Berliner Philharmoniker

This prediction Schumann about the young Brahms is performed beautifully with A German Requiem, which shines in the center of the work Brahms and even dominates without being subject to any comparison.

A historical record with Fisher-Dieskau and especially Elisabeth Grümmer whose " Ihr habt nun Traurigkeit ", accompanied by a very slow Rudolf Kempe, is quite simply one of the most sublime pieces recorded.

2013 sees a series of Wagner reissues on Eloquence from complete operas and highlights to Wagner singer portraits and even an audiobook!

Reissued for the Wagner Year are highlights from Herbert von Karajan’s mighty ‘Ring’ cycle. The disc includes extended highlights from the four ‘Ring’ operas and allows us to sample Karajan’s choice of different singers for the same character in different operas – Fischer-Dieskau’s Wotan in Das Rheingold and Thomas Stewart’s in Siegfried. There are notes on the music as well as an essay by Karajan expert Richard Osborne on the background to Karajan’s Ring, as well as a photo gallery of many of the key singers. There were and will always be many competitive Ring cycles on the market, but, as Martin Baker sums up ‘[Karajan] creates […] a transparent aural stage where the light and shade in the music has an almost forensic quality. Musically the Karajan Ring cycle has a visceral intensity that, especially in the subterranean scenes, hints at the sinister mythologies that informed Germany’s recent history and is probably closer to the heart of the narrative’s darkness than any other recording.’

The Art of Magdalena Kožená is an anthology of her finest performances, documenting both the range of her voice and the breadth of repertoire to which she can bring authority, from early baroque of Monteverdi and Strozzi to sacred arias by Bach, opera arias by Handel, Vivaldi, Mozart, Gounod, Bizet and Auber, as well as orchestral songs by Mahler. To all she brings an absorbing emotional depth and maturity of her interpretative abilities.

Unique to Kožená are the songs rooted in Bohemia and Moravia by Dvořak and Janáček. She still feels closely connected to her Czech roots. “It’s music that stays in your body forever”.

This is Magdalena’s own selection of her favourite songs and arias, sung in French, Italian and German as well as in her mother tongue.

28-page Booklet, including new liner notes from Nick Kimberley.

Sir Simon Rattle and the Berliner Philharmoniker, whose Grammy® award-winning accounts of Stravinsky’s Symphony in C and Symphony of Psalms are among Gramophone magazine’s Top 10 Stravinsky Recordings (2011), return to the composer with a recording of the ground-breaking ballet Le Sacre du printemps, whose premiere a century ago marked a turning point in 20th century music history. The programme on this release also includes new recordings of Stravinsky’s Symphonies of Wind Instruments and Apollon Musagète, another of the Russian master’s breathtaking ballets.

Although the premiere of Igor Stravinsky’s Le Sacre du printemps in Paris on 29th May 1913 famously set off a near-riot, the work quickly became recognised as one of the most influential musical works of the 20th century. The 100th anniversary of the premiere will be commemorated with performances all over the world in 2013 and, no doubt, with some new recordings. On record and in performance, Simon Rattle has championed the orchestral works of Stravinsky with insight and dedication over many years and this latest recording is an important addition to his Stravinsky discography.

It is astonishing and hard to explain why it was that Yevgeny Svetlanov found his way to the Berlin Philharmonic only quite late in his career, at the age of sixty. It was 1989, a year so very eventful for the orchestra (Herbert von Karajan resigned and died in the summer; the orchestra chose Claudio Abbado as its new principal conductor; its members first officially guested in East Berlin with James Levine; and, after the fall of the Berlin Wall, when Daniel Barenboim performed a moving concert for the citizens of the German Democratic Republic) that the Russian first came to the Philharmonic in March: it would remain his only encounter with this ensemble.

Svetlanov’s widow Nina wrote the following recollections of the Berlin performance. They show the outstanding importance that the conductor’s sole encounter with the Berlin Philharmonic had for him: Evgeny Svetlanov toured Germany a lot with his orchestra, The Russian State Symphony Orchestra (ex USSR Academic State Symphony Orchestra). But he would stubbornly refuse to accept invitations from German orchestras such as the Bayerischer Rundfunk, Hamburg, Cologne and Berlin Radio orchestras among others. His motivation was very clear – “as long as I am not invited to the Berlin Philharmonic, no matter the quality of all the others, I will not go”. There was nothing to be done. Each great artist has his own principals and it was totally impossible to convince him to do otherwise.

Then, finally, the invitation came. Evgeny Svetlanov was very pleased with the choice of repertoire, especially with Tchaikovsky’s Manfred. Usually promoters asked him to perform Tchaikovsky’s Symphonies Nos.4, 5 or 6 when he was on tour abroad. The concert was a big success and was followed by long applause from both orchestra and public. He was very happy. Back in the artists’ room he welcomed all those who wanted to greet him. After which he quietly said to me – “I am so tired, let’s go back to the hotel”. After a while, when I closed the door and the Maestro started changing, we heard a persistent knock on the door. He did not wish to be disturbed. Someone kept on knocking. When I opened the door, we saw the director of the Berlin Philharmonic who looked pre-occupied and who explained to us that the public was still there, the hall was still full and there was a standing ovation that would not end. Evgeny Svetlanov, who was already dressed in his coat with an umbrella in his hands, came out on the stage immediately. He saw the audience standing and screaming, greeting him with endless applause. He deeply bowed and stretched out his arms asking the public to calm down. And when the commotion died down he said, in German, that he was extremely happy to get this kind of welcome. “As long as I live, I will never forget this evening”.

The reissue of this recording marks a double celebration – the bicentenary of Verdi’s birth and the centenary of Solti’s. Solti’s second recording of Verdi’s Falstaff returns to the catalogue. Recorded ‘live’ at the Philharmonie in Berlin, it boasts a thoroughly imaginative cast and magnificent recorded sound.

Karajan Adagio is the most successful classical collection of all time with nearly 4 million units sold since 1993. It has now been re-engineered, re-titled, and newly compiled for the 21st century.

“Adagio Karajan” was the ORIGINAL CLASSICAL CHILL-OUT ALBUM. Over two-and-a-half hours of the world’s most relaxing music – from the most accomplished conductor of all time. Emphasizing classical music’s unique power in transporting the listener away from the stresses and strains of modern-day living - All over the world, consumers are searching for an escape, and the soothing sounds of “Karajan Adagio” can provide that.

“Adagio” – the literal translation is “at ease”, with a slowness, with a tranquillity, and with a longing – the perfect antidote to the relentless pace of modern global living.