The Finnish conductor Osmo Vänskä, music director since 2003 of the Minnesota Orchestra, long ago proved himself a formidable interpreter of Nordic music in general and Sibelius in particular. This symphonic cycle – two highly praised discs are already out – is now complete, with this album of the pliant, classical Symphony No 3, the little known and underrated No 6 and the mysterious, enthralling single-movement No 7. The playing is polished and detailed, now springy and buoyant, now occluded and chilling. Tempi are slightly broad but convincingly so. From the plunging energy of the opening of the Third Symphony to the bleak, raw ending of the Seventh, this is a gripping listen.
Claudio Abbado was undeniably the supreme Mahler conductor of our time. With his Lucerne Festival Orchestra he has set new standards in the field of classical music, especially in the interpretation of works by Gustav Mahler. The core of the orchestra is provided by the Mahler Chamber Orchestra, itself an élite body of players. Soloists like violinist Kolja Blacher, clarinettist Sabine Meyer, oboist Albrecht Mayer, violist Wolfram Christ, cellist Natalia Gutman, the Hagen Quartet and members of the Alban Berg Quartet to name just a few, make the Lucerne Festival Orchestra a star-studded ensemble.
This disc was nominated for the 1998 Grammy Awards for "Best Classical Album," "Best Engineered Album, Classical," and "Best Orchestral Performance."
This is not your father's Brahms, though it may be your great-grandfather's. The concept behind this cycle-with-a-difference is to emulate the kind of orchestra Brahms liked to use, specifically the Meiningen Court Orchestra, with which he worked extensively after 1880 and entrusted with several important premieres…
In this first volume of Alexander Scriabin's symphonies on the LSO Live label, Valery Gergiev and the London Symphony Orchestra begin in media res with the Symphony No. 3, "Le Divin Poème," and the Le Poème de l'extase, which is unofficially counted as the Symphony No. 4. These works date from Scriabin's middle period (ca. 1902-1908), which marks a transition from his youthful Romantic phase to his final visionary works. The Symphony No. 3 reflects a lingering attachment to the symphonic conventions which influenced Scriabin's first two symphonies, particularly in its three-movement structure and relatively clear tonal scheme, though it already hints at the organic development and greater harmonic complexity of the single-movement Le Poème de l'extase, which strains the boundaries of form and key. These effusive works demand a calculated control that may seem at odds with their volatile and languorous expressions, though Gergiev and the London Symphony Orchestra deliver the music with rhythmic precision and focused tone colors to bring across Scriabin's kaleidoscopic soundworld with brilliance.
As it turns out, Colin Davis hums. He also moans, groans, and sometimes even grunts. In this enormous but intimate super audio CD, the listener can hear Davis' vocal obbligato as he uses any means necessary to convey his vision to the musicians. (…) Even though Davis does hum, anyone who loves Sibelius will have to hear these performances.
In these priceless documents from the late 1970s, filmed in the Bruckner shrines of Vienna and St Florian, Herbert von Karajan conducts the Vienna Philharmonic in Bruckner's Eighth - the symphony he revered above all others - and Ninth, as well as the towering Te Deum. "Massive, glowing, and infused with cosmic power" (conductor/scholar Denis Stevens on Karajan's Bruckner Eighth filmed with the Vienna Philharmonic).