{"title":"Danish National Symphony Orchestra","description":null,"products":[{"product_id":"galaxymphony-i-ii","title":"GALAXYMPHONY I \u0026 II","description":"A must-have for all sci-fi fans, this double vinyl includes the best tracks of Galaxymphony I \u0026amp; II, a symphonic space journey. Travel the universe with the best tracks from Apollo 13, Avatar, Blade Runner, Gravity, Interstellar, Star Trek, Star Wars, The Hitchhiker's Guide to the Galaxy and The Mandalorian.","brand":"EUROARTS","offers":[{"title":"Vinyl","offer_id":44937652666602,"sku":"880242687111","price":35.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4078671-2816598.jpg?v=1780137252"},{"product_id":"hollywood-gala","title":"HOLLYWOOD GALA","description":"Glamorous Hollywood Gala with Blockbuster Movie Hits. The Danish National Symphony Orchestra rolls out the red carpet for a sparkling Hollywood Gala with a musical fireworks display from Oscar-winning films such as: The Bodyguard � Moulin Rouge � The Umbrellas of Cherbourg � Gladiator � Harriet � A Star Is Born. The successful Blu-ray and CD release now available on vinyl. A riveting and emotional selection of movie hits: from dramas about love and jealousy to the wildest journeys and the world's fastest cars - spiced with murder and gangsters. The evening also features a special section dedicated to music favourites from iconic Oscar-winning movies. The evening's two vocal soloists have taken audiences and the Danish press by storm. Andrea Oehlenschl�ger, only 23, made headlines when she broke out as a musical star in Bodyguard - The Musical in autumn of 2021. In this concert Andrea gives her debut in the concert hall with Whitney Houston's I Will Always Love You. Dilukshan Jeyaratnam, has received a Reumert Talent Award for his performance in the musical \"The Prince of Egypt\" and has most recently starred in musicals such as American Idiot, Urinetown, and The Hunchback of Notre-Dame.","brand":"EUROARTS","offers":[{"title":"Vinyl","offer_id":44937652764906,"sku":"880242692214","price":42.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4236414-3022791.jpg?v=1780139289"},{"product_id":"babylon-hotel","title":"BABYLON HOTEL","description":"Experience the iconic music from movies and series such as Babylon Berlin, The Great Gatsby and Burlesque with the Danish National Symphony Orchestra, Danish Radio Big Band and guests. The Babylon Hotel is the concert where the upper class meets the underworld in a melting pot of euphoria and extravagance, nostalgia and pleasure with a carefree sinfulness only seen in the exuberant nightlife of the 1920s around the world. This concert evening takes you through the fictional Babylon Hotel, where the doors are opened to a world of music from movies like The Great Gatsby, Babylon, Burlesque, the TV series House of Dreams and Babylon Berlin and the operas Porgy and Bess and Mahagonny - and much more.","brand":"EUROARTS","offers":[{"title":"Blu-Ray","offer_id":44938820878570,"sku":"880242699145","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4371270-3234432.jpg?v=1780140839"},{"product_id":"babylon-hotel-1","title":"BABYLON HOTEL","description":"Experience the iconic music from movies and series such as Babylon Berlin, The Great Gatsby and Burlesque with the Danish National Symphony Orchestra, Danish Radio Big Band and guests. The Babylon Hotel is the concert where the upper class meets the underworld in a melting pot of euphoria and extravagance, nostalgia and pleasure with a carefree sinfulness only seen in the exuberant nightlife of the 1920s around the world. This concert evening takes you through the fictional Babylon Hotel, where the doors are opened to a world of music from movies like The Great Gatsby, Babylon, Burlesque, the TV series House of Dreams and Babylon Berlin and the operas Porgy and Bess and Mahagonny - and much more.","brand":"EUROARTS","offers":[{"title":"CD","offer_id":44938846863594,"sku":"880242699176","price":16.42,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4371271-3234433.jpg?v=1778351113"},{"product_id":"ruders-six-symphonies","title":"Ruders: Six Symphonies","description":"Leading British critic Stephen Johnson called Poul Ruders \"The Richard Strauss of the computer-aged orchestra\", and indeed the Ruders six symphonies, collected here for the first time, sparkle with vivid color and brilliant orchestral virtuosity. Ruders is best known for his score to the opera \"The Handmaid's Tale\", based on Margaret Atwood's dystopian American tale, produced by opera companies throughout Europe and North America.","brand":"Bridge Records","offers":[{"title":"CD","offer_id":46012429500650,"sku":"090404960628","price":54.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4445212-3422561.jpg?v=1778193135"},{"product_id":"sorensen-island-in-the-city-saraste-danish-national-symphony","title":"Sørensen: L’Isola della Citta \/ Saraste, Danish National Symphony","description":"\u003cp\u003eEvery sound in Bent Sørensen's music has been considered with the greatest care and refinement. His quietly spoken universe incorporates loneliness, nostalgia and a feeling of loss and leave-taking. His triple concerto, L’Isola della Città (2015), has a purity that makes it one of Sørensen’s most immediate and gripping orchestral works. As he has said, 'this music unfolds at night, as most of my music does, because it was written at night’. The concerto's solo parts are performed by Trio con Brio Copenhagen who has played Sørensen's music extensively. Sørensen’s Second Symphony (2019) is a ‘classic’ symphony. The work dives into the resonance of music’s history: the imagination showers itself in melodies, sounds and structures while at the same time, from a rational perspective, it can be seen both from outside and from a distance.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eSørenson is a composer whose pieces strike me as truly dreamlike. There is often a core of something familiar, tonal, pleasing at its heart, but it is also layered over with distortions and inflections that make it less familiar. One might say that it takes something attractive and comfortable and renders it uncanny.\u003c\/p\u003e\n\u003cp\u003eThe two works here fall very much into this description. \u003cem\u003eL’Isola della Cittá\u003c\/em\u003e is a sort of concerto grosso for piano trio and orchestra. It is more intimate, poetic, and the contrasts and juxtapositions are more extreme, even though they are subtly modulated. (The “island” of the title is the composer’s home in Copenhagen; one senses the world constantly encroaching on the precious quiet of the creative space). The symphony, not surprisingly, is more abstract, its rhetoric more forceful. But its meaning remains elusive—as I assume is the composer’s intent. And that’s a positive.\u003c\/p\u003e\n\u003cp\u003eThis is music that projects genuine mystery, but it’s a mystery that comes out of the familiar. While Postmodernist, it doesn’t engage the more “classic” Postmodern practice of quotation and pastiche. Everything is a very personal creation of this composer.\u003c\/p\u003e\n\u003cp\u003eI note that Sørenson won the prestigious Grawemeyer Award a few years back (for \u003cem\u003eL’Isola\u003c\/em\u003e), and now I can see why. Highly recommended.\u003c\/p\u003e\n\u003cp\u003e-- Fanfare\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell4_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eAlthough Sørenson is often regarded as an introspective writer there is much here that is bold and exciting. This is a welcome release of world premiere recordings of the title track \u003cem\u003e(L’Isola della Citta)\u003c\/em\u003e and his Second Symphony. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e-- Lark Reviews\u003c\/span\u003e\u003c\/p\u003e","brand":"Dacapo Classical","offers":[{"title":"CD","offer_id":46012636135658,"sku":"636943608623","price":8.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4112396-2866428.jpg?v=1778242922"},{"product_id":"rued-langgaard-the-symphonies","title":"Rued Langgaard: The Symphonies","description":"With his symphonies, the Danish composer�Rued Langgaard�offered 16 vastly different versions of what a symphony can be. His captivating, complex genius made room for all conceivable idioms and a wealth of styles ranging from the grandiosely Late Romantic to the purest Absurdism. This box is the first collected recording of Langgaard's 16 symphonies based on the critical edition of the scores; recordings which demonstrate, with spectacular sound quality, Langgaards masterly grasp of the orchestra and his ecstatic view of art: \"Mr. Dausgaard's keen advocacy elicits polished, persuasive accounts that live up to Langgaard's motto:�Long Live Beauty\", wrote The New York Times.","brand":"Dacapo Classical","offers":[{"title":"CD","offer_id":46012668510442,"sku":"636943700211","price":40.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4426912-3394279_c59aff6b-5592-4ae5-afe1-8850c36f276f.jpg?v=1778210464"},{"product_id":"4-symphonies-brahms-dvorak-sibelius-nielsen-dausgaard-79206","title":"4 Symphonies - Brahms, Dvorak, Sibelius, Nielsen \/ Dausgaard, Danish National Symphony Orchestra","description":"\u003cbr\u003e \u003cbr\u003e\u003cspan class=\"ARIAL12bi\"\u003e4 SYMPHONIES \u003c\/span\u003e\u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e Thomas Dausgaard, cond; Danish Natl SO \u003c\/span\u003e\u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e\u003cspan class=\"ARIAL12\"\u003e C MAJOR 710508 (DVD: 168:00) Live: Copenhagen 2009 \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan class=\"COMPOSER12\"\u003eBRAHMS \u003c\/span\u003e\u003cspan class=\"ARIAL12b\"\u003eSymphony No. 1. \u003c\/span\u003e\u003cspan class=\"COMPOSER12\"\u003eDVO?ÁK \u003c\/span\u003e\u003cspan class=\"ARIAL12b\"\u003eSymphony No. 9. \u003c\/span\u003e\u003cspan class=\"COMPOSER12\"\u003eSIBELIUS \u003c\/span\u003e\u003cspan class=\"ARIAL12b\"\u003eSymphony No. 5. \u003c\/span\u003e\u003cspan class=\"COMPOSER12\"\u003eNIELSEN \u003c\/span\u003e\u003cspan class=\"ARIAL12b\"\u003eSymphony No. 3 \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan\u003eIf, as I did, you were to begin your examination of this release with disc 1, track 1 (the Brahms symphony), you might well conclude that there was little need to continue. There is something rather too cool and casual about Dausgaard’s interpretation of this powerful music. It lacks inner tension. There is not enough contrast between ideas. Accents are in the wrong places. Short notes are cheated of their value. And that’s not all. The second movement just plods on, the third is charmless, the fourth frantic and lurches from one tempo change to the next. Listening to the complete symphony several times could not induce me to alter my initial unfavorable observations. Adding visual insult to aural injury, sight and sound are not synchronized, and the difference between the two is disturbing, to put it mildly. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan\u003eBut then came the Nielsen symphony. \u003c\/span\u003e\u003cspan style=\"font-style:italic\"\u003eWhat a difference!\u003c\/span\u003e\u003cspan\u003e Right from the opening moments it had all the vigor and élan and determination lacking in the Brahms. Rhythms were tight and crisp. The music bristled with enthusiasm and commitment. The finale positively beamed with Elgarian nobility and breadth, rising to an absolutely thrilling climax. What a joy! Nielsen’s Third had hitherto never been one of my favorite symphonies, but Dausgaard nearly made it so in this performance. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan\u003eDoes Dausgaard work his magic on the two remaining works as well? The answer, I’m glad to say, is yes. Furthermore, the synchronization problem that affected the Brahms symphony is only minimal in the Nielsen and nonexistent in Dvo?ák and Sibelius. The “New World” Symphony receives one of the finest performances I have heard. Dausgaard’s approach is no romantic wallow but rather a clean, purposeful traversal filled with taut rhythms, precise attacks and releases, glowing sound, and architectural strength. Dausgaard likewise makes a strong case for the Sibelius Fifth, never allowing momentum to sag, carefully propelling the music forward with masterly control. I am particularly impressed with the ease in which he handles the tempo change for the second part of the first movement. By the time the grand climax of the finale arrives, one feels a great journey has been completed. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan\u003eAll four performances were recorded live in Copenhagen’s Koncerthuset in 2009. The personnel changes from symphony to symphony, but both principal horns, both principal trumpets, and both timpanists are star players. Generally the woodwinds are excellent, but violins seem a bit thin for an orchestra that is otherwise so assured and well balanced. However, the basses make up for this deficiency with their huge, rich sound, heard at its best at the quiet endings of three of the Brahms movements and in some of the more powerful moments of the Dvo?ák symphony. Aside from the basses, the orchestra plays with a bright sound, textures are clear and clean, balances are well controlled. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan\u003eThe camerawork is devoted about 20 percent of the time to Dausgaard and his facial contortions, 10 percent to views of the full orchestra from afar, and 70 percent to the business of jerking the viewer’s eyes from one instrumental close-up to another—two seconds of a horn player’s embouchure, a second of flute keys, two notes from the timpani, etc. Who determined that this is what we want to see? I find it annoying to the point where I simply can’t bear to watch. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan\u003eOn ArkivMusic the price for these four symphonies is $27 ($40 for the Blu-ray version)—just under $7 a symphony, a good buy even without the inferior Brahms symphony, especially for performances as fine as the other three. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan style=\"font-weight:bold\"\u003eFANFARE: Robert Markow \u003c\/span\u003e","brand":"C Major Entertainment","offers":[{"title":"DVD","offer_id":46012888416490,"sku":"814337011055","price":16.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2002743.jpg?v=1778326175"},{"product_id":"gaming-in-symphony","title":"GAMING IN SYMPHONY","description":"Classical Music","brand":"EUROARTS","offers":[{"title":"Blu-Ray","offer_id":46012946809066,"sku":"880242677044","price":27.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3815216-3614864.jpg?v=1780823099"},{"product_id":"raiders-of-the-symphony","title":"RAIDERS OF THE SYMPHONY","description":"Get ready to enjoy music from the Indiana Jones films, The Mummy, Angels and Demons, The Adventures of Tintin and Lawrence of Arabia with music by John Williams, Jerry Goldsmith, Hans Zimmer and many more.","brand":"EUROARTS","offers":[{"title":"Blu-Ray","offer_id":46012950282474,"sku":"880242699640","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4337073-3178184.jpg?v=1778369978"},{"product_id":"raiders-of-the-symphony-1","title":"RAIDERS OF THE SYMPHONY","description":"Get ready to enjoy music from the Indiana Jones films, The Mummy, Angels and Demons, The Adventures of Tintin and Lawrence of Arabia with music by John Williams, Jerry Goldsmith, Hans Zimmer and many more.","brand":"EUROARTS","offers":[{"title":"CD","offer_id":46012951036138,"sku":"880242699671","price":16.42,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4337335-3179542_899e412d-5516-498a-9462-6d93b5969224.jpg?v=1778367836"},{"product_id":"king-frederik-ix-conducts-the-royal-danish-291437","title":"King Frederik IX Conducts the Royal Danish Orchestra \u0026 Danish National Symphony","description":"The Danish King Frederik IX's preoccupation with music must be described as atypical, in fact, unique for a member of a royal house, since it is hardly possible to cite other examples of ruling monarchs whose favorite pastime was orchestral conducting. As a conductor Frederik IX, although self-taught, favored technically difficult challenges in the great symphonic repertoire, in particular music from Wagner's operas, gave the King's unusual musical activities a certain aura. This limited edition set celebrates two very unique King\/orchestra relationship, namely King Frederik IX's close affiliation with the Royal Danish Orchestra and Danish National Symphony Orchestra.","brand":"Dacapo Classical","offers":[{"title":"CD","offer_id":46012983771370,"sku":"636943400111","price":25.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3802492-2565957.jpg?v=1778250725"},{"product_id":"fantasymphony-ii-a-concert-of-fire-magic","title":"FANTASYMPHONY II - A CONCERT OF FIRE \u0026 MAGIC","description":"Fantasymphony II - A Concert of Fire and Magic, a must-have for all fantasy fans, available on Blu-ray, CD and digital (also in Dolby Atmos). The hit concert Fantasymphony is back. Rejoice in epic music from the greatest fantasy movies, series and games. The Danish National Symphony Orchestra opens the gates to the magic worlds. From The Lord of The Rings, Game of Thrones, The Hobbit, The Witcher, Skyrim, League of Legends, and many more. Fantasymphony II features spectacular music and lighting effects. Conductor Christian Schumann is a recognized specialist for film music - \"A shining star of the new German conductor generation\" - Neue Z�richer Zeitung","brand":"EUROARTS","offers":[{"title":"Blu-Ray","offer_id":46012997337322,"sku":"880242699046","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4262645-3055229.jpg?v=1778371436"},{"product_id":"fantasymphony-ii-a-concert-of-fire-magic-1","title":"FANTASYMPHONY II - A CONCERT OF FIRE \u0026 MAGIC","description":"Fantasymphony II - A Concert of Fire and Magic, a must-have for all fantasy fans, available on Blu-ray, CD and digital (also in Dolby Atmos). The hit concert Fantasymphony is back. Rejoice in epic music from the greatest fantasy movies, series and games. The Danish National Symphony Orchestra opens the gates to the magic worlds. From The Lord of The Rings, Game of Thrones, The Hobbit, The Witcher, Skyrim, League of Legends, and many more. Fantasymphony II features spectacular music and lighting effects. Conductor Christian Schumann is a recognized specialist for film music - \"A shining star of the new German conductor generation\" - Neue Z�richer Zeitung","brand":"EUROARTS","offers":[{"title":"CD","offer_id":46012997927146,"sku":"880242699077","price":17.42,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4262646-3055230.jpg?v=1778360153"},{"product_id":"dallapiccola-il-prigioniero-noseda-danish-national-292470","title":"Dallapiccola: Il Prigioniero \/ Noseda, Danish National Symphony","description":"\u003cp\u003e\u003cimg src=\"\/graphics\/features\/gramophone_choice.jpg\" alt=\"\"\u003eGianandrea Noseda continues his series of recordings of the works of Luigi Dallapiccola, this time with his Danish forces. Seen by many as Dallapiccola’s masterpiece, Il prigioniero (The Prisoner) is a one-act opera composed in the late 1940s, and premiered (in a radio broadcast) in 1949. The Italian composer had first encountered serialism as a student in Florence in the 1920s, when Schoenberg visited to conduct Pierrot lunaire. The influence was profound, although it would take two decades before it demonstrated itself fully in his composition. Based primarily on a short story, ‘La Torture par l’espérance’ (Torture by Hope), by the French writer Villiers de L’Isle-Adam, the opera concerns a prisoner of the Spanish Inquisition who finds the door of his cell unlocked and creeps out under the cover of darkness to the garden beyond. Hope rises to the level of ecstasy, before he finds himself embraced in the Garden by the Inquisitor, who returns him to his cell. Dallapiccola employs three twelve-note tone rows in the work, which he named ‘Prayer’, ‘Hope’, and ‘Freedom’, from which all the vocal lines are created. The album is completed by three choral works: Estate, written in 1932 for male chorus, and two settings from 1933 of poems by Michelangelo Buonarroti the Younger for mixed voice chorus.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eREVIEW:\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e Noseda’s performance is nothing if not formidable. Its impact derives largely from his ability to think in terms of cumulative span while focusing on textural clarity and immediacy of expression. The cast, meanwhile, combine lyricism with declamation. It’s an outstanding, essential album, every second of it.\u003cbr\u003e \u003cbr\u003e – Gramophone\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"SACD","offer_id":46013111664874,"sku":"095115527627","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3826217-2575733.jpg?v=1778250040"},{"product_id":"sorensen-concertos-andsnes-frost-helseth-290247","title":"Sorensen: Concertos \/ Andsnes, Frost, Helseth","description":"\u003cp\u003eBent Sørensen’s distinctive music thrives on the intangible, from atmospheres and feelings to memories and dreams. This recording assembles three recent concertos from the Grawemeyer Award-winning composer performed by distinguished Nordic soloists, beginning with a second piano concerto played by its dedicatee and inspiration, Leif Ove Andsnes. Sørensen’s clarinet concerto for Martin Frost is inspired by the scents of Spanish poetry, while his trumpet concerto for Tine Thing Helseth feeds of his constant obsession with the beauty and vulnerability of Venice. Each is highly evocative and filled with Sørensen’s etched beauty.\u003cbr\u003e \u003cbr\u003e -----\u003cbr\u003e \u003cbr\u003e REVIEWS:\u003cbr\u003e \u003cbr\u003e The Second Piano Concerto, obviously a difficult work to perform, is played by the Norwegian pianist, Leif Ove Andsnes, who proves a highly persuasive exponent. Serenidad (Serenade), for clarinet and orchestra, is sparsely scored. The soloist, Martin Frost, produces a beautifully refined and creamy tone. The Trumpet Concerto was composed with the young charismatic Norwegian, Tine Thing Helseth in mind. She is capable of producing a multitude of colours. The Norwegian Chamber Orchestra adds a transparent accompaniment. The recordings are to Dacapo’s immaculate quality, the release much commended to those looking for cutting-edge contemporary sounds. \u003cbr\u003e \u003cbr\u003e – David's Review Corner (David Denton)\u003cbr\u003e \u003cbr\u003e Three recent concertos by Bent Sørensen, which are full of attractive, vivid instrumental effects, are brought together by Dacapo Records, all with their dedicatees as the soloists. It may be fundamentally undemanding music, but it is beautifully made.\u003cbr\u003e \u003cbr\u003e – The Guardian (UK)\u003c\/p\u003e","brand":"Dacapo Classical","offers":[{"title":"CD","offer_id":46013178544362,"sku":"636943609521","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3766043-2549218.jpg?v=1778275184"},{"product_id":"olesen-der-wind-blaset-wo-er-will-397511","title":"Olesen: Der Wind bläset wo er will \/ Moser, Tausk, Danish National Symphony Orchestra","description":"\u003cp\u003eDanish composer Thomas Agerfeldt Olesen brings together two of his major orchestral works of the 2010s, Der Wind bläset wo er will and his Cello Concerto, for his third release on Dacapo Records. Olesen's stunning music is about life and about being alive: each piece is a world unto itself. They are recorded here with cellist Johannes Moser and the Danish National Symphony Orchestra under the direction of Otto Tausk. Thomas Agerfeldt Olesen trained both as a cellist and composer at the Royal Danish Academy of Music in Aarhus. As a composer he studied with Karl Aage Rasmussen, Bent Sørensen and Olav Anton Thommesen at the Academy and privately with Henryk Gorecki and Poul Ruders. He has been the leader of Ensemble 2000 and chairman of the Aarhus Young Composers Society, and is at present director of the SPOR Festival in Århus. Outside Denmark TAO's music has been performed in Germany, England, France, Greece, Norway, Sweden, Chile, Russia and Finland.\u003c\/p\u003e  \u003cp\u003e \u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e  \u003cp\u003e \u003c\/p\u003e  \u003cp\u003eOlesen’s Cello Concerto is a wonderful find and worth the price of the disc on its own. Johannes Moser is completely inside it and it’s difficult to imagine a more emotionally powerful rendition. The Dutch conductor Otto Tausk is equally attuned to the essence of this singular piece and ensures world-class accompaniment from the DNSO. Dacapo’s teriffic recording exudes clarity—the balance between soloist and orchestra seems ideal.\u003c\/p\u003e  \u003cp\u003e \u003c\/p\u003e  \u003cp\u003eThese two substantial works add up to just under 50 minutes of exceptional contemporary music, but frankly who’s counting? In each case the sounds Thomas Agerfeldt Olesen has devised are utterly absorbing. He writes with tremendous sophistication and wit in the first piece and with an emotional directness in the second which is as daring as it is affecting. To echo the translation of the title of the first piece, both works last as long as they do. Each will amply reward any curious, sympathetic listener. That is surely enough.\u003c\/p\u003e  \u003cp\u003e \u003c\/p\u003e  \u003cp\u003e– MusicWeb International\u003c\/p\u003e","brand":"Dacapo Classical","offers":[{"title":"CD","offer_id":46013273309418,"sku":"636943658628","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3886832-2648185.jpg?v=1778240404"},{"product_id":"music-for-alfred-hitchcock-mauceri-danish-national-60882","title":"Music for Alfred Hitchcock \/ Mauceri, Danish National Symphony","description":"\u003cp\u003eAlfred Hitchcock commissioned his film scores from composers who were Hollywood’s master-craftsmen. The concert items prepared from those scores feature a dazzling variety of styles, from Baroque and jazz to dark Romanticism and angular angst, all using the orchestra with breathtaking virtuosity. The conductor John Mauceri, as at home with this repertoire as any other musician, has prepared a number of concert suites from the film scores and some of them receive their first recordings here. This recording was made live in concert in Danish Radio’s new concert hall in Copenhagen. The booklet contains an introductory text by John Mauceri and an extensive, illustrated essay on Hitchcock and his use of film music and work with composers by British film-music historian John Riley.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eThe concert recordings contain some ambient noises and quirks of balance (lots of bass tones). But the pluses are powerful: the orchestra's flair, the vivid colors and audible adrenalin. Even the most dedicated film buff should deepen their appreciation as Hitchkock's composers run the gamut.\u003c\/p\u003e\n\u003cp\u003e– BBC Music Magazine\u003c\/p\u003e\n\u003cp\u003eHitchcock was the enabler of many hours of orchestral music that are part of the 20th century’s legacy. Herrmann’s scores for Vertigo and Psycho, and Franz Waxman’s for Rear Window, stand out. The Wagnerian Scène d’Amour, from Vertigo, comes over as one of the great slow movements.\u003c\/p\u003e\n\u003cp\u003e– Sunday Times\u003c\/p\u003e","brand":"Toccata","offers":[{"title":"CD","offer_id":46013273571562,"sku":"5060113442413","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2604803.jpg?v=1778320263"},{"product_id":"shostakovich-cello-concertos-1-2-dindo-noseda-79429","title":"Shostakovich: Cello Concertos 1 \u0026 2 \/ Dindo, Noseda, Danish National Symphony","description":"\u003cb\u003eA must-have and a life-changer for Shostakovich fans.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ctitle\u003e3563930.az_SHOSTAKOVICH_Cello_Concertos_1.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eSHOSTAKOVICH \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eCello Concertos: No. 1; No. 2 \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Enrico Dindo (vc); Gianandrea Noseda, cond; Danish Natl SO \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e CHANDOS 5093 (SACD: 60:13) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eSo many cello concerti, so little time. With dozens of competing versions of these two interpretively rich, emotionally ripe scores—the majority of them first-class accounts that come critically recommended, if with some reservations—it’s cost- and time-prohibitive to be familiar with them all. Mørk? Maslennikov? Müller-Schott? What’s a conscientious reviewer to do? Well, yours truly is tempted to fall back on the tried-and-true, which, after all, is tried and true for good reason. That means Mstislav Rostropovich. Of his several recordings, I opt for the mid-’60s performances powerfully conducted by David Oistrakh, not easy to find but most recently sighted on the Yedang Classics label. The sound is a little rough, but no one matches Rostropovich’s passion and profundity in this music. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eNevertheless, that said, there’s always room for a convincing alternative approach, and Enrico Dindo’s is some distance from that of Rostropovich. Though he’s apparently recorded programs of Beethoven and Bach, only a 1998 release of the Brahms cello sonatas is currently listed in the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare\u003c\/span\u003e \u003cspan\u003e Archive. Michael Jameson called it “satisfying” (\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare\u003c\/span\u003e \u003cspan\u003e 21: 6), and tellingly described Dindo’s point of view as one of “letting the music (rather than any gesture intended to propel a subjective vision of the text) speak for itself.” I find that to be an accurate characterization of his approach to Shostakovich as well. Dindo’s tone is silky and sinewy, and he definitely has the chops to respond to everything Shostakovich asks for—from the buoyant rhythms of the First Concerto to the sustained introspection of the Second. He favors fast, clean lines in the First Concerto, which emphasize its satiric edge in ways reminiscent of the composer’s earlier, youthful impulsiveness (despite the fact that it was written in his 53rd year), though neither slighting, nor exaggerating, the second movement’s elegiac lyricism. In the darker Second Concerto, he adopts an appropriately serious demeanor, providing a consistent, fluid line that lacks Rostropovich’s bite, but allows the music to sing its own eloquent, if dolorous, song. In this his resembles Heinrich Schiff’s attentive, persuasive 1984 performance (Philips), although Schiff benefited from Maxim Shostakovich’s strong, emphatically pointed accompaniment, whereby Gianandrea Noseda, following Dindo’s lead, particularly in the Second Concerto provides ever-so-slightly less dramatic, albeit scrupulously detailed, support. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eI suspect these are performances that will retain their interest over time. Add Enrico Dindo’s name to the list of recommended cellists in this significant repertoire. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Art Lange \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e ---------\u003cbr\u003e  \u003cbr\u003e These two concertos form a pairing which is logical and convenient but by no means ubiquitous. The  \u003ci\u003eCello Concerto No. 1\u003c\/i\u003e is the more widely recorded of the two, with impressive accounts from the likes of Han-Na Chang, and the more enduring dedicatee’s version, Mstislav Rostropovich with Eugene Ormandy in 1959 and now available on Sony Classical. One of the best discs of these two works is with Rafa? Kwiatkowski on the Dux label. Aside from Peter Wispelwey’s recording of the  \u003ci\u003eCello Concerto No. 2\u003c\/i\u003e along with Britten’s  \u003ci\u003eThird Suite\u003c\/i\u003e on Challenge Classics, there doesn’t seem to be much choice in this repertoire when it comes to SACD recordings, so this Chandos release enters the market with a useful USP. \u003cbr\u003e    \u003cbr\u003e  Enrico Dindo won the Rostropovich Cello Competition in 1997 and has been performing widely since, also making recordings which have included Bach’s  \u003ci\u003eSuites\u003c\/i\u003e and Vivaldi  \u003ci\u003eConcertos\u003c\/i\u003e on Italian Decca. His playing here is remarkably rich, obtaining deep and richly expressive tones from a Rogeri instrument from 1717. The cello sound is forward, bordering on the surrealist as with so many concerto recordings these days, but not intolerably massive in relation to the orchestra. In fact this is one of the genuine strengths of this recording, with masses of colour and detail from a very powerful sounding Danish National Symphony Orchestra. The opening of the  \u003ci\u003eCello Concerto No. 1\u003c\/i\u003e throws down the gauntlet in this regard, the double-bassoon sounding like you’ve never heard it in any other recording; dug into with such gusto that you’d expect the floor to shake and the keys to be shaken off by the vibrations. The excitement in the playing is in its shaping and development, building stirring structures rather than hitting us constantly with masses of relentless intensity. The horn-calls are also marvellous in this first  \u003ci\u003eAllegretto\u003c\/i\u003e, woodwinds competing with the soloist through grating dissonance and dramatic release. Perhaps the strings could have had more presence to make the whole thing a tad more credible. They should come into their own in that most gorgeous and moving of Shostakovich statements, the central  \u003ci\u003eModerato\u003c\/i\u003e. Even here though, the first horn entry far outweighs the texture of the entire body of strings. Behind the soloist they do seem to be rather at a disadvantage in the balance. Just taking one comparison, that with Thorleif Thedéen and James DePreist on the BIS label, the balance brings the strings that much more into the picture. This allows a more equal interaction which can carry greater emotional heft. Thedéen is a little more heart-on-sleeve than Dindo, with a tighter vibrato and a more vocal way of expressing the melodic lines. I wouldn’t swap this BIS disc for the Chandos one now, but still find it has a good deal to offer. \u003cbr\u003e    \u003cbr\u003e  Whether or not you find the recorded balance a problem, Enrico Dindo’s solo lines carry so much emotional strength that you will find yourself gripped from beginning to end. One of my old favourites for these pieces is from Truls Mørk with the London Philharmonic and Mariss Jansons on the Virgin Classics label. Certain aspects of Noseda’s approach do remind me of the Jansons recording, but I have to admit that Dindo gets as much and more out of the music than almost any rival I can name. Like the texture in the inky lines of a Ralph Steadman drawing, Dindo delights in thickening and thinning sustained notes so that we are constantly in a state of awe and expectation, even when Shostakovich is in passages of transition. Listen in the  \u003ci\u003eModerato\u003c\/i\u003e to the general sonic picture at about 7:00 and on though: the intensity of the upper strings in the orchestra is almost entirely absent, which undermines at least some of that good work. Dindo’s expressive playing gives the impression of space, but Noseda’s tempi are generally a tad more brisk and compact than many. Jansons takes 12:32 with this  \u003ci\u003eModerato\u003c\/i\u003e for instance, compared to Noseda’s 10:50. \u003cbr\u003e    \u003cbr\u003e  The rough peasant feel in the final movement of this first concerto is something to relish; the aural glue not quite holding together as the winds advance in the balance and give us a kick from time to time. It has an undeniable grip and snatch flowing from Noseda’s treatment, an uncompromising approach which drags us along mercilessly and never lets go. \u003cbr\u003e    \u003cbr\u003e  Shostakovich’s  \u003ci\u003eCello Concerto No. 2\u003c\/i\u003e is dark from the outset, the mood superbly set through the solo cello and lower strings in the opening bars. The imagination is teased by fragmentary moments of brooding beauty, such as the repeated double-stop gesture at around 4 minutes in. This is a bleak landscape and the kind of inner journey which can lead you to places both moving and disturbing. Dindo speaks emotively, the sighing downward gestures weighed with tears, the  \u003ci\u003eparlando\u003c\/i\u003e moments confiding and gruff by turns. Shostakovich’s score in the first movement is as hard as nails, and the players nail it firmly. The bass drum thwacks from around 9:20 are an audiophile treat as well. \u003cbr\u003e    \u003cbr\u003e  The acoustic space is emphasised in the open textures of the opening to the central  \u003ci\u003eAllegretto\u003c\/i\u003e, and the sense of volume in the 5.0 SACD surround mix is very tactile indeed. Listen to the laughing winds from about 2:30: the playing is not only needle sharp, but is also filled with personality and character throughout. The theatricality of the opening to the final  \u003ci\u003eAllegretto\u003c\/i\u003e has rarely been so sharply observed, and you expect an announcement from a melodramatic actor as much as you do the entry of the cello. Those ‘nice’ tunes as they arrive are all the more earth-shatteringly emotive for these extremes of contrast. Little operatic touches and that late-Shostakovich sense of a fatefully ticking time-bomb make the whole thing as touching and filled with narrative import as I can ever remember hearing. \u003cbr\u003e    \u003cbr\u003e  Chandos easily replaces its earlier release of this repertoire with Frans Helmerson and the Russian State Symphony Orchestra on CHAN 10040. This has some lovely playing and a decent concert hall balance, but with somewhat rough-and-ready qualities from the orchestra in some of the more technically demanding passages. Fans of these two concertos simply must have this recording from Dindo\/Noseda. The cover photo of Red Square is strikingly atmospheric, and there are good booklet notes and pictures inside as well. Despite my reservations about the string balance which admittedly affects the scoring of the first concerto more than the second, this is a must-have and a life-changer for Shostakovich fans. \u003cbr\u003e    \u003cbr\u003e  -- Dominy Clements, MusicWeb International\u003cbr\u003e","brand":"Chandos","offers":[{"title":"SACD","offer_id":46013305454826,"sku":"095115509326","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1925722.jpg?v=1778333438"},{"product_id":"galaxymphony-ii-galaxymphony-strikes-back","title":"GALAXYMPHONY II - GALAXYMPHONY STRIKES BACK","description":"A must-have for all sci-fi fans, Galaxymphony II - Galaxymphony Strikes Back, a symphonic space journey. 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For the newest installment of her ground-breaking Concerto Project, four works have been specially commissioned to showcase the sound of the modern recorder, including the late Steven Stucky's thoroughly contemporary Etudes, Roberto Sierra's Latin-tinged Prelude, Habanera and Perpetual Motion, Harpsichord virtuoso Antony Newman's Neo-Baroque Concerto for recorder, harpsichord \u0026amp; strings, and Sean Hickey's boldly-wrought A Pacifying Weapon.","brand":"OUR Recordings","offers":[{"title":"SACD","offer_id":46026439262442,"sku":"636943691229","price":18.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3905794.jpg?v=1778273149"},{"product_id":"michael-schonwandt-danish-national-symphony-orchestra-sym","title":"Michael Schønwandt \/ Danish National Symphony Orchestra -Sym","description":"Classical Music","brand":"Challenge Classics","offers":[{"title":"CD","offer_id":46026531832042,"sku":"0608917263626","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2558819.jpg?v=1778288653"},{"product_id":"ruders-symphony-no-5-elts-danish-national-80463","title":"Ruders: Symphony No. 5 \/ Elts, Danish National Symphony Orchestra","description":"\u003cp\u003eThis disc presents the world premiere recording of Poul Ruders's latest symphony, completed in 2013. The symphony, composed in three movements is, in some ways, the great Danish composer's most traditional symphony- an explosive, quick-paced first movement followed by an hypnotically inward-looking slow movement, followed by a bristling dance finale. Aside from its outer-trappings, Ruders 5 inhabits a sound world all its own. The first movement's opening brass fanfare is followed immediately by startling police whistles and pounding drums- music of volcanic power and intensity. The slow movement employs a huge registral span, and the third movement's funky dance rhythms collide with dense harmonic underpinnings. The work is given a brilliant reading by the Danish National Symphony Orchestra, led by the Estonian maestro, Olari Elts. 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