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The tell-tale heart

Netherlands Radio Philharmonic Orchestra | Juliane Banse | Tasmin Little

The tell-tale heart

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917290820
Catnr: CC 72908
Release date: 04 February 2022
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Label
Challenge Classics
UPC
0608917290820
Catalogue number
CC 72908
Release date
04 February 2022

"this is music in which a sound world is created with precision, and in which mood (sometimes shattered by sudden orchestral eruptions) dominates any musical argument. a voice [that] is frequently effective in creating emotional states. I would like to hear more of Jeths’s music, and I probably will make an effort to do so."

Fanfare, 01-9-2022
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Artist(s)
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About the album

Mors Aeterna for orchestra, which was premiered in November 2015 during the NTR Saturday Matinee series, narrates a quest for stillness, a piece of pervasive calm, of gentle sounds which were intended to create the impression of having come from the hereafter: the Nirvana of silence where the soul can retreat.

In the Second Violin Concerto, Diptych Portrait (2009) The orchestra is more of a sounding board than a partner in any dialogue. So what is this all about, these convulsive tensions, overblown crescendi? It is the soloist’s split relationship with himself. This is a double portrait of one individual, torn apart internally. The violin represents an abstract character that, despite being tormented and audibly injured, strives to come to terms with itself and even appears to succeed in doing so when we hear the serene sigh of enlightenment at the close of the piece.

In The Tell-Tale Heart (2017) the building blocks of Jeths’ thematic narration are all there; death once again, once again an internal monologue. But now transformed by Jeths into an opera, intended to supplement Bartok’s one-act work Duke Bluebeard’s Castle – another horror story – a link actually referred to in the score. Here, the narrator of Poe’s tale becomes a woman, as Jeths needs the part to be sung by a soprano: a piece for musical theatre performed by a single, fairly obsessed character. Death may well be our fate, but you cannot have death on your conscience. Only when you have left your ghosts behind can your conscience find peace.
Op deze opname van Challenge Classics met drie grootse werken van componist Willem Jeths speelt het Radio Philharmonisch Orkest, samen met eersteklas solisten en dirigenten, een puur orkestwerk, gevolgd door een vioolconcert en een theaterstuk voor sopraan en orkest. Het orkest, violist Tasmin Little, sopraan Juliane Banse en de dirigenten James Gaffigan, Reinbert de Leeuw en Jaap van Zweden, staan garant voor prachtige uitvoeringen van laagdrempelige muziek, die een soort 21ste-eeuws vervolg op de laatromantische stijl is
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The Tell-Tale Heart is een live opname uit de NTR ZaterdagMatinee-serie. De drie composities van Willem Jeths (1959), Nederlands eerste Componist des Vaderlands, zijn gerelateerd aan de dood. Voor hem is de dood een belangrijk onderwerp. Het is niet alleen de onbegrijpelijke echo van de laatste adem of slechts een melancholische overgave aan de tand des tijds. Het is ook iets heel concreets: de dood zet alles onder druk; het lot dat niemand onberoerd laat, het onherroepelijke afscheid van de jeugd; de verwelkende natuur van herfst en winter, een toekomst die zowel verkort als vernauwt. De dood onthult alle grote dromen als niet meer dan utopische dwaasheid.

Mors Aeterna voor orkest, dat in november 2015 in première ging tijdens de NTR ZaterdagMatinee-serie, vertelt het verhaal van een zoektocht naar verstilling. Een werk doordrongen van rust, van zachte klanken, die de indruk moesten wekken uit het hiernamaals te komen: het Nirvana van de stilte, waar de ziel zich kan terugtrekken.

In Jeths’ Tweede Vioolconcert Diptych Portrait (2009), schildert violiste Tasmin Little een dubbelportret: de twee kanten van dezelfde persoon, een twee-eenheid. De ene kant van het personage is meer gelouterd dan de andere kant. Het orkest is eerder een klankbord dan een gesprekspartner en heeft de rol om gemoedstoestanden van de solistische alter ego’s te intensiveren, kleuren en becommentariëren. Dat doet Jeths onder andere met een groot arsenaal aan slagwerk (zes spelers) en een set aangestreken glazen, als antwoord op de ijle flageoletten van de viool.

In The Tell-Tale Heart (2017) is het thema opnieuw de dood, maar nu in de vorm van een opera, bedoeld als aanvulling op Bartóks eenakter Blauwbaards Burcht. Nog zo’n horrorverhaal, waarnaar in de partituur ook daadwerkelijk wordt verwezen. Hier is de verteller van het gelijknamige korte verhaal van Edgar Allan Poe, een vrouw, omdat Jeths wil dat de rol door een sopraan wordt gezongen; een stuk voor muziektheater uitgevoerd door een tamelijk geobsedeerd personage. De dood is misschien wel ons lot, maar je kunt de dood niet op je geweten hebben. Pas als je je geesten achter je hebt gelaten, kan je geweten rust vinden.
Mors Aeterna für Orchester, das im November 2015 im Rahmen der NTR-Samstagsmatinee-Reihe uraufgeführt wurde, erzählt von einer Suche nach Stille, einem Werk von durchdringender Ruhe, von sanften Klängen, die den Eindruck erwecken sollen, aus dem Jenseits zu kommen: dem Nirwana der Stille, in das sich die Seele zurückziehen kann.
Im zweiten Violinkonzert, Diptychon Portrait (2009), ist das Orchester eher ein Resonanzboden als ein Dialogpartner. Worum geht es also, um diese konvulsivischen Spannungen, die überbordenden Crescendi? Es geht um die gespaltene Beziehung des Solisten zu sich selbst. Es handelt sich um ein Doppelporträt eines innerlich zerrissenen Individuums. Die Geige stellt eine abstrakte Figur dar, die trotz ihrer Qualen und hörbaren Verletzungen danach strebt, mit sich selbst ins Reine zu kommen, und der dies sogar zu gelingen scheint, wenn wir am Ende des Stückes den heiteren Seufzer der Erleuchtung hören.
In The Tell-Tale Heart (2017) sind die Bausteine von Jeths' thematischer Erzählung alle vorhanden; wieder der Tod, wieder ein innerer Monolog. Doch nun verwandelt Jeths das Stück in eine Oper, die Bartoks Einakter Herzog Blaubarts Burg - eine weitere Horrorgeschichte - ergänzen soll, eine Verbindung, auf die in der Partitur tatsächlich Bezug genommen wird. Hier wird der Erzähler von Poes Geschichte zu einer Frau, da Jeths die Rolle von einer Sopranistin singen lassen will: ein Stück für das Musiktheater, das von einer einzigen, ziemlich besessenen Figur aufgeführt wird. Der Tod mag zwar unser Schicksal sein, aber den Tod kann man nicht auf dem Gewissen haben. Erst wenn man seine Geister hinter sich gelassen hat, kann das Gewissen Ruhe finden.

Artist(s)

Netherlands Radio Philharmonic Orchestra

The Netherlands Radio Philharmonic Orchestra gave its first concert on 7 October 1945, led by its founder and ‘first conductor‘ Albert van Raalte, on Radio “Herrijzend Nederland”. Initially the orchestra spent most of its time in studios working on a large number of recordings for the public broadcasting system. The Netherlands Radio Philharmonic featured prominently in the Saturday Matinee as soon as the series started in 1961, and has continued to give frequent live performances ever since. The celebrated Saturday Matinee has hosted many legendary concerts. Illustrious soloists such as Kathleen Ferrier, Elisabeth Schwarzkopf, Clara Haskil and Jean-Pierre Rampal have shared the stage with the Netherlands Radio Philharmonic Orchestra. In 2004, the three classical orchestral formations of the broadcasting 15 system...
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The Netherlands Radio Philharmonic Orchestra gave its first concert on 7 October 1945, led by its founder and ‘first conductor‘ Albert van Raalte, on Radio “Herrijzend Nederland”. Initially the orchestra spent most of its time in studios working on a large number of recordings for the public broadcasting system. The Netherlands Radio Philharmonic featured prominently in the Saturday Matinee as soon as the series started in 1961, and has continued to give frequent live performances ever since. The celebrated Saturday Matinee has hosted many legendary concerts. Illustrious soloists such as Kathleen Ferrier, Elisabeth Schwarzkopf, Clara Haskil and Jean-Pierre Rampal have shared the stage with the Netherlands Radio Philharmonic Orchestra.
In 2004, the three classical orchestral formations of the broadcasting 15 system were transformed into two: the present Netherlands Radio Philharmonic Orchestra and the Netherlands Radio Chamber Philharmonic. In 2006, these two orchestras, the Netherlands Radio Choir and the Metropole Orchestra joined the Dutch public broadcasting organisation NPO.
The Radio Philharmonic Orchestra has been conducted by great names such as Bernard Haitink, Jean Fournet, Hans Vonk, Sergiu Comissiona and Edo de Waart. Jaap van Zweden was named its chief conductor in September 2005. The orchestra has also worked with numerous famed guest conductors such as Leopold Stokowski, Kirill Kondrashin, Antál Dorati, Riccardo Muti, Kurt Masur and Valery Gergiev. Soon after its founding, the Netherlands Radio Philharmonic found itself foremost in Dutch musical life in the number of performances and the diversity of its repertoire, with a predilection for Dutch and contemporary works in its programming. It has honed another facet of its striking profile with a great many opera concertante performances. The orchestra has an extensive discography, ranging from legendary LPs recorded in the 1970s under such conductors as Leopold Stokowski and Antal Doráti to Jean Fournet’s much-lauded renderings of French repertoire. Under Edo de Waart, not only did it release its legendary Wagner interpretations, but also the complete orchestral works of Rachmaninov. CDs with work by contemporary composers such as Jonathan Harvey, Klas Torstensson, Jan van Vlijmen and Stravinsky have garnered prizes and much acclaim.

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Jaap van Zweden (conductor)

Born in Amsterdam in 1960, Jaap Van Zweden began his musical career as a violinist, becoming at nineteen the youngest ever concertmaster of the Royal Concertgebouw Orchestra.  In 1997, van Zweden made his decision to conduct full time, played his last concert as a violinist with the Royal Concertgebouw Orchestra and was named the chief conductor of the Netherlands Symphony Orchestra where he remained until 2003. In 2000, he added the music directorship of the Residentie Orchestra of The Hague to his credits, a post he held until 2005. Jaap van Zweden began his third season as music director of the Dallas Symphony Orchestra in September 2010. His commitment to the orchestra was recently extended through the 2015-2016 season. Under his...
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Born in Amsterdam in 1960, Jaap Van Zweden began his musical career as a violinist, becoming at nineteen the youngest ever concertmaster of the Royal Concertgebouw Orchestra. In 1997, van Zweden made his decision to conduct full time, played his last concert as a violinist with the Royal Concertgebouw Orchestra and was named the chief conductor of the Netherlands Symphony Orchestra where he remained until 2003. In 2000, he added the music directorship of the Residentie Orchestra of The Hague to his credits, a post he held until 2005.
Jaap van Zweden began his third season as music director of the Dallas Symphony Orchestra in September 2010. His commitment to the orchestra was recently extended through the 2015-2016 season. Under his direction, the orchestra is enhancing its programming and community outreach, continuing to champion new composers, and raising its national profile with an annual residency in Vail, CO and a 2011 appearance at Carnegie Hall in the inaugural Spring for Music Festival. Concurrently with his post in Dallas, van Zweden’s other titled positions include chief conductor and artistic director of the Netherlands Radio Philharmonic Orchestra (2005-2012), and chief conductor of the Royal Flemish Philharmonic Orchestra of Belgium (2008-2012).
Under van Zweden’s leadership, the DSO has established an ongoing residency at the Bravo! Vail Valley Music Festival through the summer of 2012, and debuted five world premiere works over two seasons as part of the DSO’s Texas Instruments Classical Series. Throughout the past seasons, the orchestra, under van Zweden's leadership, has received lavish praise from notable media including The New York Times, Chicago Tribune, Musical America, The Financial Times, BBC Music Magazine, The Dallas Morning News and many others. In a December 2009 article in The LA Times, Mark Swed named van Zweden one of the”Faces to Watch“ in 2010, noting van Zweden “knows how to generate tense, tactile excitement in all kinds of music.” Van Zweden has also become a highly sought-after guest artist since the DSO introduced him to US audiences in 2007. During the 2010-2011 season, van Zweden debuts with the Atlanta Symphony Orchestra, San Paulo Symphony, Zurich’s Tonhalle Orchestra and the Monte Carlo Philharmonic. He makes his much-anticipated fourth guest appearance with the Chicago Symphony Orchestra and returns to guest conduct with the Philadelphia Orchestra, Los Angeles Philharmonic, Saint Louis Symphony and the London Philharmonic Orchestra.
He also has guested with the Royal Concertgebouw Orchestra, Cleveland Orchestra, City of Birmingham Symphony Orchestras, St. Petersburg Philharmonic, Orchestre National de France, Orchestre National du Capital de Toulouse, Munich Philharmonic, Oslo Philharmonic Orchestra, Gothenburg Symphony Orchestra, Sydney and Melbourne Symphony Orchestras, Hong Kong Philharmonic and Tokyo Philharmonic, among others.

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Reinbert de Leeuw (conductor)

Reinbert de Leeuw is a well-known conductor and pianist performing mainly contemporary music. He also taught at the Royal Conservatoire of The Hague and founded the  “Dutch Charles Ives Society”. In 1974 he founded the Schönberg Ensemble. They focus on performing works by the Second Viennese School. For the strings of the ensemble he composed the piece Etude. Reinbert de Leeuw regularly conducts the Netherlands' major orchestras and ensembles, including the Royal Concertgebouw Orchestra, Residentie Orchestra The Hague, the Netherlands Chamber Choir and the ASKO ensemble. He is a regular guest in most European countries and the United States, Japan and Australia. Reinbert de Leeuw has been involved in various opera productions at the Dutch National Opera in Amsterdam as well as with the Nederlandse Reisopera. Productions include works by Strawinsky, Andriessen, Ligeti and Vivier. In 2011, he conducted Schoenberg's monumental Gurre-Lieder, which...
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Reinbert de Leeuw is a well-known conductor and pianist performing mainly contemporary music. He also taught at the Royal Conservatoire of The Hague and founded the “Dutch Charles Ives Society”.

In 1974 he founded the Schönberg Ensemble. They focus on performing works by the Second Viennese School. For the strings of the ensemble he composed the piece Etude.

Reinbert de Leeuw regularly conducts the Netherlands' major orchestras and ensembles, including the Royal Concertgebouw Orchestra, Residentie Orchestra The Hague, the Netherlands Chamber Choir and the ASKO ensemble. He is a regular guest in most European countries and the United States, Japan and Australia. Reinbert de Leeuw has been involved in various opera productions at the Dutch National Opera in Amsterdam as well as with the Nederlandse Reisopera. Productions include works by Strawinsky, Andriessen, Ligeti and Vivier. In 2011, he conducted Schoenberg's monumental Gurre-Lieder, which was the realisation of an old ambition of his.

De Leeuw was in 1992 guest artistic director of the Aldeburgh Festival and from 1994–1998 artistic director of Tanglewood Festival of Contemporary Music. He was artistic advisor for contemporary music with the Sydney Symphony Orchestra and from 2001 to 2010 he served as artistic leader at the Nederlandse Orkest- en Ensemble-Academie (NJO; Dutch Orchestra and Ensemble Academy).


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James Gaffigan (conductor)

Hailed for the natural ease of his conducting and the compelling insight of his musicianship, James Gaffigan continues to attract international attention and is one of the most outstanding American conductors working today. James Gaffigan is currently the Chief Conductor of the Lucerne Symphony Orchestra, and Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra. He was also appointed the first Principal Guest Conductor of the Gürzenich Orchestra, Cologne in September 2013, a position that was created for him. In addition to these titled positions, James Gaffigan is in high demand working with leading orchestras and opera houses throughout Europe, the United States and Asia. In recent seasons, James Gaffigan’s guest engagements have included the Munich, London, Dresden, Oslo, Czech and...
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Hailed for the natural ease of his conducting and the compelling insight of his musicianship, James Gaffigan continues to attract international attention and is one of the most outstanding American conductors working today. James Gaffigan is currently the Chief Conductor of the Lucerne Symphony Orchestra, and Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra. He was also appointed the first Principal Guest Conductor of the Gürzenich Orchestra, Cologne in September 2013, a position that was created for him.
In addition to these titled positions, James Gaffigan is in high demand working with leading orchestras and opera houses throughout Europe, the United States and Asia. In recent seasons, James Gaffigan’s guest engagements have included the Munich, London, Dresden, Oslo, Czech and Rotterdam Philharmonics, Vienna Symphoniker, Dresden Staatskapelle, Deutsches Symphony Orchestra (Berlin), Konzerthaus Berlin, RSO Berlin, Orchestre de Paris, Zurich Tonhalle, London, BBC, Gothenburg, Bournemouth and City of Birmingham Symphony Orchestras, Orchestra of the Age of Enlightenment, Leipzig and Stuttgart Radio Orchestras, Tokyo Metropolitan Symphony and Sydney Symphony. In the States, he has worked with the Philadelphia and Cleveland Orchestras, San Francisco and Los Angeles Philharmonic, Chicago, St. Louis, Cincinnati, Indianapolis, Minnesota, Dallas, Detroit, Houston, Baltimore, Pittsburgh and National Symphony Orchestras and the St. Paul Chamber Orchestra among others.
As an opera conductor, James Gaffigan made his Vienna State Opera debut in 2011/12 with La Bohéme and was immediately invited back to conduct Don Giovanniduring 12/13. Mr Gaffigan continues his relationship with both the Vienna State Opera and the Glyndebourne Festival – in 2012, he conducted a production of La Cenerentola at Glyndebourne and returned for performances of Falstaff during the summer of 2013. In 2014/15 season he conducted the Hamburg Opera with performances of Salome and the Norwegian Opera with a new production of La Traviata. He made his opera debut at the Zurich Opera in 2005 conducting La Bohéme.
Highlights of the 2015/16 season include debuts with the New York Philharmonic and Don Giovanni at the Bayerische Staatsoper Munich. Mr. Gaffigan will also return to the Munich and Los Angeles Philharmonics, Orchestre de Paris, Orchestre National de France, and the Vienna Staatsoper to conduct the Marriage of Figaro.
Born in New York City in 1979, Mr. Gaffigan has degrees from both the New England Conservatory of Music and the Shepherd School of Music at Rice University in Houston. He also studied at the American Academy of Conducting at the Aspen Music Festival, and was a conducting fellow at the Tanglewood Music Center.
In 2009, Mr. Gaffigan completed a three-year tenure as Associate Conductor of the San Francisco Symphony in a position specially created for him. Prior to that appointment, he was the Assistant Conductor of the Cleveland Orchestra where he worked under Music Director Franz Welser-Möst from 2003 through 2006. James was also named a first prize winner at the 2004 Sir Georg Solti International Conducting Competition. He lives in Lucerne with his wife Lee and their two children Sofia and Liam.

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Juliane Banse (soprano)

Tasmin Little (violin)

Tasmin Little has firmly established herself as one of today's leading international violinists. She has performed on every continent in some of the most prestigious venues of the world, including Carnegie Hall, Musikverein, Concertgebouw, Philharmonie Berlin, Vienna Konzerthaus, South Bank Centre, Barbican Centre and Royal Albert Hall, Lincoln Center and Suntory Hall. Tasmin’s concerto appearances include those with Adelaide Symphony, Berliner Philharmoniker, Bournemouth Symphony, Berliner Symphoniker, City of Birmingham Symphony, Seattle Symphony, Singapore Symphony, St. Louis Symphony, Ulster Orchestra, West Australian Symphony and all the BBC Orchestras. Her multi-award winning and varied career encompasses international concerto and recital performances, master classes, workshops and community outreach work. Tasmin's discography and performance schedule reflect her wide-ranging repertoire and she has given numerous World Premiere...
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Tasmin Little has firmly established herself as one of today's leading international violinists. She has performed on every continent in some of the most prestigious venues of the world, including Carnegie Hall, Musikverein, Concertgebouw, Philharmonie Berlin, Vienna Konzerthaus, South Bank Centre, Barbican Centre and Royal Albert Hall, Lincoln Center and Suntory Hall.
Tasmin’s concerto appearances include those with Adelaide Symphony, Berliner Philharmoniker, Bournemouth Symphony, Berliner Symphoniker, City of Birmingham Symphony, Seattle Symphony, Singapore Symphony, St. Louis Symphony, Ulster Orchestra, West Australian Symphony and all the BBC Orchestras.
Her multi-award winning and varied career encompasses international concerto and recital performances, master classes, workshops and community outreach work. Tasmin's discography and performance schedule reflect her wide-ranging repertoire and she has given numerous World Premiere performances including concerti by Willem Jeths, Robin de Raaf, Stuart MacRae, Robert Saxton and Dominic Muldowney. She remains one of the few violinists to perform Ligeti's challenging Violin Concerto and has performed this work at the Berlin Philharmonie, New York Carnegie Hall, Salzburg Festival, BBC Proms, Amsterdam Concertgebouw and Philadelphia Kimmel Center.
In 2008, Tasmin launched her project, The Naked Violin, aimed at breaking down barriers to classical music by releasing a free album for download on her website, and performing in the community where music is rarely heard. Tasmin continues to present this project both in the UK as well as on tour in America, China, New Zealand, Ireland and United Arab Emirates (Dubai).
Tasmin Little plays a 1757 Giovanni Battista Guadagnini violin.

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Composer(s)

Willem Jeths

Willem Jeths' musical language has become gradually less atonal over the years. His most recent compositions even have a prominent ground tone. Densely orchestrated sound blocks rub along one another and overlap in an idiom that might remind one more of Ligeti or Rihm than a typical composer of the Dutch school. It is worth noting that Willem Jeths won two prices at the 1996 International Composition Competition in Vienna, for his violin concert Glenz and for his Piano Concerto. The jury included Wolfgang Rihm, Gerard Grisey, Franco Donatoni, Lothar Knessl and Friedrich Cerha - composers who, like Jeths, are intensely attuned to sound as an aspect of composition. Jeths also won the ''Amsterdamprijs voor de kunst'' for his ouvre...
more

Willem Jeths' musical language has become gradually less atonal over the years. His most recent compositions even have a prominent ground tone. Densely orchestrated sound blocks rub along one another and overlap in an idiom that might remind one more of Ligeti or Rihm than a typical composer of the Dutch school. It is worth noting that Willem Jeths won two prices at the 1996 International Composition Competition in Vienna, for his violin concert Glenz and for his Piano Concerto. The jury included Wolfgang Rihm, Gerard Grisey, Franco Donatoni, Lothar Knessl and Friedrich Cerha - composers who, like Jeths, are intensely attuned to sound as an aspect of composition. Jeths also won the ''Amsterdamprijs voor de kunst'' for his ouvre in 2014. Although a work by Willem Jeths might suggest the existence of a clear-cut plan, forms and structures fade to the background during the composition process. Jeths is driven by spirit and fancy, unfettered by predetermined routes or goals. Because he is so conscious of the basic material, the resulting form, individual and personal, appears to the listener as a taut, consistent concept that unifies the piece. This apparently contradiction, in which aesthetics and working method seem to collide, remains one of the most intriguing aspects, both musically and personally, of Willem Jeths.


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Press

this is music in which a sound world is created with precision, and in which mood (sometimes shattered by sudden orchestral eruptions) dominates any musical argument. a voice [that] is frequently effective in creating emotional states. I would like to hear more of Jeths’s music, and I probably will make an effort to do so.
Fanfare, 01-9-2022

The composer must surely be well pleased with the outcome of this project and with the recordings/performances which are extremely well written up in the English-only booklet.
MusicWeb, 31-8-2022

There’s more than a touch of hysteria about these live recordings of works by Willem Jeths, a composer who describes his music as being ‘about extremes.'
BBC Music Magazine, 22-5-2022

Led by James Gaffigan, Mors aeterna is a perfectly balanced lake of calm with echoing depths.
De Volkskrant, 17-2-2022

Radio Philharmonic Orchestra focuses on masterful music by Willem Jeths
Het Parool, 03-2-2022

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Often bought together with..

Soundscapes
Tosca Opdam | Alexander Ullman
Piano Concertos Op. 58 & Op. 61
Nino Gvetadze | Phíon | Benjamin Levy
Light in Darkness
Linus Roth
Maria Magdalena
Sinikka Langeland
Requiem
Netherlands Radio Philharmonic Orchestra / Netherlands Radio Choir / James Gaffigan / Willem Jeths
Ritratto
Dutch National Opera / Amsterdam Sinfonietta / Geoffrey Paterson

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