Franz Schubert’s Mass in E flat major D. 950 is an uncontested masterpiece of Viennese sacred music. Composed in 1828, the year of Schubert’s death, it reaches a depth and a grandeur equaled in his sacred works perhaps only by the A flat major Mass. Did premonitions of his fatal illness and death stir him to pour his soul into this work? In any event, it breaks away from the rather perfunctory quality of his earlier masses. The tragic tones, austere contrapuntal textures and expressive, dramatic choral writing are nothing less than profoundly gripping. The unusually large wind section without flutes recalls Mozart’s Requiem, which was the last composition written by Mozart before his death. The Vienna State Opera Chorus’s All Saints’ Day concert has become an institution in Vienna. Although the superbly homogeneous and subtly shading chorus plays the most important role throughout this concert, the orchestra also unfolds its warm and colorful and, at times, forceful personality. The concert in which this work was recorded took place on All Saints’ Day 1986 under the musical direction of Claudio Abbado.
Te Deum
Following his comeback performance at the Vienna State Opera in 1988, this gala concert from the Alte Oper Frankfurt given on September 12, 1992, was one in a series of highly acclaimed performances that marked José Carreras’ return to the concert platform after his battle against leukaemia in 1987/88. Providing the high musical and artistic level of this evening, alongside Carreras are the Vienna Philharmonic – celebrating ist 150th anniversary –, the Vienna State Opera Chorus, the Prague Philharmonic Choir and the Tölzer Boys Choir, all under the baton of conductor Claudio Abbado.
The Secret Life of Alban Berg
Alban Berg (1885-1935) lived in the mainstream of well-to-do Austrian society. His marriage to the beautiful Hélène was thought to be made in heaven. But how can this doyen of Viennese respectability be reconciled with the composer who wrote the dark operas Wozzeck and Lulu? This multi-layered film explores Berg’s double life. Soprano Kristine Ciesinki, who features in specially-staged extracts from Lulu and Wozzeck, travels to Vienna, Prague, the USA and Germany to track down important archive documents and people who can recall the composer’s presence in their lives.
From the House of the Dead
From the Salzburg Festival 1992
Based on Dostoevsky’s ‘diary’ of his years as a political detainee, Janácek’s singular opera, with ist profoundly disturbing, but ultimately uplifting, message about the human condition, is set in a nineteenth-century Siberian prison camp. This Salzburg Festival production by Klaus-Michael Grüber graphically depicts the grinding tedium of life in this penal colony. A superb cast is headed by the great Bulgarian bass Nicolai Ghiaurov, and Claudio Abbado conducts the Vienna Philharmonic Orchestra in a performance hailed as a musical triumph. (Sung in the original Czech version)
Prometheus – Poem of Fire
According to the ancient Greek legend, Prometheus brought fire and culture to mankind, thus saving the world from being destroyed by Zeus. Through the ages, this story has inspired countless artists, poets and musicians to some of their grandest creations.
Christopher Swann’s film is based on a 1993 televised concert from Berlin’s Philharmonic Hall.
The program features music by Beethoven, Liszt, Skriabin and Nono based on the legend of Prometheus. The four compositions could not be more diverse in style and conception, representing highly different approaches: from the Prometheus as bringer of plague and destruction to the punished Prometheus chained to a rock.
In this film, Christopher Swann stresses a visual approach to this variety of ideas, using a number of modern film techniques to underscore and illustrate the musical presentation.
Performances by the Berlin Philharmonic Orchestra under Claudio Abbado are first-rate, although it is the presence of Argerich that will make this DVD an obligatory purchase.
Mozart, Laudate Dominum, K. 339
The “Laudate Dominum” is part of the “Vesperae solennes de confessore” K. 339, written in Salzburg in 1780. The strikingly sensual beauty of the long soprano cantilena, highlighted by the filigree of the violin melody and supported by the rich bassoon tone, has undoubtedly been responsible for the enormous popularity this work has always enjoyed. The Vienna State Opera Chorus’s All Saints’ Day concert has become an institution in Vienna. Although the superbly homogeneous and subtly shading chorus plays the most important role throughout this concert, the orchestra also unfolds its warm and colorful and, at times, forceful personality. The concert in which this work was recorded took place on All Saints’ Day 1986 under the musical direction of Claudio Abbado. The soloist here is the Finnish soprano Karita Mattila, whose “splendid timbre” was singled out by the reviewer of Vienna’s leading daily “Die Presse.”
Mozart, Aria of the Angel from “Funeral Music”, K. 42
The “Grabmusik” (Funeral Music) K. 42 was composed in 1767, when Mozart was 11 years old. Its style reflects the Italian influence predominant in church music at that time. The Vienna State Opera Chorus’s All Saints’ Day concert has become an institution in Vienna. Although the superbly homogeneous and subtly shading chorus plays the most important role throughout this concert, the orchestra also unfolds its warm and colorful and, at times, forceful personality. The concert in which this work was recorded took place on All Saints’ Day 1986 under the musical direction of Claudio Abbado. The soloist here is the Finnish soprano Karita Mattila, whose “splendid timbre” was singled out by the reviewer of Vienna’s leading daily “Die Presse.”
Mozart, Kyrie in D minor, K.341
The Vienna State Opera Chorus’s All Saints’ Day concert has become an institution in Vienna. Although the superbly homogeneous and subtly shading chorus plays the most important role throughout this concert, the orchestra also unfolds its warm and colorful and, at times, forceful personality. The concert in which this work was recorded took place on All Saints’ Day 1986 under the musical direction of Claudio Abbado. Mozart’s Kyrie in D minor K. 341 is a monumental torso written most likely in Vienna in 1788. It dispenses with all traditional restrictions and conventions of church music; for example, it contains no solo vocal parts, includes clarinets and four horns for the first time in Mozart’s sacred music, and prefigures the tragic solemnity of the Requiem with the use of the same key of D minor.
Bach, Brandenburg Concerto No. 2 in F major, BWV 1047 (Carinthian Summer 1982)
Brahms, Piano Concerto No.2 in B flat major, op.83
Brahms himself played the solo part at the world premiere of his Piano Concerto No. 2 in Budapest’s Redoutensaal on 9 November 1881. The work opens with a beautiful horn call which is like a magical summons to the other instruments. The Scherzo is of symphonic proportions and richness. The nocturne-like mood of the slow movement is based on the song of a solo cello, a simple eight-measure phrase. The finale has a bright, skipping figure for the piano as the principal rondo refrain. Maurizio Pollini was born in Milan to a family of artists in 1942. In 1960 he won the first prize at the Chopin Competition in Warsaw. Since then, he has been a leading protagonist at all major concert venues in Europe, as well as in America and Japan.