The performance of all six of Anton Bruckner’s mature symphonies on six nearly consecutive evenings is an accomplishment that can truly be called “superhuman” (Der Tagesspiegel). Daniel Barenboim – conductor, pianist, all round musical genius – set himself this task in June 2010 with the Staatskapelle Berlin at the Berlin Philharmonie. What Barenboim and his orchestra – he has been its principal conductor since 1992 – achieve in thi marathon is a new view of the Bruckner opus that opts for grandeur and the mighty theatrical gesture. Bruckner’s symphonies as “operas without words” (Der Tagesspiegel).
Bruckner, Symphony No.6 in A major
The performance of all six of Anton Bruckner’s mature symphonies on six nearly consecutive evenings is an accomplishment that can truly be called “superhuman” (Der Tagesspiegel). Daniel Barenboim – conductor, pianist, all-round musical genius – set himself this task in June 2010 with the Staatskapelle Berlin at the Berlin Philharmonie. What Barenboim and his orchestra – he has been its principal conductor since 1992 – achieve in this marathon is a new view of the Bruckner opus that opts for grandeur and the mighty theatrical gesture. Bruckner’s symphonies as “operas without words” (Der Tagesspiegel).
RCO: Mahler – Das Lied von der Erde
Concert on the occasion of the 50th anniversary of Bernard Haitink’s collaboration with the Royal Concertgebouw Orchestra.
Beethoven, Missa solemnis in D major, Op.123
The concert commemorating the bombardment of Dresden in World War II features Beethoven’s mighty choral work under the direction of Christian Thielemann. Playing with vibrancy and passion, the Staatskapelle Dresden made a profound impression on the entire audience. Particularly remarkable is the fabulously homogeneous solo quartet formed of Krassimira Stoyanova, Elina Garanca, Michael Schade and Franz-Josef Selig. Another major vocal feat was accomplished by the Saxon State Opera Choir, which mastered the extremely difficult choral part with effortless proficiency.
Stabat Mater op. 58
Recorded live from the Vladislav Hall in the Hradchin, Prague, Václav Neumann conducts the Czech Philharmonic Orchestra and the Prague Philharmonic Choir in a deeply moving performance of Dvorák’s choral work. (Sung in Latin)
Requiem Op.89
Václav Neumann conducts the Czech Philharmonic Orchestra and the Prague Philharmonic choir in this performance of Dvorák’s Requiem Op. 89, recorded live from the magnificent St. Veit’s Cathedral in Prague.
Roméo et Juliette
This live recording features a concert performance of Berlioz’s Roméo et Juliette, a dramatic symphony, with solo and choral voices, in the original French language version.
Sir Colin Davis conducts the Bavarian Radio Symphony Chorus and Orchestra with soloists Philip Langridge (tenor), Hanna Schwarz (alto) and Peter Meven (bass).
Roméo et Juliette is the greatest and most satisfying of all Shakespearean works and inspired Berlioz to one of his best and successful dramatic symphonies. Intended for the concert hall, ist musical core is purely orchestral, while the outer movements are choral and vocal, their function being narrative and more theatrical. Yet the whole piece coheres magically and no other work of Berlioz more perfectly demonstrates both his poetic and the individuality of his genius.
Mozart, Sonata in C major, K.296
An important part of Anne-Sophie Mutter’s “Mozart Project” is to present the composer’s mature violin sonatas. Between 2005 and 2007, Ms. Mutter and pianist Lambert Orkis toured throughout Europe, North America and Asia with the Mozart sonatas. In major musical centers such as Paris, London, Vienna and New York, they offered the entire cycle over three consecutive evenings. This three-evening survey was recorded in Munich in February 2006. Mozart composed sonatas for violin and piano from his earliest youth until his final years. But while the early pieces are little more than piano sonatas with violin accompaniments, the more mature works of 1778 begin to integrate the violin and piano parts more closely, and to highlight the growing independence and virtuosity of the violin. Mozart composed several violin sonatas during his stay in Mannheim and on his voyage to Paris in 1778. These first mature sonatas reflect some of the “Sturm und Drang” atmosphere of the music at the court of Mannheim, which emboldened Mozart to write in a freer and more dramatic mode. The E minor Sonata K. 304, for instance, prefigures Romanticism, and K. 306 incorporates a written-out cadenza for both instruments, similarly to an operatic “scena”. Indeed, the sonatas’ closeness to the opera is an element that Anne-Sophie Mutter herself has often pointed out: “For me, these sonatas are like narratives. Mozart never left the operatic stage, not even in his chamber music.” Mozart published his second set of mature sonatas shortly after he moved to Vienna in 1781. Among the most outstanding works of this cycle is the F major Sonata K. 377, a restrained piece of brooding intensity and introspection. The last sonatas were written between 1784 and 1788 and include Ms. Mutter’s favorite, the B flat major Sonata K. 454, “a monumental achievement,” as she puts it. “In the famous Andante, the violin and piano are so elaborately intertwined that you simply don’t notice when the words are taken out of your mouth and put back again. … This work has a depth that’s unequalled.” (Anne-Sophie Mutter) Also available is a “making-of” documentary on “The Mozart Project” (45′), in which Anne-Sophie Mutter talks about her relationship to Mozart’s music and is joined by her colleagues André Previn, Lambert Orkis and Daniel Müller-Schott.
Mozart, Sonata in F major, K.377
An important part of Anne-Sophie Mutter’s “Mozart Project” is to present the composer’s mature violin sonatas. Between 2005 and 2007, Ms. Mutter and pianist Lambert Orkis toured throughout Europe, North America and Asia with the Mozart sonatas. In major musical centers such as Paris, London, Vienna and New York, they offered the entire cycle over three consecutive evenings. This three-evening survey was recorded in Munich in February 2006. Mozart composed sonatas for violin and piano from his earliest youth until his final years. But while the early pieces are little more than piano sonatas with violin accompaniments, the more mature works of 1778 begin to integrate the violin and piano parts more closely, and to highlight the growing independence and virtuosity of the violin. Mozart composed several violin sonatas during his stay in Mannheim and on his voyage to Paris in 1778. These first mature sonatas reflect some of the “Sturm und Drang” atmosphere of the music at the court of Mannheim, which emboldened Mozart to write in a freer and more dramatic mode. The E minor Sonata K. 304, for instance, prefigures Romanticism, and K. 306 incorporates a written-out cadenza for both instruments, similarly to an operatic “scena”. Indeed, the sonatas’ closeness to the opera is an element that Anne-Sophie Mutter herself has often pointed out: “For me, these sonatas are like narratives. Mozart never left the operatic stage, not even in his chamber music.” Mozart published his second set of mature sonatas shortly after he moved to Vienna in 1781. Among the most outstanding works of this cycle is the F major Sonata K. 377, a restrained piece of brooding intensity and introspection. The last sonatas were written between 1784 and 1788 and include Ms. Mutter’s favorite, the B flat major Sonata K. 454, “a monumental achievement,” as she puts it. “In the famous Andante, the violin and piano are so elaborately intertwined that you simply don’t notice when the words are taken out of your mouth and put back again. … This work has a depth that’s unequalled.” (Anne-Sophie Mutter) Also available is a “making-of” documentary on “The Mozart Project” (45′), in which Anne-Sophie Mutter talks about her relationship to Mozart’s music and is joined by her colleagues André Previn, Lambert Orkis and Daniel Müller-Schott.
Mozart, Sonata in D major, K.306
An important part of Anne-Sophie Mutter’s “Mozart Project” is to present the composer’s mature violin sonatas. Between 2005 and 2007, Ms. Mutter and pianist Lambert Orkis toured throughout Europe, North America and Asia with the Mozart sonatas. In major musical centers such as Paris, London, Vienna and New York, they offered the entire cycle over three consecutive evenings. This three-evening survey was recorded in Munich in February 2006. Mozart composed sonatas for violin and piano from his earliest youth until his final years. But while the early pieces are little more than piano sonatas with violin accompaniments, the more mature works of 1778 begin to integrate the violin and piano parts more closely, and to highlight the growing independence and virtuosity of the violin. Mozart composed several violin sonatas during his stay in Mannheim and on his voyage to Paris in 1778. These first mature sonatas reflect some of the “Sturm und Drang” atmosphere of the music at the court of Mannheim, which emboldened Mozart to write in a freer and more dramatic mode. The E minor Sonata K. 304, for instance, prefigures Romanticism, and K. 306 incorporates a written-out cadenza for both instruments, similarly to an operatic “scena”. Indeed, the sonatas’ closeness to the opera is an element that Anne-Sophie Mutter herself has often pointed out: “For me, these sonatas are like narratives. Mozart never left the operatic stage, not even in his chamber music.” Mozart published his second set of mature sonatas shortly after he moved to Vienna in 1781. Among the most outstanding works of this cycle is the F major Sonata K. 377, a restrained piece of brooding intensity and introspection. The last sonatas were written between 1784 and 1788 and include Ms. Mutter’s favorite, the B flat major Sonata K. 454, “a monumental achievement,” as she puts it. “In the famous Andante, the violin and piano are so elaborately intertwined that you simply don’t notice when the words are taken out of your mouth and put back again. … This work has a depth that’s unequalled.” (Anne-Sophie Mutter) Also available is a “making-of” documentary on “The Mozart Project” (45′), in which Anne-Sophie Mutter talks about her relationship to Mozart’s music and is joined by her colleagues André Previn, Lambert Orkis and Daniel Müller-Schott.