Symphony No. 9 is Philip Glass' ninth symphony. It was written between 2010 and 2011. It is written in 3 movements. It was commissioned by the Bruckner Orchester Linz, Carnegie Hall, and the Los Angeles Philharmonic Association.
In January 2014, music lovers worldwide were saddened to learn that Claudio Abbado had passed away. Deutsche Grammophon feels immensely blessed and proud to be releasing together with Accentus Music Bruckner’s Symphony No. 9 in D Minor, which was recorded as part of Abbado’s final concert.
Philip Glass' opera from 2009 explores the life of scientist Johannes Kepler though a series of dramatic scenes with two hours of Glass' music. Kepler in many ways hearkens back to Glass' portrait operas of the early 1980s and continues the composers interest in scientists after having also written operas on Einstein and Galileo. The opera premiered at the Landestheater Linz in 2009 as part of Linz 09, the European Cultural Capital, and continues the amazing 30 year collaboration between Glass and the conductor Dennis Russell Davies, the music director of both the Landestheater Linz and its orchestra, the Bruckner Orchester Linz who has also recorded Glass' music extensively for the Orange Mountain Music label including Glass Symphonies 6, 7, and 8, and Glass' large scale opera The Voyage which was originally written for the Metropolitan Opera.
This is the tenth volume in the Dacapo's acclaimed series of the complete symphonies by W.A. Mozart, recorded by the Danish National Chamber Orchestra and their renowned Austro-Hungarian chief conductor Adam Fischer.
Mozart complete! Seven years of work with W.A. Mozart’s symphonies come to completion with this monumental release, containing 45 symphonies, including eight unnumbered youth works.
"Hans Werner Henze has written three violin concertos so far, separated in his output by gaps of 23 and 26 years. As you'd expect, they are very different pieces stylistically, and hearing them in succession provides a revealing map of the trajectory Henze's evolution has followed in his orchestral music. However, it's the two most widely separated works here that have the most similarities, suggesting how, in some important respects over the last half-century, he has come full circle. (…) The result is arguably one of the strongest of Henze's works from the 1970s; certainly that is how it seems in this very impressively controlled performance from Torsten Janicke and the Magdeburg Philharmonic." ~The Guardian
Following the recent successful albums of his transcriptions of music by Philip Glass, pianist Michael Riesman presents a new album of solo transcriptions and arrangements from Philip Glass's opera Beauty and the Beast. In Glass's music, the power of the creative and the raw world of nature, represented respectively by Beauty and the Beast, finally emerges and allows the world of imagination to take flight.
Here are three 20th-century violin concertos written within a 30-year period in three totally different styles, played by a soloist equally at home in all of them. Bernstein's Serenade, the earliest and most accessible work, takes its inspiration from Plato's Symposium; its five movements, musical portraits of the banquet's guests, represent different aspects of love as well as running the gamut of Bernstein's contrasting compositional styles. Rorem's concerto sounds wonderful. Its six movements have titles corresponding to their forms or moods; their character ranges from fast, brilliant, explosive to slow, passionate, melodious. Philip Glass's concerto, despite its conventional three movements and tonal, consonant harmonies, is the most elusive. Written in the "minimalist" style, which for most ordinary listeners is an acquired taste, it is based on repetition of small running figures both for orchestra and soloist, occasionally interrupted by long, high, singing lines in the violin against or above the orchestra's pulsation.
"Even though Stefan Blunier's 2011 recording of Anton Bruckner's Symphony No. 8 in C minor is a lot to digest, timed at over 88 minutes and stretched almost to the breaking point, this is a deeply compelling performance and an impressive recording that deserves all the time listeners devote to it. (…) MDG's natural, unprocessed sound is a great aid to capturing the orchestra's subtle dynamics, and the live recording has very few extraneous sounds. Highly recommended." ~AMG