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Ludwig van Beethoven (1770-1827)

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Beethoven: Missa Solemnis in D major, Op. 123

Beethoven: Missa Solemnis in D major, Op. 123

Live-Recording, Munich, Herkulessaal, 25./26.09.2014


Genia Kühmeier (soprano), Elisabeth Kulman (mezzo-soprano), Mark Padmore (tenor), Hanno Müller-Brachmann (bass-baritone) & Anton Barachovsky (solo violin)

Chor and Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink

The BR-KLASSIK label has already released several recordings with Bernard Haitink, who has now been connected with the Symphonieorchester des Bayerischen Rundfunks for over 55 years. Following Bruckner's Fifth Symphony, Mahler's Ninth and Haydn's "Creation," BR-KLASSIK now presents a live recording of Ludwig van Beethoven's "Missa solemnis" – a work performed for the recording market for the first time under the baton of Bernard Haitink. The musical partners of this grand seigneur among world-class conductors are the Choir and Symphonieorchester des Bayerischen Rundfunks as well as a finely coordinated ensemble of soloists, consisting of Genia Kühmeier, Elisabeth Kulman, Mark Padmore and Hanno Müller-Brachmann.

“it is deeply felt, has a superbly disciplined and committed chorus, and grows powerfully towards an Agnus Dei whose darkness and terror are beautifully realised.” Sunday Times, 10th May 2015

“Haitink at 85 makes his first recording of one of music’s choral masterpieces – and what a wonderful performance his wisdom and experience offers.” Gramophone Magazine, August 2015

GGramophone Magazine

Editor's Choice - August 2015

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BR Klassik - 900130

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

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

Live recording, Aula Paolo VI, Vatikan in Rome, 27.10.2007


Hollow pathos is not his thing. From an artist like Mariss Jansons, Friedrich Schiller’s ode An die Freude has a far deeper significance, which also fully encompasses the doubt and profound hope embodied in this text. And thus, in Jansons’s recording of the Ninth Symphony, the choral finale does not degenerate to a merely superficial jubilation, but rather becomes a delicately balanced, wisely developed drama. On October 27 2007, the Symphonieorchester des Bayerischen Rundfunks played Beethoven’s Ninth in the presence of the Pope in the Vatican. The recording of this memorable concert is now being released by BR-KLASSIK.

Released or re-released in last 6 months

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BR Klassik - 900156

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

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

Live-Recording: Aula Paolo VI, Vatikan (Rome), 27th October 2007


Hollow pathos is not his thing. From an artist like Mariss Jansons Friedrich Schiller’s Ode: “An die Freude” must receive a far deeper significance, which also fully encompasses the doubt and profound hope embodied in this text. And thus, in Jansons’s recording of the Ninth Symphony, the choral finale does not degenerate to mere superficial orgy of jubilation, but rather becomes a delicately balanced, wisely developed drama. On October 27, 2007, the Symphonieorchester des Bayerischen Rundfunks played Beethoven’s Ninth in the presence of the Pope in the Vatican. The recording of this memorable concert is now being released in the highest audiophile recording quality as a multi-channel SACD (hybrid)

Beethoven’s Ninth with a solo ensemble of international star singers.

Up-to-date, audiophile recording from 2007 in high-resolution SACD format.

Mariss Jansons with one of the most significant symphonic works in the classic repertoire.

“Jansons takes a broader view of the Choral Symphony than we're used to these days. His solemn approach is most effective in the first movement, bringing out not only the music's rugged grandeur but also the strain of melancholy that runs through it...Jansons's finale benefits from a strong team of soloists, with Michael Volle particularly fine in the all-important baritone part.” BBC Music Magazine, March 2011 ****

“The key to Jansons's reading is its clarity and understated intensity, the stripping away of all extraneous gesture and, in the finale, of any hint of easy triumphalism...The finale is indeed impressive. Words are clear and pitches secure in which a sense of joy that is at best provisional strongly etched.” Gramophone Magazine, February 2011

“Jansons possesses and harnesses an intense interpretative energy, lending the whole performance an inevitability of direction and giving the symphonic climaxes an utterly natural, visceral force...a fine testament to Jansons’s art and a classic Beethoven “Choral”.” The Telegraph, 21st January 2011 ****

Super Audio CD

Format:

Hybrid Multi-channel

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BR Klassik - 900108

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Beethoven: The Symphonies

Beethoven: The Symphonies

and reflections


Beethoven:

Symphonies Nos. 1-9 (complete)

Kancheli:

Dixi

Šerkšnytė:

Fires

Shchedrin:

Beethovens Heiligenstädter Testament

Staud:

Manai

Widmann, J:

Con brio


“This is an exceptional realisation of Beethoven's nine symphonies, one of those rare occasions when one is left with a feeling of having been in the presence of the thing itself. The key to the cycle's success is the quality of the musicianship...the dramatic and expressive elements are derived from within” Gramophone Magazine, December 2013

“Jansons adopts...an approach which takes into consideration the historically informed approach of the last 30 years, but is still aware of what performances were like in the great German tradition...If you want vigorous conducting, immaculate but lean playing, and unfailingly sprightly tempos in the Beethoven, this set is for you.” BBC Music Magazine, February 2014 ***

“This set would be eminently recommendable if only for the nine Beethoven symphonies, performed with muscularity and flair.” New York Times, December 2013

GGramophone Awards 2014

Shortlisted - Orchestral

GGramophone Magazine

Disc of the Month - December 2013

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BR Klassik - 900119

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Alexej Gorlatch plays Beethoven

Alexej Gorlatch plays Beethoven

1st Prize Winner ARD Music Competition 2011


Beethoven:

Piano Concerto No. 3 in C minor, Op. 37

Live-Recording ARD-Competition, 11.09.2011

Symphonieorchester des Bayerischen Rundfunks, Sebastian Tewinkel

Piano Sonata No. 1 in F minor, Op. 2 No. 1

Recording: Bavaria Musikstudios, Munich, 12.10.11


Alexej Gorlatch (piano)

Alexej Gorlatch was the winner in the piano category at the 2011 ARD Music Competition. His interpretation of Beethoven's 3rd Piano Concerto not only convinced the high-ranking jury, but also the audience, bringing him both a first prize and the audience prize.

Alexej Gorlatch was born in 1988 in the Ukrainian capital of Kiev and has lived in Germany since 1991. At the age of twelve he became a junior student at the University of the Arts in Berlin where he studied with Martin Hughes; from 2002 to 2007 he studied with Karl-Heinz Kämmerling in Hanover. After graduating from secondary school, he now continues his music studies there.

In 2011 the ARD Music Competition celebrated its 60th anniversary. It took place for the first time in 1952 in Munich, where it is still put on every year by Bavarian Radio. For many artists, Munich was the springboard to their international careers. Among the prize winners, we find household names as Jessye Norman, Thomas Quasthoff, Maurice André, Sol Gabetta, the Tokyo String Quartet, Yuri Bahmet, François Leleux, the Quatuor Ébène and many others.

“This recording shows off his refined and unerringly idiomatic artistry” BBC Music Magazine, June 2012 *****

“[Gorlach] is an assured musician. He plays wth commendable straightforwardness, not tempted to be different for the sake of it. His technique, as might be expected, is effortless, but his playing isn't glib. His music-making is clear-sighted and respectful...He trust the composer without ever becoming slavish or bland...As a calling card this release makes a very positive impression: these are seriously good interpretations.” International Record Review, June 2012

“These are riveting Beethoven performances from a player who with remarkable musicality demonstrates that he can play with both terrific flair and vibrancy together with palpable sensitivity. All in all this disc make for an impressive first look at a remarkably talented performer.” MusicWeb International, 13th May 2013

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BR Klassik - 900115

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FolksLied

FolksLied


Beethoven:

Could this ill world, Op. 108 No. 16

Come fill, fill, my good fellow!, Op. 108 No. 13

Oh! Sweet were the hours, Op. 108 No. 3

Faithfu' Johnie, Op. 108 No. 20

Sunset, Op. 108 No. 2

Britten:

Ca’ the yowes

Sally in Our Alley

The Miller of Dee

O can ye sew cushions?

How Sweet the Answer

At the mid hour of night

Dear Harp of My Country

Avenging and Bright

Haydn:

Fließ leise mein Bächlein, Hob.XXXIa/253 A

Anton Barachovsky (violin), Sebastian Klinger (cello)

Ein Wandrer kommt von ferne, Hob.XXXIb:3

Anton Barachovsky (violin), Sebastian Klinger (cello)

Ich stehe auf der Heide, Hob.XXXIb:27

Anton Barachovsky (violin), Sebastian Klinger (cello)

Es weiden meine Schafe, Hob.XXIa

Anton Barachovsky (violin), Sebastian Klinger (cello)

Im Schummern, da kam ich einst zu dir, Hob.XXXIb:36

Anton Barachovsky (violin), Sebastian Klinger (cello)

Rose weiss Rose rot, Hob.XXXb:10

Anton Barachovsky (violin), Sebastian Klinger (cello)


Christian Gerhaher (baritone), Gerold Huber (piano)

As a Lied interpreter, on the concert stage and, increasingly, on the operatic stage as well, the baritone Christian Gerhaher is currently setting new artistic standards. After publication of two choral-symphonic recordings with this exceptional singer, BR-KLASSIK now presents a Lieder CD containing recorded material from Gerhaher's time as Artist in Residence with the Symphonieorchester des Bayerischen Rundfunks. Gerhaher's finely coordinated programme –ambiguously entitled "folkslied" – examines the exciting contrast between the Volkslied(folk song) and the Kunstlied (art song). It contains the rarely heard Folk Song Arrangementsby Benjamin Britten, the folk song arrangements for piano trio and voice by Beethoven and Haydn. Gerhaher's decision to use German texts to Haydn's melodies that were published inthe 1920s represents a tribute to Fritz Wunderlich, whose first recording of the German text versions is particularly close to his heart. The instrumental partners are: Gerold Huber, Gerhaher's longtime accompanist; Sebastian Klinger, the principal cellist of the Symphonieorchester des Bayerischen Rundfunks who is currently pursuing a solo career; and, on the violin, Anton Barachovsky, leader of the Symphonieorchester.

“Word-lively, supple and instinctive of inflection, Gerhaher is the perfect voice for a song such as Haydn’s ‘Flow gently, sweet Afton’…and his command of both English and Lallans Scots is formidable…[the recording] is enhanced by the violin and cello playing of Anton Barachovsky and Sebastian Klinger, and the always sentient piano accompaniments of the faithful Gerold Huber.” BBC Music Magazine, July 2016 ****

“[These arrangements are] delightful and share characterful piano trio accompaniment, here superbly played. Gerhaher is in fine voice throughout, and his English (and Scottish!) is idiomatic and convincing.” Classical Music, August 2016 *****

“Best of all are the bittersweet, sometimes disturbing Britten arrangements that form the recital’s centrepiece. In beauty of tone and sensitivity to text and mood, Gerhaher’s vividly ‘lived’ performances are a match for any of his baritone predecessors, British or German…Gerold Huber’s playing is in the Britten class (in his recordings with Pears) for colour, point and wry inventiveness” Gramophone Magazine, June 2016

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Gloria: Highlights of sacred choral music

Gloria: Highlights of sacred choral music


Bach, J S:

Mass in B minor, BWV232: Gloria in excelsis Deo

Concerto Köln, Peter Dijkstra

Magnificat in D major, BWV243: Gloria Patri Filio

Concerto Köln, Peter Dijkstra

St Matthew Passion, BWV244: O Haupt voll Blut und Wunden

Concerto Köln, Peter Dijkstra

St John Passion, BWV245: Herr, unser Herrscher

Concerto Köln, Peter Dijkstra

Beethoven:

Missa Solemnis in D major, Op. 123: Kyrie

Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink

Dvorak:

Eja Mater (from Stabat Mater, Op. 58)

Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

Gounod:

St Cecilia Mass: Kyrie

Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

Handel:

Dixit Dominus, HWV 232: Dixit Dominus

Concerto Köln, Peter Dijkstra

Haydn:

Die Schöpfung: Die Himmel erzählen

Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink

Schubert:

Mass No. 2 in G major, D167 - Gloria

Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

Verdi:

Dies Irae (from Requiem)

Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons


“Chorus”, the name for a community of singers that evolved in Europe from the Middle Ages onwards, derived from the choros of Ancient Greek theatre. The first polyphony soon arose from the initially purely monophonic Latin church music, sung since Late Antiquity and collected and standardised under Pope Gregory I as Gregorian chant. The Renaissance then brought forth complex types of polyphonic a cappella works; these reached new heights during the course of the 16th century in multiple choirs, bringing new experiences in sound through the juxtaposition - whenever space allowed - of several choirs inside churches. The choir became increasingly functional – above all in operas, cantatas and oratorios. By the Late Baroque period, the development stage had been reached that still characterises today’s concept of the choir: a fixed choral ensemble, clearly differentiated from an instrumental one (the orchestra); works of primarily spiritual content; texts in Latin but, increasingly, in national languages as well; and everything gradually becoming more representational in character. The first bourgeois choral societies of the 19th century – the forerunners of today's philharmonic choirs - were ensembles of a size that could compete as well as cooperate with symphonic orchestras. In choral singing, the content - sacred and secular, nationalist and idealist, reactionary and revolutionary – could be expressed with powerful emotion, not only in separate compositions but also in choral numbers extracted from their former, broader contexts. As the 19th century progressed, combinations of popular pieces appeared that were seldom coherent in terms of their content but still sounded highly impressive (in a musical context this is not referred to as an anthology but more usually as a Florilegium), and it is these that still determine today’s concert programmes.

The Chor des Bayerischen Rundfunks can be heard here performing highlights of sacred choral music dating from the Baroque period to modern times. Even today, three hundred years later, the large oratorio choirs by Bach and Handel are as vivid, realistic and captivating as ever. Haydn succeeded in preserving this for the sacred music of the Wiener Klassik era, which reached its peak in Beethoven's Missa solemnis. The heartfelt masses composed by Schubert are typical of early German Romanticism, Gounod’s St. Cecilia Mass is the French equivalent here, and Dvořák's Stabat mater represents Bohemian Romanticism of the mid- to late 19th century. Verdi's famous Messa da Requiem testifies to the close relationship between Italian opera and Italian church music. The Mass written just before the end of World War II by the Hungarian composer Kodály is still Late Romantic in its musical language, while in his Berlin Mass, written shortly before the start of the 20th century, the Estonian composer Arvo Pärt maintains the Tintinnabuli style that informs and inspires his work.

“From Bach through Haydn and Beethoven to Verdi, the Bavarian Radio Choir, one of the best in Germany, shows great versatility in this selection of recordings marking its 70th birthday.” BBC Music Magazine, May 2017 ****

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Great Singers Live: Hermann Prey

Great Singers Live: Hermann Prey


Bach, J S:

Christmas Oratorio, BWV248: Großer Herr, o starker König

Beethoven:

An die ferne Geliebte (To the distant beloved), Op. 98

Berlin, I:

They say that falling in love is wonderful (from Annie Get Your Gun)

Gounod:

Avant de quitter ces lieux (from Faust)

Leoncavallo:

Si può? (from I Pagliacci)

Lortzing:

Wie freundlich strahlt...Heiterkeit und Fröhlichkeit (from Der Wildschütz)

Mozart:

Ein Mädchen oder Weibchen (from Die Zauberflöte)

Tutto e disposto...Aprite un po' quegl'occhi (from Le Nozze di Figaro)

Rivolgete a lui lo sguardo (from Così fan tutte)

Rossini:

Largo al factotum (from Il barbiere di Siviglia)

Verdi:

Di Provenza il mar (from La Traviata)

Alzati…Eri tu che macchiavi quell'anima (from Un Ballo in Maschera)


Arias from the legendary Sunday concerts from 1966, 1972, 1988 and 1992.

His Papageno was historic and turned Hermann Prey into the most popular opera singer in Germany. This CD contains a collection of hitherto unpublished recordings made during the legendary Sunday Concerts with the Münchner Rundfunkorchester from 1966 to 1992. In a representative series of roles ranging from Bach to musicals, the great baritone shows us all his facets: from the sensitivity of the comic actor to the intense, inmost sincerity of the Lieder performer. At a time when the opera was still an integral part of Germany's media landscape, Hermann Prey made it impressively clear that a broad repertoire and depth of interpretation are not necessarily mutually exclusive. Prey ends this CD with a performance of “They say falling in love is wonderful”, inviting us to fall in love with his art yet again.

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Mariss Jansons conducts Beethoven & Shchedrin

Mariss Jansons conducts Beethoven & Shchedrin


Beethoven:

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

Shchedrin:

Beethovens Heiligenstädter Testament


The Symphonieorchester des Bayerischen Rundfunks has already performed Beethoven symphony cycles on several occasions. Mariss Jansons has now extended the cycle concept in two respects: with works specially commissioned from contemporary composers, who have contributed their own musical reflections on Beethoven symphonies, and by presenting these outstanding concert events on the record market as a series of live recordings. Following the excellent response from critics and audiences for the award-winning Complete Edition (BR-KLASSIK, 900119), BR-KLASSIK now presents the symphonies on individual CDs. The first of these is the Symphony No 3 in E Flat, op 55, in a live recording made in 2012 in Munich's Herkulessaal, accompanied by a work of the Russian composer Rodion Shchedrin (born 1932). For his symphonic fragment "Beethoven's Heiligenstadt Testament," Schedrin has selected the devastating document – written around the same time as the Eroica – in which the composer described the progressive deafness that almost drove him to suicide.

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BR Klassik - 900134

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Mariss Jansons conducts Beethoven Symphonies Nos. 1 & 2

Mariss Jansons conducts Beethoven Symphonies Nos. 1 & 2


Beethoven:

Symphony No. 1 in C major, Op. 21

Live recording, Tokio, Suntory Hall 27.11.2012

Symphony No. 2 in D major, Op. 36

Live recording, Tokio, Suntory Hall 27.11.2012

Mochizuki:

Nirai

Live recording, Munich, Herkulessaal 08./09.11.2012

Staud:

Manai

Live recording, Munich, Herkulessaal 09./10.02.2012


The Symphonieorchester des Bayerischen Rundfunks has already performed several Beethoven symphony cycles. Chief conductor Mariss Jansons has now extended the cycle concept in several regards, with performances of the works in Tokyo's Suntory Hall with its excellent acoustics, with specially assigned commissions from contemporary composers who were asked to contribute their own musical reflections on Beethoven's symphonies, and also with the publication of live recordings of these outstanding concert events on the music market. The live recordings of Symphonies Nos 1 and 2 were made in November 2012 in Tokyo's Suntory Hall, and were exceptionally well received by the public and the trade press. The Music Pen Club of Japan praised Mariss Jansons shortly after the tour for his "new, modern and transparent-sounding Beethoven". The two modern works based on the First and Second Symphonies were contributed by the composers Misato Mochizuki (born Tokyo, 1969) and Johannes Maria Staud from Austria (born 1974). Mochizuki lives and works in Japan and Europe where, as a composition teacher and composer-in-residence, she passes on her knowledge.

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BR Klassik - 900138

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