Roger Norrington

Biography

Born: March 16, 1934; Oxford, England  
Roger Norrington is representative of a modern school of international "journeyman" conductors. A versatile, sometimes controversial, figure, he has concentrated on exploring -- many would say revitalizing -- the Classical and Romantic repertory in accordance with historical precedents, and through close attention to the notation, expressive markings and period instruments. The care Norrington gives to such details highlights the many contrasts Read more between his interpretations of such familiar works as the Beethoven symphonies, and the ways in which they are normally performed by modern symphony orchestras.

After studying at Cambridge University and the Royal College of Music, London, Norrington was a professional singer for ten years. He founded choirs specializing in the music of Schütz and Monteverdi and led the Schütz Choir of London from 1962-1982. His conducting career has continued with a succession of high profile engagements: musical director and principal conductor of Kent Opera, one of Britain's leading provincial opera companies (1969-1984); the Bournemouth Sinfonietta (1985-1989); the London Baroque and London Classical Players (1978-1998); music director of St. Luke's, New York (1990-1994); conductor of Camerata Academica, Salzburg (1997); and Stuttgart Radio Symphony Orchestra (1998). He has also been a guest conductor of many British and American orchestras.

Norrington is remarkably consistent in his approach to performance practices, placing particular emphasis on details such as the size and layout of the orchestra, and the differences in sound quality and playing techniques that have taken place since the works were written. Practically all the instruments in a modern symphony orchestra have changed in important ways and, therefore, in sound from those that were available before the twentieth century. The effect of this attention to orchestral color is noticeable, as are the generally faster tempi of Norrington's interpretations and other factors that reveal new and unexpected aspects of familiar works. For example, he accepts Beethoven's own metronome markings, which are frequently ignored by others.

Predictably, he has been criticized for neglecting what many regard as more important traditions of orchestral playing but, as he has said, "No tradition is stronger than the latest tradition." Nor is he willfully idiosyncratic; his approach is based on detailed analysis, though he does not claim "authenticity" and asserts "there is no such thing as a definitive performance."

In an introduction to his performances of all Beethoven's nine symphonies with the London Classical Players for BBC Television in 1989 -- one which differs in almost every respect from Klemperer's Beethoven cycle of 1972 for instance -- he spoke of the need to "reconsider every single aspect" of these works in the light of the composer's intentions. He has recorded a strikingly original performance of Haydn's oratorio The Seasons, and extended his task of "restoration" into late nineteenth century and even twentieth century works.

Norrington's interpretations have a persuasive freshness, clarity and vitality, and his approach to the Baroque and Classical orchestral repertory has had a considerable influence on both professional musicians and attentive audiences. He received a knighthood in 1997 and is an Honorary Fellow of the Royal Academy of Music and Royal College of Music. Read less
Brahms: Ein Deutsches Requiem / Norrington, SWR Radio Symphony Stuttgart
Release Date: 03/10/2015   Label: Hänssler Classic  
Catalog: 93327   Number of Discs: 1
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There are 161 Roger Norrington recordings available.

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Biography

Born: March 16, 1934; Oxford, England  
Roger Norrington is representative of a modern school of international "journeyman" conductors. A versatile, sometimes controversial, figure, he has concentrated on exploring -- many would say revitalizing -- the Classical and Romantic repertory in accordance with historical precedents, and through close attention to the notation, expressive markings and period instruments. The care Norrington gives to such details highlights the many contrasts Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Selig sind, die da Leid tragen
II. Denn alles Fleisch es ist wie Gras
III. Herr, lehre doch mich
IV. Wie lieblich sind deine Wohnungen
V. Ihr habt nun Traurigkeit
VI. Denn wir haben hie keine bleibende Statt
VII. Selig sind die Toten
I. Allegro
II. Larghetto
III. Allegro
I. Allegro
II. Adagio cantabile
III. Tempo di Minuet
I. Allegro con brio
II. Adagio
III. Rondo: Molto allegro
1. Preludio
2. Scherzo
3. Romanza
4. Passacaglia
I. Adagio - Allegro
II. Andante
III. Scherzo: Presto
IV. Allegro moderato
I. Allegro moderato
II. Andante con moto
I. Allegro
II. Andante con moto
III. Menuetto: Allegro molto
IV. Allegro vivace
I. Adagio molto - Allegro vivace
II. Andante
III. Menuetto: Allegro vivace
IV. Allegro
Music for the Royal Fireworks: I. Ouverture
Music for the Royal Fireworks: II. Bourrée
Music for the Royal Fireworks: III. La Paix
Music for the Royal Fireworks: IV. La Réjouissance
Music for the Royal Fireworks: V. Menuet I & II
I. Feierlich, misterioso
II. Scherzo: Bewegt, lebhaft
III. Adagio: Langsam feierlich
I. Andante un poco maestoso - Allegro molto vivace
II. Larghetto
III. Scherzo: Molto vivace
IV. Allegro animato e grazioso
I. Sostenuto assai
II. Scherzo
III. Adagio espressivo
IV. Allegro molto vivace
I. Ziemlich langsam - Lebhaft
II. Romanze: Ziemlich langsam
III. Scherzo: Lebhaft
IV. Langsam - Lebhaft
IV. Langsam - Lebhaft
I. Allegro maestoso
II. Poco adagio
III. Scherzo: Vivace - Poco meno mosso
IV. Finale: Allegro
I. Allegro con brio
II. Adagio
III. Allegretto grazioso - Molto vivace
IV. Allegro ma non troppo
Theme: Andante -
Variation 1: C. A. E. (The Composer's Wife)
Variation 2: H. D. S-P. (Hew David Steuart-Powell)
Variation 3: R. B. T. (Richard Baxter Townshend)
Variation 4: W. M. B. (William Meath Baker)
Variation 5: R. P. A. (Richard Penrose Arnold) -
Variation 6: Ysobel (Isabel Fitton)
Variation 7: Troyte (Troyte Griffith)
Variation 8: W. N. (Winifred Norbury) -
Variation 9: Nimrod (A. J. Jaeger)
Variation 10: Intermezzo: Dorabella (Dora Penny)
Variation 11: G. R. S. (George Robertson Sinclair)
Variation 12: B. G. N. (Basil G. Nevinson) -
Variation 13: Romanza: *** (Lady Mary Lygon)
Variation 14: Finale: E. D. U. (The Composer)
Symphonie fantastique Op. 14: I. Rêveries - Passions
Symphonie fantastique Op. 14: II. Un bal
Symphonie fantastique Op. 14: III. Scène aux champs
Symphonie fantastique Op. 14: IV. Marche au supplice
Symphonie fantastique Op. 14: V. Songe d'une nuit du Sabbat
I. Andante comodo
II. Im Tempo eines gemachlichen Landlers - Etwas tappisch und sehr derb
III. Rondo-Burleske: Allegro assai
IV. Adagio - Sehr langsam und noch zuruckhaltend
I. Adagio - Allegro assai
II. Largo cantabile
III. Menuet
IV. Finale: Presto ma non troppo
I. Adagio - Vivace
II. Adagio ma non troppo
III. Menuet: Allegretto
IV. Finale: Presto assai
I. Adagio - Presto
II. Andante
III. Menuet: Allegretto
IV. Finale: Vivace
I. Adagio cantabile - Vivace assai
II. Andante
III. Menuetto
IV. Finale: Allegro di molto
I. Adagio - Allegro
II. Adagio
III. Menuet: Allegro
IV. Finale: Presto
I. Largo - Vivace
II. Adagio
III. Menuet - Trio: Allegro
IV. Finale: Presto
I. Allegro moderato
II. Andante cantabile
III. Minuet
IV. Finale: Vivace
I. Adagio - Vivace assai
II. Adagio
III. Menuet: Allegretto
IV. Finale: Vivace
I. Adagio - Allegro con spirito
II. Andante piu tosto allegretto
III. Menuet - Trio
IV. Finale: Allegro con spirito
I. Adagio - Allegro
II. Andante
III. Menuetto: Allegretto
IV. Finale: Vivace assai
I. Adagio - Allegro
II. Allegretto
III. Menuet: Moderato
IV. Finale: Presto
I. Adagio - Allegro
II. Andante
III. Menuet - Trio
IV. Finale: Spiritoso
I. Adagio - Allegro molto
II. Largo
III. Molto vivace
IV. Allegro con fuoco
I. Allegro molto vivace
II. Adagio: sehr feierlich und sehr langsam
III. Scherzo: sehr schnell
IV. Finale: Bewegt, doch nicht schnell
I. Andante - Allegro con anima
II. Andante cantabile con alcuna licenza
III. Valse: Allegro moderato
IV. Finale: Andante maestoso - Allegro vivace
I. Miniature Overture: Allegro giusto
II. March
III. Dance of the Sugar-plum Fairy
IV. Russian Dance, "Trepak"
V. Arab Dance
VI. Chinese Dance
VII. Dance of the Reeds
VIII. Waltz of the Flowers
I. Bewegt, nicht zu schnell
II. Andante quasi allegretto
III. Scherzo: Bewegt
IV. Finale: Bewegt, doch nicht zu schnell
I. Allegro spirituoso
II. Andante
III. Minuetto: Allegro
IV. Presto
I. Allegro spiritoso
II. Andante
III. Allegro spiritoso
I. Allegro assai
II. Andante
III. Allegro
I. Allegro con spirito
II. Andante
III. Menuetto
IV. Presto
I. Maestoso
II. Adagio: sehr feierlich
III. Scherzo: Nicht schnell - Trio: Langsam
IV. Finale: Bewegt, doch nicht zu schnell
I. Adagio maestoso - Allegro con brio
II. Allegretto
III. Menuetto: Vivace
IV. Presto vivace
I. Allegro moderato
II. Andante con moto
Piano Concerto No. 2 in B flat major Op. 19 (Cadenzas: Beethoven): I. Allegro con brio (crotchet = 152)
Piano Concerto No. 2 in B flat major Op. 19 (Cadenzas: Beethoven): II. Adagio (quaver = 84)
Piano Concerto No. 2 in B flat major Op. 19 (Cadenzas: Beethoven): III. Rondo (molto allegro) (dotted crotchet = 112)
Piano Concerto No. 1 in C major Op. 15 (Cadenzas: Beethoven): I. Allegro con brio (minim = 88)
Piano Concerto No. 1 in C major Op. 15 (Cadenzas: Beethoven): II. Largo (crotchet = 58)
Piano Concerto No. 1 in C major Op. 15 (Cadenzas: Beethoven): III. Rondo (Allegro scherzando) (minim = 72)
Piano Concerto No. 3 in C minor Op. 37: I. Allegro con brio (crotchet = 144)
Piano Concerto No. 3 in C minor Op. 37: II. Largo (quaver = 66)
Piano Concerto No. 3 in C minor Op. 37: III. Rondo (Allegro - Presto)
Piano Concerto No. 4 in G major Op. 58: I. Allegro moderato (crotchet = 116)
Piano Concerto No. 4 in G major Op. 58: II. Andante con moto (quaver = 84)
Piano Concerto No. 4 in G major Op. 58: III. Rondo (Vivace) (crotchet = 138)
Piano Concerto No. 4 in G major Op. 58: III. Rondo (Vivace) (crotchet = 138)
I. Gemassigt, misterioso
II. Adagio: Feierlich
III. Scherzo: Ziemlich schnell
IV. Finale: Allegro
I. Allegro
II. Andante
III. Menuetto
IV. Allegro
I. Allegro vivace
II. Andante di molto
III. Allegro molto
I. Adagio - Allegro spiritoso
II. Poco adagio
III. Menuetto
IV. Presto
I. Allegro di molto
II. Poco adagio
III. Presto
I. -
II. Adagio ma non troppo
III. Allegro assai
I. Allegro assai
II. Andante - sempre piano
III. Allegretto
I. Allegro di molto
II. Poco andante
III. Allegro spirituoso


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