Orchestre Symphonique National D'ukraine

Born in Geneva, Pierre Wissmer (1915-1992) studied music at the Conservatory of his native city, before leaving for Paris in 1935 where he first worked with Roger-Ducasse, then Daniel-Lesur with whom he perfected his skills. Parallel to his creative career, the musician carried out substantial pedagogical activity which led him to teach musical writing, orchestration and composition at the Schola Cantorum (Paris), the Le Mans Conservatory where he became the director, and the Geneva Conservatory of Music. Similar to Aloÿs Fornerod or Jean Dupérier, he is one of the French-speaking Swiss musicians resolutely committed to France, and in his own way, profoundly influenced by Fauré, Debussy, Ravel or Roussel.

A trim, at times, almost balletic Falstaff. If that seems a ludicrous contradiction, I should explain that it refers to Dutoit's spirited interpretation of the work, not the central character, though Falstaff himself has shed a few pounds in the process but is no less loveable. Indeed, Dutoit's swift tempo for the second section (at the Boar's Head) has the theme for Falstaff's 'cheerful look and pleasing eye' sounding less like Tovey's understandable misunderstanding of it as ''blown up like a bladder with sighing and grief''. The trimming down process is abetted by the Montreal sound, with lean, agile strings and incisive brass (the horns are magnificent). Some may feel a lack of warmth in the characterization. I certainly felt that the first presentation of Prince Harry's theme (0'40'') could have done with a richer string sonority. Doubtless, too, there will be collectors who, at moments, miss the generous humanity of Barbirolli, or the Straussian brilliance of Solti. And although Mackerras is wonderful in the dream interludes and Falstaff's death, the start of his fourth section, with Falstaff's rush to London only to be rejected by the new King, is short on teeming excitement and anticipation. (Gramophone)

The Orchestre symphonique de Montréal and its Music Director Rafael Payare make their Pentatone debut with Mahler’s 5th Symphony. The album is also the first recording under Payare’s tenure, and the beginning of a longer recording relationship with the label. For Payare, the Fifth is the last symphony that shows Mahler still looking forward to what the future might bring, unlike his subsequent, much darker and existential works. Despite that optimism, there is enough tragedy and struggle along the way, resonating with Mahler’s life at the time of creation. Payare’s proficiency in late-Romantic repertoire coupled with the matured, distinctive sound of the Montréal players make this a collaboration to look out for.

The Orchestre symphonique de Montréal and its Music Director Rafael Payare extend their Pentatone discography with a recording of Richard Strauss’s Ein Heldenleben and Gustav Mahler’s Rückert-Lieder, sung by superstar soprano Sonya Yoncheva. The pairing of works may seem odd at first, with Strauss at his most exuberant and Mahler at his most introspective. They share, however, a deeply personal and autobiographical approach by two giants of fin-de-siècle music coming to terms with the world they lived in and their place in it. After their acclaimed recording of Mahler’s Fifth Symphony, Payare and the orchestra further explore this late-Romantic repertoire that fits them like a glove.

Maestro Dutoit and his orchestra really make Berlioz' orchestral showpiece glow in all of its colorful splendour, but with enough tenderness and warm lyricism in the more reflective, dreamy parts. But 'Un bal' really sways and swaggers with appropriate grandiloquence. The 'Scene aux champs' is played wonderfully poised and concentrated, but with a lot of warmth as well, helped of course by the mellifluous, wonderfully blended tone of the orchestra.

Another outstanding success for one of North America's most responsive orchestras, with playing not just brilliant, but relaxed and joyful.

The first ATMA recording by l’Orchestre symphonique de Québec (Quebec City Symphony Orchestra) of transcriptions of music by Debussy was a huge success and now ATMA present transcriptions of music by J S Bach. Conductor Yoav Talmi has not necessarily chosen the transcriptions you might expect. Of course we have Stokowski’s Toccata & Fugue in D minor but there are also transcriptions by William Walton, Edward Elgar, Gustav Holst, and even Anton Webern and Ottorino Respighi.

Orchestre Symphonique de Montréal is well-known for his innovative concert programmes. Here he conducts the Montreal Symphony Orchestra for his third Beethoven project. After his two previous CD's with the titles "Ideals of the French Revolution" (Beethoven's Fifth Symphony & the Egmont overture) and "Gods, Heroes and Men" (Beethoven's Third and the ballet music "Creatures of Prometheus"), this new release is dedicated to the subject "In the Breath of Time". Featuring the “Pastorale” Symphony (No. 6) and the seldom performed 8th Symphony, this release consists of what are probably Beethoven's two sunniest symphonies.

Ideals of the French Revolution is the unusual title of this two-disc set by Kent Nagano and the Orchestre Symphonique de Montréal of music by Beethoven with texts by Goethe, Matthisson, and Paul Griffiths. The second, fairly conventional disc includes three works by Beethoven that could reasonably be said to embody the ideals of liberté, égalité, fraternité: his Fifth Symphony, excerpts from his incidental music for Goethe's Egmont, and his fourth setting of Matthisson's Opferlied (Song of Sacrifice). The far less conventional first disc, however, features a single work, called The General, setting a text by the aforementioned Griffiths, noted author and Beethoven scholar, to music drawn from Beethoven's incidental music for Egmont, König Stephan, and Leonore Prohaska, plus the Opferlied.