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Philippe Herreweghe, Orchestre des Champs-Élysées - Anton Bruckner: Symphony No. 7 (2004)

Posted By: ArlegZ
Philippe Herreweghe, Orchestre des Champs-Élysées - Anton Bruckner: Symphony No. 7 (2004)

Philippe Herreweghe, Orchestre des Champs-Élysées - Anton Bruckner: Symphony No. 7 (2004)
EAC | FLAC | Image (Cue & Log) ~ 271 Mb | Total time: 59:54 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901857 | Recorded: 2004

120 years after its premiere at Leipzig (under the baton of Arthur Nikisch), Philippe Herreweghe provides an opportunity to rediscover the Seventh Symphony played on period instruments. This work was the first to bring Bruckner success beyond the borders of Austria, and was never subsequently revised. By dedicating his score to Ludwig II of Bavaria, the composer was also relishing a calculated insult to the Viennese press, still resolutely hostile to his music…

Philippe Herreweghe, Orchestre des Champs-Elysees, La Chapelle Royale, Collegium Vocale - Beethoven: Missa Solemnis (1995)

Posted By: ArlegZ
Philippe Herreweghe, Orchestre des Champs-Elysees, La Chapelle Royale, Collegium Vocale - Beethoven: Missa Solemnis (1995)

Philippe Herreweghe, Orchestre des Champs-Élysées, La Chapelle Royale, Collegium Vocale - Beethoven: Missa Solemnis Op.123 (1995)
EAC | FLAC | Image (Cue & Log) ~ 329 Mb | Total time: 77:23 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901557 | Recorded: 1995

This really was quite a fine recording of Beethoven's Missa Solemnis, one of the best in years and easily the best of the early music recordings. The Choeur de la Chapelle Royale et du Collegium Vocale sing with strength and stamina, but also with grace and beauty of tone. The Champs Elysees Orchestra plays with power and precision, but also with unity of ensemble and beauty of tone, a very rare quality in an early music orchestra. And Herreweghe himself is actually an apt interpreter of the work. Not only does he have a knack for bringing out better than the best in his performers, but he actually seems to believe in the spiritual and sublime essence of the work, a very, very rare quality in any conductor these days.

Philippe Herreweghe, Orchestre des Champs-Elysees - Mozart: Requiem K.626, Kyrie K.341 (1997)

Posted By: ArlegZ
Philippe Herreweghe, Orchestre des Champs-Elysees - Mozart: Requiem K.626, Kyrie K.341 (1997)

Philippe Herreweghe, Orchestre des Champs-Élysées - Mozart: Requiem K.626, Kyrie K.341 (1997)
EAC | FLAC | Image (Cue & Log) ~ 289 Mb | Total time: 53:57 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901620 | Recorded: 1996

December 1791, the final Requiem. Tired by his many voyages around Europe ever since he had been rejected in Vienna, Mozart could not find the strength to honour his promise to compose a Requiem in record time for the person who had commissioned it… He was in fact to be struck down by illness during its composition and it was his pupil Süssmayr who finished the work according to his instructions. This version remains the most convincing, for the presence and grandeur of Mozart are present everywhere - in the baroque imagination and the classical style, in the universal unrest and the sheer terror of a man alone in the face of Death.

Philippe Herreweghe, Collegium Vocale Gent, Orchestre des Champs-Elysées - Bruckner: Mass No. 2 in E minor; Te Deum (2020)

Posted By: ArlegZ
Philippe Herreweghe, Collegium Vocale Gent, Orchestre des Champs-Elysées - Bruckner: Mass No. 2 in E minor; Te Deum (2020)

Philippe Herreweghe, Collegium Vocale Gent, Orchestre des Champs-Elysées - Anton Bruckner: Mass No. 2 in E minor; Te Deum (2020)
EAC | FLAC | Image (Cue & Log) ~ 208 Mb | Total time: 51:40 | Scans included
Classical | Label: PHI | # LPH034 | Recorded: 2012, 2019

Composed in 1866 for the inauguration of a votive chapel in Linz Cathedral, Anton Bruckners Mass no. 2 is a fine example of modernity blended with a centuries-old religious tradition, in that wind instruments are set in dialogue with choral writing inspired by Gregorian chant. Shorter in duration but scored for chorus and large orchestra with four soloists, his Te Deum of 1881 was acclaimed by such illustrious contemporaries as Hans Richter and Mahler, while the composer, usually very self-critical, opined that the score of this work would make God judge him kindly.

Philippe Herreweghe, Orchestre des Champs-Elysées, Collegium Vocale Gent - Brahms: Werke für Chor und Orchester (2011)

Posted By: ArlegZ
Philippe Herreweghe, Orchestre des Champs-Elysées, Collegium Vocale Gent - Brahms: Werke für Chor und Orchester (2011)

Philippe Herreweghe, Orchestre des Champs-Elysées, Collegium Vocale Gent - Brahms: Werke für Chor und Orchester (2011)
EAC | FLAC | Image (Cue & Log) ~ 245 Mb | Total time: 56:48 | Scans included
Classical | Label: PHI | # LPH 003 | Recorded: 2011

For his 3rd album on Phi, his new label published by the group Outhere, Philippe Herreweghe has brought together a splendid set of artists in the Lutoslawski hall in Warsaw. Ann Hallenberg, whose voice won over the public of some of the world’s most prestigious concert halls, takes on the Rhapsody for contralto solo and men's chorus by Brahms while the rest of the programme leads the listener through his essential works for chorus and orchestra. Herreweghe’s long-time affinity with the composer of A German Requiem has enabled him to provide a coherent and personal vision of those musical pages in which Brahms gave free course to his most intimate thoughts.

Philippe Herreweghe, Orchestre des Champs-Élysées - Bruckner: Symphonie Nr. 5 (2009)

Posted By: ArlegZ
Philippe Herreweghe, Orchestre des Champs-Élysées - Bruckner: Symphonie Nr. 5 (2009)

Philippe Herreweghe, Orchestre des Champs-Élysées - Bruckner: Symphonie Nr. 5 (2009)
EAC | FLAC | Image (Cue & Log) ~ 300 Mb | Total time: 73:36 | Scans included
Classical | Label: Harmonia Mundi | HMC 902011 | Recorded: 2008

Herreweghe’s Bruckner symphony cycle with the period instruments of his Orchestre des Champs-Elysees reaches the tremendous Fifth, a pivotal work in the composer’s development. As usual it’s a sober account, and nicely tailored, though the conductor’s knack for shaving away the sharp edges can be a mixed blessing.