Over the course of his long career as conductor, organist and harpsichordist, Karl Richter (1926-1981) became synonymous with Bach. He founded the Munich Bach Choir and the Munich Bach Orchestra, and helped trigger the Bach revival in the 1950s. He recorded all the major choral and orchestral works of Bach, including more than 100 cantatas. 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” Bach which featured a reduced body of performers more in keeping with the composer’s original forces. Richter’s style also accented a cool, brisk, almost abstract attitude toward the music. Our recording with the Munich Bach Choir and Orchestra features such world-renowned soloists as Helen Donath, Julia Hamari, Peter Schreier and Horst Laubenthal.
Beethoven, Symphony No.7 in A major, op.92
After four years of symphonic silence, Beethoven presented Vienna with his Seventh Symphony in 1813. The first performance of this work was a spectacular event. The long awaited Seventh was completed in May 1812 when the Austrian capital was recovering from the French occupation. The defeat of Napoleon’s armies made the concert an occasion for celebration, and this historical event helped ensure the work’s enormous popularity and the composer’s lasting fame. The Seventh Symphony is essentially rhythmic, rather then thematic, to such a degree that Wagner called it “an apotheosis of the dance”. it is one of the best examples of how Beethoven used simple harmonies and filled them with energetic, repetitive rhythms, which never become monotonous because of the fresh harmonic progressions that accompany them. Karl Böhm rehearses the Wiener Symphoniker in this recording made in the mid 1960s.
Schubert, Symphony No.7 in C major, D. 944
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.
Schubert, Mass in E flat major No.6, D. 950
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.
Beethoven, Symphony No.9 in D minor, op.125
Recorded live at the Berlin “Philharmonie” on New Year’s Eve 1977, this rousing interpretation of Beethoven’s most popular symphony with the Berlin Philharmonic under Herbert von Karajan weaves a rich tapestry of emotional contrasts. The Ninth is an affirmation of optimism and beauty, written when Beethoven was almost completely deaf. The final movement is considered by many to be the composer’s crowning glory. It had been Beethoven’s lifelong dream to set Schiller’s “Ode to Joy” to music, for the poem put into words Beethoven’s most impassioned desire: peace and brotherhood in the world. Giving eloquent voice to this plea are the world-renowned soloists Anna Tomowa-Sintow, Agnes Baltsa, René Kollo and José van Dam.
Beethoven, Symphony No.9 in D minor, op.125 “Choral”
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.
Bloch, Schelomo – Hebrew Rhapsody for Violoncello and Orchestra
Bloch, America – Epic Rhapsody for Orchestra and Chorus
Wiener Philharmoniker: Tugan Sokhiev & Martha Argerich
“Glaring drama and bizarre comedy, lyrical poetry and gripping, vivid theatricality: Argerich demonstrated this par excellence in Prokofiev” (Der Standard). Under Tugan Sokhiev, the Wiener Philharmoniker presents two masterpieces of the early 20th century: Classical icon Martha Argerich interprets Sergei Prokofiev’s Third Piano Concerto with “great dexterity and fire” (Die Presse), “Thunderous cheers and bravos!” (Kronenzeitung). Igor Stravinsky’s ballet music “Petrushka” (1911 version) was transformed by Sokhiev “into a furious sound theatre” (Kurier). PROGRAM Prokofiev: Piano Concerto No. 3; Scarlatti: Sonata, K.141; Stravinsky: Petrushka – Suite
Grafenegg: Midsummer Night’s Gala 2025
The Midsummer Night’s Gala heralds the start of the summer festival season every year, captivating the audience and celebrating the summer against the idyllic backdrop of the extensive castle grounds. On the Wolkenturm stage, chief conductor Fabien Gabel joins star pianist and festival director Rudolf Buchbinder for their first collaboration at Grafenegg. Buchbinder, intimately familiar with the venue, performs a movement from Schumann’s Piano Concerto in A minor. South African mezzo-soprano Siphokazi Molteno makes her festival debut, alongside American tenor Michael Spyres, recently named Best International Opera Singer at the Oper! Awards. The programme offers a vibrant mix of opera arias, overtures, and orchestral works, featuring Rossini’s Il barbiere di Siviglia, Puccini’s Turandot, and a spotlight on French and Spanish music.