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

Booklet Distinctions Diapason d'or - Choc de Classica - The Qobuz Ideal Discography
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Classical - Released January 1, 1984 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 2008 | Decca Music Group Ltd.

Distinctions Diapason d'or
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Classical - Released January 1, 1977 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 1997 | Decca Music Group Ltd.

Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 1993 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Ballets - Released January 1, 2000 | Decca Music Group Ltd.

Distinctions The Qobuz Ideal Discography
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Classical - Released September 7, 2018 | Dacapo SACD

Hi-Res Booklet Distinctions Gramophone Editor's Choice
The symphonies of Rued Langgaard are not often performed outside his native Denmark, probably because he was tagged as a late Romantic in an era of obligatory modernism. It's true that he wrote tonal music that took a great deal from Richard Strauss in his handling of the orchestra, and from Robert Schumann in its large fields of orchestral arpeggios. It takes an orchestra of the Vienna Philharmonic's caliber to bring these off, so this release, headed by veteran Finnish conductor Sakari Oramo, is welcome. The late Romantic rubric somehow does not give an idea of what Langgaard's music is like: it has a strongly Scandinavian pictorial and programmatic orientation, influenced by other Scandinavian composers but unique in structure and expressive qualities. Consider and sample the middle movement of the Symphony No. 2 ("Vaarbrud," meaning "Awakening of Spring"), which is based on a Danish hymn but is not a set of variations on it, nor a fantasy on it, but rather, you might say, a moderate stretching-out. (Its partial resemblance to Ein feste Burg ist unser Gott heightens the effect.) Langgaard revised his symphonies later in life, shortening several of them; you hear the original versions here, which may be less desirable. But the storm music in the Symphony No. 6 ("Himmelrivende") is of an almost mystical intensity, free-from conventional artifice. Two simpler pieces ring down the curtain: a lyrical movement from a later Langgaard symphony, which is a reasonable choice, and the Tango Jalousie of Jacob Gade, which, although a superb little work, seems to come out of nowhere here. An offbeat, highly worthwhile choice. © TiVo
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Classical - Released January 1, 1995 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Symphonic Music - Released July 25, 2010 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Classical - Released January 1, 1962 | Decca Music Group Ltd.

Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 1993 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Classical - Released August 16, 2019 | Universal Music Australia Pty. Ltd.

Distinctions 5 de Diapason
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Classical - Released January 1, 1995 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 1998 | Deutsche Grammophon (DG)

Distinctions Choc de Classica
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Classical - Released January 1, 1995 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Classical - Released October 13, 2017 | Deutsche Grammophon (DG)

Booklet Distinctions 5 de Diapason
Not widely known as a Bruckner conductor, Riccardo Muti may be signaling a renewed interest in the composer with the recordings released in 2017: a solid CSO Resound issue of the Symphony No. 9 in D minor and this Deutsche Grammophon double CD, which pairs Bruckner's Symphony No. 2 in C minor with Richard Strauss' Der Bürger als Edelmann Suite. Taken from live performances, which were recorded in 2016 at the Salzburg Festival, these works were chosen by Muti to celebrate his 75th birthday, as well as to commemorate the historic connections between the two composers and the Vienna Philharmonic. Yet the program presents obvious stylistic contrasts, chiefly because Bruckner's symphony is an earnest essay cast in his characteristically expansive symphonic form, while Strauss' incidental music for Hugo van Hofmannsthal's German version of the Molière play Le Bourgeois gentilhomme is elegant, concise, and sweetly tuneful. Yet these works reflect different aspects of late Romantic music in Vienna, with Bruckner representing the grand symphonic tradition long associated with the Classical masters, and Strauss providing a counterbalance with the light, sentimental music that flourished in the years before World War I. While this is an unusual match-up, the performances are exceptional for their vitality and clarity, and Muti's interpretations show a deeply sympathetic feeling for Vienna in its glory days. © TiVo
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Classical - Released January 1, 1999 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 1994 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 1992 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography

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Wiener Philharmonic Orchestra in the magazine