The Schwetzingen Festival concerts were dedicated to Chopin in 1999 on the 150th anniversary of his death. Four pianists were invited to the event. Three of them, Lilya Zilberstein, Anatole Ugorski and Andrei Gavrilov were 'stars' of Deutsche Grammophon. The fourth was Idil Biret who had not attained 'star' status as it was only available to those with contracts with the so-called "major" record labels. But, she had been the first pianist ever to record the complete works of Chopin for solo piano and with piano and orchestra for Naxos, received a Grand Prix du Disque Frederic Chopin in Warsaw in 1995 for this and was to be decorated with one of the highest orders of Poland by President Kaczynsky in 2007. Idil Biret did something no other pianist could do. Dr. Peter Stieber wrote: "Your own Chopin evening was then the breath-taking testimony of a great artist. We all could experience together how in your hands the wonderful music of Chopin begun truly to blossom."

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"

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"

Manuscripts Don’t Burn is a famous line in Bulgakov’s Master and Margarita – the retelling of Faust, the 20th-century cult novel of an artist surviving in a Totalitarian regime, the love story, the burlesque with giant, vodka-drinking cats, and vampiric theater administrators.

I first read the book as a kid, growing up in Soviet Odesa. I took it with me when my parents and I immigrated, as Jewish refugees running from antisemitism, through Austria and Italy, to the United States. Crossing the border, I worried that guards would discover my book, and I would be severely punished. Throughout the years, the book played a role in my life. My childhood best friend from Odesa reread the book in adulthood and decided to find me - we are now together for 20 years, with two kids. I read the book to my mother as she was dying from brain cancer.

Bulgakov’s novel weaves through my own newly published memoir, Weight in the Fingertips - A Musical Odyssey from Soviet Ukraine to the World Stage (Backbeat Books, October 2023). I consider this very personal recording to be something of a mirror image to my memoir, as it intertwines the literal images from Master and Margarita with more autobiographical themes and layers.

The five premieres, written for me and recorded here, are vastly different in styles and aesthetic. The understated, elegant Master and Margarita Suite by Veronika Krausas complements the wild, theatrical, brooding and extended techniques-filled “Manuscripts Don’t Burn” by Maya Miro Johnson. Mike Garson’s Psalm to Odesa, an improvisatory ballad, with bits of my own improvisation based on a well-known Odesan song, sets off “Voices” by Ljova, a piece for piano and historical recordings of Jewish cantorial and klezmer music. Both take me back to my home city, currently under vicious attack, like the rest of Ukraine. The poetry I recite, sing and hum while performing the four-movement Godai - the Four Elements - is rounded off by the propulsive bravura whirlwind of Hero. Fasil Say’s Black Earth takes the listener on a journey from Odesa across the Black Sea - a Turkish ballad and jazzy beats alternate with improvisatory melisma of a Turkish lute, played on muted strings of the piano. The rarely heard Notturno of Fanny Mendelssohn connects a gifted female voice to the others on this disc, as well as, perhaps, to the dark, impassioned character of Margarita. In Master and Margarita, “Manuscripts Don’t Burn” is spoken by Satan when he retrieves the manuscript of a novel presumed burnt – and in Clarice Assad’s “Godai”, Steve Schroeder’s poem depicts the loss of a manuscript in a fire.

The lieder of Schubert, transcribed for solo piano by Liszt, riffs on the mythical and the Faustian lore found also in Master and Margarita: Gretchen (Margarita) at the spinning wheel, a mystical love story by the sea, a monstrous Elf King and the death of a child, of innocence, of joy - one’s worst fear.

This collection of music speaks to my love of dialogue between music and words. As in my Music/Words series, where I pair poets with musical programs in the form of a recital/reading, the connections between text and sound here are not just literal but emotional, based on memory, intuition, dreams, and hopes.

- Inna Faliks

The recordings of Prokofiev's Sonatas No. 9, 8 and 4 are derived from radio broadcasts in Germany (1964), Switzerland (1971) and Turkey (1973) and that of the Toccata from a Soviet Union radio broadcast of Biret's first Moscow recital during her sixteen concert tour of the USSR in 1960 at the age of nineteen. The recording of Piano Sonata No. 2, the second recording of Sonata No. 7, both made direct-to-disc in 1977 at the RCA Studio in New York, and the Swiss, German, Turkish and Soviet radio recordings are all unedited single takes.

The accomplished and versatile piano sextet Sestetto Classico are renowned for their superb performances of both well-known and rare works of chamber literature. These masterpieces by Bertini and Hummel are like miniature piano concertos in terms of their form, scope and virtuosity. "The Sestetto Classico players are absolutely first-rate, bringing off both pieces with fire and affection. Strongly recommended." (Fanfare)

Idil Biret wanted to record the many waltz transcriptions of Godowsky and others. Chief among these was the transcription of the Johann Strauss' waltz Kiinstlerleben by Godowsky which she had performed at many concerts in the l 970s and the Blue Danube Waltz. However, there was another project scheduled before that; four Haydn Sonatas, some of the most beautiful among the many he composed. When Idil suddenly fell ill in 2021 both projects were abandoned. Then, miraculously a stupendous recording of her performance of Kiinstlerleben in New York in December 1975 surfaced on the internet which led to reembarking on the project in a somewhat different way. The result is this CD, a compilation of Biret's past performances of Waltzes and Dances from many composers including Bartok, Berlioz, Chopin, Debussy, Liszt, Ravel, Stravinsky and, of course, Leopold Godowsky - his piano transcription of the Strauss waltz Kiinstlerleben "Metamorphosis on Themes from Artist's Life"

For his series called Schubert+, pianist Can Çakmur juxtaposes the complete major piano solo compositions by the Viennese composer with works by other composers 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 selfcontained recital.

In this second instalment, Çakmur performs pieces published after Schubert’s death, the three Klavierstucke, D 946, which are not known to have been intended as a new series of impromptus. Since their first editor was Brahms, it seemed logical to include one of his late cycle of miniatures, here the Vier Klavierstucke, Op. 119. The pieces by Schubert and Brahms share a spontaneity, even an apparent lightness, that often conceals an unsuspected depth beneath the surface. The programme concludes with the Four Impromptus, D 935, an ambitious cycle also published after Schubert’s death. Schubert’s name would become closely associated with this genre, often characterised by a lyrical melody and a free-flowing structure, with a sense of spontaneity. With it, Schubert seems to have found an ideal setting for the expression of his genius.

Part of the British Music Society series, this work presents Grace Williams’ songs and folk-song arrangements in world premiere recordings. The acclaimed Welsh baritone Jeremy Huw Williams is accompanied by the Australian pianist and composer Wendy Hiscocks.

Although he had famous students (i.e. Szymanowski) and teachers (Moniuszko), few listeners know much, if anything, about Zygmunt Noskowski. And yet, for most of the 19th century, he was the primary exponent of modern symphonic music in Poland. His Third Symphony and his symphonic poem Steppe, Op. 66 blend sweeping Romanticism with Polish folk spirit. The symphony's seasonal journey is lush and lyrical, starting with spring and ending with the optimistic outlook to the next. Steppe evokes Poland's vast landscapes with Borodinesque colors. Under Antoni Wit, these overlooked gems shine anew and make for intriguing listening for lovers of melodic symphonic music.

From 8.501207 Idil Biret Concertos and Slow Music Edition

Engelbert Humperdinck's music for the pantomime of Karl Gustav Vollmoeller's arguably most important stage work impresses with it's deeply Romantic sound and large-scale choral scenes and had so far led an unforgivable shadowy existence in the composer's oeuvre. Premiered in London in 1911, none other than Max Reinhardt adapted this work for film (1912) and staged numerous performances with hundreds of actors, singers, and dancers - finally also at the Salzburg Festival in 1925. This recording represents the first complete recording of this deeply Romantic masterpiece.

These five works – four sonatas and a sonatina – chronicle a century of American writing for the viola and are linked by a concern for directness of musical language. But they also reflect diversity in their origins and inspirations, the Ulysses Kay pieces being written by a pioneering African American, Libby Larsen’s by a successful female freelance composer, Eric Ewazen’s animated by a particularly American lyricism and energy, and the sonata by David Tcimpidis commemorating the ‘9/11’ terrorist attack on the World Trade Center, which Tcimpidis heard unfolding.

Between Lise de la Salle and Franz Liszt, is an affinity, one could say a love story, that has lasted for more than twenty years. For her second album, recorded in 2005 when she was only seventeen, she had him paired with Bach (V5006). Six years later (V5267, 2011), she recorded her first all-Liszt album, a rather dark disc, where the tragic and relentless Funerailles and Apres une lecture du Dante rubbed shoulders with the heartbreaking nudity of Nuages gris and Lacrymosa. Unrolling this Ariadne's thread once again, the French pianist now defends two of the greatest masterpieces, surprisingly complementary, of the most cosmopolitan composer of European Romanticism. A summing up of Lisztian art, the Sonata in B minor, reserved for pianists with wrists of steel and hearts of gold, shines with a particular glow in the piano repertoire of the 19th century. Sensitive to the myriad nuances of this splendid fresco structured as an uninterrupted movement, Lise de la Salle balances here with astonishing ease the dramatic impact of Goethe's Faust and the contemplative lyricism present in the tonal landscapes of the Annees de pelerinage. The assiduous frequentation of the Lisztian universe will have facilitated the in-depth analysis of the Sonata, which quickly became for the pianist an integral part of her artistic persona?and yet, what a maelstrom of sounds! The final part of the Harmonies poetiques et religieuses, the Cantique d'amour, played here as an escape towards the light, introduces the Reminiscences de Don Juan, a fantasy in the form of variations which, through it's overwhelming emotional power, works as an answer to the Sonata. A great admirer of Mozart's Don Giovanni, Lise de la Salle restores the nobility of this now rarely performed work. Liszt takes up famous motifs from Mozart's opera, in an aesthetic full of passion, in which he magnifies his striking art of contrasts and his dazzling virtuoso writing. By placing these Reminiscences as a mirror of the Sonata, Lise de la Salle gets as close as possible to Lisztian genius at the same time as she refines her art of dark atmospheres.

For his performance of Johannes Brahms's symphonies, Kirill Petrenko returns to their roots - and to his own: in Meiningen. Hans von Bülow was the first to perform Brahms's works there, before Fritz Steinbach succeeded him as court conductor in 1886. Thanks to Brahms's regular visits to Meiningen, Steinbach became extremely familiar with his music during his 17 years at the court - and meticulously recorded the composer's wishes as performance notes in the scores.

This release further explores the rarely performed or recorded concert music of Miklos Rozsa (of Ben Hur fame), coupling his Rhapsody for Cello in which the young composer truly found his style, his Notturno Ungherese ("a nostalgic night piece, harking back to the memories of my childhood in Hungary"), and the late Sinfonia concertante for violin and cello, a fiendishly difficult violin-cello double concerto that is among Rozsa's finest, least film-music-like concert works - and one of his most underrated. Gregor Piatigorsky and Jascha Heifetz, who instigated it's composition, never ended up playing it, but Harriet Krijgh and Nikita Boriso-Glebsky certainly do.

It took almost 100 years for Charles Koechlin's First Symphony to get a proper recording and over a year for Ariane Matiakh to prepare the material. After her highly praised recording of Koechlin's Seven Stars Symphony (C5449), this is a much-appreciated further foray into the largely unexplored symphonic world of this fascinating composer, a French Chameleon of sorts, who felt comfortable anywhere between Bachian counterpoint and the heights of French impressionism. The earlier Au loin, Poeme symphonique and 3 Melodies (orchestrated posthumously) round out the scintillating picture.

The "Tondichtung", or tone poem, was a popular European genre from the mid-19th to early 20th century. German composer Richard Strauss excelled in this form, producing ten works. A tone poem is a single-movement orchestral piece meant to evoke moods, stories, or scenes without following a strict narrative. Strauss's Don Juan, Op. 20 (1888), was inspired by Nikolaus Lenau's poetic take on the Don Juan legend, portraying him as a man seeking the perfect woman and ultimately succumbing to despair. Strauss's orchestral work mirrors this, opening with energetic themes of Don Juan's adventures, featuring lyrical passages for his loves, and concluding with dark chords symbolizing his demise. In 1898, Strauss composed Ein Heldenleben (A Hero's Life), a six-section tone poem inspired by Beethoven's Eroica, reflecting his own life and career. Themes depict the hero, his adversaries, companion, battles, peace, and eventual retirement. Critics debated Strauss's self-portrait as arrogant or humorous, but the work remains a testament to artistic struggle and triumph. Austrian conductor Hans Graf, Chief Conductor and Quantedge Music Director of the Singapore Symphony Orchestra (SSO) since 2020, is known for his curiosity, creative programming, and commanding presence. An acclaimed guest conductor worldwide, he has won multiple awards including the Österreichischer Musiktheaterpreis and recorded works by Mozart, Stravinsky, and Berg. Founded in 1979, the SSO is Singapore's flagship orchestra, performing year-round and achieving global recognition, including rankings by Gramophone and BBC Music Magazine. Under Graf, the orchestra has released over 50 recordings and revived rare works by composers like Kozlowski, Klenau and Ogerman. The SSO forms part of the Singapore Symphony Group, which also encompasses choruses, youth orchestras, and major music festivals.

The 4th volume of the Complete recordings of Dussek's Violin Sonatas, containing the two Sonatas Op.69 and the early Sonata Op.4. Johann Ladislaus Dussek (1760-1812) was born in rural Bohemia. He led a restless life, travelling Europe as a keyboard virtuoso and settling in several European capitals, notably Paris and London, where he became a fashionable pianist and teacher. His close connection to piano manufacturer Broadwood resulted in important innovations, notably the extension of the keyboard to 6 octaves. Dussek's style is rich, harmonically expressive and pianistically challenging, Classicism on the brink of Early Romanticism. This new recording presents the 3 Sonatas Op.1 and the Sonata Op.12 No.1. Carl Friedrich Cramer writes in the "Magazin der Musik" in 1783: "These sonatas are the only ones of their kind. Rich in new thoughts and traces of the author's great musical genius. Very brilliant, and appropriate to the instrument. The accompaniment of the violin is so artificially combined with the piano part that both instruments are kept in constant attention; so that these sonatas require a violin player who is just as skilled as a piano player." Played by Julia Huber, a prizewinner of the Locatelli Competition Amsterdam, and concertmaster of L'Orfeo Baroque Orchestra Linz and La Stagione Frankfurt. Miriam Altmann studied piano, fortepiano and harpsichord, she specializes in the Early Classical repertoire and recorded works by Gyrowetz. Both musicians play period instruments.

The music of Rachmaninoff is of “enormous significance” to Kirill Petrenko. In it, he finds his “musical home”. His third edition together with the Berliner Philharmoniker is dedicated to the Russian composer, the 150th anniversary of whose birth was celebrated in 2023. It presents four key works: the Second Symphony, the Piano Concerto No. 2 and The Isle of the Dead – Rachmaninoff regularly performed them together until his emigration in 1917 – and the Symphonic Dances, which the composer wrote shortly before his death.

Founded in 1841 under the participation of Constanze Mozart, the Mozarteumorchester Salzburg today enjoys the highest reputation worldwide for it's lively and style-conscious Mozart interpretations. In numerous ways it connects the Viennese Classical period to the music of the 19th/20th and 21st centuries. The orchestras constant preoccupation with his core repertoire also shapes it's approach to the music of later periods. Thus chamber-musical transparency, articulatory clarity and nuanced sonority are a trademark that makes the Mozarteum Orchestra special and recognizable, also when playing the music of other composers. The Mozarteumorchester Salzburg proves once again it's unrivaled position as interpreters of the Mozart stylistic and uses the organ sonatas as a departure into other stylistic periods. It Includes two world premiere recordings of Henze's "Konzertmusik" and "Three Mozart Organ Sonatas".

The figure of George Frideric Handel cast a long shadow over musical London in the first half of the eighteenth century; casting many of his contemporaries – fine composers themselves – into centuries of obscurity. This recording throws light into forgotten corners and discovers some glittering gems; some of them demanding dazzling vocal fireworks from their performers. Several of these composers set scenes from Classical mythology or Old Testament narratives – but they also explore the underside of the Baroque psyche in one of David’s darkest psalms and in a representation of Arcadian madness.

It was more than just breathing together in the music that made this relationship so extraordinary: Seiji Ozawa earned the respect and affection of the orchestra from the very first time he met the Berliner Philharmoniker in 1966. The young Japanese conductor knew exactly what he wanted on the podium and knew the scores down to the smallest detail. Nevertheless, the always polite and approachable conductor never imposed his views on the orchestra. The result was a partnership on an equal footing, which was not only rewarding on a personal level, but above all enabled music-making in which there was always room for freedom and spontaneity. Our edition is a tribute to this special friendship with Seiji Ozawa, who the Berliner Philharmoniker made an honorary member in 2016.

Fanny Mendelssohn, Vol. 2

Fondamenta: Kirill Gilels, the grandson of the famous pianist Emil Gilels, made the decision to entrust us with the results of several years of research: he gave us a list of dates and places of the previously unreleased recordings of his grandfather. It was in Amsterdam where at last we succeeded in extracting five recordings of performances Gilels, one of the most important pianists of the twentieth century, had given between 1975 and 1980 at the Concertgebouw - recordings that had fallen into oblivion.

Over the course of his long and eventful career, Dussek composed 38 violin sonatas – or rather sonatas for the keyboard, accompanied by the violin – and the partnership of Julia Huber and Miriam Altmann is acquiring impressive credentials and critical praise as they gradually uncover them for the first time.

‘This is one excellent disc,’ noted the Fanfare reviewer of Volume 1 (96385). ‘Julia Huber and fortepianist Miriam Altmann give wonderful renditions. Each plays off of each other, with clarity, technical acumen, and a good sense of phrasing… You ought to have this as an integral part of any collection of chamber music of the period.’

Volume 2 (96588) was received with equal enthusiasm: ‘This is an outstanding continuation of the series… done with style and verve by Julia Huber and Mariam Altmann… Well worth getting.’ Volume 3 presents a contrast of sonatas from the beginning and near the end of Dussek’s life. Even the early Op. 4, No. 3 Sonata, however, shares the qualities of the mature Dussek noted by one contemporary reviewer: ‘Dussek's strength in composition lies in the idiosyncrasy, the novelty, the striking, brilliant quality of his rich invention, and, as far as the development is concerned, in the fire and the intimacy which his works seldom lack.’

Fire and intimacy: what else would we expect from a wide-ranging opening movement subtitled ‘L’amante disperato’ (The forlorn lover), with playing indications such as Amoroso and Lamentabile and dynamic indications from triple piano to triple forte?The sonata’s argument is concentrated in the piano part, with the violin marked as ‘ad libitum’, whereas the two Sonatas Op.69 show more of a partnership, albeit still led from the keyboard in the manner of works in the same genre bv Mozart and (until the ‘Kreutzer’) Beethoven.

Both Op. 69 Sonatas take the listener on a gripping narrative through typically bravura piano writing and unexpected turns of incident. No.2 is unusually structured in two expansive halves, while the quick outer movements of No.1 are separated by a songful Adagio subtitled ‘Les soupirs’ (The Sighs’) no doubt for the appreciation of Dussek’s French audience.

Acclaimed concert violinist Rachel Barton Pine, sought-after pianist Orion Weiss, and the multiple Grammy Award-winning Pacifica Quartet join forces for their new album French Impressions: Chamber Music by Chausson & Tailleferre, celebrating transformational works by French composers Ernest Chausson and Germaine Tailleferre, whose chamber music deserves greater attention on recordings. Chausson's Op. 21 sextet, titled Concert, known for it's unusual orchestration of solo violin, string quartet, and piano, takes advantage of the quasi-orchestral capabilities of a chamber ensemble. The only work on the album featuring Rachel Barton Pine, Pacifica Quartet, and Orion Weiss as a collective, Concert is regarded as one of the most important French chamber music works of the late-19th-century fin-de-siecle era. Germaine Tailleferre was a prolific composer and the only female member of the group of celebrated 20th-century French composers known as Les Six. Tailleferre was a piano prodigy who enrolled at the Paris Conservatoire at age 12, defying her father's objections. Her compositions span symphonic, chamber, and film music. A winner of numerous premiere prix, she studied with revered composers including Maurice Ravel, whose work significantly influenced her versatile style. Violinist Rachel Barton Pine showcases her "astonishing and joyful" (Washington Post) artistry, alongside the "powerful technique and exceptional insight" (Washington Post) of pianist Orion Weiss for Tailleferre's Violin Sonata No. 2, Pastorale, and Berceuse for Violin and Piano - works that often express a nostalgic longing for home and display dynamic and adventurous interplay between the violin and piano. The Pacifica Quartet, known for it's "remarkable expressive range and tonal beauty" (New York Times), is featured on Tailleferre's String Quartet, a piece acclaimed for it's playful themes, fluid accompanimental figuration, and bold harmonies.

Preserved in three different libraries, the Marciana in Venice, the Library of the Naples Conservatory, and the State and University Library in Hamburg, the six cantatas that make up this world-premiere recording were composed by Benedetto Marcello in the early 18th century. These are thus youthful works, quite interesting for the originality of their writing, which helps us understand why their author was so highly regarded during his lifetime - even called the "prince of music" - and also by posterity, as he managed to blend his personal sensibility with lessons drawn from tradition and the influences of a life rich in cultural encounters. The compositional structure of these works - less known than his concertos and theatrical works - follows the traditional format of alternating recitatives and arias. However, this does not prevent the author from experimenting with innovative solutions, particularly in the treatment of the voice. Typical of Marcello's style is a certain inclination toward the bizarre, with the use of harmonies that can sound "estranging," sudden modulations, chromaticism, augmented sixth chords, and the melodic interval of the diminished fourth. In some passages, he even seems to anticipate the models of the "sublime" style theorized in the mid-to late 18th century.

Unsuk Chin’s music is a magical realm: sometimes it unfolds labyrinths of innovative sounds and complex structures, then again moments of otherworldly beauty. Her astonishing ingenuity gives each work its own character – which makes the encounter with Chin’s music a "continuous adventure" for the Berlin Philharmonic.

For the orchestra, many highlights of this fruitful collaboration are linked to special memories: Chorós Chordón, for example, accompanied the Philharmonic on their last tour of Asia with Simon Rattle. This edition documents all the works by Unsuk Chin that have been performed by the Berlin Philharmonic to date.

In addition to the recordings on CD and Blu-ray and a bonus film, the hardcover edition features an attractively designed accompanying book with moiré effect art by Takahiro Kurashima, and introductory texts.

For the first time, this cycle is now being released as a limited vinyl edition on 17 LPs. The edition brings together Berliner Philharmoniker recordings from the last ten years. It includes the nine completed symphonies and the Adagio of the Tenth, whose performance under the direction of Claudio Abbado on the 100th anniversary of Mahler's death is one of the highlights. In addition to chief conductor Kirill Petrenko and his predecessor Sir Simon Rattle, the edition features other outstanding Mahler interpreters closely associated with the orchestra: Gustavo Dudamel, Bernard Haitink, Daniel Harding, Andris Nelsons and Yannick Nézet-Séguin.