Beethoven Symphonies Savall

For this set of Beethoven's first five symphonies, Jordi Savall began with the fundamental idea of recovering the original sound of the orchestra and tempo as the composer imagined them. All the orchestral work was performed with instruments corresponding to those used at the time, and by 55-60 musicians, a number similar to that arranged by the composer. 35 players were selected from Le Concert des Nations alongside 20 young musicians from different countries across world. The main goal was to reflect, in our 21st century, all the richness and beauty of these symphonies, through a true balance between colors and the quality of the orchestra's natural sound.

After the critical success of the first volume of Beethoven’s symphonies, Jordi Savall now offers us from the Sixth to the Ninth.This latest publication crowns a nearly two-year world tour and confirms the extent to which the director renews our vision of these most famous works. The Concert des Nations shows that it also knows how to magnify the repertoire of the early 19th century, which will be confirmed by a forthcoming Schubert album.

After the critical success of the first volume of Beethoven's symphonies, Jordi Savall offers us Symphonies Six to Nine. This latest publication crowns a nearly two-year world tour and confirms the extent to which the Savall renews our vision of these most famous works. The Concert des Nations shows that it also knows how to magnify the repertoire of the early 19th century.

For this set of Beethoven's first five symphonies, Jordi Savall began with the fundamental idea of recovering the original sound of the orchestra and tempo as the composer imagined them. All the orchestral work was performed with instruments corresponding to those used at the time, and by 55-60 musicians, a number similar to that arranged by the composer. 35 players were selected from Le Concert des Nations alongside 20 young musicians from different countries across world. The main goal was to reflect, in our 21st century, all the richness and beauty of these symphonies, through a true balance between colors and the quality of the orchestra's natural sound.

Following the huge success of the Symphonies boxsets, and considering Jordi Savall's expertise in sacred music it was invevitable that he should record the Missa Solemnis. As in his previous Beethoven, Schubert and Mendelssohn recordings, the Catalan maestro delivers a recording freed from the weight of past traditions to underline the dynamics, the section balance and the timbres that are required in this repertoire. He ignites the Promethean fire as imagined by Beethoven's demiurgic mind.

Jordi Savall releases his first Schubert album, following a recording of Beethoven’s complete symphonies which largely contributed to renew our vision of the early Romantic repertoire. The Catalan maestro delivers a recording freed from the weight of past traditions to underline the dynamics, the section balance and the timbres that are required in this repertoire. Jordi Savall decided to entitle this album Transfiguration, because, as he explains, we are always astonished at Schubert’s ability to reach this essentially internal and spiritual dimension, this kind of Transfiguration, which he simply sums up as follows in his diary in 1824: ‘My production is the result of my musical knowledge and my pain’ or, to quote a poem he wrote a little earlier: ‘When I wanted to sing love, it turned into pain. When I wanted to sing pain, it turned into love.’