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Hindemith: Messe, Six Chansons, Apparebit repentina dies

Hindemith: Messe, Six Chansons, Apparebit repentina dies


Hindemith:

Apparebit repentina dies

6 songs

Lieder nach alten Texten, Op. 33

Mass


Stuttgart Southwest Radio Vocal Ensemble, Stuttgart Radio Symphony Orchestra, members, Marcus Creed

December 2013 will mark the 50th anniversary of Paul Hindemith's death, but this is not the only reason for the SWR Vokalensemble Stuttgart to turn Hindemith's choral works.

His works continue to impress with diverse expressions and moods that utilize a variety of different compositional techniques and musical forms.

In the works on this program, the SWR Vokalensemble Stuttgart realizes this idea quite beautifully. With this latest recording of the choral works of Hindemith, the elite Stuttgart team under the direction of Marcus Creed continues its award-winning series of recordings together with the choral works by Kurtág, Carter, Schnittke and Villa-Lobos.

“What draws these disparate strands so effectively together is the excellent singing of the SWR Vocal Ensemble under Marcus Creed...this release, performed with real polish and recorded in a suitably generous acoustic by Hänssler Classics, is a valuable addition to the catalogue.” Gramophone Magazine, July 2013

GGramophone Awards 2014

Finalist - Choral

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Dvorak: Stabat Mater, Op. 58

Dvorak: Stabat Mater, Op. 58


Marina Shaguch (soprano), Ingeborg Danz (alto), James Taylor (tenor), Thomas Quasthoff (bass)

Oregon Bach Festival Choir, Oregon Bach Festival Orchestra, Helmuth Rilling

Building a Library

First Choice - June 2013

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Hänssler - HAEN98006

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Mahler: Symphony No. 9

Mahler: Symphony No. 9


This is the latest Mahler recording from the Stuttgart Radio Symphony Orchestra under the direction of Roger Norrington. This recording marks the crowning achievement of Norrington’s exploration of the Romantic Symphony masterpieces.

“it is fascinating to set aside sensationalism in favour of re-evaluation and to hear this remarkable piece stripped, as it were, of its veneer and laid bare before us in all its unsettling majesty and humility...Refresh your ears and your perceptions and prepare to be surprised again.” Gramophone Magazine, May 2010

“This vivid live recording is a total vindication of Roger Norrington's belief that orchestral string sound acquires power and eloquence when played without any vibrato...it is especially in the last movement that Norrington's momentum and the pure, clear sound of the strings come together” The Observer, 13th June 2010

GGramophone Magazine

Editor's Choice - May 2010

Building a Library

Featured - May 2010

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Hänssler - HAEN93244

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Mendelssohn - Complete Symphonies Volume 4

Mendelssohn - Complete Symphonies Volume 4


Mendelssohn:

Symphony No. 5 in D major, Op. 107 'Reformation'

String Symphony No. 5 in B flat major

String Symphony No. 6 in E flat major

String Symphony No. 10 in B minor


The Heidelberger Sinfoniker and Thomas Fey are already well-known for their critically acclaimed Haydn recordings and this is a stunning recording of Mendelssohn’s symphonies.

Building a Library

First Choice - February 2016

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Hänssler Mendelssohn Complete Symphonies - HAEN98547

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Franck, C: Les Béatitudes, M53

Franck, C: Les Béatitudes, M53


Franck began composing this oratorio in 1869 and completed it ten years later. Vincent d’Indy, a pupil of Franck’s described the work as follows: “This musical epic is without doubt the work that has most strongly marked the evolution of the arts in a long time.”

“Unlike the Sermon on the Mount's elegant concision, Franck's huge meditation sprawls a little, but Rilling's fervour, coherence and feel for the rarefied religiosity grips - Diana Montague's radiance a blessing of its own.” BBC Music Magazine, October 2009 ****

“A large-scale work based on the Sermon on the Mount, Les Béatitudes explores the eight Beatitudes in poetry and music for almost two hours, and is scored for a substantial orchestra, choir and eight soloists. Here Helmuth Rilling and the Stuttgart Radio Symphony Orchestra show Franck at his most expansive.” David Smith, Presto Classical, 13th March 2015

Presto Favourites

Recommended Recording

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Late Stravinsky Masterworks

Late Stravinsky Masterworks


Stravinsky:

Canticum Sacrum

Christian Elsner (tenor), Rudolf Rosen (baritone)

Agon ‘Ballet for Twelve Dancers’

Requiem Canticles

Stella Doufexis (mezzo), Rudolf Rosen (baritone)


Vocal Ensemble Stuttgart & SWR SO Baden-Baden, Michael Gielen

Michael Gielen proves once again that he is one of the masters of the 20th century repertoire. Both orchestra and conductor have established themselves among the most fluid and sensitive interpreters of 20th century music and here they are joined by the astonishingly virtuoso Vocal Ensemble Stuttgart in definitive performances of Stravinsky’s late choral works.

“Pungent and absorbing performances of three late Stravinsky scores. I can't recall ever having enjoyed a recording of the late, gnomic Requiem Canticles quite as much as this one: certainly no performance in my experience has sounded as fluent… Agon is pure aural sculpture, angular and uncompromising... but in a performance such as this that focuses its every pungent detail makes for an alluring and stimulating listen.” Gramophone Magazine, April 2009

“The biggest challenge is surmounted in Canticum Sacrum, a work conceived for the ample acoustics of St Marks Church in Venice. In this performance its austere beauty and grandeur really come to life, aided by the outstanding choral contribution from the SWR Vocal Ensemble and an atmospheric recording. The most immediately accessible piece here is undoubtedly the ballet Agon. ...Gielen's subtle balancing of textures and his impeccable pacing of the contrasting movements, not to mention the responsive playing of the orchestra, brings immense rewards.” BBC Music Magazine, June 2009 *****

“Rarely has late, gnomic Requiem Canticles sounded so fluent, from the extraordinary prelude (a fast, nervous pulsing with string lines crossing each other), through the taut drama of the 'Dies irae' to the second interlude (so reminiscent of the Symphonies of Wind Instruments) and the chiming finale, where ritual bells are enacted by celesta, glockenspiel and vibraphone, a distant recollection of Les noces. This was Stravinsky's last major composition and although it plays for barely a quarter of an hour seems fully to justify that dodecaphonic route that so many at the time had criticised him for taking.
The marginally more expansive and noticeably more austere Canticum sacrum marked the composer's return to the Russian Orthodox faith and calls on the unique combination (unique to Stravinsky that is) of flute, three oboes and bassoons, four trumpets and trombones, harp, violas, basses and organ, in addition to the voices.
Again Michael Gielen drives a confident course through a work that brooks no compromise and culminates in a harshly oratorical 'Illi autem profectae', one of the most striking episodes in all late Stravinsky.
The ballet Agon post-dates Canticum sacrum, just, and employs an even wider array of instruments, all of them used with the greatest economy and expressive force, the distinctive and rhythmically alluring interlude/prelude, a recurring motif, connecting a series of brief but terse and mostly outspoken dance movements...The recordings are both airy and admirably clear.”
Gramophone Classical Music Guide, 2010

“Agon provides a wonderful contrast, with its appropriation of baroque dance forms, generous rhythmic and melodic invention, and constantly varied orchestration, all of which Michael Gielen and his Freiburg-based orchestra audibly relish. All three are very fine performances, and provide as good an introduction to the world of late Stravinsky as any currently available on disc.” The Guardian, 17th October 2008 ****

BBC Music Magazine Awards 2010

Choral Finalist

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Hänssler - HAEN93226

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Haydn: Mass, Hob. XXII:11 in D minor 'Nelsonmesse', etc.

Haydn:

Mass, Hob. XXII:11 in D minor 'Nelsonmesse'

Mass, Hob. XXII:13 in B flat major 'Schöpfungmesse'


Lothar Odinius (tenor), Roxana Constantinescu (alto), Markus Eiche (bass), Letizia Scherrer (soprano), Michael Nagy (bass), Maximilian Schmitt (tenor)

Oregon Bach Festival Chorus, Oregon Bach Festival Orchestra, Stuttgart Bach Collegium, Gächinger Kantorei Stuttgart, Helmuth Rilling

The so-called "Lord Nelson" Mass dates from 1798 when the composer was 66 and in the middle of an autumnal creative outburst that included "The Seasons", "The Creation" and the three great late Masses. Two stories explaining the origins of the popular nick-name for the dramatic Missa in angustiis (Mass in time of anguish) exist - one that the work was written at the time of the sea battle at Aboukir Bay, another that the great Admiral himself attended a performance in 1800. Haydn's Mass in B-flat Major, which he wrote in 1801 to celebrate the name day of Princess Maria Hermenegild Esterhazy whose husband, Prince Nikolaus Esterhazy, employed Haydn as his Kapellmeister. Written for orchestra, choir and soloists, this mass was nicknamed the "Creation Mass" because it quotes a few measures from Haydn's "The Creation" oratorio.

Building a Library

First Choice - March 2015

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Berlioz: Grande Messe des Morts, Op. 5 (Requiem)

Berlioz: Grande Messe des Morts, Op. 5 (Requiem)


“Norrington's approach is pensive, sober and funereal-but it's so well paced that the sense of inevitability underlines man's mortality, and the outbursts when they do come are more effective for their comparative restraint...a reminder that the first performance was in church, not on a concert hall stage.” Andrew McGregor, bbc.co.uk, 8th May 2006

“"Truly it was of frightening greatness," wrote Berlioz after the Requiem 's première. The massed timpani of the "Tuba mirum" produced an "indescribable shock". The chief priest wept uncontrollably, while one of the choral singers suffered a nervous breakdown. Thankfully, there seems to have been no such casualty among the singers in this "live" performance from Stuttgart. The rich, ample acoustics of the Beethovensaal give full value to Berlioz's vast spatial effects, most spectacularly the four brass bands that herald the timpani onslaught in the "Tuba mirum". Yet Norrington's concern for clarity of line and articulation, and the carefully judged balances, mean that we hear far more than usual of Berlioz's brilliant and bizarre orchestral detail. Norrington's dramatic urgency, allied to choral singing of thrilling body and bite, make the apocalyptic movements duly overwhelming. No less moving is the choir's luminous delicacy in the "Quid sum miser" and "Quaerens me" - music of Cistercian purity and austerity - while Toby Spence brings a calm, rapt beauty to the cruelly high solo in the "Sanctus". A magnificent achievement, to be set alongside Colin Davis's recordings of this awesome work.” The Telegraph

Building a Library

SACD Choice - December 2006

Super Audio CD

Format:

Hybrid Multi-channel

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Mozart Essential Symphonies Vol. I

Mozart Essential Symphonies Vol. I


Mozart:

Symphony No. 1 in E flat major, K16

Symphony No. 41 in C major, K551 'Jupiter'

Symphony No. 25 in G minor, K183


Recorded live at the European Music Festival Stuttgart 2006

Building a Library

First Choice - April 2012

Building a Library

First Choice - March 2011

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Hänssler - Mozart Essential Symphonies - HAEN93211

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Koechlin - Vocal Works With Orchestra

Koechlin - Vocal Works With Orchestra


Fauré:

Chanson de Melisande

(orch. Koechlin)

Koechlin:

Chant funebre a la memoire des jeunes femmes defuntes, Op.37

Deux Poemes Symphoniques, Op.43

Quatre Poemes d'Edmond Haraucourt, Op.7

Poemes d'Automne, Op.13

Deux Poemes d'Andre Chenier, Op.23

Trois Melodies, Op.17

Etudes antiques, Op.46

Six Melodies sur des poesies d'Albert Samain, Op.31


Eight World Premieres of Music by Charles Koechlin on this recording of his vocal works with orchestra in the ongoing complete Koechlin recording project. Heinz Holliger arguably the world’s top oboist takes up the baton.

BBC Music Magazine

Choral & Song Choice - February 2006

BBC Music Magazine Awards 2007

Premiere Recording Award

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Hänssler - HAEN93159

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