Royal Stockholm Philharmonic Orchestra

Orchestra

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Nielsen: Symphonies Nos. 2 & 6

Nielsen: Symphonies Nos. 2 & 6


Nielsen:

Symphony No. 2, Op. 16 (FS29) 'The Four temperaments'

Symphony No. 6, (FS116) 'Sinfonia semplice'


“That the music ebbs and flows so naturally here and in the restless third movement is testimony to Oramo’s sure grasp of the symphony’s architecture, both internal and external. As in his accounts of the First and Third he builds truly commanding climaxes; indeed, there’s something of Sibelius’s imposing topography at times…there are many fine versions of the Sinfonia Semplice in the catalogue, but in the face of Oramo’s overwhelming account there’s little point in trotting them out for comparison. To put it bluntly, this the most penetrating, the most complete, account of Nielsen’s last symphony that I have ever encountered…a feisty, unfettered Second and a benchmark Sixth; a triumph for all concerned.” MusicWeb International, April 2015

“Oramo is totally in control, letting the panic of the first movement of the sixth take hold with alarming speed but also giving the orchestra space to breathe, as in the broad first movement of “The Four Temperaments”, allowing its rich, full-bodied sound to overwhelm us.” The Observer, 3rd May 2015 ****

“Sakari Oramo's cycle of Nielsen symphonies roars to its conclusion with an account of the Second, The Four Temperaments, irresistibly driven by a fifth - Oramo himself. The choleric hero positively steams into our midst - a Berliozian pirate whose ferocious energy is tamed only by the impassioned lyricism of his more romantic inclinations…a terrific performance of a marvellous symphony, with the delicious easy-going undulations of the phlegmatic fellow really singing here and the melancholic reaches of the slow movement achieving an almost Brucknerian grandiosity…Nielsen's last symphony - anything but 'semplice' - is also finely tuned and disturbingly precise” Gramophone Magazine, June 2015

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Nielsen: Symphonies Nos. 1 & 3

Nielsen: Symphonies Nos. 1 & 3


Nielsen:

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.

“Bravo...to 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


Castelnuovo-Tedesco:

Sea Murmurs

Eisler:

The Secret Marriage

Heymann:

Irgendwo auf der Welt (from Der Blonde Traum)

Hupfeld:

As Time Goes By: theme

Jurmann:

Tranen in der Geige

Korngold:

Violin Concerto in D major, Op. 35

Serenade from Der Schneemann

Morricone, E:

Nuovo Cinema Paradiso: Love Theme

Newman, T:

American Beauty

Rozsa:

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

Zeisl:

Menuhim's-Song


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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Elgar: Symphony No. 1

Elgar: Symphony No. 1


Elgar:

Symphony No. 1 in A flat major, Op. 55

Cockaigne Overture, Op. 40 'In London Town'


Conducting this all-Elgar programme is Sakari Oramo, the Finnish conductor who has been all but adopted by English music-lovers and orchestras - for ten years he was music director of the City of Birmingham Symphony Orchestra, and since 2013 he holds the post as chief conductor of the BBC Symphony Orchestra.

It was during the winter of 1900–01 that Elgar began to sketch what he hoped would turn into his first symphony. However, the sketches were quickly absorbed into several shorter pieces, one of which was the Cockaigne overture - an unashamedly populist portrait of ‘old London town’.

As for the First Symphony, seven years would pass before its première in Manchester and subsequent London performance.

“Oramo uses a lot of rubato in the scherzo and at times you can feel it lurching into a slower gear with a sudden clunk. It’s like being in the car with someone who is learning how to use the clutch...That’s my only complaint about a performance which is outstanding all the way through...A First Symphony that only just misses perfection.” MusicWeb International, 1st July 2014

“It's a finely judged and paced performance, one that avoids extremes but still manages to give a tremendous sense of cumulative momentum to the whole work...Oramo has always obtained a wonderfully refined string tone from the orchestras he conducts, and the hushed playing of the Royal Stockholm Philharmonic...is strikingly effective.” The Guardian, 31st July 2014 ****

“There’s nothing portentous about the performance: take the athleticism demanded of the band by Oramo in the Scherzo — full of bright, good-natured humour — and the dashing final Allegro. It’s good news that non-Brits can respond to this music with such affection and authenticity.” Sunday Times, 3rd August 2014

“Oramo's commendably trim and purposeful conception is clearly the result of painstaking preparation and he certainly knows his way round the score; scarcely a fleck of detail escapes his eagle eye, and the antiphonally divided fiddles are an enormous boon...Oramo's reading of the main work has enough in the tank to merit investigation by any Elgarian seeking a fresh view.” Gramophone Magazine, Awards Issue 2014

“Oramo has secured a vibrant, electric orchestral sound that underpins everything, making even the slow introduction seem exuberant underneath its finely judged nobilmente breadth...The orchestra offers similarly big-hearted, vital playing in Cockaigne. The opening theme kicks up its heels cheekily.” BBC Music Magazine, November 2014 ****

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Nielsen: Symphonies Nos. 4 & 5

Nielsen: Symphonies Nos. 4 & 5


Nielsen:

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


Prokofiev:

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

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

Ravel:

Piano Concerto in G major

Martha Argerich (piano)

Shostakovich:

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.

Picture format: 1080i Full HD - 16:9

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

EuroArts - 2057894

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Anders Hillborg: Eleven Gates

Anders Hillborg: Eleven Gates


Hillborg:

King Tide

Sakari Oramo

Exquisite Corpse

Alan Gilbert

Dreaming River

Esa-Pekka Salonen

Eleven Gates

Esa-Pekka Salonen


As demonstrated by the four works on this disc, the music of Anders Hillborg couples complexity with directness, sensuality with humour, hypnotic meditation with pulsating rhythms, and all is combined with an original sense of form and unfaltering craftsmanship.

Hillborg recently became the first Swedish composer to have a work premièred by the Berlin Philharmonic Orchestra when Cold Heat was performed in January 2011.

Hillborg has called the symphony orchestra a ‘sound animal’. His love affair with the orchestra started in the 1980s, when he abandoned electronic music, and around the same time, Hillborg formed a bond with the conductor Esa-Pekka Salonen, who here conducts Dreaming River from 1998 and Eleven Gates, a work he premièred with the Los Angeles Philharmonic in 2006.

Sakari Oramo and Alan Gilbert are both among the most highly regarded conductors of our time, and also have a special relationship with the Royal Stockholm Philharmonic Orchestra in common, as its current and former chief conductor. The Stockholm orchestra also commissioned both Dreaming River and Exquisite Corpse.

“The present collection showcases Hillborg's typically multifaceted and wickedly good-natured humour...The Royal Stockholm Philharmonic Orchestra is on splendid form throughout, led by conductors who have championed these works at home and abroad. BIS's SACD sound is typically spectacular, making this release very strongly recommended.” Gramophone Magazine, January 2012

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Brahms: Violin Concerto

Brahms: Violin Concerto


Brahms:

Violin Concerto in D major, Op. 77

Royal Stockholm Philharmonic Orchestra, Sakari Oramo

Hungarian Dances, WoO 1 Nos. 1-21 (complete)

arr. Joseph Joachim

Lauma Skride (piano)


Baiba Skride (violin)

Baiba Skride is not just one of the most sought-after artists when it comes to finding a soloist for one of the great violin concertos. She is also much in demand for chamber music. This makes her ideal for her new recording, her first on the ORFEO label, devoted to the work of Johannes Brahms. It is a highly promising start to our collaboration with this First-Prize winner of the Queen Elisabeth Competition in Brussels in 2001. Besides Brahms’s Violin Concerto, she here offers his Hungarian Dances in the version for violin and piano made by Joseph Joachim. The long-standing musical partnership of Brahms and Joachim is reflected doubly here, for Joachim was also the dedicatee of the Concerto. Baiba Skride’s Brahms interpretations are themselves characterized by happy musical constellations. In Sakari Oramo she has a conductor who is himself a violinist and who offers the appropriate momentum with the Royal Philharmonic in Stockholm. One clearly hears the energy and vigour with which every instrumental grouping plays. Thus the great arch of the work is perfectly formed, from the solo interjections (not just from the violin!) to the symphonic dialogue between the partners. The chamber-music intimacy of the Hungarian Dances could not be achieved more powerfully or more beautifully than in Baiba Skride’s tried-and-tested duo partnership with her sister Lauma Skride at the piano. Unhindered by the “pianistic” violin part with its many double stoppings, Baiba develops an ensemble that is in tempo and in its gestures carefully moulded with the piano. The piano may have what is clearly an accompanying part, and Lauma Skride certainly adapts to her sister’s playing in an unpretentious manner, but nor is her part understated. The result is a performance of these atmospheric dances that is at times resilient and fiery, at other times melodic, gentle and smooth. They belong just as much to Brahms’s art as do the formal stringency and unity we find in his large-scale works – and it is all the lovelier when we find all of this on a single CD recording.

“This performance...reveals Baiba Skride as the complete violinist, with an exceptionally precise, reliable technique, splendid tone and presence, and discerning musicianship, who makes the quietest moments tell. And her playing is complemented by a sympathetic, finely balanced accompaniment.” Gramophone Magazine, October 2011

“It’s soon clear that Baiba Skride is going to give an intensely poetic, singing account of the solo part [of the Concerto]. Her technique sounds flawless – as one would expect at this level – but I really admired the consistency of her tone, especially above the stave, as well as her ability to sustain the line.” John Quinn, MusicWeb International, November 2011

Orfeo - C829112A

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Schumann: Symphonies Nos. 3 & 4

Schumann: Symphonies Nos. 3 & 4


Schumann:

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


Brahms:

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)

Bruch:

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

Royal Stockholm Philharmonic Orchestra, Sakari Oramo

Dvorak:

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

arranged for violin and orchestra by Franz Waxman

Royal Stockholm Philharmonic Orchestra, Sakari Oramo

Joachim:

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

Schubert:

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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