Beethoven Symphony No. 7

The pre-eminent Lisztian of our day returns to Brilliant Classics for a symphonic sequel of transcriptions. In 2018, Brilliant Classics issued Leslie Howard and Mattia Ometta playing the 12 symphonic poems of Liszt in the composer's own transcriptions for piano duo (95748). The set won glowing reviews: 'Not only do Leslie Howard and Mattia Ometto navigate Liszt's technical challenges with fluency and ease,' wrote Jed Distler for Classics Today, 'but they also treat the scores seriously… Howard's excellent annotations and Brilliant Classics' budget price further clinch my recommendation for collectors.' As before, Leslie Howard supplies his own, invaluable insights to accompany this trio of symphonies in Liszt's transcriptions for piano duo. As with the symphonic poems,

The pre-eminent Lisztian of our day returns to Brilliant Classics for a symphonic sequel of transcriptions. In 2018, Brilliant Classics issued Leslie Howard and Mattia Ometta playing the 12 symphonic poems of Liszt in the composer's own transcriptions for piano duo (95748). The set won glowing reviews: 'Not only do Leslie Howard and Mattia Ometto navigate Liszt's technical challenges with fluency and ease,' wrote Jed Distler for Classics Today, 'but they also treat the scores seriously… Howard's excellent annotations and Brilliant Classics' budget price further clinch my recommendation for collectors.' As before, Leslie Howard supplies his own, invaluable insights to accompany this trio of symphonies in Liszt's transcriptions for piano duo. As with the symphonic poems,

For this release on Tafelmusik Media, Bruno Weil and the Tafelmusik Baroque Orchestra and the Tafelmusik Chamber Choir perform Ludwig van Beethoven's Symphony No. 9 in D minor, "Choral," in a streamlined presentation notable for its authentic instrumentation and historically informed performance practice. The hallmarks of Classical style are immediately apparent, from the brisk tempos and the reduced size of the orchestra, to the straight, vibrato-less string tone and the distinctive and occasionally raw timbres of early 19th century woodwinds and brass. (Note especially the contrabassoon, track four, at the 09:36 mark.) Yet all of this is secondary to the effectiveness of the music, which Weil and his musicians keep uppermost in their minds.