Randall Goosby presents his new album with the Philadelphia Orchestra conducted by Yannick Nézet-Séguin. He has recorded the popular Violin Concerto by Max Bruch and the two Violin Concertos by Florence Price. The album also includes Price's Adoration in an arrangement for string ensemble.

To mark the 150th anniversary of one of the most popular of all classical composers, Grammyr-winning conductor Yannick Nézet-Séguin and his 'Fabulous Philadelphians' present Rachmaninoff's Symphonies Nos. 2 and 3, and the symphonic poem Isle of the Dead. This release completes their two-part survey of the three symphonies and other major orchestral works and, like the first instalment of 2021, continues to build on the orchestra's incomparable Rachmaninoff legacy.

The Philadelphia Orchestra and its Music and Artistic Director Yannick Nézet-Séguin continue their pioneering project to revive neglected music by Black American composers. Their latest recording, set for digital release on 15 September, presents Florence Price’s Symphony No. 4 and William Dawson’s Negro Folk Symphony, a work premiered by The Philadelphia Orchestra back in 1934.

This is one of the best recordings I have ever heard. Jansons' phrasing is marvelous. The music emerges from a mist, taking shape slowly. In the finale, at around 7:30, the brass have a phrasing about it that casts a hollow, sanguinary shadow to events. The sudden 'end' to the massacre is greeted by the most haunting aural image I've ever heard. The chimes (?) at the close of the second movement is arresting. Then there is the bassoon in the third movement…how does Jansons get the player to produce that sound?? There is a seamless quality to the stings, as if Jansons was having them play 'bogen frie' (as Stokowski called it) or use free bowing. These are just some of the wonderful moments in this symphony.

It's not as bad as it might be, but still, except as a memento of the occasion, there really isn't much reason for Eugene Ormandy's 1967 recording of Beethoven's Missa Solemnis to have been reissued. Columbia's stereo sound was distant and a little tubby and Sony's digital remastering is a little closer but still tubby. The singing is okay but nothing special: Arroyo's is probably the best, but Forrester, and especially Siepi, were showing their vocal age by 1967.

While Eugene Ormandy's fame derived largely from his recordings of short, popular pieces, I feel that his strengths lay somewhere else. Case in point: this recording of Ives' Second Symphony, which Ormandy recorded in 1973, strikes me as the work's finest hour on disc, even better than either of the much acclaimed Bernstein versions. Ormandy is totally self-effacing in this score, unlike Bernstein who never lets you forget his (admittedly significant) showmanship.

Tchaikovsky’s Sixth Symphony, universally known as the Pathétique, is among the most deeply moving and profound of all works. An enduring masterwork which Tchaikovsky considered to be his greatest composition. Once again the struggle against ‘fate’ is central to this symphony which was to be the last Tchaikovsky wrote. The première took place in October 1893 at St. Petersburg and just eight days later the composer was dead. Few farewells in music are more poignant.

Composed in 1888 the Fifth Symphony is generally considered to be the most attractive of Tchaikovsky’s major works. When he first began writing the symphony he was suffering from a deep depression. However, he moved to the countryside and his state of mind became much more relaxed, enjoying the peace and quiet, gaining a new-found pleasure from his garden. This E minor Symphony reflects all the violent and conflicting emotions that he was experiencing at the time of its composition.

The Fourth Symphony was written at a particularly crucial point in Tchaikovsky’s life. 1877 was not only the year of his disastrous marriage but also the year in which he began his fifteen-year correspondence with his patroness Nadezhda von Meck. The F minor Symphony has always been a popular work with its muscular and melodic writing. Infused throughout the score is the sense of ‘fate’ which Tchaikovsky believed controlled his destiny as he described in a letter to Madame von Meck, “the fateful force which prevents the impulse to happiness from achieving its goal … which hangs above your head like the sword of Damocles.”

This album - a collaboration between two of the biggest names in classical music - celebrates the fine art of concealment, of holding private passions just beneath the surface until they erupt. 'Secret Love Letters' sees the violinist explore some of the most romantic music ever written. In this, her first recording with a US orchestra, she is joined by The Philadelphia Orchestra and its inspirational music director Yannick Nézet-Séguin - with whom she has performed live many times - as well as by young Georgian pianist Giorgi Gigashvili. Together they embark on a journey that spans everything from forbidden love to romance seen from the perspective of old age, featuring Szymanowski's 'First Violin Concerto', Chausson's 'Poème' and works by Franck and Debussy.

Sometimes great things are worth waiting for… It has been nearly ten years since the renowned Philadelphia Orchestra made new recordings available on a regular and worldwide basis. This is Ondine's first release in its new groundbreaking partnership with The Philadelphia Orchestra, which calls for a minimum of three recordings to be released per year (for more information click here). The partnership agreement has attracted international media attention, including major articles throughout the international press (e.g. The Wall Street Journal, July 21, 2005; Gramophone, July 2005).

Shostakovich's Fourth Symphony is an extraordinary work by any standards. It is cast in three movements, with each of the outer two approaching half an hour in duration, astride a shorter central scherzo. Together these occupy a playing time in excess of an hour. There is a huge orchestra, of some 140 players, so the range of timbres and colours is very wide indeed, and the climaxes are overwhelmingly powerful. But more significant than any of these issues is the nature of the music itself, since the development is flexible and remarkably open-ended, veering this way and that, through passages slow and fast, thinly scored and richly powerful. It is a roller-coaster ride for both the musicians and the audience.