Tvnotas Febrero 4, 2020 Pdf

Epic. Magnificent. Generous. Flowing. Majestic. Surprising. Overwhelming. And above all – Joyous. The two final symphonies of Johannes Brahms are undisputed masterpieces: passionate, intensely lyrical, a thrilling blend of grandeur and intimacy. In the hands of Richard Tognetti and the Australian Chamber Orchestra, these soaring yet deeply personal works spring to life, revealing new delights at every turn.

In their own way Beethoven’s five piano concertos relate a part of their composer’s life. In the previous volume of this complete recording, Kristian Bezuidenhout, Pablo Heras-Casado and the musicians of the Freiburger Barockorchester explored the beginning (Concerto no.2, a springboard to Viennese fame) and the end (the ‘Emperor’) of the story. They now turn to the most personal of all the Beethoven concertos, the Fourth which, at a time when the spectre of total deafness threatened his career, shattered the conventions of the genre - as did such orchestral works as Coriolan and the Overture to The Creatures of Prometheus.

Cleverly paired with two symphonies by C.P.E. Bach – written in 1755/56 and 1775/76 respectively – Beethoven’s first two contributions to the symphonic genre reveal the bubbling creativity of a thirty-year-old composer determined to go even further in the renewal of the genre than another, very recent reference, Mozart’s ‘Jupiter’. So much is clear from the very first chord of his Symphony no.1! Relive this decisive moment in the company of the musicians of the Akademie für Alte Musik Berlin, under the guidance of their Konzertmeister Bernhard Forck.

Boris Giltburg has set out to study and film all of Beethoven’s 32 piano sonatas by the end of 2020. The project started as a personal exploration, driven by curiosity and his strong love of the Beethoven sonatas. These performances display Giltburg’s customary spirit and technical finesse, and also convey the electric atmosphere of the live recording.

This program from the BBC Symphony Orchestra features compelling performances of two very different symphonies. The complex, visionary pantheism of Vaughan Williams's 'Pastoral' is an ideal foil for the unbridled ferocity of his Symphony No.4. The album includes an special bonus - Martyn Brabbins's idiomatic realization of Saraband 'Helen' - heard here in it's first recording.