Ludwig van Beethoven

Emil Gilels in a pure Beethoven concert FROM 1980, the late phase of his artistic development. His musicianship is experienced in this late concert, performed five years before his death. An evening of the highest artistic intensity, a mature Beethoven interpretation.

When it was announced that Leonard Bernstein was the become the new conductor of the New York Philharmonic in November 1957, Claudia Cassidy in the Chicago Daily Tribune wrote that it was “no great surprise” but injected a note of caution: “wish him luck, because no one needs it more than the musical director of a symphony orchestra.”

It turned out to be an inspired appointment. This set demonstrates what it was in about his music making and his personality that led the New York Philharmonic’s directors to choose him. It includes extensive recorded documentation of Bernstein’s career up to the time of his nomination in New York, mostly in live performances and rehearsal segments, working on music ranging from Mozart to Messiaen.

Bernstein’s work after his appointment to the NYP is represented in this set by performances of American music given as part of his “Survey of American Music” in the 1958–9 season (Fine, Harris and Piston), along with Copland in 1957 and Diamond in 1961; the 1959 recording sessions for two of his favourite twentieth-century classics (Shostakovich’s Fifth Symphony and Copland’s Billy the Kid) which show conductor and orchestra at their most efficient and effective; and hitherto unpublished live performances of music by Bartók, Beethoven, Chávez, and Mahler.

This recording of the GewandhausOrchestra under Herbert Blomstedt took place based on the urtext edition, which as far as records can tell, is the nearest version to the one Beethoven intended.

There were countless drafts written in Beethoven’s own hand which apparently omitted the ‘Gloria’, so a lot of research had to be done to evaluate the large quantities of manuscripts.

Nine transcriptions, verified by Beethoven, survived. Although the premiere performance of Beethoven’s Missa Solemnis took place in 1845, it was not debuted in the Gewandhaus until 1849 in the New Year’s concert; this recording presents Blomstedt’s own performance taken from his tenure there and formed part of his Beethoven cycle during 2003.

Performing Beethoven’s Piano Concerto No. 4 (STEREO) RAI 1960, the concert was conducted by Torini Mario Rossi. Clara Haskill also performs Schumann’s Piano Concerto taken from her concert in Strasbourg 1955 (MONO). Conducted by Carl Schuricht.

Nominated for the Classical Brits in 2012, Emmanuel Krivine's period-instrument set on Naïve is now repressed due to popular demand.

La Chambre Philharmonique was formed by Emmanuel Krivine and is made up of instrumentalists from the finest European ensembles. Its structure is original, in that conductor and players enjoy equal status and current members choose new players. The size of the ensemble is flexible, bringing together players, instruments and historical techniques as appropriate for each programme. The orchestra’s first recording of Mozart’s Mass in C Minor (V5043) marked the beginning of its collaboration with Naïve. This was followed by the world premiere recording on period instruments of Dvořák’s Symphony No. 9 ‘From the New World’, coupled with Schumann’s Konzertstück for four horns and orchestra, which won a Classique d’Or RTL on its release in 2008. Since then its CDs of Mendelssohn’s Symphonies (V5069) and Beethoven’s Ninth Symphony (V5202) have received numerous awards in the press. These performances of the complete Beethoven Symphonies were recorded in three French venues, Cite de la Musique in Paris, MC2: Grenoble, and the Theatre de Caen).

Nominated for the Classical Brits in 2012, Emmanuel Krivine's period-instrument set on Naïve is now repressed due to popular demand.

"here is an unheralded period-instrument set to challenge Messrs Vanska, Zinman, Mackerras and the rest. Characterful and confident, it demands to be heard....I am inclined to place this new cycle fairly near the top of the pile" Rob Cowan, Gramophone Gramophone Editor's Choice, July 2011

"if you are yet to invest in a collection of these symphonies but were never sure which version to go for, then hesitate no longer." James McCarthy, Classic FM Magazine, June 2011 *****

"Emmanuel Krivine's set, recorded live at concerts given in Grenoble, Caen and Paris in 2009, is spectacular - largely because whilst listening you're convinced that what you're hearing is is the only way this music should ever sound...a fantastic bargain, and possibly the most consistently enjoyable period-instrument recording available." Graham Rickson, The Arts Desk

YUNDI makes his return to Universal and DG conquering new grounds with his first ever Beethoven recording. The album focuses on the composer’s most beloved and romantic piano works, the three name sonatas Moonlight, Pathétique and Appassionata

After winning the 2000 Warsaw Chopin competition Yundi immediately established himself among the leading pianists of his generation.

Rising to outstanding stardom in his native China (where he has performed in TV shows watched by hundreds of millions of people, together with stars like Kylie Minogue) he has maintained his dedication to the classical world.

Founded in 1992, the Brentano String Quartet of New York is particularly recognized for its interpretations combining perfect technique with peerless musicality: a Class A ensemble. Their previous volume, devoted to Beethoven's late quartets (named 'Editor’s Choice' by Gramophone magazine), served as the soundtrack for Yaron Zilberman's film A Late Quartet, which brings together a galaxy of stars including Philip Seymour Hoffman, Catherine Keener and Christopher Walken… Benefiting from this first success, our musicians are now continuing the undertaking with the Op. 135 and 132.

A pure crystal of intelligence and brilliance that will doubtless mark a milestone. USA premiere of the film ‘A LATE QUARTET’ on November 2nd 2012. « Perhaps this is the greatest gift that Beethoven has given us. He grapples with the vicissitudes of our inner and outer lives, in full acknowledgement of our native suffering, and through the transformative power of art leads us to recognition of beauty and faith in humanity. »

A glittering selection of operatic highlights and arias, featuring great composers and artists who are all celebrating significant anniversaries in 2013.