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Franz Peter Schubert (1797-1828)

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Schubert: Eight Symphonies

Schubert: Eight Symphonies


Schubert:

Symphony No. 1 in D major, D82

Live recordings from Munich’s Prinzregententheater made in March 2001.

Symphony No. 2 in B flat major, D125

Symphony No. 6 in C major, D589

Symphony No. 3 in D major, D200

Symphony No. 4 in C minor, D417 'Tragic'

Symphony No. 5 in B flat major, D485

Symphony No. 8 in B minor, D759 'Unfinished'

Symphony No. 9 in C major, D944 'The Great'


With his works by single composer, Lorin Maazel made history as Chief Conductor of the Symphonieorchester des Bayerischen Rundfunks. After the successful release of the album containing the complete symphonic works of Anton Bruckner, the BR-KLASSIK label now presents the complete symphonies of Franz Schubert, recorded in 2001. The present Chief Conductor of the Munich Philharmonic had already conducted Schubert’s “Unfinished Symphony” at the age of eight.

The second album featuring the long-standing Chief Conductor of the BR Symphonieorchester.

Live recordings from Munich’s Prinzregententheater made in March 2001.

First release at an attractive midprice.

“These interpretations are by and large more tense and taut than the genial, relaxed manner typified by many previous, celebrated interpreters...Maazel’s treatment of the Fourth is urgent and vital...The performance of D.759 is graced by gorgeous instrumental tone in every department.” MusicWeb International, 24th May 2013

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BR Klassik - 900712

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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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Mariss Jansons conducts Schubert and Gounod

Mariss Jansons conducts Schubert and Gounod

Live-Recording, Munich, Herkulessaal, 27.-29.03.2007


Gounod:

St Cecilia Mass

Schubert:

Mass No. 2 in G major, D167


These two popular 19th century orchestral masses could hardly be more different: even though there are only 40 years between Franz Schubert’s Mass No. 2 in G major D. 167 and Charles Gounod’s St. Cecilia Mass. While Schubert at the tender age of 18 wrote his mass - in a single week! - in the customary style at the time of the Missa brevis, Charles Gounod’s St. Cecilia Mass stands out by virtue of lustrous tone colors with harp and winds - reminiscent in many places of grand opéra.

The recording of the present CD took place in March of 2007 in Munich’s Herkulessaal in the Residence and reveal Mariss Jansons, the Chief Conductor of the Chor and Symphonieorchester des Bayerischen Rundfunks in an especially deeply felt program.

Schubert and Gounod: two popular 19th century orchestral masses united on one CD.

After Haydn’s Harmony Mass the second BR-KLASSIK CD with masses under the direction of Chief Conductor Mariss Jansons.

“splendidly controlled by Mariss Jansons. There is also a fine tenor solo from Christian Elsner in the 'Sanctus', and both performance and recording do well with the three soloists in 'et incarnatus', which Gounod wanted sung as quietly as possible” International Record Review, February 2012

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BR Klassik - 900114

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Michael Volle – A Portrait

Michael Volle – A Portrait


Handel:

Messiah: Thus saith the Lord

Te Deum in D major 'Dettingen', HWV283: Vouchsafe, O Lord

Lehár:

Da geh' ich zu Maxim (from Die Lustige Witwe)

Millöcker:

Dunkelrote Rosen (from Gasparone)

Mozart:

Deh! vieni alla finestra (from Don Giovanni)

Fin ch'han dal vino (from Don Giovanni)

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

Schubert:

An Sylvia, D891

Gruppe aus dem Tartarus, second version, D583 (Schiller)

Erlkönig, D328

Verdi:

Confutatis (from Requiem)

O Carlo, ascolta (from Don Carlo)

É sogno, o realta? (from Falstaff)

Ehi! Paggio! ... L'onore! Ladri! (from Falstaff)

Wagner:

Wie Todesahnung...O du, mein holder Abendstern (from Tannhäuser)

Nein, Lasst ihn unenthüllt (Parsifal)

Wahn! Wahn! Überall Wahn! (from Die Meistersinger von Nürnberg)


BR-Klassik presents the first portrait CD of baritone Michael Volle. Volle is a long-standing member of Bavarian State Opera choral ensemble.

This disc includes works from the Messiah, Don Giovanni and The Marriage of Figaro. Volle also commemorates Wagner and Verdi’s 200th Anniversary by singing arias from Parsifal, Tannhäuser, Don Carlos and Falstaff.

Previous recordings include, St John’s Passion (Harmonia Mundi); Ariadne Auf Naxos (Art Haus) and Zemlinksy: 21st Century Classics (EMI Classics).

BR Klassik - up to 25% off

BR Klassik - 900312

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