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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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Martha Argerich plays Beethoven & Mozart

Martha Argerich plays Beethoven & Mozart


Beethoven:

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

Seiji Ozawa

Mozart:

Piano Concerto No. 18 in B flat major, K456

Eugen Jochum


A concert by Martha Argerich is always sensational, sometimes grandiose, and occasionally the audience experiences a truly stellar event. Going through the archives of Bavarian Broadcasting, the feeling was unanimous, and many “ear witnesses” themselves remembered the concerts: on these evenings Argerich was in top form, collaborated with two congenial conductors, inspired the orchestra and drew inspiration from it. In short: these live recordings should, indeed must be heard! Especially with this artist, the medium of live recording is especially valuable. Before an audience in the sold-out hall, there developed a knack for communication and spontaneous music-making with a downright personal appeal to the listener.

For the Mozart concerto, Eugen Jochum mounted the podium of the Symphonieorchester des Bayerischen Rundfunks. He had a special relationship with the orchestra, having been the first chief conductor of the newly founded ensemble since 1949, a position he held until 1960. Seiji Ozawa was and is regularly heard as a guest conductor in Munich, where audiences look forward to his return in the 2009/2010 season. After the concert evening in June of 1983 the audience and reviewers were unanimous in their enthusiasm, as attested by the Abendzeitung: “Martha Argerich, currently in the form of her life, played (…) with inimitable fire without forgetting intimacy, sensitivity and expression.”

“…Martha Argerich in resplendent form… the elegance and limpidness of her Mozart… are a constant joy. …in the Beethoven… Argerich's playing is again full of spirit, generating an atmosphere of mystery in the opening movement's central development section, and an infectious lilt in the finale's 'tin-pan alley' minor-mode episode.” BBC Music Magazine, February 2010 *****

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BR Klassik Archive - 403571900701

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Rhapsody

Rhapsody

Live-Recording, Munich, Herkulessaal, October 2015


Chabrier:

España

Enescu:

Romanian Rhapsody in A major, Op. 11 No. 1

Gershwin:

Rhapsody in Blue

Denis Matsuev (piano)

Liszt:

Hungarian Rhapsody, S244 No. 2 in C sharp minor

Ravel:

Rapsodie Espagnole


This latest CD from BR KLASSIK contains five great rhapsodies, devised and elaborated by very different composers from different regions, with a lot of imagination and local flavour. With his rhapsody "España" the Frenchman Emmanuel Chabrier focused on the Iberian music and folk music so popular at the time, as did his more famous compatriot Maurice Ravel with his "Rhapsodie espagnole", the four-movement structure of which still harks back to long-outdated symphonic forms. From the Hungarian-born Franz Liszt we have the famous "Hungarian Rhapsody" No. 2, and from the Romanian composer George Enescu the scarcely less famous and popular "Romanian Rhapsody". The American George Gershwin created what was probably the most famous example of the genre in the 20th century with his "Rhapsody in Blue" for piano and orchestra… The Symphonieorchester des Bayerischen Rundfunks under their chief conductor Mariss Jansons are a guarantee of outstanding interpretative quality for these large-scale rhapsodic musical works. The Russian pianist Denis Matusev – internationally famous ever since he won the Tchaikovsky Piano Competition in Moscow in 1998 – proves to be a sovereign and stylistically confident interpreter of George Gershwin’s concertante masterpiece, with its numerous jazz elements. The live recording of this concert was made in October 2015 in the Herkulessaal of the Munich Residenz.

“Ravel’s achingly sensuous Rapsodie espagnole receives the finest performance here, infused with infectious warmth that is sensually beguiling.” BBC Music Magazine, December 2016 ****

“[the Ravel] is played with a satisfying balance of exactitude and flair…[the Gershwin is] full of fire and fun, despite the occasional overindulgence” Gramophone Magazine, October 2016

“This disc is a bit of a guilty pleasure.” MusicWeb International, 21st October 2016

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BR Klassik - 900146

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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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1st Prize Winners of the ARD Music Competition

1st Prize Winners of the ARD Music Competition

Live-Recording from the Prize Winner Concerts 2008 & 2009, Munich, Herkulessaal der Residenz


Glière:

Concerto for Harp and Orchestra in E flat major Op. 74

Emmanuel Ceysson (Harp

Lawrence Renes

Korngold:

Violin Concerto in D major, Op. 35

Hyeyoon Park (Violin)

Lawrence Renes

Mozart:

Clarinet Concerto in A major, K622

Sebastian Manz (Clarinet)

Cornelius Meister


Time and again, the ARD International Music Competition in Munich has been the site of concert performances that make us forget that the name of this game is scoring points with a jury and keeping mistakes down to a minimum. All of a sudden the idea of a competition departs from our minds, and we concentrate our full attention on the concert event, suddenly opening up to the adventure, audacity, spontaneity and the perfect musical moments. Three such highlights with first prize winners are combined on this CD. Sebastian Manz, first prize winner in 2008 played Mozart's Clarinet Concerto as originally composed, on the basset horn, accompanied by the young shooting star on the conducting horizon, Cornelius Meister. French harpist Emmanuel Ceysson enchanted the audience with the iridescent wealth of colour in the rarely performed Harp Concerto by Reinhold Glière in September of 2009. And Hyeyoon Park, at 17 years of age the youngest finalist in the history of the Competition, revealed authentic prodigy qualities in a work overflowing with lush Hollywood charm, the Violin Concerto by Erich Wolfgang Korngold.

Three first prize winners at the ARD International Music Competition in Munich.

Mozart's Clarinet Concerto in the original version for basset horn with Sebastian Manz and shooting star conductor Cornelius Meister.

Repertoire rarity: the Harp Concerto by Reinhold Glière, played by Emmanuel Ceysson, principal harpist at the Paris Opéra.

The exceptional talent at the 2009 Competition: at only 17 years of age, Hyeyoon Park made history at the Competition and thrilled the audience with Erich Wolfgang Korngold's Violin Concerto.

Booklet: English, German, French

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BR Klassik - 900106

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Daniel Barenboim plays Mozart

Daniel Barenboim plays Mozart


Mozart:

Piano Concerto No. 22 in E flat major, K482

Recording: Munich Herkulessaal, 1970/06/06

Piano Concerto No. 23 in A major, K488

Live-Recording: Munich Herkulessaal, 1970/06/05


Booklet Notes: English, German, French.

Daniel Barenboim ranks as one of the greatest Mozart interpreters of the 20th century. Among his recordings of Mozart’s piano concertos, there have thus far been no releases with Rafael Kubelík – Barenboim’s deeply admired conductor and “brother in spirit”. Both interpreters were united by the same musical approach, a striving for uncompromising clarity in phrasing and structure. The result is a highly vibrant, exemplary recording of two of Mozart’s most significant piano concertos. In 1970, the year the recording was made, Kubelík had already been Chief Conductor of the Symphonieorchester des Bayerischen Rundfunks for nine years and had led the ensemble to international renown.

Barenboim and Kubelík, an ideal pair of interpreters for Mozart.

A recording from Barenboim’s pianistic glory years.

The continuation of the BR-KLASSIK ARCHIVE series following the successful launch with Martha Argerich.

“Mozart’s A major Concerto K. 488, played by Daniel Barenboim (…) was more than just a pleasure – it was likewise the revelation of the unfathomable in Mozart’s music.” Süddeutsche Zeitung, June 1970

“The Bavarian performance is totally without self-indulgence, bright and perky in the outer movements and finding truly touching simplicity in the intense Andante. Barenboim is brilliantly virtuoso but never too big for his boots...this is an exhilarating rediscovery.” Gramophone Magazine, September 2010

“Barenboim’s rubato playing is deliciously tempered. He ekes out all possible emotional without it becoming cloying, masterfully displaying his interpretative powers. He calls on the Symphonieorcherster des Bayerischen Rundfunks in a confidently authoritative style, making the smallest gestures possessive of the most dramatic power.” Daniel Ross, bbc.co.uk, 28th April 2010

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BR Klassik Archive - 900709

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Gulda Plays Mozart & Gulda

Gulda Plays Mozart & Gulda


Gulda:

Improvisation 1 + 2

Live recording of a concert on June 27, 1982 at the Munich “Klaviersommer” with the jazz pianist Chick Corea

Mozart:

Piano Sonata No. 12 in F major, K332

Live recording of a concert on June 27, 1982 at the Munich “Klaviersommer” with the jazz pianist Chick Corea

Rondo for Piano & Orchestra in A major, K386

Live recording, Munich, Herkulessaal, 04.10.1969

Symphonieorchester des Bayerischen Rundfunks, Leopold Hager

Rondo for Piano & Orchestra in D major, K382

Live recording, Munich, Herkulessaal, 04.10.1969

Symphonieorchester des Bayerischen Rundfunks, Leopold Hager


Mozart was certainly among the "domestic deities" of Viennese pianist Friedrich Gulda. He repeatedly played Mozart's piano music in his concerts and had it recorded. In so doing, this classically-trained musician, who had already played successfully in jazz bands at a young age, ignored the strict limits imposed by genres: he wanted to show audiences that there are no distinctions between musical styles whenever good music is played honestly and conscientiously. On June 27, 1982, Gulda again appeared at Munich's "Klaviersommer" festival. His partner was the jazz pianist Chick Corea, and the collaboration of both musicians is documented on the CD (and DVD) "The Meeting" - a standard in recording history. Until now, only the famous second half of this concert has been available and not the first, which Gulda performed on his own and was devoted primarily to Mozart. Gulda thus used Mozart's piano music as a kind of introduction to the world of jazz improvisation. The first part of this legendary concert, performed at the Deutsches Museum in the summer of 1982, took the soloist Gulda over 40 minutes to perform, even though he "only" played Mozart's Piano Sonata in C Major K 330. But he began and ended it with his own improvisations, which sound less than Mozartian, even though they do contain a broad and subtle range of different styles and effects, catchy melodies, and violent cascades of sound. Gulda proves to be a highly gifted interpreter of Mozart as well as a mischievous improviser on the piano – who also wants to entertain and can do so on a high level. - As a transition to the second part of the concert, he performs two of his own compositions, which can also be heard on this CD from BR-KLASSIK. It is a piece of good fortune that the Bayerischer Rundfunk has now made the first half of this concert event accessible to a wide audience too.The recording begins and ends with Mozart's rarely-heard Rondos for Piano and Orchestra in A Major KV 386 and D Major KV 382. Gulda played them on October 4, 1969 in the Herkulessaal of the Munich Residenz, accompanied by the Symphonieorchester des Bayerischen Rundfunks under Leopold Hager. Gulda plays cheerfully without the slightest audible effort, combining Mozart with the finesse of a grandiose performer who is in fact laughing up his sleeve.

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BR Klassik - 900713

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Mozart - Flute & Oboe Concertos

Mozart - Flute & Oboe Concertos


Mozart:

Flute Concerto No. 1 in G major, K313

Recording: Munich, Herkulessaal, 16.10.1981

Irena Grafenauer (flute)

Günter Wand

Oboe Concerto In C major, K314

Live-Recording: Munich Herkulessaal, 11./12.1.2001

François Leleux (oboe)

Sir Colin Davis

Symphony No. 32 in G major, K318

Live-Recording: München Herkulessaal, 22.6.1985

Sir Colin Davis


Irena Grafenauer and François Leleux are two internationally renowned woodwind soloists, who emerged from the ranks of the Symphonieorchester des Bayerischen Rundfunks. The 1981 recording of the Flute Concerto K. 313 with the Slovenian soloist Irena Grafenauer is an item of very special value in the Symphonieorchester’s discography, because it is one of the few recordings with the great Günter Wand on the conductor’s podium. François Leleux ranks today as one of the most sought-after oboe soloists in the world. This CD presents him in 2001 with Mozart’s Oboe Concerto accompanied by “his” orchestra, in which he held the position of principal oboist until 2005, with Sir Colin Davis, the long-standing Chief Conductor of the orchestra. The live recording of the short, one-movement Symphony K. 318, which conjures up the atmosphere of an Italian opera in the concert hall, was made during Colin Davis’s early years as Chief Conductor of the orchestra.

Irena Grafenauer and Frençois Leleux, two internationally renowned soloists, who emerged from the ranks of the Symphonieorchester des Bayerischen Rundfunks.

One of the few available CDs with Günter Wand on the conductor’s podium of the Symphonieorchester.

Both soloists were prize-winners at the ARD International Music Competition (1979 and 1991).

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BR Klassik - 900710

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Mozart: Schatten und Licht (Shadow and Light)

Mozart: Schatten und Licht (Shadow and Light)

An audio biography by Jörg Handstein


Mozart:

Piano Concerto No. 18 in B flat major, K456

Martha Argerich (piano)

Piano Concerto No. 23 in A major, K488

Daniel Barenboim (piano)


Udo Wachtveitl (narrator), Florian Teichtmeister (Mozart), Andreas Borcherding (Leopold Mozart) & Anna Greiter (Nannerl)

Symphonieorchester des Bayerischen Rundfunks, Eugen Jochum & Rafael Kubelik

What was Mozart really like? Was he "a flawless and infinitely good man," as his admirer Tchaikovsky believed? Or was he, as Goethe secretly feared, a man "in the grip of the demonic spirit of his genius"? This audio biography lays no claim to solving the riddle of Mozart either, but it does bring the composer to life – in his thoughts and feelings, his everyday life and his era, as embodied by the Viennese actor Florian Teichtmeister, and strictly according to original source material. The narrator is Udo Wachtveitl, while the author is Jörg Handstein, who has already retraced the lives of Mahler, Wagner and Verdi in the form of audio-biographies for the BR-KLASSIK Wissen series.

The audio biography is enhanced by the two Piano Concertos No. 18 and No. 23, played by Martha Argerich and Daniel Barenboim, accompanied by the Symphonieorchester des Bayerischen Rundfunks.

Booklet in German

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BR Klassik - 900906

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Mariss Jansons conducts Sibelius

Mariss Jansons conducts Sibelius


Sibelius:

Symphony No. 2 in D major, Op. 43

Live Recording Munich, Herkulessaal November 2015

Finlandia, Op. 26

Live Recording Munich, Philharmonie im Gasteig, October 2015

Karelia Suite, Op. 11

Live Recording Munich, Philharmonie im Gasteig, October 2015


The latest new release from BR KLASSIK gathers together on one CD the most famous and popular musical works of the great Finnish composer Jean Sibelius. The music of the symphonic poem "Finlandia", op 26, which premiered in Helsinki in 1899 as a "historical tableau" from Finnish history, inspired Sibelius's compatriots immediately. The work - as it were the unofficial national anthem of Finland - became internationally known in 1900, and continues to be world-famous today, not only because of the hymn-like chorale that concludes it. Sibelius's "Karelia" Suite op. 11, composed some years earlier, which refers to the Finnish landscape of Karelia and the legends of the "Kalevala" epic, was also received very enthusiastically by the national Finnish movement at that time and soon became internationally famous as well. The Symphony No. 2, op 43, the best-known and most popular of the composer's seven completed symphonies, premiered in 1902. With this work Sibelius managed to emancipate himself, moving from being a merely national Finnish composer to an international one. The clear, confident character of the work goes far beyond the purely "exotic" national style, and its "absolute" music remains unaffected by any extra-musical programme. Whether we appreciate Sibelius as an absolute musician or as Finland's national composer, and whether we regard his music as international or as an expression of Finland's struggle for independence – as his compatriots have done to this day – the music remains highly individual and unique, and has successfully established itself in the international concert repertoire. The exemplary interpretations on this CD by the Symphonieorchester des Bayerischen Rundfunks under its chief conductor Mariss Jansons were recorded at several Munich concerts during the autumn of 2015. Sensitively conducted and full of gripping majesty, the performances show clearly why Sibelius's symphonies have retained their importance to the present day.

“Virtuoso conducting and immaculate orchestral playing” Gramophone Magazine, August 2016

“A thrilling Finlandia, an odd Karelia and a very individual take on the symphony; for Jansons fans only” MusicWeb International, 13th June 2016

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BR Klassik - 900144

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