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Image This Is Rattle (Blu-ray & DVD)
Sir Simon Rattle's arrival in London heralded a new era for the LSO, and the ten day festival that opened his inaugural season as the Orchestra's Music Director wowed critics and audiences alike, going on to win the prestigious Royal Philharmonic Society award in the 'Concert Series & Festivals' category.
This film captures Rattle's very first performance as Music Director; a programme in which British composers took centre-stage. The world-premiere of Helen Grime's Fanfares, which became the first movement of the work Woven Space, opened the concert before violinist Christian Tetzlaff took to the stage to perform the concerto written for him in 2010 by Harrison Birtwistle. Two more works close to Rattle's heart followed: Thomas Adès' Asyla and the pocket-sized Symphony No 3 by the late Oliver Knussen. Finally, Rattle's stunning interpretation of the Enigma Variations brought the concert to a close and then the audience to its feet, filling the Barbican Hall with rapturous applause.

kr 269
Image Symphonies Nos 92 & 93 (2CD)
'Davis conducted Haydn throughout his career, but his performances with the London Symphony Orchestra in 2011, two years before his death aged 85, had a special warmth and wisdom. That much is evident on these live recordings of five symphonies. --Financial Times**** Under Sir Colin Davis s baton these five Haydn Symphonies get a lot of coziness. --Pizzicato

kr 99
Image Symphonies Nos. 1 & 4
Sir John Eliot Gardiner is one of the greatest musical leaders of our day. His Mendelssohn cycle on LSO Live has won multiple awards, and the series showcases his enlightened interpretation and his period performance expertise, even having the musicians stand to play. On the period performance practices of the concerts from which these recordings are taken, Gardiner notes: “it gives a different type of dynamism and energy… it means that the fiddles are freer in the way that they attack the extremely virtuosic lines and it gives a tremendous sense of occasion to the music making.” Mendelssohn’s First Symphony is presented here with both the original and revised versions of the third movement. It is paired with the Fourth Symphony, which was inspired by the atmosphere of Italy, and is among the most loved of Mendelssohn’s works. The composer himself called it “the jolliest piece I’ve written so far.” Reviews of this concert were extraordinary. “The performance of Mendelssohn’s ‘Italian’ Symphony No. 4 was like a joyous high-speed rail journey around the country, taking in sun-soaked landscapes, an upbeat pilgrim’s march, and a scalding saltarello that truly felt like a dance to the death.” (The Financial Times)

kr 149
Image Symphony No. 1
This new release in the LSO Live cycle of Rachmaninov’s complete symphonies features his Symphony No. 1. The piece was composed in 1895 at his Ivanovka estate in Tambov, Russia. The premiere was a disaster due to poor conductor performance and under-rehearsal, but the score was rediscovered after the composer’s death and has since been frequently performed. English composer and professor Robert Simpson calls the First Symphony “a powerful work in its own right… convinced, individual, finely constructed, and achieving a genuinely tragic and heroic expression.” Valery Gergiev is able to shine with this work, displaying his impeccable transparent interpretation. Also included on this release is Balakirev’s Tamara. A member of Russia’s “Mighty Handful,” this work is considered by most scholars to be Balakirev’s best work. The score drips with exotic and oriental influences, which were popular in nineteenth century Russia. This concert received extraordinary reviews: “Full blooded and engrossing… the performance revealed the genius of this strange, haunted piece.” (The Telegraph) “This is music Gergiev clearly believes in and that translated itself to his players… Here was Gergiev at his best.” (Bachtrack)

kr 89
Image Symphony No. 6
Sir Simon Rattle conducts Bruckner’s Sixth Symphony, the most original of all composer’s symphonic works. Its contrasting moods, and overarching theme moving from darkness to light, can be haunting one moment and ecstatic the next, culminating in one of the most enigmatic symphonic conclusions of the 19th century.

kr 169
Image Symphony No 4
Hear the LSO at full strength as Gianandrea Noseda continues his survey of Shostakovich with the monumental Fourth Symphony.

Shostakovich at one point thought his Fourth Symphony was the best thing he’d ever written. Extravagant and challenging in equal measure, it’s a work of epic proportions, requiring over 100 musicians including large percussion and brass sections. Owing to Soviet censure, the work went unperformed for almost 30 years after it was completed, until in 1961 it was revealed as one of the significant milestones of the composer’s output, the work that solidified him as a master symphonist.

kr 149
Image Symphonies Nos 2 & 4
Every opportunity to perform the Schumann symphonies is an opportunity to marvel at their extraordinary profusion of ideas and poetic expression and to explore their kaleidoscopic originality. Each time it gives one a chance to vindicate Schumann as a master of symphonic form and instrumental colour, contrary to the dreary cliché that he couldn’t orchestrate.'
- Sir John Eliot Gardiner

Following the success of his Mendelssohn cycle on LSO Live, Sir John Eliot Gardiner turns to the music of Robert Schumann, launching an exploration of his symphonic works that begins with his Second and Fourth symphonies and a rare glimpse of his only opera.

kr 149
Image The Young Debussy (DVD + Blu-ray)
The evocative music of Claude Debussy has been described as the foundation of modern music. But how did the composer come to develop his unique style? One of today's most charismatic conductors, with a reputation for enterprising programming, LSO Principal Guest Conductor François-Xavier Roth presents the UK premiere of a previously lost work by the young Debussy, alongside some of his earliest inspirations.

Debussy’s newly-discovered Première Suite gives a rare insight into just that – the mind of a young composer on the cusp of innovation. It’s a work filled with Romantic and Eastern influences, with glimpses of the unexpected harmonies that came to define Debussy’s work. Paired alongside the composer’s role models, from Wagner’s powerful intertwining motifs, the abundant Spanish influences in Lalo’s rarely-heard Cello Concerto, performed by Edgar Moreau, and Massenet’s majestic Le Cid, François-Xavier Roth gives a fresh perspective on the much-loved composer.

kr 269
Image Piano Concerto No. 2 & Triple Concerto
LSO Live celebrates the 90th birthday of one of the conducting world’s greats. This all-Beethoven album brings together Bernard Haitink's 2013 recording of the triumphant Piano Concerto No 2 (with Maria João Pires) and a virtuosic performance of the Triple Concerto (featuring Lars Vogt, Gordan Nikolitch and Tim Hugh) which was originally made alongside Haitink's now iconic cycle of the composer's complete symphonies.

kr 149
Image Symphony No. 4 & Pictures at an Exhibition
Gianandrea Noseda is highly regarded for his mastery of the Russian repertoire, and for this new recording he pairs Tchaikovksy's Symphony No 4—urgent, supercharged, sometimes violent, always richly melodic—with the orchestration of Musorgsky's Pictures from an exhibition by Ravel which so wonderfully enhances the original for solo piano.

kr 149
Image La damnation de Faust
Berlioz's tempestuous masterwork recorded live in all its dramatic glory, with soloists Bryan Hymel (Faust), Christopher Purves (Mephistopheles) and Karen Cargill (Marguerite), plus Gábor Bretz as the rabble-rousing student Brander.

kr 239
Image Violin Concertos Nos. 1, 2 & 3
kr 149
Image Berlioz Odyssey: Complete Colin Davis Recordings (
kr 429
Image Symphony No. 8
Composed against a cataclysmic backdrop of Stalinist oppression and the Second World War, Shostakovich’s Eighth Symphony is a deeply affecting poem of suffering. The composer described it as “an attempt to reflect the terrible tragedy of war” and it contains some of the most terrifying music he ever wrote.

Here, Gianandrea Noseda conducts the London Symphony Orchestra with intensity and understanding, allowing the music to tell its own story as it travels from darkness into light, yearning more for peace than for victory.

One of the leading conductors of his generation, Gianandrea Noseda holds several high-profile international positions in addition to his role as Principal Guest Conductor of the London Symphony Orchestra, including Music Director of the National Symphony Orchestra in WashingtonDC. His previous releases on LSO Live include acclaimed interpretations of the Verdi Requiem and Britten War Requiem.

Reviews of the 2018 Barbican concert: “It was all there in Gianandrea Noseda’s outstanding performance with the London Symphony Orchestra. With fluid, unshowy gestures, the Italian conductor let the music tell its own story.”

kr 149
Image Symphonies Nos. 1-5; Overtures; A Midsummer Night'
LSO Live presents Sir John Eliot Gardiner’s award-winning Mendelssohn series together in its entirety for the first time. Captured over three seasons during critically acclaimed concerts in the Barbican Hall, this set offers listeners the definitive account of Gardiner’s unique take on Mendelssohn with the London Symphony Orchestra: a blend between the conductor’s wide-ranging expertise and the orchestra’s signature sound.

kr 359
Image Wonderful Town
Sir Simon Rattle and the London Symphony Orchestra pay homage to Leonard Bernstein with a recording of Wonderful Town that captures the energy and excitement of sold-out performances from December 2017. Featuring an all-star cast led by Danielle de Niese and Alysha Umphress, this release coincides with worldwide #BernsteinAt100 celebrations marking the centenary of the Orchestra’s former President.

Bernstein’s five-time Tony award-winning musical follows sisters Ruth and Eileen on their quest to make it big, pursuing careers in writing and acting from their cramped basement apartment in New York’s bohemian Greenwich Village. Fresh from rural Ohio, the sisters end up getting more than they bargained for, realising that life in the Big Apple is not as glamorous as it may seem.

A bright and cheery love letter to the city that never sleeps and the colourful characters inhabiting it, Wonderful Town draws on Fields and Chodorov’s 1940 play My Sister Eileen, which itself is based on a series of autobiographical short stories by the ‘real-life’ Ruth McKenney.

Bernstein’s infectious score includes classic numbers such as ‘Ohio’, ‘One Hundred Easy Ways’, and ‘A Little Bit in Love’, as well as a riotous conga that had delighted audiences dancing in the aisles of the Barbican hall. The digital version of the album will include an additional version of Conga!’, featuring audience participation, as a bonus track.

kr 149
Image Symphonies Nos. 1-3 & Symphonic Dances (3 SACD)
Recorded live at the Barbican Hall, London September 2008 - February 2015

This highly anticipated box set brings together Valery Gergiev’s acclaimed cycle of the complete Rachmaninov symphonies, which were recorded alongside the London Symphony Orchestra across 2008 to 2015. These masterful accounts of the Russian’s complete symphonies are accompanied by his 1940 composition Symphonic Dances, while two symphonic poems by Mily Balakirev echo the luxurious textures present throughout Rachmaninov’s music.

kr 329
Image The Soldier's Tale
kr 129
Image Symphony No. 8 & Couleurs de la Cité Céleste (Blu-
Blu-ray & DVD

Sir Simon Rattle and the LSO are joined by revered French pianist Pierre-Laurent Aimard in a concert film that brings together music by Anton Bruckner and Olivier Messiaen: two composers as united in their devotion to the Catholic faith as they are divergent in their approaches to writing music.

The programme begins with Bruckner’s monumental Eighth Symphony, with Rattle leading the London Symphony Orchestra through its 1939 edition, prepared by the Austrian musicologist Robert Haas. The composer’s last complete symphony, it has since become characterised by its explosive, dramatic nature and immense scale. Taking Bruckner over five years to compose and revise, it would only be performed three times whilst he was alive.

In stark contrast to the magnitude of Bruckner’s Eighth, Messiaen’s Couleurs de la Cité Céleste lasts just over quarter of an hour.

The 20th-century work comprises sequences of short episodes and serves as a microcosm of the composer’s various preoccupations, from birdsong to the book of Revelations. Centred on the piano and performed by a reduced orchestra, Aimard takes to the stage, offering an expert rendition of Messiaen’s often overlooked work.

kr 269
Image Violin Concertos Nos. 4 & 5
Nikolaj Znaider performs at the highest level as both conductor and virtuoso violin soloist, and for this album, the first of two releases exploring all five Mozart violin concertos, he directed the London Symphony Orchestra from his instrument, the ‘Kreisler’ Guarnerius ‘del Gesu’ 1741.

Whilst Mozart’s five violin concertos were all written when he was a teenager, there is no denying that the young composer’s growth in confidence and maturity is audible. A step up from his Third, Mozart’s Fourth violin concerto allows the instrument to take the lead, his orchestra providing a supporting role. Widely considered the most ‘grown up’ of his violin concertos, Mozart’s Fifth finishes with a spirited rondo, its solo’s leaping notes and exotic ornamentation leading to its nickname, ‘Turkish.’

Speaking of his admiration for these works, Znaider said: ‘For me Mozart is the greatest composer, because he was able to express everything that Mahler was able to express in one hour and twenty minutes, that Wagner could do in five hours, Bruckner in seventy-two minutes, in twenty-three, twenty-four minutes. He could express the yearning and the desire and the pain of human existence and yet it felt so easy.’

kr 149
Image The Rite of Spring (Blu-ray + DVD)
Sir Simon Rattle is joined by virtuosic soprano Barbara Hannigan for a modernist programme that showcases the immense capabilities of the London Symphony Orchestra. At the heart of this concert is The Rite of Spring. Once decried, it is now a cornerstone of orchestral repertoire and considered by many to be the greatest work of the 20th century. Its elemental nature is best summed up by Stravinsky, who, in an unaccustomed moment of humility, said that he didn’t feel he was the composer of the piece, but simply the vessel through which it passed. Sir Simon Rattle says: ‘I’ve been conducting it since I was 19...it’s one of those pieces that reminds you what the shock of the new is about and it’s still one of the great challenges and one of the great thrills to perform.’ To accompany Stravinsky’s magnum opus Rattle chose music from the Second Viennese School. Webern’s Six Pieces for Orchestra was given a ‘richly expressive and pictoral’ performance, while Barbara Hannigan, appropriately dressed in a blood red gown, embodied the role of Marie in three fragments from Berg’s potent opera Wozzeck. As well as the Berg, Hannigan also debuted a now famous version of one of her party pieces, Ligeti’s kaleidoscopic Mysteries of the Macabre. Channelling Gepopo, the crazed chief of police from Le Grand Macabre, in three arias, this display of coloratura pyrotechnics drew gasps as well as laughter from the enthralled audience.

kr 269
Image Pelleas et Melisande (3 SACD + Blu-ray audio)
"Watch out for the live recording on LSO Live’ Richard Morrison, The Times ‘Irresistible...the performance was being recorded for LSO Live. I shall be first in the queue to buy it.’ Rupert Christiansen, The Telegraph ‘Roll on the recording...’ BachTrack ‘Rattle’s relationship with this score is a long one, and it unfolds here in spontaneous, giddy arcs...picked out in gilded detail by the musicians of the LSO.’ Alexandra Coghlan, The Arts Desk ‘Rattle’s moving statement of intent. Simon Rattle and Peter Sellars go headstrong into a bright future with the London Symphony Orchestra...’ The Guardian ‘Rattle draws shimmering beauty from the forest...’ The Standard ‘Rattle’s conducting was immaculate... the performance has made me think about the work again, wondering how far I should prod that glorious surface to see what lies beneath.’ The Spectator ‘A magnificent achievement.’ Seen and Heard International Sir Simon Rattle leads an all-star cast in this highly anticipated new recording of Debussy’s evocative opera Pelleas et Melisande. It was captured in January 2016 during performances of an innovative collaboration between Rattle and Peter Sellars, two of the boldest creative minds in music and theatre today. Supported by the London Symphony Chorus, prepared by renowned choral director Simon Halsey, it is a moving statement of intent for Rattle’s tenure as LSO Music Director. The plot, a love triangle between Prince Golaud, his wife Melisande and his brother Pelleas, is shrouded in mystery and full of gripping twists and emotion-filled turns, ultimately ending in Pelleas’s untimely death. The sensuous score contains some of Debussy’s most exquisite music and perfectly crystalises the atmosphere of Maeterlinck’s original play. Debussy himself explained the appeal of the work: ‘The drama of Pelleas which, despite its dream like atmosphere, contains far more humanity than those so-called “real life documents”, seemed to suit my intentions admirably. In it there is an evocative language whose sensitivity could be extended into music and into the orchestral backcloth.’

kr 329
Image Symphony No 2 (SACD+Bluray Audio)
Bringing his acclaimed Mendelssohn cycle to a rousing conclusion, Sir John Eliot Gardiner presents the composer’s symphony-cantata, 'Lobgesang', in his first ever performance of the work. Three world-class soloists join the LSO and his own Monteverdi Choir for this recording for LSO Live. Mendelssohn wrote that the piece "lies very near my heart", and with its stately grandeur and religiosity, plus its sheer magnitude, twice the length of any of his other symphonies, it stands amongst his most impressive works. Posthumously categorised by editors as his second symphony, it is also known as ‘Hymn of Praise’.

In an interview for The Arts Desk, John Eliot said: "It’s a piece I’ve been looking at for years, and I’ve never conducted it. I was a bit sceptical at first, thinking that it was the torso of a symphony with a cantata bolted on. But it isn’t. It’s a delight. It has a lot of the inventiveness and sheer melodic flow of the young Mendelssohn and it’s perfectly calibrated and constructed."

Presented as a Pure Audio Blu-ray and SACD Hybrid package - which includes master quality audio and downloadable content - this is the perfect end to Gardiner's exploration of Mendelssohn. Summing up his feelings at the end of the project, he said: "My admiration for Mendelssohn has gone up enormously, as a result of really digging deep into these symphonies...it’s so rewarding with this group of players, they’re willing to go to the nth degree, in terms of detail of phrasing and articulation, and that’s a joy."

kr 149
Image Sextet, Clapping Music, Music for Pieces of Wood (
The percussionists of the London Symphony Orchestra explore the music of America’s most influential living composer. A giant of modern music, Reich’s pioneering work has influenced countless performers, breaking boundaries across genres. Previously released digitally and on SACD, this acclaimed album will be available on vinyl for the first time in August 2017. A seminal piece in Reich’s output, Sextet employs his universally recognisable soundworld and its sequence of harmonies gradually overlap and interweave. Introducing more aggressive rhythms and dissonance and than previous compositions, the relationship of the five movements is that of an arch form, A-B-C-B-A. Reich says of the piece: ‘The ambiguity here is between which is melody and which is accompaniment. In music that uses a great deal of repetition, I believe it is precisely these kinds of ambiguity that give vitality and life’. Perhaps Reich’s most famous piece, Clapping Music strips things back to the bare essentials and takes traditional African rhythms as its starting point. Conceived from a desire to compose music that would need no instrument beyond the human body, it’s a key example of the composer’s technique of phasing. The whole work consists of a single rhythmic cell which becomes staggered as the work progresses, creating an entrancing and hypnotic effect. Music for Pieces of Wood takes this concept a step further by adding pitches in the form of claves tuned to A, B, C#, D#. The claves are chosen for their resonant timbre and the piece is one of the loudest the composer has written, despite using no amplification whatsoever. LSO Principal Percussionist Neil Percy, who has performed with Reich, says of his relationship with these pieces and their composer: ‘The thing I enjoy most about playing the music of Steve Reich is its diversity, its complexity, its challenging nature… We’ve played so many pieces of Steve’s over the years with him, so it’s got a very personal set of challenges that I find completely irresistible. That’s why, on this particular project for LSO Live, we tried to put together a programme that reflected all of the pieces that the group themselves really like to play.’

kr 229
Image Daphnis et Chloe Suite No 2 & L'arbre des songes (
LSO Live has been filming concerts in the Orchestra’s Barbican home since 2012 and we’re proud to bring these acclaimed performances to DVD & Blu-ray for the first time. Recorded in January 2016, this beautiful programme of French music was chosen by Music Director Designate Sir Simon Rattle and features world class soloists Leonidas Kavakos and Julia Bullock. Book-ending this concert are two works by the master of orchestral texture, Maurice Ravel. First, Le tombeau de Couperin; an expertly orchestrated version of a 1914-17 piano piece that brings sharpness to the original’s classical dance rhythms. The work calls for an oboe soloist of virtuosic skill, which is expertly handled here by LSO Principal Olivier Stankiewicz. At the other end, Rattle closed the concert with the popular second suite from Daphnis et Chloé. Following Stankiewicz’s display of woodwind mastery, violinist Leonidas Kavakos presents his intepretation of a modern classic, Henri Dutilleux’s violin concerto L’arbre des songes. Composed between 1983 and 1985, the title translates as ‘The Tree of Dreams’ and the work is based on a process of continual growth and renewal, as the composer explained: ‘All in all the piece grows somewhat like a tree, for the constant multiplication and renewal of its branches is the lyrical essence of the tree.’ Rattle also presents a second work by Dutilleux, 1964’s Métaboles. Written for George Szell and the Cleveland Orchestra, it is a diverse sequence of orchestral études given symphonic coherence by stealthy motivic evolution. Rounding out the programme, American soprano Julia Bullock shines in Maurice Delage’s Quatre poèmes hindous. Written in 1912 for a chamber ensemble of two flutes, oboe, two clarinets, harp, and string quartet, this hidden gem has been described as ‘one of the first attempts to introduce the melodic and rhythmic forms of Indian music to the language of Western music’.

kr 269
Image Serenade No 10 Gran Partita
A sprightly interpretation of Mozart’s intriuging Gran Partita, this release celebrates the wealth of talent in the London Symphony Orchestra’s wind section with an ensemble that includes Italian bass clarinetist Lorenzo Iosco, renowned clarinettist Andrew Marriner and celebrated young oboist Olivier Stankiewicz. Captured live during Sound Unbound 2015, the Barbican’s first ‘classical weekender’, the recording is supported by Bowers & Wilkins and took place in the Jerwood Hall of LSO St Luke’s. For this album, the ensemble was led Lorenzo Iosco, who played with the Orchestra for six years before joining the Hong Kong Philharmonic Orchestra. He says of the work: ‘It’s so simple what [Mozart] writes, but at the same time so beautiful and so clear...All the seven movements are fantastic, my favourite is the third movement, because the way it starts and how it’s built is absolutley amazing. But all the movements have beautiful melodies, it’s a masterpiece!’ The composition dates for Mozart’s sublime ‘serenade for thirteen Winds’ are uncertain. It has been speculated that the piece was specially composed for a public concert given by Anton Stadler on March 23, 1874, though the watermarks and the paper suggest a composition date of 1781 or 1782. It is a piece that consists of seven unified movements; why Mozart decided to obliterate the generic symphonic conventions so outrageously is unknown. Given its vast size and importance, it is surprising that the piece is not mentioned in any of Mozart’s surviving correspondence. Another mystery is the name Gran Partita, which was found scribbled on the original manuscript, but by an unidentified hand. Essentially it means ‘big wind symphony’, a description that is not inaccurate. The 13-piece wind section was unusually large for the era, combined with the seven movement form rather than the more conventional four movement symphonic form, or the six movement serenade form, both of which dominated the wind repertoire at the time. The Gran Partita isn’t one of Mozart’s most intricate scores, but its sensuousness and variety are unsurpassed. The textures are dark and interesting rhythms form a rich background for the upper winds. Mozart possibly dedicated the work to his bride Constanze, and it may have even been played at their wedding celebrations in 1782, fitting the occasion with its ambitious scoring and sense of amplitude.

kr 129
Image Requiem
Recognised as one of the leading conductors of his generation, Gianandrea Noseda won the International Opera Awards Conductor of the Year 2016 and Musical America’s Conductor of the Year 2015. Recently appointed Principal Guest Conductor of the London Symphony Orchestra, he gathered together an outstanding cast of Italian stars for these searing performances of Verdi’s Requiem to open the LSO’s 16/17 season. The Requiem shows Verdi’s mastery of choral writing at its most concentrated and its dramatic power, most evident in the famous Dies irae, echoes the composer’s approach to opera, for which he is best known. It was written as a memorial for the Italian writer and poet Alessandro Manzoni and premiered on 22 May 1874 – the one-year anniversary of Manzoni’s death. The Requiem began life as a collaboration of pieces written by Italian composers to honour Gioachino Rossini’s death. Verdi had suggested the group each compose a movement for the Requiem, however, nine days before the premiere was due to take place, the organising committee abandoned the project. Frustrated and disheartened, Verdi toyed with his submitted movement Libera Me for many years, ultimately completing the entire work on his own to celebrate the life of Manzoni. Verdi’s purpose was religious as well as dramatic. For the great Italian, the death of the eminent writer was a grievous blow. His Requiem may be seen as a protest against the outrage of death as much as a plea for celestial peace and it is a work of the most highly concentration emotion. As Brahms described the piece after its premiere: ‘Only a genius could’ve writen something like this.’

kr 99
Image Asyla, Tevot, Polaris (SACD + Blu-ray audio)
An acclaimed conductor and pianist as well as a composer, Thomas Adès is among today’s greatest musicians. For his LSO Live debut, he conducts all of his seminal ‘Trilogy’ works - Asyla, Polaris and Tevot – pieces that not only occupy a special place in his output, but in modern classical music as a whole. Recorded in 2016 during his first LSO ‘Composer Focus’, this is the first time all three works have been presented together on one album, offering a unique chance to hear the musical development of one of the world’s foremost contemporary composers. The SACD & Pure Audio Blu-ray set is also presented with Dolby’s new Atmos SS format, recreating even more precisely the unique feeling that a concert of Adès’s music creates.

kr 169
Image A Midsummer Night's Dream (SACD + Pure Audio Blu-r
Continuing his award-winning cycle, Sir John Eliot Gardiner leads the LSO, his Monteverdi Choir and three talented young actors from the Guildhall in a landmark performance of Mendelssohn’s A Midsummer Night’s Dream, which was performed as part of the 400th anniversary of Shakespeare’s death. To mark the celebrations, Gardiner produced a special version of the work featuring some cuts to the original movements that, in his words, ‘remove all of the music relating to the Mechanicals and thus focus on the world of the fairies and the human lovers.’ Mendelssohn, who adored Shakespeare’s writings, composed his concert overture based on A Midsummer Night’s Dream in 1827 at the young age of 17, after having read a German translation of the play in 1826. The overture was immediately acclaimed as a masterpiece and quickly became a popular favourite throughout Europe. Years later in 1843 he was asked by the King of Prussia to provide a score for an entire production. It’s made of 14 short works based on themes and moods from the original overture, with a broadly romantic sound although classical in style and structure. Music scholar George Grove described it as 'the greatest marvel of early maturity that the world has ever seen in music' and reviewer Peter Read says 'an astonishing feat of imagination and perception, one of the perfect acts of musical interpretation arising out of early-nineteenth-century sensibilities that, nearly two centuries later, is still channelling our understanding of Shakespeare’s disarming examination of the workings of our subconscious'.

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Image Fantasia on a Theme by Thomas Tallis; Variations o
The LSO counts the finest orchestral players among its members and many of its principals are renowned soloists in their own right. They have developed new ensembles within the Orchestra to hone their incredible musicianship in different ways: from recent recordings of Reich by the LSO Percussion Ensemble to unique chamber performances of Stravinsky's 'The Soldier’s Tale' and Mozart's 'Gran Partita'. The LSO String Ensemble, directed by Orchestra Leader Roman Simovic, are a key example of this practice, showcasing the wealth of talent that the London Symphony Orchestra has to offer.

Following two well-received releases, the LSO String Ensemble continues on LSO Live with three English masterpieces: Vaughan Williams' 'Fantasia on a Theme by Thomas Tallis', a visionary fusion of folksong and sacred music; Britten's 'Variations on a Theme of Frank Bridge', a challenging landmark of 20th-century string writing, here in a virtuosic performance; and Elgar's 'Introduction and Allegro', a work beloved of the LSO, having been composed for and premiered by the Orchestra.

"Delightfully sweet-toned lyricism, and an easy, smiling virtuosity". The Daily Telegraph on Roman Simovic. An acclaimed soloist, performing at many of the world’s most prestigious venues, Roman Simovic has awarded prizes at numerous international competitions, placing him among the foremost violinists of his generation. He says of these pieces: "it’s a big challenge for me to perform this wonderful English programme with an English orchestra. The LSO has a really special, unique, sound and to produce this standing up without a conductor, well it’s quite a challenge! But my fellow players are all fantastic musicians with huge knowledge and I think people more and more are looking forward to our concerts, because it’s something really special: real chamber music."

kr 99
Image Symphonies Nos. 1-7 (5 SACD)
Sir Colin Davis was an instrumental part of the development and success of LSO Live, even leading the way to the label’s first Grammy Award. He has also played the part of ambassador, increasing the audience of the LSO to a worldwide scale. This landmark cycle of Sibelius’s complete symphonies has been described by The Observer as “the finest Sibelius cycle on disc.” All of these works were recorded live at the Barbican Hall between 2002 and 2008. Since their first release, this cycle has received numerable awards, including BBC Music Magazine’s Best Choral Recording, Audiophile Audition’s Best Disc of the Year, Gramophone’s Editor’s Choice, and Le Monde de la Musique’s Choc de l’annee. “There is so much about these performances that is ear-opening- or just plain magnificent.” (BBC Music Magazine) “It is hard to imagine these works in more idiomatic performances… this disc deserves to fly out of the shop.” (The Sunday Times)

kr 379
Image Stravinsky: The Firebird - Bartok: Piano Concerto
This incredible release was recorded live at the New Jersey Performing Arts Center on the 24th of October 2015 at Valery Gergiev’s penultimate concert as Principal Conductor of the London Symphony Orchestra. This explosive programme marks a milestone in the Orchestra’s history- it is the first LSO Live release captured outside of Europe, and it showcases the best music-making that Gergiev and the LSO can produce. Gergiev has long been recognized for his interpretation of Stravinsky’s Firebird. “… an outstanding performance of the complete Firebird ballet. Gergiev, hands constantly aflutter, brought even the most insignificant transition passages to vivid life.” (The Guardian) Yefin Bronfman performs Bartok’s Piano Concerto No. 3, which was written as a birthday gift to the composer’s wife Ditta, and was completed only four days before the composer succumbed to a long battle with leukemia. Also included on this album are the suite version Bartok’s The Miraculous Mandarin, a thrilling story of prostitution and violence, and excerpts from Prokofiev’s Romeo & Juliet.

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Image Roméo et Juliette (2CD)
Olga Borodina, mezzo-soprano
Kenneth Tarver, tenor
Evgeny Nikitin, bass

London Symphony Chorus, Guildhall School Singers, London Symphony Orchestra / Valery Gergiev

Released in the year of Shakespeare’s 400th anniversary, Valery Gergiev and London Symphony Orchestra are joined by soloists Olga Borodina, Kenneth Tarver and Evgeny Nikitin for Berlioz' 'Roméo et Juliette', recorded live at the Barbican Hall in November 2013. Part of a major series of eight concerts, this work toured to venues in the Czech Republic, Germany, Austria and France. A large-scale ‘symphonie dramatique’, 'Roméo et Juliette' was the fruit of the composer’s dual fascination with Shakespeare and with the actress Harriet Smithson, whom he was later to marry. Using the story of the star-crossed lovers as a starting point, Shakespeare’s passion and drama is deftly portrayed through his music, as well as through the abundance of lyrical poetry, written by French poet Émile Deschamps.

Grammy-award winning mezzo-soprano Olga Borodina is a star of the Mariinsky Theatre, regularly appearing at major opera houses and with great orchestras around the world. Borodina made her highly acclaimed European debut at Covent Garden, in 1992, sharing the stage with Plácido Domingo in 'Samson et Dalila' – a performance that launched her international solo career as one of the most sought after mezzos for her repertoire.

Kenneth Tarver is considered one of the outstanding tenore-di-grazia of his time. He has appeared at the most prestigious opera houses and concert halls around the world specialising in Mozart and challenging, oratorio repertoire. He has appeared on previous LSO Live recordings, notably 'Les Troyens' conducted by Sir Colin Davis. Bass-baritone Evgeny Nikitin trained at the St Petersburg State Conservatory, graduating in 1997. He has been described as "physically, vocally, a complete star" by The Independent. His first solo performances were with the Mariinsky Orchestra and have been followed by invitations to perform across the world. His discography includes other recordings with Valery Gergiev, including 'Parsifal' on the Mariinsky Label.

kr 149
Image All-Night Vigil (Vespers)
London Symphony Chorus / Simon Halsey

In their first LSO Live spotlight release, the London Symphony Chorus deliver a passionate performance of Rachmaninov’s All-Night Vigil, under the baton of acclaimed LSO Choral Director, Simon Halsey.

Formed in 1966 to complement the work of the LSO, 2016 sees the London Symphony Chorus celebrate its 50th Anniversary as one of the UK’s most well established choirs. Made up of over 160 amateur singers from all walks of life, the Chorus has recorded widely for LSO Live, the partnership resulting in several award winning releases - including three Grammy Awards, received for Berlioz Les Troyens and Verdi Falstaff.

Hauntingly beautiful, All-Night Vigil is a cornerstone of the choral repertoire, its fifteen a cappella movements considered amongst the composer’s finest achievements. Composed in 1915, against a backdrop of political turmoil in Russia and the early throes of The First World War, the sense of spiritual transcendence in the work may be interpreted as the composer’s response to the chaos and suffering around him. While Rachmaninov was no conventional believer, the rituals and traditions of the Orthodox Church were an essential part of his cultural background, evident in his use of chants from the Russian Church as the basis for ten of the work’s fifteen sections. For the remaining five, Rachmaninov composed entirely new music, though these are so heavily influenced by tradition that it is near impossible to tell the difference.

Throughout All-Night Vigil, Rachmaninov’s immense compositional skill is on display - exploring a variety of textures, timbres, rhythms and registers, all of which are beautifully handled by the Choir and Simon Halsey.

Sharing choral music with the community is a key mission for the London Symphony Chorus and in 2015 Halsey prepared LSO Discovery and Community Choirs for the UK premiere of Jonathan Dove’s children’s opera The Monster in the Maze. Halsey and the LSC will continue this community work in 2016, with the world premiere of another children’s opera The Hogboon, conducted by Sir Simon Rattle and performed in memory of its composer, the late Sir Peter Maxwell Davies.

kr 89
Image Sextet / Clapping Music
LSO Percussion Ensemble / Neil Percy

LSO Live explore the music of America’s most influential living composer with performances of three of his most iconic works: Sextet, Clapping Music and Music for Pieces of Wood.

Employing Reich’s universally recognisable soundworld, Sextet uses hypnotic repetitions of a sequence of harmonies, which gradually overlap and interweave, resulting in a complex yet utterly compelling musical landscape. Introducing more dissonance and aggressive rhythms than previous compositions, the relationship of the five movements is that of an arch form, A-B-C-B-A. Changes of tempo are made abruptly at the beginning of new movements by metric modulation and sections are also organised harmonically with a chord cycle for the first and fifth. Reich says of the work – ‘The ambiguity here is between which is melody and which is accompaniment. In music that uses a great deal of repetition, I believe it is precisely these kinds of ambiguity that give vitality and life’.

Composed in 1972, Clapping Music strips back to the bare essentials, taking traditional African rhythms as its starting point. Conceived from a desire to compose music ‘that would need no instrument beyond the human body’ it is perhaps the most elemental example of phasing in the composer’s catalogue. The whole work consists of a single rhythmic cell which becomes staggered as the work progresses, creating an entrancing and hypnotic effect. Having previously performed the work with the composer, Neil Percy delivers an inspired performance alongside his LSO Co-Principal, Sam Walton.

Music for Pieces of Wood takes this concept a step further, adding pitches, in the form of claves tuned A, B, C#, D# and D# an octave above. The claves are chosen for their resonant timbre and the piece is one of the loudest the composer has written, despite using no amplification whatsoever.

kr 129
Image Death And The Maiden / Chamber Symphony
LSO String Ensemble / Roman Simovic

The LSO String Ensemble, led by LSO leader Roman Simovic, gives magnificent performances of Schubert (arr Mahler) and Shostakovich. This is the second LSO String Ensemble release on LSO Live, following the acclaimed recording of Tchaikovsky's 'Serenade for Strings' and Bartók's 'Divertimento'. Schubert s 'Death and the Maiden' Quartet, heard here in Mahler s stunning arrangement, is one of the most popular pieces in the repertoire. The original Quartet was written soon after Schubert had suffered from a significant period of illness, and some have speculated that it is the composer s testament to death. The piece gains its title from the second movement, which is a set of five variations based on the melody of one of Schubert s most poignant songs, Death and the Maiden, in which a girl struggles against the terror of impending death, that grisly man of bone , who casts himself as a welcome friend. The Chamber Symphony in C minor is an arrangement for string orchestra of Shostakovich s String Quartet No 8, prepared with the composer s approval by the violist, conductor, and founder of the Moscow Chamber Orchestra, Rudolf Barshai. Shostakovich s Eighth Quartet was written over just three days in 1960 and the composer, deeply depressed at that time, initially intended it to be his last work. The piece is full of quotations that hold a deeply personal significance, including a motif from Tchaikovsky s 'Pathétique' Symphony, and references to several of Shostakovich s own works. Most strikingly, Shostakovich s initials DSCH are embedded throughout the entire work, giving the piece an intensely personal musical fingerprint. This performance was recorded live at the Barbican on 26 April 2015 as part of the LSO International Violin Festival. The LSO String Ensemble were filmed in 360 VR during this performance and this footage will be used to support the release of this hybrid SACD.

kr 99
Image Symphonies Nos. 1 & 2 (2CD)
Ekaterina Sergeeva, mezzo-soprano
Alexander Timchenko, tenor
London Symphony Orchestra, London Symphony Chorus / Valery Gergiev

Valery Gergiev and the London Symphony Orchestra bring to a close their revelatory Scriabin cycle with the release of Symphonies 1 & 2.

Epic in scope, Scriabin’s highly original First Symphony was composed at the turn of the twentieth century. The ambitious work consists of six movements, the last of which features a chorus and two vocal soloists, beautifully sung in this recording by Ekaterina Sergeeva, Alexander Timchenko and the London Symphony Chorus. In the monumental choral finale, which brings the symphony to a rousing conclusion, Scriabin uses a text of his own composition to praise the supreme power of art: ‘Come, all peoples of the world, Let us sing the praises of Art! Glory to Art, Glory forever!’

Premiered two years after Symphony No 1, the Second Symphony contains echoes of Strauss, Tchaikovsky and Wagner, alongside Scriabin’s deeply personal sound. While relatively more restrained in style than the composer's other symphonic output, over the course of its five movements there are sweeping climaxes, swirling colours and passages of majestic intensity, with a brooding Andante opening continuing without pause into a fervent second movement.

A mezzo-soprano born in St Petersburg, Ekaterina Sergeeva has been a soloist with the Mariinsky Academy of Young Singers since 2005, after graduating from the St Petersburg Conservatory. In 2009 Ekaterina sang the part of Elektra’s Trainbearer, which she recorded with Valery Gergiev and the London Symphony Orchestra for LSO Live. Her accolades include prizes at both the 2008 International Zara Dolukhanova Amber Nightingale Competition and 2006 International Lisitsian Competition, as well as a Diploma for best performance of a contemporary work from the 2006 International Rimsky-Korsakov Competition.

Tenor Alexander Timchenko was born in Leningrad and graduated from the Glinka Choral School of the St Petersburg State Academic Capella in 1993, continuing his studies at the St Petersburg Conservatory. He performed the role of Shepherd in Stravinsky Oedipus rex with Valery Gergiev and the LSO in 2012, and has also featured on recordings including Stravinsky Les Noces with the Mariinsky Orchestra & Chorus, conducted by Valery Gergiev, 2010.

kr 129
Image Panufnik Legacies II (The)
London Symphony Orchestra / François-Xavier Roth

LSO Live present an album of new works by emerging composers, all of whom have been members of the Panufnik Composers Scheme. Devised by the LSO in association with Lady Panufnik in memory of her late husband, the composer Sir Andrzej Panufnik, the Scheme began in 2005 and each year offers six composers the opportunity to write a three minute piece for the LSO. The pieces featured on this release were recorded by the Orchestra at LSO St Luke’s under the baton of François-Xavier Roth, a conductor renowned for his interpretations of contemporary music.

Following on from The Panufnik Legacies, a release which presented works by composers from across the first five years of the Scheme, this recording showcases the works of selected composers from across the first ten years of the Scheme alongside Panufnik Variations, a project that brings together Colin Matthews and Panufnik Scheme graduates. Taking a theme from Sir Andrzej Panufnik’s Universal Prayer as a starting-point, the work features a series of variations showcasing the sounds and styles of Panufnik Scheme alumni Max de Wardener, Evis Sammoutis, Christopher Mayo, Toby Young, Elizabeth Winters, Larry Goves, Raymond Yiu, Anjula Semmens and Edmund Finnis, bookended by an opening and conclusion by Colin Matthews.

Also featured on this release are works by Kim B Ashton, Leo Chadburn, Bushra El-Turk, Matthew Kaner, James Moriarty, Elizabeth Ogonek, Aaron Parker, Alastair Putt and Duncan Ward.

Colin Matthews says of the Panufnik project, ‘A real relationship develops, which continues beyond the scheme itself, so that we feel that a ‘Panufnik family’ has been established…. What is remarkable to me is the unity that has emerged from this project : a tribute both to the inspiration provided by Andrzej Panufnik, and to the faith that the LSO has shown in the Panufnik Scheme.’

The Panufnik Scheme is generously supported by The Boltini Trust & The Helen Hamlyn Trust.

kr 99
Image Symphonies Nos. 3 & 4
London Symphony Orchestra / Valery Gergiev

Valery Gergiev conducts revelatory performances of Scriabin's Symphony No 3 'The Divine Poem' and Symphony No 4, 'The Poem of Ecstasy'. This marks the first in a new cycle of Scriabin symphonies, and one of the most significant of all Valery Gergiev's projects with the London Symphony Orchestra, released during his final tenure as LSO Principal Conductor. Anyone with musical curiosity will welcome the chance to explore such an idiosyncratic composer.

Scriabin's Symphony No 3 was composed not long after the composer had arrived at a philosophy that exalted the individual ego and the senses. The piece, which has also been referred to as a tone poem in three movements, was Scriabin's attempt to give expression to the evolution of the human spirit. For Scriabin, the finale of his Third Symphony marked a significant moment in his development as a composer, and he wrote that "this was the first time I found light in music... the first time I knew intoxication, flight, the breathlessness of happiness". By 1906 Scriabin had published a poem which set out the 'philosophical programme' of a work, which was to become his Fourth Symphony. The work's title refers to an artistic ecstasy, which is expressed in the music through a beautifully coloured sound-world and harmonic fluidity, culminating in the final section with the revelation of C major. Scriabin was influenced by synesthesia, and associated colours with the various harmonic tones of his atonal scale, while his colour-coded circle of fifths was also influenced by theosophy. Valery Gergiev says of the composer: "Scriabin is a great Russian composer... He's clearly a composer with his own voice, from his own world. Scriabin came up with very much his own sonority and his ability to hear different colours was legendary. Scriabin should be today understood as a man who was able to create a wonderfully magical musical world, and we just have to give in. We have to be imprisoned by these compositions and the magical powers of the creator."

kr 99
Image Daphnis Et Chloe (SACD+DVD)
In 2011 LSO Live released Ravel Daphnis et Chloé, Pavane pour une infante défunte & Boléro on 1 SACD. Available now internationally LSO Live present this release with the addition of a DVD, including video concert footage of Valery Gergiev conducting Boléro.

Ravel was commissioned by Serge Diaghilev in 1909 to write the music for Daphnis et Chloé. Although he subsequently prepared orchestral suites of the score, the complete work is a magnificent orchestral showpiece in its own right. Ravel described it as a symphonie choréographique although it is essentially an extended tone poem. Luscious orchestral colours run throughout the work, portraying the passion of the two protagonists for each other. By contrast, Pavane pour une infante défunte, composed whilst Ravel was still a student of Gabriel Fauré, harks back to the simplicity of the eighteenth-century music of Rameau.

Boléro, available in this package as a DVD, is one of his final works, and is a fiery showpiece, highlighting the Spanish influences and passion that pervade so many of his works.

kr 149
Image Paradies und die Peri (Das)
Sally Matthews, Mark Padmore, Kate Royal, Bernarda Fink, Andrew Staples, Florian Boesch, Simon Halsey
London Symphony Chorus, London Symphony Orchestra / Sir Simon Rattle

Sir Simon Rattle conducts Schumann Das Paradies und die Peri, LSO Live. His debut recording on LSO Live, Sir Simon Rattle conducts a stunning performance of Schumann's rarely recorded Das Paradies und die Peri featuring a superb line-up of soloists.

Rattle is well-known for being a champion of this rarely-heard work, and yet this is the first audio recording he has made of it. Here it is brought to life by the LSO under his baton, and the starry line-up makes the best possible case for Schumann's great oratorio.

Sir Simon Rattle says of the piece, 'It's the great masterpiece you've never heard, and there aren't many of those now.... This is just something else, a complete anomaly if you think about it. In Schumann's life it was the most popular piece he ever wrote, it was performed endlessly. Every composer loved it. Wagner wrote how jealous he was that Schumann had done it and he'd stolen this subject that he wanted to do and how extraordinary it was... It was a playground for composers and the piece was extraordinary.'

Based on an episode from Thomas Moore's epic poem Lalla Rookh, itself inspired by exotic, colourful tales taken from Persian mythology, Das Paradies und die Peri reflects the 19th-century craze for all things Oriental. Completed in 1843, Schumann's 'secular oratorio' tells how the Peri, a legendary creature, was expelled from paradise and follows her quest to redeem herself by giving the gift that is most dear to heaven.

Writing about the work in a letter to a friend, Schumann himself said, 'at the moment I'm involved in a large project, the largest I've yet undertaken - it's not an opera - I believe it's well-nigh a new genre for the concert hall.' Conceived in three beautifully sequenced parts, it is unlike any oratorio of Schumann's day. Sustained melodic invention is clear throughout, with Peri's high C in the finale forming a deftly timed climax.

Soprano Sally Matthews gives a soaring performance as Peri, showcasing Schumann's imaginative and emotive vocal writing, and there are superb supporting performances from Mark Padmore, Kate Royal, Bernarda Fink, Andrew Staples and Florian Boesch.

'It received as good a performance as could be imagined. Every strength of Schumann's art is showcased... [Rattle's] passion for this piece was obvious from his every gesture.'
(The Arts Desk)

'The performance had tremendous presence.'
(The Guardian)

'Sally Matthews as the Peri fully engaged our sympathies for the resourceful spirit, capturing alike her plaintive entreaties and her vibrant exultation at the prospect of redemption.'
(Evening Standard)

'The classical-sized LSO (with five double basses) was at its elegant best in Schumann's luminous orchestration.'
(Classical Source)

kr 169
Image Symphony No. 3
London Symphony Orchestra / Valery Gergiev

Following his acclaimed LSO Live recordings of Rachmaninov's Symphony No 2 and 'Symphonic Dances', Valery Gergiev conducts a scintillating performance of the powerfully emotional Symphony No 3, framed with a work by one of the Mighty Five: Balakirev's 'Russia'.
Rachmaninov's third and final symphony was composed nearly 20 years after the composer's emigration from his homeland. Often considered to be his most overtly Russian symphony, Rachmaninov makes subtle use of a motto theme which appears throughout the work and can be heard in the finale as a variant of the Dies Irae plainchant - a melodic tag used in Rachmaninov's music as a dark reminder of mortality.
'Russia', an epic symphonic poem, is a reworking of an Overture on Russian Themes, collected during Balakirev's expedition up through the Volga. It was composed in 1864 and is based on three folksongs - a slow wedding song and two round-dances which are varied, fragmented and combined throughout the piece. Gergiev's Rachmaninov cycle is due for completition in Spring 2016.

kr 89
Image Symphony No. 10
Markus Butter
Simon Halsey
London Symphony Orchestra
London Symphony Chorus
Sir Antonio Pappano

LSO Live presents the world premiere recording of Sir Peter Maxwell Davies's architectural 10th Symphony, alongside Sir Andrzej Panufnik's Symphony No 10. This release showcases two of the 20th century's most iconic symphonic composers, paired together here by their 10th Symphonies.
Regarded as one of the foremost composers of our time, Sir Peter Maxwell Davies has made a significant contribution to musical history through his wide-ranging and prolific output. Commissioned by the LSO and described by the composer as "the wildest music I've ever written", Symphony No. 10 tells the story of 17th century architect Francesco Borromini, who suffered much criticism for his idiosyncratic buildings and tragically committed suicide. Borromini's architectural and mathematical principles permeate the symphony, a work that speaks of creativity, life, death and renewal.
Conductor Sir Antonio Pappano has spoken of his admiration for the piece and its composer: "When he described the piece to me and its dramatic content then I was drawn very strongly to it. Max wrote most of this piece in hospital. He was diagnosed with leukemia and was undergoing treatment for a long period of time, so the piece is very strong with tremendous pathos... it gives the piece a power and a sureness of knowledge."
As with many of his other works, Panufnik's succinct offering is influenced by geometry - the Fibonacci series in this instance. The sym-phony achieves its supreme sound quality through the combination of various groups of instruments, with Panufnik allowing each grouping to convey humanity and an intense, profound musicianship. This record-ing was made during Panufnik's Centenary year and supported by the Adam Mickiewicz Institute.

kr 129
Image Symphony No. 5 (SACD+Blu-Ray Audio)
Sir John Eliot Gardiner and the London Symphony Orchestra join forces once again in the latest instalment of their exploration of Mendelssohn s symphonies. The previous release, Mendelssohn s Symphony No 3, Scottish , coupled with The Hebrides Overture and Schumann s Piano Concerto, has received widespread critical acclaim. Gramophone awarded the album Editor s Choice and called it "a truly memorable performance"; IRR observed that "it is so good that it can be recommended without hesitation" and it received an ICMA 2014 nomination in the Best Collection category. Mendelssohn s Symphony No 5 was written in 1830 to commemorate the 300th anniversary of the Augsberg confession a seminal event in the Protestant Reformation. Allusions to the symphony s title and inspiration can be heard throughout the music itself: the Dresden Amen is cited by the strings in the first movement whilst the finale is based on Martin Luther s well-known chorale 'Ein feste Burg ist unser Gott' (A Mighty Fortress is Our God). Coupled with this are two of Mendelssohn s overtures, both of which were inspired by literary works. 'Calm Sea and Prosperous Voyage', based on two short poems by Goethe, depicts the journey of sailors at sea with a still adagio opening ultimately giving way to a triumphant homecoming. Completing the album, the overture 'Ruy Blas' was commissioned by the Leipzig Theatre as an overture to Victor Hugo s tragic drama of the same name. DSD recording, live at the Barbican, March & October 2014, Audio 2.0 Stereo and multi-channel (5.1)

kr 149
Image Symphonies Nos 1-6
Lucy Hall soprano Marcus Farnsworth baritone

Recorded live in DSD between October 2009 and December 2011
at the Barbican Centre, London

Disc 4 (Pure Audio Blu-ray) contains all six symphonies on one Blu-ray audio disc, in high-definition audio.
Also includes downloadable audio files* that can be transferred
to a computer or portable device.
*2.0 stereo files: DSD / 24bit 96kHz FLAC

kr 249
Image Harold en Italie / La mort de Cléopâtre
Violist Antoine Tamestit and mezzo-soprano, Karen Cargill, join forces with the London Symphony Orchestra and Valery Gergiev, in the latest instalment of their Berlioz exploration. Composed in 1834 at the suggestion of Paganini and completed in Montmartre, 'Harold en Italie' received its first performance at the Conservatoire de Paris later that year. Taking inspiration from Lord Byron s 'Childe Harold s Pilgrimage', 'Harold en Italie' is among the most poetic of Berlioz s oeuvre, its ingenious use of solo viola charting the dreamy Harold s wanderings throughout the Italian countryside and the characters encountered along the way. In this new recording Antoine Tamestit brings a forthright personality to the hero. 'Maestro Gergiev s deep musicianship added the sort of instinctive passion one needs with Berlioz and especially with 'Harold en Italie'. All of this was overwhelmingly inspiring for me and made these concerts and recordings a truly unique and unforgettable experience,' says Tamestit. Karen Cargill gives an emotionally intense performance of the dramatic cantata for 'La mort de Cléopâtre' adding to her already formidable reputation in the Berlioz canon. She says, 'La mort de Cléopâtre is a monumental work, grand in drama, orchestration and vocally challenging. The scope of the piece is huge, not only emotionally it has a vocal range of over two octaves within only a few pages, ultimately quite operatic in delivery. Pacing the work is a huge part of performing it, allowing the character to recollect, reflect and ultimately act. The death scene is so wonderfully written, so simple and real.'

kr 99
Image Serenade for Strings
The LSO s magnificent string sound is world renowned and this recording marks the LSO Live debut of the LSO String Ensemble, led by LSO Leader Roman Simovic, who directs a performance of the much loved Tchaikovsky 'Serenade for Strings', together with Bartók s 'Divertimento'. The Serenade has proved to be one of Tchaikovsky s most enduringly popular works, a piece he described as being passionately in love with . Inspired in part by Mozart, its elegant music weaves Russian folk-song, and a fine example of the composer s beloved Waltz, with an elegiac musical centrepiece. Also featured on this release is Bartók s 'Divertimento', one of the composer s last works before leaving Europe for exile in the US. The Divertimento is a highly original work in its own unique idiom, contrasting two buoyant and light-hearted movements with a sombre Adagio in four sections. Roman Simovic, leader of the LSO & the LSO String Ensemble, says of the ensemble s premiere recording, 'I am thrilled every time I direct the LSO Strings. With an incredible amount of energy in just a few days we achieved a huge spectrum of colours in the Tchaikovsky Serenade for Strings and Bartok s Divertimento. We wanted to achieve an intimate chamber sound by relying on our ears and our reactions. Every player realised their own personal importance and impact on this recording and it is a big honour for me to be a part of their team and this recording. I think the LSO Strings are a very special ensemble'.

kr 99
Image Piano Concerto (SACD+Bluray)
LSO Live presents the first in a series exploring the complete symphonies of Felix Mendelssohn under the baton of Sir John Eliot Gardiner. Also featured on this release is the eminent Portuguese pianist, Maria João Pires, in the inaugural concerto recording on the label. Inspired by his travels to the British Isles and full of the influence of the rolling Scottish landscape, both Mendelssohn s Symphony No. 3 Scottish and his Hebrides Overture ( Fingal s Cave ) are amongst the composer s most popular and celebrated works. Sir John Eliot Gardiner writes of this coupling: "Even if they spoke with different accents these genial Romantics were united in their ambitious fervour for abstract music to be acknowledged as having the same expressive force as poetry, drama or the literary novel. The three works on this album exemplify the endeavour and range of invention of two of them, friends and colleagues in Leipzig." This recording will be released in both SACD and pure audio Blu-ray formats, allowing both the London Symphony Orchestra and Sir John Eliot s performance to be seen and heard to full effect. DSD recording, live at the Barbican, 21st January 2014 Video/ audio 2.0 Stereo and multi-channel (5.0) Audio + bonus video material/digital

kr 169
Image Symphonie fantastique (SACD+Blu-Ray Audio)
kr 149
Image Symphonies Nos 3 & 4
Valery Gergiev and the London Symphony Orchestra bring to a close their celebrated Brahms cycle with the release of Brahms third and fourth Symphonies. Brahms is often associated with the idea of abstract music, free of literary models or autobiography, but with the third the composer wrote in many ways his most personal symphony. Composed at a mountain retreat in 1884, about a year after completing the third, Brahms architectural musical skill is nowhere more evident than in his fourth and final symphony, employing Baroque contrapuntal techniques and chromatic labyrinths and described by Hans von Bülow as having the feeling of being given a beating by two incredibly intelligent people.

kr 99
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