Gustav Mahler

In more recent years, every Abbado recording has been an event, something special – whether his Mahler symphonies with Berlin, or the Mozart, Bach and Pergolesi projects with “his” Orchestra Mozart. And, of course, as a sponsor and champion of new orchestras he is unrivalled – not least with his most recent creations, the Lucerne Festival Orchestra and the Orchestra Mozart.

THE SYMPHONY EDITION – OVERVIEW

His Grand-Old-Man status assured Abbado remains a modest, unassuming but tenaciously demanding orchestral leader. Now, to celebrate the maestro’s reaching his 80th year, we have prepared an ambitious Symphony Edition as a birthday tribute:

• Limited-edition 41-CD box set

• Complete recordings of eight great symphonists – Mozart (with Orchestra Mozart), Haydn, Beethoven (with Berliner Philharmoniker), Schubert, Mendelssohn, Brahms, Bruckner and Mahler (with Berliner Phliharmoniker and Lucerne festival Orchestra)

• Featuring seven of the orchestras with whom Abbado is most closely associated (Orchestra Mozart, Chamber Orchestra of Europe, London Symphony, Berliner Philharmoniker, Wiener Philharmoniker, Mahler Chamber Orchestra and Lucerne Festival Orchestra)

• Complete symphonic cycles of Beethoven, Schubert, Mendelssohn, Brahms and Mahler (see attachment for complete track list).

• All recordings have been personally selected by Claudio Abbado

IN PARTICULAR…

• Bruckner’s First Symphony – a special “addition”: at Abbado’s request, we have licensed a live recording of Bruckner’s First Symphony with the Lucerne Festival Orchestra, being released here for the first time anywhere.

• He had previously recorded the first version (the “Linz” version, 1866) of the Symphony with the Wiener Philharmoniker, but has since discovered and championed the later expanded “Vienna” version (carried out by Bruckner in 1890–91) – a not uncontroversial step!

• Is this such a big deal? Anyone who has heard performances of the symphony that Abbado has given with the orchestra on tour in recent months will know that this is an electrifying account, one that changes the way we should regard the work. It’s the first CD to go for in the Edition (and will be offered as advance music)!

• In sum, a superb addition to the Symphony Edition, and to Abbado’s discogaphy (also to be released in a separate Bruckner box later).

• Parallel to this Edition, Decca is releasing a 7-CD set of the early Abbado recordings on Decca

PACKAGING

• The attractive cube features four striking, dynamic portraits of Abbado from the 1970s to the present day.

• The 96-page four-language booklet has an interview with Abbado by journalist Julia Spinola (formerly of the Frankfürter Allgemeine) plus many photos.

Originally planned as an 85th birthday tribute, this set documents over 3 decades of exceptional artistry by the Sir Colin Davis, one of the musical pillars of the Philips label (now part of Decca Classics), who died Sunday 14th April 2013. He was a musician of incomparable integrity and class.

After signing to Philips exclusively in the mid-1960s, over more than three decades he then produced work for the label of the highest quality and range:-

• the first (and still greatest) Berlioz cycle

• pioneering Tippett,

• superb Haydn and Mozart,

• plus top-ranking Sibelius, Beethoven, Stravinsky, Dvorak and Britten, and much else.

His many recording orchestras included the English Chamber Orchestra, London Symphony, BBC Symphony, Royal Opera House, Royal Concertgebouw, Boston Symphony, Bavarian Radio and Dresden Staatskapelle, as well as the Berlin and Vienna Philharmonics.

His great Philips collaborators on disc include Stephen Kovacevich, Kiri Te Kanawa, Jon Vickers, José Carreras, Jessye Norman, Arthur Grumiaux and Claudio Arrau.

An extraordinary number of his recordings have achieved legendary status and are enduring staples of the catalogue. This set balances all his most important musical spheres as well as many of his most important artistic relationships with soloists, orchestras and opera houses around the world.

The booklet notes are in English, French and German with an excellent appreciation of his work for Philips by Jeremy Hayes.

39 CD-box with recordings of Bruno Walter’s later years in a high quality LP-sized box.

32 page LP-sized booklet with elaborate liner notes in German and English.

This box set contains the complete symphonies of Beethoven and Brahms, the later symphonies of Mozart, symphonies of Mahler and Bruckner, CDs with rehearsals and many more.

The German born conductor Bruno Walter (1876-1962) was known primarily for his interpretations of the Viennese school. Though out of step with 20th century trends he was such a fine musician that he became a major figure - filling the wide gulf between the extremes of his day - Arturo Toscanini and Wilhelm Furtwängler.

He was an associate of Gustav Mahler and a long and faithful proponent and interpreter of Mahler's music.

He conducted the world premieres of “Das Lied von der Erde” (1911) and the “Symphony No. 9” (1912).

In 1925, he helped institute the Salzburg Festival and was named musical director of the Berlin Staatsoper. In 1929, Walter had a falling out with the Berlin opera management and departed to succeed Wilhelm Furtwängler at the Leipzig Gewandhaus.

In 1933 he left Germany when the Nazis came to power and went to Austria and from there in 1938 to France. Walter finally left Europe in 1939 and settled in the United States where he already had a strong following. He built up a reputation as a respected conductor under whom musicians enjoyed working. Amongst other orchestras, he frequently conducted the New York Philharmonic.

In 1957 a West Coast recording ensemble named Columbia Symphony Orchestra was specially put together for Walter to produce new recordings of famous works by Bruckner and Mahler in stereo.

EMI Classics is pleased to release the 10th annual 3CD set of highlights from the Progetto Martha Argerich in Lugano, “the delightful festival where youth meets experience and both benefit” (Gramophone). The Times described Argerich’s Lugano Festival as “community music-making on a deluxe scale, with performers and listeners mutually uplifted by music’s wonders”. The set is being released in anticipation of the Festival’s 2013 season.

Reviewing the 2011 Live from Lugano release, Nicholas Kenyon wrote in The Observer, “There are not many reliable annual treats among classical CDs these days, but the series of live recordings from Martha Argerich's Lugano festival are now a highlight of each year.” Andrew Clark in the Financial Times wrote, “Every June [Argerich] and a clutch of friends and protégés make music in a style that reflects her free spirit and total dedication. Even when Argerich is not playing, she seems to inspire the performance.”

In addition to Argerich, the performers in 2012 included many familiar names from previous Live from Lugano releases, among them the violinist and cellist brothers Renaud and Gautier Capuçon and pianist Nicholas Angelich, all of whom record for Virgin Classics. The current set also welcomes back Mischa Maisky, Lilya Zilberstein, Polina Leschenko, Dora Schwarzberg, Nora Romanoff-Schwarzberg, Lyda Chen, Ilya Gringolts, Georgio Tomassi, Carlo Maria Griguoli and Alessandro Stella. Newcomers include the pianists Maria João Pires and Nelson Goerner.

The repertoire of Martha Argerich and Friends – Live from Lugano 2012 puts the piano at the centre of the programming, focusing particularly on piano duets and rarely performed and recorded compositions. There is a group from the Austro-German Classical and Romantic tradition, followed by works from Slavic composers, sounds from Italy and France and, as a send-off, a two piano arrangement of an Argentinean tango. The performance of Mahler’s Piano Quartet is something of a family affair, performed by Ms Argerich’s longest-standing artistic collaborator Mischa Maisky, his pianist daughter Lily and violinist son Sascha and Ms Argerich’s daughter Lyda Chen. The orchestral work in this year’s set is Mozart’s Concerto K503 with Argerich and the Orchestra della Svizzera Italiana conducted by Jacek Kaspszyk.

Martha Argerich’s passion, technical virtuosity, temperament, commitment and supreme artistry have illuminated the music world and left audiences spellbound since she won the 1964 International Chopin Competition. Reluctant to perform solo for many years, she has continued to perform chamber music and concertos with orchestra where, in her own words, “I feel the musicians moving about. I watch them and I also move. I’m more natural.”

EMI Classics marked the occasion of Martha Argerich’s 70th birthday in 2011 with the release of four multi-disc sets bearing some of her finest performances from 1965 to 2009.

Few artists have nurtured and promoted emerging young musicians with the level of personal commitment shown by Martha Argerich. In the process, she has created inspired chamber music partnerships mixing established and up-and-coming artists. After setting up Meeting Point at Beppu, Japan in 1996 and the Martha Argerich Festival in Buenos Aires in 1999, the pianist decided to create a similar gathering of musical minds in Europe. The southern Swiss town of Lugano was identified as an ideal setting for a project based on the spirit of building a community of close-knit relationships among young and established artists and the Progetto Martha Argerich was launched in 2002. More than a decade later, the Festival continues to retain its original experimental ‘feel’ because of the original programming and the emergence of new performing talents. Geoffrey Norris in The Daily Telegraph wrote, “It is always instructive to see who has been invited to perform at the Progetto Martha Argerich in Lugano, because the cast list is a reliable guide to some of the most exciting talent in the musical world today.”

The twelfth season of the Martha Argerich Project will take place from 9 June to 3 July 2013 and will include performances by many of the artists on this set.

EMI would like to dedicate these recordings to the memory of Jurg ‘Abdul’ Grand, who founded the Martha Argerich Project at the 2002 Festival and co-directed the 2002 and 2003 events.

“Everything Martha Argerich touches turns to gold, not only her own piano playing but those around her whom she evidently inspires to new heights.” (The Observer)

“These discs are a reminder of a unique, ever-formidable and enchanting artist.” (Gramophone)

Das Lied is considered the most personal of Mahler’s works. It represents a synthesis of the two great pillars in Mahler’s oeuvre, the symphony and the song. On the face of it, it is cycle of six orchestral songs. But at the same time, it features three protagonists: not just the two solo voices, but the orchestra as well, and its formal structure is symphonic in nature.

The two soloists on this recording are the best known for this work. They sing it all over the world with top orchestras to fabulous reviews and PentaTone is delighted to welcome them to their label. The Netherlands Philharmonic Orchestra has a splendid reputation for its Mahler performances mainly under previous Music Director Harmut Haenchen.

Mahler initially had a hard time of it. When Das klagende Lied finally met with his own critical favor, he stated, “My first work in which I have found myself as ‘Mahler’!” Here it is heard in colorful contrast to the fragment from his last symphony and the “Blumine” andante originally intended for the first symphony. The Beethoven Orchestra of Bonn under its resourceful conductor Stefan Blunier is in top form on this fascinatingly detailed look at Mahler’s compositional techniques.

For much of his life, Otto Klemperer carried a note written by his hero Gustav Mahler, in which the composer praised the young Klemperer as ‘an outstanding musician […] predestined for the career of a conductor.’ Klemperer’s interpretations of Mahler’s work, famous for their ‘big outlines’ and ‘rock-like rhythms’ (Musical Times) became world-famous. This collection showcases Klemperer’s Mahler, including works such as the Ninth Symphony and Das Lied von der Erde.

Otto Klemperer was born on 14th May 1885 in Breslau, Silesia (now Wroclaw, Poland) and died on 6th July 1973 in Zurich hence 2013 marks 40 years since his passing. He had had a remarkable career as a young man but it was at the age of 70 that he started a series of recordings that would not only establish him as an internationally renowned conductor but provide EMI with a catalogue of recordings that became and remain touchstones.

Gustav Mahler’s influence on his successors was enormous and numerous composers – Zemlinsky, Schönberg, Berg, Webern, Shostakovitch, Britten and Copland are just a few to acknowledge their debt. His influence also spread to the world of popular music. Paul McCartney wrote “I have always adored Mahler, and Mahler was a major influence on the music of The Beatles. John and me used to sit and do the Kindertotenlieder and Wunderhorn for hours, we’d take turns singing and playing the piano. We thought Mahler was great.”

His income came principally from conducting of which he was a fine exponent; Otto Klemperer regarded him as his the best he ever saw and although eternally grateful that he recorded the works contained in this collection it is sad that he never committed so many more to disc. Whilst all of them demand attention it is those of the “Resurrection” Symphony (No. 2), Symphony No. 9 and Das Lied von der Erde in particular that have always been regarded as of the highest rank and in their latest remasterings literally defy their age.

Recorded live at Southbank Centre’s Royal Festival Hall, London on 4 December 2010.

Mahler’s First Symphony: the opening chapter of his spiritual autobiography. And the music itself seems to awaken – emerging from hushed strings and woodwind cuckoos into its stride, marching forth, stamping towards an eerie realisation of a nursery rhyme and arriving at a final, blazing affirmation of confidence.

Vladimir Jurowski conducts the London Philharmonic Orchestra in this live 2010 concert performance including the Symphony’s original second movement, ‘Blumine’.

Kurt Sanderling would have been 100 years old on September 19, 2012. He very nearly reached that age, for he died last year just one day before his 99th birthday. This great conductor’s biography is packed with the events of a turbulent century. He began his career as a rehearsal pianist in Berlin in the early Thirties, before being stripped of his citizenship as a Jew. He emigrated to Moscow in 1936 to join his uncle and after a period in Kharkov was appointed to the Leningrad Philharmonic at the age of only 29, serving as second principal conductor under Yevgeny Mravinsky until 1960. He then returned to East Berlin and assumed the direction of the Berlin Symphony Orchestra until 1977. From 1964 to 1967, he also conducted the Staatskapelle of Dresden. Apart from Dmitry Shostakovich, a lifelong friend whose works Sanderling championed before and after his death in 1975, Gustav Mahler was the composer closest to his heart. A score of Mahler’s "Song of the Earth” accompanied him into exile, and he gave the Deryck Cooke completion of Mahler's Tenth Symphony its first performance in East Germany in 1978, soon after the conducting score had been published. When Sanderling took over the BSO in 1960, Mahler was still “off the radar" in East and West alike. Yet he featured his works from the very start. The Fourth was joined in his programming by Mahler's late works, which move on from the sweeping affirmatives of the Eighth to deal with life and farewell in many different ways – with none of the three works ending in triumphant full orchestra. Only after months or years of concert performance did Kurt Sanderling assemble his BSO before the microphones in the late Seventies and early Eighties, in order to capture this deeply moving music on gramophone records. To mark his centenary, those recordings of Gustav Mahler's last three symphonic works are now brought together in an informative and well presented special edition.