Wiener Philharmoniker

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Richard Strauss: Eine Alpensinfonie - Vinyl Edition

Richard Strauss: Eine Alpensinfonie - Vinyl Edition


Strauss, R:

Eine Alpensinfonie, Op. 64


Recorded: Grosser Saal, Musikverein, Wien, October 2000

For his debut recording with the Wiener Philharmoniker in 2000, Christian Thielemann chose Richard Strauss’ Alpine Symphony. This praised recording, which became classic in the meantime, is now available on vinyl for the first time.

“Thielemann' s [Alpine Symphony] is, by a considerable margin, the finest account we have had since Karajan's . . . The performers' emotional commitment is stamped on every bar.” Gramophone Magazine

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DG - 4797446

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$22.00

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Sommernachtskonzert

Sommernachtskonzert

Summer Night Concert 2017


Dvorak:

Carnival Overture, Op. 92

Za tihlou Gazelou (from Armida)

Renée Fleming (soprano)

Mesícku na nebi hlubokém 'Song to the Moon' (from Rusalka)

Renée Fleming (soprano)

Humperdinck:

Hänsel & Gretel Overture

Rachmaninov:

Twilight, Op.21 No. 3

Renée Fleming (soprano)

Ne poy, krasavitsa, pri mne, Op. 4 No. 4

Renée Fleming (soprano)

Spring torrents, Op. 14 No.11

Renée Fleming (soprano)

Stravinsky:

The Firebird: Danse infernale du roi Kastchei

Berceuse from The Firebird

Finale from The Firebird

Tchaikovsky:

Sleeping Beauty, Op. 66 - Pas d'action

Waltz from Sleeping Beauty, Op. 66

Williams, John:

Hedwig's Theme (from Harry Potter and the Philosopher's Stone)


Fairytales and myths have inspired composers from time immemorial, and audiences, too, have invariably been enthralled by the unending struggle between good and evil. Central to the Vienna Philharmonic’s 2017 Summer Night Concert are German, French, Russian and Czech fairytales as well as a contemporary fantasy figure that is Anglo-Saxon in origin.

In 2017 the Summer Night Concert will again be conducted by one of the most distinguished musicians of our time. Christoph Eschenbach, who also conducted the 2014 Summer Night Concert, is in demand as a guest conductor for prominent orchestras and opera houses worldwide. Since 2010 he has been musical director of the National Symphony Orchestra in Washington D.C. Having begun his career as a pianist, he learned conducting under George Szell and Herbert von Karajan. Since making his debut as a conductor in 1972, he has led renowned orchestras, including the Tonhalle-Orchester in Zurich, the Houston Symphony Orchestra, the Orchestre de Paris and the Philadelphia Orchestra.

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Lucerne Festival Historic Performances Vol. XI

Lucerne Festival Historic Performances Vol. XI

Brahms & Mozart


Brahms:

Symphony No. 2 in D major, Op. 73

live recording 1962

Wiener Philharmoniker

Mozart:

Piano Concerto No. 27 in B flat major, K595

live recording 1961

Robert Casadesus (piano)

Swiss Festival Orchestra


January 8th, 2017 marked the 50th anniversary of the death of Carl Schuricht. This release of two live recordings made in 1961 and 1962 pays tribute to a renowned conductor who was only to enjoy great international fame in his old age – as one of the last representatives of the generation of old German conductors, and as a master of the classical and romantic repertoire Absolute faithfulness to the musical text and youthful vigour right up to old age: Carl Schuricht (1880-1967), one of the last representatives of the generation of old German conductors during the post-war decades, focused on clear structures rather than romantic pathos or personal eccentricity. These two Lucerne live recordings demonstrate the compelling persuasiveness of his inspired objectivity, especially when performing alongside the celebrated Mozart interpreter Robert Casadesus, whose choice of tempi is particularly striking.

In cooperation with audite, LUCERNE FESTIVAL presents the “Historic Performances” series featuring outstanding concert recordings of artists who have shaped the festival throughout its history. The aim of this CD edition is to rediscover treasures – most of which have not been released previously – from the first six decades of the festival, which was founded in 1938 with a special gala concert conducted by Arturo Toscanini. These recordings have been made available by the archives of SRF Swiss Radio and Television, which has broadcast the Lucerne concerts from the outset. Painstakingly re-mastered and supplemented with photos and materials from the LUCERNE FESTIVAL archive, they represent a sonic history of the festival.

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Audite Lucerne Festival Historic Performances - AUDITE95645

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Wolf, Weber, Wagner: Orchestral Works

Wolf, Weber, Wagner: Orchestral Works


includes

Wagner:

Der fliegende Holländer: Overture

Lohengrin: Prelude to Act 1

Lohengrin: Prelude to Act 3

Die Meistersinger von Nürnberg: Overture

Tristan und Isolde: Prelude & Liebestod

Wiener Philharmoniker

Weber:

Symphony No. 1 in C major, Op. 19, J50

Euryanthe Overture

Der Beherrscher der Geister, J122: Overture

Abu Hassan Overture

Wiener Philharmoniker

Wolf, H:

Penthesilea

L’Orchestre de la Suisse Romande

Der Corregidor: Orchestral Suite

L’Orchestre de la Suisse Romande


During the golden age of LP, Horst Stein was among a select band of central-European conductors (Vaclav Neumann and Otmar Suitner another two notable examples) revered by Japanese orchestras and audiences, perhaps more than their Western counterparts. They had an uncomplicated mastery of the repertoire that shunned interpretative eccentricity and plugged listeners in to a strong current of cultivated orchestral sonority which seemed to grow from and continue a Kapellmeister lineage that built the great orchestras of the world in the first place.

As chief conductor of the Orchestre de la Suisse Romande, Stein made recordings of Sibelius that have been prized since their first issue, and have been collected together on another Eloquence release (4823922). The present release returns to Stein’s heartland of German Romanticism. Indeed the progression from Weber to Wagner to Wolf traces the eventful development of the Romantic movement in music over 80 years, from the daring, post-Schubertian harmonies of Weber’s Symphony (no less touched by lyric genius than his music for the stage) to the tumultuous and multi-climactic tone-poem that is Wolf’s Penthesilea, which tells the story of an Amazon queen’s gruesome revenge for thwarted passion.

“Stein’s persuasive performance makes no apologies for the work … an important rediscovery.” Gramophone Magazine, February 1982 (Wolf: Penthesilea)

“Especially for the superb playing Stein gets from the VPO … this is much to be recommended.” Gramophone Magazine, July 1974 (Wagner)

“Stein’s gifts as a Wagner conductor have enabled him to see the richness and depth already glimpsed […] in the remarkable Andante.” Gramophone Magazine, September 1978 (Weber: Symphony)

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Schmidt: Symphony No. 2 & Strauss: Dreaming by the Fireside

Schmidt: Symphony No. 2 & Strauss: Dreaming by the Fireside


Schmidt, F:

Symphony No. 2 in E flat major

Strauss, R:

Träumerei am Kamin (from Intermezzo)


Franz Schmidt was a cellist of the Vienna Philharmonic Orchestra himself and he allowed the orchestra to premiere his symphony in 1913, which since then belongs in the orchestra’s main repertoire.

With Semyon Bychkov, they are a proven team to champion Schmidt’s Symphony…

The second symphony is the most brilliant and extroverted one with the largest instrumentation.

The Strauss ‘Dreaming by the Fireside’ is a famous intermezzo from the same-named opera by Strauss.

On this album, the work is performed by The Strauss Orchestra.

“With euphonious finesse and nuanced orchestral sonorities, his score – surely a masterpiece of fin-de-siècle Vienna – is unsurpassed by any orchestral work of his time. It is interpreted here with a comfortable familiarity that nonetheless never sounds routine.” FonoForum, June 2017 *****

“This is a golden performance…the opening is a transparent babbling brook…strings sweep forward in far from generic melody…[the central variations] balance sweetness with will-o’-the-wisp fantasy until the climatic variation…the finale builds in expressive counterpoint towards a great chorale…this is down on my list of the best discs of 2017 already, and it will take some toppling from first place” BBC Music Magazine, July 2017 *****

“It's as apparent here as much as it was in [the Proms performance] the amount of affection with which both orchestra and conductor approach this work...this new recording makes a persuasive case for a work of considerable beauty. It's an important addition to the catalogue. A gentle, tender account of Strauss's most famous Intermezzo interlude makes a charming if hardly generous coupling.” Gramophone Magazine, July 2017

BBC Music Magazine

Recording of the month - July 2017

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Sony - 88985355522

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Mahler: Das Lied von der Erde

Mahler: Das Lied von der Erde


Read Presto's complete review of this disc here.

Mahler’s masterpiece is subtitled as - A Symphony for Tenor and Alto (or Baritone) – and therefore traditionally two voices have sung the six movements of the work. However Jonas Kaufmann feels differently about this and wanted to sing both parts himself. In June this year he joined the Wiener Philharmoniker and conductor Jonathan Nott in a special concert in the Goldener Saal at the Musikverein in Vienna whereby he sang the entire work himself.

“Kaufmann certainly has the “baritonal” low notes to justify his decision, and the ringing tenorial top...Kaufmann is more rewarding in the “baritone” songs, his eloquent diction always a pleasure, and with the nuance and sensibility of a great lieder singer...Not perfection, but this is a must-hear for Mahlerians.” Sunday Times, 3rd April 2017

“played with shimmering detail by the Vienna Philharmonic...As expected, Kaufmann is glorious in the tenor songs. In those for lower voice he sings with the same, unaffected sensitivity...An interesting, one-off experiment.” Financial Times ***

“It’s actually the songs usually assigned to the contralto/baritone that come off best. Once I’d got my initial inevitable ‘Can he?’s and ‘Should he?’s out of the way, though, vocal technicalities weren’t really at the forefront of my mind: my overwhelming impression is of how well the orchestration and the texts suit Kaufmann, who's always at his best when pouring out angry frustration at full throttle, or ruminating on dark nights of the soul.” Katherine Cooper, Presto Classical, 7th April 2017

“his beautifully recorded version taken from live performances at Vienna’s Musikverein has a great deal to offer, not least of which are Kaufmann’s textual insights, and the revelatory qualities of Jonathan Nott’s interrogation of Mahler’s orchestrations...Kaufmann is able to caress and float phrases at will, and enter into the composer’s more melancholy reflections at his leisure.” Limelight Magazine, 7th April 2017 ****

“Kaufmann is dream casting for the tenor songs, rising terrifically to the heroics and darker hues of the opening song but equally identifying the sparkle and piquancy in ‘Von der Jugend’ and the contrasting rapture at the heart of ‘Der Trunkene im Frühling’” Gramophone Magazine, May 2017

“I think [Mahler] would have approved of Jonas Kaufmann’s ground-breaking decision to take the solo part throughout. It’s not much of a stretch for him – a few low notes apart, the lower register suits this baritenor well enough, and the sensitivity to the quieter settings is undoubted in ‘The Lonely Man in Autumn’…and the desolate narratives of farewell before the earth’s resurgence sweeps all frozen grief aside…it’s certainly worth hearing” BBC Music Magazine, June 2017 ****

“Kaufmann tackles Mahler with complete assurance...he has no trouble with the lower-lying songs. He doesn't artificially darken or inflate the tone to cope with the tessitura, so the performances flows naturally...Kaufmann certainly has the tenorial reserves to sail through the high-lying outbursts over thick orchestration as well as colouring his voice differently for each song...Nott's conducting is controlled and precise.” Opera Now, June 2017 *****

Presto Disc of the Week

7th April 2017

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Bruckner: Symphony No. 4

Bruckner: Symphony No. 4


Bruckner:

Symphony No. 4 in Eb Major 'Romantic'

version 1878/80. Recorded live Radio Stuttgart, 20th October 1951

Vienna Philharmonic Orchestra

Wagner:

Parsifal: Good Friday Music

Recorded live Cairo-Alexandria, 25/4/1951

Berlin Philharmonic Orchestra


Of the nine symphonies officially left by Bruckner, Furtwängler's rendering of the 4th 'Romantic' Symphony proved controversial despite the unique sound of the Vienna Philharmonic in full post-war revival. Imbued with the strains of late Mozart, Schubert, and even Wagner, this is echoed in the closing Good Friday Music, recorded in Cairo, as a postlude.

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Super Audio CD

Format:

Hybrid Multi-channel

Praga Digitals - DSD350130

(SACD)

$14.25

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Mozart: Violin Concertos Nos. 4 & 5 - Vinyl Edition

Mozart: Violin Concertos Nos. 4 & 5 - Vinyl Edition


Mozart:

Violin Concerto No. 4 in D major, K218

Violin Concerto No. 5 in A major, K219 'Turkish'


When Nikolaus Harnoncourt died in March 2016, the music world lost one of its most influential and charismatic conductors. Harnoncourt was a pioneer of historically informed performances and the repertoire is enriched for the approach it took to it. Deutsche Grammophon commemorates the first anniversary of his death in March 2017, presenting two of his legendary recordings again on vinyl.

Harnoncourt’s remarkable historically informed recordings with Gidon Kremer and the Vienna Philharmonic.

Celebrating Gidon Kremer’s 70th birthday on Feb 27, 2017.

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DG - 4797136

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Tchaikovsky: Symphony No. 6, Manfred Symphony, Romeo and Juliet & Capriccio italien

Tchaikovsky: Symphony No. 6, Manfred Symphony, Romeo and Juliet & Capriccio italien


Tchaikovsky:

Symphony No. 6 in B minor, Op. 74 'Pathétique'

Wiener Philharmoniker, Claudio Abbado

Romeo & Juliet - Fantasy Overture

Boston Symphony Orchestra, Claudio Abbado

Capriccio italien, Op. 45

Berliner Philharmoniker, Ferdinand Leitner

Manfred Symphony, Op. 58

London Symphony Orchestra, Yuri Ahronovitch


A collection of all of Tchaikovsky’s symphonies and ballet suites from the rich archives of Deutsche Grammophon.

All the performances have been justifiably critically appraised. This volume includes Tchaikovsky’s final symphony, the ‘Pathétique’ and the tone poem Romeo and Juliet – both recorded by Claudio Abbado in the early 1970s – as well as a rare recording of the Manfred Symphony by Yuri Ahronovitch and Ferdinand Leitner’s bright 1959 account of the Capriccio italien.

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Tchaikovsky: Symphonies Nos. 1, 2 & 4 & Nutcracker Suite

Tchaikovsky: Symphonies Nos. 1, 2 & 4 & Nutcracker Suite


Tchaikovsky:

Symphony No. 1 in G minor, Op. 13 'Winter Daydreams'

Boston Symphony Orchestra, Michael Tilson Thomas

The Nutcracker Suite, Op. 71a

Berliner Philharmoniker, Ferdinand Leitner

Symphony No. 2 in C minor, Op. 17 'Little Russian'

New Philharmonia Orchestra, Claudio Abbado

Symphony No. 4 in F minor, Op. 36

Wiener Philharmoniker, Claudio Abbado


A collection of all of Tchaikovsky’s symphonies and ballet suites from the rich archives of Deutsche Grammophon.

All the performances have been justifiably critically appraised. This volume includes First, Second and Fourth Symphonies, the latter two with Abbado, and the First in Michael Tilson Thomas’s suave, fairy-lights recording with the Boston Symphony Orchestra. ‘Michael Tilson Thomas’s way with it yields a performance of grace and elegance, and the orchestra follows his lead with verve and finesse’ wrote Michael Steinberg for the recording’s first CD reissue on Deutsche Grammophon’s venerated ‘Originals’ series.

“The New Philharmonia play with precision and polish … and on recording quality this DGG version […] is clearly the smoothest and most faithful” Gramophone Magazine, February 1970 (Symphony No. 2)

“The Boston orchestra plays the symphony most beautifully” Gramophone Magazine, June 1971 (Symphony No. 1)

“There is no doubt that Michael Tilson Thomas’s approach matches Tchaikovsky’s sub-title. The freshness of the opening […] is matched by the poetic feeling of the slow movement, the opening superbly atmospheric. As shaped by Thomas the main tune shows a haunting Russian melancholy which catches the music’s spirit to great effect” Penguin Guide, 1977 (Symphony No. 1)

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