Query: sacd beethoven

title: Complete String Quartets
text: Editorial Reviews Product Description The celebrated recording of the Complete Beethoven String Quartets with the Quartetto di Cremona is now once again available. This edition makes available all the composer's string quartets, alongside his String Quintet No. 29 (the only original work by Beethoven with this scoring), in the highest quality. "... such warm playing; such perfection... what a glory this is." (The Herald) "The Cremona's Beethoven project hurtles towards an exciting climax." (The Strad) During the past eighteen years the Quartetto di Cremona has matured into a string quartet of international renown and has acquired an excellent national and international reputation. Having for many years performed at the great international halls, it is often considered as the successor to the famous Quartetto Italiano. The musical style of the Quartetto di Cremona is marked by a fruitful tension between Italian and German-Austrian influences. Following their academic studies the players continued their training with Piero Farulli of the Quartetto Italiano. He strongly favored intuitive playing and a fervent, emotional, romantic, and "Italian" approach to music. Afterwards the musicians pursued their studies with Hatto Beyerle of the Alban Berg Quartet. He represented a clear, classical "German-Austrian" style. Both teachers significantly influenced the quartet, and the players naturally combine both poles, mixing enthusiasm with a sense of musical architecture. Review '...such warm playing; such perfection on a silver disc; what a glory this is' --The Herald Scotland Editorial Reviews Product Description The celebrated recording of the Complete Beethoven String Quartets with the Quartetto di Cremona is now once again available. This edition makes available all the composer's string quartets, alongside his String Quintet No. 29 (the only original work by Beethoven with this scoring), in the highest quality. "... such warm playing; such perfection... what a glory this is." (The Herald) "The Cremona's Beethoven project hurtles towards an exciting climax." (The Strad) During the past eighteen years the Quartetto di Cremona has matured into a string quartet of international renown and has acquired an excellent national and international reputation. Having for many years performed at the great international halls, it is often considered as the successor to the famous Quartetto Italiano. The musical style of the Quartetto di Cremona is marked by a fruitful tension between Italian and German-Austrian influences. Following their academic studies the players continued their training with Piero Farulli of the Quartetto Italiano. He strongly favored intuitive playing and a fervent, emotional, romantic, and "Italian" approach to music. Afterwards the musicians pursued their studies with Hatto Beyerle of the Alban Berg Quartet. He represented a clear, classical "German-Austrian" style. Both teachers significantly influenced the quartet, and the players naturally combine both poles, mixing enthusiasm with a sense of musical architecture. Review '...such warm playing; such perfection on a silver disc; what a glory this is' --The Herald Scotland

title: String Quintet & Quartet
text: Editorial Reviews This new album from The Quartetto di Cremona offers the chance to listen simultaneously to four Stradivari instruments and an Amati cello: The Quartetto di Cremona plays the Stradivarius Paganini Quartet, one of the few quartet "sets" completed by Antonio Stradivari and once owned by the legendary violinist Niccolò Paganini. Eckart Runge plays a rare cello made by Hieronymus and Antonio Amati in their Cremonese atelier. After completing the recording cycle of Beethoven's String Quartets, the Quartetto di Cremona's new double album is entirely dedicated to Franz Schubert, presenting two of his latest masterpieces: the String Quartet Death and the Maiden and the String Quintet in C major, with cellist Eckart Runge. Editorial Reviews This new album from The Quartetto di Cremona offers the chance to listen simultaneously to four Stradivari instruments and an Amati cello: The Quartetto di Cremona plays the Stradivarius Paganini Quartet, one of the few quartet "sets" completed by Antonio Stradivari and once owned by the legendary violinist Niccolò Paganini. Eckart Runge plays a rare cello made by Hieronymus and Antonio Amati in their Cremonese atelier. After completing the recording cycle of Beethoven's String Quartets, the Quartetto di Cremona's new double album is entirely dedicated to Franz Schubert, presenting two of his latest masterpieces: the String Quartet Death and the Maiden and the String Quintet in C major, with cellist Eckart Runge.

title: Beethoven & Hillborg
text: Editorial Reviews The Calder Quartet invites you on a journey from early to late Beethoven, passing through an exciting contemporary piece by Swedish composer Anders Hillborg along the way. Beethoven's Op. 131 string quartet, that concludes this album, is already a great adventure in it's own right, with it's seven movements full of fugal writing, harmonic explorations, variations and passages filled with operatic drama. Hearing this late masterpiece together with the much more classical, but equally lively, Op. 18 no. 3 quartet opens our ears to the exceptional richness of Beethoven's musical universe. Hillborg's Kongsgaard Variations reveals unexpected sonic relationships to Beethoven's variation technique, underlining the modernity of the older composer. This all leads to a program that is lively, layered and ravishingly beautiful. Hailed as one of the most exciting classical music groups of the United States, the Calder Quartet now presents the first fruit of it's exclusive collaboration with PENTATONE. Editorial Reviews The Calder Quartet invites you on a journey from early to late Beethoven, passing through an exciting contemporary piece by Swedish composer Anders Hillborg along the way. Beethoven's Op. 131 string quartet, that concludes this album, is already a great adventure in it's own right, with it's seven movements full of fugal writing, harmonic explorations, variations and passages filled with operatic drama. Hearing this late masterpiece together with the much more classical, but equally lively, Op. 18 no. 3 quartet opens our ears to the exceptional richness of Beethoven's musical universe. Hillborg's Kongsgaard Variations reveals unexpected sonic relationships to Beethoven's variation technique, underlining the modernity of the older composer. This all leads to a program that is lively, layered and ravishingly beautiful. Hailed as one of the most exciting classical music groups of the United States, the Calder Quartet now presents the first fruit of it's exclusive collaboration with PENTATONE.From the manufacturer About Us Pentatone presents a diverse range of world-class artists, and is dedicated to premium quality productions captured in exceptional sound. The label works together with today and tomorrow’s leading artists to provide timeless recordings of core, fringe, and lesser-known repertoire, with Pentatone’s uncompromising attention to the best possible quality in artistry, design and recording technology Read more Read more 

title: Violin Sonatas Nos 1-4
text: Editorial Reviews Highly regarded as soloists as well as chamber musicians, Frank Peter Zimmermann and Martin Helmchen are also known for an unostentatious and selfless musicianship which never obscures the music they are performing. When they started their collaboration in 2018, it was with the aim of playing and recording Beethoven's 12 violin sonatas. A series of recitals at prestigious venues and festivals was followed by the first recording sessions, which took place in September 2019. Enjoy the results! Frank Peter Zimmermann is widely regarded as one of the foremost violinists of his generation. Making his début with the Berlin Philharmonic, conducted by Daniel Barenboim, in 1985, and with the Vienna Philharmonic Orchestra in 1983under Lorin Maazel, he performs with all major orchestras worldwide, including the Concertgebouworkest, all the London orchestras and the leading orchestras in the United States. He is a regular guest at the major music festivals, including Salzburg, Edinburgh and Lucerne. Martin Helmchen has established himself as one of the most prominent pianists of the younger generation. He performs with orchestras such as the London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Boston Symphony Orchestra and New York Philharmonic as well as the Leipzig Gewandhaus Orchestra, Wiener Symphoniker, Tonhalle-Orchester Zürich, Orchestre de Paris, Oslo Philharmonic and Royal Stockholm Philharmonic Orchestra. He enjoys collaborations with conductors such as Herbert Blomstedt, Christoph von Dohnányi, Valery Gergiev, Philippe Herreweghe, Paavo Järvi and Vladimir Jurowski. Editorial Reviews Highly regarded as soloists as well as chamber musicians, Frank Peter Zimmermann and Martin Helmchen are also known for an unostentatious and selfless musicianship which never obscures the music they are performing. When they started their collaboration in 2018, it was with the aim of playing and recording Beethoven's 12 violin sonatas. A series of recitals at prestigious venues and festivals was followed by the first recording sessions, which took place in September 2019. Enjoy the results! Frank Peter Zimmermann is widely regarded as one of the foremost violinists of his generation. Making his début with the Berlin Philharmonic, conducted by Daniel Barenboim, in 1985, and with the Vienna Philharmonic Orchestra in 1983under Lorin Maazel, he performs with all major orchestras worldwide, including the Concertgebouworkest, all the London orchestras and the leading orchestras in the United States. He is a regular guest at the major music festivals, including Salzburg, Edinburgh and Lucerne. Martin Helmchen has established himself as one of the most prominent pianists of the younger generation. He performs with orchestras such as the London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Boston Symphony Orchestra and New York Philharmonic as well as the Leipzig Gewandhaus Orchestra, Wiener Symphoniker, Tonhalle-Orchester Zürich, Orchestre de Paris, Oslo Philharmonic and Royal Stockholm Philharmonic Orchestra. He enjoys collaborations with conductors such as Herbert Blomstedt, Christoph von Dohnányi, Valery Gergiev, Philippe Herreweghe, Paavo Järvi and Vladimir Jurowski.

title: Young Beethoven
text: Editorial Reviews A gaping hole in the flute repertoire opened during the first half of the nineteenth century. It was not until the genial Theobald Boehm carried through his technical improvements on the transverse flute, formerly imperfect but now endowed with radiant sound, that this instrument once again was able to interest composers. The FlautoPiano Duo with Helen Dabringhaus and Fil Liotis surprises us with a program brimming with wit and virtuoso lightness and featuring none other than Ludwig van Beethoven. Here Beethoven's Serenade is of course a must. The master himself supervised the arrangement for flute-piano duo of one of his few works assigning a challenging part to the flute; by then a highly sought-after composer, he evidently had no time to perform this task on his own. Beethoven's authorship of a Sonata, possibly from his Bonn period, is steeped in legend; this uncommonly witty and nimble work offers us a very different picture of this composer. Theobald Boehm, who as a virtuoso constantly sought new repertoire for his steadily developing instruments, also arranged demanding works with great skill. His version of the Adagio from Beethoven's famous Piano Concerto No. 1 sheds magnificent light on it from the perspective of High Romanticism and assigns the solo piano's very substantial tasks to the now highly versatile flute. The equally versatile Helen Dabringhaus succeeds in rendering all of the above with great skill. She masters the virtuosic parts with sparkling lightness but also is able to retreat into tonal beauty - for example, as the discreet accompanist of her piano partner Fil Liotis. The program also includes Beethoven's Horn Sonata in a contemporary arrangement and the playfully virtuosic Duo for two flutes from 1792 by the twenty-two-year-old composer (here with Vukan Milin) - which makes this lovingly produced Super Audio CD a very special windfall for the Beethoven Year. Editorial Reviews A gaping hole in the flute repertoire opened during the first half of the nineteenth century. It was not until the genial Theobald Boehm carried through his technical improvements on the transverse flute, formerly imperfect but now endowed with radiant sound, that this instrument once again was able to interest composers. The FlautoPiano Duo with Helen Dabringhaus and Fil Liotis surprises us with a program brimming with wit and virtuoso lightness and featuring none other than Ludwig van Beethoven. Here Beethoven's Serenade is of course a must. The master himself supervised the arrangement for flute-piano duo of one of his few works assigning a challenging part to the flute; by then a highly sought-after composer, he evidently had no time to perform this task on his own. Beethoven's authorship of a Sonata, possibly from his Bonn period, is steeped in legend; this uncommonly witty and nimble work offers us a very different picture of this composer. Theobald Boehm, who as a virtuoso constantly sought new repertoire for his steadily developing instruments, also arranged demanding works with great skill. His version of the Adagio from Beethoven's famous Piano Concerto No. 1 sheds magnificent light on it from the perspective of High Romanticism and assigns the solo piano's very substantial tasks to the now highly versatile flute. The equally versatile Helen Dabringhaus succeeds in rendering all of the above with great skill. She masters the virtuosic parts with sparkling lightness but also is able to retreat into tonal beauty - for example, as the discreet accompanist of her piano partner Fil Liotis. The program also includes Beethoven's Horn Sonata in a contemporary arrangement and the playfully virtuosic Duo for two flutes from 1792 by the twenty-two-year-old composer (here with Vukan Milin) - which makes this lovingly produced Super Audio CD a very special windfall for the Beethoven Year.

title: Claudio Arrau - Complete Philips Recordings
text: Editorial Reviews Limited Edition 80-CD set presenting Claudio Arrau’s complete Philips and American Decca recordings plus his live recording of Beethoven’s Piano Concerto No.4 with Leonard Bernstein on DG. Arrau was among the most deeply satisfying interpreters of Mozart, Brahms, Schumann, Liszt, Chopin and particularly Beethoven. Includes recordings with Sir Collin Davis, Bernard Haitink, Leonard Bernstein, Henryk Szeryng, János Starker and Arthur Grumiaux. Editorial Reviews Limited Edition 80-CD set presenting Claudio Arrau’s complete Philips and American Decca recordings plus his live recording of Beethoven’s Piano Concerto No.4 with Leonard Bernstein on DG. Arrau was among the most deeply satisfying interpreters of Mozart, Brahms, Schumann, Liszt, Chopin and particularly Beethoven. Includes recordings with Sir Collin Davis, Bernard Haitink, Leonard Bernstein, Henryk Szeryng, János Starker and Arthur Grumiaux.

title: Arash Rokni Plays
text: Editorial Reviews The "Hochschule für Musik und Tanz" Cologne, the WDR, ARS Produktion and the sponsors of the "Hochschule für Musik und Tanz" Cologne would like to make it possible for students to produce a professional album and thus especially promote it. The musicians must meet strict artistic quality criteria, and an in-house jury of professors decides who wins the award "Taste the Best". First prize winner Arash Rokni chose a copy of a Walter grand piano by Paul McNulty for the works of W.F. & C.P.E. Bach and Beethoven. On a Blüthner instrument from 1905 he then plays the suites of J.S. Bach and Schönberg. Editorial Reviews The "Hochschule für Musik und Tanz" Cologne, the WDR, ARS Produktion and the sponsors of the "Hochschule für Musik und Tanz" Cologne would like to make it possible for students to produce a professional album and thus especially promote it. The musicians must meet strict artistic quality criteria, and an in-house jury of professors decides who wins the award "Taste the Best". First prize winner Arash Rokni chose a copy of a Walter grand piano by Paul McNulty for the works of W.F. & C.P.E. Bach and Beethoven. On a Blüthner instrument from 1905 he then plays the suites of J.S. Bach and Schönberg.

title: Sinfonie 6 In F Major 'Pa
text: Editorial Reviews Bruno Walter helped shape the very essence of interpretive style among conductors. Walter's rendition of Beethoven's sixth symphony is perhaps the greatest ever recorded — his reading of the score comes off sounding like a piece of literature or poetry, but that is a great thing and perfectly blends with the music to create a benchmark recording. And here, once again, Analogue Productions has taken a classic and shaped it to make the premier reissue of this famed recording. Mastered by Ryan Smith at Sterling Sound from the original analog tapes, everything about this reissue radiates quality. Written in 1808, Beethoven's Symphony No. 6 in F Major ("Pastoral"), Op. 68, is deemed one of the most influential by the famed composer. Unlike the vast majority of assumed names by which his works have become known, Beethoven directed from the very outset that his sixth symphony be titled "Pastoral Symphony," or a recollection of country life. It was a musical approach to the forces of nature that inspired Beethoven. Walter's late life was marked by stereo recordings with the Columbia Symphony Orchestra, an ensemble of professional musicians assembled by Columbia Records for recordings. Editorial Reviews Bruno Walter helped shape the very essence of interpretive style among conductors. Walter's rendition of Beethoven's sixth symphony is perhaps the greatest ever recorded — his reading of the score comes off sounding like a piece of literature or poetry, but that is a great thing and perfectly blends with the music to create a benchmark recording. And here, once again, Analogue Productions has taken a classic and shaped it to make the premier reissue of this famed recording. Mastered by Ryan Smith at Sterling Sound from the original analog tapes, everything about this reissue radiates quality. Written in 1808, Beethoven's Symphony No. 6 in F Major ("Pastoral"), Op. 68, is deemed one of the most influential by the famed composer. Unlike the vast majority of assumed names by which his works have become known, Beethoven directed from the very outset that his sixth symphony be titled "Pastoral Symphony," or a recollection of country life. It was a musical approach to the forces of nature that inspired Beethoven. Walter's late life was marked by stereo recordings with the Columbia Symphony Orchestra, an ensemble of professional musicians assembled by Columbia Records for recordings.

title: Symphonies, Nos. 6 & 2 Beethoven
text: Editorial Reviews Product Description I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it. Review 'Bernard Haitink elicits ravishing sounds from LondonSymphony ... an undeniably great performance ... Among the hundreds of recordings of this favorite work, you really can't do better' -- Dallas Morning News (US), 24 July 2006 'The fruitful influence of the historically minded period instrument movement on mainstream interpretation is vividly exemplified on this spanking disc by the LSO under a rejuvenated Bernard Haitink. The Second Symphony springs out at us with a freshness and intense physicality ... but also with a most sensitive attention to detail ... the Pastoral is a delight, recapturing the composer's excitement as he arrives in his beloved countryside' -- Sunday Times, 4 June 2006 'outstandingly well played ...There is a oneness of conception here which is superb - quite remarkable and ultimately wholly convincing. I'll let you into a secret: I have many recordings of the Beethoven symphonies in my collection but if anyone where to ask me which version of the Pastoral Iwould recommend, I would first of all direct them to this one' -- International Record Review, June 2006 'simply masterful Beethoven ... Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set. It's a deeply satisfying musical experience' -- Chicago Tribune (US), 13 October 2006 Editorial Reviews Product Description I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it. Review 'Bernard Haitink elicits ravishing sounds from LondonSymphony ... an undeniably great performance ... Among the hundreds of recordings of this favorite work, you really can't do better' -- Dallas Morning News (US), 24 July 2006 'The fruitful influence of the historically minded period instrument movement on mainstream interpretation is vividly exemplified on this spanking disc by the LSO under a rejuvenated Bernard Haitink. The Second Symphony springs out at us with a freshness and intense physicality ... but also with a most sensitive attention to detail ... the Pastoral is a delight, recapturing the composer's excitement as he arrives in his beloved countryside' -- Sunday Times, 4 June 2006 'outstandingly well played ...There is a oneness of conception here which is superb - quite remarkable and ultimately wholly convincing. I'll let you into a secret: I have many recordings of the Beethoven symphonies in my collection but if anyone where to ask me which version of the Pastoral Iwould recommend, I would first of all direct them to this one' -- International Record Review, June 2006 'simply masterful Beethoven ... Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set. It's a deeply satisfying musical experience' -- Chicago Tribune (US), 13 October 2006

title: Symphonies 4 & 8
text: Editorial Reviews Product Description Coming between two of Beethoven's most famous symphonies the Fourth Symphony can seem a relatively lightweight and cheerful work. Written for Count Franz von Oppersdorff, who wanted a symphony similar in vein to the Second Symphony it is a brusque and enjoyable work. Beethoven's Eighth Symphony sees him in playful mood. Featuring humorous twists and turns and relatively brief movements, including the shortest movement of any of his symphonies, it is a light hearted work. Review ' ... the LSO is in absolutely smashing form ... has the scherzo ever had more bounce? ... an unforgettable experience. Nothing proves this more tellingly than the second movement, taken at an ideally lilting tempo. It's a veritable orchestral adventure in terms of color, texture, and range of expression ... This is without doubt on of the best Fourths around ... [The Eighth] is one hell of a ride ... the coda is about as thrilling as it's possible to be in this music.' Artistic Quality 10 Sound Quality 10 -- ClassicsToday.com (US), October 2006 'simply masterful Beethoven ... Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set. It's a deeply satisfying musical experience' -- Chicago Tribune (US), 13 October 2006 Editorial Reviews Product Description Coming between two of Beethoven's most famous symphonies the Fourth Symphony can seem a relatively lightweight and cheerful work. Written for Count Franz von Oppersdorff, who wanted a symphony similar in vein to the Second Symphony it is a brusque and enjoyable work. Beethoven's Eighth Symphony sees him in playful mood. Featuring humorous twists and turns and relatively brief movements, including the shortest movement of any of his symphonies, it is a light hearted work. Review ' ... the LSO is in absolutely smashing form ... has the scherzo ever had more bounce? ... an unforgettable experience. Nothing proves this more tellingly than the second movement, taken at an ideally lilting tempo. It's a veritable orchestral adventure in terms of color, texture, and range of expression ... This is without doubt on of the best Fourths around ... [The Eighth] is one hell of a ride ... the coda is about as thrilling as it's possible to be in this music.' Artistic Quality 10 Sound Quality 10 -- ClassicsToday.com (US), October 2006 'simply masterful Beethoven ... Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set. It's a deeply satisfying musical experience' -- Chicago Tribune (US), 13 October 2006

title: Beethoven: Symphonies Nos.1 & 5
text: Editorial Reviews Product Description Beethoven again raised the expressive force of the symphony with the Fifth and introduced a theatrical element to it. Beginning with the most famous phrase in classical music and one of the most joyous, uplifting movements as a finale it is an exhilarating experience. Beethoven didn't complete his first symphony until he was almost 30 and it marks the beginning of his remoulding of the Symphony away from the Classical ideals of Haydn. Review 'An excellent Fifth ... Such instinctive, unostentatious musicianship is as rare now as it ever was' -- Gramophone Magazine (UK), November 2006 'Haitink's unfailing musicality and sense of proportion make this Beethoven 5 a modern-day reference much like the Klemperer 10in LP fifty years ago' -- HiFi News (UK), November 2006 'simply masterful Beethoven ... Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set. It's a deeply satisfying musical experience' -- Chicago Tribune (US), 13 October 2006 'without being quirky Haitink presents it in a way that feels utterly fresh ... the results are exhilarating' Performance ***** Sound ***** -- BBC Music Magazine (UK), November 2006 Editorial Reviews Product Description Beethoven again raised the expressive force of the symphony with the Fifth and introduced a theatrical element to it. Beginning with the most famous phrase in classical music and one of the most joyous, uplifting movements as a finale it is an exhilarating experience. Beethoven didn't complete his first symphony until he was almost 30 and it marks the beginning of his remoulding of the Symphony away from the Classical ideals of Haydn. Review 'An excellent Fifth ... Such instinctive, unostentatious musicianship is as rare now as it ever was' -- Gramophone Magazine (UK), November 2006 'Haitink's unfailing musicality and sense of proportion make this Beethoven 5 a modern-day reference much like the Klemperer 10in LP fifty years ago' -- HiFi News (UK), November 2006 'simply masterful Beethoven ... Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set. It's a deeply satisfying musical experience' -- Chicago Tribune (US), 13 October 2006 'without being quirky Haitink presents it in a way that feels utterly fresh ... the results are exhilarating' Performance ***** Sound ***** -- BBC Music Magazine (UK), November 2006

title: Symphony 9
text: Editorial Reviews Product Description Beethoven's Ninth Symphony is a landmark in the history of music, changing the concept of what a symphony could be. The use of solo singers and a chorus in the final movement was revolutionary, and the emotional journey to a glorious vision of a world of love and tolerance paved the way for idealistic symphonies to come. Review 'a magnificent performance of the Ninth, done with total commitment under Haitink's inspiring leadership ... with splendid chorus and soloists in full cry, and orchestra in blazing form, all is thrillingly right. Every detail of the ever-astonishing score is given its value in a reading of passionate conviction' -- Sunday Times (UK), 3 September 2006 'an incredible recording' -- MusicOMH (UK), 1 September 2006 'enough orchestral punch to knock a listener senseless ... we are caught in the grip of a performance of quite uncommon fervour. Feel the warmth of Finley's opening bass solo, marvel at the open throats of the London Symphony Chorus' -- The Times (UK), 1 September 2006 'simply masterful Beethoven ... Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set. It's a deeply satisfying musical experience' -- Chicago Tribune (US), 13 October 2006 'this recording has impressed every one of the CD Review team ... there is a feeling of immediacy and drama tempered with vision and maturity as though Haitink's long career has been leading towards this time where he can combine impetuosity and youthful enthusiasm with the wisdom of age and experience' CD of the Week -- BBC Radio 3 CD Review (UK), 23 September 2006 Editorial Reviews Product Description Beethoven's Ninth Symphony is a landmark in the history of music, changing the concept of what a symphony could be. The use of solo singers and a chorus in the final movement was revolutionary, and the emotional journey to a glorious vision of a world of love and tolerance paved the way for idealistic symphonies to come. Review 'a magnificent performance of the Ninth, done with total commitment under Haitink's inspiring leadership ... with splendid chorus and soloists in full cry, and orchestra in blazing form, all is thrillingly right. Every detail of the ever-astonishing score is given its value in a reading of passionate conviction' -- Sunday Times (UK), 3 September 2006 'an incredible recording' -- MusicOMH (UK), 1 September 2006 'enough orchestral punch to knock a listener senseless ... we are caught in the grip of a performance of quite uncommon fervour. Feel the warmth of Finley's opening bass solo, marvel at the open throats of the London Symphony Chorus' -- The Times (UK), 1 September 2006 'simply masterful Beethoven ... Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set. It's a deeply satisfying musical experience' -- Chicago Tribune (US), 13 October 2006 'this recording has impressed every one of the CD Review team ... there is a feeling of immediacy and drama tempered with vision and maturity as though Haitink's long career has been leading towards this time where he can combine impetuosity and youthful enthusiasm with the wisdom of age and experience' CD of the Week -- BBC Radio 3 CD Review (UK), 23 September 2006

title: Symphonies Nos 1-9
text: Editorial Reviews Product Description The release of Bernard Haitink's new cycle of the Beethoven symphonies has been one of the most talked about classical events of 2006. Over recent years many people had questioned whether another complete set of Beethoven's symphonies would ever be recorded. But Haitink's revelatory recordings have demonstrated why fresh new interpretations of the Beethoven's music are so important and why the composer's music is still so relevent today. Amazon.com Haitink's integral set of Beethoven Symphonies with the London Symphony has none of the stodginess that sometimes afflicted his earlier recordings with the Concertgebouw. His restudy of the works, and the presence of concert audiences translate into faster tempos, sharper accents, wider dynamic range and an overall sense of energy that imbue these nine masterpieces. Here, the Classic style is wed to Romantic expressivity but not to Romantic excess, Competition is abundant, ranging from Toscanini, Furtwängler, and the 1963 von Karajan to recent sets from the sometimes hyperkinetic Vanska, the more traditional Abbado, and the insightful Barenboim. But this new Haitink set, available in hybrid SACD/CD, is a solid contender. The early First and Second symphonies benefit from Haitink's leaner, more vivacious approach. The Eroica also sounds fresher. Its slow movement is still a funeral march, but moves a hair faster this time, just enough to be the difference between a pace that drags and a pace that flows and retains interest. In the outer movements, theres a new spring to the rhythms and clarity in orchestral balances, and this Eroica has the cumulative intensity to make its full effect. Haitink's Fourth is in a grander mold than we usually hear. While never overblown, it has some of the wider scope and heroism of the odd-numbered symphonies. Like the Eroica , it is rhythmically vigorous and the prominent tympani and brass make an impact that sweeps the listener along. The Fifth can suffer from over-exposure but here it has a variety of tonal colors, tempos, and dynamics that make it seem newly minted while no less grand. The propulsive finale, with its pounding tympani and expertly played journey to transcendence, is especially memorable. The Sixth, the Pastorale , has that same feeling, its flowing tempos and skillful interpretive choices make this one of the best Sixths since Böhm's, with plenty of excitement in the Storm and warmth in the final movement. The Seventh gets a buoyant reading, predominately lyrical without neglecting its powerful rhythms. The driven final movement is exhilarating without being hectic. The Eighth is often considered the slightest of the Nine but Haitinks brisk tempos make it dance and swagger; the lyrical sections played with engaging warmth. As for the Ninth, it is miles ahead of Haitink's earlier versions. The harmonic mist that opens the work is well delineated, the contrasts within movements carefully marked, the Scherzo bursting with energy, the incomparable Adagio sings at a more fluid tempo, the choral final movement as good as any in the catalogue, its structure crystal clear under Haitink's baton. The major filler in the set is the often scorned Triple Concerto, which gets a performance of warm lyricism that can only elevate its status. The playing of the London Symphony is phenomenal, especially since these are live recordings. The violins tone glows with radiance, their precise articulation helps make the rhythms energetic, the winds are uniformly excellent, the brass sleekly powerful, the potent percussion authoritative in climaxes. If a criticism can be made it would be that bass lines are sometimes weaker than desirable, perhaps a function of engineering that varies in clarity from disc to disc but is never less than good. In sum, a major addition to the Beethoven Symphony discography. --Dan Davis Review 'Here are top-notch players palpably excited to be re-exploring these touchstone scores with a towering conductor.' Records of the Year -- New York Times (US), 8 December 2006 'a complete confidence exists between the LSO, in magnificent form, and it's conductor. This disc is the triumphant climax to the series' Performance ***** Sound ***** Disc of the Month Symphonies Nos 4 & 8 -- BBC Music Magazine (UK), January 2007 'simply masterful Beethoven ... Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set. It's a deeply satisfying musical experience' -- Chicago Tribune (US), 13 October 2006 'this recording has impressed every one of the CD Review team - there is a feeling of immediacy and drama tempered with vision and maturity as though Haitink's long career has been leading towards this time where he can combine impetuosity and youthful enthusiasm with the wisdom of age and experience' CD of the Week Symphony No 9 -- BBC Radio 3 CD Review (UK), 23 September 2006 Grammy Award nominated - Best Classical Album -- 49th Annual Grammy Awards See more Editorial Reviews Product Description The release of Bernard Haitink's new cycle of the Beethoven symphonies has been one of the most talked about classical events of 2006. Over recent years many people had questioned whether another complete set of Beethoven's symphonies would ever be recorded. But Haitink's revelatory recordings have demonstrated why fresh new interpretations of the Beethoven's music are so important and why the composer's music is still so relevent today. Amazon.com Haitink's integral set of Beethoven Symphonies with the London Symphony has none of the stodginess that sometimes afflicted his earlier recordings with the Concertgebouw. His restudy of the works, and the presence of concert audiences translate into faster tempos, sharper accents, wider dynamic range and an overall sense of energy that imbue these nine masterpieces. Here, the Classic style is wed to Romantic expressivity but not to Romantic excess, Competition is abundant, ranging from Toscanini, Furtwängler, and the 1963 von Karajan to recent sets from the sometimes hyperkinetic Vanska, the more traditional Abbado, and the insightful Barenboim. But this new Haitink set, available in hybrid SACD/CD, is a solid contender. The early First and Second symphonies benefit from Haitink's leaner, more vivacious approach. The Eroica also sounds fresher. Its slow movement is still a funeral march, but moves a hair faster this time, just enough to be the difference between a pace that drags and a pace that flows and retains interest. In the outer movements, theres a new spring to the rhythms and clarity in orchestral balances, and this Eroica has the cumulative intensity to make its full effect. Haitink's Fourth is in a grander mold than we usually hear. While never overblown, it has some of the wider scope and heroism of the odd-numbered symphonies. Like the Eroica , it is rhythmically vigorous and the prominent tympani and brass make an impact that sweeps the listener along. The Fifth can suffer from over-exposure but here it has a variety of tonal colors, tempos, and dynamics that make it seem newly minted while no less grand. The propulsive finale, with its pounding tympani and expertly played journey to transcendence, is especially memorable. The Sixth, the Pastorale , has that same feeling, its flowing tempos and skillful interpretive choices make this one of the best Sixths since Böhm's, with plenty of excitement in the Storm and warmth in the final movement. The Seventh gets a buoyant reading, predominately lyrical without neglecting its powerful rhythms. The driven final movement is exhilarating without being hectic. The Eighth is often considered the slightest of the Nine but Haitinks brisk tempos make it dance and swagger; the lyrical sections played with engaging warmth. As for the Ninth, it is miles ahead of Haitink's earlier versions. The harmonic mist that opens the work is well delineated, the contrasts within movements carefully marked, the Scherzo bursting with energy, the incomparable Adagio sings at a more fluid tempo, the choral final movement as good as any in the catalogue, its structure crystal clear under Haitink's baton. The major filler in the set is the often scorned Triple Concerto, which gets a performance of warm lyricism that can only elevate its status. The playing of the London Symphony is phenomenal, especially since these are live recordings. The violins tone glows with radiance, their precise articulation helps make the rhythms energetic, the winds are uniformly excellent, the brass sleekly powerful, the potent percussion authoritative in climaxes. If a criticism can be made it would be that bass lines are sometimes weaker than desirable, perhaps a function of engineering that varies in clarity from disc to disc but is never less than good. In sum, a major addition to the Beethoven Symphony discography. --Dan Davis Review 'Here are top-notch players palpably excited to be re-exploring these touchstone scores with a towering conductor.' Records of the Year -- New York Times (US), 8 December 2006 'a complete confidence exists between the LSO, in magnificent form, and it's conductor. This disc is the triumphant climax to the series' Performance ***** Sound ***** Disc of the Month Symphonies Nos 4 & 8 -- BBC Music Magazine (UK), January 2007 'simply masterful Beethoven ... Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set. It's a deeply satisfying musical experience' -- Chicago Tribune (US), 13 October 2006 'this recording has impressed every one of the CD Review team - there is a feeling of immediacy and drama tempered with vision and maturity as though Haitink's long career has been leading towards this time where he can combine impetuosity and youthful enthusiasm with the wisdom of age and experience' CD of the Week Symphony No 9 -- BBC Radio 3 CD Review (UK), 23 September 2006 Grammy Award nominated - Best Classical Album -- 49th Annual Grammy Awards See more

title: Beethoven: Symphony No 3 "Eroica"; Leonore Overture No 2

title: Beethoven: Symphony No 7: Triple Concerto
text: Editorial Reviews Product Description Beethoven was rarely explicit about any meaning behind his works. However it is impossible to listen to his Seventh Symphony without being captivated by a sense of euphoria, tainted only by what is possibly the most profound slow movement he was to write. Where the symphony is bold in its exuberance, the Triple Concerto is playful, providing its soloists with a glorious opportunity to flaunt their skills. Amazon.com Bernard Haitink is not usually thought of as an eminent Beethoven conductor, but this 7th Symphony is perhaps his best-recorded performance of any of the nine. Possibly due to the live concert setting, sparks fly as Haitink induces plenty of rhythmic drive and power, along with fabulous playing by an energized LSO, especially the important winds. His balanced, proportionate approach falls midway between the work's romanticism and its classical framework, avoiding excesses. If the second movement doesn't reach the depth of feeling others strike, it's because Haitink plays it as the flowing Allegretto it is, and not as a slow funeral march. His rip-roaring final movement avoids the runaway train others have evoked, but it's still bursting with vigor, as Beethoven intended. The substantial filler is the Triple Concerto, often looked down upon as inferior Beethoven, but so full of gorgeous melodies and varied timbres of the solo piano, violin, and cello that it's become one of my guilty pleasures, especially as done here in a reading that emphasizes the work's lyricism. --Dan Davis Review 'Bernard Haitink delivers a splendid interpretation of Beethoven's Seventh: taut, exciting, always musical, and in no way inhibited ... Haitink's concern for clean rhythmic articulation really pays off ... the result is truly of the highest possible standard' -- ClassicsToday.com (US), 15 March 2006 'a blazing performance of the Seventh Symphony that reaches a superbly disciplined and frenzied conclusion' Performance***** Sound ***** Benchmark Recording -- BBC Music Magazine (UK), May 2006 'he is a different, energised man, caught up in the thrill of the moment, on the podium - and it is our good fortune that these marvellous concerts will have an extended life on disc' -- Sunday Times (UK), 29 April 2006 'the best Beethoven Seventh recorded since Carlos Kleiber's DG recording, and frankly, I like it even better than the Klieber ... In sum: Hallelujah! The art of Beethoven conducting is alive and well' -- Hi-Fidelity Review (US), July 2006 CD of the Week -- Classic FM (UK), 17-23 April 2006 See more Editorial Reviews Product Description Beethoven was rarely explicit about any meaning behind his works. However it is impossible to listen to his Seventh Symphony without being captivated by a sense of euphoria, tainted only by what is possibly the most profound slow movement he was to write. Where the symphony is bold in its exuberance, the Triple Concerto is playful, providing its soloists with a glorious opportunity to flaunt their skills. Amazon.com Bernard Haitink is not usually thought of as an eminent Beethoven conductor, but this 7th Symphony is perhaps his best-recorded performance of any of the nine. Possibly due to the live concert setting, sparks fly as Haitink induces plenty of rhythmic drive and power, along with fabulous playing by an energized LSO, especially the important winds. His balanced, proportionate approach falls midway between the work's romanticism and its classical framework, avoiding excesses. If the second movement doesn't reach the depth of feeling others strike, it's because Haitink plays it as the flowing Allegretto it is, and not as a slow funeral march. His rip-roaring final movement avoids the runaway train others have evoked, but it's still bursting with vigor, as Beethoven intended. The substantial filler is the Triple Concerto, often looked down upon as inferior Beethoven, but so full of gorgeous melodies and varied timbres of the solo piano, violin, and cello that it's become one of my guilty pleasures, especially as done here in a reading that emphasizes the work's lyricism. --Dan Davis Review 'Bernard Haitink delivers a splendid interpretation of Beethoven's Seventh: taut, exciting, always musical, and in no way inhibited ... Haitink's concern for clean rhythmic articulation really pays off ... the result is truly of the highest possible standard' -- ClassicsToday.com (US), 15 March 2006 'a blazing performance of the Seventh Symphony that reaches a superbly disciplined and frenzied conclusion' Performance***** Sound ***** Benchmark Recording -- BBC Music Magazine (UK), May 2006 'he is a different, energised man, caught up in the thrill of the moment, on the podium - and it is our good fortune that these marvellous concerts will have an extended life on disc' -- Sunday Times (UK), 29 April 2006 'the best Beethoven Seventh recorded since Carlos Kleiber's DG recording, and frankly, I like it even better than the Klieber ... In sum: Hallelujah! The art of Beethoven conducting is alive and well' -- Hi-Fidelity Review (US), July 2006 CD of the Week -- Classic FM (UK), 17-23 April 2006 See more

title: Symphony No. 2 / Adagio from Symphony No. 10
text: Editorial Reviews Product Description Mahler's extraordinary Second Symphony deals with the epic themes of life, death, faith, and love. He employs a vast orchestra in a search for salvation through spirituality, including a battery of brass, two soloists, and choir. The theme of death also pervades his unfinished Tenth, yet here one finds a sense of peace and a heartfelt expression of human love. Review 'restlessly probing and adrenally free-flowing, pointing up the music's soul-searching and daring musical juxtapositions. With Gergiev the music's emotional subtext comes bubbling to the surface' -- Classic FM Magazine Disc of the Month 'powerfully presented by Gergiev and the LSO, with excellent playing from all sections' -- Audiophile Audition Editorial Reviews Product Description Mahler's extraordinary Second Symphony deals with the epic themes of life, death, faith, and love. He employs a vast orchestra in a search for salvation through spirituality, including a battery of brass, two soloists, and choir. The theme of death also pervades his unfinished Tenth, yet here one finds a sense of peace and a heartfelt expression of human love. Review 'restlessly probing and adrenally free-flowing, pointing up the music's soul-searching and daring musical juxtapositions. With Gergiev the music's emotional subtext comes bubbling to the surface' -- Classic FM Magazine Disc of the Month 'powerfully presented by Gergiev and the LSO, with excellent playing from all sections' -- Audiophile Audition