Concerts
In the big hall of Tchaikovsky Conservatory in Moscow, where once Vladimir Horowitz gave his legendary concert, 12 Cellists of the Berlin Philharmonic Orchestra celebrate their Russian premiere in a concert crowning the ensemble's 36-year history. They belong to the top orchestra of its class and are respected worldwide, and here they present a great program from Angel Dances and Dance Around the World as a part of the first international cello festival in Moscow, an event dedicated to the big "Slava," the cellist Mstislav Rostropovich.
A typically Spanish musical genre, the zarzuela is a Spanish-language opera with spoken dialogues and filled with pleasant-sounding, often folkloric tunes cast in arias, duets, four-part choruses and dances. While zarzuelas never really made it into the repertoires of theaters outside the Spanish-speaking countries, the many passionate, fiery, or lyrical vocal pieces have continued to thrive in concerts and recitals all over the world. One of the most renowned and ardent supporters of zarzuela melodies is Plácido Domingo, who is featured here in a concert given at the 2007 Salzburg Festival.
Belying his 66 years, the world-famous tenor sings these rousing, seductive melodies with the beguiling sweetness of a much younger man. Delicately painted character studies enhanced with occasional harmonic slides, sighing motifs and castanet laughter – Domingo transports the enraptured listener to the calles and plazas of Madrid and Seville. His phrasing is "subtly shaded, with the wisdom of an older man; the voice is always perfectly focused and led both dazzlingly and intelligently... The audience cheers" (F.A.Z.).
Domingo is accompanied by the Mozarteum Orchestra under Jesús López Cobos and, above all, by his partner for the evening, soprano Ana María Martínez, "a beautiful...
Belying his 66 years, the world-famous tenor sings these rousing, seductive melodies with the beguiling sweetness of a much younger man. Delicately painted character studies enhanced with occasional harmonic slides, sighing motifs and castanet laughter – Domingo transports the enraptured listener to the calles and plazas of Madrid and Seville. His phrasing is "subtly shaded, with the wisdom of an older man; the voice is always perfectly focused and led both dazzlingly and intelligently... The audience cheers" (F.A.Z.).
Domingo is accompanied by the Mozarteum Orchestra under Jesús López Cobos and, above all, by his partner for the evening, soprano Ana María Martínez, "a beautiful...
The excitement is palpable at Paris' Théâtre des Champs-Elysées this 28 March 2007. Anna Netrebko is not only making her debut in France, but she is making it with Rolando Villazon. The "dream couple" of the opera world is about to bring its incomparable charm and magnetism to France's "melomanes", and the result is nothing less than phenomenal: "An unforgettable evening, rich in emotions, which many spectators will look back on with nostalgia one day and say: 'I was there!'" No matter where they appear, Netrebko and Villazon inevitably work their magic on the audience, whether it consists of hundreds or, when broadcast on TV, of millions.
For their Paris concert, the duo chose a broad selection of chiefly late Romantic works – the style for which their voices seem to be tailor-made. A tribute to France is offered with excerpts from Gounod's Romeo et Juliette and the little-known Polyeucte, along with the famous "duo de Saint-Sulpice" from Massenet's Manon. Not surprisingly, a Russian composer also graces the program; Tchaikovsky’s Eugene Onegin and Iolantha are sung superbly by Netrebko. Villazon's Latin blood heats up Spanish songs by Sotullo-Otero, Vert, Moreno-Torroba and Penella. But it's in the Italian repertoire that the couple reaches heights...
For their Paris concert, the duo chose a broad selection of chiefly late Romantic works – the style for which their voices seem to be tailor-made. A tribute to France is offered with excerpts from Gounod's Romeo et Juliette and the little-known Polyeucte, along with the famous "duo de Saint-Sulpice" from Massenet's Manon. Not surprisingly, a Russian composer also graces the program; Tchaikovsky’s Eugene Onegin and Iolantha are sung superbly by Netrebko. Villazon's Latin blood heats up Spanish songs by Sotullo-Otero, Vert, Moreno-Torroba and Penella. But it's in the Italian repertoire that the couple reaches heights...
Appalachian Journey Live in Concert captures three of the world's most extraordinary musicians and some very special guests at their sold out performance at New York City's Avery Fisher Hall. The unique and compelling trio of cellist Yo-Yo Ma, violinist Mark O'Connor and bassist Edgar Meyer reaches a whole new level of artistic and technical prowess as they weave their way through a wide variety of musical genres.
Ton Koopman, a leading authority on Baroque music, gathered his favourite orchestra and eminent Baroque singers for a concert focusing on the Magnificat , the traditional prayer said by the Virgin Mary after hearing that she would bear God's son. Bach's Magnificat - his greatest choral work - is programmed together with one of his most beautiful cantatas and a lesser-known baroque gem by Bach's predecessor at St. Thomas' Church, Johann Kuhnau, to form a concert in honour of the spiritual power of Baroque music. The concert was performed at St. Thomas' in Leipzig, the church for which Bach conceived most of his works. The recording captures the atmosphere of the impressive church and shows the musicians "at work". The film also focuses on Ton Koopman, offering insights into his friendly and encouraging conducting style.
The German Brass Ensemble presents some of Bach's most popular tunes in breathtakingly brilliant and virtuoso arrangements for brass instruments. Recorded live in "Bach's church" – the wonderful St Thomas's Church in Leipzig - the programme includes immortal pieces such as Toccata and Fugue in D minor , Adagio on a G string , Jesus bleibet meine Freude (Jesu, Joy of Man's Desiring) and more.
German Brass counts among the most successful brass ensembles of our time and draws musicians from the best German orchestras, such as the Berliner Philharmoniker and the Munich Philharmonic. Filmed with a full view of the church for which Bach conceived most of his works and making use of the amazing acoustics, the state-of-the-art recording is a visual and aural feast and a most fitting celebration of Bach's music.
German Brass counts among the most successful brass ensembles of our time and draws musicians from the best German orchestras, such as the Berliner Philharmoniker and the Munich Philharmonic. Filmed with a full view of the church for which Bach conceived most of his works and making use of the amazing acoustics, the state-of-the-art recording is a visual and aural feast and a most fitting celebration of Bach's music.
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas. Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas. Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas. Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas. Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas. Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas. Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
In November 2004 a new name caused listeners to prick up their ears on the international orchestral scene: under Claudio Abbado's artistic guidance the Orchestra Mozart came into being. It combines both young instrumentalists on the threshold of a first-rate career as well as eminent chamber musicians such as Danusha Waskiewicz, Alois Posch, Jacques Zoon, Michaela Petri, Ottavio Dantone, Mario Brunello, Alessio Allegrini, Jonathan Williams and Reinhold Friedrich. As with his famous Lucerne Festival Orchestra, Abbado hand-picked an ensemble to his liking, this time one of early- and Baroque-music specialists, all masters in their field. Recorded live in the handsome 19th-century Teatro Municipale Romolo Valli in Reggio Emilia in 2007, this video documents Bach's Brandenburg Concertos performed in all their delicate beauty by this very special orchestra. Each concerto is scored for different forces and, in total, the six concertos draw on virtually the entire range of instruments that existed during the High Baroque. The instrumental variety of these pieces, together with Bach's genius as a composer, ensured that the Brandenburg Concertos soon came to occupy a key position in the history of music, a position they continue to hold to this day. Claudio Abbado, violinist...
When Bach was in the service of Prince Leopold in Cöthen, he had his own orchestra and was contracted to compose a great deal of instrumental music. This gave him an opportunity to try new techniques and to develop his own instrumental style. The six Brandenburg Concertos belongs to these masterpieces for a small ensemble. This joyously infectious performance of these famous landmarks in the history of music by the Freiburg Baroque Orchestra demonstrates both the musical satisfaction and the high professional standard that can be reached with period instruments. The performance was given in the Bach Anniversary Year 2000 – 250 years after his death – in the elegant Hall of Mirrors at Cöthen Castle. The Freiburg Baroque Orchestra’s members all have virtuoso skills. They take the spotlight gracefully for solos but also play with the true ensemble spirit required by the music. Their decision to perform without a conductor revives an eighteenth century practice.
Bonus features:
Cello Suite No.5, BWV 1011: Sarabande
Hille Perl, viola da gamba
Coffee Cantata, BWV 211: Die Katze lässt das Mausen nicht
Madeleine Vogt, soprano
Matthias Schubotz, tenor
Holger Krause, bass
Members of the Gewandhausorchester Leipzig
Back(h) in...
Bonus features:
Cello Suite No.5, BWV 1011: Sarabande
Hille Perl, viola da gamba
Coffee Cantata, BWV 211: Die Katze lässt das Mausen nicht
Madeleine Vogt, soprano
Matthias Schubotz, tenor
Holger Krause, bass
Members of the Gewandhausorchester Leipzig
Back(h) in...
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas.
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
The first two performances on this video feature David Oistrakh in one of his favourite performing partnerships, with his son, violinist Igor Oistrakh. Bach's Concerto for Two Violins in D minor, BWV 1043 formed the duo's first foreign engagement whilst Mozart's Sinfonia Concertante was performed two years later in a sell-out performance at the Royal Albert Hall. Kirill Kondrashin, one of Oistrakh's preferred conductors, directs Brahms' Violin Concerto in D major, which has all the warmth and confidence one would expect from a classic Oistrakh recording.
The first two performances on this video feature David Oistrakh in one of his favourite performing partnerships, with his son, violinist Igor Oistrakh. Bach's Concerto for Two Violins in D minor, BWV 1043 formed the duo's first foreign engagement whilst Mozart's Sinfonia Concertante was performed two years later in a sell-out performance at the Royal Albert Hall. Kirill Kondrashin, one of Oistrakh's preferred conductors, directs Brahms' Violin Concerto in D major, which has all the warmth and confidence one would expect from a classic Oistrakh recording.
Surely Bach's French Suites , which he composed during his years at Cothen (1717–1723), are among the finest inducements to practise that any teacher has ever made to a pupil. In this case Bach wrote them for his young wife, Anna Magdalena. The over-riding impression left by these suites is one of endearing tunefulness. Clavier-Ubung II is a later collection of didactic keyboard pieces. It comprises two greatly contrasted works: the Italian Concerto and the Overture in the French Style. These performances admirably demonstrate the thoughtful and persuasive approach that Andras Schiff adopts when performing Bach. Recorded live at the Bachfest 2010, Protestant Reformed Church of Leipzig, 11 June 2010.
Bonus features:
- Andras Schiff explains Bach
Bonus features:
- Andras Schiff explains Bach
Recorded at the atmospheric Academy of Sciences in Budapest, the Keller Quartet plays a version of Bach's unfinished masterpiece The Art of the Fugue for string quartet intertwined with works by renowned contemporary composer Gyorgy Kurtag - a programme that the four Hungarians developed and have successfully performed on international stages. Anner Bylsma, Dutch master cellist and world-renowned as a distinguished interpreter of Bach's cello music, plays the solo suites. The suites, on which he has also published an authoritative book, count among the most popular baroque chamber works. Anner Bylsma plays the famous Stradivarius "Servais" and the performance was recorded in the beautiful village church St. Bartholomew of Dornheim in Thuringia.
The famous Thomanerchor Leipzig – a traditional specialist in Bach's choral music – is joined by the superb Gewandhausorchester Leipzig and excellent soloists to perform one of Bach's most acclaimed pieces of religious choral music, the Mass in B Minor .
Recorded in the Thomaskirche in Leipzig in summer 2000, this was one of numerous performances to celebrate the 250th anniversary of J.S. Bach's death in the church where he served as musical director. The artistry of the performers under the assured baton of conductor George Christoph Biller is exemplary and the state-of-the-art filming shows the serene gothic church in full splendour – a fitting backdrop for the work that is generally regarded as the crowning glory of Bach's sacred choral music; a majestic work that showcases Bach's supreme craftsmanship and skill as a choral composer.
Recorded in the Thomaskirche in Leipzig in summer 2000, this was one of numerous performances to celebrate the 250th anniversary of J.S. Bach's death in the church where he served as musical director. The artistry of the performers under the assured baton of conductor George Christoph Biller is exemplary and the state-of-the-art filming shows the serene gothic church in full splendour – a fitting backdrop for the work that is generally regarded as the crowning glory of Bach's sacred choral music; a majestic work that showcases Bach's supreme craftsmanship and skill as a choral composer.
With this, his only Bach recording, Herbert Blomstedt pays homage to Bach and the city of Leipzig. The video was recorded in 2005 at the Leipzig Bach Festival, which is widely regarded as the world's leading festival celebrating Johann Sebastian Bach. This concert of Bach's masterwork, at the end of his tenure as the 18th Gewandhauskapellmeister did not really mark the end of Blomstedt's fruitful collaboration with the traditional orchestra. The Swedish conductor will continue to act as an honorary musical director to the ensemble. Performed with leading Bach singers at St. Thomas' Church, Leipzig, the church for which Bach conceived his works, this homage to Bach was a touching farewell to Herbert Blomstedt from his Leipzig audience.
Bonus feature:
- Bach and his B minor Mass: An introduction by Herbert Blomstedt
Bonus feature:
- Bach and his B minor Mass: An introduction by Herbert Blomstedt
This festive celebration concert from Berlin's Gethsemanekirche on the Day of German Unity also marks the 60th anniversary of the RIAS Kammerchor. Founded in 1948, this choir today enjoys a worldwide reputation as one of the best ensembles of its kind. Under the baton of their new chief conductor, Hans-Christoph Rademann, the RIAS Kammerchor and the Akademie fur Alte Musik Berlin perform famous motets by Johann Sebastian Bach, interspersed with some fine instrumental movements from his cantatas.
The Kuijken Ensemble, made up of the three Belgian Kuijken brothers on flute, violin and viola da gamba and the harpsichordist Robert Kohnen count among the most distinguished of all present-day early-music specialists. They have long since branched out into conducting and other far-reaching ways of propagating authentic Baroque style. But they are each masters of a different set of instruments, so their occasional reunions for concerts become genuine occasions. With The Musical Offering , played here in a rigorously reduced scoring, they demonstrate their great flair for style and their long-standing experience and although they don’t look at all alike, their shared musical heritage is audible. Bach’s late masterpiece The Musical Offering (1747) is a musical homage written on the occasion of Bach’s visit to King Frederick the Great of Prussia in Potsdam. Recorded in the beautiful setting of the historical Old Town Hall in Leipzig during the Bach anniversary year in 2000, the film captures some of the atmosphere of Bach’s times.
Dutch organist and harpsichordist Ton Koopman is one of the most distinguished Bach interpreters of our time. On this video, he is featured interpreting Johann Sebastian Bach's greatest organ works, including the popular Toccata in D minor and the Fugue in G minor . He plays on the world-famous Silbermann Organ in Freiberg (Saxony). The organ was completed in 1714 and thoroughly restored in 1982/1983 and it closely retains its original condition. Bach adored his contemporary Gottfried Silbermann's organs for their exquisite sound and the recording allows the listener to enjoy this sound to the full while offering a closer look at this marvellously crafted instrument. In the second part of this video Ton Koopman is "At Home with Bach!" He plays favourite harpsichord pieces and accompanies the eminent Bach singer Klaus Mertens in popular arias. This programme was filmed in the enchanting Gohlis Castle near Leipzig, a late baroque jewel built in 1755.
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas.
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas.
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas.
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas.
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas.
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
"For me, it's the utmost to play and work on the music of Bach!"
Violinist Frank Peter Zimmermann is one of the greatest artists of his generation. Accompanied by Enrico Pace, his pianist counterpart since 1998, he plays the unrivalled violin sonatas of Johann Sebastian Bach, recorded in one of Germany's most beautiful Baroque halls. And in the documentary Bach and Me he provides us with personal insights into his relationship with this famed Baroque composer as well as into his own life as an artist and human being.
Violinist Frank Peter Zimmermann is one of the greatest artists of his generation. Accompanied by Enrico Pace, his pianist counterpart since 1998, he plays the unrivalled violin sonatas of Johann Sebastian Bach, recorded in one of Germany's most beautiful Baroque halls. And in the documentary Bach and Me he provides us with personal insights into his relationship with this famed Baroque composer as well as into his own life as an artist and human being.
The choir and the orchestra of the Bach Collegium Japan perform the St John's Passion with a small ensemble - as was customary in the composer's time - under Masaaki Suzuki, former student of one of the nestors of authentic interpretation, Ton Koopman. One of the greatest musical treatments of the suffering and death of Jesus Christ receives a performance that is musically precise and stylistically close to what we now know of Bach's ideal. The Bach Collegium Japan has been regarded for some years now as a real discovery among baroque ensembles specialising in the performance of sacred music from the Baroque and Masaaki Suzuki, who conducts and plays the harpsichord, is a complete and thorough musician, deeply involved in the emotional overtones of the music as well as technical questions of tempo, balance, and phrasing. Recorded live from The Suntory Hall in Tokyo, Japan during the Bach Anniversary Year 2000 on the occasion of the 250th anniversary of the death of J.S. Bach.
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas.
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own...
For Johann Sebastian Bach, February 15, 1981 was no doubt one of the darkest days of his afterlife: on this day he lost one of his greatest champions in the 20th century, Karl Richter. Over the course of his long career as conductor, organist and harpsichordist, Richter had become synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra. He helped trigger the Bach revival in the 1950s. He was the spirit behind the Ansbach Bach Festival. He turned his adopted city of Munich into a Bach center. And he recorded all the major choral and orchestral works of Bach, including more than 100 cantatas.
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
Richter was born on October 15, 1926 in Plauen, Thuringia, the Bach family's native region. After his years as a choirboy at Dresden's Kreuzkirche ("I sang in virtually all the cantatas and passions"), he
studied in Leipzig with the St. Thomas cantors Günther Ramin and Karl Straube and was appointed organist at the Thomaskirche in 1949. He moved to Munich in 1951 and founded his choral and orchestral ensembles shortly thereafter.
Karl Richter absorbed the Bach tradition from the source, in the cities where the composer had lived and worked. Although he saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his...
This recording presents the most important work of the baroque keyboard repertoire – The Well-Tempered Clavier - played by four world-class pianists. Each artist performs twelve Preludes and Fugues selected from this well-cherished collection of educational and yet artistically highly-strung pieces. The performances were recorded at four exceptionally charming venues: the Palazzo Labia in Venice, the Guell Palace in Barcelona, the Wartburg in Eisenach, Germany and the New Art Gallery in Walsall in England. The performances were impressively staged and skilfully filmed, thus - together with interpretations by four high-class clavichordists – it opens up new perspectives on the work.
In only a few years, trumpeter Alison Balsom has shot forward to the topmost ranks of today's instrumental soloists, reaching untold popularity for her playing - and for the trumpet. Since her appearance in a live international broadcast of the Last Night of the Proms, she has become one of the best known UK artists of today, with sales of her CDs topping the charts. She won two Classical BRIT Awards, one in 2006 as best young British classical performer, and another in 2009 as female artist of the year - one of the rare brass players to win such acclaim. She was also the first female UK artist to win an ECHO Klassik Award as best young artist (2007). For her CD with trumpet concertos by Haydn and Hummel, she took home another ECHO Klassik award in 2009.
At the center of the documentary are two performances. One is a public performance of Haydn's celebrated Trumpet Concerto in E flat major with the Berlin Konzerthaus Orchestra under the Chinese conductor Xian Zhang, recorded in the classicistic hall of the Konzerthaus Berlin. The other is a "private" recording of Bach's Concerto in D major, BWV 792 with organist David Goode, Gigue, BWV 1008 and Debussy's Syrinx. The recording in the Sophienkirche was made with a RED One camera, a special HD camera that impressively...
At the center of the documentary are two performances. One is a public performance of Haydn's celebrated Trumpet Concerto in E flat major with the Berlin Konzerthaus Orchestra under the Chinese conductor Xian Zhang, recorded in the classicistic hall of the Konzerthaus Berlin. The other is a "private" recording of Bach's Concerto in D major, BWV 792 with organist David Goode, Gigue, BWV 1008 and Debussy's Syrinx. The recording in the Sophienkirche was made with a RED One camera, a special HD camera that impressively...
The West-Eastern Divan Orchestra is one of those success stories that is almost too perfect to be true. The internationally respected orchestra was founded by Daniel Barenboim and the late Palestinian writer and scholar Edward Said with young, highly talented Israeli and Arab musicians. The ensemble works to establish dialogue between the cultures of the Middle East through the experience of playing music together, and has gained cultural and musical respect all over the world. The concert proves that it can bear comparison with veteran orchestras, even in familiar repertory staples. Combining technical polish and security, tonal beauty and transparency with youthful expression, passion and exuberance, the ensemble plays music by Beethoven, Brahms and others. The event was broadcast live from the Palacio de Carlos V, Alhambra in Spanish Granada, thus hundreds of thousands of viewers across Europe were able to experience Barenboim's conducting and this special orchestra. The Alhambra (Red Castle) in Granada, Spain – a listed UNESCO World Heritage Site - was built and preserved over a period of social tolerance and cultural flowering, during the Moorish era, in which the three great religions lived together in an atmosphere of tolerance and mutual respect. Thus it...
Tango has long become more than the popular Argentine urban dance which developed after 1870 in the poor working class and immigrant areas on the outskirts of Buenos Aires. Tango has aficionados worldwide - be it for its music, culture or the dance. On New Year's Eve 2006, conductor and pianist Daniel Barenboim, Argentinean by birth and upbringing, celebrated the end of the year with a spectacular musical event: a festival of Argentinean music live from Buenos Aires. In a seamless fusion of classical and traditional music, the Orquesta Filarmonica de Buenos Aires under Barenboim joined the excellent bandoneon virtuoso Leopoldo Federico and his Orquesta Tipica to present an extraordinary show with popular tangos and Latin American orchestra classics to a crowd of 10,000 in a free open-air concert at the Plaza de la República. Enchanting new arrangements of works by the Argentinean artists Astor Piazzola, Carlos Gardel, Julio de Caro, Alberto Ginastera and Horacio Salgan and performances by the leading tango dancers Mora Godoy and Junior Cervila from Buenos Aires added to the atmosphere of a night of "Tangos sinfónicos".
The Creatures of Prometheus , a ballet produced in Vienna in 1801, was not well received at its first performance. Today, aside from the overture, the ballet music is rarely heard. This work was composed during a time of intense personal crisis for Beethoven. In 1801 he wrote a friend, "I am leading a miserable life; for almost two years now I have been avoiding all social functions simply because I feel incapable of telling people that I am deaf." The ballet is based on the myth of the god Prometheus, who stole the fire from the heavens and gave it to mankind, along with the knowledge of arts and sciences. In writing the Prometheus score, Beethoven had to adhere to the conventions of ballet music, which required a chain of relatively short pieces.
This recording is part of Leonard Bernstein’s Beethoven cycle, recorded primarily with the Vienna Philharmonic Orchestra in the early 1980s. Writing in The New York Times, critic John J. O'Connor stated: "As Mr. Bernstein says, there is 'no single body of work in the universe of orchestral music that is in any way comparable to this one.' Conducted with intense dedication and soaring spirits by Mr. Bernstein, these recordings are superb, both visually and aurally."
This recording is part of Leonard Bernstein’s Beethoven cycle, recorded primarily with the Vienna Philharmonic Orchestra in the early 1980s. Writing in The New York Times, critic John J. O'Connor stated: "As Mr. Bernstein says, there is 'no single body of work in the universe of orchestral music that is in any way comparable to this one.' Conducted with intense dedication and soaring spirits by Mr. Bernstein, these recordings are superb, both visually and aurally."
In the spring of 1810, the Vienna Burgtheater commissioned Beethoven to compose incidental music for a stage production of Goethe's tragedy Egmont. Although Beethoven was a great admirer of Goethe and was profoundly flattered by this commission, he did not complete the music by the time the play was given its premiere on 24 May 1810. Only at the third performance of the play on 15 June was Beethoven's music heard for the first time. Like the Leonore overtures, the Egmont also foreshadows the events to come. In Egmont, they are encapsulated in the main theme of defiance of tyranny, which gives the music its explosive power.
Bernstein's impassioned renderings of Beethoven move audiences in a unique way. "Beethoven has always meant universality to me, ever since my early adolescence, when I first heard that unforgettable cry of 'Brüder!' From that moment on, every...symphony came to mean heart-to-heart communication, travelling satellite-fashion via the cosmos itself. I offer [this cycle] to all music-loving ears as a testament of faith and of my most profound reactions to this greatest of all composers" (Leonard Bernstein, 1980).
Bernstein's impassioned renderings of Beethoven move audiences in a unique way. "Beethoven has always meant universality to me, ever since my early adolescence, when I first heard that unforgettable cry of 'Brüder!' From that moment on, every...symphony came to mean heart-to-heart communication, travelling satellite-fashion via the cosmos itself. I offer [this cycle] to all music-loving ears as a testament of faith and of my most profound reactions to this greatest of all composers" (Leonard Bernstein, 1980).
For a stage production of Goethe's Egmont planned for spring 1810, the Vienna Burgtheater commissioned Beethoven to compose incidental music to Goethe's tragedy. Although Beethoven was a great admirer of Goethe and was profoundly flattered by this commission, he did not complete the music by the time the play was given its premiere on 24 May 1810. Only at the third performance of the play on 15 June was Beethoven's music heard for the first time. Like the Leonore overtures, the Egmont also foreshadows the events to come. In Egmont , they are encapsulated in the main theme of defiance of tyranny, which gives the music its explosive power.
Music for the masses! This could have been the war cry of both Beethoven and Karajan. For this they had in common: the wish to reach out to millions and ensure the survival of their art. Beethoven, at the dawn of the romantic era, no longer wrote exclusively for titled patrons, but for the middle classes. To reach them, he needed new means of popularizing and distributing his works, such as concerts for paying audiences and the publication of arrangements for everything from piano to brass band. In the mid 20th century, Herbert von Karajan also saw a new way of reaching out to greater numbers of people through the combination of...
Music for the masses! This could have been the war cry of both Beethoven and Karajan. For this they had in common: the wish to reach out to millions and ensure the survival of their art. Beethoven, at the dawn of the romantic era, no longer wrote exclusively for titled patrons, but for the middle classes. To reach them, he needed new means of popularizing and distributing his works, such as concerts for paying audiences and the publication of arrangements for everything from piano to brass band. In the mid 20th century, Herbert von Karajan also saw a new way of reaching out to greater numbers of people through the combination of...
Rafael Kubelik (1914-1996) was the son of the well-known Bohemian violinist Jan Kubelik. He studied music in Prague and made his conducting debut at 20 at the head of the Czech Philharmonic Orchestra. Later he became the principal conductor of this famous orchestra and founded the "Prague Spring" Festival. After the Communist takeover of the government, Kubelik emigrated to the West and returned to his native land only after the end of the Communist regime. From 1950 to 1953 he headed the Chicago Symphony, from 1955 to 1958 he was music director of the Covent Garden Opera in London. A period of great artistic successes began in 1961, when he was appointed principal conductor of the Bavarian Radio Symphony Orchestra. Many recordings document Kubelik's mastery and sense of artistry, his enjoyment of music and his temperament. His connection with the Munich orchestra lasted 18 years; in between, he also briefly served as music director of New York's Metropolitan Opera. Kubelik retired from the concert staged in 1985. But on the occasion of the first Prague Spring Festival after the fall of Communism in 1990, he returned to the podium of the Czech Philharmonic after more than 40 years in exile and conducted Smetana's My Fatherland cycle. His profound bonds with his native land...
The Missa solemnis , scored for four solo voices, chorus, orchestra and organ, is one of the world's greatest choral works. It blends an age-old religious service with a musical outpouring of human emotions in an intensely personal manner. As with other musical forms, Beethoven altered, expanded and shaped the mass until it corresponded to his creative needs. Beethoven conceived the mass for a religious occasion, the installation of Archduke Rudolf as Archbishop of Olmütz in 1820. However, he did not complete it in time and the work was given its premiere in St. Petersburg on 7 April 1824. In his score, Beethoven wrote the words "From the heart... may it find its way to the heart" (vom Herzen - möge es wieder zu Herzen gehen!). Indeed, the work's dramatic, almost volcanic fervor never fails to go to the heart of all listeners.
This work is part of the complete cycle of Beethoven symphonic and choral works featuring the Vienna Philharmonic Orchestra and the Concertgebouw Orchestra of Amsterdam conducted by Leonard Bernstein. In this recording with the Dutch orchestra, Bernstein also conducts the soloists Edda Moser, Hanna Schwarz, René Kollo and Kurt Moll, along with the Chorus of Radio Hilversum.
This work is part of the complete cycle of Beethoven symphonic and choral works featuring the Vienna Philharmonic Orchestra and the Concertgebouw Orchestra of Amsterdam conducted by Leonard Bernstein. In this recording with the Dutch orchestra, Bernstein also conducts the soloists Edda Moser, Hanna Schwarz, René Kollo and Kurt Moll, along with the Chorus of Radio Hilversum.
With this festive concert the Sächsische Staatskapelle Dresden under the baton of Fabio Luisi celebrated the moving reopening of the Frauenkirche in Dresden. After the bombing of Dresden on February 13, 1945, the church burnt out and its dome, the "The Stone Bell", collapsed. The church was always very dear to the heart of the Dresdeners and just as its ruins were a constant reminder of the Second World War, the rebuilt church will remain a monument to and a symbol of hope and conciliation. Thus the reopening proved to be a touching event of great solemnity, which was perfectly matched by the Missa Solemnis . On this recording, Beethoven's overwhelming music blends wonderfully with the camera shots of the impressive space. The cast of soloists is excellent. It includes Camilla Nylund and Rene Pape, who are among the most outstanding singers of the younger generation. An informative bonus film features the reconstruction of the Frauenkirche.
Bonus features:
- The Reconstruction of the Frauenkirche, Dresden
Bonus features:
- The Reconstruction of the Frauenkirche, Dresden
The key of C minor was Beethoven's "Storm and Stress" key, that of some of his most dramatic and heroic works, such as the Fifth Symphony and the Pathetique Sonata . Composed around 1800, the Piano Concerto No. 3 in C minor, Op. 37 displays an emotional intensity that marks it as one of the first of Beethoven's mature and individual major works. As if to show that the keyboard was too narrow for his ideas, Beethoven rewrote some of the piano part in 1804 to incorporate the extra notes that had been added to the keyboard in the first years of the century. The simple but assertive opening theme of the first movement is treated with bold imaginativeness. The Largo sets the stage for a true dialogue between the piano and the orchestra, which culminates in the almost aggressive earnestness of the Rondo .
Maurizio Pollini is one of the most distinguished pianists of our time, who has performed with the world's leading orchestras. A committed advocate of contemporary music, Pollini frequently performs works by Schoenberg, Berg, Webern, Nono, Boulez and Stockhausen. However, he has also given complete cycles of the Beethoven sonatas in Berlin, Milan, New York, Munich and other cities. On the occasion of a performance of the Beethoven concertos at New York's Carnegie Hall,...
Maurizio Pollini is one of the most distinguished pianists of our time, who has performed with the world's leading orchestras. A committed advocate of contemporary music, Pollini frequently performs works by Schoenberg, Berg, Webern, Nono, Boulez and Stockhausen. However, he has also given complete cycles of the Beethoven sonatas in Berlin, Milan, New York, Munich and other cities. On the occasion of a performance of the Beethoven concertos at New York's Carnegie Hall,...
In November 2007, Daniel Barenboim completed a cycle of Beethoven's piano concertos. Recorded live at the prestigious Klavier-Festival Ruhr in May 2007, this recording reflects both a very individual and special reading of Beethoven's music and the artist's life-long dedication to the composer. Daniel Barenboim is one of the most prolific and high-profile artists performing on international stages today and Beethoven's masterpieces have been a key part of his repertoire throughout his career, both as conductor and as pianist. Beethoven himself was a keyboard virtuoso of almost awesome abilities who created a sensation wherever he played. It is no wonder, therefore, that the piano was central to Beethoven's overall output. Daniel Barenboim, artistic personality and former wunderkind, long an essential part of the international musical scene both on the conductor's podium and at the piano, is the perfect match for this demanding music. Conducting and playing at the same time, Barenboim chose his orchestra of almost two decades, the Staatskapelle Berlin, which he has praised warmly for its exceptional, dark and warm sound. With a tradition reaching back to 1570, the Staatskapelle Berlin is one of the oldest orchestras in the world.
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
Elected by members of the Berlin Philharmonic as Principal Conductor and fifth Artistic Director in 1989, Claudio Abbado resigned from the post in 2002, but remains close to the orchestra, which cherishes the conductor to this day. Listening to the music, one hears how the Berlin Philharmonic transforms Abbado's musical intentions into sound – there is a sense of unity that can only be achieved through many years of shared artistic experience and attention to detail. These live performances at the Accademia Nazionale di Santa Cecilia in Rome in 2001 were an overwhelming success: each concert ended in standing ovations, and the critics spoke of seminal moments in the history of music. Abbado's Beethoven cycle will certainly become a milestone for contemporary interpretation and this recording pays tribute to his achievement.
Bonus feature:
- Multi-Angle Feature - Conductor Camera ( Symphony No. 6 )
Bonus feature:
- Multi-Angle Feature - Conductor Camera ( Symphony No. 6 )
Elected by members of the Berlin Philharmonic as Principal Conductor and fifth Artistic Director in 1989, Claudio Abbado resigned from the post in 2002, but remains close to the orchestra, which cherishes the conductor to this day. Listening to the music, one hears how the Berlin Philharmonic transforms Abbado's musical intentions into sound – there is a sense of unity that can only be achieved through many years of shared artistic experience and attention to detail. These live performances at the Accademia Nazionale di Santa Cecilia in Rome in 2001 were an overwhelming success: each concert ended in standing ovations, and the critics spoke of seminal moments in the history of music. Abbado's Beethoven cycle will certainly become a milestone for contemporary interpretation and this recording pays tribute to his achievement.
Bonus feature:
- Multi-Angle Feature - Conductor Camera ( Symphony No. 5 )
Bonus feature:
- Multi-Angle Feature - Conductor Camera ( Symphony No. 5 )
Elected by members of the Berlin Philharmonic as Principal Conductor and fifth Artistic Director in 1989, Claudio Abbado resigned from the post in 2002, but remains close to the orchestra, which cherishes the conductor to this day. Listening to the music, one hears how the Berlin Philharmonic transforms Abbado's musical intentions into sound – there is a sense of unity that can only be achieved through many years of shared artistic experience and attention to detail. These live performances at the Philharmonie, Berlin in 2000 and the Accademia Nazionale di Santa Cecilia in Rome in 2001 were an overwhelming success: each concert ended in standing ovations, and the critics spoke of seminal moments in the history of music. Abbado's Beethoven cycle will certainly become a milestone for contemporary interpretation and this recording pays tribute to his achievement. For the popular Symphony No. 9 in D minor , the Berlin Philharmonic were joined by high-ranking singers and choirs.
Bonus feature:
- Multi-Angle Feature - Conductor Camera ( Symphony No.3 )
Bonus feature:
- Multi-Angle Feature - Conductor Camera ( Symphony No.3 )
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their music director, Charles Munch.
This performance of extracts from The Creatures of Prometheus is a rare one, Munch having only conducted the ballet at the BSO in one season. He breathes life into his performances of Symphonies Nos. 4 and 5, which are executed with excitement, exuberance and panache.
This performance of extracts from The Creatures of Prometheus is a rare one, Munch having only conducted the ballet at the BSO in one season. He breathes life into his performances of Symphonies Nos. 4 and 5, which are executed with excitement, exuberance and panache.
Elected by members of the Berlin Philharmonic as Principal Conductor and fifth Artistic Director in 1989, Claudio Abbado resigned from the post in 2002, but remains close to the orchestra, which cherishes the conductor to this day. Listening to the music, one hears how the Berlin Philharmonic transforms Abbado's musical intentions into sound – there is a sense of unity that can only be achieved through many years of shared artistic experience and attention to detail. These live performances at the Accademia Nazionale di Santa Cecilia in Rome in 2001 were an overwhelming success: each concert ended in standing ovations, and the critics spoke of seminal moments in the history of music. Abbado's Beethoven cycle will certainly become a milestone for contemporary interpretation and this recording pays tribute to his achievement.
Bonus features:
- Multi-Angle Feature - Conductor Camera ( Symphony No. 7 )
- Documentary - Abbado on Beethoven
Bonus features:
- Multi-Angle Feature - Conductor Camera ( Symphony No. 7 )
- Documentary - Abbado on Beethoven
When, in the mid 1960s, Herbert von Karajan decided to record on film all nine Beethoven symphonies with the Berlin Philharmonic, he began with the Fifth and asked the famous French movie director Henri-Georges Clouzot (Quai des Orfevres) to direct. Recognizing in the music-loving director a kindred soul and master of the symbolic image, Karajan found an inspired partner. In another of Karajan's first efforts, he asked six directors to "stage" one movement each of a Beethoven symphony. For a full week, the directors had the Berlin Philharmonic and Herbert von Karajan – all in full dress – at their disposal, with all the 35mm film, cameras, lighting and technical assistance they needed. Karajan's most controversial production was Hugo Niebeling's highly personal interpretation of the Pastorale , with its abstract shots of instruments, rapid rhythms, fade-ins and symbolically arranged colors. Some critics raved: "This music film could have been made by Antonioni, Fellini or Godard." Karajan pursued his plan with tenacity, and the result is a milestone in the history of music on film: all nine Beethoven symphonies recorded at the peak of Karajan's powers, unified by the performers but varied through the artistic vision of different directors.
When, in the mid 1960s, Herbert von Karajan decided to record on film all nine Beethoven symphonies with the Berlin Philharmonic, he began with the Fifth and asked the famous French movie director Henri-Georges Clouzot to direct. Recognizing in the music-loving director a kindred soul and master of the symbolic image, Karajan found an inspired partner. In another of Karajan's first efforts, he asked six directors to "stage" one movement each of a Beethoven symphony. For a full week, the directors had the Berlin Philharmonic and Herbert von Karajan - all in full dress - at their disposal, with all the 35mm film, cameras, lighting and technical assistance they needed. Karajan's most controversial production was Hugo Niebeling's highly personal interpretation of the Pastorale , with its abstract shots of instruments, rapid rhythms, fade-ins and symbolically arranged colors. Some critics raved: "This music film could have been made by Antonioni, Fellini or Godard." Karajan pursued his plan with tenacity, and the result is a milestone in the history of music on film: all nine Beethoven symphonies recorded at the peak of Karajan's powers, unified by the performers but varied through the artistic vision of different directors.
The concert given by the Simón Bolívar Youth Orchestra of Venezuela under its conductor Gustavo Dudamel at the Beethovenfest 2007 in Bonn was a highlight of the musical year. Over 200 young musicians between the ages of 10 and 24, many from underprivileged backgrounds, performed with nearly untamable energy under the baton of a young maestro destined to conduct the most fabled orchestras in the world.
Born in 1981, Gustavo Dudamel is a product of Venezuela's Sistema de Orquestas, which was founded by J. A. Abreu to allow children of all social milieus to learn an instrument and play in an ensemble. After winning a competition in 2004, Dudamel quickly went on to conduct several major orchestras. Critics try to capture Dudamel's effect on musicians and audiences with words such as "electricity," "vibrancy" and "magic," and Sir Simon Rattle has called him "the most astonishingly gifted conductor I have ever come across."
The concert program includes Beethoven's "Eroica" Symphony and pieces by Latin-American composers Moncayo, Márquez and Ginastera. At the end of the concert, when the youngsters rip loose in the encores and turn the Beethovenfest into a Latin fiesta, no one will be able to resist tapping the rhythms with their foot and joining in the unbridled and infectious...
Born in 1981, Gustavo Dudamel is a product of Venezuela's Sistema de Orquestas, which was founded by J. A. Abreu to allow children of all social milieus to learn an instrument and play in an ensemble. After winning a competition in 2004, Dudamel quickly went on to conduct several major orchestras. Critics try to capture Dudamel's effect on musicians and audiences with words such as "electricity," "vibrancy" and "magic," and Sir Simon Rattle has called him "the most astonishingly gifted conductor I have ever come across."
The concert program includes Beethoven's "Eroica" Symphony and pieces by Latin-American composers Moncayo, Márquez and Ginastera. At the end of the concert, when the youngsters rip loose in the encores and turn the Beethovenfest into a Latin fiesta, no one will be able to resist tapping the rhythms with their foot and joining in the unbridled and infectious...
The Fourth Symphony was first performed in Vienna in 1807 at the home of one of Beethoven's patrons, Prince Franz Joseph Lobkowitz. Compared with the Third Symphony , the Fourth is more modest and traditional; its style and structure are closer to the Second . The Fourth Symphony is not a monumental work; on the contrary, the orchestra is the smallest for any Beethoven symphony. The gentle harmony and placidity of this symphony prompted the French composer Hector Berlioz to comment about the second movement: "...the being who wrote such a marvel of inspiration... was not human."
This recording is part of Bernstein's complete cycle of Beethoven symphonies recorded with the Vienna Philharmonic Orchestra live in Vienna. The series won the Ace Award, the U.S. Cable TV Association's top award for outstanding quality and entertainment value. Bernstein's impassioned renderings of Beethoven move audiences in a unique way. "Beethoven has always meant universality to me, ever since my early adolescence, when I first heard that unforgettable cry of 'Brüder!'. From that moment on, every... symphony came to mean heart-to-heart communication, travelling satellite-fashion via the cosmos itself. I offer [this cycle] to all music-loving ears as a testament of faith and of my most...
This recording is part of Bernstein's complete cycle of Beethoven symphonies recorded with the Vienna Philharmonic Orchestra live in Vienna. The series won the Ace Award, the U.S. Cable TV Association's top award for outstanding quality and entertainment value. Bernstein's impassioned renderings of Beethoven move audiences in a unique way. "Beethoven has always meant universality to me, ever since my early adolescence, when I first heard that unforgettable cry of 'Brüder!'. From that moment on, every... symphony came to mean heart-to-heart communication, travelling satellite-fashion via the cosmos itself. I offer [this cycle] to all music-loving ears as a testament of faith and of my most...
When, in the mid 1960s, Herbert von Karajan decided to record on film all nine Beethoven symphonies with the Berlin Philharmonic, he began with the Fifth and asked the famous French movie director Henri-Georges Clouzot to direct. Recognizing in the music-loving director a kindred soul and master of the symbolic image, Karajan found an inspired partner. In another of Karajan's first efforts, he asked six directors to "stage" one movement each of a Beethoven symphony. For a full week, the directors had the Berlin Philharmonic and Herbert von Karajan - all in full dress - at their disposal, with all the 35mm film, cameras, lighting and technical assistance they needed. Karajan's most controversial production was Hugo Niebeling's highly personal interpretation of the Pastorale , with its abstract shots of instruments, rapid rhythms, fade-ins and symbolically arranged colors. Some critics raved: "This music film could have been made by Antonioni, Fellini or Godard." Karajan pursued his plan with tenacity, and the result is a milestone in the history of music on film: all nine Beethoven symphonies recorded at the peak of Karajan's powers, unified by the performers but varied through the artistic vision of different directors.
Nature was often Beethoven's companion during his long solitary walks in the countryside near Vienna. His communion with nature brought forth the Pastoral Symphony , composed between in 1807/1808. Its first performance took place in Vienna on 22 December 1808. Each of the Pastoral 's five movements (it is Beethoven's only five-movement symphony) bears a descriptive title, suggesting a scene from country life. In the second movement, woodwinds imitate bird calls: flute (nightingale), oboe (quail)and clarinet (cuckoo). Beethoven's joy is expressed throughout the work: "How glad I am to be able to roam in woods and thickets, among the trees,flowers and rocks", he said. "No one can love the country as I do... my bad hearing does not trouble me here."
This recording is part of Bernstein's complete cycle of Beethoven symphonies recorded with the Vienna Philharmonic Orchestra live in Vienna. The series won the Ace Award, the U.S. Cable TV Association's top award for outstanding quality and entertainment value. Bernstein's impassioned renderings of Beethoven move audiences in a unique way. "Beethoven has always meant universality to me, ever since my early adolescence, when I first heard that unforgettable cry of 'Brüder!'. From that moment on, every... symphony came to mean...
This recording is part of Bernstein's complete cycle of Beethoven symphonies recorded with the Vienna Philharmonic Orchestra live in Vienna. The series won the Ace Award, the U.S. Cable TV Association's top award for outstanding quality and entertainment value. Bernstein's impassioned renderings of Beethoven move audiences in a unique way. "Beethoven has always meant universality to me, ever since my early adolescence, when I first heard that unforgettable cry of 'Brüder!'. From that moment on, every... symphony came to mean...
Carlos Kleiber's all too rare concert appearances are always musical occasions to cherish and remember. The vitality and precision of his authoritative gestures never fail to generate excitement and inspire playing of great elan from orchestras throughout the world. When Carlos Kleiber conducts the Concertgebouw Orchestra of Amsterdam in Beethoven, one can expect a performance of intense musical concentration and exceptional expressive power. Carlos Kleiber made this recording with the Dutch orchestra in 1983, conducting Beethoven's Fourth and Seventh Symphonies . The mesmeric command of this elusive conductor over his musicians is fascinating. With none of the excessive glamor of the star performer, Carlos Kleiber, with meticulous care for detail, creates clear instrumental textures, compelling rhythmic designs and magical moments of fine repose. This is spell-binding music-making. This is vintage Carlos Kleiber.
When, in the mid 1960s, Herbert von Karajan decided to record on film all nine Beethoven symphonies with the Berlin Philharmonic, he began with the Fifth and asked the famous French movie director Henri-Georges Clouzot to direct. Recognizing in the music-loving director a kindred soul and master of the symbolic image, Karajan found an inspired partner. In another of Karajan's first efforts, he asked six directors to "stage" one movement each of a Beethoven symphony. For a full week, the directors had the Berlin Philharmonic and Herbert von Karajan – all in full dress – at their disposal, with all the 35mm film, cameras, lighting and technical assistance they needed. Karajan's most controversial production was Hugo Niebeling's highly personal interpretation of the Pastorale , with its abstract shots of instruments, rapid rhythms, fade-ins and symbolically arranged colors. Some critics raved: "This music film could have been made by Antonioni, Fellini or Godard." Karajan pursued his plan with tenacity, and the result is a milestone in the history of music on film: all nine Beethoven symphonies recorded at the peak of Karajan's powers, unified by the performers but varied through the artistic vision of different directors.
When, in the mid 1960s, Herbert von Karajan decided to record on film all nine Beethoven symphonies with the Berlin Philharmonic, he began with the Fifth and asked the famous French movie director Henri-Georges Clouzot (Quai des Orfèvres) to direct. Recognizing in the music-loving director a kindred soul and master of the symbolic image, Karajan found an inspired partner. In another of Karajan's first efforts, he asked six directors to "stage" one movement each of a Beethoven symphony. For a full week, the directors had the Berlin Philharmonic and Herbert von Karajan – all in full dress – at their disposal, with all the 35mm film, cameras, lighting and technical assistance they needed. Karajan's most controversial production was Hugo Niebeling's highly personal interpretation of the Pastorale , with its abstract shots of instruments, rapid rhythms, fade-ins and symbolically arranged colors. Some critics raved: "This music film could have been made by Antonioni, Fellini or Godard." Karajan pursued his plan with tenacity, and the result is a milestone in the history of music on film: all nine Beethoven symphonies recorded at the peak of Karajan's powers, unified by the performers but varied through the artistic vision of different directors.
The West-Eastern Divan Orchestra was founded by Daniel Barenboim and the late Edward Said. It consists of young, highly talented Israeli and Arabian musicians and was founded to increase the dialogue between young people in the Middle East and represent the peaceful collaboration of the two cultures. In standard comparable to the most established orchestras, it combines tonal beauty and transparency with youthful expressiveness, passion and exuberance. This technically brilliant and incredibly enthusiastic orchestra brings out all levels of Beethoven's 9th symphony and we listen to Beethoven at his very best: exuberant, emotional, lucid, tender, clear, triumphant... simply magnificent! Needless to say, Daniel Barenboim conducts excellently and outstanding singers Angela Denoke, Waltraud Meier, Burkhard Fritz and Rene Pape contribute tremendously to this unforgettable concert. The standing ovations are well deserved!
This Christopher Nupen film belongs to a long line of memorable portraits of the great performers. It is the product of a close friendship between a dedicated filmmaker and one of the finest violinists of the twentieth century, and it contains the only portrait film ever made with Nathan Milstein. It was shot in the autumn of the longest career in the history of solo violin playing; seventy-three years lay between Milstein’s first appearance with Glazunov conducting and his last recital in the Berwaldhallen in Stockholm in 1986. That legendary recital provides most of the music for this film. Milstein’s partner was the French pianist Georges Pludermacher, with who he had worked for more than twenty years.
Nathan Milstein was an astonishing eighty-two years old at the time of the recital, yet he still played as the grandest of grand masters, and as surely no other violinist has ever played at that age. This film will be of interest to virtually every student of the violin.
Nathan Milstein was an astonishing eighty-two years old at the time of the recital, yet he still played as the grandest of grand masters, and as surely no other violinist has ever played at that age. This film will be of interest to virtually every student of the violin.
This opera gala, recorded live at the Deutsche Oper Berlin, on November 8, 2003, marked the 10th anniversary of the annual benefit for the German AIDS Foundation. Conducted by Kent Nagano, then Principal Conductor and Artistic Director of the Berlin Deutsche Symphony Orchestra founded 1923. This recording features an illustrious roster of international artists from Germany, Austria, Italy, Russia, Bulgaria, the United States and Canada.
Each year, the traditional Festive Opera Gala combines real musical delight and the joy of charity. The gala, which is organised for the benefit of the German AIDS Foundation, has for years been one of the social highlights on the German agenda. In the years 2005 and 2006 conductor Lawrence Foster was the responsible leader of the choir and the orchestra of the German Opera Berlin.
Each year, the traditional Festive Opera Gala combines real musical delight and the joy of charity. The gala, which is organised for the benefit of the German AIDS Foundation, has for years been one of the social highlights on the German agenda. In the years 2005 and 2006 conductor Lawrence Foster was the responsible leader of the choir and the orchestra of the German Opera Berlin.
A traditional filming reproduces the perspective of an audience in its seat armed with opera glasses. This film shows just the opposite – the spectator is placed in the orchestra among the musicians and in front of the conductor. We thus have the perspective of the musicians and the emotions they live with Cristoph Eschenbach. The effect of being in the very midst of these always surprising scores is nothing short of spectacular. For Harold in Italy , violist Tabea Zimmermann joins maestro Eschenbach and the Orchestre de Paris.
This 1993 recording must be hailed as a document of supreme historical importance as it is the first audio-visual live recording of a concert given by Sir Simon Rattle and the Berliner Philharmoniker. Six years later the orchestra voted by a large majority to appoint Rattle its new principal conductor and artistic director in succession to Claudio Abbado. Even at this early date Rattle was already attracting attention not only with the masterly conducting but also with his extremely interesting programming. In the present programme, for example, he combines the final work by Jean-Philippe Rameau, a composer who raised the music of the French Baroque to a level never to be surpassed, with the famous Symphonie fantastique by Hector Berlioz, who, only twenty-six at the time of the work's composition, was soon to be acclaimed as one of the "musicians of the future".
Simon Rattle and the Berlin Philharmonic set off fireworks of good humour and a contagious musical spirit at the traditional New Year's Eve Concert in 2002. Simon Rattle chose Leonard Bernstein's brilliant and entertaining musical comedy, Wonderful Town , for his first New Year's Eve Concert with the Berlin Philharmonic. Conductor and orchestra - both rank among the best in the world - joined forces with Broadway stars Kim Criswell and Audra McDonald and famous baritone Thomas Hampson. The audience enjoyed a great show full of dancing, choruses, fascinating light design and – above all – intoxicating music. The exuberant atmosphere of this event culminated in an overwhelming encore with the musicians and audience dancing through the hall! This video captures the atmosphere right in the middle of orchestra, singers and audience and recreates a wonderful night on the town.
A true celebration, ushering in the New Year with one of the finest orchestras and greatest conductors in the world. The 2007 Gala from Berlin features the Berlin Philharmonic and Sir Simon Rattle in Alexander Borodin's Second Symphony , a richly lyrical work of immense poetic grandeur and fairytale magic, in a programme that also includes one of the greatest classical hits ever: Modest Mussorgsky's Pictures at an Exhibition .
Between 1981 and 1984, Leonard Bernstein recorded nearly all of Brahms's orchestral works with the Vienna Philharmonic Orchestra to honor the 150th anniversary of the composer's birth in 1833. Today, the cycle is considered as a landmark in the interpretation of Brahms's music. For Bernstein, Brahms was "a true Romantic, containing his passions in classical garb," but also a "North-German classicist swept away to Vienna, and fired by Danubian, Carpathian and gypsy passions." Bearing this dualism in mind, Bernstein and the Vienna Philharmonic have underscored both the classicism and romanticism, the dramatic intensity and the sober restraint of Brahms's music. The venue was Vienna's Musikvereinssaal, where two of Brahms's symphonies were premiered and where Brahms himself conducted. For the concertos, Bernstein enlisted the services of some of the finest Brahms interpreters of the time: the violinist Gidon Kremer, the cellist Misha Maisky and the pianist Krystian Zimerman.
Johannes Brahms composed his Requiem in 1865/66, shortly after the death of his mother. A profoundly moving work for soprano and baritone solo, chorus and orchestra, it is the composer's largest single composition. No work did more to win Brahms international recognition and, after the first complete performance of the Requiem in Leipzig in 1869, he was regarded as one of the leading composers of his time. It was not the first requiem in German, but the first in which a composer pieced together his text from Bible passages in Martin Luther's German translation. It is an intensely personal selection which speaks to the living and seeks to offer hope and comfort. Through his subtle, almost surreal, affinity to Brahms's unorthodox, elusive worldview, conductor Christian Thielemann has crafted a performance that places him among the best interpreters of this work, such as Maazel, Furtwängler, Karajan, Klemperer... An acknowledged specialist of romantic music, Thielemann "put forth a dignified account that offers considerable material for reflection. At the end, one understood all too well why the audience was requested to refrain from applauding at the end. For the seventh and last section is the solemn, meditative chorus "Selig sind die Toten" ... In Thielemann's hands, this...
Daniel Barenboim is the soloist in this production of Brahm's Piano Concerto No. 1. Mariss Jansons conducts the Royal Concertgebouw Orchestra.
This recording commemorates the 50th anniversary of Joaquin Achucarro's debut with the London Symphony Orchestra after winning the Royal Liverpool Philharmonic International Competition in 1959. Recorded at Jerwood Hall, St Luke's, London, with Britain's eminent conductor Colin Davis at the helm, Achucarro delivers a consummate performance that brilliantly expresses his delicate and passionate style.
Bonus features :
- Joaquin Achucarro: 50 Years On - A documentary including interviews with Placido Domingo, Simon Rattle and Zubin Mehta.
- Achucarro at the Prado - performances of solo pieces by Brahms, Chopin, Scriabin and Albeniz filmed in the beautiful setting of the Prado museum.
Bonus features :
- Joaquin Achucarro: 50 Years On - A documentary including interviews with Placido Domingo, Simon Rattle and Zubin Mehta.
- Achucarro at the Prado - performances of solo pieces by Brahms, Chopin, Scriabin and Albeniz filmed in the beautiful setting of the Prado museum.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
The winner of the 1970 Chopin Piano Competition and one of the leading exponents of Chopin's works, Ohlsson displays brilliance and depth of feeling in this recital performance, filmed only four years after he won first prize. He demonstrates both subtlety and warmth of sound in his performance of Brahms's Piano Concerto No. 2 in B flat major, where his technical mastery is also evident. This video features exhilarating and spontaneous interpretations from a true master of the piano.
The winner of the 1970 Chopin Piano Competition and one of the leading exponents of Chopin's works, Ohlsson displays brilliance and depth of feeling in this recital performance, filmed only four years after he won first prize. He demonstrates both subtlety and warmth of sound in his performance of Brahms's Piano Concerto No. 2 in B flat major, where his technical mastery is also evident. This video features exhilarating and spontaneous interpretations from a true master of the piano.
In December 1989, the artists came together to record some of the early chamber works of Brahms. Part I of each volume focuses on the preparation, rehearsal and re-takes, while Part II captures the final record performance. Emanuel Ax, Isaac Stern, Cho-Liang Lin, Jaime Laredo, Michael Tree, Yo-Yo Ma, Sharon Robinson.
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This recording features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, Charles Munch.
Munch gave extensive performances of Brahms' Symphonies Nos. 1 and 2 during his time at the Boston Symphony, particularly during the orchestra's many national and international tours. His readings of both works exhibit his characteristic energy and enthusiasm, which, coupled with the BSO's distinctive sound, makes for a captivating recording.
Munch gave extensive performances of Brahms' Symphonies Nos. 1 and 2 during his time at the Boston Symphony, particularly during the orchestra's many national and international tours. His readings of both works exhibit his characteristic energy and enthusiasm, which, coupled with the BSO's distinctive sound, makes for a captivating recording.
After their impressive interpretation of Mahler's symphonies, Michael Gielen and Roger Norrington now turn to the symphonies of Johannes Brahms. In this video, Norrington conducts the Stuttgart Radio Symphony Orchestra as they perform Brahms's four symphonies, and he gives a detailed introduction before each.
Recorded in 1971, this film shows the CSO in their first ever concert outside the United States. As Solti himself explains in the bonus feature included here, the CSO are masters in German repertoire, to which they bring the American virtuosity. Solti summons tremendous power, elegance and clarity from the orchestra, and their subsequent performances of Brahms's First Symphony have been praised for their "dignity, energy and splendour," which led critic William Mann to write: "I am tempted to describe it as the United States' most completely accomplished orchestra."
Between 1981 and 1984, Leonard Bernstein recorded nearly all of Brahms's orchestral works with the Vienna Philharmonic Orchestra to honor the 150th anniversary of the composer's birth in 1833. Today, the cycle is considered as a landmark in the interpretation of Brahms's music. For Bernstein, Brahms was "a true Romantic, containing his passions in classical garb", but also a "North-German classicist swept away to Vienna, and fired by Danubian, Carpathian and gypsy passions". Bearing this dualism in mind, Bernstein and the Vienna Philharmonic have underscored both the classicism and romanticism, the dramatic intensity and the sober restraint of Brahms's music. The venue was Vienna's Musikvereinssaal, where two of Brahms's symphonies were premiered and where Brahms himself conducted. For the concertos, Bernstein enlisted the services of some of the finest Brahms interpreters of the time: the violinist Gidon Kremer, the cellist Mischa Maisky and the pianist Krystian Zimerman.
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
Rafael Kubelik was a full-blooded musician. Every performance of his radiated a feeling of spontaneity, impulsiveness and joy. Kubelik died in Lucerne in August 1996 at the age of 82 after a long illness. Bruckner’s Fourth had a tortuous history, beginning with a first version in 1874 and leading to a number of revisions, both major and minor, culminating in a heavily cut first publication of the score in 1889. This first edition, however, violated Bruckner’s express wishes that the score be printed in its entirety. After World War II, a new scholarly edition was published and is generally used for performances to this day. Rafael Kubelik leads the Vienna Philharmonic Orchestra in this recording.
Elemental, metaphysical, primordial – these are some of the terms used to describe Bruckner's nine symphonies and which fully apply to his Fourth Symphony, the "Romantic." Though Bruckner provided programmatic explanations to the music, one seeks in vain the "medieval city" and "leaping steeds" in this work, which disregards conventions and expectations. Monolithic blocks of sound derived from the simple horn melody of the opening measures, sweeping themes that hypnotically revolve around themselves, long build-ups that suddenly break off when a climax is imminent – the Fourth is a milestone in Bruckner's symphonic oeuvre. Bruckner originally wrote the Fourth Symphony in 1874 but revised it thoroughly in 1880 before its premiere in Vienna in 1881, which was a resounding success. Although he continued to revise it in later years, the version most often played today is the first revised version of 1880. This is also the version featured on this recording of a concert held at the Festspielhaus Baden-Baden, which was greeted with storms of applause. Leading the Munchner Philharmoniker in this concert is its principal conductor Christian Thielemann, a maestro internationally known and admired above all as a specialist of Romantic music. Having mastered the repertoire...
Renowned for his interpretations of Bruckner's symphonies, Günter Wand had a great affinity for Bruckner's Fifth Symphony, as noted by the composer Bernd Alois Zimmermann. His first recording of the work became a great success, winning the German Record Prize in 1978. Wand's London concerts with the BBC Symphony as Principal Guest Conductor acquired legendary status in his later years, rewarding him with the recognition that was so greatly deserved.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on DVD for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on DVD for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
"Grandiose, unaffected, expansive, majestic, immovable..." – Christian Thielemann's description of Anton Bruckner's music vividly captures its essence and uniqueness. And he himself captures the soul of the great romantic composer in his interpretation of Bruckner's Seventh Symphony with the Munich Philharmonic. Recorded live at the Festspielhaus Baden-Baden on 14 November 2006, the concert also features three orchestral preludes from the opera Palestrina by another late-romantic composer, Hans Pfitzner.
The preludes from Pfitzner's Palestrina , the composer's most well-known work, evoke the events about to transpire in the acts that follow them. While the subtle, refined nuances of the first prelude suggests the creative crisis of the opera's hero, the Renaissance composer Palestrina, the second reflects the turbulent atmosphere of the Council of Trent and the third the inner peace found at long last by Palestrina beneath the cupola of St. Peter's. Completed in September 1883, several months after the death of Richard Wagner, Anton Bruckner's Symphony No. 7 in E major is a stunning homage to the composer of the Ring . A passionate admirer of Wagner, Bruckner claimed that he had the master's death in mind while writing the "Adagio" of this symphony. With its...
The preludes from Pfitzner's Palestrina , the composer's most well-known work, evoke the events about to transpire in the acts that follow them. While the subtle, refined nuances of the first prelude suggests the creative crisis of the opera's hero, the Renaissance composer Palestrina, the second reflects the turbulent atmosphere of the Council of Trent and the third the inner peace found at long last by Palestrina beneath the cupola of St. Peter's. Completed in September 1883, several months after the death of Richard Wagner, Anton Bruckner's Symphony No. 7 in E major is a stunning homage to the composer of the Ring . A passionate admirer of Wagner, Bruckner claimed that he had the master's death in mind while writing the "Adagio" of this symphony. With its...
A compelling performance of Bruckner's Symphony No. 8, this video presents Steinberg at his most majestic in a sympathetic interpretation of this mighty work. The Boston Symphony Orchestra is once again on top form, as testified by a rapturous Sanders Theatre audience.
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This series features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, William Steinberg.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value and is released here for the first time.
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This series features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, William Steinberg.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value and is released here for the first time.
On 10 October 2004, the Teatro Regio celebrated the birthday of Giuseppe Verdi by holding a concert featuring some of the most important artists and singers of the international music scene. The performance was part of an intended annual series in which extracts from each of Verdi's operas would be performed in chronological order to offer an analytic and comprehensive panorama of his output, and the concerts would bring to the stage the most acclaimed stars of the operatic world. The great baritone Leo Nucci and the famous tenor Jose Cura are featured in this video, and Renato Palumbo, musical director of the Deutsche Oper Berlin, conducts.
Butterfly Lovers is a music and dance film by director Marikki Hakola. A synthesis of the ever-popular Chinese violin concerto Butterfly Lovers and choreography inspired by Chinese martial arts and modern dance, the film is an imaginative interpretation of the ancient Chinese fairy tale A Love Story of Liang Shan Bo and Zhu Ying Tai. The film features violinist Takako Nishizaki, conductor James Judd, choreographer and dancer Dou Dou, dancer Ding Yue Hong and the New Zealand Symphony Orchestra.
Bonus feature:
Butterfly Tones - a documentary featuring interviews with Chen Gang, Takako Nishizaki, James Judd, Zeng Kang Mei and Dou Dou.
Bonus feature:
Butterfly Tones - a documentary featuring interviews with Chen Gang, Takako Nishizaki, James Judd, Zeng Kang Mei and Dou Dou.
The Butterfly Lovers Violin Concerto was written in 1958 by He Zhanhao and Chen Gang while they were students at the Shanghai Conservatory and was first performed in May the following year. Musically the concerto is a synthesis of Eastern and Western traditions, although the melodies and overall style are adapted from traditional Chinese opera. The solo violin is used in a way that recalls the playing technique of the erhu, the Chinese two-string fiddle. It is a one-movement programmatic concerto with three sections that correspond to the three phases of the story - Falling in Love, Refusing to Marry and Metamorphosis.
The Yellow River Concerto was based on the famous Yellow River Cantata by Xin Singhai, a work dating from the period of the Sino-Japanese War, and devised by the committee of composers then found advisable for such a task, Yin Chengzong, Liu Zhuang, Chu Wanghua, Sheng Lihong, Shi Shucheng and Xu Feisheng.
The Yellow River Concerto was based on the famous Yellow River Cantata by Xin Singhai, a work dating from the period of the Sino-Japanese War, and devised by the committee of composers then found advisable for such a task, Yin Chengzong, Liu Zhuang, Chu Wanghua, Sheng Lihong, Shi Shucheng and Xu Feisheng.
Sparkling Chopin performances from Van Cliburn just one year after his triumph at the 1958 inaugural Tchaikovsky Competition are coupled with fiery intensity from Claudio Arrau in two of Beethoven's best loved piano sonatas. This video presents rare audiovisual material from two of the world's finest pianists.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
Artur Rubinstein was one of the greatest pianists of the 20th century. Born in Lodz in 1887, he took piano lessons in his native city and at the Warsaw Conservatory. In Berlin he continued his training and debuted there in 1900 under the musical direction of Joseph Joachim. This was followed by appearances in America and many European countries. At the beginning of the First World War, he vowed never to play again in Germany. As a Pole and Jew, he renewed this vow and maintained it till the end of his life. After three decades of active concert activity, the bon-vivant Rubinstein took an artistic pause in 1932 and returned to public performance in 1937, at the age of 50. Rubinstein, the "blessed virtuoso" as Thomas Mann once called him, worked with the most famous musicians of his time, made recordings and was celebrated all over the world as the "pianist of the century."
Rubinstein's interpretations are considered to this day as exemplary and often unsurpassed. His multi-faceted repertoire, impeccable technique and irresistibly beautiful tone turned every performance into an event. Rubinstein played works from the German classic and romantic eras as well as Russian, Spanish and French piano works. He devoted himself particularly intensively to the works of his fellow...
Rubinstein's interpretations are considered to this day as exemplary and often unsurpassed. His multi-faceted repertoire, impeccable technique and irresistibly beautiful tone turned every performance into an event. Rubinstein played works from the German classic and romantic eras as well as Russian, Spanish and French piano works. He devoted himself particularly intensively to the works of his fellow...
Brass concerts at Christmas are famous in Germany. In Soest, a historic city which once belonged to the Hanseatic League, Christmas music has been ringing from the city's tower on Christmas Day since the Middle Ages.
This is a film of pageantry which shows the full diversity of the world of mountains, with their proud peaks, deep valleys and gorges, forbidding fir forests, and the park of Linderhof, one of the castles built by Ludwig II, the fairytale king of Bavaria. The distant beauty of the mountains is just one of the moods which the film evokes, moods which recall to mind those conveyed by the Romantic artist Caspar David Friedrich, moods which quietly help us in our preparation for the joys of the festive days to come.
The path taken by the film leads us out of the barren isolation of remote upland valleys and the handful of remaining farms, down into the lush, colourful baroque ornamentation of Bavarian churches, and then finally to the Bavarian National Museum, where some of the most beautiful mangers in the world have been collected.
The Berlin Philhamonic Brass Ensemble journeys through the countryside, from mountain peaks to fortress courtyards whose only illumination is provided by torches. The modern troubadours play rousing, ceremonial music as the spirit...
This is a film of pageantry which shows the full diversity of the world of mountains, with their proud peaks, deep valleys and gorges, forbidding fir forests, and the park of Linderhof, one of the castles built by Ludwig II, the fairytale king of Bavaria. The distant beauty of the mountains is just one of the moods which the film evokes, moods which recall to mind those conveyed by the Romantic artist Caspar David Friedrich, moods which quietly help us in our preparation for the joys of the festive days to come.
The path taken by the film leads us out of the barren isolation of remote upland valleys and the handful of remaining farms, down into the lush, colourful baroque ornamentation of Bavarian churches, and then finally to the Bavarian National Museum, where some of the most beautiful mangers in the world have been collected.
The Berlin Philhamonic Brass Ensemble journeys through the countryside, from mountain peaks to fortress courtyards whose only illumination is provided by torches. The modern troubadours play rousing, ceremonial music as the spirit...
Brass concerts at Christmas are famous in Germany. In Soest, a historic city which once belonged to the Hanseatic League, Christmas music has been ringing from the city's tower on Christmas Day since the Middle Ages.
This is a film of pageantry which shows the full diversity of the world of mountains, with their proud peaks, deep valleys and gorges, forbidding fir forests, and the park of Linderhof, one of the castles built by Ludwig II, the fairytale king of Bavaria. The distant beauty of the mountains is just one of the moods which the film evokes, moods which recall to mind those conveyed by the Romantic artist Caspar David Friedrich, moods which quietly help us in our preparation for the joys of the festive days to come.
The path taken by the film leads us out of the barren isolation of remote upland valleys and the handful of remaining farms, down into the lush, colourful baroque ornamentation of Bavarian churches, and then finally to the Bavarian National Museum, where some of the most beautiful mangers in the world have been collected.
The Berlin Philhamonic Brass Ensemble journeys through the countryside, from mountain peaks to fortress courtyards whose only illumination is provided by torches. The modern troubadours play rousing, ceremonial music as the spirit...
This is a film of pageantry which shows the full diversity of the world of mountains, with their proud peaks, deep valleys and gorges, forbidding fir forests, and the park of Linderhof, one of the castles built by Ludwig II, the fairytale king of Bavaria. The distant beauty of the mountains is just one of the moods which the film evokes, moods which recall to mind those conveyed by the Romantic artist Caspar David Friedrich, moods which quietly help us in our preparation for the joys of the festive days to come.
The path taken by the film leads us out of the barren isolation of remote upland valleys and the handful of remaining farms, down into the lush, colourful baroque ornamentation of Bavarian churches, and then finally to the Bavarian National Museum, where some of the most beautiful mangers in the world have been collected.
The Berlin Philhamonic Brass Ensemble journeys through the countryside, from mountain peaks to fortress courtyards whose only illumination is provided by torches. The modern troubadours play rousing, ceremonial music as the spirit...
Brass concerts at Christmas are famous in Germany. In Soest, a historic city which once belonged to the Hanseatic League, Christmas music has been ringing from the city's tower on Christmas Day since the Middle Ages.
This is a film of pageantry which shows the full diversity of the world of mountains, with their proud peaks, deep valleys and gorges, forbidding fir forests, and the park of Linderhof, one of the castles built by Ludwig II, the fairytale king of Bavaria. The distant beauty of the mountains is just one of the moods which the film evokes, moods which recall to mind those conveyed by the Romantic artist Caspar David Friedrich, moods which quietly help us in our preparation for the joys of the festive days to come.
The path taken by the film leads us out of the barren isolation of remote upland valleys and the handful of remaining farms, down into the lush, colourful baroque ornamentation of Bavarian churches, and then finally to the Bavarian National Museum, where some of the most beautiful mangers in the world have been collected.
The Berlin Philhamonic Brass Ensemble journeys through the countryside, from mountain peaks to fortress courtyards whose only illumination is provided by torches. The modern troubadours play rousing, ceremonial music as the spirit...
This is a film of pageantry which shows the full diversity of the world of mountains, with their proud peaks, deep valleys and gorges, forbidding fir forests, and the park of Linderhof, one of the castles built by Ludwig II, the fairytale king of Bavaria. The distant beauty of the mountains is just one of the moods which the film evokes, moods which recall to mind those conveyed by the Romantic artist Caspar David Friedrich, moods which quietly help us in our preparation for the joys of the festive days to come.
The path taken by the film leads us out of the barren isolation of remote upland valleys and the handful of remaining farms, down into the lush, colourful baroque ornamentation of Bavarian churches, and then finally to the Bavarian National Museum, where some of the most beautiful mangers in the world have been collected.
The Berlin Philhamonic Brass Ensemble journeys through the countryside, from mountain peaks to fortress courtyards whose only illumination is provided by torches. The modern troubadours play rousing, ceremonial music as the spirit...
This selection of music for Christmas brings together East and West in the collaboration of Winchester College Chapel Choir and the Hong Kong Philharmonic Orchestra. Recorded live in Hong Kong in December 2004, this disc features a selection of perennial favourites from the Baroque period, including Bach cantatas and Handel's Messiah , and three exquisite modern carols.
This "intermezzo giocoso" for bass and orchestra by Domenico Cimarosa features Maurizio Muraro in the solo part. The conductor is Ton Koopman. The Dutch musician was born in 1944 and ranks among the outstanding specialists in the field of historical performance practice. He studied organ, harpsichord and musicology in Amsterdam and turned to conducting during his training. From the very beginning, he used original instruments and combined theory and practice into a fascinating, historically well-founded interpretation of the works. In 1979 he founded the Amsterdam Baroque Orchestra. He is the principal conductor of the Netherlands Radio Chamber Orchestra. As a performing artist and teacher, Koopman has made decisive contributions to the renaissance of the music of the 17th and 18th centuries. He has published many books and articles, teaches at the Conservatory of The Hague and is an honorary member of the Royal Music Academy in London. The Mozarteum Orchester Salzburg goes back to the "Dom-Musik-Verein und Mozarteum" founded in 1841. Since 1938 it has been an independent institution with professional musicians. It has been the orchestra of the city and the Land of Salzburg since 1958 and, in addition to its activity as opera and concert orchestra, it also performs regularly...
As performed by Richard Tognetti and the Australian Chamber Orchestra. This video contains footage and performances as the ACO take you on a trip through Europe.
An evening of Viennese all-time classical favourites recorded live at the Carnegie Hall New York in October 2006. The programme includes Mozart's beloved Piano Concerto No. 17 , performed by acclaimed pianist Leif Ove Andsnes, and selections from the composer's opera Le Nozze di Figaro with soprano Dorothea Roschmann, the Light Cavalry Overture by Franz von Suppe, and to cap off the evening, Artist's Life , Annen-Polka , and the Overture to Die Fledermaus by the Waltz King, Johann Strauss Jr. Long considered one of America's greatest orchestras, the Cleveland Orchestra has joined the ranks of the world's most celebrated symphonic ensembles. It has a long standing commitment to the internationally successful conductor Franz Welser-Most. Multi-Grammy Award winner Leif Ove Andsnes is rapidly becoming known for his Mozart interpretations and Dorothea Roschmann has been charting her successful progress through the international opera scene for the past decade.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, Charles Munch.
Celebrated for his performances of French music, Munch was an authority on the works featured on this video, all of which were composed during his lifetime. More than fifty years later, his recordings of French music remain a permanent standard of reference.
Celebrated for his performances of French music, Munch was an authority on the works featured on this video, all of which were composed during his lifetime. More than fifty years later, his recordings of French music remain a permanent standard of reference.
Claudio Abbado, who first conducted his new Lucerne Festival Orchestra in this Debussy concert in 2003, realised a dream come true with this exclusive ensemble of handpicked orchestral musicians and exceptional soloists such as Kolja Blacher, Emanuel Pahud and Sabine Meyer. This recording pays tribute to Claudio Abbado's vision and the Lucerne Festival orchestra's triumphant rebirth during the summer festival 2003.
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
Richard Durrant's extraordinary virtuosity and category-defying repertoire have earned him a unique place in the world of the guitar. After 24 years of touring and recording, Richard is now ackowledged as one of the outstanding guitarists of his generation. His continually evolving performances are testimony not only to his boundless creativity but also his dazzling versatility and mastery of the guitar and its music.
Bonus features:
- A comprehensive and unedited interview.
- A documentary film in which Richard Durrant explores what it is to be a 21st-century itinerant musician.
Bonus features:
- A comprehensive and unedited interview.
- A documentary film in which Richard Durrant explores what it is to be a 21st-century itinerant musician.
Truls Mørk was the first Scandinavian ever to win the Moscow Tchaikovsky competition, a triumph that marked the start of his musical career. He enjoys a close friendship with the principal conductor of the Bamberg Symphony Orchestra, Jonathan Nott. He played the Cello Concerto in B minor by Anton Dvořák with the entire orchestra at the conclusion of his time as "artist in residence."
"Extraordinary pieces of music transport me to another state of consciousness. I don't know if I can describe it any better. At least that is how playing the Dvořák cello concerto makes me feel."
The film visits Truls Mørk at his Scandinavian holiday home, accompanying him on his boat out at sea and on walks along the coast. The Cello Concerto by Anton Dvořák with the Bamberg Symphony Orchestra and the Chopin interpretations are focal points of the story.
"Extraordinary pieces of music transport me to another state of consciousness. I don't know if I can describe it any better. At least that is how playing the Dvořák cello concerto makes me feel."
The film visits Truls Mørk at his Scandinavian holiday home, accompanying him on his boat out at sea and on walks along the coast. The Cello Concerto by Anton Dvořák with the Bamberg Symphony Orchestra and the Chopin interpretations are focal points of the story.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
This performance of Elgar's "Enigma" Variations forms an historic account of the first concert Sir Georg Solti conducted as chief conductor of the LPO in 1979. It is also the first video release with Solti performing Elgar's Symphony No. 2. Solti, who prepared new works by listening to Elgar's own recordings, identified closely with his music. The virtuoso playing of the orchestra combined with his fresh, energetic approach make for an exciting, uplifting experience.
This performance of Elgar's "Enigma" Variations forms an historic account of the first concert Sir Georg Solti conducted as chief conductor of the LPO in 1979. It is also the first video release with Solti performing Elgar's Symphony No. 2. Solti, who prepared new works by listening to Elgar's own recordings, identified closely with his music. The virtuoso playing of the orchestra combined with his fresh, energetic approach make for an exciting, uplifting experience.
The Berlin Philharmonic Orchestra's European Concerts not only represent the Berlin Philharmonic's commemoration of its founding date but also emphasize the cultural life of the new European order. Each year the orchestra performs at a place of special significance in cultural history, always in a different country. This, the eleventh European Concert, took place in the city of Istanbul's oldest church, St. Irine (Hagia Irini) or the Church of the Holy Peace, which is magnificently situated on the promontory washed by the Bosporus and the Sea of Marmara. At the helm of this concert, Mariss Jansons, is one of today's most sought-after conductors. Since 1997, he has been principal conductor of the Pittsburgh Symphony Orchestra; in 2003, he will assume the directorship of the Bavarian Radio Symphony Orchestra. The flautist Emmanuel Pahud has won numerous international competitions and is a laureate of the Yehudi Menuhin Foundation and UNESCO's International Tribune for Musicians. At the age of 22, he became principal flautist of the Berlin Philharmonic under Claudio Abbado, having previously held that position with the Basle Radio Symphony Orchestra under Nello Santi and the Munich Philharmonic under Sergiu Celibidache.
The Berliner Philharmoniker's annual European Concerts are intended to recall the date on which the orchestra was founded, 1 May 1882, with a performance being given on this day in a different town or city of particular cultural and historical importance. In 2002 it was the turn of the Teatro Massimo in Palermo, one of Europe's most important opera houses both artistically and architecturally. This was also the last time in his twelve years as the orchestra's artistic director that the revered Italian maestro Claudio Abbado conducted a European Concert. In a programme of beloved pieces from the classical repertoire, with the celebrated Gil Shaham as soloist, Abbado once again demonstrated how he upheld the unsurpassed orchestral tradition of the Berliner Philharmoniker with his profound music-making.
The marvellous Portuguese pianist Maria Joao Pires was joined by Pierre Boulez and the Berlin Philharmonic for the European Concert 2003. Since 1991, when the Berlin Philharmonic gave their first European Concert, this annual musical summit in important cultural cities has become a brand name for excellent musicianship. This concert came from Lisbon and took place in a spectacular location, the 'Mosteiro dos Jeronimos' - an impressive monastery built in the early 16th century and a UNESCO-accredited World Heritage Site. The programme included Bartok's Concerto for Orchestra and Mozart's Piano Concerto No. 20 - a perfect programme choice, as Maria Joao Pires is a sought-after Mozart pianist and Pierre Boulez enjoys an excellent reputation as one of the greatest Bartok conductors ever.
Bonus features:
- A Portrait of Lisbon
- Picture Gallery: At Rehearsals
Bonus features:
- A Portrait of Lisbon
- Picture Gallery: At Rehearsals
Recorded live at the ancient Herodes Atticus Odeon in Athens 2004, this was the first European Concert that Sir Simon Rattle conducted in his new post as chief conductor of one of the most important orchestras of all times. Since 1991, when the Berlin Philharmonic gave their first European Concert, this annual musical summit in important cultural cities has become a brand name for excellence. This concert also represents the first musical encounter between Rattle and world-famous pianist and conductor Daniel Barenboim. This all Brahms programme features the wonderful Piano Concerto No. 1 with the romantic Adagio which Brahms wrote in reverence for Clara Schumann and Schoenberg's successful arrangement of the Piano Quartet No. 1 for orchestra.
Bonus feature:
- The European Concert in Olympic Athens
Bonus feature:
- The European Concert in Olympic Athens
The Berlin Philharmonic's annual "Concert for Europe", an annual musical summit in important cultural cities, has been a brand name for excellence since 1991, when the Berlin Philharmonic gave their first European Concert. This all-Mozart concert took place in Prague on 1 May 2006. In honour of the composers 250th birthday, the Berlin Philharmonic invited the pianist and conductor Daniel Barenboim to lead them through a concert featuring two masterpieces from the Mozart repertoire, the "Haffner" and "Linz" Symphonies. In his familiar dual role as soloist and conductor, he also performed the Piano Concerto No. 22 . The concert was performed and recorded in the Estates Theatre Prague, which is one of the most beautiful historical theatres in Europe. It was in this theatre that Mozart conducted the premier of Don Giovanni , a work written specially for Prague, in 1787 and for this concert recording, the orchestra sat in a reconstruction of the sets that had been used at the first performance of the opera.
Bonus feature:
- A Cultural Potrait of Prague
Bonus feature:
- A Cultural Potrait of Prague
Live from the Kabelwerk Oberspree in Berlin, Simon Rattle is conductor to the Berlin Philharmonic on its 125th anniversary on May 2007. With superb acoustics and magnificent architecture, the building proved to be an ideal setting for the annual Europa-Konzert. This recording features the magnificent works of Wagner and Brahms to be amazingly performed by Rattle, the Berlin Philharmonic Orchestra and featured artists Lisa Batiashvili (violinist) and Truls Mørk (cellist).
The Berliner Philharmoniker's European Concert, held each year on 1 May, is invariably an international highlight. Performing in 2008 in Moscow's renowned Tchaikovsky Conservatory, the orchestra under Sir Simon Rattle presented outstanding performances of works by Beethoven, Stravinsky and Bruch, whose Violin Concerto featured one of today's most fascinating artists, the Russian violinist Vadim Repin.
May morning in Oxford, and the Berliner Philharmoniker join in the celebratory mood abroad in the university city's medieval streets with this concert in Sir Christopher Wren's glorious Sheldonian Theatre. For 20 years, the Philharmoniker have given a May Day concert in one of Europe's great historic cities, and here, under the baton of Daniel Barenboim, the Berlin players thrill the Oxford audience with the sonorous Prelude to Act III of Wagner's Die Meistersinger , a deeply-felt account of Elgar's autumnal Cello Concerto by the young American cellist Alisa Weilerstein, and a rousing performance of Brahms's life-affirming First Symphony .
Evelyn Glennie is the world's most in-demand percussion soloist, dazzling audiences worldwide with her musicality, creativity and charismatic energy. She was the first percussionist ever to sustain a full-time solo career on her instruments – an accomplishment even more astonishing as her hearing is significantly impaired leaving her to rely more on vibrations rather than acoustics. The phenomenally talented musician gives more than 100 critically acclaimed performances a year and has commissioned over 100 works for solo percussion. Evelyn Glennie regularly collaborates with leading musicians working in various musical styles and has recorded 20 albums, two of which have won Grammy Awards. In this video, recorded live at the Grand Theatre de la Ville de Luxembourg in 2004, she presents some of her greatest hits in a show of thrilling music and light design, playing snare drum, marimba and vibraphone. The various surprising sounds she creates and her lively performance are wonderfully captured on this state-of-the-art recording. This video also includes the bonus track Encountering Evelyn Glennie with a portrait of the artist.
On New Year's Eve 2009 Havana's legendary nightclub, Tropicana, celebrated its seventieth birthday with a colourful revue, and the evening's special guest was the world-famous Omara Portuondo. Together with her five-man band, which ranges in style from the Cuban guajira, bolero, mambo and son to elements of jazz, the grande dame of traditional Cuban singing offers a delightful contrast to the exuberant joy in dancing shown by the Tropicana Ballet. Recorded live at the Tropicana, Havana, 2009.
Bonus features:
- Omara Portuondo - an interview in which the singer gives a fascinating insight into her life as a musician.
- Equilibrists - feats of agility from the Tropicana.
Bonus features:
- Omara Portuondo - an interview in which the singer gives a fascinating insight into her life as a musician.
- Equilibrists - feats of agility from the Tropicana.
The young French countertenor Philippe Jaroussky is one of the most exceptional artists of our time. He is highly acclaimed by critics all over the world for his virtuoso coloratura technique, as well as for his compelling and lively interpretations of baroque cantatas and operas. Together with the Concerto Köln he embarks on a journey into the world of an almost forgotten composer. Antonio Caldara (1670-1736) was on one of the most renowned opera composers of his time. Philippe Jaroussky and the ensemble transfer selected arias of the composer into the 21st century. The film accompanies the musicians to rehearsals and to the concert at the Prinzregententheater in Munich.
On the eve of its 300th birthday, St. Petersburg, Russia's fabled "window to Europe", celebrates this anniversary presenting a gala of distinguished musical art featuring Anna Netrebko, Dimitri Hvorostovsky, Mischa Maisky and many others. Yuri Temirkanov conducts one of the oldest Russian symphonic ensembles: the St. Petersburg Philharmonic.
Katia and Marielle Labeque received their first piano tuition at ages three and five and the sisters are famous for their unusual duo precision, their great musicality and the breadth of their repertoire. In this concert they perform with Il Giardino Armonico, a leading Italian ensemble specializing in period performing practice. Katia and Marielle Labeque throw themselves into the works with their typical verve and enthusiasm, demonstrating symbiotic synchrony and facile (facile means inconsequential, shallow - negative word) technique. With its unmistakable sound Il Giardino Armonico is one of today's most notable Baroque ensembles. Colourful, individualistic and stylish, it has won an enthusiastic international following and truly excels in performing Baroque music for a 21st century audience. The programme includes a wide variety of music by three different composers, all performed on historical instruments at the Vienna Musik Verein. One of the unique elements of this performance - recorded in the Bach Anniversary year 2000 - is the use of the fortepiano for Bach's keyboard concertos. This instrument, which Bach undoubtedly knew, and probably owned, is rarely used in Bach performances, yet the sound it offers is far more interesting than a modern piano. Together with...
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
Performed during his tenure as Chief Conductor of the BBC Symphony, the Proms performances featured on this recording represent Gennadi Rozhdestvensky at the highest point of his relationship with the orchestra. One of the premier conductors of Russian repertoire, Rozhdestvensky is well known for his interpretations of ballet music - this performance of the second act of Tchaikovsky's Nutcracker perfectly demonstrates his affinity with the genre.
Performed during his tenure as Chief Conductor of the BBC Symphony, the Proms performances featured on this recording represent Gennadi Rozhdestvensky at the highest point of his relationship with the orchestra. One of the premier conductors of Russian repertoire, Rozhdestvensky is well known for his interpretations of ballet music - this performance of the second act of Tchaikovsky's Nutcracker perfectly demonstrates his affinity with the genre.
Concert on the occasion of the 50th anniversary of Bernard Haitink's collaboration with the Royal Concertgebouw Orchestra.
In 2001, during the Verdi commemorative year, some of the finest singers of our time assembled in Parma to honour the maestro's memory in a Gran Gala di Verdi. Placido Domingo, Jose Carreras, Jose Cura, Marcelo Alvarez, Barbara Frittoli and Leo Nucci, to name but a few, joined the Coro del Festival Verdi and the Orchestra del Maggio Musicale Fiorentino under Zubin Mehta to perform some of the most popular opera arias ever.
Giuseppe Verdi (1813–1901) wrote 28 operas in all, including La Traviata , Aida , Nabucco and Rigoletto . A considerable number of them were world successes and have remained fixtures in every opera house's repertory throughout the last century. This recording demonstrates - better than any single opera could do - the breadth of Verdi's genius and melodic talent as it features highlights of most of his operas.
Giuseppe Verdi (1813–1901) wrote 28 operas in all, including La Traviata , Aida , Nabucco and Rigoletto . A considerable number of them were world successes and have remained fixtures in every opera house's repertory throughout the last century. This recording demonstrates - better than any single opera could do - the breadth of Verdi's genius and melodic talent as it features highlights of most of his operas.
World-renowned tenor Plácido Domingo is joined by Angela Gheorghiu, Roberto Alagna and a host of other international stars including Susan Graham, in the famously glittering 1996 Gala Concert on the stage of the Royal Opera House, Covent Garden. Asher Fisch conducts the Orchestra of the Royal Opera House in a programme of many of the world's best-loved operatic arias with music by composers including Bizet, Massenet, Gounod, Mozart and Donizetti.
This great musical event presents a rare gathering of some of the most important and popular opera singers of our time. Recorded live at the Theatre Square Dresden in 1998-2000, the open-air concert featured the upper ranks of today's stars in the singing world. The program presents favourite scenes and arias from Rossini, Mozart, Bizet, J. Strauss, Puccini, Cilea, Verdi and Lehar. Particular highlights include Agnes Baltsa and Neil Shicoff singing the final scene from Carmen (both artists can be heard in solo arias as well) and Anna Tomowa-Sintow singing Cilea's Adriana Lecouvreur . The vast open-air event, with over 15,000 in attendance, was recorded live and with high-quality surround sound. It provides the viewer with a gala festival celebrating some of the most wonderful voices of on the current operatic circuit.
The Cape Festival celebrated the joy and energy of South Africa's choral talent in a special event on 13 March 2010, the Cape Festival Choral Celebration. It took place at Cape Town's famous waterfront, and six choirs, nine instrumentalists, and five conductors joined forces for this unique event.
The Cape Festival Choral Celebration brings together the best of South Africa's youth and community choirs with the acclaimed Chamber Choir of South Africa, award-winning violinist Samson Diamond and his Mzansi Classical Players, and star soprano Angela Kerrison, who was a part of the Salzburg Festival's prestigious Young Singers project in 2009, for an evening of unique music-making.
The artists of the Cape Festival Choral Celebration represent all sections of South African society, from the student world of Cape Town's university through the vibrant world of the Cape Flats "coloured" communities to the tin shacks of Guguletu's informal settlements. These are courageous, optimistic voices, many of whom have triumphed over individual hardship to serve as part of a greater collective. They sing with a dynamism and discipline that has to be heard to be believed.
The Cape Festival Choral Celebration brings together the best of South Africa's youth and community choirs with the acclaimed Chamber Choir of South Africa, award-winning violinist Samson Diamond and his Mzansi Classical Players, and star soprano Angela Kerrison, who was a part of the Salzburg Festival's prestigious Young Singers project in 2009, for an evening of unique music-making.
The artists of the Cape Festival Choral Celebration represent all sections of South African society, from the student world of Cape Town's university through the vibrant world of the Cape Flats "coloured" communities to the tin shacks of Guguletu's informal settlements. These are courageous, optimistic voices, many of whom have triumphed over individual hardship to serve as part of a greater collective. They sing with a dynamism and discipline that has to be heard to be believed.
At 88, Artur Rubinstein showed no trace of losing that quality of joie de vivre that had so fascinated audiences for almost three quarters of a century. The true Rubinstein sound, full and sonorous at every pitch, was always one of the distinctive marks of his playing ever since he began appearing in public. Rubinstein's performance of Grieg's ever-popular piano concerto, accompanied by the London Symphony Orchestra under Andre Previn, is a perfect testimony of his notion of a "singing tone." With playing that is by turns vital and poetic, extroverted and reflective, rhapsodic and poised, this performance, filmed in April 1975 at London's Fairfield Hall, is Rubinstein at his warm-hearted, lyrical best.
Henry Gwiazda's world, as represented in these three new audiovisual works, couldn't be more uneventful or normal. A lot of everyday stuff happens as characters move through an urban landscape. But the remarkable thing is in the details; every link, join, gap, and connection turns the viewer's attention to the negative space surrounding the action, the silence between events, the rhythm of life, the blank area around these words. There is an inverted, Zen rhythm that makes you notice more; he out-Cages Cage.
These are virtual worlds where humans, light, text and sound conspire to shift your perspective on life and how we live in the world. Gwiazda's contemplative approach produces a new kind of multimedia choreography that is as likely to enlighten as it is to disturb.
Henry Gwiazda is a new media artist/composer whose artistic trajectory has taken him from downtown New York to Fargo, from sampling, sound effects, and immersive technologies to his current work with integrating new media with a focus on sound and movement. Gwiazda's works are regularly screened in festivals and galleries throughout the world including New York, Paris, Madrid, Cairo, Amsterdam, Beijing, Berlin, Naples, Marseilles, Damascus, Athens, Istanbul and many others. He also won First Prize at...
These are virtual worlds where humans, light, text and sound conspire to shift your perspective on life and how we live in the world. Gwiazda's contemplative approach produces a new kind of multimedia choreography that is as likely to enlighten as it is to disturb.
Henry Gwiazda is a new media artist/composer whose artistic trajectory has taken him from downtown New York to Fargo, from sampling, sound effects, and immersive technologies to his current work with integrating new media with a focus on sound and movement. Gwiazda's works are regularly screened in festivals and galleries throughout the world including New York, Paris, Madrid, Cairo, Amsterdam, Beijing, Berlin, Naples, Marseilles, Damascus, Athens, Istanbul and many others. He also won First Prize at...
This is one of those 'in between' moments.
Henry Gwiazda doesn't want to be thought of as a composer anymore; the three animated video works on this recording may put the kibosh on that once and for all. The former guitar-and-sampler guru has gone anything but Hollywood.
These are sparse Zen studies of everydayness: houses on a suburban street, a downtown outdoor restaurant, or a guitarist practicing in the living room. Just enough sound and gesture to catch your attention without rattling your Cage.
"They’re the most trivial little happenings, and somehow Gwiazda makes us start eagerly anticipating them. What he hopes is, that once we turn away from his art and go back to our lives, we’ll take that same attitude to the sensuous details around us. It works for me." [Kyle Gann]
"Perhaps we should focus our attention on the vast majority of time in which we live, those times 'in between' where nothing is going on- those empty spots, while we're waiting for what we believe are the events of our life." [Henry Gwiazda]
Henry Gwiazda doesn't want to be thought of as a composer anymore; the three animated video works on this recording may put the kibosh on that once and for all. The former guitar-and-sampler guru has gone anything but Hollywood.
These are sparse Zen studies of everydayness: houses on a suburban street, a downtown outdoor restaurant, or a guitarist practicing in the living room. Just enough sound and gesture to catch your attention without rattling your Cage.
"They’re the most trivial little happenings, and somehow Gwiazda makes us start eagerly anticipating them. What he hopes is, that once we turn away from his art and go back to our lives, we’ll take that same attitude to the sensuous details around us. It works for me." [Kyle Gann]
"Perhaps we should focus our attention on the vast majority of time in which we live, those times 'in between' where nothing is going on- those empty spots, while we're waiting for what we believe are the events of our life." [Henry Gwiazda]
On occation of his 80th birthday, legendary conductor Bernard Haitink leads "his" Royal Concertgebouw Orchestra in this great production of Beethoven's 7th Symphony .
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
It would be hard to imagine a more seductive hero, a more passionate performer, a more glorious interpreter of the great Romantic roles of Verdi and Puccini than Rolando Villazon. Yet the singer's temporary withdrawal from the spotlight in 2007 opened up a wealth of new possibilities for the singer. Among the "new paths" that Villazon envisioned for the future were "adventures" such as Baroque music. Next to a recording of works by the early Baroque composer Claudio Monteverdi, he now offers a selection of arias by George Frideric Handel.
This intimate concert featuring Villazon and the Gabrieli Players under Paul McCreesh was filmed in a setting that ideally suits the style of the music, St. Paul's Church in Deptford, near London, one of Britain's finest Baroque churches. It was built between 1712 and 1730, almost exactly when Handel was writing his most celebrated operas and oratorios.
Villazon proves that he is a master of dazzling coloratura, virtuoso runs and expressive cantabile melodies. Among the highlights of the concert – which also includes two purely orchestral works – are the beloved arioso "Ombra mai fu" from Serse , Grimoaldo's aria "Pastorello d'un povero armento" from Rodelinda , the lyrical, longing "Scherza infida" from Ariodante , and...
This intimate concert featuring Villazon and the Gabrieli Players under Paul McCreesh was filmed in a setting that ideally suits the style of the music, St. Paul's Church in Deptford, near London, one of Britain's finest Baroque churches. It was built between 1712 and 1730, almost exactly when Handel was writing his most celebrated operas and oratorios.
Villazon proves that he is a master of dazzling coloratura, virtuoso runs and expressive cantabile melodies. Among the highlights of the concert – which also includes two purely orchestral works – are the beloved arioso "Ombra mai fu" from Serse , Grimoaldo's aria "Pastorello d'un povero armento" from Rodelinda , the lyrical, longing "Scherza infida" from Ariodante , and...
Born in Saxony in 1926, Karl Richter discovered his true musical vocation in Leipzig, where he studied under the great Karl Straube and Günther Ramin. The organ and the harpsichord were at the origin of his career, and his first performances were devoted to serving Bach through these keyboard instruments on which he was a virtuoso and a poet. Soon, however, Richter was swept up by a passion for the orchestra and the choral masses. He founded the Munich Bach Choir and the Munich Bach Orchestra in the 1950s, toured with his ensembles all over the world and made about 150 recordings.
Richter was perhaps at his most compelling when interpreting his two great fellow countrymen Bach and Handel. He was superb at translating Handel's monumental rhythms and vast soundscapes, the dynamic writing and sanguine spirit of his music. Although Richter saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own style, which was considered revolutionary in the 1950s and 60s. This was a "de-romanticized" approach to the Baroque which was characterized, among other things, by a reduced body of performers more in keeping with the original forces. Richter's style also accented a cool, brisk, almost abstract attitude toward the music, which...
Richter was perhaps at his most compelling when interpreting his two great fellow countrymen Bach and Handel. He was superb at translating Handel's monumental rhythms and vast soundscapes, the dynamic writing and sanguine spirit of his music. Although Richter saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own style, which was considered revolutionary in the 1950s and 60s. This was a "de-romanticized" approach to the Baroque which was characterized, among other things, by a reduced body of performers more in keeping with the original forces. Richter's style also accented a cool, brisk, almost abstract attitude toward the music, which...
Born in Saxony in 1926, Karl Richter discovered his true musical vocation in Leipzig, where he studied under the great Karl Straube and Günther Ramin. The organ and the harpsichord were at the origin of his career, and his first performances were devoted to serving Bach through these keyboard instruments on which he was a virtuoso and a poet. Soon, however, Richter was swept up by a passion for the orchestra and the choral masses. He founded the Munich Bach Choir and the Munich Bach Orchestra in the 1950s, toured with his ensembles all over the world and made about 150 recordings.
Richter was perhaps at his most compelling when interpreting his two great fellow countrymen Bach and Handel. He was superb at translating Handel's monumental rhythms and vast soundscapes, the dynamic writing and sanguine spirit of his music. Although Richter saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own style, which was considered revolutionary in the 1950s and 60s. This was a "de-romanticized" approach to the Baroque which was characterized, among other things, by a reduced body of performers more in keeping with the original forces. Richter's style also accented a cool, brisk, almost abstract attitude toward the music, which eschewed...
Richter was perhaps at his most compelling when interpreting his two great fellow countrymen Bach and Handel. He was superb at translating Handel's monumental rhythms and vast soundscapes, the dynamic writing and sanguine spirit of his music. Although Richter saw several dramatic shifts in Baroque performance practice during his lifetime, he remained true to his own style, which was considered revolutionary in the 1950s and 60s. This was a "de-romanticized" approach to the Baroque which was characterized, among other things, by a reduced body of performers more in keeping with the original forces. Richter's style also accented a cool, brisk, almost abstract attitude toward the music, which eschewed...
The Artis Quartet was founded at the Vienna Musikhochschule in 1980. The ensemble studied in Vienna and Cincinnati with the LaSalle Quartet. After many awards at the beginning of the 1980s, the group began its international career, which has taken it to the major musical venues of the world. The Artis Quartet has been giving its own concert series at the Vienna Musikverein since 1988.
This work was recorded at the Salzburg "Mozartwoche" 2001. Here the ensemble plays Haydn's String Quartet in G minor Hob. III:74 , one of the quartets which Haydn wrote for his second London visit in 1794. This work was conceived above all to show off the performers' skill and virtuosity rather than to explore innovative harmonies and structures.
This work was recorded at the Salzburg "Mozartwoche" 2001. Here the ensemble plays Haydn's String Quartet in G minor Hob. III:74 , one of the quartets which Haydn wrote for his second London visit in 1794. This work was conceived above all to show off the performers' skill and virtuosity rather than to explore innovative harmonies and structures.
The former Camerata Academica Salzburg was renamed simply Camerata Salzburg in 2001. It was founded in 1951 by Bernhard Paumgartner, who was its head and mentor for many years. From 1978 to 1997 its artistic director was Sandor Vegh and in 1997 Roger Norrington was appointed principal conductor of the ensemble. The Camerata Salzburg can be heard every year at the Salzburg Mozartwoche and Salzburg Festival.
Roger Norrington was born in Oxford and studied in Cambridge and London. From 1969 to 1984 he was musical director of the Kent Opera and conducted productions at the Royal Opera House Covent Garden, Milan's La Scala and the Teatro La Fenice in Venice. He founded the London Classical Players and is principal conductor of the Camerata Salzburg and the Stuttgart Radio Symphony Orchestra.
Roger Norrington was born in Oxford and studied in Cambridge and London. From 1969 to 1984 he was musical director of the Kent Opera and conducted productions at the Royal Opera House Covent Garden, Milan's La Scala and the Teatro La Fenice in Venice. He founded the London Classical Players and is principal conductor of the Camerata Salzburg and the Stuttgart Radio Symphony Orchestra.
Christopher Hogwood founded the Academy of Ancient Music in 1973 and is one of the pioneers of historical performance practice as a harpsichordist conductor. His interpretations of the Baroque and Classical opera and concert literature have brought him international acclaim. The Academy of Ancient Music has taken as its goal the performance of the works of the Baroque and Classical eras on historic instruments. The ensemble, which has a varying amount of performers, boasts a number of outstanding specialists for historical performance practice.
The ICA Classics Legacy series represents a historical account of performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director Charles Munch.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value.
Programmed by Munch during his years at the Boston Symphony but never recorded, his renderings of the two works featured on this video are exciting and spontaneous with the kind of precision and flair we have come to expect from the BSO under the buoyant direction of their charismatic music director.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value.
Programmed by Munch during his years at the Boston Symphony but never recorded, his renderings of the two works featured on this video are exciting and spontaneous with the kind of precision and flair we have come to expect from the BSO under the buoyant direction of their charismatic music director.
A "triumph of remembrance," wrote the daily Die Welt in its online service following a stirring concert that left its audience hovering between hushed reverence and deafening exultation. The Golden Hall of Vienna's Musikverein was the dazzling venue for the live recording of one of four concerts given by the Berlin Philharmonic Orchestra under Seiji Ozawa and with Anne-Sophie Mutter. The series began in Berlin's Philharmonie before going on to Paris, Lucerne and Vienna, where it culminated on 28 January. And there, in Vienna, Karajan's "Berliner" never sounded better, evoking "a time which self-confidently sought the private and subjective in music, and believed it could find them in the mirror of the works" (Frankfurter Allgemeine Zeitung).
The program begins with Beethoven's Violin Concerto, Op. 61 performed by Anne-Sophie Mutter, who was discovered by Karajan and first played with the Berlin Philharmonic under his direction at the Salzburg Easter Festival in 1977. Her performance glows with a sensuality and ethereal beauty that turn her interpretation into a memorial for two men whom she grew up with, Beethoven and Karajan. As an encore, Mutter plays Bach's Sarabande in D minor "in memoriam Herbert von Karajan," as she announces. Tchaikovsky's "Pathétique" is given a...
The program begins with Beethoven's Violin Concerto, Op. 61 performed by Anne-Sophie Mutter, who was discovered by Karajan and first played with the Berlin Philharmonic under his direction at the Salzburg Easter Festival in 1977. Her performance glows with a sensuality and ethereal beauty that turn her interpretation into a memorial for two men whom she grew up with, Beethoven and Karajan. As an encore, Mutter plays Bach's Sarabande in D minor "in memoriam Herbert von Karajan," as she announces. Tchaikovsky's "Pathétique" is given a...
This video is a documentary of Heinz Holliger, the leading oboist of our day. As a composer Holliger has become a classic exponent of musical modernism, while as an oboist and conductor he is one of the most inspirational figures on the contemporary music scene. Here too we encounter him here as an enthusiastic guide through each of the work that recorded with the Keller Quartet in a private concert for the home viewer recorded at the Musik-Akademie in Basel in 2005. The programme is made up of four exceptionally interesting works, starting with Mozart's Quartet for oboe, violin, viola and cello K 370 , a kind of crypto-concerto that the 25 year-old composer wrote in Munich in 1781. The next work is another early piece, Benjamin Britten's Phantasy op. 2 for oboe and string quartet, which was composed in 1932, when the composer was 19. Holliger too was only 17 when he wrote his own Oboe Sonata in 1956–7, a work that strikes up a strange conversation between the oboist and his instrument. Bohuslav Martinu's Fantasia for theremin, oboe, string quartet and piano is a mature work dating from 1945, when the composer was already 55 years of age. It was written for an instrument that is something like a pioneer of electronic instruments, invented by the engineer Lev...
Mariss Jansons and the Royal Concertgebouw Orchestra with Arthur Honegger's Third Symphony, "Liturgique" from the main hall of the Concertgebouw in Amsterdam.
Recorded and broadcast in May 1982, Horowitz's technique was beginning to decline, though he retained all the fire of his playing.
A recording of Horowitz's historic recital in Moscow, the program also includes highlights of his return to his native Soviet Union - his first visit in 61 years.
Berlin music lovers know there is no better way of celebrating the New Year than revisiting the most beautiful works in the history of music with the Berlin Philharmoniker. It comes as no surprise that the concerts are always sold out and that people all around the world are glued to their screens during the live transmissions. It is our pleasure to present you a particularly stunning programme which was created by Daniel Barenboim. "Invitation to the dance" is a journey through 300 years of dance which leaves the listener beaming with joy.
Daniel Harding, one of the most sought-after young conductors of our time, and the Royal Concertgebouw Orchestra performing Janáček's Lachian Dances, which originally were titled Wallachian Dances after the Moravian Wallachia region. The composition reflects folk songs from that specific area of Janáček's home country.
The Jerusalem International Chamber Music Festival is renowned for an exceptional repertoire as well as unique meetings with first-ranking soloists who do not usually meet each other on one stage in other contexts. The Festival has achieved incredible success with concerts performed to packed halls. This programme presents the highlights of the 2008 Festival whose theme was an exploration of the “national spirit” of music.
Daniel Barenboim established the West-Eastern Divan Orchestra with the late Palestinian writer Edward Said in order to bring together young musicians from across the political divide in the Middle East. Their hope was that music would heal and help to bring understanding and tolerance of different beliefs and cultures.The award-winning documentary was produced and directed by Paul Smaczny. The Ramallah Concert was a live recording at the Place of Culture in Ramallah, 21 August 2005.
Gidon Kremer celebrates his 60th birthday in 2007 - he is, and has always been, one of the most headstrong and original artists in the music business. His return to J. S. Bach's partitas is a major event as Kremer's first recording of these works was released almost a quarter of a century ago, and he hasn't played the partitas in public for over twenty years. Those who have followed Gidon Kremer's artistic development over the past 25 years will note how much his tone and articulation have changed. The new rendering displays Kremer's very personal sense of spontaneity and a readiness to take risks. In the early 1980s, after being declared persona non grata in the Soviet Union, Kremer moved to the West and made a recording of the solo partitas. The record went down in music history and for decades was a benchmark in the music guild. The young virtuoso was catapulted to fame virtually overnight in the Western world and hailed as the world's best violinist by Herbert von Karajan. This recording features the Violin Partita Nos.1, 2, and 3 , recorded at the Pfarrkirche Lockenhaus in 2002 and the documentary Back to Bach . The film includes rare archival footage and tells in a very personal way of Gidon Kremer's encounters with Bach's music, accompanying the famous violin virtuoso...
We live in a "renaissance of the piano", as the New York Times so surprisingly put it in summer 2005. A new generation is reviving the piano's popularity as pianists with a passion for virtuosity and a willingness to expand their repertoire take to the concert stages. In addition to the standard classics they perform formerly disparaged works or discover neglected composers. LEGATO is a series dedicated to presenting some of this new movement's most fascinating pianists - their development, their ideas and, of course, their music. Each episode portrays an artist and explores an aspect of the world of piano music. Viewers meet the artists and get to know their styles, their methods of working and their personal idiosyncrasies. The sum of these portraits provides viewers with an overall picture of the art of piano playing today. Boris Berezovsky, intelligent, curious and strong-minded, has established a remarkable reputation, both as the most powerful of virtuoso pianists and as a musician of unique insight and sensitivity. In a stunning recital recorded live at the newly-built Philharmonie Essen in 2006, he balances virtuosity with an unfaltering musical integrity, playing works by Ludwig van Beethoven, Nikolai Medtner, Dafydd Llywelyn, Leopold Godowsky and Anatoly Liadov....
We live in a "renaissance of the piano", as the New York Times so surprisingly put it in summer 2005. A new generation is reviving the piano's popularity as pianists with a passion for virtuosity and a willingness to expand their repertoire take to the concert stages. In addition to the standard classics, they perform formerly disparaged works or discover neglected composers. LEGATO is a series dedicated to presenting some of this new movement's most fascinating pianists - their development, their ideas and, of course, their music. Each episode in this series presents an artist and explores an aspect of the world of piano music. Viewers meet the artists and get to know their styles, their methods of working and their personal idiosyncrasies. The sum of these portraits provides viewers with an overall picture of the art of piano playing today. Montréal native Marc-André Hamelin is a perfect representative of this new group of pianists. Internationally renowned for his musical virtuosity and refined pianism, he operates on a level of virtuosity that "is simply way beyond mental reach," as The Times once wrote about one of his concerts. This video portrays Marc-André Hamelin in concert and interview. He presented works by Joseph Haydn, Frédéric Chopin, Claude Debussy, and...
LEGATO is a video series dedicated to presenting some of the most fascinating of today's younger generation pianists - their development, their ideas and, of course, their music. Each video in this series presents an artist and explores an aspect of the world of piano music. Viewers meet the artists and get to know their styles, their methods of working and their personal idiosyncrasies. The sum of these portraits provides an overall picture of the art of piano playing today. We live in a "renaissance of the piano", as the New York Times so surprisingly put it in summer 2005. A new generation is reviving the piano's popularity as pianists with a passion for virtuosity and a willingness to expand their repertoire take to the concert stages. In addition to the standard classics, they perform formerly disparaged works or discover neglected composers.
The Swedish pianist Roland Pöntinen was born in 1963. He made his debut at 17 with the Royal Stockholm Philharmonic and has since performed with major orchestras worldwide. Thanks to an insatiable musical appetite and a stupendous technique he has acquired a vast repertoire, ranging from the Baroque period to contemporary music. This recording portrays Roland Pöntinen in concert and interview. Recorded live at the Folkwang...
The Swedish pianist Roland Pöntinen was born in 1963. He made his debut at 17 with the Royal Stockholm Philharmonic and has since performed with major orchestras worldwide. Thanks to an insatiable musical appetite and a stupendous technique he has acquired a vast repertoire, ranging from the Baroque period to contemporary music. This recording portrays Roland Pöntinen in concert and interview. Recorded live at the Folkwang...
This video presents Vladimir Jurowski, freshly appointed as Principal Conductor to the London Philharmonic Orchestra, in his first appearance in this new role, when he led the orchestra in a concert devoted to works by Wagner, Berg and Mahler at the newly restored Royal Festival Hall in London in September 2007. "It's chemistry – you cannot force it or fake it", says Vladimir Jurowski of his highly acclaimed relationship with the London Philharmonic Orchestra – "you just accept it!" The concert features works from the turn of the last century in a program ranging from the young Gustav Mahler's Das klagende Lied and the overture of Wagner's last completed music drama Parsifal to Alban Berg's Three Pieces for Orchestra , written to mark the fortieth birthday of the composer's teacher and spiritual mentor, Arnold Schoenberg. This concert recording shows the strength of that special bond between orchestra and conductor, and also pays tribute to a rising star on the international conductors scene. Vladimir Jurowski was born in Moscow in 1972, and studied in Germany. He has made a name for himself as an Opera conductor in the great houses in Berlin, London, Paris and New York.
Bonus features
- Interview with Vladimir Jurowski
- Footage filmed on the conductor...
Bonus features
- Interview with Vladimir Jurowski
- Footage filmed on the conductor...
Exactly one hundred and fifty years after the birth of the brilliant composer and conductor Gustav Mahler, a select band of artists gathered in his birthplace, Kaliste, to honour his creative talent in a very special way. Under the direction of the Austrian conductor Manfred Honeck and accompanied by the internationally acclaimed Mahler Chamber Orchestra, three world-famous soloists came to pay tribute to Mahler at a gala concert: Thomas Hampson, Anne Sofie von Otter and Marita Solberg. The result was an unforgettable summer evening of classical music made up of outstanding excerpts from Mahler's Second Symphony and his best-known orchestral songs, performed on an impressive open-air stage against the backdrop of an idyllic natural setting – it was, in short, a worthy tribute to the great Gustav Mahler.
Just a few months before his final illness and death, Leonard Bernstein conducted three masterworks by Gustav Mahler in a concert at Vienna's Musikvereinssaal with the Vienna Philharmonic. The program consisted of the Lieder eines fahrenden Gesellen , the Ruckertlieder and the Kindertotenlieder . The soloist was the American baritone Thomas Hampson. The trade publication Musik & Theater wrote: "I know of no other baritone today who can profess a similar mastery of these three Mahler song cycles on a vocal, emotional and textually sensitive level ... [It is] a singular vocal accomplishment and a worthy conclusion of Bernstein's extensive Mahler discography."
Das Lied von der Erde (The Song of the Earth) was one of Mahler's later symphonic works, written in 1908. Mahler often used the human voice as an adjunct to the orchestra in his symphonic writing. Das Lied von der Erde borrowed as a framework Hans Bethge's German translation of six poems by the 18th-century Chinese poet Li-Tai-Po. The songs have been described as "the valedictory of a man who loved life and nature and who knew the bittersweet nostalgia of passing youth and beauty." The work was recorded at the Frederic Mann Auditorium in Tel Aviv with the Israel Philharmonic Orchestra under Leonard Bernstein. The program's soloists are Christa Ludwig, alto, and René Kollo, tenor.
Just a few months before his final illness and death, Leonard Bernstein conducted three masterworks by Gustav Mahler in a concert at Vienna's Musikvereinssaal with the Vienna Philharmonic. The program consisted of the Lieder eines fahrenden Gesellen , the Ruckertlieder and the Kindertotenlieder . The soloist was the American baritone Thomas Hampson. The trade publication "Musik & Theater" wrote: "I know of no other baritone today who can profess a similar mastery of these three Mahler song cycles on a vocal, emotional and textually sensitive level. [...] a singular vocal accomplishment and a worthy conclusion of Bernstein's extensive Mahler discography."
Star baritone Thomas Hampson is the soloist in this performance of Mahler's Lieder eines Fahrenden Gesellen . Joining him are famous conductor Mariss Jansons and the Royal Concertgebouw Orchestra. Also on the programme: Antonín Dvorák's Symphony No. 8.
Just a few months before his final illness and death, Leonard Bernstein conducted three masterworks by Gustav Mahler in a concert at Vienna's Musikvereinssaal with the Vienna Philharmonic. The program consisted of the Lieder eines fahrenden Gesellen , the Ruckertlieder and the Kindertotenlieder . The soloist was the American baritone Thomas Hampson. The trade publication "Musik & Theater" wrote: "I know of no other baritone today who can profess a similar mastery of these three Mahler song cycles on a vocal, emotional and textually sensitive level. [...] a singular vocal accomplishment and a worthy conclusion of Bernstein's extensive Mahler discography."
The charismatic and inspiring Claudio Abbado and the mesmerising young pianist Yuja Wang, with the Lucerne Festival Orchestra, hold the audience spellbound in this opening concert of the 2009 Lucerne Festival. Prokofiev's popular and vibrant Third Piano Concerto demonstrates the composer's sharp musical wit, and Yuja Wang is a brilliant exponent of the work. Following this, and chiming beautifully with the festival's theme of the relationship between art and nature, Mahler's First Symphony is given an illuminating and rapturously received performance.
Leonard Bernstein was the first conductor ever to record all of Mahler's symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major re-appreciation of Mahler's works. "All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it's extremely bare, when it is thick and rich, it's thicker and richer than anything in Gotterdammerung, and when it is suffering it suffers to a point that no music has ever suffered before" (Leonard Bernstein).
After the two famous Mahler festivals in 1920 and 1995, the Royal Concertgebouw Orchestra Amsterdam is now presenting a special two-season Mahler series, which includes ten large-scale symphonies plus Das Lied von der Erde , performed in chronological order by the world's greatest orchestra under the direction of great conductors – all brought to life in the wonderful acoustics of the Main Hall of the Concertgebouw.
Leinsdorf's recordings of Mahler's symphonies on RCA Victor became benchmarks for both sound and performance quality. Intense, warm and expressive, this rendition of Mahler's First Symphony is a deeply personal account, whilst Till Eulenspiegel - a party piece during Leinsdorf's tenure - is performed with great precision and finesse by the Boston Symphony Orchestra.
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, Erich Leinsdorf.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value and is released here for the first time on DVD.
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, Erich Leinsdorf.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value and is released here for the first time on DVD.
Mahler's last symphony was begun in the summer of 1910, ostensibly during a serious conjugal crisis, and was left unfinished at the time of the composer's death in Vienna on 18 May 1911. The work was to have consisted of five movements, though it is possible that Mahler might have altered his original plan. And while several attempts have been made to complete the work on the basis of sketches, only the first movement, Adagio , was fully completed by the composer. It is an austere piece, with incisive sonorities and an ethereal beauty.
Leonard Bernstein was the first conductor ever to record all of Mahler's symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major re-appreciation of Mahler's works.
Leonard Bernstein was the first conductor ever to record all of Mahler's symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major re-appreciation of Mahler's works.
In 2005, the Staatsoper Berlin and its orchestra, the Staatskapelle Berlin under musical director Daniel Barenboim, celebrated a series of events to celebrate the 80th birthday of French conductor and composer Pierre Boulez. Artistically associated for decades with Barenboim and Berlin, Pierre Boulez is one of today's most distinguished composers and conductors. As part of the celebration, Boulez conducted a performance of Mahler's "Resurrection" Symphony at the Berlin Philharmonie. With his uncompromising approach to the score, Pierre Boulez's Mahler readings have long fascinated critics and audiences alike. Boulez eschews the romanticized readings common in performance tradition and, instead, reveals the real joy and terror in Mahler's large-scale symphonies. The Berlin Staatskapelle, singers Diana Damrau and Petra Lang and the Berlin State Opera Chorus joined forces to bring his vision of this gargantuan piece to life. Watching Boulez conducting on his 80th birthday is truly an experience, and his interpretation presents a new perspective on a much-loved symphony.
"It would be hard to find anything greater, more significant or more moving anywhere in musical life today: total harmony of mind and heart, poetry and outcry, fear and consolation, knowing and feeling," declared the Berne paper Der Bund after this stunning performance of Mahler's Resurrection Symphony in August 2003 by the newly founded Lucerne Festival Orchestra. Claudio Abbado had formed this ensemble from famous instrumentalists, celebrated chamber-musicians and experienced soloists from the world's best orchestras, and the event was sold out months in advance. The Neue Zürcher Zeitung reported: "Once again the applause at the end was unequalled; the immense final chord...broke a tension that had lasted over 90 minutes without relaxing for a moment."
After the two famous Mahler festivals in 1920 and 1995, the Royal Concertgebouw Orchestra Amsterdam is now presenting a special two season Mahler series, which includes ten large-scale symphonies plus Das Lied von der Erde , performed in chronological order by the world's greatest orchestra under the direction of great conductors – all brought to life in the wonderful acoustics of the Main Hall of the Concertgebouw.
Gustav Mahler's Symphony No. 2 is the first of Mahler's symphonies to introduce voices - soprano, alto and chorus - into the orchestral texture, and the first to refer explicitly to his songs based on Des Knaben Wunderhorn. This it shares with the symphonies Nos. 3 and 4 as well, which stamps it as the first part of a trilogy. Mahler worked on it from 1888 to 1894 and conducted the first performance in Berlin on 13 December 1895.
Leonard Bernstein was the first conductor ever to record all of Mahler's symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major re-appreciation of Mahler's works.
Leonard Bernstein was the first conductor ever to record all of Mahler's symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major re-appreciation of Mahler's works.
This production with Christa Ludwig, alto, the Konzertvereinigung Wiener Staatsopernchor, the Vienna Boys' Choir and the Vienna Philharmonic was recorded at Vienna's Musikvereinssaal in 1972. Leonard Bernstein was the first conductor ever to record all of Mahler's symphonies not only on disk, but also on video.
The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major reappreciation of Mahler's works. "All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it's extremely bare, when it is thick and rich, it's thicker and richer than anything in Gotterdammerung, and when it is suffering it suffers to a point that no music has ever suffered before" (Leonard Bernstein).
The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major reappreciation of Mahler's works. "All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it's extremely bare, when it is thick and rich, it's thicker and richer than anything in Gotterdammerung, and when it is suffering it suffers to a point that no music has ever suffered before" (Leonard Bernstein).
This Claudio Abbado recording captures a very special night at the 2007 Lucerne Festival with the massive Third Symphony by Gustav Mahler (1860-1911). Ever since its debut in 2003, the Lucerne Festival Orchestra has been enthusiastically received by public and press alike. The orchestra is the realisation of a dream for Claudio Abbado, who handpicked famous soloists, chamber recitalists and orchestral musicians to form this ensemble. Time and again it has been praised for its extraordinary sound and refined playing in the finest spirit of chamber music under the direction of the exceptional Italian conductor. The line-up includes such luminaries as Kolja Blacher and Sabine Meyer, alongside sundry members of the world's great orchestras. The cello section alone boasts Natalia Gutman, Clemens Hagen and Valentin Erben. On this video, the viewer can join in the imposing experience of a live performance of Mahler's No.3 with its awesome silences and towering climaxes recorded in the acoustically superb Congress and Concert Hall Lucerne in August 2007. Mahler completed the symphony in 1896 and it counts among the longest ever composed, with a performance lasting at least one and a half hours. The popular work became famous through Luciano Visconti's film Death in Venice , where...
After the two famous Mahler festivals in 1920 and 1995, the Royal Concertgebouw Orchestra Amsterdam is now presenting a special two-season Mahler series, which includes ten large-scale symphonies plus Das Lied von der Erde , performed in chronological order by the world's greatest orchestra under the direction of great conductors – all brought to life in the wonderful acoustics of the Main Hall of the Concertgebouw.
The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major reappreciation of Mahler's works. "All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it's extremely bare, when it is thick and rich, it's thicker and richer than anything in Gotterdammerung, and when it is suffering it suffers to a point that no music has ever suffered before" (Leonard Bernstein).
This rare audiovisual footage presents Klaus Tennstedt at the height of his very special relationship with the Boston Symphony Orchestra during his prime recording period. Joyous Mozart is combined with evocative Mahler, both performed with the greatest sensitivity and conviction.
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This video features only the second public release of a full-length symphonic work with the Boston Symphony Orchestra under Klaus Tennstedt and the third available with this mighty conductor.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value.
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This video features only the second public release of a full-length symphonic work with the Boston Symphony Orchestra under Klaus Tennstedt and the third available with this mighty conductor.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value.
After the two famous Mahler festivals in 1920 and 1995, the Royal Concertgebouw Orchestra Amsterdam is now presenting a special two-season Mahler series, which includes ten large-scale symphonies plus Das Lied von der Erde , performed in chronological order by the world's greatest orchestra under the direction of great conductors – all brought to life in the wonderful acoustics of the Main Hall of the Concertgebouw.
The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major reappreciation of Mahler's works. "All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it's extremely bare, when it is thick and rich, it's thicker and richer than anything in Gotterdammerung, and when it is suffering it suffers to a point that no music has ever suffered before" (Leonard Bernstein).
Claudio Abbado has realised a dream with his new Lucerne Festival Orchestra. The orchestra, an exclusive ensemble of handpicked orchestral musicians, has set new standards in the field of classical music with exceptional soloists such as violinist Kolja Blacher, flutist Emanuel Pahud and clarinettist Sabine Meyer on the first desks. In August 2004 they performed in the Lucerne Festival Hall, presenting a programme that, once again, confirmed Claudio Abbado's fame as a supreme Mahler conductor. His long-time association with Mahler ensures a marvellous reading of the composer's Fifth and most popular Symphony, which became world-famous as the soundtrack to Visconti's film Death in Venice . An innovative special feature makes this audio-visually appealing video even more attractive. The film is shot using a multi-angle perspective, which enables the viewer to switch easily from the regular to the "Conductor" Camera thus experiencing Claudio Abbado from the orchestra's perspective. The is a wonderful homage to the interplay between orchestra and conductor celebrating the composer and a triumphant masterwork - Gustav Mahler's glorious Symphony No. 5 in C sharp minor .
Bonus feautres:
- Multi-Angle Feature - Conductor Camera
Bonus feautres:
- Multi-Angle Feature - Conductor Camera
Klaus Tennstedt (1926-1998), a renowned Mahlerian, conducted this live performance at the Royal Festival Hall a year after stepping down as the LPO's Principal Conductor.
Issued here for the first time on video, this live performance was hailed as "legendary" by Michael Manus in the Gramophone and has been released on CD by EMI.
Tennstedt's 1978 studio recording of Mahler's Fifth Symphony is described in one edition of the Penguin Guide as "an outstanding performance, thoughtful on the one hand, warm and expressive on the other."
This 1988 live performance is described in a later edition of the same guide as "more daring and more idiosyncratic than Tennstedt's earlier studio recording, but the tension is far keener. The experience hits one at full force. The emotional tension of the occasion is vividly captured."
This performance was the last time Tennstedt returned to Mahler 5 with the LPO and the highly personal and passionate interpretation justifies his reputation for outstanding live performances. According to Michael Manus, "The phenomenon that was Tennstedt in concert will never, can never, be recreated."
Issued here for the first time on video, this live performance was hailed as "legendary" by Michael Manus in the Gramophone and has been released on CD by EMI.
Tennstedt's 1978 studio recording of Mahler's Fifth Symphony is described in one edition of the Penguin Guide as "an outstanding performance, thoughtful on the one hand, warm and expressive on the other."
This 1988 live performance is described in a later edition of the same guide as "more daring and more idiosyncratic than Tennstedt's earlier studio recording, but the tension is far keener. The experience hits one at full force. The emotional tension of the occasion is vividly captured."
This performance was the last time Tennstedt returned to Mahler 5 with the LPO and the highly personal and passionate interpretation justifies his reputation for outstanding live performances. According to Michael Manus, "The phenomenon that was Tennstedt in concert will never, can never, be recreated."
After the two famous Mahler festivals in 1920 and 1995, the Royal Concertgebouw Orchestra Amsterdam is now presenting a special two-season Mahler series, which includes ten large-scale symphonies plus Das Lied von der Erde , performed in chronological order by the world's greatest orchestra under the direction of great conductors – all brought to life in the wonderful acoustics of the Main Hall of the Concertgebouw.
The ICA Classics Live series features performances from ICA's own artists recorded in prestigious venues around the world. The majority of the recordings are enjoying their first commercial release.
This outstanding performance of Mahler's Sixth Symphony formed part of Hartmut Haenchen's Mahler Cycle with the La Monnaie Symphony Orchestra. Haenchen is renowned and respected for his interpretations of Mahler and Wagner and has had a significant presence in many of the world's leading opera houses. An expressive and dramatic rendition of the Tragische , Haenchen's high intellect and musical integrity are apparent.
This outstanding performance of Mahler's Sixth Symphony formed part of Hartmut Haenchen's Mahler Cycle with the La Monnaie Symphony Orchestra. Haenchen is renowned and respected for his interpretations of Mahler and Wagner and has had a significant presence in many of the world's leading opera houses. An expressive and dramatic rendition of the Tragische , Haenchen's high intellect and musical integrity are apparent.
Claudio Abbado has realised a dream with his new Lucerne Festival Orchestra. The orchestra, an exclusive ensemble of handpicked orchestral musicians, opens up new dimensions in the interpretation of symphonic music with exceptional soloists such as violinist Kolja Blacher, cellist Natalia Gutman and clarinettist Sabine Meyer filling the first desks. Claudio Abbado is undeniably a supreme Mahler conductor and his recordings with the Lucerne Festival Orchestra have set new standards in interpretation of works by Gustav Mahler (1860–1911). His long-time association with the composer ensures a marvellous reading of the Sixth Symphony , especially as he has long been the work's most respected interpreter. The sixth symphony – first performed in 1906 and sometimes referred to as Tragic – ends on a much sadder, almost nihilistic, note than most of the other Mahler symphonies. This imposing music is captured live in a performance marked by awesome silences and towering climaxes conjured by the Lucerne Festival Orchestra. Filmed in August 2006 using state-of-the-art equipment to take full advantage of the new and acoustically superb Concert Hall Lucerne.
Long considered as a particularly demanding and difficult work, the Symphony No. 6 in A minor was begun in 1903, completed the following year and premiered in Essen on 27 May 1906. Superficially, it is the most conventional in that it follows the traditional four-movement form and ends in the key in which it begins. Although this key, A minor, is a tragic one in Mahler's oeuvre, the work itself is not a song of despair, but a dense and forceful testimony of furious inner battles whose outcome remains unclear until the very end.
Leonard Bernstein was the first conductor ever to record all of Mahler's symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major re-appreciation of Mahler's works.
Leonard Bernstein was the first conductor ever to record all of Mahler's symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major re-appreciation of Mahler's works.
After the two famous Mahler festivals in 1920 and 1995, the Royal Concertgebouw Orchestra Amsterdam is now presenting a special two-season Mahler series, which includes ten large-scale symphonies plus Das Lied von der Erde , performed in chronological order by the world's greatest orchestra under the direction of great conductors – all brought to life in the wonderful acoustics of the Main Hall of the Concertgebouw.
Claudio Abbado, who first conducted his new Lucerne Festival Orchestra in the summer of 2003, realised a dream with this exclusive ensemble. Handpicked orchestral musicians and exceptional soloists such as violinist Kolja Blacher, flutist Emmanuel Pahud, clarinettist Sabine Meyer, oboist Albrecht Mayer, violist Wolfram Christ, cellist Natalia Gutman, the Hagen Quartet and members of the Alban Berg Quartet to name just a few, make the Lucerne Festival Orchestra a star-studded ensemble, while the core of the orchestra is provided by the Mahler Chamber Orchestra, itself an élite body of players. Claudio Abbado is undeniably a supreme Mahler conductor and his Mahler recordings with the Lucerne Festival Orchestra have set new benchmarks in Mahler interpretation. This wonderful performance of the impressive five movement Symphony No. 7 was recorded live at the new and acoustically superb Concert Hall Lucerne in August 2005.
Leonard Bernstein conducted the work at the Salzburg Festival in 1975 and shortly thereafter in Vienna's Konzerthaus, where it was recorded. The stage of the Konzerthaus was enlarged to make room for the unusually large orchestra, the two choruses, the children's choir and the soloists.
Bernstein was the first conductor ever to record all of Mahler's symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major reappreciation of Mahler's works. "All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it's extremely bare, when it is thick and rich, it's thicker and richer than anything in Götterdämmerung, and when it is suffering it suffers to a point that no music has ever suffered before" (Leonard Bernstein).
Bernstein was the first conductor ever to record all of Mahler's symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major reappreciation of Mahler's works. "All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it's extremely bare, when it is thick and rich, it's thicker and richer than anything in Götterdämmerung, and when it is suffering it suffers to a point that no music has ever suffered before" (Leonard Bernstein).
"Mahler created a new world with each of his symphonies (...) It is a fantastic journey for both of us". With these few words, Daniel Barenboim sums up the vast scope of a project undertaken with his friend Pierre Boulez: two very different world-class conductors tackle all nine completed symphonies of Gustav Mahler (1860-1911) with one orchestra, the Staatskapelle Berlin. Performed as a complete cycle in Berlin, Vienna and New York, the concerts were a tremendous success. The Financial Times even wrote: "New York is going Mahler mad".
In addition to being a fascinating insight into Mahler's symphonic oeuvre, which allows the viewer to uncover the essence of Mahler's music, "The Mahler Project" also features a complete concert recording from the Berliner Philharmonie of the colossal Ninth Symphony , which is considered as the culmination of the Austrian composer's works. Conductor Daniel Barenboim delivers an interpretation which The New York Times proclaimed "a milestone for the Staatskapelle Berlin".
In addition to being a fascinating insight into Mahler's symphonic oeuvre, which allows the viewer to uncover the essence of Mahler's music, "The Mahler Project" also features a complete concert recording from the Berliner Philharmonie of the colossal Ninth Symphony , which is considered as the culmination of the Austrian composer's works. Conductor Daniel Barenboim delivers an interpretation which The New York Times proclaimed "a milestone for the Staatskapelle Berlin".
Leonard Bernstein was the first conductor ever to record all of Mahler's symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler's symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major reappreciation of Mahler's works. "All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it's extremely bare, when it is thick and rich, it's thicker and richer than anything in Götterdämmerung, and when it is suffering it suffers to a point that no music has ever suffered before" (Leonard Bernstein).
The Gustav Mahler Jugendorchester was founded in 1986 at the initiative of Claudio Abbado and has since become the world's best youth orchestra. Named after the great composer, the programme is marked by the special relationship between the maestro and the young orchestra and their relationship to Gustav Mahler. Claudio Abbado is undeniably the supreme Mahler conductor of our time and his long-time association with this repertoire culminates in this stirring performance of Mahler's last Symphony, written shortly before the composer's untimely death. Recorded at Accademia di Santa Cecilia in Rome 2004, the film vividly shows the joy, talent and professionalism of the young musicians drawn from all over Europe and their devotion to Claudio Abbado. The is a wonderful homage to orchestra, conductor, composer and, last but not least, to a triumphant master work - Gustav Mahler's magnificent Symphony No. 9 in D major .
To celebrate his 80th birthday, Kurt Masur led "his" Gewandhaus Orchestra in a special gala concert in June 2007. For his birthday concert, Masur, currently principal conductor of the London Philharmonic Orchestra and the Orchestre National de France, chose a varied, celebratory programme with works by composers highlighting his conducting career in the United States, France and Germany. The night progressed with works by Bernstein, Bizet and Brahms and – as a special present - a song from Gershwin's Porgy and Bess , sung by entertainer Harald Schmidt. At Kurt Masur's wish, the popular German TV entertainer, a former church musician, hosted the show, demonstrating his quick-witted humour and general knowledge of all aspects of music. Abounding in energy, alert as ever, Masur has been untiringly lending new impulses to the entire orchestral repertoire. From 1970 until 1996 he did so as Gewandhaus Kapellmeister of the Leipzig Gewandhaus Orchestra, a position that has almost come to be identified with his name. He is still Conductor Laureate of the ensemble; the fact that he chose the orchestra for his birthday celebration expresses his gratitude and respect for the orchestra that accompanied him during momentous and troubled times. Kurt Masur had an eventful life - he...
Unlike the piano, the violin or even the flute, the oboe is a relatively rare instrument for a solo career. And when a soloist such as Albrecht Mayer plays the oboe, one wishes composers had written more works for this sweetly mellow instrument. Critics write about the "divine spark" that inspires his playing, and about the "miraculous oboe" that turns into "an instrument of seduction." With his particularly warm tone and exceptionally broad palette of nuances, it's no surprise that Albrecht Mayer is one of today's most sought-after international oboists. In this documentary portrait of the oboist, we retrace the musician's impressive career and witness some of its many high points. Mayer embarked on a professional career in 1990, when he joined the Bamberg Symphony Orchestra as solo oboist. Two years later, he made the transition to the absolute top league with his appointment as solo oboist of the Berlin Philharmonic, and since then he has made countless international appearances, playing under such eminent conductors as Abbado, Rattle and Harnoncourt. In addition to his work as a soloist, Mayer also attaches great importance to chamber music. He is a permanent member of the Sabine Meyer Wind Ensemble and also plays with such partners as Thomas Quasthoff, Matthias Goerne and...
Characteristically lively renditions, Charles Munch's interpretations of both Mendelssohn symphonies are energetic and precise with excellent articulation from the Boston Symphony Orchestra.
The ICA Classics Legacy series represents a historic account of performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, Charles Munch.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value and is released here for the first time on video.
The ICA Classics Legacy series represents a historic account of performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, Charles Munch.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value and is released here for the first time on video.
Riccardo Chailly's inaugural concert as Kapellmeister of the Leipzig Gewandhaus Orchestra in September 2005 was a feast of music by Mendelssohn, the orchestra’s first conductor. Capturing the full atmosphere of this unique musical event, ths video includes an overwhelming performance of Mendelssohn's Second Symphony, "Lobgesang" with its celebratory choral last movement and the ever-popular overture A Midsummer Night's Dream – both from critically revised new editions. Anne Schwanewilms and Peter Seiffert are the outstanding vocal soloists. The Gewandhaus Orchestra can look back on its history with pride - it has evolved into one of the world's most renowned orchestras working with the best international conductors. The bonus film Chailly in Leipzig: The Gewandhaus Orchestra welcomes its new Kapellmeister allows a glimpse into this new and fruitful relationship.
One of the world's foremost violinists, Anne-Sophie Mutter is a musical celebrity known even by countless people who rarely listen to classical music. The artist and teacher, who promotes young musicians and commissions new works from contemporary composers, made her spectacular breakthrough under Herbert von Karajan at the 1977 Salzburg Easter Festival. She has since concertized at every major venue throughout the world. In 2008 she was awarded not only the prestigious Ernst von Siemens Music Award, but also the Leipzig Mendelssohn Award. The award ceremony in March 2008 was crowned by a gala concert at Leipzig's Gewandhaus with the Gewandhaus Orchestra under Kurt Masur, at which Mutter performed the Mendelssohn Violin Concerto in E minor Op. 64 presented here.
Mutter has performed the Violin Concerto several times in her career. Joining her in Mendelssohn's Violin Sonata is pianist Andre Previn, who is also an internationally renowned conductor and composer. Previn accompanied Mutter in several Mozart Trios that are part of her "Mozart Project." He and cellist Lynn Harrell now interpret the D minor Trio with her. This is a stunning anthology of chamber and orchestral music from one of the most vibrant composers of the early Romantic Era, performed by top artists of today!
Mutter has performed the Violin Concerto several times in her career. Joining her in Mendelssohn's Violin Sonata is pianist Andre Previn, who is also an internationally renowned conductor and composer. Previn accompanied Mutter in several Mozart Trios that are part of her "Mozart Project." He and cellist Lynn Harrell now interpret the D minor Trio with her. This is a stunning anthology of chamber and orchestral music from one of the most vibrant composers of the early Romantic Era, performed by top artists of today!
The archival gems included here are taken from footage for the legendary 1948 Hollywood film "Concert Magic" (the first ever concert filmed for movie audiences). At nearly 25 minutes, Mendelssohn's Violin Concerto was too long for inclusion in the film, so although it is Menuhin's only filmed performance of the work it has only recently been discovered. To see one of the greatest ever violinists perform one of the greatest ever violin concertos is undoubtedly a compelling experience. The encore pieces that follow are superb documents of his seemingly effortless virtuosity. These performances by the 32-year-old Yehudi Menuhin show him at the height of his career. Yehudi Menuhin was one of the best-known violinists of the 20th century - he was universally popular and was frequently received as an ambassador of classical music. With "Concert Magic", which premiered in San Francisco in 1947, he made the first ever motion picture concert in film history. He also produced many short films for the cinema – used to fill the space between the traditional "double features". An especially valuable rarity was found among these - Felix Mendelssohn's Violin concerto . Pianist Adolph Baller and the Symphony Orchestra of Hollywood conducted by Antal Dorati joined Yehudi Menuhin at...
This concert features virtuoso violinist Yehudi Menuhin (1916–1999) at the Charlie Chaplin Studios in 1947. Together with various artists he performed classical and romantic works of famous composers such as Beethoven, Wieniawski, Bach, Paganini and others. Yehudi Menuhin in Concert Magic is the very first concert film produced by and for Hollywood. This concert was premiered at the Stage Door Cinema in San Francisco for movie audiences. Yehudi Menuhin was at the age of 32 and was at the pinnacle of his fame.
Bonus features:
- The Story behind "Concert Magic" - Yehudi Menuhin in conversation with Humphrey Burton
Bonus features:
- The Story behind "Concert Magic" - Yehudi Menuhin in conversation with Humphrey Burton
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
Claudio Monteverdi's Fourth Book of Madrigals (1603) explores differing emotional states of abandoned lovers through the most dramatic and amazingly modern music for vocal ensemble. The Full Monteverdi follows the simultaneous break-up of six couples through shocking revelation, vengeful anger and erotic longing for reconciliation. Vulnerable and disarming, this ensemble film will draw you into its emotional journey and intensely moving portrait of contemporary love.
This film is a genuine premiere starring the greatest motion picture composer of the present day: Ennio Morricone. Morricone's music has been well known to moviegoers for decades and his name stands for warmly melodic soundtracks, superbly suited to the films they grace. Born in 1928 in Rome, he went to school with film director Sergio Leone, with whom he would later form one of the great director/composer partnerships. His sparse arrangements, unorthodox instrumentation and memorable tunes revolutionised the way music would be used in Westerns. He has written nearly 400 film scores and this programme contains a representative sample of his rich creative output including short clips from his most famous films. The Munich Philharmonic – one of the best German symphony orchestras - invited Morricone to conduct his own music.
The most spectacular homage to Wolfgang Amadeus Mozart on his 250th birthday in 2006 was incontestably the presentation of all of his operas and operatic fragments at the Salzburg Festival, "Mozart 22." Recorded on film, this monumental project has been preserved for posterity as a benchmark of Mozart interpretation in the early 21st century. The Mozart Gala held at the Felsenreitschule on 30 July 2006, in the first days of the 2006 Salzburg Festival, presents a kind of microcosm of the Mozart festivities, with a selection of arias and orchestral music performed by the Vienna Philharmonic under Daniel Harding and featuring some of the top vocalists of the 2006 Salzburg Festival.
A sampling of exquisite hors d'oeuvres prepared by the most outstanding musical chefs! Internationally celebrated soprano Anna Netrebko lives up to her reputation as a fiery, dramatic diva in her passionate rendition of Elettra's aria "D'Oreste, d'Aiace" from Idomeneo. Thomas Hampson, one of the greatest baritones of our time, burnishes Guglielmo's aria "Rivolgete a lui lo sguardo" from Cosi fan tutte with his full, rich, mellow tone. Leading Mozart tenor Michael Schade appears twice, in arias from Don Giovanni and La clemenza di Tito. A particularly bright moment awaits listeners when Rene...
A sampling of exquisite hors d'oeuvres prepared by the most outstanding musical chefs! Internationally celebrated soprano Anna Netrebko lives up to her reputation as a fiery, dramatic diva in her passionate rendition of Elettra's aria "D'Oreste, d'Aiace" from Idomeneo. Thomas Hampson, one of the greatest baritones of our time, burnishes Guglielmo's aria "Rivolgete a lui lo sguardo" from Cosi fan tutte with his full, rich, mellow tone. Leading Mozart tenor Michael Schade appears twice, in arias from Don Giovanni and La clemenza di Tito. A particularly bright moment awaits listeners when Rene...
As part of the Mozart celebrations for the composer's 250th birthday in 2006, the Czech Philharmonic Orchestra, under the baton of Manfred Honeck, perform W.A. Mozart's most famous work related to or composed in Prague. The young clarinetist Sharon Kam, one of the most exciting players on the international scene and a frequent performer with many renowned orchestras all over the world – plays the popular Clarinet Concerto in its original version on the lower range basset clarinet. The Prague Estates Theatre, where the concert was recorded on Mozart's birthday on the 27th January 2006, is one of the most beautiful historical theatres in Europe. Part of its charm, magic and value lies in its historical significance, which stretches from the theatre's role in Mozart's career to modern times. In 1787 Mozart conducted the premiere of Don Giovanni here and, his friend and inspiration the clarinettist Anton Stadler, premiered the Clarinet Concerto in this theatre in 1791.
The great Russian pianist Emil Gilels was universally acclaimed for his breathtaking performances of the most demanding concertos and most challenging pieces of piano literature. But he was also a master of the miniature form, and his interpretations of Songs Without Words and other little pieces by Mendelssohn, Schumann, Chopin, Grieg and others were nothing short of mesmerizing. A specialist of the German repertoire, Gilels gave an all German-Austrian program at the 1971 Carinthian Summer Festival in Austria, where Mozart's Variations were recorded.
As their personal tribute to Mozart in his anniversary year 2006, Gil and Orli Shaham performed a selection of violin sonatas by the Austrian master in the Palais Daun-Kinsky in Vienna. Brimming with energy and bravery, tempered only by a deep understanding of the music, the siblings paid their respect to the composer on his 250th birthday. Violinist Gil Shaham is internationally recognized as a virtuosic and engaging classical artists by both audiences and critics alike. He is sought after throughout the world for concerto appearances with celebrated orchestras and conductors, as well as for recital and ensemble appearances on the great concert stages and at the most prestigious festivals. His sister Orli has established an impressive international reputation as a gifted pianist. Although they were born less than five years apart, the siblings seldom appear together in public. Apparently, their parents discouraged them from doing so, since Orli, as she explains, was "just ready to come out of the sandbox" when Gil was already having a big career.
The Slovakian soprano Luba Orgonasova sings at all the major opera houses of the world and numbers among the most sought-after interpreters of the lyrical and coloratura parts of opera and concert literature. She was one of the last discoveries of Herbert von Karajan: she sang the part of Marzelline (Fidelio) at the Salzburg Festival in 1990, which marked the beginning of her rapid rise to celebrity. The Mozarteum Orchestra Salzburg has been the orchestra of the city and Land of Salzburg since 1958 and regularly concertizes at the Salzburg Festival and the Mozartwoche. The principal conductor is the Dutch-born Hubert Soudant, who led the Nouvel Orchestre Philharmonique de France in Paris from 1981 to 1983 and the Utrecht Symphony Orchestra from 1983 to 1986. In addition to his activities in Salzburg, Soudant is also the principal conductor of the Orchestra and Opera des Pays de Loire in Nantes and Angers, France.
Luba Orgonasova hails from Slovakia and sings at all the major opera houses of the world. She is one of the most sought-after interpreters of the lyrical and coloratura parts of opera and concert literature. She was one of Herbert von Karajan's last discoveries: in 1990 she sang the part of Marzelline (Fidelio) at the Salzburg Festival – a role that marked the beginning of her meteoric career.
The Dutch musician Ton Koopman was born in 1944 and ranks among the outstanding specialists in the field of historical performance practice. He studied organ, harpsichord and musicology in Amsterdam and turned to conducting during his training. From the very beginning, he used original instruments and combined theory and practice into a fascinating, historically well-founded interpretation of the works. In 1979 he founded the Amsterdam Baroque Orchestra. He is the principal conductor of the Netherlands Radio Chamber Orchestra. As a performing artist and teacher, Koopman has made decisive contributions to the renaissance of the music of the 17th and 18th centuries. He has published many books and articles, teaches at the Conservatory of The Hague and is an honorary member of the Royal Music Academy in London. The Mozarteum Orchester Salzburg goes back to the Dom-Musik-Verein und...
The Dutch musician Ton Koopman was born in 1944 and ranks among the outstanding specialists in the field of historical performance practice. He studied organ, harpsichord and musicology in Amsterdam and turned to conducting during his training. From the very beginning, he used original instruments and combined theory and practice into a fascinating, historically well-founded interpretation of the works. In 1979 he founded the Amsterdam Baroque Orchestra. He is the principal conductor of the Netherlands Radio Chamber Orchestra. As a performing artist and teacher, Koopman has made decisive contributions to the renaissance of the music of the 17th and 18th centuries. He has published many books and articles, teaches at the Conservatory of The Hague and is an honorary member of the Royal Music Academy in London. The Mozarteum Orchester Salzburg goes back to the Dom-Musik-Verein und...
In celebration of the Mozart Year – the anniversary of the composers 250th birthday would have been on 27 January 2006 – EuroArts releases a video with Mozart's most famous works for string quartet and the serenade Eine kleine Nachtmusik for string quintet. Recorded at the beautiful baroque palace Rammenau, Saxony in May 2005, this video features the longest established string quartet in the world, the Gewandhaus Quartet. Founded in 1808, the Quartet can be seen as a remarkable part of the history of Western Music, having continued its concert activity uninterrupted from generation to generation with great success for almost 200 years. The current line-up has been playing together since 1993 and was formed, as the tradition goes, from the concertmasters, solo violist and solo cellist of the Leipzig Gewandhaus Orchestra.
The great Russian pianist Emil Gilels was universally acclaimed for his breathtaking performances of the most demanding concertos and most challenging pieces of piano literature. But he was also a master of the miniature form, and his interpretations of Songs Without Words and other little pieces by Mendelssohn, Schumann, Chopin, Grieg and others were nothing short of mesmerizing. A specialist of the German repertoire, Gilels gave an all German-Austrian program at the 1971 Carinthian Summer Festival in Austria, where Mozart's D minor Fantasy was recorded.
Karl Bohm heads the Vienna Philharmonic Orchestra in this performance of the Minuet, K. 409, written in Vienna towards 1782. It was presumably composed for a performance of the Symphony in C major, K. 338 in Vienna's Augarten in May 1782. Let us recall that the autograph of the Symphony, K. 338, written in Salzburg, contained only the beginning of a minuet, which was then crossed out. The more progressive Viennese public preferred four-movement works, which might explain the origin of this minuet, one of Mozart's most imaginative and beguiling.
Karl Bohm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Bohm's first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography, Bohm wrote that "Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart." Bohm's discovery of these secrets transformed his Mozart interpretations into unforgettable events.
Karl Bohm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Bohm's first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography, Bohm wrote that "Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart." Bohm's discovery of these secrets transformed his Mozart interpretations into unforgettable events.
Legendary pianist Vladimir Horowitz, conductor Carlo Maria Giulini and The Orchestra of La Scala perform Mozart's Piano Concerto No. 23 in A Major in a studio setting. The film also includes discussions, playback sessions and interviews.
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion (www.musicinmotion.no).
When Anne-Sophie Mutter says that Mozart wrote his trios for violin, violoncello and piano for his own enjoyment, then this is not merely a conclusion derived from the artist's own pleasure in playing these works with talented colleagues. Mozart himself, in a letter of June 1788 to his friend Michael Puchberg, added this postscript: "When are we to have a little musical party at your house again? I have composed a new trio!" He was referring to the Piano Trio in E major, K. 542.
All three trios on this recording are not only late works, but were also published together in 1788, lending weight to the claim that they are the three finest and most exemplary works in this genre by Mozart. In the earliest of the three, K. 502, Mozart broke through the traditional predominance of the piano to give equal weight to the strings, whereby the violin is given ample opportunity to display the soloist's bravura.
The Trios K. 542 and 548 were both written in the astonishingly fruitful summer of 1788, during which Mozart wrote the great trilogy of his last symphonies. They show Mozart at the very height of his powers. Proof that Mozart thought highly of K. 542 emerges in the fact that he played it at the court of Dresden in 1789 when he was seeking an appointment there. Finally, K. 548 in C...
All three trios on this recording are not only late works, but were also published together in 1788, lending weight to the claim that they are the three finest and most exemplary works in this genre by Mozart. In the earliest of the three, K. 502, Mozart broke through the traditional predominance of the piano to give equal weight to the strings, whereby the violin is given ample opportunity to display the soloist's bravura.
The Trios K. 542 and 548 were both written in the astonishingly fruitful summer of 1788, during which Mozart wrote the great trilogy of his last symphonies. They show Mozart at the very height of his powers. Proof that Mozart thought highly of K. 542 emerges in the fact that he played it at the court of Dresden in 1789 when he was seeking an appointment there. Finally, K. 548 in C...
Violinist Christian Tetzlaff was born in Hamburg and trained in Lubeck and Cincinnati. He has appeared with the world's leading orchestras, and as chamber musician he concertizes with prominent partners. Roger Norrington was born in Oxford and studied in Cambridge and London. From 1969 to 1984 he was musical director of the Kent Opera and conducted productions at the Royal Opera House Covent Garden, Milan's La Scala and the Teatro La Fenice in Venice. He founded the London Classical Players and is principal conductor of the Camerata Salzburg and the Stuttgart Radio Symphony Orchestra.
The former Camerata Academica Salzburg was renamed simply Camerata Salzburg in 2001. It was founded in 1951 by Bernhard Paumgartner, who was its head and mentor for many years. From 1978 to 1997 its artistic director was Sandor Vegh and in 1997 Roger Norrington was appointed principal conductor of the ensemble. The Camerata Salzburg can be heard every year at the Salzburg Mozartwoche and Salzburg Festival.
The former Camerata Academica Salzburg was renamed simply Camerata Salzburg in 2001. It was founded in 1951 by Bernhard Paumgartner, who was its head and mentor for many years. From 1978 to 1997 its artistic director was Sandor Vegh and in 1997 Roger Norrington was appointed principal conductor of the ensemble. The Camerata Salzburg can be heard every year at the Salzburg Mozartwoche and Salzburg Festival.
Karl Böhm leads the Vienna Philharmonic Orchestra in this little work
written by Mozart in Salzburg in January 1776. What sets this work apart from other serenades is its scoring for two small orchestras, which produces a deliberate echo effect. One can almost imagine the courtly guests bantering amidst the two groups of players at the opposite ends of a grand salon. Although the work begins with a march, called "Marcia maestoso," it soon gives up all martial pretenses for lightness and grace. The final Rondo is particularly spirited and frisky, with episodes of a nature that must have made more than one guest stop mid-conversation!
Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm's first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography,Böhm wrote that "Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart." Böhm's discovery of these secrets transformed his Mozart interpretations into unforgettable events.
written by Mozart in Salzburg in January 1776. What sets this work apart from other serenades is its scoring for two small orchestras, which produces a deliberate echo effect. One can almost imagine the courtly guests bantering amidst the two groups of players at the opposite ends of a grand salon. Although the work begins with a march, called "Marcia maestoso," it soon gives up all martial pretenses for lightness and grace. The final Rondo is particularly spirited and frisky, with episodes of a nature that must have made more than one guest stop mid-conversation!
Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm's first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography,Böhm wrote that "Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart." Böhm's discovery of these secrets transformed his Mozart interpretations into unforgettable events.
Born in Riga in 1947, Gidon Kremer is not only one of the leading
violinists in the world, but also - thanks to his unquenchable curiosity and search for new impulses - one of the most fascinating musical personalities of our time. His repertoire ranges from Bach to the present, whereby a number of contemporary composers have achieved international recognition through his commitment. Since 1997 Kremer has devoted a large part of his activities to the chamber orchestra Kremerata Baltica, which he founded. The ensemble consists of young musicians from the three Baltic states of Estonia, Latvia and Lithuania; the average age of its members is 25. The debut of the chamber orchestra in February 1997 corresponded with the 50th birthday of its founder. With this orchestral project, Kremer wants to pass on his artistic experiences to young musicians of his native country and to draw international attention to the outstanding musical situation of the Baltic nations. The Kremerata Baltica performs in all of the world's major musical venues.
This little work was written by Mozart in Salzburg in January 1776. What sets this work apart from other serenades is its scoring for two small orchestras, which produces a deliberate echo effect. One can almost imagine the courtly guests bantering...
violinists in the world, but also - thanks to his unquenchable curiosity and search for new impulses - one of the most fascinating musical personalities of our time. His repertoire ranges from Bach to the present, whereby a number of contemporary composers have achieved international recognition through his commitment. Since 1997 Kremer has devoted a large part of his activities to the chamber orchestra Kremerata Baltica, which he founded. The ensemble consists of young musicians from the three Baltic states of Estonia, Latvia and Lithuania; the average age of its members is 25. The debut of the chamber orchestra in February 1997 corresponded with the 50th birthday of its founder. With this orchestral project, Kremer wants to pass on his artistic experiences to young musicians of his native country and to draw international attention to the outstanding musical situation of the Baltic nations. The Kremerata Baltica performs in all of the world's major musical venues.
This little work was written by Mozart in Salzburg in January 1776. What sets this work apart from other serenades is its scoring for two small orchestras, which produces a deliberate echo effect. One can almost imagine the courtly guests bantering...
Born in Riga in 1947, Gidon Kremer is not only one of the leading violinists in the world, but also – thanks to his unquenchable curiosity and search for new impulses – one of the most fascinating musical personalities of our time. His repertoire ranges from Bach to the present, whereby a number of contemporary composers have achieved international recognition through his commitment. Since 1997 Kremer has devoted a large part of his activities to the chamber orchestra Kremerata Baltica, which he founded. The ensemble consists of young musicians from the three Baltic states of Estonia, Latvia and Lithuania; the average age of its members is 25. The debut of the chamber orchestra in February 1997 corresponded with the 50th birthday of its founder. With this orchestral project, Kremer wants to pass on his artistic experiences to young musicians of his native country and to draw international attention to the outstanding musical situation of the Baltic nations. The Kremerata Baltica performs in all of the world's major musical venues.
Ever since its founding in 1979, the Wiener Streichsextett (Vienna String Sextet) has ranked among the most distinguished chamber music ensembles in the international musical world. The six musicians – three of them are actually Viennese – discovered their enjoyment in making music together in their student days. The ensemble has been playing in the formation presented here since 1982. This live recording documents the debut of the ensemble at the Mozartwoche in Salzburg.
Frans Brüggen and his Orchestra of the Eighteenth Century reinvent the classical masterpieces of Mozart, Haydn, Beethoven and other 18th-century composers by playing them on period instruments and interpreting the music as if it were written yesterday. After almost 30 years of traveling all around the globe they now, in their 99th world tour, play Mozart with the spirit, freshness and eagerness of their first concert. On the programme are Mozart's final three symphonies including No. 40, the first symphony ever played by Frans Brüggen and his band.
Filmed mainly in Vienna's splendid Musikvereinssaal, the Mozart symphonies conducted by Karl Böhm are all interpreted by one of the world's foremost orchestras, the Vienna Philharmonic Orchestra, whose principal conductors have included Wilhelm Furtwängler, Bruno Walter, Herbert von Karajan, Claudio Abbado and, of course, Karl Böhm. "Thanks to Bruno Walter's exemplary performances, particularly of Mozart's works, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart" (Karl Böhm).
Mozart wrote his first symphony in London in 1764/65 at the age of 8. The boy sought his inspiration above all in the works of a German composer who had settled in London: Johann Christian Bach, the youngest son of the great Johann Sebastian, who became a lifelong friend of Mozart and exerted a strong influence on his style. The work reflects the Italian opera buffa atmosphere of the young symphonic genre, and its freshness and experimental delight in sonorities anticipate the inventiveness and mastery of Mozart's later works.
Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm's first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his...
Mozart wrote his first symphony in London in 1764/65 at the age of 8. The boy sought his inspiration above all in the works of a German composer who had settled in London: Johann Christian Bach, the youngest son of the great Johann Sebastian, who became a lifelong friend of Mozart and exerted a strong influence on his style. The work reflects the Italian opera buffa atmosphere of the young symphonic genre, and its freshness and experimental delight in sonorities anticipate the inventiveness and mastery of Mozart's later works.
Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm's first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his...
Filmed mainly in Vienna's splendid Musikvereinssaal, the Mozart symphonies conducted by Karl Bohm are all interpreted by one of the world's foremost orchestras, the Vienna Philharmonic Orchestra, whose principal conductors have included Wilhelm Furtwangler, Bruno Walter, Herbert von Karajan, Claudio Abbado and, of course, Karl Bohm. "Thanks to Bruno Walter's exemplary performances, particularly of Mozart's works, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart" (Karl Bohm).
Like the "Little" G minor Symphony, K. 183, the Symphony in C major, K. 200 is also one of the early "Salzburg" symphonies. Its originality places it on a par with the G minor work. The onward-rushing, sharply profiled theme prefigured an evolution which led to a more individual characterization of the melodies and to a more thorough exploitation of their combinative possibilities. While the muted strings and "sigh" motifs of the Andante point to techniques Mozart was to perfect in later works, the final sprightly Presto recalls the structure of the opening movement, thus rounding off the work in an admirable fashion.
Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Bohm's first loves, his...
Like the "Little" G minor Symphony, K. 183, the Symphony in C major, K. 200 is also one of the early "Salzburg" symphonies. Its originality places it on a par with the G minor work. The onward-rushing, sharply profiled theme prefigured an evolution which led to a more individual characterization of the melodies and to a more thorough exploitation of their combinative possibilities. While the muted strings and "sigh" motifs of the Andante point to techniques Mozart was to perfect in later works, the final sprightly Presto recalls the structure of the opening movement, thus rounding off the work in an admirable fashion.
Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Bohm's first loves, his...
The Dutch musician Ton Koopman was born in 1944 and ranks among the outstanding specialists in the field of historical performance practice. He studied organ, harpsichord and musicology in Amsterdam and turned to conducting during his training. From the very beginning, he used original instruments and combined theory and practice into a fascinating, historically well-founded interpretation of the works. In 1979 he founded the Amsterdam Baroque Orchestra. He is the principal conductor of the Netherlands Radio Chamber Orchestra. As a performing artist and teacher, Koopman has made decisive contributions to the renaissance of the music of the 17th and 18th centuries. He has published many books and articles, teaches at the Conservatory of The Hague and is an honorary member of the Royal Music Academy in London.
The Mozarteum Orchester Salzburg goes back to the Dom-Musik-Verein und Mozarteum founded in 1841. Since 1938 it has been an independent institution with professional musicians. It has been the orchestra of the city and the Land of Salzburg since 1958 and, in addition to its activity as opera and concert orchestra, it also performs regularly at the Salzburg Festival and the Mozartwoche.
After his trip to Paris in 1778, Mozart spent only two and a half more years in...
The Mozarteum Orchester Salzburg goes back to the Dom-Musik-Verein und Mozarteum founded in 1841. Since 1938 it has been an independent institution with professional musicians. It has been the orchestra of the city and the Land of Salzburg since 1958 and, in addition to its activity as opera and concert orchestra, it also performs regularly at the Salzburg Festival and the Mozartwoche.
After his trip to Paris in 1778, Mozart spent only two and a half more years in...
Mozart is the most pervasively dramatic composer in history. The spirit of opera informs very nearly his every work. Themes are characters; characters interact; they change. András Schiff's alertness to the dialogue in Mozart is reflected both in his acute sense of characterisation and his immensely sophisticated use of articulation. Every line breathes. Not only that, every tone tells. Just as the voice in conversation subtly reflects the speaker's state of mind, so Schiff's deployment of sonority derives from an acute perception of the notes' psychological as well as their purely musical character. This recording from the historical and stunningly beautiful Teatro Olimpico affords us numerous insights into Schiff's approach to music and music-making, and more besides. Schiff's joy in performance is as evident to the eye as to the ear.
Rafael Kubelik (1914-1996) was the son of the well-known Bohemian violinist Jan Kubelik. He studied music in Prague and made his conducting debut at 20 at the head of the Czech Philharmonic Orchestra. Later he became the principal conductor of this famous orchestra and founded the Prague Spring Festival. After the Communist takeover of the government, Kubelik emigrated to the West and returned to his native land only after the end of the Communist regime. From 1950 to 1953 he headed the Chicago Symphony, and from 1955 to 1958 he was music director of the Covent Garden Opera in London. A period of great artistic successes began in 1961, when he was appointed principal conductor of the Bavarian Radio Symphony Orchestra. Many recordings document Kubelik's mastery and sense of artistry, his enjoyment of music and his temperament. His connection with the Munich orchestra lasted 18 years; in between, he also briefly served as music director of New York's Metropolitan Opera. Kubelik retired from the concert stage in 1985, but on the occasion of the first Prague Spring Festival after the fall of Communism in 1990, he returned to the podium of the Czech Philharmonic after more than 40 years in exile and conducted Smetana's My Fatherland cycle. His profound bonds with his native land...
Filmed mainly in Vienna's splendid Musikvereinssaal, the Mozart symphonies conducted by Karl Bohm are all interpreted by one of the world's foremost orchestras, the Vienna Philharmonic Orchestra, whose principal conductors have included Wilhelm Furtwangler, Bruno Walter, Herbert von Karajan, Claudio Abbado and, of course, Karl Bohm. "Thanks to Bruno Walter's exemplary performances, particularly of Mozart's works, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart" (Karl Bohm).
The G minor Symphony is undoubtedly Mozart's most popular work in this genre. What makes it so exciting to us – and what endeared this work to 19th-century audiences – are its relentless passion and romantic tension. The very first bars set the scene: above a nervous, pulsating viola accompaniment enters an equally agitated principal theme. There is nothing spectacular here, and yet the piano beginning – unusual for an 18th-century symphony – and the insistent rhythm are nothing less than gripping. The mastery with which Mozart then contrapuntally exploits the opening theme is simply breathtaking – particularly in the development section, which darts out into the most distant keys. After the profoundly...
The G minor Symphony is undoubtedly Mozart's most popular work in this genre. What makes it so exciting to us – and what endeared this work to 19th-century audiences – are its relentless passion and romantic tension. The very first bars set the scene: above a nervous, pulsating viola accompaniment enters an equally agitated principal theme. There is nothing spectacular here, and yet the piano beginning – unusual for an 18th-century symphony – and the insistent rhythm are nothing less than gripping. The mastery with which Mozart then contrapuntally exploits the opening theme is simply breathtaking – particularly in the development section, which darts out into the most distant keys. After the profoundly...
This video presents Benjamin Britten at the height of his powers in an affectionately nuanced account of Mozart's Symphony No. 40 – "surely the loveliest bit of music ever conceived", according to Britten – and an intimate and evocative performance of his own Nocturne with Peter Pears. As a bonus, the video includes extracts from Mendelssohn's "Scottish" Symphony which Britten conducts with the utmost subtlety and style despite being gravely ill at the time. All three performances give fascinating insights into one of the finest musicians of the twentieth century.
The ICA Classics Legacy series presents a collection of historical performances by some of the world's greatest artists. These performances are released on here for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
The ICA Classics Legacy series presents a collection of historical performances by some of the world's greatest artists. These performances are released on here for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
Filmed mainly in Vienna's splendid Musikvereinssaal, the Mozart symphonies conducted by Karl Bohm are all interpreted by one of the world's foremost orchestras, the Vienna Philharmonic Orchestra, whose principal conductors have included Wilhelm Furtwangler, Bruno Walter, Herbert von Karajan, Claudio Abbado and, of course, Karl Bohm. "Thanks to Bruno Walter's exemplary performances, particularly of Mozart's works, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart" (Karl Bohm).
Mozart's last symphony is a solemn and formal work which looks back to the past more than its two fellow works K. 504 and 550. It contains strong reminiscences of Baroque forms like the fugue and the concerto grosso in its opposition of clear-cut themes and the interplay of solo and tutti groups. Particularly the last movement is one of the most impressive in symphonic literature because of its unique blend of melodic flow and "scholarly" fugal treatment. Although not truly a fugue, the movement incorporates some exciting imitative work. The theme was well known and often used in the 18th century. Mozart himself used it in two of his masses and in the Symphony, K. 319. The "Jupiter" Symphony, a truly Olympian work, must be viewed together...
Mozart's last symphony is a solemn and formal work which looks back to the past more than its two fellow works K. 504 and 550. It contains strong reminiscences of Baroque forms like the fugue and the concerto grosso in its opposition of clear-cut themes and the interplay of solo and tutti groups. Particularly the last movement is one of the most impressive in symphonic literature because of its unique blend of melodic flow and "scholarly" fugal treatment. Although not truly a fugue, the movement incorporates some exciting imitative work. The theme was well known and often used in the 18th century. Mozart himself used it in two of his masses and in the Symphony, K. 319. The "Jupiter" Symphony, a truly Olympian work, must be viewed together...
In anticipation of the Mozart Year 2006, Hartmut Haenchen conducted his Carl Philipp Emanuel Bach Chamber Orchestra in an all-Mozart Programme recorded live at the 19th century Konzerthaus Berlin in November 2005. The ensemble succeeded in bringing to life the music's manifold characteristics through the translucency achieved by a small chamber orchestra. Whether light-heartedness, song-like lyricism, drama or inspired polyphonic writing: every element of their performance breathes the spirit of Mozart. Critics have praised the orchestra's stylistic assurance, transparent textures and technical precision. Conductor Hartmut Haenchen is a highly dedicated artist, who can draw on broad experience. He exudes warmth and charm and Stefan Vladar's extraordinarily sensitive touch and stylistic assurance make the prize-winning pianist an ideal partner for Haenchen and his orchestra.
The violin concertos K. 211, 216, 218 and 219 were all composed within a few months, between June and December 1775, while Mozart was in the employ of the Archbishop of Salzburg. The Violin Concerto No. 2 radiates a distinctly galant atmosphere reminiscent of the French style of violin playing. Dazzling and elegant, it gives the soloist luminous passages such as the minor-key melody in the first movement and the main melody of the Andante. The concluding Rondo again recalls the brilliance of the French style. After having devoted himself to Baroque music for many years, Nikolaus Harnoncourt began turning increasingly to the orchestral works of Mozart in the 1980s. Here, too, Harnoncourt's views differed radically from those of traditional Mozart reception. For him, Mozart is "the most romantic composer of all," his music "dramatic, dynamic, often strikingly and exceedingly emotional."
In Gidon Kremer, Harnoncourt found a partner who shared his views. The German-Russian violin virtuoso has also sought his own path in his Mozart interpretations. In 1970 the then 23-year-old virtuoso attained the first peak of his career by winning the first prize at the International Tchaikovsky Competition in Moscow. He has since become one of the most sought-after violinists in the world. It...
In Gidon Kremer, Harnoncourt found a partner who shared his views. The German-Russian violin virtuoso has also sought his own path in his Mozart interpretations. In 1970 the then 23-year-old virtuoso attained the first peak of his career by winning the first prize at the International Tchaikovsky Competition in Moscow. He has since become one of the most sought-after violinists in the world. It...
Anne-Sophie Mutter chose to begin her homage to Mozart's 250th birthday with the violin concertos. The choice is certainly fitting, as the concertos have been a major pillar of her repertoire ever since her earliest days: she played the Second Concerto at her public debut when she was nine, and performed the G major Concerto K. 216 at her spectacular Salzburg debut under Herbert von Karajan when she was 13. She vigorously affirms that Mozart has since been present in her life on a daily basis.
Although she has already recorded Mozart's violin concertos in the past, Ms. Mutter is aware that her more recent interpretations bring a different perspective and greater maturity to her view of Mozart – while not diminishing the value of her earlier recordings. For this recording, which was filmed in Salzburg in December 2005, Ms. Mutter decided to conduct the ensemble herself. And with the Camerata Salzburg, she had at her disposal a supple and sensitive partner.
Mozart was not only a gifted pianist but also an accomplished string player, who enjoyed playing both the violin and the viola. His first violin concerto, K. 207 in B flat major , was written in 1773 and is possibly Mozart's very first concerto for solo instrument and orchestra. The other four works – K....
Although she has already recorded Mozart's violin concertos in the past, Ms. Mutter is aware that her more recent interpretations bring a different perspective and greater maturity to her view of Mozart – while not diminishing the value of her earlier recordings. For this recording, which was filmed in Salzburg in December 2005, Ms. Mutter decided to conduct the ensemble herself. And with the Camerata Salzburg, she had at her disposal a supple and sensitive partner.
Mozart was not only a gifted pianist but also an accomplished string player, who enjoyed playing both the violin and the viola. His first violin concerto, K. 207 in B flat major , was written in 1773 and is possibly Mozart's very first concerto for solo instrument and orchestra. The other four works – K....
Anne-Sophie Mutter chose to begin her homage to Mozart's 250th birthday with the violin concertos. The choice is certainly fitting, as the concertos have been a major pillar of her repertoire ever since her earliest days: she played the Second Concerto at her public debut when she was nine, and performed the G major Concerto K. 216 at her spectacular Salzburg debut under Herbert von Karajan when she was 13. She vigorously affirms that Mozart has since been present in her life on a daily basis.
Although she has already recorded Mozart's violin concertos in the past, Ms. Mutter is aware that her more recent interpretations bring a different perspective and greater maturity to her view of Mozart – while not diminishing the value of her earlier recordings. For this recording, which was filmed in Salzburg in December 2005, Ms. Mutter decided to conduct the ensemble herself. And with the Camerata Salzburg, she had at her disposal a supple and sensitive partner.
Mozart was not only a gifted pianist but also an accomplished string player, who enjoyed playing both the violin and the viola. His first violin concerto, K. 207 in B flat major , was written in 1773 and is possibly Mozart's very first concerto for solo instrument and orchestra. The other four works – K....
Although she has already recorded Mozart's violin concertos in the past, Ms. Mutter is aware that her more recent interpretations bring a different perspective and greater maturity to her view of Mozart – while not diminishing the value of her earlier recordings. For this recording, which was filmed in Salzburg in December 2005, Ms. Mutter decided to conduct the ensemble herself. And with the Camerata Salzburg, she had at her disposal a supple and sensitive partner.
Mozart was not only a gifted pianist but also an accomplished string player, who enjoyed playing both the violin and the viola. His first violin concerto, K. 207 in B flat major , was written in 1773 and is possibly Mozart's very first concerto for solo instrument and orchestra. The other four works – K....
Violinist Christian Tetzlaff was born in Hamburg and trained in Lübeck and Cincinnati. He has appeared with the world's leading orchestras, and as chamber musician he concertizes with prominent partners. Roger Norrington was born in Oxford and studied in Cambridge and London. From 1969 to 1984 he was musical director of the Kent Opera and conducted productions at the Royal Opera House Covent Garden, Milan's La Scala and the Teatro La Fenice in Venice. He founded the London Classical Players and is principal conductor of the Camerata Salzburg and the Stuttgart Radio Symphony Orchestra.
The former "Camerata academica Salzburg" was renamed simply "Camerata Salzburg" in 2001. It was founded in 1951 by Bernhard Paumgartner, who was its head and mentor for many years. From 1978 to 1997 its artistic director was Sándor Végh and in 1997 Roger Norrington was appointed principal conductor of the ensemble. The Camerata Salzburg can be heard every year at the Salzburg Mozartwoche and Salzburg Festival.
The former "Camerata academica Salzburg" was renamed simply "Camerata Salzburg" in 2001. It was founded in 1951 by Bernhard Paumgartner, who was its head and mentor for many years. From 1978 to 1997 its artistic director was Sándor Végh and in 1997 Roger Norrington was appointed principal conductor of the ensemble. The Camerata Salzburg can be heard every year at the Salzburg Mozartwoche and Salzburg Festival.
Anne-Sophie Mutter chose to begin her homage to Mozart's 250th birthday with the violin concertos. The choice is certainly fitting, as the concertos have been a major pillar of her repertoire ever since her earliest days: she played the Second Concerto at her public debut when she was nine, and performed the G major Concerto K. 216 at her spectacular Salzburg debut under Herbert von Karajan when she was 13. She vigorously affirms that Mozart has since been present in her life on a daily basis.
Although she has already recorded Mozart's violin concertos in the past, Ms. Mutter is aware that her more recent interpretations bring a different perspective and greater maturity to her view of Mozart – while not diminishing the value of her earlier recordings. For this recording, which was filmed in Salzburg in December 2005, Ms. Mutter decided to conduct the ensemble herself. And with the Camerata Salzburg, she had at her disposal a supple and sensitive partner.
Mozart was not only a gifted pianist but also an accomplished string player, who enjoyed playing both the violin and the viola. His first violin concerto, K. 207 in B flat major , was written in 1773 and is possibly Mozart's very first concerto for solo instrument and orchestra. The other four works – K....
Although she has already recorded Mozart's violin concertos in the past, Ms. Mutter is aware that her more recent interpretations bring a different perspective and greater maturity to her view of Mozart – while not diminishing the value of her earlier recordings. For this recording, which was filmed in Salzburg in December 2005, Ms. Mutter decided to conduct the ensemble herself. And with the Camerata Salzburg, she had at her disposal a supple and sensitive partner.
Mozart was not only a gifted pianist but also an accomplished string player, who enjoyed playing both the violin and the viola. His first violin concerto, K. 207 in B flat major , was written in 1773 and is possibly Mozart's very first concerto for solo instrument and orchestra. The other four works – K....
Filmed in Chester Cathedral during the National Youth Orchestra of Spain's 2007 European tour, this concert features Leopold Stokowski's inimitable and colourful transcriptions of Mussorgsky's Pictures at an Exhbition and A Night on Bare Mountain , the latter made famous by its inclusion in the 1940 Walt Disney film Fantasia . Jose Serebrier's 'Symphonie mystique' , for strings, was written in the space of just one week in 2003. Serebrier's earlier recording of this work was hailed by FonoForum magazine as "a vital, elegant masterwork… a shimmering prism of tone… clearly formed and with a sure hand for reaching great heights of ecstasy".
Virtuoso Music of the 19th Century
The 19th century brought astonishing developments in instrumental skill, marking, with Paganini and his innovations in violin technique, the true age of the virtuoso. Earlier periods had seen great performers, but it was now combined with changes in technique and with the development of particular instruments, notably the piano, with which Liszt at first set out to rival Paganini. A distinctive feature of the age was the pre-eminence of performer-composers. Bach, Handel, Mozart and Beethoven had all been players, but now, changing technical demands and possibilities opened a new world of virtuosity, the world of Liszt and his successor Busoni, and of Sarasate, Ernst, Joachim and Ries.
The 19th century brought astonishing developments in instrumental skill, marking, with Paganini and his innovations in violin technique, the true age of the virtuoso. Earlier periods had seen great performers, but it was now combined with changes in technique and with the development of particular instruments, notably the piano, with which Liszt at first set out to rival Paganini. A distinctive feature of the age was the pre-eminence of performer-composers. Bach, Handel, Mozart and Beethoven had all been players, but now, changing technical demands and possibilities opened a new world of virtuosity, the world of Liszt and his successor Busoni, and of Sarasate, Ernst, Joachim and Ries.
The Berlin Philharmonic, under the baton of Sir Simon Rattle and with the Grammy Award-winning jazz vocalist Dianne Reeves, usher in the New Year in style. In this gala concert, they present a programme of music by three of the twentieth century's most famous composers: Maurice Ravel, Gabriel Fauré and George Gershwin.
Dacapo's CD recording of all Carl Nielsen's symphonies by the Danish National Symhpony Orchestra/DR conducted by Michael Schønwandt has already established itself as a reference recording on the international classical CD market. Now the same outstanding interpretation of all six symphonies can be experienced on video with new opportunities for in-depth study of the music and a stimulating 60-minute documentary that offers new perspectives on Denmark's national composer.
Each year Nobel Media organises a classical concert as a tribute to the Nobel Laureates. This 2009 concert features the charismatic virtuoso Martha Argerich playing Ravel's mercurial Piano Concerto in G major , supported with vivacity and polish by the Royal Stockholm Philharmonic Orchestra and Russian conductor Yuri Temirkanov. Bringing the first half of the concert to a close, Argerich plays Chopin's tiny, gem-like Mazurka, Op. 24 No. 2 in C major . Under Temirkanov's baton, the orchestra then gives rich and insightful performances of music by Shostakovich and Prokofiev.
The 1993 Winter Gala Concert from the stage of the Royal Opera House sees a stellar array of the world’s greatest artists celebrate the music of Tchaikovsky – composer of many of the all-time opera, concert and ballet favourites, including The Queen of Spades , the 1812 Overture and The Nutcracker .
Four of the greatest singers of our time combine their talents and their artistry in an evening of beloved operatic numbers – rarely has a concert deserved the title "Opera Summit" as much as this one, recorded live at the Festspielhaus in Baden-Baden on 3 August 2007. Heading the quartet is soprano Anna Netrebko with her inimitable blend of glamour and simplicity, her enticing appearance and seductive singing, a musical powerhouse who tops the pop charts and sells out operas houses within hours.
Hardly less dazzling than her Russian colleague is Latvian mezzo Elina Garanca, whose crystal-clear voice and charismatic stage presence never fail to enthrall her audiences. She is a frequent guest of the Vienna State Opera and the Salzburg Festival, where she made her sensational debut as Annio in Mozart's La clemenza di Tito in 2003. Her international career has taken her to Covent Garden, the Met and other prestigious stages. She was awarded the European Cultural Prize in Dresden in 2006.
Replacing the indisposed Rolando Villazon is his fellow Mexican tenor Ramon Vargas, who began his career in Europe after winning the first prize in the Enrico Caruso Competition in Milan. His international breakthrough came in 1993 when he replaced Luciano Pavarotti as Edgardo in...
Hardly less dazzling than her Russian colleague is Latvian mezzo Elina Garanca, whose crystal-clear voice and charismatic stage presence never fail to enthrall her audiences. She is a frequent guest of the Vienna State Opera and the Salzburg Festival, where she made her sensational debut as Annio in Mozart's La clemenza di Tito in 2003. Her international career has taken her to Covent Garden, the Met and other prestigious stages. She was awarded the European Cultural Prize in Dresden in 2006.
Replacing the indisposed Rolando Villazon is his fellow Mexican tenor Ramon Vargas, who began his career in Europe after winning the first prize in the Enrico Caruso Competition in Milan. His international breakthrough came in 1993 when he replaced Luciano Pavarotti as Edgardo in...
A joyful celebration welcoming the New Year, this Gala from Berlin presents the world-renowned Berlin Philharmonic, conducted by Sir Simon Rattle, in Carl Orff's famous Carmina Burana , an intensely dramatic cantata that remains one of the most widely performed works from the twentieth century. With an exceptional vocal line-up – soprano Sally Matthews, tenor Lawrence Brownlee and baritone Christian Gerhaher – this is an energetic and thrilling performance. Beethoven's Leonore No. 3 overture and Handel's supreme Hallelujah Chorus are also included.
Magic was created one starlit night in July 1990, when Luciano Pavarotti, Placido Domingo, and Jose Carreras met onstage at the Baths of Caracalla in Rome and became the Three Tenors . 800 million people attended this live event which caused the biggest hype ever in the history of classical music. They eschewed competitive instincts and cooperated in the spirit of mutual admiration to create one of the greatest musical events ever. This concert is an awe-inspiring orgy of greatest hits for the tenor voice.
For the first time in over nine years, Arcadi Volodos has agreed to record an entire concert for TV again. Indeed, his recital at Vienna's Musikverein, for which he has chosen works by Scriabin, Ravel, Schumann and Liszt, features a line-up of Romantic to early 20th-century heavyweights, which Volodos renders with his inimitable blend of ethereal lightness and forceful vigor.
The recital begins with a selection of pieces by Alexander Scriabin, in which Volodos displays his phenomenal technique, culminating in the White Mass. Under Volodos' hands, Maurice Ravel's Valses nobles et sentimentales becomes "a kaleidoscope of transparent, gossamer colors" (Die Presse). While Volodos' account of Schumann's Waldscenen flashes with startling harmonic echoes of the Ravel piece, his rendition of Liszt's "Apres une lecture du Dante" from the Annees de pelerinage "radiates modernity" (Der Standard). The keyboard sensation provides a further example of his artistry in his encores, in which he demonstrates his talent for creating his own dazzling piano transcriptions of works by other composers. In an interview recorded on the occasion of the Vienna recital, Volodos discusses many aspects of his career, his playing, and his life.
Born in St. Petersburg in 1972, Arcadi Volodos burst...
The recital begins with a selection of pieces by Alexander Scriabin, in which Volodos displays his phenomenal technique, culminating in the White Mass. Under Volodos' hands, Maurice Ravel's Valses nobles et sentimentales becomes "a kaleidoscope of transparent, gossamer colors" (Die Presse). While Volodos' account of Schumann's Waldscenen flashes with startling harmonic echoes of the Ravel piece, his rendition of Liszt's "Apres une lecture du Dante" from the Annees de pelerinage "radiates modernity" (Der Standard). The keyboard sensation provides a further example of his artistry in his encores, in which he demonstrates his talent for creating his own dazzling piano transcriptions of works by other composers. In an interview recorded on the occasion of the Vienna recital, Volodos discusses many aspects of his career, his playing, and his life.
Born in St. Petersburg in 1972, Arcadi Volodos burst...
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in Southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
Kimmo Pohjonen is one of the cutting-edge accordion virtuosi and composers of our time. After having heard a record of Pohjonen's during their concert tour in Finland, Kronos Quartet – who is well known for breaking new musical grounds – decided to get in touch with him. The Kronos/Kluster project entitled Uniko is a mutually beneficial sonic/visual adventure with this goal: to create unique and never-before-heard-of sounds from accordion and strings. The Making-Of is a short documentary giving an insight into the collaboration between Kimmo Pohjonen, who has taken the accordion to new dimensions, his Kluster-partner Samuli Kosminen, Finland's sampling guru, and the world's most revolutionary string quartet – the Kronos quartet.
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in Southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in Southern Norway and join forces with some of Norway´s best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
Who would have thought it? An American orchestra performing in North Korea! Hundreds of millions watched this historic New York Philharmonic concert on television in February 2008 and for a few hours the cold war hostilities seemed to be forgotten. Music became diplomacy when conductor Lorin Maazel and the New York Philharmonic, the USA's most eminent orchestra, opened the concert in East Pyongyang's Grand Theatre with both the American and the North Korean national anthems. The programme included music by Wagner, Dvořák, Gershwin, Bizet and Bernstein and prompted the North Korean audience to standing ovations. This courageous musical project also united Korean and American musicians, who, together, produced a technically brilliant performance. The musicians barely spoke to one another, communicating in exchanged glances and body language, and when Lorin Maazel raised his baton at the end of the concert and the orchestra embarked on Arirang , a lilting folk song emblematic of the North and South Korean people, the audience was obviously touched.
A previously unreleased documentary with 53 min of exclusive material shows members of the New York Philharmonic on their historic trip to North Korea's capital. Many concerns and doubts arose before departing to the most...
A previously unreleased documentary with 53 min of exclusive material shows members of the New York Philharmonic on their historic trip to North Korea's capital. Many concerns and doubts arose before departing to the most...
Max Raabe and his Palast Orchester give dance and film music from the 1920s and 1930s a rousing revival. They specialise in recreating the sound of the 1920s and 1930s, performing songs by the Comedian Harmonists, Robert Stolz, Friedrich Hollaender, Franz Lehar, Theo Mackeben and Irving Berlin and evoke the nostalgic atmosphere that has captured the imaginations for generations and still charms audiences from all over the world performing music from the golden age of song-writing in pre-war Germany. They also feature highlights of the excellent music entertainment tradition of the Americas in the same period. Max Raabe and his Palast Orchester are exquisite interpreters of these tunes, and play them with such precision, jovial vitality and utter perfection that the 80 year old songs sound as fresh and lively as they did when first performed. Max Raabe himself has a distinct and exceptional voice which, added to his looks, makes him seem like the reincarnation of a singer from the Golden Twenties. The songs and the show aren't simply remakes, but wonderful new interpretations, which reveal the timeless modernity of these brilliant works. Recorded live at the Waldbuhne Berlin in August 2006, the tours in which they performed for excited audiences all over the world included...
A multitalented conductor, Previn leads the LSO in the first performance of Rachmaninov's The Bells at the BBC Proms with celebrated soloists Sheila Armstrong, Robert Tear and John Shirley-Quirk. All three performances on this video were recorded during Previn's eleven year tenure as Principal Conductor of the London Symphony Orchestra, from which he received a Gramophone Lifetime Achievement Award in 2008.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
In an introduction which lasts about 25 minutes, Ashkenazy introduces Rachmaninov's Corelli Variations with examples at the keyboard and with many revealing touches about his own attitude to Rachmaninoff and to this music. The film ends with a complete performance of the variations recorded at a public concert which Ashkenazy gave in Lugano, Switzerland. There are few, if any, pianists on the concert platform today who are able to surpass his mastery of this music.
Jean-Philippe Rameau was still a young musician when he moved to Lyon, where he probably composed his few surviving motets, including the Grand Motet In Convertendo , here performed by Les Arts Florissants under William Christie, which anticipates Rameau's orchestration in his later operatic works. The wonderful fugue on Psalm 126 (verse 6) "Euntes ibant et flebant" (They went forth and wept) bears comparison with similar works by his contemporary, J.S. Bach.
In addition to a full performance of In Convertendo , this video presents some of Rameau's key chamber music pieces and an insightful music documentary, The Real Rameau , which sheds light on the life of a composer who thought only of music, dreaming of a universal harmony and regarding music as an example to all the arts and, indeed, to all the sciences as well. Pictured by his contemporaries as a gaunt and taciturn man, ill-suited to courtly surroundings, his work was described by Berlioz as "one of the most sublime conceptions of dramatic music".
In addition to a full performance of In Convertendo , this video presents some of Rameau's key chamber music pieces and an insightful music documentary, The Real Rameau , which sheds light on the life of a composer who thought only of music, dreaming of a universal harmony and regarding music as an example to all the arts and, indeed, to all the sciences as well. Pictured by his contemporaries as a gaunt and taciturn man, ill-suited to courtly surroundings, his work was described by Berlioz as "one of the most sublime conceptions of dramatic music".
Almost exactly twenty years ago two of the most impressive figures from the world of classical music appeared with one of its most famous orchestras at the Philharmonie in Berlin: Kurt Sanderling, the grand old man of the German Romantic school, conducted the Berlin Philharmonic in performances of Saint-Saens' Second Piano Concerto in G minor and Tchaikovsky's Fourth Symphony in F minor . The soloist was the gifted pianist Yefim Bronfman. It was a unique encounter on the highest musical level, and thanks to the brilliance, expressive power and sheer musical delight of both artists it revealed a degree of timeless perfection that turned this concert into a precious jewel among performances for connoisseurs and music lovers alike.
SALZBURG FESTIVAL 2008 OPENING CONCERT - RAVEL, M. / BARTOK, B. / STRAVINSKY, I. (Barenboim, Boulez)
Put one of the world's greatest orchestras in the hands of one of the foremost specialists of 20th-century music, add a soloist who is one of today's leading pianists and conductors, and you are assured of a concert of superlatives that pays glowing tribute to three major works of the past century. The official Salzburg Festival opening concert of the Wiener Philharmoniker is conducted by Pierre Boulez, once the "enfant terrible" of the musical world, now a sensitive, analytical conductor of works from the 19th and 20th centuries.
Combining Béla Bartók's Piano Concerto No. 1 - Daniel Barenboim is the soloist - with Maurice Ravel's Valses nobles et sentimentales and Igor Stravinsky's Firebird ballet in its full-length version of 1910, Boulez weaves a compelling musical texture that uncovers the links among the three works and the three composers. The concert begins with a shimmering rendition of the Valses nobles et sentimentales , an homage to Schubert and a farewell to the waltz itself. This work of bold dissonances, abrasive harmonies and colorful chromaticism is followed by Bartók's concerto of 1926, which seems to animate Ravel's tonal language with a percussive fury. The nearly 50-minute long Firebird , which a virtually unknown 28-year-old Stravinsky wrote for...
Combining Béla Bartók's Piano Concerto No. 1 - Daniel Barenboim is the soloist - with Maurice Ravel's Valses nobles et sentimentales and Igor Stravinsky's Firebird ballet in its full-length version of 1910, Boulez weaves a compelling musical texture that uncovers the links among the three works and the three composers. The concert begins with a shimmering rendition of the Valses nobles et sentimentales , an homage to Schubert and a farewell to the waltz itself. This work of bold dissonances, abrasive harmonies and colorful chromaticism is followed by Bartók's concerto of 1926, which seems to animate Ravel's tonal language with a percussive fury. The nearly 50-minute long Firebird , which a virtually unknown 28-year-old Stravinsky wrote for...
The opening of the Salzburg Festival, for many regarded as the world's most renowned music festival, is by tradition a high-profile event. In 2009, this first concert given by the Wiener Philharmoniker was conducted by Nikolaus Harnoncourt. The program is, in honor of the 80th birthday of the great Austrian conductor (6 Dec. 2009), purely Austrian.
Though it may seem unusual at first glance, under Harnoncourt's direction, the disparate works fuse into a moving, slightly melancholy portrait of the Viennese dance in the early 19th century. The concert opens with Anton Webern's delicate orchestration of Schubert’s Six German Dances , which segue into two polkas and a waltz by Josef Strauss, the younger – and bolder – composer brother of "Walzerkönig" Johann Strauss Jr. With this alternation of bittersweet and brassy dances, the stage is set for Harnoncourt's staggering reading of Schubert’s "Great" C major Symphony , in which the dance of death – so Viennese yet so universal – seems to have served as the composer's model.
Though it may seem unusual at first glance, under Harnoncourt's direction, the disparate works fuse into a moving, slightly melancholy portrait of the Viennese dance in the early 19th century. The concert opens with Anton Webern's delicate orchestration of Schubert’s Six German Dances , which segue into two polkas and a waltz by Josef Strauss, the younger – and bolder – composer brother of "Walzerkönig" Johann Strauss Jr. With this alternation of bittersweet and brassy dances, the stage is set for Harnoncourt's staggering reading of Schubert’s "Great" C major Symphony , in which the dance of death – so Viennese yet so universal – seems to have served as the composer's model.
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in Southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
Described as "the quartet world's most distinguished ensemble", the Borodin Quartet celebrated its 65th anniversary with a sold out concert at the Wigmore Hall, London, a week before this live recording from the Cité de la Musique in Paris. Following the performance the Financial Times wrote that "today's Borodin Quartet has lost nothing of its old authority." The quartet plays with warmth, commitment and obvious enjoyment.
The ICA Classics Live series features performances from ICA's own artists recorded in prestigious venues around the world. The majority of the recordings are enjoying their first commercial release.
The ICA Classics Live series features performances from ICA's own artists recorded in prestigious venues around the world. The majority of the recordings are enjoying their first commercial release.
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in Southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
Little is known about the origin of the Mass No. 6 other than that Schubert wrote it in 1828, just a few months before his death. He does not seem to have had a specific performance in mind, and the work was only premiered in November 1829, a year after his death. Critics have since given the Mass an honored place among the composer's great works, many ranking it as his finest church composition. Although Schubert calls for five soloists (soprano, alto, two tenors and bass), the Mass is essentially a choral Mass. The composer calls for a large orchestra, including three trombones, but he omits the flutes and keeps the violins in their lower register, thereby giving the piece a dark, shaded tone.
Schubert's E flat major Mass was recorded at the Court Music Chapel (Hofmusikkapelle) in Vienna in June 1976. The eminent conductor Karl Böhm leads the Vienna Philharmonic and the male choir of the Hofmusikkapelle. The upper registers are provided by the world-renowned Vienna Boys' Choir. The distinguished soloists are Walter Berry, Peter Schreier and Hans Krenn.
Schubert's E flat major Mass was recorded at the Court Music Chapel (Hofmusikkapelle) in Vienna in June 1976. The eminent conductor Karl Böhm leads the Vienna Philharmonic and the male choir of the Hofmusikkapelle. The upper registers are provided by the world-renowned Vienna Boys' Choir. The distinguished soloists are Walter Berry, Peter Schreier and Hans Krenn.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
The Beaux Arts Trio performs two central pieces of their repertoire on this video. Filmed at the majestic Signet Library in Edinburgh, the ensemble demonstrates its mastery in bringing out the deeply lyrical romantic expressions that have made these trios two of Schubert's most cherished chamber works. With founding member Menahem Pressler on piano, Isidore Cohen on violin and Bernard Greenhouse on cello, the ensemble's distinguished heritage is apparent.
The Beaux Arts Trio performs two central pieces of their repertoire on this video. Filmed at the majestic Signet Library in Edinburgh, the ensemble demonstrates its mastery in bringing out the deeply lyrical romantic expressions that have made these trios two of Schubert's most cherished chamber works. With founding member Menahem Pressler on piano, Isidore Cohen on violin and Bernard Greenhouse on cello, the ensemble's distinguished heritage is apparent.
Christoph Prégardien is one of the most established singers of our time and has especially excelled in his interpretations of German Romantic Lieder. He has won Orphée d'Or of Académie du Disque Lyrique - Prix Georg Solti, Preis der Deutschen Schallplattenkritik, Edison Award, Cannes Classical Award and Diapason d'Or. This is easy to understand when one hears his controlled, beautifully phrased yet emotional and tender singing.
Bonus feature:
- Christoph Pregardien on Schubert and Die Schone Mullerin
Bonus feature:
- Christoph Pregardien on Schubert and Die Schone Mullerin
Within just a few years, the Hugo Wolf Quartet has transformed itself from an insider's tip to one of the most sought-after ensembles of the younger generation. "New stars in the quartet firmament" was the headline of a review of the quartet's debut in the Vienna Musikverein in 1995. Tours have taken the ensemble to the most important concert halls of the world: Concertgebouw Amsterdam, Philharmonie in Cologne, Megaron in Athens, Palais des Beaux-Arts in Brussels, Symphony Hall in Birmingham and Carnegie Hall in New York. Moreover, the Hugo Wolf Quartet has also guested at the Edinburgh Festival, the Schubertiade Feldkirch, the Carinthian Summer, the Salzburg Mozarteum, the Herkules-Saal in Munich and Suntory Hall in Tokyo. The basis for this international success was laid by four students who got together in 1993 in Vienna and devoted themselves to a joint training with the Alban Berg Quartet, members of the Amadeus Quartet and Walter Levin (LaSalle Quartet). They then won the first prize at the String Quartet Competition in Cremona and made their highly acclaimed debut at the Vienna Konzerthaus. Further awards have confirmed their exceptional artistic status. Today, the Hugo Wolf Quartet consists of the founding members Jehi Bahk (Violin I), Régis Bringolf (Violin II),...
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in Southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
Born in Riga in 1947, Gidon Kremer is not only one of the leading violinists in the world, but also – thanks to his unquenchable curiosity and search for new impulses – one of the most fascinating musical personalities of our time. His repertoire ranges from Bach to the present, whereby a number of contemporary composers have achieved international recognition through his commitment. Since 1997 Kremer has devoted a large part of his activities to the chamber orchestra Kremerata Baltica, which he founded. The ensemble consists of young musicians from the three Baltic states of Estonia, Latvia and Lithuania. The average age is 25. The debut of the chamber orchestra in February 1997 corresponded with the 50th birthday of its founder Gidon Kremer. With this orchestral project, Kremer wants to pass on his artistic experiences to young musicians of his native country and to draw international attention to the outstanding musical situation of the Baltic nations. The Kremerata Baltica performs in all of the world's major musical venues.
In the throes of his mortal illness, Franz Schubert (1797-1828) heroically succeeded in putting to paper his splendid last symphony, whose "divine lengths" are truly unique. Composed in 1825/26, Schubert's largest symphonic work was first discovered after his death by Robert Schumann and first performed one year later, in 1839, by Felix Mendelssohn Bartholdy in the Leipzig Gewandhaus. In marked contrast to the equally beloved Unfinished Symphony , Schubert devises a labyrinth of harmonies in a piece full of artless directness and joyful dance-like rhythms. Echoes of the visionary secrets of Romanticism surface from the depths of the work, only to be washed away by the inexorable current of the melodies. Never did Schubert write with such a lavish and impetuous hand than in his Ninth Symphony : "...it bears the eternal seed of youth within it." (Robert Schumann)
Karl Böhm conducts the Wiener Symphoniker in this recording made in the mid 1960s.
Karl Böhm conducts the Wiener Symphoniker in this recording made in the mid 1960s.
The BSO's Music Director for seven seasons, Leinsdorf had a long and distinguished career, having worked at the Metropolitan Opera, New York City Opera, Cleveland Orchestra and Berlin Radio Symphony Orchestra in addition to his tenure at the BSO. A particular favourite of Leinsdorf's, the Schumann is powerful and precise under his direction, whilst the Good Friday Music is a warm and sensitive rendition from a great Wagnerian conductor. Schubert's Ninth Symphony is a new addition to his discography.
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, Erich Leinsdorf.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value and is released here for the first time on video.
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, Erich Leinsdorf.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value and is released here for the first time on video.
If there is one genre of music which baritone Thomas Hampson is exceptionally passionate about, it is the lied. To Hampson, song and singing are "the diary of our existence" and he has invested a great amount of time, work and love to luring this genre out of the shadow of the more spectacular opera. One composer he particularly cherishes is Robert Schumann. Hampson begins this Schumann recital, recorded at Munich's Prinzregententheater with Wolfram Rieger at the piano, with the cycle Zwolf Gedichte op. 35 on poems by Justinus Kerner. The second part of the recital is devoted to the original version of the popular Dichterliebe op. 48 . While Hampson was preparing his first performance of the cycle based on poems by Heinrich Heine, he consulted the composer's manuscript, only to find that the original cycle of 1840 was a completely distinctive work containing many musical and textual differences. Among the most notable differences was the presence of four songs that were omitted from the later cycle. These works – "Dein Angesicht so lieb und schon," "Lehn deine Wang an meine Wang," "Es leuchtet meine Liebe" and "Mein Wagen rollet langsam" – are featured here as first-ever recordings of these rediscovered works. Today's baritone landscape would be barren without...
Robert Schumann wrote his Cello Concerto in Düsseldorf in only two weeks. He himself did not play the cello, a fact which is immediately apparent from his treatment of the solo part. Passages of sweeping lyricism contrast sharply with excruciatingly difficult technical passages quite unsuited to the instrument. They make the concerto one of the most fearsome in all of cello literature. Schumann never heard the concerto played in public: the first performance did not take place until four years after his death. Recorded in 1985/86 at the "Grosser Musikvereinssaal" in Vienna, this recording features world-renowned cellist Mischa Maisky as the soloist accompanied by the Vienna Philharmonic Orchestra under the direction of Leonard Bernstein.
This video features a series of recitals dedicated to the German Lied, performed by Dietrich Fischer-Dieskau and Hartmut Höll between the mid 1980s and late '90s in the Hans Rosbaud studio in Baden. Two of these evenings were devoted to the songs by Robert Schumann.
A great admirer of Schumann's Second Symphony , Charles Munch programmed the work in four different Boston Symphony Orchestra seasons, taking it on tour on each occasion. He never recorded the symphony with the BSO nor with any other orchestra, which makes this exciting video a new addition to his discography.
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, Charles Munch.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value and is released here for the first time on DVD.
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, Charles Munch.
While the material has been restored using the greatest care and state-of-the-art techniques, certain visual artefacts and distortions remain in some instances due to the age of the film. Despite this, it remains of exceptional musical interest and historic value and is released here for the first time on DVD.
Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann's orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein's expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann's symphonic oeuvre. Schumann's Four Symphonies , his Piano Concerto , the Violoncello Concerto and the Manfred Overture have been filmed and recorded in the "Golden Hall" of the Vienna Musikverein, held to rank acoustically among the world's best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
The great Russian pianist Emil Gilels was universally acclaimed for his breathtaking performances of the most demanding concertos and most challenging piano pieces of piano literature. But he was also a master of the miniature form, and his interpretations of the Songs Without Words and other little pieces by Mendelssohn, Schumann, Chopin, Grieg and others were nothing short of mesmerizing. A specialist of the German repertoire, Gilels gave an all German-Austrian program at the 1971 Carinthian Summer Festival in Austria, where Schumann's Nachtstück was recorded.
In summer 2006, the incomparable Martha Argerich presented an all Schumann programme in honour of the great romantic composer's anniversary year. Recorded live at the beginning of June 2006 at the Gewandhaus in Leipzig, the programme comprised favourite works for piano and orchestra including the Piano Concerto in A minor , the Symphony No. 4 , excerpts from Kinderszenen along with works by Schumann in orchestrations by famous composers such as Tchaikovsky and Ravel. The legendary Argentinean pianist was accompanied by the Gewandhausorchester Leipzig under its new "Kapellmeister" Riccardo Chailly. Martha Argerich has long been hailed as a uniquely imaginative pianist and she is definitely the right person to honour Schumann on the anniversary of his death 150 years ago, as she is especially well known for her interpretations of the 19th century repertoire. She has been surrounded by an impermeable, almost mystical aura since the start of her career in the fifties – she is uncompromising in her music making, and yet she is generous and beautiful – and this recording bears witness to the deep musicality of this incredible artist.
Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann's orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein's expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann's symphonic oeuvre. Schumann's Four Symphonies , his Piano Concerto , the Violoncello Concerto and the Manfred Overture have been filmed and recorded in the "Golden Hall" of the Vienna Musikverein, held to rank acoustically among the world's best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann's orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein's expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann's symphonic oeuvre. Schumann's Four Symphonies , his Piano Concerto , the Violoncello Concerto and the Manfred Overture have been filmed and recorded in the "Golden Hall" of the Vienna Musikverein, held to rank acoustically among the world's best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann's orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein's expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann's symphonic oeuvre. Schumann's Four Symphonies , his Piano Concerto , the Violoncello Concerto and the Manfred Overture have been filmed and recorded in the "Golden Hall" of the Vienna Musikverein, held to rank acoustically among the world's best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
Known for enjoying live performances and having an affinity for late Mahler, Sanderling's reading of Das Lied von der Erde is inherently musical. Mitchinson's 'firm, heroic tone' is ideal for this role, with the BBC Philharmonic providing a sympathetic accompaniment. Schumann's Fourth Symphony makes an excellent filler.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
In early October 1986, Leonard Bernstein conducted a benefit concert
for the restoration of Vienna's Musikvereinssaal. In this program he led
the Vienna Philharmonic in Shostakovich's Sixth Symphony and Sibelius's Second Symphony .
for the restoration of Vienna's Musikvereinssaal. In this program he led
the Vienna Philharmonic in Shostakovich's Sixth Symphony and Sibelius's Second Symphony .
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in Southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
Mariss Jansons returns to direct the Berliner Philharmoniker, rekindling their long-standing relationship that began in 1976. Tokyo's Suntory Hall is alive to a programme of particular musical energy - sometimes overt and joyous, sometimes suppressed and intense. Jansons' fidelity to music composed during the Soviet era remains heartfelt: Shostakovich's Violin Concerto No. 1, featuring soloist Hilary Hahn, is rendered with poise, elegance and demoniac vigour. This piece is framed by two sprightly works: Weber's charming, zesty Overture to Oberon and Dvorak's Eighth Symphony, executed with Bohemian-esque lyricism and verve.
Luonnotar is a music film based on the symphonic poem composed by Jean Sibelius for soprano and symphony orchestra. The music composition is an interpretation of the first song of Kalevala, a myth about the birth of the world.
The film Luonnotar tells about "the time before beginning". The story conveys in a parallel manner two different creation stories: the Kalevalan mythology about the birth of the world is compared with naturalistic ideas about the birth of Earth and life.
The virtual stage, realized through computer animation, paints a spectrum of fierce natural powers, a convulsing scene where the mythical figures of the story travel, telling the story sung for thousands of years to new generations.
Sibelius modelled the Kalevala poetry to suit his modern music and for the soprano to sing.
Bonus feature :
- Sibelius and Luonnotar - A documentary. The documentary Sibelius and Luonnotar " (28 min.) shows the background of the symphonic poem via expert and musician interviews and concert recording.
The film Luonnotar tells about "the time before beginning". The story conveys in a parallel manner two different creation stories: the Kalevalan mythology about the birth of the world is compared with naturalistic ideas about the birth of Earth and life.
The virtual stage, realized through computer animation, paints a spectrum of fierce natural powers, a convulsing scene where the mythical figures of the story travel, telling the story sung for thousands of years to new generations.
Sibelius modelled the Kalevala poetry to suit his modern music and for the soprano to sing.
Bonus feature :
- Sibelius and Luonnotar - A documentary. The documentary Sibelius and Luonnotar " (28 min.) shows the background of the symphonic poem via expert and musician interviews and concert recording.
In the mid 1980s, Unitel began recording a complete cycle of Sibelius symphonies with Leonard Bernstein and the Vienna Philharmonic. Bernstein's death in 1990 unfortunately cut short this project after the release of Symphonies Nos. 1, 2, 5 and 7 . They were recorded live at Vienna's Musikvereinssaal and were the object of stellar reviews. Bernstein, in the words of a leading Austrian daily, "painted a canvas of late-romantic splendor with the Philharmonic's sound – the incomparable brilliancy of the strings, the glowing intensity of the brass – in a way that only the greatest conductors can." ( Symphony No. 1 ) And in its review of the Second Symphony, a major Viennese newspaper wrote: "For the sake of Jean Sibelius, Leonard Bernstein leaps with fanatical zeal into the heaving waves of late romantic emotions." It is not surprising that Leonard Bernstein felt so passionately about Sibelius's music. In many respects, it strikingly parallels that of Gustav Mahler. In fact, Sibelius's ouvre is seen along with Gustav Mahler's as the most important symphonic legacy between late romanticism and modernity. And as Mahler's glowing advocate, Bernstein was suited like none other to disseminate the music of his great colleague Jean Sibelius.
Vladimir Ashkenazy directs the highly acclaimed Chamber Orchestra of Europe and virtuoso violinist Valeriy Sokolov in this remarkable programme of Finnish works combined with Schumann's uplifting Symphony No. 2 . Ashkenazy has particularly been praised for his performances of works by Sibelius and is renowned for his interpretations of Romantic repertoire; his creativity fused with Sokolov's vitality and the prowess of this multi-national orchestra creates an altogether spellbinding concert. A film by Bruno Monsaingeon.
This unusual Christmas video presents the musical encounter between soprano Angelika Kirchschlager and jazz trumpeter Tomasz Stanko. Recorded live in the picturesque gothic Cistercian monastery Schulpforte in Saxony-Anhalt, the concert footage is combined with charming motifs of snowy mountain landscapes and cities decorated for Christmas. Favourite Christmas compositions from the classical repertoire are combined with popular carols and jazzy improvisations – and it all sounds like christmas! Angelika Kirchschlager currently ranks among the most sought-after sopranos worldwide for both opera and concert-hall performance and Tomasz Stanko enjoys a reputation as one of the most creative jazz trumpeters alive. The soloists are accompanied by the outstanding Freiburg Baroque Orchestra. The Leipzig a cappella ensemble Amarcord, former members of St. Thomas's Boys Choir, sing popular Christmas tunes.
Recorded live in the Museum Quarter in Vienna in January 2006, this concert was inspired by the music of Wolfgang Amadeus Mozart, whose 250th birthday made this year a celebratory Mozart Anniversary all over the world. With artists like singer Dee Dee Bridgewater, rock flutist Ian Anderson (formerly of "Jethro Tull"), the Vienna Radio Symphony Orchestra and conductor Andrey Boreyko, this musical event proved to be a true crossover experience. All outstanding musical personalities in their field, the performers interpret Mozart's compositions in their personal musical languages thus preserving the fascinating original "Spirits of Mozart". They produce a rousing, electrifying melange of classical, jazz and pop culture that shows that the impact of Mozart's music reaches far beyond the boundaries of classical music and can still reach the broad public of the 21st century – a Must for Crossover Enthusiasts in the Mozart Year!
This entertaining video comprises the enjoyable dance performance A Night in Vienna a one-hour celebration of the music of the Johann Strausses – father and son. This recording recreates the beauty and atmosphere of the ballroom performances of 19th century Vienna charting the rise of the waltz craze. In the wonderful setting of the Hofburg in Vienna, the former residence of the Habsburg rulers, the period instrument orchestra Wiener Akademie plays favourites by the Strauss Family and Joseph Lanner and dance performances in historical costumes recreate the atmosphere of the first half of the 19th century.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
Deeply felt and masterful, Kempe's performance of Ein Heldenleben at the 1974 Prom concert was described by the critic Joan Chissell as winning him 'a hero's ovation and rightly'. She wrote that 'no one now before the public is better able to transform Strauss from a plebeian into an aristocrat'. The performance of Dvorak's New World Symphony one year later, received equally glowing reviews, and is na illuminating and compelling rendition of Dvorak's most popular symphony.
Deeply felt and masterful, Kempe's performance of Ein Heldenleben at the 1974 Prom concert was described by the critic Joan Chissell as winning him 'a hero's ovation and rightly'. She wrote that 'no one now before the public is better able to transform Strauss from a plebeian into an aristocrat'. The performance of Dvorak's New World Symphony one year later, received equally glowing reviews, and is na illuminating and compelling rendition of Dvorak's most popular symphony.
Michael Tilson Thomas is an exceptional artist – Music Director of the San Francisco and the New World Symphony Orchestras, Principal Guest Conductor of the London Symphony Orchestra and winner of ten Grammy Awards, he is dynamic, stimulating and innovative. He is well known for his ability to make music accessible and appealing to wide audiences, and these two exciting performances with extensive rehearsal footage and educational insight from a master communicator.
The ICA Classics Live series features performances from ICA's own artists recorded in prestigious venues around the world. The majority of the recordings are enjoying their first commercial release.
The ICA Classics Live series features performances from ICA's own artists recorded in prestigious venues around the world. The majority of the recordings are enjoying their first commercial release.
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in Southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
Composer and conductor Pierre Boulez is renowned for his interpretations of twentieth century music, and especially the work of Igor Stravinsky. His inspired performance in December 2008 of The Firebird and Fireworks , with the dynamic Orchestre de Paris, proved to be no exception to this rule. Held inside the spectacular Louvre Pyramid before a rapt audience of two thousand people, it was a truly extraordinary musical event.
These sensational accounts of The Rite of Spring and Sibelius's Symphony No.5 were filmed for the BBC's historic Symphonic Twilight series, which introduced the British public to Leonard Bernstein's electrifying conducting. In performances that are thrilling and energetic, but also subtle and sensitive, Bernstein demonstrates his supreme understanding of these twentieth-century masterworks.
The ICA Classics Legacy series presents a collection of historical performances by some of the world's greatest artists. These performances are released on here for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
The ICA Classics Legacy series presents a collection of historical performances by some of the world's greatest artists. These performances are released on here for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in Southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The ICA Classics Live series features performances from ICA’s own artists recorded in prestigious venues around the world. The majority of the recordings are enjoying their first commercial release.
Antoni Wit's performances of Szymanowski's Third and Fourth Symphonies embody the distinguished and idiomatic conducting style for which he is widely recognised. An outstanding communicator, Wit exhibits exceptional attention to detail in his rendition of these two great works with his own orchestra and choir.
Antoni Wit's performances of Szymanowski's Third and Fourth Symphonies embody the distinguished and idiomatic conducting style for which he is widely recognised. An outstanding communicator, Wit exhibits exceptional attention to detail in his rendition of these two great works with his own orchestra and choir.
Paper, normally a utilitarian material, becomes a solo instrument in Tan Dun's ingenious and inventive Paper Concerto , fusing orchestral music and organic sounds to create accessible, even melodious, music that is almost beyond imagination. Intriguing sounds are created by all manner of different papers, so that they appear elemental rather than simplistic, tapping into something basic in the fabric of our lives. In a remarkable and unforgettable concert experience, Tan Dun directs the Royal Stockholm Philharmonic Orchestra and soloist Haruka Fujii in a vivid demonstration of his belief that orchestral music, far from being static and traditional, still has the capacity for experimentation and the power to stimulate in extraordinary ways.
Bonus features :
- Paper: The Song of Nature
- Tan Dun demonstrates Paper Music
- Tan Dun teaches Paper Instruments
Bonus features :
- Paper: The Song of Nature
- Tan Dun demonstrates Paper Music
- Tan Dun teaches Paper Instruments
Tan Dun's hypnotic three-movement Water Concerto is intoxicating, both visually and aurally. Using water as a musical instrument, this extraordinary piece uses innovative techniques to explore the musicality of the sounds of water. Virtuoso percussionist and soloist David Cossin displays remarkable genius as he deftly creates unique, sensuous, organic and sometimes celestial sounds using a range of water-based instruments. Conducted by the composer, the distinctive accompaniment of the Royal Stockholm Philharmonic Orchestra, reflecting Dun’s personal combination of Chinese and Western musical traditions, is carefully interwoven and combined with the water percussion to produce a uniquely enchanting performance.
Tan Dun has made an indelible mark on the world's music scene with a creative repertoire that spans the boundaries of classical, multimedia, Eastern and Western musical systems. His score for Ang Lee's film Crouching Tiger, Hidden Dragon received Academy and Grammy Awards in 2000 and an Oscar Award for best original score in 2001. In 2008 he was selected the International Olympic Committee to write the Logo Music and Award Ceremony Music for the Beijing 2008 Olympic Games and composed Internet Symphony No. 1: Eroica commissioned by Google/YouTube as the...
Tan Dun has made an indelible mark on the world's music scene with a creative repertoire that spans the boundaries of classical, multimedia, Eastern and Western musical systems. His score for Ang Lee's film Crouching Tiger, Hidden Dragon received Academy and Grammy Awards in 2000 and an Oscar Award for best original score in 2001. In 2008 he was selected the International Olympic Committee to write the Logo Music and Award Ceremony Music for the Beijing 2008 Olympic Games and composed Internet Symphony No. 1: Eroica commissioned by Google/YouTube as the...
The Choir sings John Tavener's hauntingly beautiful unaccompanied choral music in a stunning virtual reality restoration of the ancient St. Sophia church in Constantinople. Orthodox ikons enrich the visual tapestry, enhancing the full richness of Tavener's mystic inspiration.
Bonus features:
- Manifestations of God - Sir John Tavener on his choral music and the parents of Athene talk about the inspiration behind Song for Athene
- The ikon chooses you - Robert J. Roozemond on a ikonographic art
Bonus features:
- Manifestations of God - Sir John Tavener on his choral music and the parents of Athene talk about the inspiration behind Song for Athene
- The ikon chooses you - Robert J. Roozemond on a ikonographic art
World Premiere performance of Sir John Tavener's epic work written for the new Millennium, recorded in St Paul's Cathedral, London, in January 2000. Richard Hickox conducts the City of London Sinfonia with Patricia Rozario, Michael Chance and Stephen Richardson, in a work which came to Tavener in a vision. The composer makes full use of the remarkable acoustic of St Paul's.
Bonus features:
- Introduction and interview with Sir John Tavener by Stephanie Hughes.
- The Eye of the Heart - Sir John Tavener talks about his beliefs and music.
Bonus features:
- Introduction and interview with Sir John Tavener by Stephanie Hughes.
- The Eye of the Heart - Sir John Tavener talks about his beliefs and music.
Gala in commemoration of the 150th birthday of Peter Tchaikovsky.
These recordings represent an overview of some of the headiest years of Mstislav Rostropovich's career. Introduced to Britten through Shostakovich, Rostropovich formed a close partnership with the British composer, who was inspired to write several major cello compositions by the Russian cellist. This special relationship is evident here in their collaborative performances from the opening concert of the new Snape Maltings Concert Hall, which includes rare audiovisual footage of the Maltings before it was destroyed by fire in 1969 and rebuilt.
Commanding the podium with his slender figure, theatrical shock of hair and penetrating blue eyes, Herbert von Karajan projected the hieratic image of the conductor as officiant of some quasi-mystic rite. And anyone who ever saw him conduct live or on his many audiovisual recordings will agree that in his performances, music did indeed become a religion and Karajan its high-priest. Karajan (1908-1989) embodied classical music in the general consciousness as an epoch-making conductor, media star, opera producer, festival director and festival founder. But in spite of his Promethean and widely varied activities, he remained a superb conductor, with a grasp of the standard orchestral and operatic repertory from Mozart to Schoenberg that was unsurpassed among his peers. The Pathétique was recorded live at the Berlin Philharmonie in 1973.
Bathed in the warm light of the setting sun, Vienna's imperial Schönbrunn Palace provides a romantic setting for this open-air concert held shortly before the final match of the Euro 2008 football championship. And shining even more brightly than the palace are the stars of the evening, Anna Netrebko, Rolando Villazon and Placido Domingo.
The trio's first joint concert, given at Berlin's Waldbühne for the 2006 football World Cup, was awarded the Platinum DVD for sales of over 50,000 DVDs in Germany and over 100,000 worldwide. The Schonbrunn concert also broke records with 3.3 million viewers watching the concert live or deferred in Germany and Austria.
Netrebko "beguiles the audience" (Neue Kronen-Zeitung) with a heady rendition of a number from the operetta Csárdásfürstin and lets herself be swept off her feet in a waltz with her duet partner Placido Domingo. The great tenor himself regales the audience with his "golden tones" (Die Presse) and "vocal youthfulness" (Süddeutsche Zeitung) in excerpts from Massenet and Wagner. Villazon "dazzles with bravura arias," (Wiener Zeitung), duets and a fiery zarzuela encore. In an emotional homage to Vienna, the trio performs the immortal Wien, Wien nur du allein . Other gems include Rimsky-Korsakov's The Rose and the Nightingale,...
The trio's first joint concert, given at Berlin's Waldbühne for the 2006 football World Cup, was awarded the Platinum DVD for sales of over 50,000 DVDs in Germany and over 100,000 worldwide. The Schonbrunn concert also broke records with 3.3 million viewers watching the concert live or deferred in Germany and Austria.
Netrebko "beguiles the audience" (Neue Kronen-Zeitung) with a heady rendition of a number from the operetta Csárdásfürstin and lets herself be swept off her feet in a waltz with her duet partner Placido Domingo. The great tenor himself regales the audience with his "golden tones" (Die Presse) and "vocal youthfulness" (Süddeutsche Zeitung) in excerpts from Massenet and Wagner. Villazon "dazzles with bravura arias," (Wiener Zeitung), duets and a fiery zarzuela encore. In an emotional homage to Vienna, the trio performs the immortal Wien, Wien nur du allein . Other gems include Rimsky-Korsakov's The Rose and the Nightingale,...
In the tradition of the original The Three Tenors , world-class singers Placido Domingo, Anna Netrebko and Rolando Villazon join forces to entertain a live audience of 20,000 spectators on location and millions more around the world on TV. They will sing the most famous arias and duets from the world of opera, accompanied by the orchestra of the Deutsche Oper Berlin and its conductor Marco Armiliato. The event will take place at Berlin's legendary Waldbühne on Friday, 7 July 2006 at 8 pm.
Less than 48 hours before the football world celebrates its new champion, three top international opera stars – Placido Domingo, Anna Netrebko and Rolando Villazon – will join forces for a unique musical event in front of a live audience. As one-of-a-kind interpreters of classical music and high-caliber entertainers, they will thrill their public with the most famous arias and duets from the world of opera. Looking back on an extraordinary career that has been honored with 11 Grammys, Plácido Domingo has become the very epitome of the operatic tenor, even among people who have no particular interest in classical music. He is a star who beguiles every audience with his virile charisma. Anna Netrebko and Rolando Villazon unleashed a worldwide media frenzy in summer 2005 with...
Less than 48 hours before the football world celebrates its new champion, three top international opera stars – Placido Domingo, Anna Netrebko and Rolando Villazon – will join forces for a unique musical event in front of a live audience. As one-of-a-kind interpreters of classical music and high-caliber entertainers, they will thrill their public with the most famous arias and duets from the world of opera. Looking back on an extraordinary career that has been honored with 11 Grammys, Plácido Domingo has become the very epitome of the operatic tenor, even among people who have no particular interest in classical music. He is a star who beguiles every audience with his virile charisma. Anna Netrebko and Rolando Villazon unleashed a worldwide media frenzy in summer 2005 with...
Master of the baton and one of Britain's leading conductors, Sir Adrian Boult was renowned for his interpretations of English works, in particular music by Ralph Vaughan Williams, who was said to be "totally in favour of Sir Adrian's approach to his music" (John Culshaw). Job: A Masque for Dancing was dedicated to Sir Adrian, a fitting conductor for this magnificent Centenary celebration.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
EuroArts presents a veritable fireworks display of ambitious pieces for brass orchestra recently performed by a colourful and fascinating young ensemble in Berlin's prestigious Konzerthaus at the Gendarmenmarkt in the heart of the city. The Venezuelan Brass Ensemble is a highly-acclaimed group with nearly 50 young brass and percussion players drawn from the extraordinary Simon Bolivar Youth Orchestra of Venezuela. The South American country has one of the most admired and amazingly effective music school systems in the world. Almost all children from the age of 2 get free music lessons in their neighbourhood. They learn to play in ensembles as soon as they can master their instruments. This so-called "sistema" enables most of the poor children in Venezuela to have a focus in life apart from being clothed and fed - thus fighting poverty-related problems at the roots. The results are astonishing, the ensemble playing is near perfect and the "sistema" has brought forth internationally successful musicians like the conductor Gustavo Dudamel. The repertoire of the Venezuelan Brass Ensemble is impressively varied and testifies to the high standard of this young ensemble. With their blend of classical and South American repertoire, these 50 youngsters not only bring audiences to...
The Verbier Festival, created in 1994, has rapidly acquired a reputation for artistic excellence and is now considered one of the major European music festivals. For a fortnight each summer, the greatest stars of the classical music world come together against the magical backdrop of the Swiss Alps. The Verbier Festival gives musicians the opportunity to perform original programmes with fellow musicians they admire, but with whom they may never have performed before. These world premiere performances produce innovative and exciting results, for artists and audiences. The 2007 Edition gathered classical celebrities such as Martha Argerich, Helene Grimaud, Gabriela Montero, Renaud Capucon, Nelson Freire, Mischa Maisky, Thomas Quasthoff and Lars Vogt. For the first time all 46 concerts were recorded and viewers can now relive the 14th edition of the Verbier Festival in 2007. The state-of-art recordings featured two cameras on stage that were remote-controlled so as to not disturb the audiences and artists and one camera in the midst of the audience to recreate the viewer's perspective. This video assembles excerpts of the most remarkable of the concerts with exciting programmes including works by Bartok, Debussy, Lutoslawski, Schubert and Schumann. Lovers of classical music will...
The Verbier Festival is one of the most prestigious classical music events, thanks to an outstanding programming in the gorgeous Swiss Alps framework. For the 15th edition of the Verbier Festival, which took place from 18 July to 3 August 2008, majority of the concerts which were proposed during the 17 days of the festival in the Salle Medran (2000 seats) and the Verbier Church (500 seats) were filmed. Some of the best performers in the world of classical music came together – Martha Argerich, Nikolai Lugansky, the rising star Yuja Wang, the violinists Joshua Bell, Julian Rachlin, or the cellist Mischa Maisky - this "best of" Verbier Festival offers the most amazing performances of the 2008 edition of the festival.
The Berlin Philharmonic Orchestra's New Year's Eve Concert in 2000 set the mood for the centenary of Giuseppe Verdi's (1813-1901) death with a selection of the composer's most popular tunes. The orchestra presented excerpts from Rigoletto , La Traviata , Un ballo in maschera and Falstaff . The programme also included the ball scene from act III of Don Carlo – a scene that is seldom staged. With singers Andrea Rost, Ramon Vargas, Alan Titus and Lucio Gallo, a cast of internationally celebrated Verdi singers gathered for this Gala Evening led by maestro Claudio Abbado. The outstanding Berlin Philharmonic Orchestra and the virtuoso Prague Radio Choir provided music of the highest order on this very special evening.
Celebrated conductor Lorin Maazel, a young orchestra of outstanding musicians, four high-caliber soloists and one of the great choral works of musical literature – this alone would make this live recording of Verdi's Requiem a stand-out document of filmed music. But there is more: the venue of this grandiose performance, the Basilica of San Marco in Venice, with its shimmering golden Byzantine mosaics framed by mighty pillars and arches. Modeled on Constantine the Great's Church of the Holy Apostles in Constantinople, the 11th-century basilica has been the workplace of many a great musician in the past, such as Claudio Monteverdi, Adrian Willaert and Giovanni Gabrieli.
Lorin Maazel, Music Director of the New York Philharmonic Orchestra, is also the Music Director of the Symphonica Toscanini, a young orchestra founded in May 2006 that has performed under Zubin Mehta, Georges Prêtre and Kurt Masur. "In recent tours of Europe and the U.S., the musicians expressed their unique musical potential by playing so harmoniously and compellingly as a group that they conquered every audience," said Maazel. The recording also features distinguished soloists Norma Fantini, soprano; the young Anna Smirnova, mezzo-soprano; Francesco Meli, tenor; Rafal Siwek, bass. The Chorus of the...
Lorin Maazel, Music Director of the New York Philharmonic Orchestra, is also the Music Director of the Symphonica Toscanini, a young orchestra founded in May 2006 that has performed under Zubin Mehta, Georges Prêtre and Kurt Masur. "In recent tours of Europe and the U.S., the musicians expressed their unique musical potential by playing so harmoniously and compellingly as a group that they conquered every audience," said Maazel. The recording also features distinguished soloists Norma Fantini, soprano; the young Anna Smirnova, mezzo-soprano; Francesco Meli, tenor; Rafal Siwek, bass. The Chorus of the...
This recording captures the Vienna Boys' Choir's fitting celebration of Mozart's 250th birthday in January 2006. Together with well known Mozart interpreters like Sandrine Piau, they sing Mozart's finest sacred works, including the Coronation Mass . The Choir is one of the best-known musical institutions in Vienna. Since its founding over 500 years ago, it has been a significant fixture in musical life worldwide. Many famous composers and musicians had close ties to the Vienna Boys' Choir - Joseph Haydn and Franz Schubert were even members of the choir as children and Mozart, while not a choirboy himself, did perform with the choir. The venue is St. Stephen's Cathedral, where Mozart and his wife were married, where one of their sons was christened and where the funeral ceremony after Mozart's death took place.
Bonus features:
- Mozart in Vienna - Mozart's most critical years in Vienna. Examining the authentic Mozart sites in Vienna such as the Mozart House at Domgasse 5 (Figaro-Haus), the Theater an der Wien and the Stephansdom helps put into focus Mozart's special connection to the city and the Viennese relationship to Mozart.
Bonus features:
- Mozart in Vienna - Mozart's most critical years in Vienna. Examining the authentic Mozart sites in Vienna such as the Mozart House at Domgasse 5 (Figaro-Haus), the Theater an der Wien and the Stephansdom helps put into focus Mozart's special connection to the city and the Viennese relationship to Mozart.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
These characteristic Viennese waltzes, polkas and overtures represent some of the best moments from Viennese Night Prom concerts spanning a vintage period in their history. Classics featured on this recording include the Blue Danube Waltz , Radetsky March and "Csardas" and "Laughing Song" from Die Fledermaus , all performed with exuberance, good humour and panache by three conductors well suited to the genre.
These characteristic Viennese waltzes, polkas and overtures represent some of the best moments from Viennese Night Prom concerts spanning a vintage period in their history. Classics featured on this recording include the Blue Danube Waltz , Radetsky March and "Csardas" and "Laughing Song" from Die Fledermaus , all performed with exuberance, good humour and panache by three conductors well suited to the genre.
In a career now spanning more than a quarter of a century, Gidon Kremer has confirmed his reputation as an artist of international stature and as a markedly individual personality. Kremer was born in Riga, Latvia, in 1947. At the age of 18, he auditioned for David Oistrach and was one of the few pupils chosen by the maestro to study under him at the Moscow Conservatory. In 1967 Kremer won his first international prize at the Reine Elisabeth Competition in Brussels. This was followed by further awards in Montreal and Genoa, and culminated in the first prize at the Tchaikovsky Competition in Moscow in 1970. In 1981 Kremer founded the Lockenhaus Chamber Music Festival, where he gathers around him a varying, but always dynamic group of chiefly young musicians to discover new pieces and rediscover the standard works through new interpretations. Kremer is also actively committed to contemporary composers from Russia and Eastern Europe, such as Schnittke, Denisov, Gubaidulina and Pärt. In this recording, Kremer not only plays the solo part, but also leads the renowned English Chamber Orchestra. The recording was made in April 1981 in the splendid Baroque library of the monastery in Polling near Munich.
One of the warmest personalities on the opera and concert stage today, soprano Diana Damrau has put together a beguiling program for her recital at the Festspielhaus Baden-Baden. The selection of Romantic to fin-de-siècle pieces not only underscores her own vocal artistry, but also pays tribute to her accompanist Xavier de Maistre and, in particular, to the diaphanous delicacy of his instrument, the harp.
The use of the harp to replace the piano in a voice recital is a truly unique and unexpected musical treat. De Maistre does more than simply transpose the piano part to his instrument; under the fingers of the Wiener Philharmoniker's solo harpist, the ethereal sound of this instrument melds consummately with the soprano's finely honed vocal part, so that the masterpieces by composers such as Schumann, Faure and Debussy sound as if they had been conceived for voice and harp.
The unrivalled intimacy of a chamber concert is conveyed by the placing of the soloists and public within touching distance on the stage of the Festspielhaus. This distinctly informal atmosphere is captured by Emmy Award winning director Brian Large. Discreetly highlighting the interpretative subtleties and spontaneous personality of Diana Damrau, he helps confirm her status as one of the most exciting,...
The use of the harp to replace the piano in a voice recital is a truly unique and unexpected musical treat. De Maistre does more than simply transpose the piano part to his instrument; under the fingers of the Wiener Philharmoniker's solo harpist, the ethereal sound of this instrument melds consummately with the soprano's finely honed vocal part, so that the masterpieces by composers such as Schumann, Faure and Debussy sound as if they had been conceived for voice and harp.
The unrivalled intimacy of a chamber concert is conveyed by the placing of the soloists and public within touching distance on the stage of the Festspielhaus. This distinctly informal atmosphere is captured by Emmy Award winning director Brian Large. Discreetly highlighting the interpretative subtleties and spontaneous personality of Diana Damrau, he helps confirm her status as one of the most exciting,...
From the Gasteig in Munich: Germany’s most popular tenor Jonas Kaufmann presents an evening with the most famous German operatic arias. Amongst them "Dies Bildnis ist bezaubernd schön" from W.A. Mozart's The Magic Flute , "In fernem Land" from Wagner's Lohengrin and "Winterstürme" from Walküre . With this repertoire Kaufmann goes back to his roots: "I grew up with this music. It is embedded in my genes."
Thirty years at La Scala: this is what Leo Nucci's recital commemorated, an event celebrated by the fact that it was sold out only a few days after the booking opened.
It was in 1977, and it was naturally the Barbiere by Rossini that opened in style the career at La Scala of a singer amongst the dearest in the heart of opera audiences, in particular in Milan.
From then onwards, Nucci has performed in the greatest theatres in the world. He has sung with the most famous opera singers and has worked with conductors such as Karajan, Solti, Giulini, Muti, Abbado, Maazel, Mehta, Levine and has participated in two "opera-films": Macbeth and Il barbiere di Siviglia , in addition to numerous videos of live opera performances. During the last couple of years Leo Nucci has added to his opera repertoire the repertoire defined as "popular", and has performed many concerts in Italy and abroad, accompanied by the musical ensemble "Salotto '800".
But for the recital at La Scala on Monday 15 January, Nucci did not neglect his "duty" as a great opera performer: he didn't sing any parlour romances nor surrogates, but only and exclusively arias from the highest and most renowned repertoire – precisely that for which he is universally appreciated and awaited.
It was in 1977, and it was naturally the Barbiere by Rossini that opened in style the career at La Scala of a singer amongst the dearest in the heart of opera audiences, in particular in Milan.
From then onwards, Nucci has performed in the greatest theatres in the world. He has sung with the most famous opera singers and has worked with conductors such as Karajan, Solti, Giulini, Muti, Abbado, Maazel, Mehta, Levine and has participated in two "opera-films": Macbeth and Il barbiere di Siviglia , in addition to numerous videos of live opera performances. During the last couple of years Leo Nucci has added to his opera repertoire the repertoire defined as "popular", and has performed many concerts in Italy and abroad, accompanied by the musical ensemble "Salotto '800".
But for the recital at La Scala on Monday 15 January, Nucci did not neglect his "duty" as a great opera performer: he didn't sing any parlour romances nor surrogates, but only and exclusively arias from the highest and most renowned repertoire – precisely that for which he is universally appreciated and awaited.
The ICA Classics Legacy series presents a collection of historic performances by some of the world's greatest artists. These performances are released on video for the first time, incorporating rare archive footage that has been expertly and lovingly restored.
Solti achieved great success with the first complete recording of Das Rheingold in 1958 after which his reputation for recording Wagner escalated. He was also known for his dramatic and expressive performances of works by Richard Strauss, demonstrated by this exciting performance of Don Juan , with revealing bonus rehearsal material and an interview by John Culshaw. The 1985 performance of Beethoven's Fifth with the BBC Symphony Orchestra is equally thrilling, filmed during his tenure as Chief Conductor of the Chicago Symphony, with whom he recorded the full set of Beethoven Symphonies .
Solti achieved great success with the first complete recording of Das Rheingold in 1958 after which his reputation for recording Wagner escalated. He was also known for his dramatic and expressive performances of works by Richard Strauss, demonstrated by this exciting performance of Don Juan , with revealing bonus rehearsal material and an interview by John Culshaw. The 1985 performance of Beethoven's Fifth with the BBC Symphony Orchestra is equally thrilling, filmed during his tenure as Chief Conductor of the Chicago Symphony, with whom he recorded the full set of Beethoven Symphonies .
The ICA Classics Legacy series represents an historic account of performances by some of the world's greatest artists. This video features some of the earliest televised concerts with the Boston Symphony Orchestra and their Music Director, Charles Munch.
All three works featured on this video are well suited to Munch and his Alsatian heritage. He received prolonged and enthusiastic applause from the Boston audience following the performance of Franck's Symphony in D minor , whilst the Faure's shows him as a true master of French music.
All three works featured on this video are well suited to Munch and his Alsatian heritage. He received prolonged and enthusiastic applause from the Boston audience following the performance of Franck's Symphony in D minor , whilst the Faure's shows him as a true master of French music.
The Risør Festival of Chamber Music has firmly established itself as one of the most prestigious and recognized chamber music festivals in the world. Each year, international artists visit the small fishing town in Southern Norway and join forces with some of Norway's best musicians for six days of chamber music making. The setting is amongst the most beautiful to be found in Norway, the exquisite coastline architecture and quintessential southern white houses providing an atmosphere of intimacy and calmness.
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The founding artistic directors were violist Lars Anders Tomter and pianist Leif Ove Andsnes. In 2011 Andsnes handed over the co-artistic leadership to violinist Henning Kraggerud. The festival takes place in the last week of June each year. The films shown here are produced by Music in Motion. (www.musicinmotion.no)
The Berlin Philharmonic Orchestra's annual summer concert at the Waldbühne in Berlin is legendary. Recorded live on 25 June 2000, the Millenium concert gathered more than 22,000 people in one of the most appealing outdoor amphitheatres in Europe for one of the most popular classical music concerts in the world. Kent Nagano named his programme of popular and rather unusual music from the 20th century "Rhythm and Dance". It turned out to be an inspiring combination of classical pieces, show tunes, pops, and Far Eastern music, all brought together in a tasty musical stew and rightly labelled as one of the most exciting programmes ever performed at the Waldbühne. It featured Gershwin classics with an outstanding performance by the American mezzo soprano Susan Graham, music by Ravel and the soundtrack to the successful Chinese film "Farewell My Concubine". Nagano injected the performance with so much sensuality and pulsing life that the audience rose to beat time with their feet and to gave him standing ovations.
This release forms part of the celebrations for the 125th anniversary of the Berlin Philharmonic. It captures an evening of Spanish music and Spanish themes recorded live in 2001. World-famous tenor Placido Domingo conducts the Berlin Philharmonic in works, which have always been particularly close to his heart. The concert features fabulous violinist Sarah Chang performing virtuosic show-pieces such as Sarasate's Carmen Fantasy and Gypsy Airs . The programme also included a collection of delightful "zarzuela" arias, sung by Ana Maria Martinez, winner of the Placido Domingo Vocal Competition in Barcelona. This recording captures the unique atmosphere of the Berlin Philharmonic's annual summer concert at the Waldbühne, Berlin. This very successful open-air concert has become a regular event in Berlin's social calendar.
As the cameras reveal the scale of this open-air event, held at Berlin's Waldbuhne in 2002, it is not only the music that is transmitted but the extraordinary atmosphere. This is a full programme of musical bon-bons – pieces regularly given as encores: it’s as if the joyous moment following a successful performance has blossomed into a whole evening. Vadim Repin is clearly happy to indulge, performing here with all the appropriate showmanship and artistry alongside the first-class Berliner Philharmoniker and Mariss Jansons. There is a palpable satisfaction from all involved, musicians and crowd alike.
Recorded at the annual summer concert of the Berlin Philharmonic at the Waldbuhne in Berlin 2003, this video captures the atmosphere of an open-air Gershwin night in full while also allowing a closer look at the musicians and the conductor. With an audience of over 20,000 one of the world's best orchestras played the popular music of George Gershwin, including the famous Rhapsody in Blue and the popular film music suite An American in Paris . Conducted by Seiji Ozawa – one of the longstanding stars in the classical world - the Berlin Philharmonic was joined by jazz pianist Marcus Roberts and his Trio, whose album "Gershwin For Lovers" stayed in the Top 10 on Billboard's jazz chart for half a year. Together they created a magical fusion of classical music and jazz bringing an imaginative mix of styles into the swing of Gershwin's music. In the bonus film Seiji Ozawa and Marcus Roberts talk about Gershwin and their music making.
Bonus feature:
Documentary - They Got Rhythm
Bonus feature:
Documentary - They Got Rhythm
The Waldbühne in Berlin, one of the most appealing outdoor amphitheatres in Europe, is the home of the Berlin Philharmonic's annual summer concert. With over 22,000 in attendance, these are some of the most popular classical music concerts in the world.
On this recording, Estonian conductor Neeme Järvi takes the audience on a trip through an "Oriental Night". Works by Grieg, Rimsky-Korsakov, Nielsen, Saint-Saëns and Massenet explore oriental images in music. High-ranking soloists like rising star Dutch violinist Janine Jansen join the outstanding orchestra. Neeme Järvi can be counted as one of the world's leading musical personalities having conducted more than 350 CD productions. Recorded live at the Waldbühne Berlin in 2006, Sheherazade offers a sensational concert to all those who want to relive the atmosphere of a the relaxed and high quality open-air event.
On this recording, Estonian conductor Neeme Järvi takes the audience on a trip through an "Oriental Night". Works by Grieg, Rimsky-Korsakov, Nielsen, Saint-Saëns and Massenet explore oriental images in music. High-ranking soloists like rising star Dutch violinist Janine Jansen join the outstanding orchestra. Neeme Järvi can be counted as one of the world's leading musical personalities having conducted more than 350 CD productions. Recorded live at the Waldbühne Berlin in 2006, Sheherazade offers a sensational concert to all those who want to relive the atmosphere of a the relaxed and high quality open-air event.
Every year, the Berliner Philharmoniker hold a kind of classical-music fete with a bright, cheerful concert to end the season. In 2009 about 22,000 people had come together at the Berlin Waldbuhne to enjoy the traditional summer picnic concert. The theme of the evening was "Russian rhythms", and star conductor Sir Simon Rattle, the Berliner Philharmoniker and Yefim Bronfman, one of the most famous pianists in the world today, presented a superb selection of Russian music.
First performed in Berlin in 1821, Weber's Der Freischutz quickly became one of the most celebrated German operas, and its Overture one of the most popular in all of music literature. The overture follows a symphonic form that determines the thematic unity of the work. Surprisingly innovative for its time, it announces the programmatic works of Berlioz and Liszt, as well as Wagner's first overtures . The fresh and limpid music evokes the fairy-tale setting of the opera, with its ghosts, evil spirits, seven charmed bullets, loving couple, friendly hermit and happy ending. This recording of the Freischutz Overture dates from 1975 and is part of a special overture special directed by Herbert von Karajan and produced with the Berlin Philharmonic for Unitel.
Among the operas composed by Carl Maria von Weber (1786-1826), only Der Freischutz still enjoys unbroken popularity on the world's stages today. Other operas, such as Euryanthe , which he worked on for about two years in the early 1820s, were popular in their day but did not establish themselves in the repertoires of major opera houses. Although the opera Euryanthe contains many musical gems, it is its overture that is most often played today, a rousing work with gallant tunes, lyrical melodies and even some early-Romantic ghost music. Leonard Bernstein conducts the Vienna Philharmonic in this recording produced at the Grosser Musikvereinssaal in Vienna in 1983.
Johannes Moser is the name to watch among today's young violoncello virtuosos. Born in 1979, he has already performed with many of the world's leading orchestras, such as the New York Philharmonic, the London Symphony Orchestra and the Chicago Symphony Orchestra, with which he made his U.S. debut under Pierre Boulez. His agenda is packed with appearances ranging from concerto soloist to chamber-music partner to interpreter of avant-garde music on an electric cello...
In this concert of late-Romantic music with the Deutsche Radio Philharmonie, the "Echo Classic Award Winner" 2008 boldly infuses Hans Pfitzner's Cello Concerto in A minor with a jolt of adrenaline that could very well boost this rarely heard work – which was long thought to be lost – into the concert repertoire. Written in 1883, Richard Strauss' Romance in F major for cello and orchestra is an early work from the pen of this orchestral master, and another showcase for the talent of Johannes Moser.
The concert also features another rising star of the classical music scene, the young Slovak conductor Juraj Valcuha, the principal conductor of the Swedish Radio Symphony Orchestra. Doing full justice to the refined atmosphere of the German late-Romantic works on the program, which also includes a...
In this concert of late-Romantic music with the Deutsche Radio Philharmonie, the "Echo Classic Award Winner" 2008 boldly infuses Hans Pfitzner's Cello Concerto in A minor with a jolt of adrenaline that could very well boost this rarely heard work – which was long thought to be lost – into the concert repertoire. Written in 1883, Richard Strauss' Romance in F major for cello and orchestra is an early work from the pen of this orchestral master, and another showcase for the talent of Johannes Moser.
The concert also features another rising star of the classical music scene, the young Slovak conductor Juraj Valcuha, the principal conductor of the Swedish Radio Symphony Orchestra. Doing full justice to the refined atmosphere of the German late-Romantic works on the program, which also includes a...