Elisabeth Leonskaja, Michael Sanderling, Luzerner Sinfonieorchester – Schumann & Grieg: Piano Concertos (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 01:04:35 minutes | 1,03 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
“Innate piano playing with musical sensitivity and a boldness honed by a lifetime of experience,” wrote The Guardian in admiration. Elisabeth Leonskaja, a living legend of the present day, is now releasing her third album on Warner Classics under the title Schumann & Grieg: Piano Concertos.
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Michael Sanderling – Beethoven Symphony No. 3 & Shostakovich Symphony No. 10 (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:44:47 minutes | 1,61 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
The Dresdner Philharmonie is one of Germany’s major orchestras and has laid, together with his Principal Conductor Michael Sanderling, its focus on recording the complete cycle of symphonies by Ludwig van Beethoven (1770-1827) and Dmitri Shostakovich (1906-1975). After having released Beethoven’s and Shostakovich’s symphonies nos. 6 in 2015, for which the orchestra has received positive reviews, this recording is the second album from the cycle. Michael Sanderling decided to pair Beethoven’s symphony no. 3 and Shostakovich’s symphony no. 10 because of the similar motivation of both composers: to display the current political situation, i.e. Napoleon’s reign and Stalin’s dictatorial regime.
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Matthias Kirschnereit, Frankfurt Radio Symphony & Michael Sanderling – Hummel – Weber – Mendelssohn (2021)
FLAC (tracks) 24 bit/48 kHz | Time – 01:02:13 minutes | 566 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Berlin Classics
Matthias Kirschnereit and the hr-Sinfonieorchester under Michael Sanderling have compiled a compelling, captivating programme of music from the last days of the Classical era, on the cusp of the Romantic. This “half-way house” – in the best possible sense – accommodates the compositions of Johann Nepomuk Hummel, Carl Maria von Weber and Felix Mendelssohn. On his latest album, the soloist makes the boldness of this musical venture audible: “I was attracted by the fact that these rare jewels were created at a time of change, of new horizons.”
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Luzerner Sinfonieorchester, Michael Sanderling – Brahms: Symphonies Nos 1-4 (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 03:42:24 minutes | 3,79 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
When Michael Sanderling took up the post of principal conductor with the Lucerne Symphony Orchestra in 2021, it marked the beginning of a collaboration that has attracted worldwide attention. The first, impressive discographic fruits are now revealed in the form of a complete recording of Johannes Brahms’ four symphonies: summit works of music history, recorded against the alpine backdrop of Lake Lucerne, on whose shores the Lucerne Symphony Orchestra resides as Switzerland’s oldest and most renowned symphony orchestra – in the Culture and Convention Center (KKL), which was completed in 1998 and is famous for its phenomenal acoustics.
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Dresdner Philharmonie & Michael Sanderling – Beethoven: Symphonies Nos. 7 & 8 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:07:18 minutes | 1,02 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
The Dresdner Philharmonie is one of Germany’s major orchestras and has laid, together with his Principal Conductor Michael Sanderling, its focus on recording the complete cycle of symphonies by Ludwig van Beethoven (1770-1827) and Dmitri Shostakovich (1906-1975). After having released Beethoven’s and Shostakovich’s symphonies nos. 6 in 2015, for which the orchestra has received positive reviews.
“Michael Sanderling offers warm, structurally sound, well-balanced performances, always musically phrased with well-judged climaxes (especially in the Beethoven).” (Gramophone Magazine)
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Dresdner Philharmonie & Michael Sanderling – Beethoven: Symphonies Nos. 2 & 4 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:08:37 minutes | 1,11 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
The Dresdner Philharmonie is one of Germany’s major orchestras and has laid, together with his Principal Conductor Michael Sanderling, its focus on recording the complete cycle of symphonies by Ludwig van Beethoven (1770-1827) and Dmitri Shostakovich (1906-1975). After having released Beethoven’s and Shostakovich’s symphonies nos. 6 in 2015, for which the orchestra has received positive reviews.
“Michael Sanderling offers warm, structurally sound, well-balanced performances, always musically phrased with well-judged climaxes (especially in the Beethoven).” (Gramophone Magazine)
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Dresden Philharmonic & Michael Sanderling – Beethoven & Shostakovich: Symphonies No. 5 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:21:50 minutes | 1,31 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
The Dresdner Philharmoniker is one of Germany’s most celebrated orchestras. They have received top laurels for their three albums with the symphonies of Beethoven and Shostakovich: “a delightful combination” (Fono Forum) and “very precise and brilliantly lucid” (hr2 Kultur). Their new album offers a riveting comparison of these two composers’ fifth symphonies. Beethoven’s Symphony No. 5, composed in 1808, is considered the ne plus ultra of classical music. It was the con-trast between its bleak and dramatic C minor opening and the jubilant C major finale that first gave rise to the familiar metaphors of “through darkness toward light” and “victory over fate”. The same dramatic arch underlies Shostakovich’s Fifth, composed in 1937 in the midst of the Stalinist purges. After Soviet officialdom had condemned his Fourth Symphony, the Fifth was celebrated as the return of the prodigal son. Here, too, the mighty opening movement ultimately leads to sounds of jubilation, this time driven to extremes.
Read more![Michael Sanderling - Beethoven: Symphony No. 9 & Shostakovich: Symphony No. 13 (2018) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/08/26/n8w9dxlej95ba_600.jpg?resize=500%2C500&ssl=1)
Michael Sanderling – Beethoven: Symphony No. 9 & Shostakovich: Symphony No. 13 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 02:11:13 minutes | 2,01 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Sony Classical – Sony Music
The first four albums of the Dresdner Philharmonie featuring symphonies by Ludwig van Beethoven (1770–1827) and Dmitri Shostakovich (1906–1975) reveal fascinating aspects shared by both composers. The most recent recording of the two Symphonies No. 5 received high praise from the critics: “Sanderling puts the interpretative bombast of the 5th Symphony behind him. The music itself can be heard, not its catechism,” and Rondomusic magazine writes “the outcome is remarkable –listeners will be eager to hear more!” The Dresdner Philharmonie is now concluding this recording cycle with their new album. They present Beethoven’s world-famous Symphony No. 9 and the deeplymoving Symphony No. 13 on 2 CDs. Composed between 1817 and 1824, Beethoven’s Symphony No. 9 in D minor closes with “Ode to Joy” writtenby Friedrich Schiller in 1785, (sung by the MDR Rundfunkchor and soloists Vera-Lotte Böcker, Kristina Stanek, Bernhard Berchtold and Torben Jürgens). This choral finale is an exalted and utopian vision of humanity united and living together in peace. Contemporariesbelieved that after Beethoven’s Ninth the “dimensions and goals” of the symphony had been exhausted. However, it was only at the beginning of a period of high symphonic culture extending from Berlioz to Mahler and from Liszt to Shostakovich. The 13th Symphony was composed by Shostakovich nine years after Stalin’s death: a monument to the truth, an indictment of every expression and unspeakable act of misanthropy, from everyday humiliations all the way to the most brutal crimes of genocide. Superbly sung by bass soloist Mikhail Petrenko and the Estonian National Male Chorus, unlike Beethoven’s Ninth, this symphony does not end in an emphatic celebration of victory but instead in ruin, with death and mourning, in doubt and ambiguity.
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