Mariss Jansons

Conductor

Mariss Jansons

Jansons was born in Riga, the son of conductor Arvid Jansons. His mother, who was Jewish, gave birth to him in hiding after her father and brother were killed in the Riga ghetto. In 1946, his father won second prize in a national competition and was chosen by Yevgeny Mravinsky to be his assistant at the Leningrad Philharmonic. When his family joined him in 1956, young Jansons entered the Leningrad Conservatory, where he studied piano and conducting, although his father urged him to continue playing violin. In 1969 he continued his training in Vienna with Hans Swarowsky and in Salzburg with Herbert von Karajan.

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Mahler: Symphony No. 9

Mahler: Symphony No. 9

Live-Recording: Munich, Philharmonie im Gasteig, 20./21.10.2016


Gustav Mahler's Ninth Symphony is primarily regarded as the composer’s reaction in the summer of 1908 to the diagnosis of a heart ailment, which he received just before writing the first sketches for the work. Mahler was deeply distraught and cannot have known how few years he still had left to live. His processing and exploration of his life experiences, and of valedictions, the meaning of life, death, salvation, life after death and love, always took place in and through his music. The Ninth Symphony was composed between 1909 and 1910 in Toblach, in a kind of creative frenzy, and was first performed in Vienna on June 26, 1912 by the Vienna Philharmonic, under the baton of Bruno Walter. Mahler had already died on May 18, 1911, and was no longer able to experience the premiere of his last completed work. Willem Mengelberg, the first ardent conductor of the composer’s works, wrote in his score: "Mahler's soul sings its farewell!" Mahler's Ninth Symphony represents the culmination of a development process. The progressive chromaticism and maximum utilization of the tonal are here taken to their limits - and, for the first time, beyond them. Indeed, the two movements that frame the work, in particular, depart from the tonal entirely, pointing clearly to the dawn of a new musical epoch. Alban Berg even called this symphony "the first work of New Music". The Munich concert event of October 2016 is now being released on CD by BR-KLASSIK – it is an outstanding interpretation of one of the most important compositions of the international symphonic repertoire of the early 20th century.

“Mariss Jansons’s Munich Mahler scores highest for warmth, intelligence and emotional centredness.” Classical Ear, 23rd March 2017 ***

“As ever, Mariss Jansons produces an exquisitely moulded performance, with every transition beautifully managed, and every dynamic scrupulously observed. The orchestra plays with refinement.” Daily Telegraph, 25th March 2017 ***

“Mahler’s Ninth is wonderfully rich in nuance in this recording. The playing of the BR-Orchester under Mariss Jansons is filled with emotion, and yet never threatens to let sentimentality gain the upper hand. This has a great deal to do with the thoroughly musical care taken by Jansons, who is never swept away by the symphony’s programme.” FonoForum, April 2017 *****

“Mariss Jansons here directs a memorable live account of Mahler 9, drawing stunning playing of considerable intensity from his Bavarian orchestra. Immaculately prepared, as usual, I admire Jansons’ masterly control of tempo, dynamic and scale. Beautifully recorded too at the Philharmonie, Munich” MusicWeb International, March 2017

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Mariss Jansons conducts Richard Strauss

Mariss Jansons conducts Richard Strauss

The 100th release of BR-KLASSIK Label!


Strauss, R:

Eine Alpensinfonie, Op. 64

Tod und Verklärung, Op. 24


At the age of just fifteen, the budding composer Richard Strauss (1864-1949) lost his way during a summer hike on the Heimgarten in the Bavarian Alps, and ended up in a thunderstorm. The next day, he fantasized about the experience on the piano. - Twenty years later, that memory had matured into a concept describing a one-day hike in the form of a symphonic poem, and in 1915 – a further fifteen years later – Strauss finally completed his masterpiece. The hike begins in the darkness before dawn, and after sunrise the ascent goes through a forest, past a stream and a waterfall, through meadows and pastures, and up to a glacier. The hiker then loses his way, and after several risky moments arrives at the summit, where he also experiences a vision. The weather then suddenly worsens, and the descent is accompanied by heavy rain and fierce thunderstorms. The eventful day - summarized in just sixty minutes of music - ends with a sunset, and darkness returns.

"An Alpine Symphony" is probably Strauss' most famous symphonic poem. Its content is easily understandable, and the work became especially well-known for its gigantic orchestra. The music is far from heavy-handed, however, with many of the passages orchestrated like chamber music. Like a kind of greeting from the Bavarian Alps, as it were, the Symphonieorchester des Bayerischen Rundfunks and its chief conductor Mariss Jansons have placed this masterpiece, and the music of Richard Strauss in general, on the programme of their forthcoming tour of Asia in late 2016. The live recording of “Alpine Symphony” concerts planned for October 2016 in Munich’s Philharmonie im Gasteig is enhanced on this latest CD from BR-KLASSIK by the addition of Strauss’ symphonic poem "Death and Transfiguration", first performed in 1890; the recording here is of concerts performed in Munich in February 2014. – We thus have two very recent interpretations of two of this great German composer’s most important tone poems on one CD.

Live-Recording Munich, Philharmonie im Gasteig 10.2016 (Alpine Symphony); 02.2014 (Death and Tr.)

“The Bavarian Radio Symphony Orchestra bring a burnished, polished sound to every strand of Strauss's kaleidoscopic score, and BR-Klassik's engineering is a marvel of presence, clarity and detail.” Gramophone Magazine, April 2017

“A highly desirable album performed by an orchestra who knows this music so well.” MusicWeb International, 18th January 2017

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Richard Strauss: Don Quixote & Dvorak: Symphony No. 8

Richard Strauss: Don Quixote & Dvorak: Symphony No. 8


Dvorak:

Carnival Overture, Op. 92

Symphony No. 8 in G major, Op. 88

Elizondo:

Danza Latinamericanas

Massenet:

Don Quichotte: Interlude No. 2

Strauss, R:

Don Quixote, Op. 35


Yo-Yo Ma (cello), Wen Xiao Zheng (viola) & Anton Barakhovsky (violin)

Bavarian Radio Symphony Orchestra, Mariss Jansons

Recorded at the Philharmonie am Gasteig, Munich, 2016

As an artist in residence with the Bavarian Radio Symphony Orchestra, the American cellist Yo-Yo Ma had the opportunity to do what is perhaps the second thing he loves the most after playing: sharing his love of music with others.

During his residency, he transformed himself from sensitive teacher to inimitable Bach interpreter to first cello of a major symphony orchestra.

Yo-Yo Ma doesn’t fade away into the music, nor does he take a worshipful attitude towards the pieces he performs. From the moment he walks onto the stage, he exudes charisma that immediately confirms his exceptional status as the 'best cellist in the world'.

With its ten variations on a theme of knightly character for full orchestra, Richard Strauss’ tone poem 'Don Quixote' not only depicts the colorful adventures of Cervantes' chivalrous hero, but also functions as a virtuoso display of glorious solo melodies embedded in stunning orchestral passages. It is, in a way, a second Strauss cello concerto. Joining 'the Don' later is a viola solo that personifies the faithful Sancho Panza and is played by Wen Xiao Zheng.

To those in the know, Jansons’ partnership with the great Munich-based BRSO is one of the most transcendent conductor-orchestra pairings.

Approx. 111 minutes

HD, 5.1 surround sound

DVD Amaray, NTSC Picture format 16 :9

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“It’s the Dvorak that’s the real draw here. The symphony’s rapturous reception – the genuine rapture of an audience bowled over and ablaze with joy – says it all.” Gramophone Magazine, February 2017

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BR-KLASSIK Greatest Moments

BR-KLASSIK Greatest Moments

CD Sampler plus Catalogue 2016


BR Klassik - 900003

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Rhapsody

Rhapsody

Live-Recording, Munich, Herkulessaal, October 2015


Chabrier:

España

Enescu:

Romanian Rhapsody in A major, Op. 11 No. 1

Gershwin:

Rhapsody in Blue

Denis Matsuev (piano)

Liszt:

Hungarian Rhapsody, S244 No. 2 in C sharp minor

Ravel:

Rapsodie Espagnole


This latest CD from BR KLASSIK contains five great rhapsodies, devised and elaborated by very different composers from different regions, with a lot of imagination and local flavour. With his rhapsody "España" the Frenchman Emmanuel Chabrier focused on the Iberian music and folk music so popular at the time, as did his more famous compatriot Maurice Ravel with his "Rhapsodie espagnole", the four-movement structure of which still harks back to long-outdated symphonic forms. From the Hungarian-born Franz Liszt we have the famous "Hungarian Rhapsody" No. 2, and from the Romanian composer George Enescu the scarcely less famous and popular "Romanian Rhapsody". The American George Gershwin created what was probably the most famous example of the genre in the 20th century with his "Rhapsody in Blue" for piano and orchestra… The Symphonieorchester des Bayerischen Rundfunks under their chief conductor Mariss Jansons are a guarantee of outstanding interpretative quality for these large-scale rhapsodic musical works. The Russian pianist Denis Matusev – internationally famous ever since he won the Tchaikovsky Piano Competition in Moscow in 1998 – proves to be a sovereign and stylistically confident interpreter of George Gershwin’s concertante masterpiece, with its numerous jazz elements. The live recording of this concert was made in October 2015 in the Herkulessaal of the Munich Residenz.

“Ravel’s achingly sensuous Rapsodie espagnole receives the finest performance here, infused with infectious warmth that is sensually beguiling.” BBC Music Magazine, December 2016 ****

“[the Ravel] is played with a satisfying balance of exactitude and flair…[the Gershwin is] full of fire and fun, despite the occasional overindulgence” Gramophone Magazine, October 2016

“This disc is a bit of a guilty pleasure.” MusicWeb International, 21st October 2016

BR Klassik - 900146

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Beethoven: Symphonies 1/2/3

Beethoven: Symphonies 1/2/3

Live from Suntory Hall, Tokyo, 2012


Beethoven:

Symphony No. 1 in C major, Op. 21

Symphony No. 2 in D major, Op. 36

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


Individual release from the previously released complete edition (107537).

Ludwig van Beethoven was the first hero of bourgeois musical life. Although Joseph Haydn and Wolfgang Amadeus Mozart had already made the transition from the older feudal and ecclesiastical traditions to the new culture of public concerts, periodicals and amateur music-making, Beethoven was the first composer to see himself as an artist who represented this bourgeois music culture as an individual, rather than simply supplying music for it, as composers had previously done for the church or the aristocracy.

Beethoven‘s first three symphonies can be seen as experiments in the heroic style. What is intimated in the First Symphony (1800) in a new firmness of musical tone and the replacement of dancelike, elegantly fl owing intonations by scherzo and march, takes on more concrete form in the Second Symphony (1803). This is a monumental symphony – a fact that escapes today’s listeners for the simple reason that it was followed by the Third, which is even more expansive in its design. This Third Symphony (1805), called “Eroica”, is approximately twice as long as any symphony by Haydn and one of most popular orchestral works by Beethoven.

Special Feature: Mariss Jansons rehearses Beethoven (Bonus film, 44 mins)

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Mariss Jansons conducts Dvorak & Suk

Mariss Jansons conducts Dvorak & Suk


Dvorak:

Symphony No. 8 in G major, Op. 88

Live Recording, Munich, Gasteig, Philharmonie 29. – 30.01.2016

Carnival Overture, Op. 92

Live Recording, Munich, Gasteig, Philharmonie 29. – 30.01.2016

Suk:

Serenade for String Orchestra in E flat, Op. 6

Studio Recording, Munich, 25.01.2016


Dvořák's lyrical and cheerful Eighth Symphony, which premiered successfully in Prague on February 2, 1890, is one of the famous Bohemian composer's most often-played works. He succeeded here "in writing a work different from my other symphonies, with individual thoughts elaborated in a new way". Every movement and every melody in this music reflects the fact that it was wholly inspired by the landscape of Bohemia. Dvořák's close familiarity with and love of Slavonic folk music can be clearly heard, as can his deep preoccupation with the symphonies of Tchaikovsky: the rhapsodic Adagio and the waltz-like Scherzo, for example, in their melodic inventiveness as well as their formal structure, are both highly reminiscent of the famous Russian composer. – Alongside Dvořák's much-performed Ninth Symphony, his Eighth is a further masterpiece of late 19th-century instrumental music. Josef Suk's Serenade for Strings of 1892 is far more than a mere time-filler on this CD. The first successful composition by this budding Czech composer – who was Dvořák's pupil and son-in-law – is audibly influenced by the musical and aesthetic ideas of his teacher and mentor, but is also a highly individual work in its own right and an important example of the genre. In the recordings of the two concerts performed in the Philharmonie im Gasteig on January 29 and 30, 2016, the Symphonieorchester des Bayerischen Rundfunks under Mariss Jansons successfully demonstrated that Dvořák's traditional yet visionary symphonic writing continues to retain all its validity today: the interpretation is sensitive, dynamic and majestic. Suk's Serenade for Strings was recorded in a studio only a few days beforehand.

Exciting live atmosphere (Dvořák) combined with a studio production (Suk).

Programme contains important works of late 19th-century Czech instrumental music.

Recording of a concert that took place as recently as January 29 and 30, 2016 together with a studio production on January 25, 2016

The Symphonieorchester des Bayerischen Rundfunks under its chief conductor Mariss Jansons, regularly praised for his special sensitivity where Slavonic music is concerned.

“Tempi are relaxed and phrases are lovingly caressed, dabbed with generous applications of rubato…another virtue is the sheer beauty of the Bavarian Radio Symphony Orchestra’s playing, not only in terms of tonal refinement but internal balance” Gramophone Magazine, July 2016

BR Klassik - 900145

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New Year's Concert 2016

New Year's Concert 2016


Hellmesberger:

Ball Scene

Stolz, R:

Uno-Marsch

Strauss, E:

Mit Extrapost, Op. 259

Ausser Rand und Band - Polka schnell, Op. 168

Strauss, J, I:

Seufzer Galopp, Op. 9

Strauss, J, II:

Schatz-Walzer, Op. 418

Violetta, Op. 404

Vergnügungszug, Op. 281

Eine Nacht in Venedig Overture

Sängerlust (Joy Of Singing), Op. 328

Fürstin Ninetta (Princess Ninetta): Entr'acte

Kaiser-Walzer, Op. 437

Auf der Jagd, Op. 373

Strauss, Josef:

Sphärenklänge, Op. 235

Auf Ferienreisen - Polka schnell, Op. 133

Die Libelle - Polka mazur, Op. 204

Waldteufel:

Espana, Op. 236

Ziehrer:

Weaner Mad'ln, Walzer, Op. 388


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 equalled. 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.

Mariss Jansons ranks among the outstanding podium personalities of our time. He has been the Chief Conductor of the Chor und Symphonieorchester des Bayerischen Rundfunks since 2003. After several exceptionally successful seasons, his contract was prolonged until 2018. Until recently he was also the chief conductor of the Koninklijk Concertgebouworkest in Amsterdam (2004-2015) and held both prestigious positions of a chief conductor at both orchestras. Both ensembles made the top 10 in a 2008 Gramophone list of the world's top 20 orchestras.

“Here is music and music-making in which elegance, dash and lightness of spirit sit side by side with pools of emotional quiet which can haunt the mind for days to come.” Gramophone Magazine, March 2016

GGramophone Magazine

Editor's Choice - March 2016

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New Year's Concert 2016

New Year's Concert 2016


Hellmesberger:

Ball Scene

Stolz, R:

Uno-Marsch

Strauss, E:

Mit Extrapost, Op. 259

Ausser Rand und Band - Polka schnell, Op. 168

Strauss, J, I:

Seufzer Galopp, Op. 9

Strauss, J, II:

Schatz-Walzer, Op. 418

Violetta, Op. 404

Vergnügungszug, Op. 281

Eine Nacht in Venedig Overture

Sängerlust (Joy Of Singing), Op. 328

Fürstin Ninetta (Princess Ninetta): Entr'acte

Kaiser-Walzer, Op. 437

Auf der Jagd, Op. 373

Strauss, Josef:

Sphärenklänge, Op. 235

Auf Ferienreisen - Polka schnell, Op. 133

Die Libelle - Polka mazur, Op. 204

Waldteufel:

Espana, Op. 236

Ziehrer:

Weaner Mad'ln, Walzer, Op. 388


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 equalled. 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.

Mariss Jansons ranks among the outstanding podium personalities of our time. He has been the Chief Conductor of the Chor und Symphonieorchester des Bayerischen Rundfunks since 2003. After several exceptionally successful seasons, his contract was prolonged until 2018. Until recently he was also the chief conductor of the Koninklijk Concertgebouworkest in Amsterdam (2004-2015) and held both prestigious positions of a chief conductor at both orchestras. Both ensembles made the top 10 in a 2008 Gramophone list of the world's top 20 orchestras.

“Here is music and music-making in which elegance, dash and lightness of spirit sit side by side with pools of emotional quiet which can haunt the mind for days to come.” Gramophone Magazine, March 2016

GGramophone Magazine

Editor's Choice - March 2016

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New Year's Concert 2016

New Year's Concert 2016


Hellmesberger:

Ball Scene

Stolz, R:

Uno-Marsch

Strauss, E:

Mit Extrapost, Op. 259

Strauss, J, I:

Seufzer Galopp, Op. 9

Strauss, J, II:

Schatz-Walzer, Op. 418

Violetta, Op. 404

Vergnügungszug, Op. 281

Eine Nacht in Venedig Overture

Sängerlust (Joy Of Singing), Op. 328

Fürstin Ninetta (Princess Ninetta): Entr'acte

Kaiser-Walzer, Op. 437

Auf der Jagd, Op. 373

Strauss, Josef:

Sphärenklänge, Op. 235

Auf Ferienreisen - Polka schnell, Op. 133

Die Libelle - Polka mazur, Op. 204

Waldteufel:

Espana, Op. 236

Ziehrer:

Weaner Mad'ln, Walzer, Op. 388


The New Year’s Concert live from Vienna is one of the world’s most famous and spectacular classical music events. It will be broadcast on TV and radio and reaches over 90 countries around the world with more than 40 million viewers. The live recordings from this event with works from the Strauss dynasty and their contemporaries are among the classical market's most important releases. After widely acclaimed New Years Concerts in 2006 and 2012, world-class conductor Mariss Jansons returns for the third time. He belongs to the circle of conductors with whom the Vienna Philharmonic feels a special bond and collaborates regularly.Mariss Jansons ranks among the outstanding podium personalities of our time. He has been the Chief Conductor of the Chor und Symphonieorchester des Bayerischen Rundfunks since 2003. After several exceptionally successful seasons, his contract was prolonged until 2018. Until recently he was also the chief conductor of the Koninklijk Concertgebouworkest in Amsterdam (2004-2015) and held both prestigious positions of a chief conductor at both orchestras. Both ensembles made the top 10 in a 2008 Gramophone list of the world's top 20 orchestras. Marketing activity. DVD & Blu-Ray formats released laer in January.

“Here is music and music-making in which elegance, dash and lightness of spirit sit side by side with pools of emotional quiet which can haunt the mind for days to come” Gramophone Magazine, March 2016

GGramophone Magazine

Editor's Choice - March 2016

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