2020 | Eterna

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Classical - Released November 1, 1989 | Decca Music Group Ltd.

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Classical - Released January 1, 2009 | Denon

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Classical - Released August 1, 1990 | Decca Music Group Ltd.

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Symphonies - Released September 19, 2008 | Berlin Classics

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Classical - Released September 24, 2007 | Warner Classics

Though the Melos Ensemble's reading of the Wind Quintet is highly entertaining and the Danish soloists' accounts of the three concertos are deeply satisfying, the real find on this two-disc set dedicated to the music of Danish modernist Carl Nielsen is Rafael Kubelik's soaring, surging performance of his Fifth Symphony. Recorded in 1983 and released only in Europe, Kubelik's Fifth is one of the great Fifths, ranking right up there with Jascha Horenstein's justly celebrated recording. With the awestruck Danish Radio Symphony Orchestra playing for him with passionate enthusiasm, Kubelik finds the dramatic heart and lyrical soul of Nielsen's two-movement masterpiece, making it sound as grand, as vital, and as glorious as the greatest works of its time. The remaining performances here are nearly as fine in their own ways. The three Danish soloists in the concertos sound like they were born playing the music and with Herbert Blomstedt sympathetically leading the same orchestra, their 1975 performances sound wholly virtuosic and utterly idiomatic. England's Melos Ensemble cannot claim the same feeling for Nielsen's idiom, but its 1967 recording of the Wind Quintet has a real feeling for the music's wit and joy. Throughout, the recording quality is clear, warm, and present. Anyone interested in Nielsen's music who has not already heard Kubelik's Fifth will be happy to make its acquaintance. © TiVo