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Tippet Rise OPUS 2016: Domo

Tippet Rise OPUS 2016: Domo


Abril:

Piezas amantinas (3): No. 2

Canciones de amor (7): No. 6, Pero me quedé sin ti

Tippet Rise Songs: No. 2 'Piano Maker'

Brocal:

Souvenirs

Chopin:

Nocturne No. 5 in F sharp major, Op. 15 No. 2

Rachmaninov:

Vocalise, Op. 34 No. 14

Scriabin:

Piano Sonata No. 5 in F sharp major, Op. 53

Symphony No. 4 - 'Le Poème de l'extase', Op. 54

arr. for 2 pianos and trumpet

Stravinsky:

La semaine grasse


Yevgeny Subdin (piano), Emily Helenbrook (soprano), Christopher O’Riley (piano), Matt Haimovitz (cello), Jenny Chen (piano), Anne-Marie McDermott (piano), Stephen Hough (piano), Svetlana Smolina (piano), Elmer Churampi (trumpet)

New from the PENTATONE Oxingale Series, Tippet Rise OPUS 2016: Domo is a live recording birthed from the inaugural season at the Tippet Rise Art Center in Fishtail Montana. The center's intimate concert space is set on a 10,260-acre working sheep and cattle ranch dotted with majestic largescale sculptures—all nestled against the backdrop of the Beartooth Mountains. The inspiration of artists Cathy and Peter Halstead, Tippet Rise celebrates the concept that art, music, architecture, and nature are inextricably linked in the human experience, each amplifying the other.

In music by Scriabin, Chopin, Stravinsky, Rachmaninov, and Anton Garcia Abril; and through extraordinary performances by pianists Yevgeny Sudbin, Svetlana Smolina, Christopher O'Riley, Anne-Marie McDermott, Stephen Hough, Jenny Chen and Julien Brocal; cellist Matt Haimovitz, trumpeter Elmer Churampi, and soprano Emily Helenbrook, Tippet Rise OPUS 2016 presents a cornucopia of virtuosity, fantasy, and transcendence.

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Pentatone Oxingale Series - PTC5186660

(SACD)

$14.25

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Handel: Parnasso in Festa, HWV73

Handel: Parnasso in Festa, HWV73


David Hansen (Apollo), Robin Johannsen (Clio), Kangmin Justin Kim (Orfeo), Jenny Högstrom (Calliope), Silke Gäng ( Cloride), Francesca Ascioti (Euterpe), Luca Tittoto ( Marte)

La Cetra Barockorchester & Vokalensemble Basel, Andrea Marcon

Andrea Marcon and La Cetra Barockorchester & Vokalensemble Basel sparkle in this new release of Handel's forgotten masterpiece Parnasso in testa, recorded shortly before their hugely successful Netherlands premiere of the opera in November 2016.

Handel’s sumptuous work from 1734 celebrates the marriage of Princess Anne and Prince William of Orange. It's packed with breathtaking arias, duets and choruses, all written with verve, drama and Handel’s sense of occasion. The renowned Baroque specialist Andrea Marcon gives it the attention it deserves with an outstanding vocal cast around his period-instrument group La Cetra. Opera News described Robin Johansen's performance in the Netherlands premiere as "[a] revelation ... superbly agile and fresh-sounding—but also expressive. The demanding role of Apollo is undertaken by rising star David Hansen, described by The New Yorker as "...a pure-voiced young Australian who is typical of a new breed of matinee-idol countertenors". And a performance at the Handel Festival in 2014 drew rave reviews "Altogether, with the virtuosic playing of the inspired Cetra orchestra under Maestro Marcon, so finely balanced with the stunning chorus and soloists, this concert performance of an infrequently performed serenata became ... one of the high points of the festival." (Opera con Brio)

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Pentatone - PTC5186643

(SACD - 2 discs)

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Ravel: Daphnis et Chloe

Ravel: Daphnis et Chloe


Ravel:

Daphnis et Chloé

Une barque sur l'océan (orchestral version)

Pavane pour une infante défunte


Sensuous, lushly evocative and intricately constructed, Maurice Ravel's Daphnis et Chloe is widely regarded as his greatest orchestral masterpiece and one of the 20th century's finest ballet scores. This vast musical fresco with its shimmering harmonies and spectacular conclusion is compellingly realised by Gustavo Gimeno and the Orchestre Philharmonique du Luxembourg The album also contains the haunting and exquisite Pavane pour une infante defunte and the vividly scored Une barque sur l'ocean.

Stravinsky regarded Daphnis et Chlotias "not only Ravel's best work, but also one of the most beautiful products of French music" and it's easy to see why. Written with consummate finesse for Diaghilev's Ballet Russes, this "choreographic symphony" is an intoxicating blend of warm, seductive harmonies and passionate intensity, realised on a large orchestral canvas. This is Gustavo Gimeno's third recording with the Orchestre Philharmonique du Luxembourg (OPL) for PENTATONE following two releases in May 2017 of orchestral works by Bruckner and Shostakovich. A further six projects are planned in the coming years. "We're very excited to make this multi-album collaboration with PENTATONE part of the artistic journey of the Orchestre Philharmonique du Luxembourg and Gustavo Gimeno," writes Matthew Studdert-Kennedy, Head of Artistic Planning at the OPL.

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Pentatone - PTC5186652

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Bruckner: Symphony No. 5 & Te Deum in C major (Allegro)

Bruckner: Symphony No. 5 & Te Deum in C major (Allegro)


Bruckner:

Te Deum in C major, WAB 45: Allegro

Jesus-Christus-Kirche, Berlin, June 1965 SACD remastering and editing by Karel Soukenik, studio Domovina, Prague

Maria Stader (soprano), Sieglined Wagner (contralto), Ernst Häfliger (tenor), Peter Lagger (bass)

Chor der Deutschen Oper Berlin & Berliner Philharmoniker

Symphony No. 5 in B flat major

Robert Haas Edition 1937. Recorded live, Ottobeuren Abbey, Germany, 30-31 May 1964 [Philips]

Royal Concertgebouw Orchestra


Eugen Jochum conducts the Amsterdam Concertgebouw in Bruckner’s Fifth Symphony, a gigantic musical cathedral and a masterpiece of counterpoint.

The Abbey of Ottobeuren in Germany celebrated its 1200th anniversary in 1964 and to mark the occasion Eugen Jochum and the Concertgebouw Orchestra performed Bruckner's Fifth Symphony there with Philips on hand to record them. The LP set arrived in the shops after Jochum had completed his groundbreaking Bruckner cycle in the studio for DG but many who heard the Bruckner remembered something significantly different from Jochum's fine Bavarian Radio Orchestra version; one of the great Bruckner orchestras in something of a golden age and the thrill of live performance in a near-ideal acoustic.

The great Maria Stader gleams in the astounding 'Te Deum laudamus' from Jochum's classic DG set. Would that there was more …

“Outstanding brass playing from the Concertgebouw and Jochum’s sure-footed structural control creates a mesmerising experience” BBC Music Magazine, September 2017

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Praga Digitals - DSD350114

(SACD)

$14.25

This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched.

Bruckner: Symphony No. 3

Bruckner: Symphony No. 3


Bruckner:

Symphony No. 3 in D minor ‘Wagner Symphony'

Wagner:

Ich sah das Kind an seiner Mutter Brust (from Parsifal)

Vienna 1955

Kirsten Flagstad (soprano)

Tristan und Isolde: Prelude & Liebestod

Vienna 1958

Birgit Nilsson (soprano)


Bruckner's Third Symphony has been characterised as 'difficult', and is regarded by some as his artistic breakthrough. According to Rudolf Kloiber, this symphony "opens the sequence of Bruckner's masterpieces, in which his creativity meets monumental ability of symphonic construction." The work is notorious as the most-revised of Bruckner's symphonies, and there exist no fewer than six versions, with three of them, the 1873 original version, the 1877-78 version, and the composer's last thoughts of 1889, being widely performed today. The 1890 Rättig edition was only used by conductors like Hans Knappertsbusch and Carl Schuricht when conducting the Vienna Philharmonic Orchestra. This first published version remains controversial because it hasn't been ascertained how much it reflected Bruckner's last wishes, and how much it was influenced by Josef Schalk, his student and administrator of his library of music scores.

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Praga Digitals - DSD350140

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Bruckner: Symphony No. 9

Bruckner: Symphony No. 9


Bruckner:

Symphony No. 9 in D Minor

Robert Haas Edition. Recorded live, Berlin, Radio DDR, 7 October 1944

Symphony No. 7 in E Major - Adagio

Recorded live, Berlin, Radio DDR, 7 April 1942


Wilhelm Furtwängler has left us with 112 live concert recordings. Many connoisseurs consider that his most unforgettableperformance was that of 7th October 1944 in the Berlin Beethoven-Saal, attended by Hermann Göring. The programmefeatured Bruckner’s last (unfinished) symphony, and closed with the adagio from Symphony No 7. This slow movement is heavy with Wagnerian Weltschmerz. It was written in the weeks preceding Wagner’s death in February 1883, and whennews reached Bruckner that Wagner had indeed died in Venice, he added the deeply poignant coda as an explicit tribute.This original recording represents Furtwängler's most inspired performance and is a compelling testimony to his legacy. It took Furtwängler to recognise and recreate an absolutely perfect depiction of Bruckner's tortured mind and, by extension, an entire world on the brink of collapse.

“No interpretation conveys the tragedy and frantic search for spiritual fulfilment in Bruckner 9 with such visceral power as Furtwängler and the Berliners in this overwhelmingly intense wartime recording.” BBC Music Magazine, August 2017 *****

“the Berlin Philharmonic’s playing reaches terrifying heights in the first movement and brutal Scherzo. Furtwängler’s way with the structure is totally flexible: sometimes he seems almost to lose his way, but then pulls the music back together for a shattering climax...Unmissable.” The Observer, 4th June 2017

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Praga Digitals - DSD350125

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$14.25

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French Music: Albert Roussel

French Music: Albert Roussel


Roussel:

Suite in F major, Op. 33

Recorded, March 19, 1957

Detroit Symphony Orchestra, Paul Paray

Symphony No. 3 in G minor, Op. 42

Recorded, September 25, 1961

New York Philharmonic Orchestra, Leonard Bernstein

Bacchus et Ariane, Op. 43 - Suite No. 2

Recorded by René Challan, Wagram Hall, November 5-16, 1963

Orchestre de la Société des Concerts du Conservatoire de Paris, André Cluytens

Symphony No. 4 in A major, Op. 53

Recorded in London, November 1949

Philharmonia Orchestra, Herbert von Karajan


Albert Roussel, much-travelled midshipman inspired by visions from the East, successfully endows the intrinsic classicism of the symphony with both dryness and impressionist lushness. Distinguished conductors, impressed by Roussel’s powerful, luminous and ultimately classical composition, perform this unique collection of four masterpieces, Bacchus et Ariane offering a balanced dose of sense and sensibility.

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Praga Digitals - DSD350138

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Weinberg: Works for Flute

Weinberg: Works for Flute


Weinberg:

Flute Concerto (No. 1), Op. 75

Polish Chamber Philharmonic Orchestra, Wojciech Rajski

12 Miniatures for Flute and Piano, Op. 29

arr. for flute & String Orchestra M. Weinberg

Polish Chamber Philharmonic Orchestra, Wojciech Rajski

Flute Concerto No. 2, Op. 148

Polish Chamber Philharmonic Orchestra, Wojciech Rajski

Trio for flute, viola & harp (piano), Op. 127

Zusanna Federowicz (harp), Pawel Czarny (viola)


Antonina Styczeń (flute)

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Tacet - TACET2324

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$19.75

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Mahler: Symphony No. 5

Mahler: Symphony No. 5


As a team, Osmo Vänskä and his Minnesota Orchestra began their collaboration with BIS in 2004. Launching a Beethoven Symphony cycle that made reviewers worldwide sit up and take notice: ‘a modern reference edition’ was the verdict from ClassicsToday.com, while Gramophone described it as ‘a Beethoven reforged for today's world’. Twelve years later saw the release of the third and final disc in the Minnesota-Vänskä cycle of Sibelius's symphonies, with individual discs receiving distinctions such as a 2014 Grammy Award (for Symphonies Nos 1 and 4), Gramophone's ‘Editor's Choice’, ‘Orchestral Choice’ in BBC Music Magazine and inclusion on the annual list of best classical recordings in the New York Times. The present disc launches yet another series, of even more monumental proportions, with Gustav Mahler's Fifth Symphony, recorded by the orchestra under Osmo Vänskä in Orchestra Hall in Minneapolis in June 2016. Composed in 1902, the purely instrumental work followed upon three symphonies that had all included vocal parts. This and the opening trumpet motif, an allusion to the rhythm that begins Beethoven's Fifth have been interpreted as Mahler's return to a more conventional idea of the symphonic genre. Other features are less traditional, however – a sometimes bewildering mixture of musical idioms reminds us of the melting-pot that Vienna was at the time, with allusions to Austrian, Bohemian and Hungarian styles. To an unsuspecting audience, the famous Adagietto for strings and harp – probably the best-known of all of Mahler's music – must also have been surprising, appearing at the heart of a work which is otherwise lavishly scored and orchestrated.

“The orchestral playing is crisp, the conductor’s clinical tendencies tempered by an understanding that emotional extremism is an essential part of Mahler’s idiom even if it need not be indulged” Gramophone Magazine, August 2017

“There’s something admirably unhistrionic about Vänskä’s approach, but there are times when his determination to stop the performance from getting overheated holds things back...Against that, both the funereal opening and the joyous release of energy in the finale are superbly stage-managed, and the orchestral playing is exceptional throughout.” The Guardian, 13th July 2017 ****

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BIS - BIS2226

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John Pickard: 16 Sunrises & Symphony No. 5

John Pickard: 16 Sunrises & Symphony No. 5


Pickard:

Symphony No. 5

Sixteen Sunrises

Concertante Variations

Toccata (after Monteverdi)


Born in 1963, John Pickard is best known for a series of powerful orchestral and instrumental works and previous recordings on BIS of his music have received critical acclaim in reviews such as Gramophone (‘simply stunning’), American Record Guide (‘superb works in wonderful readings’) and BBC Music Magazine (‘an absolute triumph).

The present disc brings together some of Pickard’s most recent orchestral compositions, in performances by two of his long-time collaborators: the BBC National Orchestra of Wales and conductor Martyn Brabbins. The opening work is Symphony No. 5, which was composed in 2014 with these performers in mind. Lasting some thirty minutes, the symphony is in a single continuous movement. It requires no less than three timpanists who are placed at the back of the orchestra to the right, left and centre, leading to some dramatic antiphonal exchanges. The symphony is followed by Sixteen Sunrises, the result of the composer’s wish to compose a piece ‘filled with light’. The title of the piece refers to the number of sunrises that can be observed during a twenty-four-hour period from the International Space Station (ISS), as it orbits the earth. Musical depictions of sunrises are normally gradual processes, but viewed from the ISS, a sunrise occurs in a matter of seconds, and it is the idea of suddenly shifting from darkness to light (and back again) that formed the basis of the shape of Pickard’s piece.

In contrast to these two works, the Concertante Variations have been described by the composer as ‘a light-hearted divertimento that poses no profound questions’. It is a concise concerto for wind quintet, strings and timpani, cast in the form of a theme and variations. The disc closes with Pickard’s transcription of the well-known Toccata that Monteverdi used first in his opera Orfeo and later in the Vespers.

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BIS - BIS2261

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