Bach, Weihnachtsoratorium (Christmas Oratorio) BWV 248, Cantata No.5

Bach’s “Christmas Oratorio” was first heard in its entirety at Leipzig’s St. Thomas church at Christmastime 1734. Some Leipzig church-goers may have recognized some of the melodies, since Bach used material from earlier works, sometimes reworking the music to fit new texts. This practice, called the “parody technique”, was frequent in Bach’s time. The six separate, large-scale but related parts of the Oratorio tell the Nativity story through texts of the apostles St. Matthew and St. Luke, and through traditional or newly written material. Bach is credited with shaping the text and selecting the Biblical passages in such a way that the work follows a logical sequence. This contribution gives the piece a musically dramatic and compelling textual unity. Considered one of the world’s leading specialists of Baroque music, Nikolaus Harnoncourt founded the “Concentus Musicus Wien” in 1953. It has since become one of the world’s most respected ensembles specializing in the performance of early music on original instruments or faithful reproductions. With its opulent decor and gilt ornamentation, the Austrian Baroque church of Waldhausen provides a setting evocative of Bach’s times. An added highlight of the program is the retelling of the Nativity story with the magnificent carved figures of two master wood-carvers of the Baroque period from Upper Austria. Also heard on the recording are the distinguished tenor Peter Schreier, bass Robert Holl and the Tölzer Boys’ Choir.

Schubert, Four Impromptus op.90

Krystian Zimerman was born in Zabrze (Poland) on 7 December 1956. He made his first major breakthrough in 1975, when he won the first prize at the Chopin Competition in Warsaw. His friendship with Artur Rubinstein exerted a lasting influence on him in his youth. After expanding his repertoire and studying in London in 1980, he began to make a name for himself as one of the most talented pianists of his generation through numerous concerts and recordings. Further important stations in his career were his projects with such great conductors as Bernstein, Giulini and Karajan. The Polish composer Witold Lutoslawski dedicated a piano concerto to him, which he premiered in Salzburg in 1988.

MSO: Beethoven 9, Circa and Cheetham

The epic struggle for peace and ultimate triumphant bliss of Beethoven’s Ninth Symphony is physically embodied by ten world-class circus artists from Circa, Australia’s premier contemporary circus, in the Season Opening Gala of Melbourne Sypmphony Orchestra. This revolutionary world-first staging of Beethoven 9 is performed alongside a world premiere by revered Australian composer Deborah Cheetham. Her work “Dutalla, star filled sky” has been created in response to Beethoven’s Ninth.

Dust and Light

The choreographer Alonzo King, acclaimed as “one of the few, true Ballet Masters of our times” by world-famous William Forsythe, works with his company The Alonzo King LINES Ballet in San Francisco. Before founding LINES Ballet in 1982 King has been working for companies around the world, including the Frankfurt Ballet, the Joffrey Ballet, the

Dance Theatre of Harlem, the Alvin Ailey American Dance Theatre, the Washington Ballet and the Hong Kong Ballet.

With ist global perspective on dance the LINES Ballet attracts worldwide attention combining modern dance and classical ballet. Alonzo King gives his dancers the chance to get involved into the creative process of the choreography. Critics often comment on the “new language” or

“re-invention of form” arising in King‘s choreographis.

Barenboim conducts Beethoven No. 1

The Staatskapelle Berlin and its chief conductor Daniel Barenboim continue their symphonic Beethoven cycle with this recording of Beethoven’s First Symphony. The cycle started with an acclaimed performance of the Ninth on Berlin’s Bebelplatz and goes on in the Lindenoper. Beethoven’s First is both a retrospective and a foresight: it is still in the tradition of Mozart and Haydn and nevertheless hints at some of what later made the “mature” Beethoven; it contains the contemporary and the future. The world premiere in April 1800 in Vienna was a temporary high point in the career of the twenty-nine-year-old Beethoven.

Mozart y Mambo. A Cuban Journey with Sarah Willis

Mozart & Mambo: These musically irresistible encounters have been a long-cherished dream of Sarah Willis, hornist at the Berliner Philharmoniker, which came true with a grand concert in which she performs with the young musicians of the Havana Lyceum Orchestra and conductor José Antonio Méndez Padrón, as well as a Cuban salsa mambo band. A joint celebration of Mozart as never before seen and heard, including works such as Mozart’s beautiful Horn Concerto No. 3 and lots of Cuban rhythms! The documentary focuses on the musical challenge: European precision meets Cuban momentum. On the one hand, the rehearsal work is characterized by hard work, but also incredible fun with the music and the interaction of these two musical worlds on the other hand.

Markus Hinterhäuser – An artist runs the Salzburg Festival

He is one of them: Markus Hinterhäuser, the new director of the Salzburg Festival, is an artist himself. That might be the reason why he communicates so effortless with the protagonists of the festival. To create an in-depth portrait of Hinterhäuser, Bettina Ehrhardt followed the Austrian around the clock, compiling snap-shots of his life. The film accompanies him to the rehearsals for Jedermann, meets renowned artists such as Peter Sellars, Shirin Neshat and William Kentridge and observes how the director solves problems and how he celebrates with his team. On a stroll through Salzburg’s picturesque alleys, Markus Hinterhäuser delivers insight into his past; archive footage brings the flashbacks to life. In the rapid alternation of the documentary scenes, which are punctuated by moments of reflection, the artist and the human Markus Hinterhäuser, reveals himself.