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Antonin Dvorak (1841-1904)

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Andris Nelsons conducts Dvořák

Andris Nelsons conducts Dvořák


Dvorak:

Symphony No. 9 in E minor, Op. 95 'From the New World'

Live-Recording, Herkulessaal, October 2010

The Hero's Song, Op. 111

Philharmonie, April 2012


Andris Nelsons is a private student of Mariss Jansons. Andris is one of the most highly regarded young conductors and is under serious consideration as a potential successor to several blue-ribbon chief conductor positions.

This release presents a live recording of Dvořák’s Symphony No. 9 from the Munich Herkulessaal and Dvořák A Hero’s Song, Op. 111 from the Philharmonie im Gasteig, recorded in 2010 and 2012.

“The Nelsons fire and lustre are on full display in the live recordings on this Dvorák disc with the Bavarian Radio Symphony Orchestra, a top-class band with a glow of its own...Yet it takes more than immaculate playing to bring a chestnut to life. Here there’s such freshness in Nelsons’ phrasings, such lyrical pungency and dramatic attack, that the piece became blissfully young: a new world indeed.” The Times, 29th March 2013 ****

“Both performances convey a great deal of what is so special about Nelsons as an interpreter, and of the excitement he can generate on the podium. It's quite something to bring such freshness to the New World Symphony, whether it's in the sense of wonder with which he phrases the first movement's second subject, or the edge-of-seat drama he brings to the finale” The Guardian, 4th April 2013 ****

“At every stage in this performance, the listener is compelled to reappraise a familiar masterpiece. All in all, this is a stunning interpretation with constantly rewarding orchestral playing, as well as excellent recorded sound.” BBC Music Magazine, July 2013 *****

“it finds Andris Nelsons drawing the most sumptuously refined, pungently characterful and bracingly alert response from the Bavarian RSO. His is a no-holds-barred conception of powerful expressive scope, intrepid incident and obvious affection...A very strong recommendation.” Gramophone Magazine, July 2013

“it feels as if the Bavarian Radio Symphony Orchestra has established a special rapport with Nelsons. Marshalling his sections with conspicuous assurance Nelsons leads a performance of innate energy and vibrancy. It feels a notch or two above the routine standard of playing that [the New World] often produces.” MusicWeb International, 6th August 2013

BBC Music Magazine

Disc of the month - July 2013

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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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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

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Mariss Jansons conducts Dvorak: Stabat Mater

Mariss Jansons conducts Dvorak: Stabat Mater


Dvorak:

Stabat Mater, Op. 58

Live Recording, Munich, Herkulessaal der Residenz, 24.-26.03.2015


Erin Wall (soprano), Mihoko Fujimara (mezzo-soprano), Christian Elsner (tenor) & Liang Li (bass)

Chor and Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

Dvořák's haunting 'Stabat Mater' for solo voices, chorus and orchestra is not only the most famous work of church music by the Bohemian composer - it is also one of the most impressive ever settings of the medieval hymn in which Mary, the mother of Jesus, gives vivid expression to the pain she feels at the sight of her crucified son. The terrible misfortunes that befell the composer in his private life during the creation of this work may have been a reason for this. It is the continuous expression of deep piety, above all, that gives this music its special dignity. It was precisely this intensity that was conveyed by the concert on March 26, 2015 in the Herkulessaal of the Munich Residenz, where the four renowned soloists were in fine voice, and the Chor des Bayerischen Rundfunks once again delivered the "crystal clear sound" and "incredible three-dimensionality" for which it is highly praised time and again. And the Symphonieorchester des Bayerischen Rundfunks, conducted by Mariss Jansons, performed Dvořák's deeply moving music authentically, in keeping with the composer's intentions: sensitively felt, yet with a resonant, magnificent sound. The live recording of Dvorak's "Stabat Mater" has been re-released by BR KLASSIK on CD.

“Under Jansons, the Bavarian Radio Chorus are in fine voice, crisp of enunciation and excellently balanced against the large orchestra [and] are joined by a distinguished solo quartet…this live performance is excellent in all respects” Gramophone Magazine, March 2016

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