With this set, Centaur completes its traversal of the complete Beethoven String Quartet cycle, performed by the superb St. Louis based Arianna String Quartet. This is one of the truly great Beethoven String Quartet cycles.

An exile from his native land following the failed revolution of 1848, the impoverished Richard Wagner is in Zürich working on his opera Tristan und Isolde. There he meets Otto and Mathilde Wesendonck, ardent admirers of his music. Wagner’s passionate and scandalous affair with Mathilde, whose poems he set to music, is explored in this feature film by director Jens Neubert. After their relationship ended, Wagner left Zurich for Italy, forever remembering Mathilde as ‘my first and only love’.

American bass-baritone Mark S. Doss honors the history of Chicago’s Bel Canto Foundation with an all-encompassing vocal recital program. With works ranging from classic “devil” songs and roles, (other) grand opera, and classic Italian Italians songs to showtunes and inspirational songs, Welcome To My World highlights Doss’s impressive range, tone, and showmanship.

A fascinating testimony to Beethoven's time, these musical treasures area authentically and lovingly performed on historic instruments by ensemble1800berlin with great respect for the original and Hummel's ingenious arrangement.

Flawlessly clear, expressive, richly colored and moving performance by the celebrated, multiple award-winning, versatile pianist. The high-resolution Super Audio CD allows for a true three-dimensional reproduction that puts "Manfred Bürki", a Steinway concert grand from 1901, in your living room at home.

Sony Classical is pleased to present a special edition of Leonard Bernstein’s American Columbia recordings from the 1950s and 1960s. Some of the conductor-composer’s most celebrated interpretations and works are collected here on these carefully chosen 10 original albums on 11 CDs. 

There is, of course, the still-astonishing album that launched Leonard Bernstein’s international reputation as the most dynamic and charismatic conductor of his era, Stravinsky’s Rite of Spring recorded in January 1958 – two months after his appointment as the youngest music director in the New York Philharmonic’s history. Reviewing a 2013 reissue, ClassicsToday.com declared: “It has an excitement, spontaneity, and primal fury that no other version quite matches.” 

The Bernstein recording that launched the “Mahler Renaissance” in the 1960s is also here: his Third Symphony with the New York Philharmonic, which has arguably never been surpassed. And while we’re talking about Third Symphonies, Bernstein’s “Eroica” still sounds “wonderfully vibrant” (Gramophone) a half century after its first release. There is also his reading of Dvořák’s most popular symphony – “There’s no such thing as a ‘definitive’ recording [of the “New World”], but if there were, this one would come close to that imagined ideal” (ClassicsToday) – and two from Haydn’s magnificent “Paris” set: “It’s debatable whether there have been better performances” (ClassicalNet).  

Bernstein himself conducts and plays Gershwin’s Rhapsody in Blue (“The one indispensable recording of this familiar work, paired with an equally fine American in Paris” – New York Times). Bernstein the pianist also accompanies Dietrich Fischer-Dieskau, at the peak of his matchless career, in an acclaimed album of Mahler lieder. The ballets Rodeo and Billy the Kid by Bernstein’s mentor and friend Aaron Copland are included: “Even the composer couldn't make [them] dance the way Bernstein does” (New York Times).  

Bernstein the composer is also generously represented. The original Broadway cast recording of Candide from 1956 is included, as is the definitive version of his most famous work: the original Broadway cast recording of West Side Story from 1957. 

The re-masterings in this new collection are the best ever issued of these thrilling recordings by one of the last century’s greatest musicians, selected from the Grammy® award-winning Leonard Bernstein – The Composer and the Leonard Bernstein – Remastered editions. Sony Classical’s new 11-CD Leonard Bernstein box set is the perfect introduction to the work of this American genius.

Past praise of previously released recordings included in this set:

Mahler: Symphony No. 3 / Lipton, Bernstein, NYP

This was the finest performance of Mahler’s Third when it was first issued back in 1962, and in some ways it has never been surpassed. Bernstein catches the riotous vulgarity of the first movement march music like no other conductor–not even his own digital remake reaches the level of sheer abandon he whips up here, and he also has the best of all fifth movements (bright and cheery, with dazzlingly prominent percussion).

-- ClassicsToday.com (10/10; David Hurwitz)

Dvořák: Symphony No. 9 / Bernstein, NYP

There’s no such thing as a “definitive” recording, but if there were, this one would come close to that imagined ideal. Its special qualities haven’t dimmed a bit in decades since it was recorded, and every interpretive decision comes across with the inevitability of fate itself. First, you get the first-movement exposition repeat (very unusual for its time), then there’s the very slow (but still very flowing) Largo, gorgeously played and far from the trudge-fest that Bernstein would make of for DG. The scherzo goes like the wind, the fastest ever, and the finale offers simply the last word in excitement. If you don’t own this performance in some form, then you don’t know the “New World”.

-- ClassicsToday.com (10/10; David Hurwitz)

The programme on this CD begins and ends with transcriptions of works by Beethoven. The first piece is the Allegretto (2nd movement) from Beethoven’s 7th Symphony in the arrangement by Franz Liszt, and the programme ends with a solo piano version of Beethoven’s song An die Hoffnung, created especially for this CD. The two pieces form a framework of sonorities and emotions that set the basic mood for this musical journey. The Allegretto serves as a prologue: it looks ahead, indicating the direction we shall be taking. At the other end of the programme, the song transcription serves as an epilogue: it looks back, taking stock of all that has occurred. On the one hand, there is a somber mood that runs through the entire programme: we find it in the Allegretto’s passages in minor, in the Schumann variations, in the third movement of the Beethoven sonata, and in the recitativo-like passages of An die Hoffnung. These are complemented by episodes of light: the A-Major sections of the Allegretto, the first, second, and fourth movements of the sonata, and, ultimately, the hopeful, optimistic sonorities we find in the song transcription with the final cry: “O, Hope!” (Aris Alexander Blettenberg)

Hans Sitt (1850–1928) was an extremely important personality in the transition between the 19th and 20th centuries, and also a remarkably prolific composer. Among all this activity, he found the time to transcribe all (!) of Beethoven's nine Symphonies, among others. 

His decision to transcribe them for violin and piano instead of for two piano so common in hus era, allows him to make the violin a part among parts, to immerse it in the (very rich) piano fabric, sometimes giving it a thematic role and sometimes not. 

His transcription of the Ninth ends up revealing many aspects of the original score of which one had never been aware. In addition to being splendid to listen to, if only in that obvious sense of the formidable challenge it poses to the performers, it becomes an important and unexpected tool for delving deeper into the structure of the Beethovenian masterpiece. And for this we shall forever have to thank him.

REVIEW:

Sitt has succeeded magnificently in distilling the original material, but it also presents a great technical challenge for the two performers, which Loguercio and Piemonti meet with bravura. But it is not only the virtuoso that they rise to, for their playing is musically satisfying as well, especially in the slow movement, where they make the music effective with subtle moods.

-- Pizzicato

A “musical snapshot of the early collaboration between the Berliner Philharmoniker and myself, and at the same time the initial spark of our association”, as Kirill Petrenko describes the edition in the foreword. Three repertoire strands are outlined here: first, there is the music of Russia, which Kirill Petrenko grew up with, and is represented here by Tchaikovsky’s Symphonies No. 5 and 6. These are performances in which not only the passion and power of these works unfold fully, but also their details and fine nuances. Another of Kirill Petrenko’s interests is that of unjustly forgotten composers. As examples of this, the edition presents two composers on the cusp between late-Romanticism and Modernism: Rudi Stephan and Franz Schmidt. The latter’s Fourth Symphony is presented here: music full of sonority and pain and at the same time a favourite of Kirill Petrenko.

And then – as a further cornerstone of the partnership – there is German-Austrian Classicism and Romanticism. The importance of this repertoire to Kirill Petrenko is demonstrated by the prominent place Ludwig van Beethoven occupied in his concerts to open the 2018/19 and 2019/20 seasons, when the Seventh and Ninth Symphonies respectively were programmed. Both performances are also documented here. Now, for the first time, these special recordings appear in a high-quality vinyl edition limited to 1,500 copies on 6 LP with a 56-page clothbound accompanying book and the option of hi-res download.

"Being able to release my first solo CD with the hänssler CLASSIC label is simply fantastic. The assembled works on this CD reflect my musical focus. The juxtaposition of globally renowned and beloved compositions with the quest for seldom-performed musical treasures captivates me in my profession. I have recorded a journey through the colorful world of fantasy. The sound journey with Beethoven, Schubert and Mendelssohn Bartholdy shows famous, rarely played and unfinished piano works, which, besides a reference to nature, find their nucleus in Beethoven's 'Moonlight Sonata'.

"The three composers are united by the search for new possibilities of expression. There are (almost) no limits to the imagination. Ludwig van Beethoven takes center stage. His contrasting works Fantasy for piano Unv 12, an unfinished sketch, and the universally known 'Sonata quasi una fantasia' op.27 No. 2, more familiar to most as the 'Moonlight Sonata', are an exciting combination.Felix Mendelssohn Bartholdy's Phantasie op. 28 'Scottish Sonata' harks back to Beethoven's love of nature. He wrote this fantasy in 1833 on his cultural journey through Italy, France and Great Britain. Here, Mendelssohn Bartholdy sets his impressions of the mood and landscape of Scotland to music. Franz Schubert's Fantasy op. 15 D 760 'Wanderer Fantasy' is a work that is close to my heart." - Maximilian Schairer

Sir Roger Norrington has been chief conductor of the former Stuttgart Radio Symphony Orchestra (today the SWR Symphonieorchester) for thirteen years. During this time he has caused a stir internationally with what has come to be termed ‘The Stuttgart Sound’: a synthesis of historically-informed performance practice with the technical capabilities of a modern orchestra.

Whether in Mozart, Haydn, Bruckner or Brahms, Norrington has sought to capture the performance experience of the time, adjusting the orchestra’s size and seating plan to create an authentic sound without vibrato. His artistic credo was to keep as close as possible to the composer’s expectations. The present re-issue brings together in a boxed set three of most the important works of Sacred Music from the 19th century: Berlioz' Requiem, Brahms' A German Requiem and Beethoven's Missa solemnis.

Friedrich Wührer was appointed Professor at the Vienna Academy of Music at the age of 28 but he did not confine his activities to teaching. He soon became increasingly active as a concert pianist. His concert tours led him to most countries in Europe, and earned him the reputation as one of the finest keyboard artists of his time.

Both highly in demand on a worldwide scale as unique, exceptional chamber music performers, Antje Weithaas and Dénes Várjon each ideally combine the highest degree of enthusiasm and precision: their energetic, passionate playing is the result of intense concentration. In Vol. I of their complete recording of Beethoven’s violin sonatas, Weithaas and Várjon have chosen not to follow chronological order, but to seek out thrilling contrast and fascinating variety instead – thus making Beethoven’s rapid evolution as a composer all the more astounding.

Zhu Xiao-Mei has taken an important place in the classical music world, not least in view of her valuable interpretations of Bach's music. This CD box set combines other key works by the pianist from Scarlatti, Haydn and Mozart to Beethoven, Schubert and Schumann, testifying to her ability to express a wide range of styles and epochs through her unique artistic vision and tonal sensitivity. These recordings, recorded between 1995 and 2011, are the result of an intense exploration of the different characters of the six composers and are indicative of their interpreter's Œuvre.

Recreating the tonal language of a composer and the essence of an entire age is the goal of the young Trio Alterna, which has recorded a CD of piano trios by Ludwig van Beethoven on GENUIN that includes the composer's magnificent "Ghost Trio". Takahiko Sakamaki , Anna Dmitrieva , and Amarilis Dueñas Castan are all distinguished representatives of their generation in the field of historical performance practice. The trio, which began its career by winning a prize at the International Competition "Beethoven in his Time" in 2020, not only performs on period instruments but also consults period sources and manuscripts of the works being performed for its interpretations.