The Berliner Philharmoniker in Tokyo

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The Berliner Philharmoniker in Tokyo



Catalogue No:




Release date:

28th March 2011




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The Berliner Philharmoniker in Tokyo

Recorded live at the Suntory Hall, Tokyo, 26 November 2000


Symphony No. 8 in G major, Op. 88


Violin Concerto No. 1 in A minor, Op. 99

Hilary Hahn (violin)


Oberon Overture

DVD Video


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For years the Berliner Philharmoniker have been famous for their acclaimed concerts in Japan. In this live recording from the year 2000, they perform under the direction of Mariss Jansons. He returns to direct the Berliner Philharmoniker, rekindling their long-standing relationship that began in 1976.

Tokyo’s Suntory Hall is alive to a programme of particular musical energy − sometimes overt and joyous, sometimes suppressed and intense. Jansons’ fidelity to music composed during the Soviet era remains heartfelt: Shostakovich’s Violin Concerto No. 1, featuring soloist Hilary Hahn, is rendered with poise, elegance and demoniac vigour. This piece is framed by two sprightly works: Weber’s charming, zesty Overture to Oberon and Dvorák’s Eighth Symphony, executed with Bohemian-esque lyricism and verve.

A new stunning release in our series of legendary recordings of the Berliner Philharmoniker - a new chapter of the amazing Berliner Philharmoniker Story.

Hilary Hahn is a two-time Grammy Award-winning soloist. She is celebrated for her probing interpretations, technical assurance and compelling stage presence. Her extensive international performances and recording activities have made Hahn one of the most important artists of our years. (see

Picture format BD: NTSC - 16:9

Sounds formats BD: PCM Stereo, DD 5.1, DTS 5.1

Region code: 0

Booklet notes: English, German, French

Running time: 99 mins

FSK: 0

BBC Music Magazine

July 2011


“Jansons moulds an expressive performance, his batonless hands eloquent and fluid. Hahn's technical perfection in the Shostakovich would be hard to beat...The camera is on Jansons a lot and he provides an object lesson in when to conduct the music, when to beat time, and how important the eyes are as a means of communication.”

Gramophone Magazine

September 2011

“As the opening of Dvorak's Eighth is moulded and caressed into Mariss quickly becomes apparent how distant we are from the plain-speaking affection of a native account by Talich or Ancerl...This is an exceptional account.”

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