Leonard Bernstein conducts Sibelius

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. Recorded live at Vienna’s Musikverein, these ecstatic performances were the object of stellar reviews. On this disc, Bernstein’s unique and by now legendary interpretations of Sibelius are released for the first time on Blu-ray.

Sibelius, Symphony No.5 in E flat major, op.82

The opening of Copenhagen’s new concert hall, the spectacular Koncerthuset, was celebrated with a very special project: to present their new home to a broad public the Danish National Symphony Orchestra and its chief conductor Thomas Dausgaard performed four popular works within the classical symphonic tradition, Nielsen’s Symphony No. 3 (Length: 39’), Dvorák’s Symphony No. 9 (Length: 45’), Brahms’ Symphony No. 1 (Length: 49’) and Sibelius’ Symphony No. 5 (Length: 35’). Additionally, the performances were filmed on highest standards and with an extensive setup of cameras.

Leonard Bernstein conducts Sibelius

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 unfortuantely cut short this project after the release of Symphonies Nos. 1, 2, 5 and 7. Recorded live at Vienna´s Musikverein, these ecstatic performances were the object of stellar reviews. On this double-disc set, Bernstein´s unique and by now legendary interpretations of Sibelius are released for the first time on DVD.

John Neumeier at Work

The American dancer and choreographer John Neumeier is renowned for his work with the Hamburg Ballet. He was filmed with the company over a busy six-month period, which encompassed rehearsals for Artus Sage, the creation of The Magnificat, and performances in Hamburg, Paris and Avignon of works including his acclaimed St Matthew Passion. Throughout the programme Neumeier talks about his methods and his creative influences.

Danish National Symphony Orchestra Nielsen – Dvorak – Brahms – Sibelius

The opening of Copenhagen’s new concert hall, the spectacular Koncerthuset, was celebrated with a very special project: to present their new home to a broad public the Danish National Symphony Orchestra and its chief conductor Thomas Dausgaard performed four popular works within the classical symphonic tradition, Nielsen’s Symphony No. 3 (Length: 39’), Dvorak’s Symphony No. 9 (Length: 45’), Brahms’ Symphony No. 1 (Length: 49’) and Sibelius’ Symphony No. 5 (Length: 35’). Additionally, the performances were filmed on highest standards and with an extensive setup of cameras.

Elgar: Cello Concerto & Sibelius: Symphony No. 1

Sir Mark Elder and the Rotterdam Philharmonic Orchestra present a concert experience on the highest level at the Grote Zaal of Rotterdam’s famous De Doelen Concerthouse, performing Edward Elgar’s Cello Concerto in E minor, together with the internationally acclaimed German cellist Daniel Müller-Schott. Elgar’s Cello Concerto, his last notable work, is a cornerstone of the solo cello repertoire and, according to Müller-Schott, one of the composer’s most personal works. It is passionately performed by this “fearless player with technique to burn” (The New York Times), considered “one of the finest cellists before the public today” (The Sunday Times).

Being a passionate admirer of Jean Sibelius, Sir Mark Elder completes his programme with the Finnish composer’s Symphony No. 1.

RCO: Nelsons conducts Sibelius with Anne-Sophie Mutter

“Stradivari on eight cylinders” was the headline for the rich cornucopia of sound that Anne-Sophie Mutter poured out with the Sibelius Violin Concerto. “Her Stradivari lets her sing the arches of melody with warm vibrato and lends real fire to her double-stopping; she stages great leaps as soaring stairways to heaven or headlong descents to hell”, reports the Süddeutsche Zeitung with admiration. “It can be played differently, but not better.” (Westdeutsche Allgemeine Zeitung) Mutter’s violin concerto is wonderfully complemented by Shostakovich’s 10th, in which Nelsons truly triumphs: “World-class, these exponents from Amsterdam” (Süddeutsche Zeitung)

Salonen conducts Sibelius and Grieg

This concert by the Symphonieorchester des Bayerischen Rundunks has an entirely Scandinavian theme. Under the aegis of Finnish-born Esa-Pekka Salonen the orchestra begins the recital with “Eleven Gates”, a work of soundpainting by the contemporary Swedish composer Anders Hillborg. Alice Sara Ott provides the focal point of the evening, with the Piano Concerto by the Norwegian Edvard Grieg. The orchestra rises to the challenge with the impressive final work, the great Fifth Symphony by Finnish composer Jean Sibelius, a performance marking his 150th birthday “that no one who was present will ever forget.” (Süddeutsche Zeitung)

Sibelius, Symphony No.1 in E minor, op.39

Jean Sibelius was 34 years old when he undertook the composition of his First Symphony, which was actually his second: in 1892 he had written “Kullervo” for solo voices, male chorus and orchestra, but was dissatisfied with it and forbade its performance during his lifetime. In his Symphony No. 1, there are already flashes of his later style in the impetuous rhythms, romantic outbursts and abrupt changes of tone. The conductor led the premiere in Helsinki on 26 April 1899. 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 oeuvre 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.