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Franz Joseph Haydn (1732-1809)

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Haydn - Harmony Mass

Haydn - Harmony Mass


Haydn:

Sinfonia in D major, Hob. Ia:7

Symphony No. 88 in G major

Mass, Hob. XXII:14 in B flat major 'Harmoniemesse'

Marin Hartelius (soprano), Judith Schmid (alto), Christian Elsner (tenor) & Franz-Josef Selig (bass)


It’s always a very special musical event when two Bavarian Broadcasting ensembles join forces on stage – as in this case with the Chor and Symphonieorchester des Bayerischen Rundfunks. In the magnificent setting of Waldsassen Abbey Basilica in the Upper Palatinate, Mariss Jansons conducted an all-Haydn program in October of 2008: Haydn’s Harmony Mass ranks as one of the six great masses of his late creative period, composed on commission from Prince Esterházy. Its name refers to the unusually large complement of wind instruments, an orchestration that was only possible for the final great masses after the Josephinist restrictions for church music were lifted, and because, from 1792 on, Haydn had a larger instrumental ensemble at his disposal. Timpani and trumpets were used in the Symphony in G major, Hob. I:88, but not, as might be expected, in the opening allegro but rather – in contrast to expectations in those days – not until the slow second movement.

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BR Klassik - 403571900102

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Haydn - Harmony Mass

Haydn - Harmony Mass


Haydn:

Sinfonia in D major, Hob. Ia:7

Symphony No. 88 in G major

Mass, Hob. XXII:14 in B flat major 'Harmoniemesse'

Marin Hartelius (soprano), Judith Schmid (alto), Christian Elsner (tenor) & Franz-Josef Selig (bass)


An especially festive atmosphere, in which we can participate both acoustically and visually with this DVD, was the dominant mood of this concert in the famous Abbey Basilica of Waldsassen in the Upper Palatinate. Among lovers of baroque church architecture, Waldsassen ranks as one of the most significant sacred buildings in Bavaria. The lush setting also includes the richest treasure-trove of relics north of the Alps. In addition to the Symphony in G major, Hob. I:88 and the Sinfonia D major, Hob. Ia:7, the performance in Waldsassen in October of 2008 also included Franz Joseph Haydn’s Harmony Mass.

2.0 PCM Stereo

5.0 DTS Surround

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“…filmed in the splendid surround of the ornate Baroque Basilica at Waldsassen, Bavaria… The Mass, with its grand and regularly celebratory liturgical manner, four soloists and chorus, seems particularly well suited to the venue and Brian Large's filming is intelligent in its focus on whatever is happening musically in the score at any given moment. The performance is of a very high standard... Mariss Jansons seeks out the humanity of Haydn's ideas, their wit... and their character...” BBC Music Magazine, February 2010 *****

DVD Video

Region: 0

Format: NTSC

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BR Klassik - 403571900103

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Haydn: The Creation

Haydn: The Creation

Live-Recording: Munich, December 2013


Following Mahler's Ninth and Bruckner's Fifth, this live recording of Joseph Haydn's "The Creation" is already the third CD recording to feature the masterly Bernard Haitink at the helm of the Symphonieorchester des Bayerischen Rundfunks. Haitink has been a guest conductor of the orchestra for over 50 years now. Haydn's oratorio "The Creation", first performed in 1798, instantly became an established part of the repertoire and the greatest success the composer had ever experienced. Today, it still ranks as an important test for any ensemble of soloists, choir and orchestra. The Symphonieorchester des Bayerischen Rundfunks and its Choir joined forces for this recording, together with a team of renowned soloists. The solo parts of the three archangels are sung by renowned soprano Camilla Tilling, Mark Padmore, who can also be heard in the BR-KLASSIK recording of Britten's "War Requiem", and bass-baritone Hanno Müller-Brachmann who, as a representative of the younger generation, is enjoying a remarkable operatic, lieder and concert career.

“[Haitink] approaches this great choral masterpiece with wit, unhurried grandeur, riveting orchestral detail and forward momentum...Choir, orchestra and soloists are on sparkling form in this live recording – an invigorating reminder, if any were needed, of Haydn’s genius.” The Observer, 14th December 2014 ****

“Right from the “Representation of Chaos” at the oratorio’s start, you know that Haitink has his finger on the music’s dramatic pulse. The orchestra paints incisive pictures, punctuating Haydn’s unearthly wandering harmonies with sharp, seismic shocks...This is a great interpretation of a choral classic.” The Telegraph, 23rd September 2014 *****

“Haitink is predictably superb in movements that encapsulate the 18th-century notion of 'the sublime'...Rarely, too, has the portrayal of the first dawn in Paradise sounded so radiant...With eager, firm-toned singing from the professional choir, the neo-Handelian fugal choruses unfold with a wide dynamic range and a powerful sense of inevitability...This new recording has much to offer” Gramophone Magazine, November 2014

“It manages to combine the virtues of old and new performance traditions and in capturing the essence of Haydn’s wonderfully humane creation. I have no hesitation in saying that this is by some way the most satisfying recorded performance of the work I have heard.” MusicWeb International, 8th December 2014

“The Bavarian chorus does a very good job, with abundant tone and helped, as are the soloists and orchestra, by a commendably clear recording...[Tilling] has the flexibility of voice for her arias...Padmore sings admirably, his lyric tones being suitable for the music...Müller-Brachmann is vocally assured, his tone succulent and warm.” International Record Review, December 2014

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BR Klassik - 900125

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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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BR Klassik - 900131

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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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BR Klassik - 900518

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