Wiener Philharmoniker

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Schmidt: Symphony No. 2 & Strauss: Dreaming by the Fireside

Schmidt: Symphony No. 2 & Strauss: Dreaming by the Fireside


Schmidt, F:

Symphony No. 2 in E flat major

Strauss, R:

Träumerei am Kamin (from Intermezzo)


Franz Schmidt was a cellist of the Vienna Philharmonic Orchestra himself and he allowed the orchestra to premiere his symphony in 1913, which since then belongs in the orchestra’s main repertoire.

With Semyon Bychkov, they are a proven team to champion Schmidt’s Symphony…

The second symphony is the most brilliant and extroverted one with the largest instrumentation.

The Strauss ‘Dreaming by the Fireside’ is a famous intermezzo from the same-named opera by Strauss.

On this album, the work is performed by The Strauss Orchestra.

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Mahler: Das Lied von der Erde

Mahler: Das Lied von der Erde


Read Presto's complete review of this disc here.

Mahler’s masterpiece is subtitled as - A Symphony for Tenor and Alto (or Baritone) – and therefore traditionally two voices have sung the six movements of the work. However Jonas Kaufmann feels differently about this and wanted to sing both parts himself. In June this year he joined the Wiener Philharmoniker and conductor Jonathan Nott in a special concert in the Goldener Saal at the Musikverein in Vienna whereby he sang the entire work himself.

“Kaufmann certainly has the “baritonal” low notes to justify his decision, and the ringing tenorial top...Kaufmann is more rewarding in the “baritone” songs, his eloquent diction always a pleasure, and with the nuance and sensibility of a great lieder singer...Not perfection, but this is a must-hear for Mahlerians.” Sunday Times, 3rd April 2017

“played with shimmering detail by the Vienna Philharmonic...As expected, Kaufmann is glorious in the tenor songs. In those for lower voice he sings with the same, unaffected sensitivity...An interesting, one-off experiment.” Financial Times ***

“It’s actually the songs usually assigned to the contralto/baritone that come off best. Once I’d got my initial inevitable ‘Can he?’s and ‘Should he?’s out of the way, though, vocal technicalities weren’t really at the forefront of my mind: my overwhelming impression is of how well the orchestration and the texts suit Kaufmann, who's always at his best when pouring out angry frustration at full throttle, or ruminating on dark nights of the soul.” Katherine Cooper, Presto Classical, 7th April 2017

“his beautifully recorded version taken from live performances at Vienna’s Musikverein has a great deal to offer, not least of which are Kaufmann’s textual insights, and the revelatory qualities of Jonathan Nott’s interrogation of Mahler’s orchestrations...Kaufmann is able to caress and float phrases at will, and enter into the composer’s more melancholy reflections at his leisure.” Limelight Magazine, 7th April 2017 ****

Presto Disc of the Week

7th April 2017

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Tchaikovsky: Symphony No. 6, Manfred Symphony, Romeo and Juliet & Capriccio italien

Tchaikovsky: Symphony No. 6, Manfred Symphony, Romeo and Juliet & Capriccio italien


Tchaikovsky:

Symphony No. 6 in B minor, Op. 74 'Pathétique'

Wiener Philharmoniker, Claudio Abbado

Romeo & Juliet - Fantasy Overture

Boston Symphony Orchestra, Claudio Abbado

Capriccio italien, Op. 45

Berliner Philharmoniker, Ferdinand Leitner

Manfred Symphony, Op. 58

London Symphony Orchestra, Yuri Ahronovitch


A collection of all of Tchaikovsky’s symphonies and ballet suites from the rich archives of Deutsche Grammophon.

All the performances have been justifiably critically appraised. This volume includes Tchaikovsky’s final symphony, the ‘Pathétique’ and the tone poem Romeo and Juliet – both recorded by Claudio Abbado in the early 1970s – as well as a rare recording of the Manfred Symphony by Yuri Ahronovitch and Ferdinand Leitner’s bright 1959 account of the Capriccio italien.

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Tchaikovsky: Symphonies Nos. 1, 2 & 4 & Nutcracker Suite

Tchaikovsky: Symphonies Nos. 1, 2 & 4 & Nutcracker Suite


Tchaikovsky:

Symphony No. 1 in G minor, Op. 13 'Winter Daydreams'

Boston Symphony Orchestra, Michael Tilson Thomas

The Nutcracker Suite, Op. 71a

Berliner Philharmoniker, Ferdinand Leitner

Symphony No. 2 in C minor, Op. 17 'Little Russian'

New Philharmonia Orchestra, Claudio Abbado

Symphony No. 4 in F minor, Op. 36

Wiener Philharmoniker, Claudio Abbado


A collection of all of Tchaikovsky’s symphonies and ballet suites from the rich archives of Deutsche Grammophon.

All the performances have been justifiably critically appraised. This volume includes First, Second and Fourth Symphonies, the latter two with Abbado, and the First in Michael Tilson Thomas’s suave, fairy-lights recording with the Boston Symphony Orchestra. ‘Michael Tilson Thomas’s way with it yields a performance of grace and elegance, and the orchestra follows his lead with verve and finesse’ wrote Michael Steinberg for the recording’s first CD reissue on Deutsche Grammophon’s venerated ‘Originals’ series.

“The New Philharmonia play with precision and polish … and on recording quality this DGG version […] is clearly the smoothest and most faithful” Gramophone Magazine, February 1970 (Symphony No. 2)

“The Boston orchestra plays the symphony most beautifully” Gramophone Magazine, June 1971 (Symphony No. 1)

“There is no doubt that Michael Tilson Thomas’s approach matches Tchaikovsky’s sub-title. The freshness of the opening […] is matched by the poetic feeling of the slow movement, the opening superbly atmospheric. As shaped by Thomas the main tune shows a haunting Russian melancholy which catches the music’s spirit to great effect” Penguin Guide, 1977 (Symphony No. 1)

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Beethoven: Violin Concerto

Beethoven: Violin Concerto


Beethoven:

Violin Concerto in D major, Op. 61

Wiener Philharmoniker, George Szell

Violin Sonata No. 9 in A major, Op. 47 ‘Kreutzer'

Ignaz Friedman (piano)


Bronislaw Huberman (violin)

“You simply have to hear Huberman’s recording,” wrote Gramophone of this incandescent 1934 interpretation of Beethoven’s Violin Concerto. At the age of 14 Huberman, born in Poland in 1882, had dazzled Brahms with his playing. The prodigy went on to become both a towering violinist and a committed humanitarian activist, rescuing musicians from Nazi Germany to form the future Israel Philharmonic Orchestra. Completing this newly remastered Beethoven disc, Huberman is partnered in the Kreutzer Sonata by another legendary Polish-born musician, Ignaz Friedman.

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Warner Classics Original Jacket Reissues - 9029589516

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2017 New Year's Concert

2017 New Year's Concert


Lehár:

Wiener Frauen: Nechledil Marsch

Nicolai, C O:

Die lustigen Weiber von Windsor: Mondchor ('O süßer Mond')

Wiener Sängerknaben

Strauss, E:

Mit Vergnügen! (With Pleasure), Op. 228

encore

Strauss, J, I:

Indianer-Galopp (Indian Galop), Op. 111

Radetsky March, Op. 228

encore

Strauss, J, II:

Es gibt nur a Kaiserstadt, 's gibt nur a Wien, Polka, Op. 291

Mephisto's Hollenrufe, Waltz, Op. 101

So ängstlich sind wir nicht! - Polka, Op. 413

Pepita-Polka, Op. 138

Rotunde-Quadrille, Op. 360

Die Extravaganten, Op. 205

Auf zum Tanze! Polka schnell, Op. 436

Tausendundeine Nacht, Op. 346: Walzer nach Motiven der Operette

Tik-Tak Polka, Op. 365

An der schönen, blauen Donau, Op. 314

encore

Strauss, Josef:

Winterlust, Op. 121

Die Nasswalderin, polka Op. 267

Suppe:

Pique Dame Overture

Waldteufel:

Les Patineurs - Valse, Op. 183

Ziehrer:

Hereinspaziert


As a brand name, the Vienna New Year’s Concert can trace back its origins to 31 December 1939. In other words, the concert initially took place on the last day of the year. By 1941, however, it was being held on 1 January, when the Vienna Philharmonic established a tradition that continues to flourish to this day.

The list of names of leading conductors who have led the Vienna Philharmonic’s New Year’s Concerts reads like a veritable Who’s Who of great maestros: including Herbert von Karajan, Lorin Maazel, Claudio Abbado, Carlos Kleiber, Zubin Mehta, Riccardo Muti, Nikolaus Harnoncourt, Seiji Ozawa, Mariss Jansons, and Franz Welser-Möst.

It is not least thanks to this illustrious succession of great conductors that the Vienna New Year’s Concert remains unique, ushering in the New Year in a way that has often been imitated but never equaled. Its universal popularity is undoubtedly due to the direct – or deferred – live broadcast from the flower-filled Golden Hall of the Vienna Musikverein. The first broadcast went out on Eurovision in 1959, the first colour relay in 1967. Now the concert is shown in countries throughout almost the entire world.

It continues to be works by members of the Strauss family – Johann Strauss Father and Son as well as Eduard and Josef Strauss – that are central to this media event. Old favourites from their output are heard alongside others that have never been recorded or are only rarely heard; all of them programmed around two fixed points in the concert: the Blue Danube Waltz and the Radetzky March.

Gustavo Dudamel's skillful conducting and dedication to music drew international attention while he was just in his twenties and continues to attract diverse audiences throughout the world.

Dudamel began violin lessons at the age of 10 in Venezuela's El Sistema music programme and then began studying conducting in 1995 with Rodolfo Saglimbeni. In 1999 he was named music director of the programe's Simón Bolívar Youth Orchestra, studying with El Sistema's founder, José Antonio Abreu. Just five years later, Dudamel won the inaugural Bamberger Symphoniker Gustav Mahler Competition, and became a highly sought-after orchestral and opera conductor, working with such ensembles as the Chicago Symphony, the New York Philharmonic, the City of Birmingham Symphony, the Israel Philharmonic, and the Dresden Staatskapelle. In 2007, he became music director of the Gothenburg Symphony, with which he remained until 2012. That same year, Dudamel was the first conductor under the age of 30 in many years to be appointed to a major orchestra when he was named music director of the Los Angeles Philharmonic beginning with the 2009-2010 season. Dudamel's position with the LA Philharmonic was extended through its 100th anniversary season.

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2017 New Year's Concert

2017 New Year's Concert


Lehár:

Wiener Frauen: Nechledil Marsch

Nicolai, C O:

Die lustigen Weiber von Windsor: Mondchor ('O süßer Mond')

Wiener Sängerknaben

Strauss, E:

Mit Vergnügen! (With Pleasure), Op. 228

encore

Strauss, J, I:

Indianer-Galopp (Indian Galop), Op. 111

Radetsky March, Op. 228

encore

Strauss, J, II:

Es gibt nur a Kaiserstadt, 's gibt nur a Wien, Polka, Op. 291

Mephisto's Hollenrufe, Waltz, Op. 101

So ängstlich sind wir nicht! - Polka, Op. 413

Pepita-Polka, Op. 138

Rotunde-Quadrille, Op. 360

Die Extravaganten, Op. 205

Auf zum Tanze! Polka schnell, Op. 436

Tausendundeine Nacht, Op. 346: Walzer nach Motiven der Operette

Tik-Tak Polka, Op. 365

An der schönen, blauen Donau, Op. 314

encore

Strauss, Josef:

Winterlust, Op. 121

Die Nasswalderin, polka Op. 267

Suppe:

Pique Dame Overture

Waldteufel:

Les Patineurs - Valse, Op. 183

Ziehrer:

Hereinspaziert


As a brand name, the Vienna New Year’s Concert can trace back its origins to 31 December 1939. In other words, the concert initially took place on the last day of the year. By 1941, however, it was being held on 1 January, when the Vienna Philharmonic established a tradition that continues to flourish to this day.

The list of names of leading conductors who have led the Vienna Philharmonic’s New Year’s Concerts reads like a veritable Who’s Who of great maestros: including Herbert von Karajan, Lorin Maazel, Claudio Abbado, Carlos Kleiber, Zubin Mehta, Riccardo Muti, Nikolaus Harnoncourt, Seiji Ozawa, Mariss Jansons, and Franz Welser-Möst.

It is not least thanks to this illustrious succession of great conductors that the Vienna New Year’s Concert remains unique, ushering in the New Year in a way that has often been imitated but never equaled. Its universal popularity is undoubtedly due to the direct – or deferred – live broadcast from the flower-filled Golden Hall of the Vienna Musikverein. The first broadcast went out on Eurovision in 1959, the first colour relay in 1967. Now the concert is shown in countries throughout almost the entire world.

It continues to be works by members of the Strauss family – Johann Strauss Father and Son as well as Eduard and Josef Strauss – that are central to this media event. Old favourites from their output are heard alongside others that have never been recorded or are only rarely heard; all of them programmed around two fixed points in the concert: the Blue Danube Waltz and the Radetzky March.

Gustavo Dudamel's skillful conducting and dedication to music drew international attention while he was just in his twenties and continues to attract diverse audiences throughout the world.

Dudamel began violin lessons at the age of 10 in Venezuela's El Sistema music programme and then began studying conducting in 1995 with Rodolfo Saglimbeni. In 1999 he was named music director of the programe's Simón Bolívar Youth Orchestra, studying with El Sistema's founder, José Antonio Abreu. Just five years later, Dudamel won the inaugural Bamberger Symphoniker Gustav Mahler Competition, and became a highly sought-after orchestral and opera conductor, working with such ensembles as the Chicago Symphony, the New York Philharmonic, the City of Birmingham Symphony, the Israel Philharmonic, and the Dresden Staatskapelle. In 2007, he became music director of the Gothenburg Symphony, with which he remained until 2012. That same year, Dudamel was the first conductor under the age of 30 in many years to be appointed to a major orchestra when he was named music director of the Los Angeles Philharmonic beginning with the 2009-2010 season. Dudamel's position with the LA Philharmonic was extended through its 100th anniversary season.

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2017 New Year's Concert

2017 New Year's Concert


Lehár:

Wiener Frauen: Nechledil Marsch

Nicolai, C O:

Die lustigen Weiber von Windsor: Mondchor ('O süßer Mond')

Wiener Sängerknaben

Strauss, E:

Mit Vergnügen! (With Pleasure), Op. 228

encore

Strauss, J, I:

Indianer-Galopp (Indian Galop), Op. 111

Radetsky March, Op. 228

encore

Strauss, J, II:

Es gibt nur a Kaiserstadt, 's gibt nur a Wien, Polka, Op. 291

Mephisto's Hollenrufe, Waltz, Op. 101

So ängstlich sind wir nicht! - Polka, Op. 413

Pepita-Polka, Op. 138

Rotunde-Quadrille, Op. 360

Die Extravaganten, Op. 205

Auf zum Tanze! Polka schnell, Op. 436

Tausendundeine Nacht, Op. 346: Walzer nach Motiven der Operette

Tik-Tak Polka, Op. 365

An der schönen, blauen Donau, Op. 314

encore

Strauss, Josef:

Winterlust, Op. 121

Die Nasswalderin, polka Op. 267

Suppe:

Pique Dame Overture

Waldteufel:

Les Patineurs - Valse, Op. 183

Ziehrer:

Hereinspaziert


As a brand name, the Vienna New Year’s Concert can trace back its origins to 31 December 1939. In other words, the concert initially took place on the last day of the year. By 1941, however, it was being held on 1 January, when the Vienna Philharmonic established a tradition that continues to flourish to this day.

The list of names of leading conductors who have led the Vienna Philharmonic’s New Year’s Concerts reads like a veritable Who’s Who of great maestros: including Herbert von Karajan, Lorin Maazel, Claudio Abbado, Carlos Kleiber, Zubin Mehta, Riccardo Muti, Nikolaus Harnoncourt, Seiji Ozawa, Mariss Jansons, and Franz Welser-Möst.

It is not least thanks to this illustrious succession of great conductors that the Vienna New Year’s Concert remains unique, ushering in the New Year in a way that has often been imitated but never equaled. Its universal popularity is undoubtedly due to the direct – or deferred – live broadcast from the flower-filled Golden Hall of the Vienna Musikverein. The first broadcast went out on Eurovision in 1959, the first colour relay in 1967. Now the concert is shown in countries throughout almost the entire world.

It continues to be works by members of the Strauss family – Johann Strauss Father and Son as well as Eduard and Josef Strauss – that are central to this media event. Old favourites from their output are heard alongside others that have never been recorded or are only rarely heard; all of them programmed around two fixed points in the concert: the Blue Danube Waltz and the Radetzky March.

Gustavo Dudamel's skillful conducting and dedication to music drew international attention while he was just in his twenties and continues to attract diverse audiences throughout the world.

Dudamel began violin lessons at the age of 10 in Venezuela's El Sistema music programme and then began studying conducting in 1995 with Rodolfo Saglimbeni. In 1999 he was named music director of the programe's Simón Bolívar Youth Orchestra, studying with El Sistema's founder, José Antonio Abreu. Just five years later, Dudamel won the inaugural Bamberger Symphoniker Gustav Mahler Competition, and became a highly sought-after orchestral and opera conductor, working with such ensembles as the Chicago Symphony, the New York Philharmonic, the City of Birmingham Symphony, the Israel Philharmonic, and the Dresden Staatskapelle. In 2007, he became music director of the Gothenburg Symphony, with which he remained until 2012. That same year, Dudamel was the first conductor under the age of 30 in many years to be appointed to a major orchestra when he was named music director of the Los Angeles Philharmonic beginning with the 2009-2010 season. Dudamel's position with the LA Philharmonic was extended through its 100th anniversary season.

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Mozart: Requiem in D minor, K626

Mozart: Requiem in D minor, K626

Completed by Franz Xaver Süssmayr


Werner Pech (treble), Hans Breitschopf (alto), Walther Ludwig (tenor) & Harald Pröglhöf (bass)

Wiener Hofmusikkapelle & Wiener Philharmoniker, Josef Krips

FIRST INTERNATIONAL RELEASE ON CD

The version of Mozart’s Requiem most frequently performed today – and heard on this recording – is Süssmayr’s completion. Many have labelled his edition as a rushed, student effort (his own opera, Moses, was postponed due to his working on the Requiem), while others believe that no new edition or reworking, irrespective of how learned the scholar or composer, could ever replace the contemporaneous expressions inherit in Süssmayr’s score.

What is, however, unusual, is this 1950 recording with the Wiener Philharmoniker under Josef Krips, receiving its first international release on CD. It is of particular interest because of the employment of young Warner Pech and Hans Breitschopf – treble and alto respectively – in place of the usual soprano and mezzo soloists. Along with the Wiener Hofmusikkapelle, this all-male recording incorporates a compelling peculiarity to an already intriguing masterpiece.

“This really is a performance in church, so to speak, and it is wholly free from operatic vices … The intimate note is struck at the outset … The soft end of Rex tremendae is most moving … The sotto voce singing of sopranos and altos in the quiet portions of Confutatis are angelically beautiful … and [this recording contains] a great deal of magical sound.” Gramophone Magazine, January 1951

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Mussorgsky: Pictures at an Exhibition

Mussorgsky: Pictures at an Exhibition


Mussorgsky:

Pictures at an Exhibition

orch. Ravel

A Night on the Bare Mountain

Tchaikovsky:

Waltz from Swan Lake


Celebrating ten years as an exclusive recording artist on Deutsche Grammophon, Gustavo Dudamel's career has evolved from Venezuelan Wunderkind to one of the world's most distinguished and sought-after Maestros.

His upcoming recording, made in company with the Wiener Philharmoniker at Vienna’s Musikverein in April 2016, is an all-Russian album – it couples two works by Mussorgsky, Pictures at an Exhibition, in Ravel’s magnificent orchestration, and A Night on Bald Mountain, with the famous Waltz from Tchaikovsky’s Swan Lake. The Viennese waltz kings and Dudamel gives this perennial ballet highlight a fresh, vibrant new reading - a perfect introduction to the festive season.

Pictures at an Exhibition is one of music's most transcribed, arranged and covered pieces, a musical touchstone, inspiration to many artists and cited in popular culture on television, in film, and in video games. The brief, episodic structure of these works makes them ideally-suited for streaming and digital campaigns.

While making the album, Dudamel and members of the orchestra participated in workshops alongside young people involved in the El Sistema-inspired Superar programme. Founded in 2009 and named for the Spanish word for “overcome”, it is based in Vienna’s diverse 10th District and offers free music lessons to children. For the “Pictures Project” Mussorgsky’s work prompted a group of young people from Superar to take their instruments onto the streets, share their music-making with the local community and document the results on camera.

Images from their musical “Pictures”, selected by the highly respected Vienna-based photographer Claudia Prieler, were exhibited as part of the press event in Salzburg last week, where Gustavo Dudamel, members of the Wiener Philharmoniker and the Simón Bolívar Symphony Orchestra of Venezuela, and children from Superar met at Salzburg’s historic Hotel Sacher to launch the album.

“Dudamel conjures up an equally fine performance of this orchestral showpiece from the Vienna Philharmonic…this performance seems more measured, taking full account of the Vienna Philharmonic’s rich wind and brass timbres, captured here with splendid immediacy in the Musikverein” BBC Music Magazine, March 2017 ****

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DG - 94796297

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