Christian Thielemann and his Staatskapelle Dresden embark on their Bruckner Cycle at the Philharmonie in Munich with a radiant performance of Symphony No. 1. Thielemann, a more than experienced Bruckner interpreter, demonstrates his skill once more and shows a masterly control over his orchestra. “How Thielemann elicits diabolical trills and how he puts emphasis on syncopation, no matter how small – that’s in a class of ist own.” (Die Presse.com)
Nederlands Dans Theater 3
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.
Symphony No. 4 in F minor Op. 36
Hailed by the press as “the definitive video production” of Tchaikovsky’s music, this exceptional concert series, recorded live from the Alte Oper Frankfurt, features the leading Russian conductor Vladimir Fedoseyev and the Moscow Radio Symphony Orchestra. Fedoseyev’s perceptive reading of the works of his fellow countryman, the masterly playing of the orchestra and guest soloists combine to produce performances which are revelatory in their execution and understanding of Tchaikovsky’s music and the Russian heritage.
Pulcinella
The original version of PULCINELLA was choreographed by Massine with designs by Picasso in 1920. Like the original, Richard Alston’s greatly-admired version of the complicated love-story has a Neapolitan setting and is based on traditional Commedia dell’Arte characters.
Brahms, Symphony No.1 in C minor, op.68
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.
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.
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).
David Hockney
One the most original creative talents of our age, David Hockney believes it is his duty as an artist to give pleasure. Filmed at his home in California and at exhibitions of his work in London, Rotterdam and Munich, Hockney gives a thoughtful exposition of several aspects of his work, relating specific examples to both personal experience and artistic endeavour. His warmth and humanity, together with the colourful beauty of his work, make this a truly memorable documentary.
Salman Rushdie
Rushdie’s novel The Moor’s Last Sigh culminates in the search for a portrait that has been painted over. His starting point for the book was his interest in a real lost portrait – one of his mother, painted some fifty years ago. Unfolding a tale as fabulous as Rushdie’s fiction, this programme travels to India in search of this painting. Meanwhile, in London, the author talks about The Moor’s Last Sigh and the extraordinary conditions in which it was written. As he speaks, he himself is being painted by Bhupen Khakar, one of his favourite Indian artists.
Martin Amis
Martin Amis’s novel The Information is an hilarious, haunted, painful assault on what it means to be a writer. It is also about mid-life crisis. In a searching interview with fellow novelist Melvyn Bragg, Amis talks in detail about this book. Literary envy and vanity, the politics of publishing, the uncertain status of the author in our culture, the terror of ageing and the urge for immortality are all broached in this compelling and stimulating exchange. The programme includes dramatised extracts and readings from The Information.