Münchner Philharmoniker


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Brahms: Ein Deutsches Requiem, Op. 45

Brahms: Ein Deutsches Requiem, Op. 45

Christian Thielemann has crafted a performance that places him among the bes tinterpreters of this work, such as Maazel, Furtwängler, Karajan, Klemperer...

The soloists C. Schäfer and C. Gerhaher rank among the best in their voice ranges.

SOUND FORMAT Blu-ray: PCM Stereo, dts-HD MA 5.1


SUBTITLES: English, French, Spanish, German, Korean, Japanese



Released or re-released in last 6 months

Blu-ray Disc

Region: all

C Major - 719904


Normally: $39.25

Special: $35.25

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Brahms: Piano Concerto No. 1 & Handel Variations

Brahms: Piano Concerto No. 1 & Handel Variations


Piano Concerto No. 1 in D minor, Op. 15

Münchner Philharmoniker, Franz-Paul Decker

Variations and Fugue on a Theme by Handel, Op. 24

One of the world's best Brahms interpreters is a native of Argentina: Bruno Leonardo Gelber was a child prodigy who gave his first recital at the age of five. In his mid-20's he performed Brahms's first piano concerto with elemental power and a great feeling for the music's poetic depth. His recording of the famous Handel Variations, with which Brahms paid tribute to the great Baroque master, is unsurpassed to this day.

“This Munich performance is epic and monumental, Olympian in stature. Gelber's technical command is awesome. Exquisite handling and voicing of chords, coupled with judicious use of pedal for tonal colour, all add up to a pretty impressive achievement. The whole reading is classical in approach, rather than what some would term romantic.” MusicWeb International, 11th April 2014

“Gelber convincingly encapsulates the heroic and lyrical aspects of the Brahms D minor. Even more impressive is his architectural control in the Handel Variations.” BBC Music Magazine, July 2014 *****

Warner Classics Red Line - 2564635354



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Beethoven: Symphonies Nos. 7 & 8

Beethoven: Symphonies Nos. 7 & 8


Symphony No. 7 in A major, Op. 92

Symphony No. 8 in F major, Op. 93

EMI Red Line - 2322842



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Sol Gabetta plays Shostakovich and Rachmaninov

Sol Gabetta plays Shostakovich and Rachmaninov


Cello Sonata in G minor, Op. 19

Olga Kern (piano)


Cello Concerto No. 1 in E flat major, Op. 107

Munchner Philharmoniker, Lorin Maazel

Sol Gabetta (cello)

Sony - 88725435752



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Beethoven: Symphonies Nos. 1 & 3

Beethoven: Symphonies Nos. 1 & 3


Symphony No. 1 in C major, Op. 21

Symphony No. 3 in E flat major, Op. 55 'Eroica'

EMI Red Line - 6365552



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Beethoven: Symphonies Nos. 5 & 6

Beethoven: Symphonies Nos. 5 & 6


Symphony No. 5 in C minor, Op. 67

Symphony No. 6 in F major, Op. 68 'Pastoral'

Major documents from Rudolf Kempe's later years at the head of the Munich Philharmonic. Beethoven's Fifth, that masterpiece of emotional tension, and his Sixth, all vivid depiction of nature, are both readings of maturity and perfection.

EMI Red Line - 6023032



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Beethoven: Symphony No. 9 in D minor, Op. 125 'Choral'

Beethoven: Symphony No. 9 in D minor, Op. 125 'Choral'

Urszula Koszut, Brigitte Fassbaender, Nicolai Gedda & Donald McIntyre

Münchner Motettenchor, Philharmonischer Chor & Münchner Philharmoniker, Rudolf Kempe

One of the great documents from conductor Rudolph Kempe's Munich period is this overwhelming version of Beethoven's Ninth with a set of hand-picked soloists, made in 1973, three years before Kempe's death. The pinnacle of a great conducting career with one of the most powerful works in the entire repertoire.

EMI Red Line - 6023022



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Barenboim plays Schumann & Tchaikovsky

Barenboim plays Schumann & Tchaikovsky


Piano Concerto in A minor, Op. 54

Recorded live at Stadthalle Erlangen, 1991


Piano Concerto No. 1 in B flat minor, Op. 23

Recorded live at the Gasteig, Munich, 1991

A new release of the series of Metropolitan Munich programs.

Today Daniel Barenboim is internationally recognized and revered as an orchestral and operatic conductor, pianist, and a musical ambassador and also as a humanitarian. Partnering him is the remarkable conductor Sergiu Celibidache. “He was one of the greatest musicians I ever encountered”, says Barenboim. Sergiu Celibidache has been called a musical giant, a magician, a brilliant lion-tamer and an enfant terrible of classical music. He was a legend in his own lifetime, mesmerizing orchestras audiences and critics with his intensity and brilliance.

Tchaikovsky’s Piano Concerto No.1 is one of the most popular of his compositions and among the best known of all piano concerti. The Schumann concerto is no less influential with its influence heard in Grieg’s Piano Concerto. Both works show Barenboim at his consummate best.

Picture format DVD: NTSC 4:3

Sounds formats DVD: PCM Stereo

Region code: 0

Booklet notes: English, German, French

Runnning time: 81 mins

“These 1991 performances exchange surface excitement for a poetic probing of the music's deeper undercurrents, with spellbinding results. A triumph.” BBC Music Magazine, April 2012 *****

“every bit as compelling as these starry names might suggest. Speeds are generally on the stately side, but the adrenalin count and musical intensity is on such a high setting that I can't imagine anyone even noticing.” International Record Review, June 2012

DVD Video

Region: 0

Format: NTSC

EuroArts - 2066588

(DVD Video)


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R. Strauss: Lieder

R. Strauss: Lieder

Strauss, R:

Ich wollt ein Sträusslein binden, Op. 68 No. 2

Waldseligkeit, Op. 49 No. 1

Das Bächlein, Op. 88 No. 1

Winterweihe, Op. 48 No. 4

Morgen, Op. 27 No. 4

Allerseelen, Op. 10 No. 8

Cäcilie, Op. 27 No. 2

Amor, Op. 68 No. 5

Säusle, Liebe Myrte, Op. 68 No. 3

Freundliche Vision, Op. 48 No. 1

Ständchen, Op. 17 No. 2

Traum durch die Dämmerung, Op. 29 No. 1

Wiegenlied, Op. 41 No. 1

Meinem Kinde, Op. 37 No. 3

Muttertändelei, Op. 43 No. 2

Zueignung, Op. 10 No. 1

Das Rosenband, Op. 36 No. 1

Heimkehr, Op. 15 No. 5

Als mir dein Lied erklang, Op. 68 No. 4

Des Dichters Abendgang, Op. 47 No. 2

An die Nacht, Op. 68 No. 1

Lied der Frauen, Op. 68

“This is a performance of transcendent art” proclaimed Opera News on hearing Diana Damrau’s interpretation of Strauss’ Zerbinetta on her last Virgin Classics album, ‘Coloraturas’. In this collection of Strauss songs, recorded in the composer’s hometown, she is joined by the Munich Philharmonic and Christian Thielemann, the leading German conductor of his generation.

Soprano Diana Damrau, described by The Sunday Times as “the most dazzling star to have emerged from Germany in recent years” was born in Bavaria. The region’s capital, Munich, was the birthplace of Richard Strauss, and in March 2009 a programme of the composer’s songs was presented at the city’s Gasteig Philharmonie, with Damrau accompanied by the Munich Philharmonic Orchestra under its Chief Conductor, Christian Thielemann.

“Strauss loved female voices,” says Damrau, “and he explores some extreme possibilities in these many-layered songs, each with its different point of view. Sensitivity to the words is vital to telling the story of each song, to capturing the rapid changes of mood and all the colours.”

Strauss’ operatic roles for lyric-coloratura soprano, notably Zerbinetta (Ariadne auf Naxos), Aithra (Die Aegyptische Helena) and Sophie (Der Rosenkavalier) have played an important role in Damrau’s career. As Opera News wrote when reviewing her last Virgin Classics album, ‘Coloraturas’: “Zerbinetta … is one of Damrau's calling cards, having served for her stupendous Met debut in 2005. ‘Grossmächtige Prinzessin’ provides every opportunity to dazzle the listener, with stratospheric high notes, staccatos, roulades and trills, as Zerbinetta cajoles, berates and mocks the gloomy Ariadne. Every note and word reveals Damrau's artistry, the result of constantly questioning and probing into the composer's intentions; while the soprano has a knack for concealing or highlighting technical difficulties at will, here just enough self-absorbed delight breaks to the surface that we are as captivated by Zerbinetta's own theatrical skills as by Damrau's vocal athleticism. Damrau/Zerbinetta even seems to be commanding the orchestra's responses to her whimsical, moody outbursts. This is a performance of transcendent art.”

On the new CD, favourites such as ‘Ständchen’, ‘Wiegenlied’, ‘Allerseelen’, ‘Cäcilie’ and ‘Zueignung’ feature alongside more rarely heard numbers, and six tracks recorded under studio conditions now complement the sixteen songs captured live.

“Always there is delicacy and an absolute respect for the silky legato that Strauss demands from his soloist. Damrau finds drama in these songs too...the songs that demand diamond-bright coloratura, runs and trills to affright a Zerbinetta hold no terrors...Thielemann has a very special affinity with singers. He also coaxes some fine playing from the Munich orchestra.” International Record Review, January 2011

“What wins this disc the five stars are the facts that Damrau, singing in her native German, is poised ideally between dreamy haze and Schwarzkopfian fussiness...her hallowed pianissimos allow the exquisite detail Thielemann draws from his Munich players to shine...the ineffable balance between voice and orchestra, subtly assisted by the engineering, is a treat throughout.” BBC Music Magazine, February 2011 *****

“Secure in technique, gifted in projecting drama and emotion, Damrau is a peach of a singer...The haunting music; the lyrical voice; the orchestra’s dappled array, with woodwinds curling like climbing roses and violins wafting with fragrant perfume: poesie indeed, in small doses.” The Times, 28th January 2011 ****

“With a creamy-voiced soprano such as Renée Fleming, say, the results could be an excess of musical cholesterol, but Damrau’s diamantine timbre brings a welcome edge to the mix...She’s the leading Strauss soprano of the day, and her singing here shows exactly why.” Sunday Times, 30th January 2011 ****

“her voice is not ideally voluptuous for Strauss, but she makes up for it by her exceptional musicality, investing every song with meaning, and her clarity of diction. The Munich Philharmonic under Christian Thielemann are splendid partners on a CD that must now be regarded as the best modern introduction to Strauss's songs” Mail on Sunday, 30th January 2011 ****

“Her singing is consistently accurate and expressive. I particularly liked her 'Traum durch die Dämmerung', which caught the atmosphere of a secret tryst perfectly...She joins the group of younger sopranos such as Angelika Kirchschlager and Anne Schwanewilms among the leading lyric Strauss singers of the day.” Sunday Telegraph, 30th January 2011 ****

“she is not merely a fair-weather soprano. Darker shades, more serious tones lie within her expressive scope than one might at first suppose...Familiar songs such as "Ständchen" gain new life with a smiling intimacy of approach in the first verse and an enriched suggestiveness as dusk falls in the third.” Gramophone Magazine, March 2011

“there are performances of such favourites as Morgen, Allerseelen and Wiegenlied, where her hovering, silvery soprano is heard to perfection...Not all the orchestrations are by Strauss: Christian Thielemann and the Munich Philharmonic really bring home just how marvellous his own instrumentation sounds when placed beside that of some of the other composers” The Guardian, 10th February 2011 ****

“When did a German coloratura soprano last handle Richard Strauss’s orchestral songs with such grace and aplomb?...Damrau’s artistry is a combination of vocal noblesse, emotional warmth and instinctive intelligence.” Financial Times, 19th February 2011 ****

“This gloriously romantic collection of orchestral settings of Strauss’s songs... shows [Damrau] at her stunning best. Outstanding tracks include Amor, with its airy, witty coloratura, and a magically slow yet gloriously alive Wiegenlied. The accompaniments, as might be expected from Thielemann’s baton, are quite superb.” The Telegraph, 25th February 2011 *****

“These songs demand a variety of vocal weights and colours, and Damrau seems to have it all...Thielemann and the Munich Phil revel in the rich orchestral colours and can be as light as air when required...Damrau brings effortless technique, beautiful tone and unfailing musical instinct to these songs.” Classic FM Magazine, April 2011 *****

“She has a formidable technique and hits the high notes with pinpoint accuracy. Her dynamic range is equally impressive and in particular her quiet pianissimos allow Strauss’s wonderful orchestration to make telling contributions. She also has a richness and warmth to her tone which gives these songs the necessary sensual and emotional effect.” Chris O'Reilly, Presto Classical, 17th January 2011

GGramophone Awards 2011

Shortlisted - Solo Vocal

BBC Music Magazine

Choral & Song Choice - February 2011

Virgin - 6286640



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Strauss, R: Der Rosenkavalier

Strauss, R: Der Rosenkavalier

Renée Fleming (Marschallin), Franz Hawlata (Baron Ochs), Sophie Koch (Octavian), Diana Damrau (Sophie), Jonas Kaufmann (The Italian Tenor), Franz Grundheber (Faninal), Jane Henschel (Annina)

Munchner Philharmoniker, Christian Thielemann

Renée Fleming performs in a wonderful version of Der Rosenkavalier with an all star cast. Sophie Koch, Diana Damrau, Franz Hawlata, Jonas Kaufmann perform in this Decca release with the Munchner Philharmoniker and Christian Thielemann conducting.

For this filming, Baden-Baden Festival Opera is re-staging the celebrated Herbert Wernicke production, already seen in Salzburg (1995) and Paris (1998) – a stylish pastiche of vast mirrors, Viennese Baroque decorations, Hollywood-esque staircases and early 20th century evening wear.

“[Fleming] speaks volumes with those expressive eyes and floats the trio's opening phrase to perfection...Sophie Koch produces rich, impassioned sounds and makes a convincing boy...Kaufmann [is] handsome and oddly impressive as the Italian tenor” BBC Music Magazine, August 2010 **

“we have Christian Thielemann's immaculately bittersweet conducting and Renée Fleming's Marschallin, sung and acted with superb conviction...Watch out, meanwhile, for Jonas Kaufmann's brief, but sensational appearance as the Italian Tenor.” The Guardian, 11th December 2009 ****

Blu-ray Disc

Region: all

Decca - 0743343



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