Royal Stockholm Philharmonic Orchestra


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Distant Light

Distant Light


Knoxville: Summer of 1915, Op. 24




All is Full of Love

arr. Hans Ek


The Strand Settings

world premiere recording

Read Katherine's exclusive interview with Renée Fleming about the recording here.

‘Distant Light’ is Renée Fleming’s first foray into the hypnotic world of Scandinavian music. For her first new studio album in three years she has chosen to inspire and provoke with a daring mix of music.

The title comes from a poem in a new song cycle dedicated to Renée and here receiving its world premiere recording: Anders Hillborg’s ‘The Strand Settings’.

"At once atmospheric, elegiac and unsettling, the work was crafted with Ms. Fleming’s creamy voice in mind”, wrote the New York Times at its first performance in 2013. One of Sweden’s brightest star composers Hillborg has a close relationship with the Royal Stockholm Philharmonic where this recording was made in February 2016 with its principal conductor Sakari Oramo.

Renée couples this with three songs by Björk in specially commissioned orchestrations by the brilliant Swedish composer and arranger Hans Ek, recorded here for the first time.

Why Björk? Both she and Renée are recipients of Sweden’s Polar Music Prize. Both dare to be original. In the fascinating booklet interview Renée talks about her admiration for Björk: “Her originality is breathtaking. She just blazes her own path forward”. Renée chooses the songs which mean the most to her personally and musically.

“[Fleming] still commands the creamiest, spine-shiveringly sensuous timbre in the business. That’s evident throughout Knoxville, as is her excellent diction, an area often perceived as her weakness...There’s a much more ghostly, even ominous, atmosphere in Hillborg’s writing.” The Times, 6th January 2017 *****

“At once alluring and uneasy, the songs are a gift for Renée Fleming, whose siren-like soprano draws the listener on to the unknown. The atmosphere is potently captured by Sakari Oramo and the Royal Stockholm Philharmonic Orchestra.” Financial Times, 6th January 2017 ****

“As a vehicle for the soaring purity of Fleming’s voice, and as an evocation of Strand’s very finely etched sensibility, Hillborg’s settings are genuinely beautiful and their cumulative effect is powerful...And the three songs by Björk that end the disc don’t seem out of place either.” The Guardian, 11th January 2017 ****

“Fleming obviously relishes the atmospheric music that Hillborg provides for her, and her soprano sails and swoops through the generally wistful and gossamer textures that the orchestration provides” Opera Now, February 2017 ****

“Fleming is in her best voice for Hillborg, sometimes digging into her lower range with great effect but also resorting to breathy mannerisms to characterise awed disbelief at the visions at hand…[she] finds much to connect with in the rhapsodic repetitions of ‘Jóga’. ‘All is Full of Love’ benefits from overdubbing: Fleming seems to be everywhere at once, with rather intoxicated effect” Gramophone Magazine, February 2017

“[The Strand Settings] already seems a classic with its declamatory vocal ardour, orchestral finesse, and communicative confluence of styles, from tinkling minimalism to a snatch of mock Handel. As she soars upwards on words like ‘stars’ and ‘freedom’ – Hillborg’s not afraid of the obvious – Fleming’s top register seems as golden as ever” BBC Music Magazine, March 2017 ****

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Decca - 4830415



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Nielsen: Symphonies Nos. 1 & 3

Nielsen: Symphonies Nos. 1 & 3


Symphony No. 1 in G minor, Op. 7 (FS16)

Symphony No. 3, Op. 27 (FS60) 'Sinfonia espansiva'

The first volume of this new cycle was widely acclaimed upon its release in December 2013 (BIS2028).

Symphony No. 1 owes much to Schumann and was completed in 1892, when the composer was still in his mid-twenties.

Symphony No. 3 was the true breakthrough work, following twenty years after the first symphony and rapidly taken up by Europe’s leading orchestras.

“ the Finnish conductor, a Sibelian whose credentials need no advertisement, for championing his national composer’s exact Danish contemporary’s symphonies. This second instalment of his Nielsen cycle offers bracing accounts of the G minor (No 1) and “Espansiva” (No 3).” Sunday Times, 18th January 2015

“It's a joy to find so much intelligent care and attention expended on Nielsen's First Symphony...You can feel the exuberance, the intellectual control, and also the sense of danger...But there's also a tender, affectionate streak in this symphony, which Oramo and his orchestra bring out well while resisting the temptation to indulge...The Sinfonia Espansiva (No. 3) is also finely controlled and full of character.” BBC Music Magazine, March 2015 *****

“Oramo had his Royal Stockholm Philharmonic wind players relax into [No. 1's] almost Baroque-like ornateness, and when the tune 'turns' in the violins, its does so with effortless charm...The 'Espansiva' heart of the [Third] is the second movement...and is a departure in every sense - it's a rarefied air that Oramo breathes.” Gramophone Magazine, March 2015

“This is a Nielsen First to sweep listeners off their feet and blow old favourites into the proverbial weeds…[and the] Third is no less gripping...This is a field-leading release, both musically and sonically; roll on Two and Six.” MusicWeb International, April 2015

BBC Music Magazine Awards 2016

Orchestral Winner

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Daniel Hope: Escape to Paradise

Daniel Hope: Escape to Paradise

The Hollywood Album


Sea Murmurs


The Secret Marriage


Irgendwo auf der Welt (from Der Blonde Traum)


As Time Goes By: theme


Tranen in der Geige


Violin Concerto in D major, Op. 35

Serenade from Der Schneemann

Morricone, E:

Nuovo Cinema Paradiso: Love Theme

Newman, T:

American Beauty


Ben Hur: Love Theme

El Cid: Theme

Spellbound: Prelude and Love Theme

Waxman, F:

Reminiscences From 'Come Back, Little Sheba'

Weill, K:

Speak low

Williams, John:

Schindler's List: Theme



Daniel Hope (violin), with Maria Todtenhaupt, Jacques Ammon and Sting

Royal Stockholm Philharmonic Orchestra, Quintet of the Deutsches Kammerorchester Berlin, Alexander Shelley

Daniel Hope talks to Presto's David Smith about Escape to Paradise here.

In his latest album Daniel Hope shines a new light on Hollywood scores as he takes a widescreen musical journey, seeking out the echoes of exiled European composers, such as Miklos Rózsa, John Waxman, Hanns Eisler, Erich Wolfgang Korngold. The center piece is the famous Violin concerto by Erich Wolfgang Korngold.

The album also contains contemporary soundtrack classics such as Schindler´s List, American Beauty and Cinema Paradiso to reflect on the strong musical influence the Exile composer had and still has on contemporary film composers.

Guest artists featuring on this record are no one less than Sting who performs in a new arrangement on “The Secret Marriage” – a Hanns Eisler composition (originally with lyrics of Bertold Brecht, to which Sting wrote his own lyrics back in 1987) – and German singer phenomenon Max Raabe on the famous “Speak Low” by Kurt Weill. Top Arranger Paul Bateman provided brand new orchestral arrangements.

“the real singing comes from Hope’s violin, soaring through an agreeable selection from the works of European composers who found refuge in California. The highlight is Korngold’s Violin Concerto, luxuriously rendered with the Royal Stockholm Philharmonic and conductor Alexander Shelley.” The Times, 29th August 2014 ***

“Pieces played in new arrangements bask in the luxuriantly romantic world of Korngold, Rósza and their contemporaries.” Financial Times, 6th September 2014

“At the heart of this disc is his swashbuckling performance of Korngold's Violin Concerto, where Hope brings off with aplomb the tension between the work's contrasting lyrical ideas and the electric energy of the virtuoso writing. It's as if he had in mind the screen hero Errol Flynn” Gramophone Magazine, October 2014

“Hope's highly-charged and sumptuously expressive account of Korngold's Violin Concerto does the work proud.” BBC Music Magazine, November 2014 ****

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Nielsen: Symphonies Nos. 4 & 5

Nielsen: Symphonies Nos. 4 & 5


Symphony No. 4, Op. 29 (FS76) 'The Inextinguishable'

Symphony No. 5, Op. 50 (FS97)

In 1962, when Leonard Bernstein chose to record Carl Nielsen’s Fifth Symphony, this provided the composer with a wider international breakthrough some thirty years after his death. The work has since been hailed as one of the greatest symphonies of the twentieth century, but at its first performances during the early 1920’s audiences were less enthusiastic, finding it puzzling and difficult to understand. Although unwilling to provide an explanation of the symphony, Nielsen had however inscribed a kind of motto, ‘Dark, resting forces – Awakened forces’, at the end of his draft score and later wrote that it was ‘something very primitive I wanted to express: the division of dark and light, the battle between evil and good.’ Some eight years earlier, as he began work on his Symphony No.4, similar thoughts had been stirring in the composer. In 1914, with the First World War about to engulf Europe, he had written to his wife about a work with which he hoped to express ‘what we understand by the life-urge’. Giving it the title ‘The Inextinguishable’ at its publication, Nielsen later explained his intentions further: ‘If the whole world was destroyed, Nature would once again begin to beget new life and push forward with the strong and fine forces that are to be found in the very stuff of existence… These “inextinguishable” forces are what I have tried to represent.’ These two central works in Nielsen’s production have now been selected for the first instalment of a complete Nielsen cycle by Sakari Oramo and his Royal Stockholm Philharmonic Orchestra. Having enjoyed a close collaboration since 2008, this team has become ever more fine-tuned, as demonstrated on their previous BIS release, a performance of Edward Elgar’s mighty Second Symphony which was praised by the reviewer in Gramophone for ‘playing of conspicuous finesse and commendable ardour’ in an ‘abundantly characterful, cannily paced and deeply sincere traversal’.

“this first instalment of a full set of the Nielsen symphonies suggests it could be very special: the performances have an irresistible momentum...In both symphonies the Stockholm orchestra responds wonderfully too.” The Guardian, 6th February 2014 ****

“Oramo certainly knows how to generate and sustain a good current. Both of these symphonies are conceived as strong, purposeful wholes...Oramo also has a truly admirable way with phrasing Nielsen's long lines - his melodies are rarely as predictable as their opening motifs suggest.” BBC Music Magazine, May 2014 ****

“these are thrilling performances...Oramo’s grip on the music never fails, and he sees the [Fifth] symphony through to its hard-earned conclusion. These are central works in the canon of the 20th century symphony, and these recordings are a truly significant contribution to their performance history.” MusicWeb International, 9th April 2014

“Oramo's pathway through these incendiary works is valiant and thoughtful - even if he point-blank refuses to emerge from the skirmish with a bloodied nose...who could blame Oramo for wanting to carve out terrain to call his own?” Gramophone Magazine, May 2014

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Nobel Prize Concert 2009

Nobel Prize Concert 2009

Recorded at the Stockholm Concert Hall, 8 December 2009


Romeo and Juliet - Suite No. 1, Op. 64a

Romeo and Juliet - Suite No. 2, Op. 64b


Piano Concerto in G major

Martha Argerich (piano)


Festive Overture, Op. 96

As part of the official Nobel Week, the world’s most renowned artists are gathering each year to pay tribute to the Nobel Laureates. An event of world class stature and performances of highest international standard. Members of the Swedish Royal Family as well as guests of the Nobel Foundation are attending the highly acclaimed event, which gathers internationally renowned artists and conductors each year.

Very special highlight was this year’s soloist Martha Argerich, one of the very charismatic and brilliant pianists, performing Ravel’s Piano Concerto in G Major under Yuri Temirkanov leading the Royal Stockholm Philharmonic Orchestra. The program also includes Prokofiev’s Suite from Romeo and Juliet.

Born in Buenos Aires in 1941, Martha Argerich had her performing debut at the age of eight. Her breakthrough came in 1965, when she won the prestigious Chopin Competition in Warsaw. Working with most of the world’s leading conductors Argerich is passionate about supporting young talents. In 1999 the first International Martha Argerich Piano Contest was held in Buenos Aires, a competition that she founded and of which she is now the chief judge.

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Sound format: PCM Stereo, DTS-HD Master Audio

Region code: All

Booklet notes: English, German, French

Running time: 80 mins

German FSK: 0

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Region: all

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Schumann: Symphonies Nos. 3 & 4

Schumann: Symphonies Nos. 3 & 4


Symphony No. 3 in E flat major, Op. 97 'Rhenish'

Symphony No. 4 in D minor, Op. 120

Finnish conductor Sakari Oramo and the Royal Stockholm Philharmonic Orchestra’s recording of Schumann’s Symphonies Nos. 1 & 2 (88697437072) was the first release in their partnership since Oramo became their principal conductor in 2008, and was extremely well-received, described as “exhilarating and vividly dramatic” by The Guardian.

Sony Classical now presents the second recording in this partnership, Schumann’s last two symphonies, which were also recorded in the Stockholm Concert Hall.

“There's no shortage of outstanding recordings of all the Schumann symphonies already, but these are good enough to make a second disc containing the Third and Fourth a welcome prospect” The Guardian

“The Fourth Symphony is the more convincing, especially in its last two movements; the scherzo is feisty and the tensions of the introduction to the finale are discharged in a wonderfully unbuttoned account of the main allegro” The Guardian, 14th April 2011 ***

“Above all, these are performances informed though not conditioned by authentic practice. Thus the opening movement of the Third Symphony has a natural buoyancy without the trciky string articulation seeming at all rushed...Oramo is an excellent modern choice.” International Record Review, May 2011

“Throughout both performances the Stockholm Philharmonic horns have a field day (so do the Sony engineers), but the result is never crude or unbalanced. I loved Oramo's thoughtful slowing at around 4' 53'' into the second movement, before the main theme blazes back, and his delicate handling of the third movement” Gramophone Magazine, July 2011 ****

“Sakari Oramo's strongest attribute is his sense of line. His feeling for the long phrase - sometime for a whole movement as a phrase in itself - is the quality that makes him an impressive Sibelian...Oramo's Rhenish should be strong enough to persuade Schumann-agnostics that he could think in large spans, while the Fourth in genuinely exciting.” BBC Music Magazine

Sony - 88697646872



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Daniel Hope: The Romantic Violinist

Daniel Hope: The Romantic Violinist

A Celebration of Joseph Joachim


Sonatensatz (Scherzo from the F.A.E. sonata), WoO 2

with Sebastian Knauer (piano)

Hungarian Dance No. 1 in G minor

arranged for violin and strings by Marc-Olivier Dupin

Royal Stockholm Philharmonic Orchestra, Sakari Oramo

Hungarian Dance No. 5

arranged for violin and strings by Marc-Olivier Dupin

Royal Stockholm Philharmonic Orchestra, Sakari Oramo

Geistliches Wiegenlied, Op. 91 No. 2

Anne Sofie von Otter (mezzo-soprano)) & Bengt Forsberg (piano)


Violin Concerto No. 1 in G minor, Op. 26

Royal Stockholm Philharmonic Orchestra, Sakari Oramo


Humoresque in G flat major, Op. 101 No. 7

arranged for violin and orchestra by Franz Waxman

Royal Stockholm Philharmonic Orchestra, Sakari Oramo


Romanze, Op. 2, No. 1 for violin and piano

with Sebastian Knauer (piano)

Notturno for Violin and Orchestra, Op. 12

Royal Stockholm Philharmonic Orchestra, Sakari Oramo


Auf dem Wasser zu singen, D774

with Sebastian Knauer (piano)

Schumann, Clara:

Romances (3), Op. 22: No. 1 - Andante Molto

with Sebastian Knauer (piano)

Daniel Hope (violin & viola)

Friends with Mendelssohn, the Schumanns, Brahms, Dvorák, Liszt, Bruch, and others, Joachim was a revered violinist, conductor, and composer of the Romantic Era. The central piece is Bruch’s Violin Concerto, its violin part completely reworked, at Bruch’s request, by Joachim into the form we know today. Daniel Hope plays the concerto with the Royal Stockholm Philharmonic Orchestra under Sakari Oramo.

“Big-hearted Daniel Hope, backed by the Royal Stockholm Philharmonic under Sakari Oramo, seems equally at home in the wide open spaces of Bruch's violin concerto (which the master totally revised and improved) or the warm intimacy of Joachim's own delightful Romanze” The Observer, 13th March 2011

**** The Telegraph, 18th March 2011

“Hope’s way with the Bruch: Violin Concerto No 1 is lively, burning with gypsy passion. Temperatures calm down for Joachim’s own Romanze and his equally endearing Notturno.” The Times, 26th March 2011 ****

“The major offering here is Bruch's evergreen First Violin Concerto, which Daniel Hope plays with cliche-free, heartfelt intensity. He radiates espressivo allure in Joachim's own Romanza and Notturno...The Joachim connection is fascinating, and Hope plays each piece as a music gem in its own right” Classic FM Magazine, May 2011 ****

“The Bruch is finely and vividly recorded. In Oramo's hands the orchestration acquires a rich glow, with solo lines brought out most expressively. Hope brings to his interpretation glorious, full tone brilliance (in the finale) and expansive phrasing...The pieces with piano are all beautifully played” Gramophone Magazine, May 2011

“[The Bruch] receives a warmly committed account from the soloist and the hugely responsive Royal Stockholm Philharmonic under Sakari Oramo. As in his recording of the Mendelssohn, Hope never takes this over-familiar score for granted and has imaginative things to say at every juncture.” BBC Music Magazine, May 2011 ****

“This performance [of the Bruch] overflows with incident and rich musical detailing...[Oramo], as a fiddler himself, knows this piece inside out...The finale dazzles, rounding out a captivating and insightful reading” International Record Review, May 2011

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E.S.T. Symphony

E.S.T. Symphony


E.S.T. Prelude

From Gagarin's Point of View

When God Created the Coffeebreak

Seven Days of Falling

Wonderland Suite

Serenade for the Renegade

Dodge the Dodo

Eighthundred Streets by Feet

Viaticum Suite

Behind the Yashmak

Verneri Pohjola (trumpet), Marius Neset (saxophone), Johan Lindstrom (pedal steel guitar), Dan Berglund (double bass), Iiro Rantala (piano), Magnus Ostrom (drums)

Esbjorn Svensson Trio, Royal Stockholm Philharmonic Orchestra, Hans Ek

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Mahler: Symphony No. 6 in A minor 'Tragic'

Mahler: Symphony No. 6 in A minor 'Tragic'

Mahler specialist, Jascha Horenstein, conducts the sixth symphony - an acclaimed 1966 performance with the Stockholm Philharmonic Orchestra.

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Martin Fröst: Roots

Martin Fröst: Roots

1. Ancient Suite - Martin Fröst

2. Concerto for Recorder, Transverse Flute, Strings and Continuo in E Mino: IV. Presto

3. Klezmer Dance No. 2

4. Psalm från Älvdals-Åsen

5. Introduction and Variations on a Swedish Song for Clarinet and Orchestra, Op. 12

6. Hungarian Dance No. 14 in D Minor

7. 5 Stücke im Volkston, Op. 102 / I. Mit Humor ("Vanitas vanitatum")

8. 5 Stücke im Volkston, Op. 102 / II. Langsam

9. 5 Stücke im Volkston, Op. 102 / V. Stark und markiert

10. Romanian Folk Dances Sz. 56 / II. Sash Dance

11. Romanian Folk Dances Sz. 56 / III. In One Spot

12. Romanian Folk Dances Sz. 56 / IV. Dance from Bucium

13. Romanian Folk Dances Sz. 56 / V. Romanian Polka

14. Romanian Folk Dances Sz. 56 / VI. Fast Dance

15. Nana

16. Jag vet en dejlig rosa

17. Primal Blues - Martin Fröst

18. Rolig Pers Polska

19. Hymn of Echoes - Martin Fröst

20. La muerte del ángel

21. All in the Past

Martin Fröst (clarinet)

Royal Stockholm Philharmonic Orchestra & The Adolf Fredrik’s Girls Choir

Martin Fröst talks to Presto's David Smith about Roots here.

Martin Fröst's first album on Sony Classical - “Roots” - shows the full range of Martin’s artistry as musician and story teller.

“Roots” features solo pieces for the clarinet, as well as pieces for clarinet and orchestra, and newly arranged material for clarinet, orchestra, and choir, including world premier recordings of newly commissioned material by Hans Ek and Anders Hillborg. Thus, the listener will be presented with music as the composer wrote it as well as new arrangements and transcriptions to bring in a fresh approach.

Martin Fröst is accompanied by the Royal Stockholm Philharmonic Orchestra and The Adolf Fredrik’s Girls Choir.

“Roots” takes the listener from the oldest European music to newly composed pieces, echoing and referencing centuries of music making and composition.

Martin Fröst explains: "I have taken my inspiration from the source and development of music, drawing a line from the earliest "roots" of music - music inspired by dance and folk, music drawn from sacred rituals of praise, and music as pure entertainment - and explored how, from these roots, we can open up a new musical door into the future. The programme will contain various instrumental combinations, some in original, some in new fresh arrangements and some will be new compositions written specially for this programme."

The journey starts in the Middle Ages with an interpretation of a Gregorian hymn and a Hildegard von Bingen piece stemming before the programme moves forward through time, featuring compositions by Telemann, Crusell, Schumann, Brahms, Bartok, and Piazolla -- all inspired by the art of dance and folk music.

“All the works are tied to each other and played attacca. The themes are transfigured throughout the programme, the music is changing, developing, evolving, staying the same, itself, embracing everything.” (Martin Fröst)

“Listeners who relish the stylistic juxtapositions of Radio 3’s Late Junction will enjoy being bombarded with Telemann in Polish idiom one moment, a Falla lullaby the next…but, mostly, clarinettists and clarinet fans will revel in Fröst’s buoyant performance of Crusell’s Variations on a Swedish Song…and in his mercurial, technically staggering playing throughout this scatter-shot assortment” BBC Music Magazine, June 2016 *****

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