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What do Yannick Nezet-Seguin's recordings tell us about his musical evolution? /

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Keeping track of Yannick Nézet-Séguin via recordings requires a global grasp of the classical recording industry.

Live recordings by the Philadelphia Orchestra music director - taken from his concerts with European orchestras - still pop up without warning. Only a few days ago, an all-Poulenc disc with the London Philharmonic Orchestra came out of the woodwork, with performances dating back five years. His Rotterdam Philharmonic Orchestra output alone is spread over three companies – Bis, EMI, and Deutsche Grammophon. Because recording in the United States is more expensive, Philadelphia Orchestra recordings have arrived fitfully - a Rite of Spring here, a Bernstein Mass there.

Increasingly, Nézet-Séguin's recording presence is consolidating around the prestigious Deutsche Grammophon. The six-CD Rotterdam Philharmonic Orchestra Collection, out at the end of August, celebrates his departure from the orchestra after 10 years with heavyweight repertoire. His DG-label Mozart operas with the Chamber Orchestra of Europe has yielded La Clemenza di Tito with a blue-ribbon cast. One of DG's high-profile fall releases will be the Philadelphia recordings of Rachmaninoff piano concertos with much-acclaimed Daniil Trifonov. More Rachmaninoff and Bernstein recordings are in the cards. All of Nézet-Séguin's concerts in Philadelphia are recorded with a special microphone setup and an ear for releasing selected live performances on DG in the future. So anything from the Sept. 13 "Candide" overture to Bernstein's Symphony No. 3 ("Kaddish") in January are likely candidates for release.

And what do these new recordings tell us about Nézet-Séguin's musical evolution? Everything.