This 37-disc box set is the only brand new and fully digital recording of the complete symphonies of Haydn. Performed by the Stuttgarter Kammerorchester (Stuttgart Chamber Orchestra) and conducted by Dennis Russell Davies, the recordings were done live in connection with concerts of the whole cycle. The series received fantastic reviews by the press, and The Stuttgart Chamber Orchestra was awarded the European Chamber Music Prize in 2008. Available at a fantastic price, the set is released to tie in with the 200th anniversary of the composer’s death in 2009.
Volume 3 in the series with the complete orchestral works of Ludwig van Beethoven is ready from the Swedish Chamber Orchestra and its music director since 1997, Thomas Dausgaard. The piano concertos are true gems of the classical canon, as Beethoven was an expert both in the art of writing for the orchestra and himself a master pianist. Russian pianist Boris Beresovsky (b.1969) is such a wizard. At the age of 21 he won the Gold Medal at the 1990 International Tchaikovsky Competition in Moscow. It is a privilege to hear how the combination Berezovsky and Dausgaard/SwCO really hit it of in this music. They are enjoying themselves, surprising each other, challenging and courteous at the same time. The sounding result speaks for itself.
Mikhail Pletnev is a brilliant musician, an amazing pianist and an idiosyncratic conductor, and he has made a glorious mess of the Beethoven symphonies. The seesawing of tempos in this compelling, driving and sometimes shocking set induce now motion sickness, now awe . . . it demands to be heard.
Anthony Tommasini, The New York Times / 30. November 2007
To celebrate the 80th birthday of the composer, DUX Recordings presents Krzysztof Penderecki symphonies conducted by the maestro himself. Penderecki’s symphonies have a special place in composer’s legacy as they have never been recorded in a series before under the artistic direction of the maestro. Penderecki said that the DUX recordings present the best performances of his works and therefore making the series even more appealing. This very special project is presented for the first time as a box set, at a very special price.
At the heart of Beethoven’s life’s statement as a composer lies the cycle of sixteen string quartets, which, to this day, has retained a special status and reverence. Since 2012, the Elias String Quartet has been immersed in its Beethoven Project, performing all Beethoven’s string quartets at venues throughout the UK. In this live recording, the ensemble captures both the intimacy and grandeur of the works. With an ever-expanding recording catalogue that has been met with widespread critical acclaim, the quartet is delighted to release this disc, the first volume of its complete Beethoven cycle to be recorded live at Wigmore Hall over the coming Seasons.
Stereo recordings from the early 1960s. Everyone has sentimental favorites, and this set is one of mine. Yes, the ensemble has a few rough spots now and again—nothing serious—but the playing has such warmth and emotional generosity, that bigness of spirit that’s so often forgotten in today’s Beethoven performances. The Budapest Quartet clearly frames its view of the composer in terms of the great, late quartets. So Op. 18, cultured and intelligent thought it is, could do perhaps with a touch more energy in spots, a leaner basic sonority. But once we hit the great middle quartets it’s smooth sailing right through to the end.
The Tokyo String Quartet is second to none in their interpretations of Beethoven's magnificent and incomparable quartets. Beethoven's early, middle and late quartets reveal the evolution of the great master and one can only speculate the enormous challenges the musicians must face to remain true to this titan of western music. My bet is that the Tokyo String Quartet meets the criteria!
Though close to each other in date, the two works on this disc, which are the last in which Beethoven wrote for piano and orchestra together, are in other respects quite dissimilar. The Emperor is a standard piano concerto or so it seems to us, because it was uniquely influential in defining the form for the next 100 years. To its first audiences it must have seemed highly individual, and even idiosyncratic. The Choral Fantasy, on the other hand, appears to us an unorthodox, even unique conception, much freer in form, as befits the title fantasy which Beethoven chose for it. Yet both are entirely characteristic of the composer in their deployment of a structure that served the purposes of the content of the work itself to its greatest advantage. Concluding the Complete Orchestral Works of Beethoven, this vol. 12 finds Thomas Dausgaard, Boris Berezovsky and the Swedish Chamber Orchestra on top form.