Gustav Mahler

(1860-1911)

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Leonard Bernstein: Historic Broadcasts 1946-1961

Leonard Bernstein: Historic Broadcasts 1946-1961


Bartók:

Music for Strings, Percussion & Celesta, BB 114, Sz. 106

Beethoven:

Symphony No. 9 in D minor, Op. 125 'Choral' - Ode to joy (excerpt)

Irma Gonzales (soprano), Nan Merriman (mezzo), Raoul Jobin (tenor), Nicola Moscona (bass)

Piano Concerto No. 1 in C Major, Op. 15

Bernstein:

Symphony No. 2 'The Age of Anxiety'

Chávez:

Symphony No. 4: ‘Sinfonía Romántica'

Copland:

Preamble (For a Solemn Occasion)

Laurence Olivier (narrator)

Symphony No. 2 'Short Symphony'

Billy the Kid

Diamond:

Prelude and Fugue No. 3 in C sharp

Symphony No. 8

Fine, I G:

Serious Song

Harris, Roy:

American Creed

Mahler:

Symphony No. 2 'Resurrection'

rehearsal and performance

Adele Addison (soprano), Nan Merriman (mezzo)

Ich atmet' einen linden Duft (Rückert-Lieder)

Ich bin der Welt abhanden gekommen (Rückert-Lieder)

Das irdische Leben (Des Knaben Wunderhorn)

Um Mitternacht (Rückert-Lieder)

Piston:

Concerto for Orchestra

Ravel:

Piano Concerto in G major

rehearsal and performance

Schumann:

Symphony No. 2 in C major, Op. 61

Shostakovich:

Symphony No. 7 in C major, Op. 60 'Leningrad'

rehearsal and performance

United Nations March

Symphony No. 5 in D minor, Op. 47

Stravinsky:

The Rite of Spring

Weill, K:

The Threepenny Opera

and rehearsal excerpts of Turangalila & Mozart Piano Concerto No. 15


When it was announced that Leonard Bernstein was the become the new conductor of the New York Philharmonic in November 1957, Claudia Cassidy in the Chicago Daily Tribune wrote that it was “no great surprise” but injected a note of caution: “wish him luck, because no one needs it more than the musical director of a symphony orchestra.”

It turned out to be an inspired appointment. This set demonstrates what it was in about his music making and his personality that led the New York Philharmonic’s directors to choose him. It includes extensive recorded documentation of Bernstein’s career up to the time of his nomination in New York, mostly in live performances and rehearsal segments, working on music ranging from Mozart to Messiaen.

Bernstein’s work after his appointment to the NYP is represented in this set by performances of American music given as part of his “Survey of American Music” in the 1958–9 season (Fine, Harris and Piston), along with Copland in 1957 and Diamond in 1961; the 1959 recording sessions for two of his favourite twentieth-century classics (Shostakovich’s Fifth Symphony and Copland’s Billy the Kid) which show conductor and orchestra at their most efficient and effective; and hitherto unpublished live performances of music by Bartók, Beethoven, Chávez, and Mahler.

“Excitement? Charisma? Sweat? Here in plenty. But there is also meticulous musicianship, particularly on view in some of the set’s most precious documents...Speeds hurtle; the heart races; the spine tingles...you’re holding history in your hand.” The Times, 12th April 2013 *****

West Hill Radio Archive - WHRA6048

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Mahler: Symphony No. 1 in D major 'Titan'

Mahler: Symphony No. 1 in D major 'Titan'


The Royal Flemish Philharmonic under the direction of critically acclaimed conductor, Edo de Waart continues their survey of the major works, presenting a wonderful performance on this disc of Mahler’s Symphony No 1.

Royal Flemish Philharmonic - RFP004

(CD)

$15.50

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Mahler: Das Lied von der Erde

Mahler: Das Lied von der Erde


Elsa Cavelti (mezzo-soprano), Anton Dermota (tenor)

Vienna Symphonic Orchestra, Otto Klemperer

Tuxedo - TUXCD1036

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Mahler: Symphony No. 4

Mahler: Symphony No. 4


“The greatest mix of colours that ever existed” was Gustav Mahler’s description of the third movement of his Fourth Symphony. Riccardo Chailly, one of the most adept interpreters of Mahler of our time, and the Gewandhaus Orchestra transformed the entire Fourth Symphony into this kaleidoscope of sound.

The unmistakable timbre of the orchestra has become synonymous with late Romantic repertoire and Mahler-esque style – it was described by Der Tagesspiegel as “uncommonly present, even in the thread-fine pianissimo, compact, concentrated, satin”. Once more, the connection between Chailly, the Gewandhaus Orchestra and Mahler proved to be exceptional: The way Chailly “moulded the music, which is so familiar to him, with loving gestures, confidently alluding to a thousand subtle details, allowing the orchestra to rise and fall – that is perfect.”

BONUS TRACKS

1. The Welte-Mignon Piano Player Device

2. Mahler plays Mahler – Symphony No. 4, 4th movement

3. Riccardo Chailly on interpreting Mahler's 4th Symphony with the Gewandhaus Orchestra

Picture Format BD: NTSC 16:9

FULL HD

Sound Formats BD: PCM Stereo, DTS HD Master Audio

Region Code: 0 (worldwide)

Running Time: 61:14 min

Running Time Bonus: approx. 16 min

Disc Format: BD 25

Subtitles: German, English, French, Japanese

Subtitles Bonus: German, English

“abundant virtues...a sense of naturally flowing tempi, an ear for inner parts within the whole, a vitality that captures the pristine glow of this most innocent of all Mahler symphonies. Chailly is not a narcissistic Mahlerian: there’s no self-indulgent milking of the music for effect.” Financial Times, 4th May 2013 ****

“a performance of enlightened literalism, distinguished by a simplicity of utterance and forthrightness that uncovers expressive depths which elude some modern interpreters...Chailly never overcooks the points of transition...Landshamer brings an awesome purity to the refrain of each Wunderhorn verse.” Gramophone Magazine, August 2013

GGramophone Magazine

DVD of the Month - August 2013

Blu-ray Disc

Region: all

Accentus Music - Riccardo Chailly Mahler Symphony cycle - ACC10257

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$33.75

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Mahler: Symphony No. 4

Mahler: Symphony No. 4


“The greatest mix of colours that ever existed” was Gustav Mahler’s description of the third movement of his Fourth Symphony. Riccardo Chailly, one of the most adept interpreters of Mahler of our time, and the Gewandhaus Orchestra transformed the entire Fourth Symphony into this kaleidoscope of sound.

The unmistakable timbre of the orchestra has become synonymous with late Romantic repertoire and Mahler-esque style – it was described by Der Tagesspiegel as “uncommonly present, even in the thread-fine pianissimo, compact, concentrated, satin”. Once more, the connection between Chailly, the Gewandhaus Orchestra and Mahler proved to be exceptional: The way Chailly “moulded the music, which is so familiar to him, with loving gestures, confidently alluding to a thousand subtle details, allowing the orchestra to rise and fall – that is perfect.”

BONUS TRACKS

1. The Welte-Mignon Piano Player Device

2. Mahler plays Mahler – Symphony No. 4, 4th movement

3. Riccardo Chailly on interpreting Mahler's 4th Symphony with the Gewandhaus Orchestra

Picture Format DVD: NTSC 16:9

Sound Formats DVD: PCM Stereo, Dolby Digital 5.1, DTS 5.1,

Region Code: 0 (worldwide)

Running Time: 61:14 min

Running Time Bonus: approx. 16 min

Disc Format: DVD-9

Subtitles: German, English, French, Japanese

Subtitles Bonus: German, English

“abundant virtues...a sense of naturally flowing tempi, an ear for inner parts within the whole, a vitality that captures the pristine glow of this most innocent of all Mahler symphonies. Chailly is not a narcissistic Mahlerian: there’s no self-indulgent milking of the music for effect.” Financial Times, 4th May 2013 ****

“a performance of enlightened literalism, distinguished by a simplicity of utterance and forthrightness that uncovers expressive depths which elude some modern interpreters...Chailly never overcooks the points of transition...Landshamer brings an awesome purity to the refrain of each Wunderhorn verse.” Gramophone Magazine, August 2013

GGramophone Magazine

Blu-ray of the Month - August 2013

DVD Video

Region: 0

Format: NTSC

Accentus Music - Riccardo Chailly Mahler Symphony cycle - ACC20257

(DVD Video)

$22.50

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Solti Centenary Concert

Solti Centenary Concert

Live recording from Symphony Center, Chicago, 2012


Bartók:

Concerto for Orchestra, BB 123, Sz.116

Mahler:

Symphony No. 5 in C sharp minor - Adagietto

Mozart:

In diesen heil'gen Hallen (from Die Zauberflöte)

Le nozze di Figaro, K492: Overture

La ci darem la mano (from Don Giovanni)

Sousa:

The Stars and Stripes Forever

encore

Strauss, R:

Don Juan, Op. 20

Verdi:

Addio del passato (from La Traviata)

Bella figlia dell'amore (from Rigoletto)


Angela Gheorghiu (soprano), René Pape (bass), Tereza Gevorgyan (soprano), Matilda Paulsson (mezzo-soprano), Roberto Gòmez-Ortiz (tenor) & Ross Ramgobin (baritone)

Members of the Georg Solti Accademia & World Orchestra for Peace, Valery Gergiev

Hosted by Valerie Solti

The Solti Centenary Concert in Chicago celebrated Sir Georg Solti’s 100th birthday on October 21, 2012, featuring the World Orchestra for Peace. This unique ensemble owes its existence to the vision of its founder, Sir Georg Solti, who believed passionately in peace and the power of music and musicians to be ambassadors for peace.

Charmingly hosted by Solti’s widow, Lady Valerie Solti, and featuring soloists such as Angela Gheorghiu and René Pape as well as members of the Georg Solti Accademia, this memorable evening presents musical highlights, all of which played a significant role in Solti’s life and career.

Besides excerpts from Mozart’s Le Nozze di Figaro, Die Zauberflöte and Don Giovanni or Verdi’s La Traviata and Rigoletto, this concert finds lovely musical moments in the 'Adagietto' from Mahler’s Fifth Symphony, Strauss’ Don Juan and Bartók’s masterful Concerto for Orchestra. Sousa’s Stars and Stripes Forever as the encore closes the performance with a smash.

Conductor Valery Gergiev was a good friend of his advisor Georg Solti. Together with Lady Valerie Solti and the World Orchestra for Peace he carries on Solti’s vision and maintains his memory.

Special Bonus Feature: “Solti’s Vision”, a film about the World Orchestra for Peace

Sound Format: PCM Stereo, DD 5.1, dts-HD Master Audio 5.1

Picture Format: 16:9, 1080i FULL HD

Subtitle Languages: DE, FR / DE (Bonus)

Running Time: 112 mins + 21 mins (Bonus)

FSK: 0

Worldwide available

“In one sense, this is as much a record of an occasion as of a concert, though the music-making is top class throughout...the high point here is probably the quartet from Rigoletto...quite a nice package, nicely captured and presented.” BBC Music Magazine, July 2013 ****

Blu-ray Disc

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Arthaus Musik - 108073

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Wilhelm Furtwängler Vienna Concerts 1944-54

Wilhelm Furtwängler Vienna Concerts 1944-54


Bach, J S:

St Matthew Passion, BWV244

rec. 9th April, 1952

Irmgard Seefried (soprano), Hildegard Rossel-Majdan (contralto), Julius Patzak (Evangelist/tenor arias), Hans Braun (bass), Otto Wiener (Jesus)

Chor der Wiener Singakademie, Wiener Sangerknaben

St Matthew Passion, BWV244

rec. 15th April, 1954

Elisabeth Grümmer (soprano arias, Uxor Pilati and Ancilla I), Marga Höffgen (alto arias and Ancilla II), Anton Dermota (tenor arias and Evangelist), Dietrich Fischer-Dieskau (Jesus), Otto Edelmann (bass arias and Judas, Petrus & Pilatus)

Chor der Wiener Singakademie, Wiener Sangerknaben

Beethoven:

Leonore Overture No. 2, Op. 72a

rec. June 1944

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

rec. 19th December, 1944

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

rec. 7th January, 1951

Irmgard Seefried (soprano), Rosette Anday (contralto), Julius Patzak (tenor), Otto Edelmann (bass)

Chor der Wiener Singakademie

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

rec. 3rd February, 1952

Hilde Gueden (soprano), Rosette Anday (contralto), Julius Patzak (tenor), Alfred Poell (bass)

Chor der Wiener Singakademie

Symphony No. 1 in C major, Op. 21

rec. 29th November, 1952

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

rec. 30th November, 1952

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

rec. 31st May, 1953

Irmgard Seefried (soprano), Hildegard Rossel-Majdan (contralto), Anton Dermota (tenor), Paul Schoffler (bass)

Chor der Wiener Singakademie

Brahms:

Symphony No. 2 in D major, Op. 73

rec. 28th January, 1945

Ein Deutsches Requiem, Op. 45

rec. 27th January, 1952

Irmgard Seefried (soprano), Dietrich Fischer-Dieskau (baritone)

Wiener Symphoniker, Chor der Wiener Singakademie

Variations on a theme by Haydn for orchestra, Op. 56a 'St Anthony Variations'

rec. 27th January, 1952

Double Concerto for Violin & Cello in A minor, Op. 102

rec. 27th January, 1952

Willi Boskovsky (violin) Emanuel Brabec (cello)

Symphony No. 1 in C minor, Op. 68

rec. 27th January, 1952

Bruckner:

Symphony No. 8 in C minor

rec. 17th October, 1944

Symphony No. 8 in C minor

rec. 10th April, 1954

Franck, C:

Symphony in D minor

rec. 28th January, 1945

Furtwängler:

Symphony No. 2 in E minor

rec. 22nd February, 1953

Gluck:

Iphigénie en Aulide: Overture

rec. 22nd February, 1953

Mahler:

Lieder eines fahrenden Gesellen (4 songs, complete)

rec. 30th November, 1952

Alfred Poell (baritone)

Mozart:

Symphony No. 40 in G minor, K550

rec. June 1944

Concerto for 2 Pianos and Orchestra No. 10 in E flat, K365

rec. 8th February, 1949

Piano Concerto No. 22 in E flat major, K482

rec. 27th January, 1952

Schubert:

Rosamunde, D797: Entr'acte No. 3

rec. June 1944


After Berlin, Vienna was the music centre to which the conductor Wilhelm Furtwängler had the closest artistic connections. Under his direction the Vienna Philharmonic made a whole series of radio recordings that have now, for the first time, been carefully edited under the auspices of the Furtwängler specialist Gottfried Kraus and released by Orfeo on 18 CDs. The series commences with recordings from 1944/45, including one of Mozart’s g-minor symphony K550 in which Furtwängler demonstrates his clear sense of form from the very first bars. Beethoven’s third 'Leonore' Overture and an excerpt from Schubert’s 'Rosamunde' music complete our selection from this, the earliest of the recording sessions. Several works are to be found more than once in this anthology. Thus, Beethoven’s Eroica can be compared in an early version from 1944 and a later recording from 1953, just as Bruckner’s Eighth can be compared in recordings from 1944 and 1954. Beethoven’s Ninth Symphony is offered no less than three times here – from the years 1951, 1952 and 1953 – a work that surely no other conductor could make into such an 'event', an experience of universal import, as could Wilhelm Furtwängler. This was also true of his Brahms interpretations, represented here by the first two symphonies, the 'Haydn' Variations, the Double Concerto and the 'German Requiem', which is sadly only extant in an incomplete recording from 1951. This is, incidentally, the only time in this collection that we hear Furtwängler conducting the Vienna Symphony Orchestra. Besides Irmgard Seefried and Dietrich Fischer-Dieskau – two vocal soloists whom Furtwängler admired and engaged repeatedly – we can hear the chorus of the Vienna Singakademie on this recording.

They also sing in Bach’s 'St Matthew Passion': in a partial recording from 1952 and in the famous performance of 1954 that was shortened by Furtwängler himself, but which is here released in a restored recording based on the original radio broadcast, without the cuts that were later made by record companies. Here as elsewhere in this collection, the acoustic heritage of the Viennese radio stations of the time has been restored using the best possible technological means available today. Even collector’s items such as the Piano Concertos K365 and 482 by Mozart, with Dagmar Bella and Paul Badura-Skoda, have probably never sounded better since they were first heard in the concert hall. Hence justice is done to Furtwängler’s timeles” style of music-making that unites different epochs, ranging from Gluck’s Overture to 'Iphigenie in Aulis' to Mahler’s 'Songs of a Wayfarer' and Furtwängler’s own Second Symphony – a work that despite all its late-Romantic echoes succeeds in attaining originality and a considerable emotional impact. This universality of Furtwängler has not found its match to this day.

“This is a set which will be or urgent interest to Furtwängler collectors and it should be explored by anyone wanting to hear a great conductor at the height of his powers … Orfeo has given us a Furtwängler set of considerable musical significance ... an engrossing experience.” International Record Review, May 2013

Up to 20% off Orfeo

Orfeo - Orfeo d'Or - C834118Y

(CD - 18 discs)

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Lieder by Mahler, Brahms, Schubert & Sibelius

Lieder by Mahler, Brahms, Schubert & Sibelius


Brahms:

Two songs for contralto with viola obbligato, Op. 91

Mahler:

Rückert-Lieder (5 songs, complete)

Schubert:

Abendstern, D806

Nachtviolen D752 (Mayrhofer)

Auf der Donau, D553 (Mayrhofer)

Sibelius:

Six Songs, Op. 50


Julia Morgan (mezzo-soprano), Amanda Johnston (piano), Jody Davenport (viola)

MSR Classics - MS1402

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Boulez conducts Mahler & Berg

Boulez conducts Mahler & Berg


Berg:

Lulu-Suite (Five Symphonic Pieces) for soprano and orchestra

Anna Prohaska (soprano)

Mahler:

Das klagende Lied

Dorothea Röschmann (soprano), Anna Larsson (contralto), Johan Botha (tenor)

Konzertvereinigung Wiener Staatsopernchor


Pierre Boulez is an icon of today’s classical scene and closely associated with the works of Mahler.

Featuring the acclaimed Vienna Philharmonic and the chorus of the Vienna State Opera – historically connected to Mahler, Berg and Boulez.

These performances were recorded live at the opening concert of the prestigious Salzburg Festival in 2011, conceived as a tribute to Gustav Mahler, and will be released to coincide with the maestro’s 88th birthday in March.

Mahler’s 2-act Das Klagende Lied is a mythical tale of fratricide, guilt and retribution, based on stories by the Grimm brothers and Ludwig Bechstein.

Read Presto's complete review of this disc here.

“[the Mahler's] its brightly lit orchestral effects have always brought the best out of his conducting; the performance has both spaciousness and finely focused detail...The Lulu Suite is even more remarkable, for there's an emotional breadth to Boulez's approach now that just wasn't there in his earlier, pioneering performances. His balance between rigour and expressiveness exactly mirrors Berg's music” The Guardian, 14th March 2013 ****

“This new performance...is remarkable for its transparency, but Boulez has added actual drama to his mastery of Mahler's early orchestration...There's real atmosphere here...The choir, perfectly trained and singing with impeccable diction and attention to dynamics, cannot be praised highly enough. The Lulu-Suite that follows receives a marvellous reading as well...this new Boulez is a major entry.” International Record Review, May 2013

“Boulez is a splendid guide to both these scores and if you don’t mind having a foreshortened account of Das klagende Lied this disc is a compelling proposition.” MusicWeb International, 28th May 2013

“The Vienna Philharmonic strings bring dewy beauty to the late-Romantic canvas [of the Mahler], but there's little Götterdämmerung-like wildness...Boulez is more assured in the Lulu Suite: irradiating the many singable melodic strains, finding a word- and pitch-perfect soprano in Anna Prohaska” BBC Music Magazine, August 2013 ****

“Boulez's recordings become more precious the less we hear from him...Here he explores the life-stories teeming beneath the shells of two musical organisms with murder in mind” Gramophone Magazine, August 2013

“What I always like about Boulez’s recordings of Mahler is his attention to balance and texture, and this is certainly true here, with all the small details and colours impressively brought out...The singing from both chorus and soloists is really thrilling, too: the choir clearly revels in the variety of moods that Mahler’s writing offers...Every moment of this recording [of the Lulu-Suite] is exceptional.” James Longstaffe, Presto Classical, 11th March 2013

Presto Disc of the Week

11th March 2013

DG Pierre Boulez Mahler cycle - 4779891

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Hartmut Haenchen conducts Mahler Symphonies Nos. 1 & 8

Hartmut Haenchen conducts Mahler Symphonies Nos. 1 & 8


Mahler:

Symphony No. 1 in D major 'Titan'

Concertgebouw Amsterdam, 20 November 1999 (Live)

Netherlands Philharmonic Orchestra

Symphony No. 8 in E flat major 'Symphony of a Thousand'

Concertgebouw Amsterdam, 10 September 2002 (Live)

Rita Cullis, Angela Maria Blasi, Ofelia Sala (soprano), Reinhild Runkel, Catherine Keen (mezzo-soprano), Glenn Winslade (tenor), John Bröcheler (baritone) & Kurt Rydl (Bass)

National Choir of the Ukraine ‘Dumka’, Ukrainian Radio Choir & Dresden Philharmonic Children’s Choir


Hartmut Haenchen was born in Dresden in 1943. He was awarded first prize at the Carl Maria von Weber Competition in that city in 1971. During the 1972–3 season he made his debut at the Berlin State Opera, directing Mussorgsky’s Boris Godunov. He appeared there regularly until 1986. From 1973 to 1976, Haenchen was conductor of the Dresden Philharmonic and a regular guest with the Dresden State Opera. Subsequently, he began to make regular appearances at Berlin’s Komische Oper.

In 1986, Haenchen became music director of the De Nederlandse Opera (DNO) in Amsterdam and chief conductor of the Netherlands Philharmonic Orchestra (NPO). His Ring cycle in Amsterdam was an outstanding success and will be revived in 2012–14. He has collaborated with La Scala, Milan, the Royal Opera House, Covent Garden and the Opéra National de Paris, and performed with orchestras throughout the world including the Berlin Philharmonic and Concertgebouw. Projects have included a Mahler cycle with the Orchestre du Théâtre Royal de la Monnaie. In October 2008 he was awarded the Federal Cross of Merit of the Republic of Germany, in recognition of his outstanding contribution to music and the arts.

These recordings of Mahler’s Symphony No.1 and the massive Symphony No.8 are being released on ICA’s ‘Live’ artist series to commemorate Hartmut Haenchen’s seventieth birthday. Any recording of Mahler’s ‘Symphony of a Thousand’ is a major and rare event and this live performance in the Concertgebouw in Amsterdam, a venue closely associated with Mahler, is no exception. The superb digital recording captures the stupendous sound of both symphonies and in particular the huge forces employed and wide dynamic range that Mahler demands in Symphony No.8.

Haenchen’s recent live Mahler Symphony No.6 can be seen on DVD (ICAD5018): the disc won a prestigious Diapason d’or award.

ica classics Live - ICAC5094

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