Sony Classical releases the full cycle of Bruckner’s symphonies recorded by the Vienna Philharmonic under Christian Thielemann on 11 CDs. The box set, featuring the composer’s nine numbered symphonies, his ‘Study Symphony’, his ‘Nullified’ symphony, and a 172-page booklet. This release constitutes the first complete recording of the Austrian composer’s symphonies from the orchestra under a single conductor. Christian Thielemann enjoys a strong rapport with the Vienna Philharmonic and has established himself as one of his generation’s most esteemed interpreters of the Romantic Austro-German repertoire.
Past praise for previously released CDs included in this set:
Overall, there’s an aliveness to the music, inspired by the concert setting, which adds another reason this Bruckner Eighth is so satisfying. If you want to hear Thielemann at his best, conducting a stupendous orchestra, that’s precisely what we have here.
Thielemann's interpretation has intimacies hard to find in other versions, and a vulnerability movingly communicated in the Vienna Philharmonic’s super-empathetic playing.
Bruckner: Symphony No. 5 / Poschner, ORF Vienna Radio Symphony
Capriccio
CD
$21.99Nov 03, 2023
Among Bruckner’s Symphonies, the Fifth is his contrapuntal masterpiece; the grandest until the Eighth. The tour-de-force of a finale gives us an idea of what the finale of the Ninth might have been like. Its magnificent dark and halting opening with the descending bass line – so effectively recalled in the finale – is inimitable. Although long available only in a disfigured version by Franz Schalk, it is also distinct for never having been the subject to revision or, perhaps, even doubt on the part of Bruckner – who never heard it performed with an orchestra. And yet, when Bruckner wrote this masterpiece, he was still far from establishing himself as a composer in Vienna and his spirits were as low as ever, writing a friend that “my life has lost all joy and delight – in vain and for nothing.” A radiant pinnacle from amid darkness.
Rodion Shchedrin: Music from the Lady with the Lapdog, Conce
Ondine
CD
$16.99Apr 03, 2026
Composer Rodion Shchedrin (1932-2025) was one of the leading figures of post-war Soviet music. This album by the Turku Philharmonic Orchestra and conductor Olli Mustonen brings together four of his works, including music from his ballet The Lady with the Lapdog, as well as a viola concerto, Concerto dolce, performed by Lawrence Power, one of the greatest violists of our time. Rodion Shchedrin passed away while this album - a monument to the unique friendship and artistic collaboration that Olli Mustonen and Rodion Shchedrin cultivated over the course of three decades - was in preparation.
As the progenitor of a style whose influence more or less came to define the instrumental music of the High Baroque, Arcangelo Corelli (1653 - 1713) occupies a position in music history as unenviable as it is to his great credit. Just what made Corelli’s style seem strikingly novel to his contemporaries is a tricky question. To be sure, his standardization and popularization of certain formal tropes – most notably the succession of movement types in Sonate da Camera and Sonate da Chiesa – was a significant part of what his followers considered the ‘Corellian’ manner.
But Corelli’s actual compositional style, his way of organizing musical thoughts into phrases and motives, is fundamentally derived from the expressive capabilities of his chosen instrument, the violin. Certain melodic patterns used to modulate and to effect sequences (e.g., chains of sevenths and fifths) basically derive from specificities of violin technique that amplify an instrument with origins primarily in dance music into one that in Corelli’s hands, could imitate the rise and fall of the sung and spoken human voice. This tension between idiomatically instrumental techniques and the evocation of the voice is the defining characteristic of Corelli’s style throughout all his surviving works and would establish the “Roman School” as the supreme measure of musical taste for generations.
For this exploration of the 18th century’s Corelli Craze, the dynamic star trio of Mahan Esfahani, Hille Perl and Michala Petri unite to trace the Roman’s influence, (sometimes in name only...) on the musical legacies of Bach, Händel and Telemann, and of course two works from the pen of the celebrated Italian Master, himself. Gramophone about the Petri/Perl/Esfahani Trio’s Bach recording: “While the tonal and expressive range of the recorder, viol and harpsichord may appear constrained in comparison to, say, flute, cello and piano, in the hands of foremost players such as these, even a relatively lightweight work such as the C major Sonata, BWV1033, comes over as the ideal demonstration of a particular facet of the composer’s style and the performers’ abilities.”
By popular demand, this Berlin Classics recording will be reissued on Vinyl. Handel's famous Suite"Watermusic" is one of the most well know and loved pieces of classical music from the baroque period. This historically informed interpretation stands out through ist clear articulation and historically accurate interpretation. This recording is a must-have for every classical music record collection.
For his series called Schubert+, pianist Can Çakmur juxtaposes the complete major piano solo compositions by the Viennese composer with works by others who were inspired by his music, thus providing the opportunity to see these works in a new light. While making up a near complete anthology of Schubert’s completed major piano music, each disc is also intended as a self-contained recital.
In this third instalment, Çakmur presents not only a work by the 20th-century composer Ernst Krenek but also Krenek’s completion of an unfinished sonata by Schubert. In the process, Krenek assimilated the Schubertian language so well that the result is astonishing. As Çakmur says, ‘I would find it difficult to spot where Schubert ends and Krenek begins if it wasn’t specified in the score.’ Krenek, whose career spanned more than seven decades, was a prolific composer who embraced a host of styles. For his Second Piano Sonata, composed in the 1920s, he pays homage to Schubert by adopting some of his techniques, though the music owes much more to early 20th-century Paris than to 19th-century Vienna. A fascinating and neglected work to be discovered through the prism of Schubert.
The Great Organ of Aarhus Cathedral / Krogsoe, Johnsson
Danacord
CD
$18.49$36.99Save 50%Feb 16, 2024
Largest church organ in Denmark
The great organ of Aarhus Cathedral is a true masterpiece of North European organ building tradition through four centuries and with 96 stops the largest pipe organ of Denmark. 2018-20 the organ was carefully restored and enlarged by the Danish organ builder Marcussen & Søn Orgelbyggeri Aps.
This publication tells the story of the restoration through text and extensive photo material and for the ?rst time documents the beautiful sounds of the restored instrument in a 2 CD anthology of organ music from Buxtehude to present time. Performers are the two organists Kristian Krogsøe and Anders Johnsson.
Giovanni Battista Viotti composed 29 violin concertos, three sinfonie concertanti, a cello concerto, countless quartets, at least 20 trios for two violins and cello and an impressive array of violin duos, four of the latter recorded here. Described in contemporary reports as a generous and highly charismatic musician driven by idealistic zeal, he is now universally recognised as one of the greatest violinists of all time. In hindsight, it is clear that he and his vast oeuvre occupied a key historical position. He appeared at a pivotal moment between the end of the ancien regime and the start of the modern era: a period when, in social terms, music began to escape the courts and entertain the growing middle classes, laying the foundations for modern concert-going and the figure of the freelance musician. A period when various national traditions, both in terms of instruments and compositions, began to meet and influence each other with unprecedented dynamism, and when the formal rigour of Classicism gave way to the pathos of Romanticism. Viotti was at the heart of this time of dramatic change: the standard-bearer for a centuries-old Italian violin school that included Arcangelo Corelli, Antonio Vivaldi, Pietro Locatelli, Giuseppe Tartini and Viotti's teacher Gaetano Pugnani. He took this esteemed group's technical achievements away from the Baroque and Galant style into a new era, with the arrival of Niccolò Paganini just around the corner. He was admired by Mozart, inspired the virtuosity of Paganini's concertos, was central because of his years lived in London to the evolution of British musical life, and must surely be considered the most significant figure in the entire French violin school. Later violin giants Pierre Rode, Rodolphe Kreutzer and Pierre Baillot were all strongly influenced by his work Viotti's renowned cantabile style is echoed in the violin writing of both Ludwig van Beethoven and Johannes Brahms and is amply represented in the four violin duos on this album. Other information: - Recorded November 2022, Cagliari, Italy - Booklet in English contains liner notes by Carlo Goldstein - Gianmaria Melis plays a 1745 Sanctus Seraphin; Fabrizio Falasca plays a 1727 J. Guarneri - The Italian liner notes are available for download at www. Brilliantclassics. com - Giovanni Battista Viotti (1755-1824) received his musical education from Gaetano Pugnani. He served for a short time at the Savoy Court in Turin but soon he spread his wings and travelled to Paris, where he was an instant success as a supreme violin virtuoso. He served for a time at the court of Versailles before he founded an opera house in Paris (Theâtre de Monsieur). The French revolution urged him to go abroad and he settled in London, where he featured in the Hanover Square concert series and was active as a concert organizer and impresario, as well as one of the founders of the Philharmonic Society of London. - Viotti was an influential violin player and teacher. He composed violin concertos, string quartets, and other chamber music for strings. Based on the principles of the Viennese Classics it hints at more romantic feelings of times to come. - This new recording presents the duos for 2 violins, music of great charm, rich in melodies and brilliantly written for both instruments, which are fully equal to each other. - Played by Fabrizio Falasca and Gianmaria Melis, playing a 1727 Guerneri and a 1745 Sanctus Seraphin violin.
In this concert, the Wiener Philharmoniker, conducted by Andris Nelsons, present a "heavenly" pairing: Alban Berg's "Violin Concerto, To the Memory of an Angel", alongside Mahler's Fourth Symphony, whose final movement sets "Das himmlische Leben" (Heavenly Life) to music. With this performance, young German-American violinist August Hadelich gave his debut at the Salzburg Festival and thrilled the press: "The fabulous Augustin Hadelich filled the difficult solo part with emotion and fragility, his performance was sensitive and yet glowing." (Die Presse). With Mahler's Fourth, Andris Nelsons creates "a Mahler miracle of quiet tones" (Volksblatt), joined by German soprano Christiane Karg as the soloist of the finale. The concert is part of the Wiener Philharmoniker's Mahler cycle with Nelsons. Program: Gustav Mahler: Symphony No. 4 Alban Berg: Violin Concerto "To the Memory of an Angel"
Paul Büttner was born in Dresden in 1870 and studied violin and oboe there at the Conservatory. Over the years, Büttner increasingly established himself as a fantastic musician in Dresden. But he stayed virtually completely unknown before 1915, when the famous Arthur Nikisch premiered his Symphony No. 3. Since then, Büttner was named one of the greatest and most important contemporary symphonists in succession to Brahms and Bruckner. His Symphony No. 4 from 1917 continued the success and was performed by many different orchestras. In 1933, his music was marked as "unwanted," and the regime deleted him completely from the public music culture.
Our knowledge of Kaikhosru Shapurji Sorabji is based more on his reputation than on his work. A marginal figure in twentieth-century music, he is renowned for the length and complexity of his compositions. After forbidding the performance of his music, he earned a small income through his writings as a critic and essayist of great wit. His best-known works are for solo piano, many of which have been released by BIS. This disc presents first recordings of his music for chamber ensemble and chamber orchestra plus several world premiere recordings of art songs, including a new arrangement and the first completion of a fragment. The American collective Wild Beautiful Orchestra, made up of instrumentalists and singers renowned for their versatility and enthusiasm, and it's founder, conductor Chappell Kingsland, together with flautist Sharon Bezaly in the longest work, present this programme featuring previously unreleased music by the maverick composer. There is no doubt that this extraordinary variety will expand our collective appreciation of Sorabji's genius and that this album will serve as an entry point to his unique musical imagination.
Sometimes, dreams come true. For Francesco Tristano, the dream was twofold: first a desire to project his art in the future by devoting himself to one of the most incontestably timeless figures in the history of music, Johann Sebastian Bach. This profound desire fuelled the creation of intothefuture, Francesco Tristano's very personal line of recordings, where sounds morph into an abstract and subtly poetic photographic imagery, which is found in the booklets. This first of these recordings, dedicated to the six Partitas (BWV 825 to BWV 830) is a perfect illustration of this concept. For this pianist from Luxembourg, this collection constituted the starting point of his patient exploration of Bach's work. In fact, it also represents the composer's supreme achievement in the genre of the keyboard dance suite. Also known as the "German suites", to differentiate them from the two collections of "English" (BWV 806 to BWV 811) and "French" (BWV 812 to BWV 817) suites, the 6 Partitas belong to the rare compositions that Bach had published during his lifetime, as the first part of the Clavier-ubung - from 1726 to 1730, then all six in 1731. Composed separately, probably one after the other, these six suites, an infinite kaleidoscope of moods, were to embody his plural and abundant art, in a supreme synthesis of the tastes of the time. With their lively tempos (Partita III, Fantasia; Partita I, Allemande; Partita V, Tempo di Minuetto; Partita VI, Corrente), their very lively phrasing (Partita I, Gigue; Partita II, Capriccio; Partita VI, Toccata; Partita II, Courante), the six Partitas according to Francesco Tristano, a musician with an inexhaustible vivacity of mind, celebrate life everywhere. This impression of a whirlwind, this sense of movement are irresistible! Once again, Francesco Tristano is here in a class of his own. 24 SEPTEMBRE 2024
Provocation! Anarchy! Scandal! All too often we encounter Arnold Schoenberg in writings as an enfant terrible, as a radical innovator who sacrificed late Romantic tonality for his highly complex system of "composition with twelve tones related only to each other". In this edition, the Berliner Philharmoniker and chief conductor Kirill Petrenko demonstrate that in Schoenberg's music "heart and brain" - as the composer entitled one of his essays - are in fact in balance, and that the twelve-tone technique is also entirely at the service of expression. Released in the aftermath of the 150th anniversary year of the composer's birth, it presents five central works that illustrate all of Schoenberg's stylistic periods.
Prokofiev, Rimsky-Korsakov & Tsfasman: Works for Piano and Orchestra / Chochieva, Steffens, BBC SSO
Naïve
CD
$16.99Nov 15, 2024
The pianist Zlata Chochieva is well known for creating unexpected associations. In "Chiaroscuro", her first album for naive (V7542, 2022), she had combined the worlds of Scriabin and Mozart, in whom she hears not only the same desire for clarity and weightlessness but also a similar poetic sense of rhetoric. Her next album ("i'm Freien", V7959, 2023), a homage to nature, revealed alongside Ravel's Miroirs and Schumann's Waldszenen a short cycle, so little known and graceful (Petite Histoire), by Felix Draeseke! No wonder she is now offering us, for her first album with orchestra, one of the most obscure works of Russian Romanticism, the Piano Concerto by Rimsky-Korsakov. Written in 1883 in memory of Franz Liszt, whose two opuses in the genre strongly influenced the author of Scheherazade, this Concerto, with it's monothematic structure, built on a Russian folk theme, had greatly impressed Balakirev, who was surprised to hear such an idiomatically written soloist part, from a composer who was not a pianist himself. At the age of fourteen, Zlata Chochieva had played the work under the direction of Mikhail Pletnev, then head of the Russian National Orchestra. This Concerto remains for her a "miracle of taste, poetry and inspiration". Her intelligent and limpid playing is ideally suited to the very delicate lyricism that Rimsky-Korsakov deploys throughout this astonishing score full of numerous and subtle contrasts. At the heart of this recording, where Zlata Chochieva is joined by the musicians of the BBC Scottish Symphony Orchestra and the German conductor Karl-Heinz Steffens, surges the merciless ardor of Sergei Prokofiev's Second Piano Concerto. In a departure from the stormy way in which this formidable score (for the fingers) is generally approached by pianists, Zlata Chochieva prefers a certain sense of phantasmagoria, rightly recalling that Prokofiev, as a spiritual disciple of Alexander Borodin and Nikolai Rimsky-Korsakov, enjoyed stories, old Russian fairy tales and legends. After this, we have a total change of atmosphere with the Jazz Suite for piano and orchestra by Alexander Tsfasman which concludes the album. An eminent disciple of Felix Blumenfeld, an incredibly talented pianist, to whom Shostakovich intended piano part of one of his film scores, Tsfasman introduced American jazz to the Soviet Union, and formed the first orchestra dedicated to the genre. In Russia, he premiered Rhapsody in Blue by Gershwin, a composer for whom he had the deepest admiration. A brilliantly written, comforting and sincere score, his Jazz Suite sometimes evokes the American composer but above all Hollywood and Soviet film scores. Not without a most contagious and mischievous pleasure, Zlata Chochieva and Karl-Heinz Steffens revel in it's ingenuous charms (Snowflakes). 17 July 2024
In June 2015, the Berliner Philharmoniker elected Kirill Petrenko as chief conductor, and he took up office in 2019. Our exclusive vinyl edition presents key recordings of this phase of anticipation and new beginnings. Performances of works by Beethoven, Tchaikovsky, Franz Schmidt, and Rudi Stephan reveal not only the first important programme directions, but also the exciting, intensive music-making in this partnership.
Rare Italian Madrigals Composers from the upper drawer number several well-known names (music quality increasing a lot over the century), among them principally Giaches de Wert (1535-1596), Carlo Gesualdo (1566-1613), Claudio Monteverdi (1567-1643), and, not least, Luca Marenzio (1553-1599), to whom the present CD is entirely devoted. In his rather short lifespan, he managed to write about 500 madrigals between 1580 and 1599. In those two decades, his music developed immensely, reaching it's climax in the last ten years of his life. Though continuing to satisfy his great popular following with loads of small, lighthearted songs, Marenzio excelled also in writing ambitious madrigal cycles, of which two are recorded here: Baci soavi e cari (five 6-part madrigals describing several aspects of kissing) and, maybe his magnum opus, Capitolo - Se quel dolor (ten 6-part madrigals delving into one of the period's favourite subjects: melancholia).
Haydn's originality, wit and esprit are once again as impressive as the striking inventiveness and versatility of this highly acclaimed ensemble. If his opus one marks the birth of the genre, then opus 33 marks the rebirth, containing some of his most inspired and innovative music. Haydn skilfully plays with the listener's expectations by offering lots of surprising twists and the Leipzig String Quartet reveal and revel in the delights of Haydn's musical wit and invention.
Chopin is said to have played in time (the metronome was always on the instrument), his left hand relentlessly keeping the tempo. Students also reported that he never played a piece in the same way, and that each performance produced a different result. And yet the composer's rubato playing was by no means as free as it is today. There are no reports of Chopin's playing of Bach in particular, but his admiration for the composer is certain. We therefore put the legend that he himself—according to his own statement—played only Bach for fourteen days before a concert into perspective and simply imagine that he worked intensively on "Bach" before his already rare performances. We can assume that the preludes and fugues of the "Well-Tempered Clavier," some of which are also heard in this project, were the focus of his interest.
A closer look at Chopin’s works, especially those of a smaller dimension, repeatedly catches the eye of modules that we think we already know from Bach. Individual bars of the Préludes op. 28 (1836-1839) and Études (op. 10 no. 4) (1833/1837) could be retransformed into a nucleus in Bach’s character with just a few “hand movements.” Chopin’s veneration of Bach preserved these highly condensed musical tools of the Baroque composer well into the Romantic century. He still used them in his late works, such as his last Nocturne in E major, which in a sense takes stock of “Bach.”
This recording, which feels entirely experimental, aims to create a unique musical experience through the direct connection of tonal, for example key, variations. The sound of some structurally related works clearly shows how much Chopin was influenced by Bach's work, whose formal stability with its geometric structures often prevented him from sowing too much "tinsel, trinkets, and pearls," something Robert Schumann once had the courage to accuse his rival of. The aim of this project tempted us to play "Chopin like Bach" here and there and to achieve the greatest possible transparency with extremely economical use of the pedal. Above all, to breathe Chopin's breath into Bach's melodic beauties with a "romantic" touch. The approximately 40-year-old Steinway B grand piano was chosen because of its slim bass section.
