Thomas Zehetmair Brahms

The Musikkollegium Winterthur rounded off its 2018/19 concert season with a six-day Brahms Festival, during which – besides numerous other works by Johannes Brahms – the composer’s four symphonies were performed under Principal Conductor Thomas Zehetmair. Steeped in tradition and boasting a proud history dating back to 1629, the Swiss orchestra thus commemorated the years when Brahms was a frequent visitor to Winterthur and his compositions were released by the Winterthur music publisher Jakob Melchior Rieter-Biedermann. Eldest son of the successful Winterthur machinery manufacturer Heinrich Rieter, Rieter-Biedermann opened his publishing house in 1849 and the first two compositions appeared in 1856: Theodor Kirchner’s Albumblätter op. 9 and Hector Berlioz’s Les nuits d’été.

There are no highlights in this cycle - the level of consistency is remarkable - but Dohnanyi's Third has always been regarded as one of the three or four reference recordings of the symphony. And rightfully so. Rarely are conductors been able to elicit such an unclogged sound from an orchestra on modern instruments while maintaining such a high level of focused energy. The brass work in the first movement is stunning while the wind parts all register with appropriate clarity. The appearance of the coda is violent and awesomely effective.

A limited-edition 55-CD set of legendary and critically acclaimed recordings celebrating the famous PHILIPS heritage. An alliance of great artistry and superb sound. Classic-status albums spanning over half a century of recording and showcasing a wealth of international talent.
An unrivaled collection that that embraces all musical genres - from solo piano and chamber music through to large scale choral works and opera.

Unlike Mozart's Clarinet Quintet (with masterly descendants by Brahms and Reger), Mozart's Oboe Quartet (one of the most distinguished works of oboe literature) remained without successors for over one and a half centuries. ….. So it was only natural that I should ask two of my closest friends to write something for this at once problematic and fascinating formation. Both composers had already made very significant contributions to the oboe literature: Elliott Carter (who, as a student, played the oboe himself) with such works as the Oboe Concerto, the "Trilogy" for Oboe and Harp and the Italian song settings "Tempo e Tempi"; Isang Yun with his Oboe Concerto, the Double Concerto for Oboe and Harp, the Sonata for Oboe, Viola and Harp, the Inventions for Two Oboes and many other works.
Heinz Holliger

from the attached booklet

An exclusive artist for the Philips label since 1969, Brendel’s discography is now among the most extensive of any pianist, reflecting a repertoire of solo, chamber and orchestral works by the major composers from the central European tradition from Bach through to Schoenberg.
This 114 CD Edition encompasses his complete discography for Philips and Decca and includes studio albums, live recordings and radio broadcasts. The set is accompanied by a 200-page book featuring a note by Brendel’s personal choice of writer, Misha Donat.

An exclusive artist for the Philips label since 1969, Brendel’s discography is now among the most extensive of any pianist, reflecting a repertoire of solo, chamber and orchestral works by the major composers from the central European tradition from Bach through to Schoenberg.
This 114 CD Edition encompasses his complete discography for Philips and Decca and includes studio albums, live recordings and radio broadcasts. The set is accompanied by a 200-page book featuring a note by Brendel’s personal choice of writer, Misha Donat.

RCO - Anthology of the Royal Concertgebouw Orchestra, Volume 6, 1990-2000 (2011) {14CD Box Set, RCO 11004} (Complete Artwork)
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 4.36 Gb | MP3 @320 -> 2.40 Gb
Full Artwork @ 300 dpi (jpg) -> 141 Mb | 5% repair rar
© 1990-2000, 2011 Radio Netherlands Music / RCO LIve | RCO 11004
Classical / Orchestral

I bought this shortly after my first visit to the Concertgebouw itself, when I was bowled over by the hall's superb acoustics and atmosphere. So these live broadcast recordings were pungent evocations of the experience. But even without that, this is a box worth having, if you can afford it. The first two discs alone are dynamite: a marvellously dramatic, idiomatic account of Bartok's Bluebeard's Castle with Ivan Fischer and Hungarian soloists, followed by one of the best Mahler Fifths I've heard, from Tennstedt in 1990.