Le Concert des Nations

Jordi Savall & Le Concert des Nations – Mendelssohn: Symphony No. 4 ‘Italian’ (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 59:51 minutes | 997 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alia Vox

After Haydn, Beethoven and Schubert, Jordi Savall continues his journey into the 19th century with the Italian Symphony of Felix Mendelssohn, a composer he records for the first time. He delivers 2 versions of the work: the one which was performed at the wolrdwide premiere in 1833 and the revised one from 1834. The most conspicuous changes are to be found in the last tree movements. The comparison of the two scores and the performance on period instruments take us as close to Mendelssohn’s work and original intention as we will ever get. Thanks to Jordi Savall’s insightful conducting, there is still something to discover in Mendelssohn’s most famous symphony.

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Jordi Savall & Le Concert des Nations – Beethoven – Révolution, Symphonies 1 à 5 (2020)
FLAC (tracks) 24 bit/88,2 kHz | Time – 02:50:40 minutes | 2,88 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alia Vox

For this set of Beethoven’s first five symphonies, Jordi Savall began with the fundamental idea of recovering the original sound of the orchestra and tempo as the composer imagined them. All the orchestral work was performed with instruments corresponding to those used at the time, and by 55-60 musicians, a number similar to that arranged by the composer. 35 players were selected from Le Concert des Nations alongside 20 young musicians from different countries across world. The main goal was to reflect, in our 21st century, all the richness and beauty of these symphonies, through a true balance between colors and the quality of the orchestra’s natural sound.

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Le Concert des Nations, Jordi Savall – Beethoven: Symphonies 6-9 (2022)
FLAC (tracks) 24 bit/88,2 kHz | Time – 02:47:14 minutes | 2,75 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alia Vox

After the critical success of the first volume of Beethoven’s symphonies, Jordi Savall now offers us from the Sixth to the Ninth.This latest publication crowns a nearly two-year world tour and confirms the extent to which the director renews our vision of these most famous works. The Concert des Nations shows that it also knows how to magnify the repertoire of the early 19th century, which will be confirmed by a forthcoming Schubert album.
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Jordi Savall, Le Concert des Nations – Mozart: Le Testament Symphonique (2019)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:51:59 minutes | 1,96 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alia Vox

Wolfgang Amadeus Mozart – The Symphonic Testament: Following a long maturation process, Jordi Savall presents his interpretation of Mozart’s Last Three Symphonies.

He has chosen – on this double album – to repeat the Symphony No. 40 twice, in order to underline the continuity existing from one work to the other (this is an important dimension of this milestone of the orchestral music in the XVIIIth Century).

The Concert des Nations is at its best and put flesh and bone on this vision, in which fluidity and theatricalness dominate.
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Jordi Savall, Le Concert Des Nations – Schubert: Symphonies Nos. 8 & 9 (2022)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:25:56 minutes | 1,42 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alia Vox

Jordi Savall releases his first Schubert album, following a recording of Beethoven’s complete symphonies which largely contributed to renew our vision of the early Romantic repertoire. The Catalan maestro delivers a recording freed from the weight of past traditions to underline the dynamics, the section balance and the timbres that are required in this repertoire. Jordi Savall decided to entitle this album Transfiguration, because, as he explains, we are always astonished at Schubert’s ability to reach this essentially internal and spiritual dimension, this kind of Transfiguration, which he simply sums up as follows in his diary in 1824: ‘My production is the result of my musical knowledge and my pain’ or, to quote a poem he wrote a little earlier: ‘When I wanted to sing love, it turned into pain. When I wanted to sing pain, it turned into love.’
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