In the monumental project BEETHOVEN 9, Christian Thielemann, one of the most widely recognized conductors of our time, joins forces with the prestigious Wiener Philharmoniker for their first-ever highdefinition recording of all nine symphonies by Ludwig van Beethoven.
Also available:
Overture ‘Coriolan’, Op. 62 (11’ – A045005410010),
Overture ‘Egmont’, Op. 84 (11’ – A045005410011)
In the monumental project BEETHOVEN 9, Christian Thielemann, one of the most widely recognized conductors of our time, joins forces with the prestigious Wiener Philharmoniker for their first-ever highdefinition recording of all nine symphonies by Ludwig van Beethoven.
Also available:
Overture ‘Coriolan’, Op. 62 (11’ – A045005410010),
Overture ‘Egmont’, Op. 84 (11’ – A045005410011)
In the monumental project BEETHOVEN 9, Christian Thielemann, one of the most widely recognized conductors of our time, joins forces with the prestigious Wiener Philharmoniker for their first-ever highdefinition recording of all nine symphonies by Ludwig van Beethoven.
Also available:
Overture ‘Coriolan’, Op. 62 (11’ – A045005410010),
Overture ‘Egmont’, Op. 84 (11’ – A045005410011)
Put one of the world’s greatest orchestras in the hands of one of the foremost specialists of 20th century music, add a soloist who is one of today’s leading pianists and conductors, and you are assured of a concert of superlatives that pays glowing tribute to three major works of the past century. The official Salzburg Festival opening concert of the Wiener Philharmoniker is conducted by Pierre Boulez, once the ‘enfant terrible’ of the musical world, now a sensitive, analytical conductor of works from the 19th and 20th centuries. Combining Béla Bartók’s Piano Concerto No. 1 – Daniel Barenboim is the soloist – with Maurice Ravel’s ‘Valses nobles et sentimentales’ and Igor Stravinsky’s ‘Firebird’ ballet in its full-length version of 1910, Boulez weaves a compelling musical texture that uncovers the links among the three works and the three composers.
For the first time we have received the unique and wonderful opportunity to give a close-up and detailed account on the insides of this institution. For one whole season, we received the permission to be part of every decision-making process, all the way to the actual performance. You have the chance to dive into the working world of this world famous and renowned orchestra. What does it take to become a Vienna Philharmonic? What are the motivations to become a Vienna Philharmonic? What are the emotions an individual philharmonic feels when he looks back at over 40 years of music? What is the Vienna Philharmonic secret to success? Interviews with all the musicians, conductors and the people in the background will give us answers to these questions and much more.
Born on 11 February 1946, Rudolf Buchbinder celebrated his 60th birthday just two weeks after Mozart’s 250th birthday – a happy coincidence of landmark events that prompted the great Austrian pianist to present a series of Mozart piano concertos with the Vienna Philharmonic Orchestra at the 2006 Vienna Festival. The works, recorded live at the Musikverein in Vienna on 7 May 2006, represent the crème de la crème of Mozart’s concerto output of the years 1784 to 1786.
Born on 11 February 1946, Rudolf Buchbinder celebrated his 60th birthday just two weeks after Mozart’s 250th birthday – a happy coincidence of landmark events that prompted the great Austrian pianist to present a series of Mozart piano concertos with the Vienna Philharmonic Orchestra at the 2006 Vienna Festival. The works, recorded live at the Musikverein in Vienna on 7 May 2006, represent the crème de la crème of Mozart’s concerto output of the years 1784 to 1786.
Born on 11 February 1946, Rudolf Buchbinder celebrated his 60th birthday just two weeks after Mozart’s 250th birthday – a happy coincidence of landmark events that prompted the great Austrian pianist to present a series of Mozart piano concertos with the Vienna Philharmonic Orchestra at the 2006 Vienna Festival. The works, recorded live at the Musikverein in Vienna on 7 May 2006, represent the crème de la crème of Mozart’s concerto output of the years 1784 to 1786.
Born on 11 February 1946, Rudolf Buchbinder celebrated his 60th birthday just two weeks after Mozart’s 250th birthday – a happy coincidence of landmark events that prompted the great Austrian pianist to present a series of Mozart piano concertos with the Vienna Philharmonic Orchestra at the 2006 Vienna Festival. The works, recorded live at the Musikverein in Vienna on 7 May 2006, represent the crème de la crème of Mozart’s concerto output of the years 1784 to 1786. Mozart had arrived in Vienna in March 1781 to work as an independent composer. In addition to seeking commissions from the Imperial Court, he also held subscription concerts at various venues, including the homes of the nobility. Mozart had to satisfy the needs of the fashionable Viennese public by creating a steady flow of virtuoso arias, symphonies, chamber music and piano concertos. Between 1784 and 1786 he wrote no fewer than 12 piano concertos, many of them unsurpassed in the history of this genre. The earliest work on this recording is the Concerto in E flat major K. 449, a work of fairly modest dimensions that was followed in early 1785 by the great D minor Concerto K. 466, a dramatic, gripping piece painted with tormented “Sturm und Drang” brushstrokes. Later that year, he wrote the “big” E flat Concerto K. 482, the first to include clarinets, a natural development in a genre that was increasingly taking on symphonic traits. While the A major Concerto K. 488 glows with an inner serenity, the C minor work that follows it, K. 491, is a grand, almost heroic, work with wild outbursts of raw passion. It is also the most heavily scored of Mozart’s concertos. Its successor, the C major Concerto K. 503, is the most technically difficult of all of the concertos, and can perhaps be seen as the culmination of his output in this genre. Although Rudolf Buchbinder commands a mighty repertoire, he is best known for his interpretations of the works of Haydn, Mozart, Beethoven and Brahms. In recent years, Buchbinder has specialized in giving cycles of performances – the complete Haydn sonatas, for example, or the complete Beethoven sonatas – which he prefers to record live. This live recording of six masterpieces by Mozart provides a lasting testimony to Buchbinder’s canon of Mozart interpretations in his 60th year – and Mozart’s 250th.
