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Tchaikovsky: Symphony No. 3 "Polish", Polonaise from "Eugene Onegin", Festival Coronation March

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Tchaikovsky: Symphony No. 3 "Polish", Polonaise from "Eugene Onegin", Festival Coronation March | Outhere Music

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With this final volume of their Tchaikovsky cycle, Paavo Järvi and the Tonhalle-Orchester Zürich complete their exploration of the Russian composer's symphonies. Symphony No. 3, also known as the "Polonaise" (1875), is notable as Tchaikovsky's only symphony composed in the major mode. It is followed by another Polish-inspired piece, the Polonaise that opens the third act of Eugene Onegin (1879), his opera based on Alexander Pushkin's novel of the same name. The programme ends with a work commissioned by the city of Moscow for the coronation of Tsar Alexander III, the Festival Coronation March (1883).

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Tchaikovsky: Symphony No. 3 "Polish", Polonaise from "Eugene Onegin", Festival Coronation March

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Tchaikovsky: Symphony No. 3 "Polish", Polonaise from "Eugene Onegin", Festival Coronation March

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With this final volume of their Tchaikovsky cycle, Paavo Järvi and the Tonhalle-Orchester Zürich complete their exploration of the Russian composer's symphonies. Symphony No. 3, also known as the "Polonaise" (1875), is notable as Tchaikovsky's only symphony composed in the major mode. It is followed by another Polish-inspired piece, the Polonaise that opens the third act of Eugene Onegin (1879), his opera based on Alexander Pushkin's novel of the same name. The programme ends with a work commissioned by the city of Moscow for the coronation of Tsar Alexander III, the Festival Coronation March (1883).

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for recordings by soprano and conductor Barbara Hannigan and violinist Patricia Kopatchinskaja. In 2020

# data[].attributes.metatag[].attributes.content.description[]
Alpha was named ‘Label of the Year’ by the leading industry magazine

# data[].attributes.metatag[].attributes.content.description[]
Alpha artists received a further three Gramophone awards. The much coveted ‘Label of the Year’ award has been given to Alpha three more times in recent years: by Radio Classique in 2020

# data[].attributes.metatag[].attributes.content.description[]
the French magazine Classica in 2019 and at the International Classical Music Awards in 2018.

# data[].attributes.body.value
With this final volume of their Tchaikovsky cycle, Paavo Järvi and the Tonhalle-Orchester Zürich complete their exploration of the Russian composer's symphonies. Symphony No. 3, also known as the "Polonaise" (1875), is notable as Tchaikovsky's only symphony composed in the major mode. It is followed by another Polish-inspired piece, the Polonaise that opens the third act of Eugene Onegin (1879), his opera based on Alexander Pushkin's novel of the same name. The programme ends with a work commissioned by the city of Moscow for the coronation of Tsar Alexander III, the Festival Coronation March (1883).

# data[].attributes.body.processed
With this final volume of their Tchaikovsky cycle, Paavo Järvi and the Tonhalle-Orchester Zürich complete their exploration of the Russian composer's symphonies. Symphony No. 3, also known as the "Polonaise" (1875), is notable as Tchaikovsky's only symphony composed in the major mode. It is followed by another Polish-inspired piece, the Polonaise that opens the third act of Eugene Onegin (1879), his opera based on Alexander Pushkin's novel of the same name. The programme ends with a work commissioned by the city of Moscow for the coronation of Tsar Alexander III, the Festival Coronation March (1883).

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Tchaikovsky: Symphony No. 3 "Polish", Polonaise from "Eugene Onegin", Festival Coronation March

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Tchaikovsky: Symphony No. 3 "Polish", Polonaise from "Eugene Onegin", Festival Coronation March

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Tchaikovsky: Symphony No. 1 "Winter Daydreams", Italian Capriccio, Waltz from "Eugene Onegin"

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Tchaikovsky: Symphony No. 1 "Winter Daydreams", Italian Capriccio, Waltz from "Eugene Onegin" | Outhere Music

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The Estonian conductor Paavo Järvi and the Tonhalle-Orchester Zürich continue their journey through Tchaikovsky’s symphonic works. This fourth volume opens with the Symphony no.1 (1866), subtitled ‘Winter Daydreams’. He wrote his first essay in the symphonic genre just after his appointment to a teaching post at the Moscow Conservatory, and it earned him lasting success. Indeed, he retained a lifelong attachment to the piece, asserting that it was superior in substance to all his more mature symphonic works. The programme continues with one of the Russian composer's most famous pieces, the Capriccio italien (1880). Conceived as a musical travelogue, this symphonic poem is a genuine tribute to Italian folk melodies. The triptych offered by this volume is rounded off by the Waltz from the opera Eugene Onegin (1879).

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Tchaikovsky: Symphony No. 1 "Winter Daydreams", Italian Capriccio, Waltz from "Eugene Onegin"

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Tchaikovsky: Symphony No. 1 "Winter Daydreams", Italian Capriccio, Waltz from "Eugene Onegin"

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The Estonian conductor Paavo Järvi and the Tonhalle-Orchester Zürich continue their journey through Tchaikovsky’s symphonic works. This fourth volume opens with the Symphony no.1 (1866), subtitled ‘Winter Daydreams’. He wrote his first essay in the symphonic genre just after his appointment to a teaching post at the Moscow Conservatory, and it earned him lasting success. Indeed, he retained a lifelong attachment to the piece, asserting that it was superior in substance to all his more mature symphonic works. The programme continues with one of the Russian composer's most famous pieces, the Capriccio italien  (1880). Conceived as a musical travelogue, this symphonic poem is a genuine tribute to Italian folk melodies. The triptych offered by this volume is rounded off by the Waltz from the opera Eugene Onegin (1879).

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for recordings by soprano and conductor Barbara Hannigan and violinist Patricia Kopatchinskaja. In 2020

# data[].attributes.metatag[].attributes.content.description[]
Alpha was named ‘Label of the Year’ by the leading industry magazine

# data[].attributes.metatag[].attributes.content.description[]
Alpha artists received a further three Gramophone awards. The much coveted ‘Label of the Year’ award has been given to Alpha three more times in recent years: by Radio Classique in 2020

# data[].attributes.metatag[].attributes.content.description[]
the French magazine Classica in 2019 and at the International Classical Music Awards in 2018.

# data[].attributes.body.value
The Estonian conductor Paavo Järvi and the Tonhalle-Orchester Zürich continue their journey through Tchaikovsky’s symphonic works. This fourth volume opens with the Symphony no.1 (1866), subtitled ‘Winter Daydreams’. He wrote his first essay in the symphonic genre just after his appointment to a teaching post at the Moscow Conservatory, and it earned him lasting success. Indeed, he retained a lifelong attachment to the piece, asserting that it was superior in substance to all his more mature symphonic works. The programme continues with one of the Russian composer's most famous pieces, the Capriccio italien (1880). Conceived as a musical travelogue, this symphonic poem is a genuine tribute to Italian folk melodies. The triptych offered by this volume is rounded off by the Waltz from the opera Eugene Onegin (1879).

# data[].attributes.body.processed
The Estonian conductor Paavo Järvi and the Tonhalle-Orchester Zürich continue their journey through Tchaikovsky’s symphonic works. This fourth volume opens with the Symphony no.1 (1866), subtitled ‘Winter Daydreams’. He wrote his first essay in the symphonic genre just after his appointment to a teaching post at the Moscow Conservatory, and it earned him lasting success. Indeed, he retained a lifelong attachment to the piece, asserting that it was superior in substance to all his more mature symphonic works. The programme continues with one of the Russian composer's most famous pieces, the Capriccio italien (1880). Conceived as a musical travelogue, this symphonic poem is a genuine tribute to Italian folk melodies. The triptych offered by this volume is rounded off by the Waltz from the opera Eugene Onegin (1879).

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Tchaikovsky: Symphony No. 1 "Winter Daydreams", Italian Capriccio, Waltz from "Eugene Onegin"

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Tchaikovsky: Symphony No. 1 "Winter Daydreams", Italian Capriccio, Waltz from "Eugene Onegin"

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Haydn 2032, Vol. 3: Solo e pensoso (LP) | Outhere Music

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VINYL - LP VERSION OF THE ALPHA 672 Looking ahead to the 300th anniversary of the birth of Haydn in 2032, the Joseph Haydn Foundation of Basel has joined forces with the Alpha Classics label to record all of the composer’s 107 symphonies. This ambitious project is placed under the artistic direction of Giovanni Antonini, who now presents the third volume, after two previous issues that attracted great attention and received numerous awards, including the Echo Klassik Prize 2015 for the ‘best orchestral recording’ of the year.Since he sees the music of Haydn as ‘a kaleidoscope of human emotions’, Giovanni Antonini has decided to approach the symphonies not chronologically, but thematically; the theme here is Haydn the philosopher. The Italian conductor has chosen in each of the programmes to make connections between the symphonies and other works. For this volume, he calls on the magnificent soprano Francesca Aspromonte to perform a number of arias including the famous ‘Solo e pensoso’. Haydn 2032 Double Vinyl Deluxe Edition Here is a big first for the Haydn2032 series and for the Alpha label: volume 3 in the edition appears simultaneously on CD ( Alpha 672) and on VINYL (Alpha 673), in a luxury edition comprising two LPs in highquality pressings (180 gram vinyl) and a forty-page booklet with a sequence of photos by Bruno Barbey of the Magnum agency, the articles presenting the musical programme, and a new text by New York-based writer Lily Brett, who was once a music journalist specialising in rock and interviewed its biggest stars, from Jimi Hendrix to Mick Jagger. Here she presents a literary exercise on her relationship with music in general and classical music in particular.The LP package also includes the CD and a code for downloading the programme.Future volumes in the Haydn2032 edition will also be released on both CD and vinyl.

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VINYL - LP VERSION OF THE ALPHA 672
Looking ahead to the 300th anniversary of the birth of Haydn in 2032, the Joseph Haydn Foundation of Basel has joined forces with the Alpha Classics label to record all of the composer’s 107 symphonies. This ambitious project is placed under the artistic direction of Giovanni Antonini, who now presents the third volume, after two previous issues that attracted great attention and received numerous awards, including the Echo Klassik Prize 2015 for the ‘best orchestral recording’ of the year.Since he sees the music of Haydn as ‘a kaleidoscope of human emotions’, Giovanni Antonini has decided to approach the symphonies not chronologically, but thematically; the theme here is Haydn the philosopher. The Italian conductor has chosen in each of the programmes to make connections between the symphonies and other works. For this volume, he calls on the magnificent soprano Francesca Aspromonte to perform a number of arias including the famous ‘Solo e pensoso’.
  Haydn 2032 Double Vinyl Deluxe Edition
Here is a big first for the Haydn2032 series and for the Alpha label: volume 3 in the edition appears simultaneously on CD ( Alpha 672) and on VINYL (Alpha 673), in a luxury edition comprising two LPs in highquality pressings (180 gram vinyl) and a forty-page booklet with a sequence of photos by Bruno Barbey of the Magnum agency, the articles presenting the musical programme, and a new text by New York-based writer Lily Brett, who was once a music journalist specialising in rock and interviewed its biggest stars, from Jimi Hendrix to Mick Jagger. Here she presents a literary exercise on her relationship with music in general and classical music in particular.The LP package also includes the CD and a code for downloading the programme.Future volumes in the Haydn2032 edition will also be released on both CD and vinyl.

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for recordings by soprano and conductor Barbara Hannigan and violinist Patricia Kopatchinskaja. In 2020

# data[].attributes.metatag[].attributes.content.description[]
Alpha was named ‘Label of the Year’ by the leading industry magazine

# data[].attributes.metatag[].attributes.content.description[]
Alpha artists received a further three Gramophone awards. The much coveted ‘Label of the Year’ award has been given to Alpha three more times in recent years: by Radio Classique in 2020

# data[].attributes.metatag[].attributes.content.description[]
the French magazine Classica in 2019 and at the International Classical Music Awards in 2018.

# data[].attributes.body.value
VINYL - LP VERSION OF THE ALPHA 672

Looking ahead to the 300th anniversary of the birth of Haydn in 2032, the Joseph Haydn Foundation of Basel has joined forces with the Alpha Classics label to record all of the composer’s 107 symphonies. This ambitious project is placed under the artistic direction of Giovanni Antonini, who now presents the third volume, after two previous issues that attracted great attention and received numerous awards, including the Echo Klassik Prize 2015 for the ‘best orchestral recording’ of the year.

Since he sees the music of Haydn as ‘a kaleidoscope of human emotions’, Giovanni Antonini has decided to approach the symphonies not chronologically, but thematically; the theme here is Haydn the philosopher. The Italian conductor has chosen in each of the programmes to make connections between the symphonies and other works. For this volume, he calls on the magnificent soprano Francesca Aspromonte to perform a number of arias including the famous ‘Solo e pensoso’.

Haydn 2032 Double Vinyl Deluxe Edition

Here is a big first for the Haydn2032 series and for the Alpha label: volume 3 in the edition appears simultaneously on CD ( Alpha 672) and on VINYL (Alpha 673), in a luxury edition comprising two LPs in highquality pressings (180 gram vinyl) and a forty-page booklet with a sequence of photos by Bruno Barbey of the Magnum agency, the articles presenting the musical programme, and a new text by New York-based writer Lily Brett, who was once a music journalist specialising in rock and interviewed its biggest stars, from Jimi Hendrix to Mick Jagger. Here she presents a literary exercise on her relationship with music in general and classical music in particular.

The LP package also includes the CD and a code for downloading the programme.

Future volumes in the Haydn2032 edition will also be released on both CD and vinyl.

# data[].attributes.body.processed
VINYL - LP VERSION OF THE ALPHA 672

Looking ahead to the 300th anniversary of the birth of Haydn in 2032, the Joseph Haydn Foundation of Basel has joined forces with the Alpha Classics label to record all of the composer’s 107 symphonies. This ambitious project is placed under the artistic direction of Giovanni Antonini, who now presents the third volume, after two previous issues that attracted great attention and received numerous awards, including the Echo Klassik Prize 2015 for the ‘best orchestral recording’ of the year.

Since he sees the music of Haydn as ‘a kaleidoscope of human emotions’, Giovanni Antonini has decided to approach the symphonies not chronologically, but thematically; the theme here is Haydn the philosopher. The Italian conductor has chosen in each of the programmes to make connections between the symphonies and other works. For this volume, he calls on the magnificent soprano Francesca Aspromonte to perform a number of arias including the famous ‘Solo e pensoso’.

Haydn 2032 Double Vinyl Deluxe Edition

Here is a big first for the Haydn2032 series and for the Alpha label: volume 3 in the edition appears simultaneously on CD ( Alpha 672) and on VINYL (Alpha 673), in a luxury edition comprising two LPs in highquality pressings (180 gram vinyl) and a forty-page booklet with a sequence of photos by Bruno Barbey of the Magnum agency, the articles presenting the musical programme, and a new text by New York-based writer Lily Brett, who was once a music journalist specialising in rock and interviewed its biggest stars, from Jimi Hendrix to Mick Jagger. Here she presents a literary exercise on her relationship with music in general and classical music in particular.

The LP package also includes the CD and a code for downloading the programme.

Future volumes in the Haydn2032 edition will also be released on both CD and vinyl.

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Joseph Haydn Stiftung & Alpha Classics / Outhere Music France

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Rachmaninov: Symphony No. 2 | Outhere Music

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Following acclaimed performances on tour in Japan and South Korea, Robin Ticciati and the Deutsches Symphonie-Orchester Berlin have recorded one of Rachmaninov’s best-known works. In contrast with the disastrous reception of the First Symphony and the ensuing three-year compositional hiatus, the Second Symphony was a resounding success when it was premiered by the composer in 1908. Its thematic unity, archlike melodic lines, rich orchestral colours and expansive structure still inspire awe, particularly when performed by musicians of the DSO’s calibre. The score is presented in its original unabridged version which reveals Rachmaninov’s regained confidence in his power to compose and his true symphonic achievement. This exhilarating performance marks Ticciati’s sixth album with the DSO.

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Following acclaimed performances on tour in Japan and South Korea, Robin Ticciati and the Deutsches Symphonie-Orchester Berlin have recorded one of Rachmaninov’s best-known works. In contrast with the disastrous reception of the First Symphony and the ensuing three-year compositional hiatus, the Second Symphony was a resounding success when it was premiered by the composer in 1908. Its thematic unity, archlike melodic lines, rich orchestral colours and expansive structure still inspire awe, particularly when performed by musicians of the DSO’s calibre. The score is presented in its original unabridged version which reveals Rachmaninov’s regained confidence in his power to compose and his true symphonic achievement. This exhilarating performance marks Ticciati’s sixth album with the DSO.

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Born of love for music and superlative sound

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Scottish label Linn Records boasts an impressive catalogue packed with fine musicians from the worlds of classical

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jazz and folk music. Since its launch in 1982

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the label has constantly been striving for high-quality audio

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from vinyl to building a first-of-its-kind Studio Master downloading website. This unwavering ambition of capturing the artist’s original performance led to Linn Records being named ‘Label of the Year’ by Gramophone.

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Following acclaimed performances on tour in Japan and South Korea, Robin Ticciati and the Deutsches Symphonie-Orchester Berlin have recorded one of Rachmaninov’s best-known works. In contrast with the disastrous reception of the First Symphony and the ensuing three-year compositional hiatus, the Second Symphony was a resounding success when it was premiered by the composer in 1908. Its thematic unity, archlike melodic lines, rich orchestral colours and expansive structure still inspire awe, particularly when performed by musicians of the DSO’s calibre. The score is presented in its original unabridged version which reveals Rachmaninov’s regained confidence in his power to compose and his true symphonic achievement. This exhilarating performance marks Ticciati’s sixth album with the DSO.

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Following acclaimed performances on tour in Japan and South Korea, Robin Ticciati and the Deutsches Symphonie-Orchester Berlin have recorded one of Rachmaninov’s best-known works. In contrast with the disastrous reception of the First Symphony and the ensuing three-year compositional hiatus, the Second Symphony was a resounding success when it was premiered by the composer in 1908. Its thematic unity, archlike melodic lines, rich orchestral colours and expansive structure still inspire awe, particularly when performed by musicians of the DSO’s calibre. The score is presented in its original unabridged version which reveals Rachmaninov’s regained confidence in his power to compose and his true symphonic achievement. This exhilarating performance marks Ticciati’s sixth album with the DSO.

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Werner X. Uehlinger founded HatHutRecords simply in order to document the artistry of a musician he heard through a chance encounter with saxophonist/trumpeter Joe McPhee.  HatHut grown from an out-of-pocket venture to an established enterprise

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from small press runs of black vinyl to a line of beautifully (and ecologically responsible) packaged CD-only releases. From the beginning

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the label has shown a high regard for graphic design

# data[].attributes.metatag[].attributes.content.description[]
striving to create not just a musical artifact but a multifaceted work of art with each new release.

# data[].attributes.metatag[].attributes.content.description[]
Werner X. Uehlinger founded HatHutRecords simply in order to document the artistry of a musician he heard through a chance encounter with saxophonist/trumpeter Joe McPhee.  HatHut grown from an out-of-pocket venture to an established enterprise

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from small press runs of black vinyl to a line of beautifully (and ecologically responsible) packaged CD-only releases. From the beginning

# data[].attributes.metatag[].attributes.content.description[]
the label has shown a high regard for graphic design

# data[].attributes.metatag[].attributes.content.description[]
striving to create not just a musical artifact but a multifaceted work of art with each new release.

# data[].attributes.metatag[].attributes.content.description[]
Werner X. Uehlinger founded HatHutRecords simply in order to document the artistry of a musician he heard through a chance encounter with saxophonist/trumpeter Joe McPhee.  HatHut grown from an out-of-pocket venture to an established enterprise

# data[].attributes.metatag[].attributes.content.description[]
from small press runs of black vinyl to a line of beautifully (and ecologically responsible) packaged CD-only releases. From the beginning

# data[].attributes.metatag[].attributes.content.description[]
the label has shown a high regard for graphic design

# data[].attributes.metatag[].attributes.content.description[]
striving to create not just a musical artifact but a multifaceted work of art with each new release.

# data[].attributes.metatag[].attributes.content
Debussy: Pelléas et Mélisande | Outhere Music

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The Covid pandemic caused the cancellation of the performances of Pelléas et Mélisande at the Opéra National de Bordeaux, which approached Alpha in order to make an audio recording of this masterpiece. So here is that unexpected but highly anticipated new version, with an exceptional cast and a young conductor, Pierre Dumoussaud, whose calling card it is fast becoming, since he has already conducted it in many houses. ‘His conducting calls for nothing but praise, striking a fine balance between analytical clarity and theatrical life, while at the same time bringing out the extraordinary modernity of this intoxicating music’, wrote Christian Merlin in Le Figaro of one of his staged performances. The ‘disarming sincerity’ of Pelléas (Stanislas de Barbeyrac), the ‘constant emotion’ of Mélisande (Chiara Skerath), the ‘bitingly intense singing’ of Golaud (Alexandre Duhamel) – these are some of the comments elicited by the 2018 performances in the staging of Philippe Béziat and Florent Siaud, the intended revival of which this year was prevented by the health emergency. The album cover features a photo from that memorable production.

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The Covid pandemic caused the cancellation of the performances of 
  Pelléas et Mélisande
 at the Opéra National de Bordeaux, which approached Alpha in order to make an audio recording of this masterpiece. So here is that unexpected but highly anticipated new version, with an exceptional cast and a young conductor, Pierre Dumoussaud, whose calling card it is fast becoming, since he has already conducted it in many houses. ‘His conducting calls for nothing but praise, striking a fine balance between analytical clarity and theatrical life, while at the same time bringing out the extraordinary modernity of this intoxicating music’, wrote Christian Merlin in Le Figaro of one of his staged performances. The ‘disarming sincerity’ of Pelléas (Stanislas de Barbeyrac), the ‘constant emotion’ of Mélisande (Chiara Skerath), the ‘bitingly intense singing’ of Golaud (Alexandre Duhamel) – these are some of the comments elicited by the 2018 performances in the staging of Philippe Béziat and Florent Siaud, the intended revival of which this year was prevented by the health emergency. The album cover features a photo from that memorable production.

# data[].attributes.metatag[].attributes.content.description[]
for recordings by soprano and conductor Barbara Hannigan and violinist Patricia Kopatchinskaja. In 2020

# data[].attributes.metatag[].attributes.content.description[]
Alpha was named ‘Label of the Year’ by the leading industry magazine

# data[].attributes.metatag[].attributes.content.description[]
Alpha artists received a further three Gramophone awards. The much coveted ‘Label of the Year’ award has been given to Alpha three more times in recent years: by Radio Classique in 2020

# data[].attributes.metatag[].attributes.content.description[]
the French magazine Classica in 2019 and at the International Classical Music Awards in 2018.

# data[].attributes.body.value
The Covid pandemic caused the cancellation of the performances of
Pelléas et Mélisande
at the Opéra National de Bordeaux, which approached Alpha in order to make an audio recording of this masterpiece. So here is that unexpected but highly anticipated new version, with an exceptional cast and a young conductor, Pierre Dumoussaud, whose calling card it is fast becoming, since he has already conducted it in many houses. ‘His conducting calls for nothing but praise, striking a fine balance between analytical clarity and theatrical life, while at the same time bringing out the extraordinary modernity of this intoxicating music’, wrote Christian Merlin in Le Figaro of one of his staged performances. The ‘disarming sincerity’ of Pelléas (Stanislas de Barbeyrac), the ‘constant emotion’ of Mélisande (Chiara Skerath), the ‘bitingly intense singing’ of Golaud (Alexandre Duhamel) – these are some of the comments elicited by the 2018 performances in the staging of Philippe Béziat and Florent Siaud, the intended revival of which this year was prevented by the health emergency. The album cover features a photo from that memorable production.

# data[].attributes.body.processed
The Covid pandemic caused the cancellation of the performances of
Pelléas et Mélisande
at the Opéra National de Bordeaux, which approached Alpha in order to make an audio recording of this masterpiece. So here is that unexpected but highly anticipated new version, with an exceptional cast and a young conductor, Pierre Dumoussaud, whose calling card it is fast becoming, since he has already conducted it in many houses. ‘His conducting calls for nothing but praise, striking a fine balance between analytical clarity and theatrical life, while at the same time bringing out the extraordinary modernity of this intoxicating music’, wrote Christian Merlin in Le Figaro of one of his staged performances. The ‘disarming sincerity’ of Pelléas (Stanislas de Barbeyrac), the ‘constant emotion’ of Mélisande (Chiara Skerath), the ‘bitingly intense singing’ of Golaud (Alexandre Duhamel) – these are some of the comments elicited by the 2018 performances in the staging of Philippe Béziat and Florent Siaud, the intended revival of which this year was prevented by the health emergency. The album cover features a photo from that memorable production.

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Alpha Classics / Outhere Music France 2021

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Classics / Outhere Music France & Orchestre National Bordeaux Aquitaine 2021

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Tchaikovsky: Symphony No. 3 "Polish", Polonaise from "Eugene Onegin", Festival Coronation March

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Tchaikovsky: Symphony No. 1 "Winter Daydreams", Italian Capriccio, Waltz from "Eugene Onegin"

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When his native city Tallinn was still part of the Soviet Union, Paavo Järvi studied percussion and conducting there. But his way out into the world was predetermined. His father, Neeme Järvi, who is also a conductor, emigrated to the United States with the whole family in 1980. In Los Angeles Paavo Järvi continued his studies with Leonard Bernstein, among others. In 2001 he became principal conductor of the Cincinnati Symphony Orchestra, with which he still maintains connections.

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When his native city Tallinn was still part of the Soviet Union, Paavo Järvi studied percussion and conducting there. But his way out into the world was predetermined. His father, Neeme Järvi, who is also a conductor, emigrated to the United States with the whole family in 1980. In Los Angeles Paavo Järvi continued his studies with Leonard Bernstein, among others. In 2001 he became principal conductor of the Cincinnati Symphony Orchestra, with which he still maintains connections.

This was the first of several important international posts: the USA was followed by Germany, France and Japan. Just as he keeps up links with these orchestras, he also cultivates exchanges with his native country, Estonia. He supports and promotes Estonian composers.
In 2011, along with his father Neeme Järvi, he founded the Pärnu Music Festival and the Järvi Academy, which provides a direct line from Zurich to Pärnu through the conductors’ academy. Paavo Järvi appears as a guest conductor with such orchestras as the Berliner Philharmoniker, the Philharmonia Orchestra in London, the Sächsische Staatskapelle Dresden and the New York Philharmonic, and has been chief conductor of the NHK Symphony Orchestra (Tokyo) since 2015.

He is also artistic director of both the Deutsche Kammerphilharmonie Bremen and the Estonian Festival Orchestra, which he founded in 2011 as the resident ensemble of the Pärnu Music festival. He was chief conductor and artistic director of the Orchestre de Paris until 2016. The Estonian citizen is conductor laureate of the Frankfurt Radio Symphony (hr-Sinfonieorchester) and music director laureate of the Cincinnati Symphony Orchestra.

In 2010 he received several awards for his Beethoven cycle and in 2019 he was named conductor of the year with the Opus Klassik Award. The new stimuli he has brought to Zurich are documented in his first joint recording projects with his orchestra, first Messiaen and now Tchaikovsky.

Paavo Järvi took up his position as music director of the Tonhalle-Orchester Zürich in the 2019/20 season.

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When his native city Tallinn was still part of the Soviet Union, Paavo Järvi studied percussion and conducting there. But his way out into the world was predetermined. His father, Neeme Järvi, who is also a conductor, emigrated to the United States with the whole family in 1980. In Los Angeles Paavo Järvi continued his studies with Leonard Bernstein, among others. In 2001 he became principal conductor of the Cincinnati Symphony Orchestra, with which he still maintains connections.

This was the first of several important international posts: the USA was followed by Germany, France and Japan. Just as he keeps up links with these orchestras, he also cultivates exchanges with his native country, Estonia. He supports and promotes Estonian composers.
In 2011, along with his father Neeme Järvi, he founded the Pärnu Music Festival and the Järvi Academy, which provides a direct line from Zurich to Pärnu through the conductors’ academy. Paavo Järvi appears as a guest conductor with such orchestras as the Berliner Philharmoniker, the Philharmonia Orchestra in London, the Sächsische Staatskapelle Dresden and the New York Philharmonic, and has been chief conductor of the NHK Symphony Orchestra (Tokyo) since 2015.

He is also artistic director of both the Deutsche Kammerphilharmonie Bremen and the Estonian Festival Orchestra, which he founded in 2011 as the resident ensemble of the Pärnu Music festival. He was chief conductor and artistic director of the Orchestre de Paris until 2016. The Estonian citizen is conductor laureate of the Frankfurt Radio Symphony (hr-Sinfonieorchester) and music director laureate of the Cincinnati Symphony Orchestra.

In 2010 he received several awards for his Beethoven cycle and in 2019 he was named conductor of the year with the Opus Klassik Award. The new stimuli he has brought to Zurich are documented in his first joint recording projects with his orchestra, first Messiaen and now Tchaikovsky.

Paavo Järvi took up his position as music director of the Tonhalle-Orchester Zürich in the 2019/20 season.

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Tonhalle-Orchester Zürich | Outhere Music

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Classical music from Messiaen to Mozart: that is the passion of the Tonhalle-Orchester Zürich – and has been since 1868. When it plays with Paavo Järvi, a special energy is generated, because no concert is like the previous one. The orchestra loves the diverse stimuli it receives from its guest conductors and enjoys being challenged by internationally acclaimed soloists.

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Classical music from Messiaen to Mozart: that is the passion of the Tonhalle-Orchester Zürich – and has been since 1868. When it plays with Paavo Järvi, a special energy is generated, because no concert is like the previous one. The orchestra loves the diverse stimuli it receives from its guest conductors and enjoys being challenged by internationally acclaimed soloists.

Along with its audience, the orchestra maintains a lively curiosity for unknown masterpieces and newly commissioned works. Founded by musicians from Zürich, it proclaims its musical home in its name and carries its excellent reputation around the world by means of tours and recordings.

In the Tonhalle-Orchester Zürich, some 100 musicians play around fifty different programmes in over 100 concerts per season. The orchestra brings together musicians from some twenty nations. Guest appearances have taken it to 100 cities in more than thirty countries.

In addition to the orchestral projects, the musicians also create their own chamber music series and may be heard as soloists in a series specifically devoted to them. The music director Paavo Järvi is the eleventh principal conductor of the Tonhalle- Orchester Zürich; David zinman is its conductor emeritus.

The orchestra has released more than forty recordings on CD, including complete cycles of the symphonies of Beethoven, Mahler, Brahms and Schubert. Its first recording with Paavo Järvi was devoted to orchestral works by Olivier Messiaen and was awarded the Diapason d’Or in 2019.

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Classical music from Messiaen to Mozart: that is the passion of the Tonhalle-Orchester Zürich – and has been since 1868. When it plays with Paavo Järvi, a special energy is generated, because no concert is like the previous one. The orchestra loves the diverse stimuli it receives from its guest conductors and enjoys being challenged by internationally acclaimed soloists.

Along with its audience, the orchestra maintains a lively curiosity for unknown masterpieces and newly commissioned works. Founded by musicians from Zürich, it proclaims its musical home in its name and carries its excellent reputation around the world by means of tours and recordings.

In the Tonhalle-Orchester Zürich, some 100 musicians play around fifty different programmes in over 100 concerts per season. The orchestra brings together musicians from some twenty nations. Guest appearances have taken it to 100 cities in more than thirty countries.

In addition to the orchestral projects, the musicians also create their own chamber music series and may be heard as soloists in a series specifically devoted to them. The music director Paavo Järvi is the eleventh principal conductor of the Tonhalle- Orchester Zürich; David zinman is its conductor emeritus.

The orchestra has released more than forty recordings on CD, including complete cycles of the symphonies of Beethoven, Mahler, Brahms and Schubert. Its first recording with Paavo Järvi was devoted to orchestral works by Olivier Messiaen and was awarded the Diapason d’Or in 2019.

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Born in Milan, Giovanni studied at the Civica Scuola di Musica and at the Centre de Musique Ancienne in Geneva. He is a founder member of the ensemble Il Giardino Armonico, which he has led since 1989 and with whom he has given concerts worldwide.

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Born in Milan, Giovanni studied at the Civica Scuola di Musica and at the Centre de Musique Ancienne in Geneva. He is a founder member of the ensemble Il Giardino Armonico, which he has led since 1989 and with whom he has given concerts worldwide.

He works with artists such as Cecilia Bartoli, Giuliano Carmignola, Isabelle Faust, Sol Gabetta, Patricia Kopatchinskaja, Katia e Marielle Labèque,Viktoria Mullova and Giovanni Sollima. Giovanni is Principal Guest Conductor of Kammerorchester Basel and Mozarteum Orchester Salzburg and regularly guest conducts orchestras such as the Berliner Philharmoniker, Concertgebouworkest Amsterdam, London Symphony, Chicago Symphony, Tonhalle Orchester Zurich.

He has conducted numerous opera productions at La Scala, Theater an der Wien, Salzburg Festival and Opernhaus Zurich. He has recorded for Teldec, Decca, Sony BMG, Naïve, Harmonia Mundi and Alpha. Giovanni is Artistic Director of the Wratislavia Cantans Festival (www.wratislaviacantans.pl) and the Haydn 2032 project, created to perform and record the entire symphonies of Franz Joseph Haydn by the 300th anniversary of his birth.

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Born in Milan, Giovanni studied at the Civica Scuola di Musica and at the Centre de Musique Ancienne in Geneva. He is a founder member of the ensemble Il Giardino Armonico, which he has led since 1989 and with whom he has given concerts worldwide.

He works with artists such as Cecilia Bartoli, Giuliano Carmignola, Isabelle Faust, Sol Gabetta, Patricia Kopatchinskaja, Katia e Marielle Labèque,Viktoria Mullova and Giovanni Sollima. Giovanni is Principal Guest Conductor of Kammerorchester Basel and Mozarteum Orchester Salzburg and regularly guest conducts orchestras such as the Berliner Philharmoniker, Concertgebouworkest Amsterdam, London Symphony, Chicago Symphony, Tonhalle Orchester Zurich.

He has conducted numerous opera productions at La Scala, Theater an der Wien, Salzburg Festival and Opernhaus Zurich. He has recorded for Teldec, Decca, Sony BMG, Naïve, Harmonia Mundi and Alpha. Giovanni is Artistic Director of the Wratislavia Cantans Festival (www.wratislaviacantans.pl) and the Haydn 2032 project, created to perform and record the entire symphonies of Franz Joseph Haydn by the 300th anniversary of his birth.

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Founded in 1985 and directed by Giovanni Antonini, Il Giardino Armonico has become established as one of the world’s leading period instrument ensembles. Its repertoire focuses on the seventeenth and eighteenth centuries. Il Giardino Armonico has received high acclaim or both concerts and opera productions, including Monteverdi’s l’Orfeo, Vivaldi’s Ottone in Villa, Händel’s Agrippina, Il Trionfo del Tempo e del Disinganno, La Resurrezione, and Giulio Cesare in Egitto with Cecilia Bartoli during the Salzburg Whitsun and Summer Festival 2012.

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Founded in 1985 and directed by Giovanni Antonini, Il Giardino Armonico has become established as one of the world’s leading period instrument ensembles.

Its repertoire focuses on the seventeenth and eighteenth centuries. Il Giardino Armonico has received high acclaim or both concerts and opera productions, including Monteverdi’s l’Orfeo, Vivaldi’s Ottone in Villa, Händel’s Agrippina, Il Trionfo del Tempo e del Disinganno, La Resurrezione, and Giulio Cesare in Egitto with Cecilia Bartoli during the Salzburg Whitsun and Summer Festival 2012.

In co-production with the National Forum of Music in Wrocław (Poland) the group released Serpent & Fire with Anna Prohaska (Alpha Classics – Outhere Music, 2016) which won the ICMA ‘Baroque vocal’ award in 2017 and La Morte della Ragione in 2019 which won the Diapason d’Or and ‘Choc’ de Classica. Also on Alpha Classics the group released with Patricia Kopatchinskaja a volume focusing on Vivaldi and selected Italian contemporary composers.

Their Telemann album won the Diapason d’Or de l’année and the Echo Klassik in 2017. Il Giardino Armonico is part of the twenty-year project Haydn2032 for the recording of the complete Haydn Symphonies (Alpha Classics) and a series of thematic concerts across Europe. In 2015 La Passione won the Echo Klassik while Il Filosofo was awarded a ‘Choc de l’année’ by Classica. Il distratto won the Gramophone Award in 2017.

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Founded in 1985 and directed by Giovanni Antonini, Il Giardino Armonico has become established as one of the world’s leading period instrument ensembles.

Its repertoire focuses on the seventeenth and eighteenth centuries. Il Giardino Armonico has received high acclaim or both concerts and opera productions, including Monteverdi’s l’Orfeo, Vivaldi’s Ottone in Villa, Händel’s Agrippina, Il Trionfo del Tempo e del Disinganno, La Resurrezione, and Giulio Cesare in Egitto with Cecilia Bartoli during the Salzburg Whitsun and Summer Festival 2012.

In co-production with the National Forum of Music in Wrocław (Poland) the group released Serpent & Fire with Anna Prohaska (Alpha Classics – Outhere Music, 2016) which won the ICMA ‘Baroque vocal’ award in 2017 and La Morte della Ragione in 2019 which won the Diapason d’Or and ‘Choc’ de Classica. Also on Alpha Classics the group released with Patricia Kopatchinskaja a volume focusing on Vivaldi and selected Italian contemporary composers.

Their Telemann album won the Diapason d’Or de l’année and the Echo Klassik in 2017. Il Giardino Armonico is part of the twenty-year project Haydn2032 for the recording of the complete Haydn Symphonies (Alpha Classics) and a series of thematic concerts across Europe. In 2015 La Passione won the Echo Klassik while Il Filosofo was awarded a ‘Choc de l’année’ by Classica. Il distratto won the Gramophone Award in 2017.

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Robin Ticciati OBE has been Music Director of the Deutsches Symphonie-Orchester Berlin since 2017 and Music Director of Glyndebourne Festival since 2014. He was Principal Conductor of the Scottish Chamber Orchestra from 2009 to 2018. He is a regular guest conductor with the London Philharmonic Orchestra, London Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Budapest Festival Orchestra and Chamber Orchestra of Europe.

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Robin Ticciati OBE has been Music Director of the Deutsches Symphonie-Orchester Berlin since 2017 and Music Director of Glyndebourne Festival since 2014. He was Principal Conductor of the Scottish Chamber Orchestra from 2009 to 2018. He is a regular guest conductor with the London Philharmonic Orchestra, London Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Budapest Festival Orchestra and Chamber Orchestra of Europe. Guest-conducting highlights also include the Wiener Philharmoniker, Czech Philharmonic, Swedish Radio Symphony Orchestra, Royal Concertgebouworkest, Orchestre National de France, Philadelphia Orchestra, The Cleveland Orchestra, Gewandhausorchester Leipzig and Staatskapelle Dresden.

Since becoming Music Director at Glyndebourne, Ticciati has conducted new productions of La damnation de Faust, Pelléas et Mélisande, Der Rosenkavalier, Die Entführung aus dem Serail and La clemenza di Tito. Highlights as a guest opera conductor include Peter Grimes at La Scala, Le nozze di Figaro at the Salzburg Festival, and Eugene Onegin at both the Royal Opera House and the Metropolitan Opera.

Born in London, Ticciati is a violinist, pianist and percussionist by training. He was a member of the National Youth Orchestra of Great Britain when, aged fifteen, he turned to conducting under the guidance of Sir Colin Davis and Sir Simon Rattle. He holds the position of ‘Sir Colin Davis Fellow of Conducting’ at the Royal Academy of Music. He was awarded an OBE for services to music in the Queen’s Birthday Honours (2019).

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Robin Ticciati OBE has been Music Director of the Deutsches Symphonie-Orchester Berlin since 2017 and Music Director of Glyndebourne Festival since 2014. He was Principal Conductor of the Scottish Chamber Orchestra from 2009 to 2018. He is a regular guest conductor with the London Philharmonic Orchestra, London Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Budapest Festival Orchestra and Chamber Orchestra of Europe. Guest-conducting highlights also include the Wiener Philharmoniker, Czech Philharmonic, Swedish Radio Symphony Orchestra, Royal Concertgebouworkest, Orchestre National de France, Philadelphia Orchestra, The Cleveland Orchestra, Gewandhausorchester Leipzig and Staatskapelle Dresden.

Since becoming Music Director at Glyndebourne, Ticciati has conducted new productions of La damnation de Faust, Pelléas et Mélisande, Der Rosenkavalier, Die Entführung aus dem Serail and La clemenza di Tito. Highlights as a guest opera conductor include Peter Grimes at La Scala, Le nozze di Figaro at the Salzburg Festival, and Eugene Onegin at both the Royal Opera House and the Metropolitan Opera.

Born in London, Ticciati is a violinist, pianist and percussionist by training. He was a member of the National Youth Orchestra of Great Britain when, aged fifteen, he turned to conducting under the guidance of Sir Colin Davis and Sir Simon Rattle. He holds the position of ‘Sir Colin Davis Fellow of Conducting’ at the Royal Academy of Music. He was awarded an OBE for services to music in the Queen’s Birthday Honours (2019).

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Deutsches Symphonie-Orchester Berlin | Outhere Music

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Since it was founded in 1946, the Deutsches Symphonie-Orchester Berlin has become recognized around the world. Famous music directors shaped the first seven decades of its history: Ferenc Fricsay, Lorin Maazel, Riccardo Chailly, Vladimir Ashkenazy, Kent Nagano, Ingo Metzmacher and Tugan Sokhiev. The association of many years with top-class guest conductors such as James Conlon, Manfred Honeck, Ton Koopman, Sir Roger Norrington, Sakari Oramo, Leonard Slatkin and David Zinman contributes to the orchestra’s renown.

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Since it was founded in 1946, the Deutsches Symphonie-Orchester Berlin has become recognized around the world. Famous music directors shaped the first seven decades of its history: Ferenc Fricsay, Lorin Maazel, Riccardo Chailly, Vladimir Ashkenazy, Kent Nagano, Ingo Metzmacher and Tugan Sokhiev. The association of many years with top-class guest conductors such as James Conlon, Manfred Honeck, Ton Koopman, Sir Roger Norrington, Sakari Oramo, Leonard Slatkin and David Zinman contributes to the orchestra’s renown.

An ‘orchestral think tank’ is how the Süddeutsche Zeitung once underscored the DSO’s position among the capital city’s orchestras, alluding to the rich dramaturgy of the concert programmes, the commitment to contemporary music and a steady flow of repertoire discoveries – and to the courage to deploy unusual formats to convey and communicate music that continues to characterize the orchestra through the present day.

With its many guest performances, the DSO is present on the national and international music scene. The orchestra has performed in recent years in Brazil and Argentina, in Japan, China, Malaysia, Abu Dhabi and Eastern Europe, as well as at major festivals such as the Edinburgh International Festival, the Salzburg Festival and the BBC Proms. The DSO’s symphony concerts in Berlin’s Philharmonie are recorded by Deutschlandfunk Kultur, Deutschlandfunk and rbbKultur, and broadcast in Germany and beyond. A collaboration between ARTE Concert and rbb television for live broadcasts and TV broadcasts has existed since 2013. The DSO also has a global presence with numerous award-winning recordings. In 2011, it received the Grammy Award for the premiere recording of Kaija Saariaho’s opera L’amour de loin conducted by Kent Nagano.

The DSO Berlin is an ensemble of the Radio Orchestra and Choirs GmbH (ROC). The shareholders are Deutschlandradio, the Federal Republic of Germany, the State of Berlin and Radio Berlin-Brandenburg.

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Since it was founded in 1946, the Deutsches Symphonie-Orchester Berlin has become recognized around the world. Famous music directors shaped the first seven decades of its history: Ferenc Fricsay, Lorin Maazel, Riccardo Chailly, Vladimir Ashkenazy, Kent Nagano, Ingo Metzmacher and Tugan Sokhiev. The association of many years with top-class guest conductors such as James Conlon, Manfred Honeck, Ton Koopman, Sir Roger Norrington, Sakari Oramo, Leonard Slatkin and David Zinman contributes to the orchestra’s renown.

An ‘orchestral think tank’ is how the Süddeutsche Zeitung once underscored the DSO’s position among the capital city’s orchestras, alluding to the rich dramaturgy of the concert programmes, the commitment to contemporary music and a steady flow of repertoire discoveries – and to the courage to deploy unusual formats to convey and communicate music that continues to characterize the orchestra through the present day.

With its many guest performances, the DSO is present on the national and international music scene. The orchestra has performed in recent years in Brazil and Argentina, in Japan, China, Malaysia, Abu Dhabi and Eastern Europe, as well as at major festivals such as the Edinburgh International Festival, the Salzburg Festival and the BBC Proms. The DSO’s symphony concerts in Berlin’s Philharmonie are recorded by Deutschlandfunk Kultur, Deutschlandfunk and rbbKultur, and broadcast in Germany and beyond. A collaboration between ARTE Concert and rbb television for live broadcasts and TV broadcasts has existed since 2013. The DSO also has a global presence with numerous award-winning recordings. In 2011, it received the Grammy Award for the premiere recording of Kaija Saariaho’s opera L’amour de loin conducted by Kent Nagano.

The DSO Berlin is an ensemble of the Radio Orchestra and Choirs GmbH (ROC). The shareholders are Deutschlandradio, the Federal Republic of Germany, the State of Berlin and Radio Berlin-Brandenburg.

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Ensemble L'art pour l'art | Outhere Music

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Orchestre National Bordeaux Aquitaine | Outhere Music

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Usage and meaning of the 'virtual' resource identifier.

# included[].relationships.parent.data[].meta.links.help.meta.about
Usage and meaning of the 'virtual' resource identifier.