Also available on Blu-ray

Live Recording from the Lucerne Festival, Summer 2011

‘Abbado’s approach to the music of Bruckner is soft and songlike, at times tense and urgent, but constantly filled with warmth of feeling’ – not only the Neue Zürcher Zeitung is full of praise when Claudio Abbado and the Lucerne Festival Orchestra play Bruckner. Their interpretation of his awe-inspiring Fifth Symphony reflects the composer’s burgeoning powers and exquisite compositional artistry. As The Guardian poetically states: ‘The composer himself, one suspects, might have leapt to embrace Abbado as an ideal interpreter.’

Also available on standard DVD

BRUCKNER Symphony No. 5 (Nowak ed.) • Claudio Abbado, cond; Lucerne Fest O • ACCENTUS ACC 10243 (Blu-ray: 80:33) Live: Lucerne 8/19–20/2011

Claudio Abbado formed the Lucerne Festival Orchestra in 2003 after his return to musical life following successful treatment for stomach cancer. His appearances each summer with this group, built upon the core of the Mahler Chamber Orchestra plus first-chair players from many top ensembles, are highly anticipated events. So, when Lucerne videos are released during the year following a festival, it’s like returning to a favorite summer vacation town. What’s the same? What’s changed? As the cameras scan the orchestra, we see that the older female cellist (Natalia Gutman) is missing, but many other familiar faces are back, including violist Wolfram Christ, flutist Jacques Zoon, and the eccentric-appearing principal trumpet (Reinhold Friedrich, who, for some reason, is permitted to wear an extravagant velvet jacket and as a result looks like a cross between Ben Franklin and a circa 1910 patent medicine salesman). Plus, as always, there is a healthy number of young musicians who must be marveling at their good fortune to be participating in such an extraordinary endeavor. Because of the degree of continuity from year to year, a strong sense of artistic purpose and, of course, the man on the podium, the orchestra consistently performs at a level equal to the very best permanent ensembles on earth, even though they are together only relatively briefly each summer.

Bruckner’s Symphony No. 5 is a work that can be condescended to. If a conductor begins with the premise that the Fifth is a piece that—however powerful and popular—is constructed from simplistic elements and lacking refinement, well … you’ll get a performance that’s simplistic and unrefined. Abbado finds layers and layers of nuance and meaning in the symphony. (Benjamin Zander is another conductor who shows the work a similar respect.) Any aura of ritual or of a grinding symphonic machine is banished and something much more organic is in evidence; it’s less a sonic cathedral (to use the standard Bruckner cliché) and more of a Beethovenian or Mahlerian evocation of the natural world. The chorales—strings in the second movement or the “11 apostles” in the Finale—are thankfully shorn of any Hollywood religiosity and just seem to blossom inevitably from musical seeds planted much earlier on. Abbado leads the Scherzo with exceptional lift and lightness, but still allows the obsessive quality to come through without nearly as much hard-headedness—the “country bumpkin” cliché—as is often the case. And then there are the felicities provided by all those world-class instrumentalists. For just one example, listen to the seamless manner with which phrases are passed from horn to oboe to flute at the very end of the second movement.

The sound is glorious in stereo and, especially, with multichannel—richly sonorous, dynamic, detailed, and dimensional. I’ve never witnessed a large audience listen so quietly before; everyone present in the Concert Hall of KKL Luzern for the two performances generating this video last August knew, I’m sure, that they were witnessing something special. They seem afraid to breathe, much less cough or fidget in their seats. As has become the custom, flowers rain down on the performers after the concert’s conclusion. The audience rises to its feet, something that doesn’t happen all that often in Europe (as opposed to the U.S., where every performance, however routine, typically gets a standing ovation). Abbado will be 80 next year and he looks well. Here’s hoping there are many more of these Blu-ray treasures to come.

FANFARE: Andrew Quint

The Lucerne Festival Orchestra, under the baton of master conductor Claudio Abbado, present this new recording of Anton Bruckner’s first Symphony. The version performed here is the “Vienna” version of 1891, edited by Gunter Brosche. “Abbado uncovered the radical nature of the work with its fascinating accumulations of intensity and abrupt interruptions... Long and enthusiastic standing ovations at the end for the conductor and orchestra.” (Die Welt)

Also available on Blu-ray

BRAHMS, J.: Serenade No. 2 / Alto Rhapsody / Symphony No. 2 (Lucerne Festival Orchestra, Nelsons) (NTSC)

In 2014, all signs pointed to a new beginning at the Lucerne Festival. For the first time, the festival would take place without the incomparable Claudio Abbado, with the young Latvian Andris Nelsons leading the Lucerne Festival Orchestra. Nelsons had already won the trust and respect of both listeners and performers in a moving memorial concert for Abbado in Lucerne. He is known internationally as one of the most gifted conductors of his generation. Now he was poised to lead the prestigious festival into a new era – he brilliantly mastered this “greatest challenge”(as he himself called it) of his career. The audience and the musicians responded with heart-felt gratitude. “He is aware of every single player and carries us on an unbelievable wave of enthusiasm”, according to concertmaster Sebastian Breuninger. Solo violist Wolfram Christ adds, “Nelsons accepts what is inherent in our orchestra and what comes from Abbado; he builds on it and makes it into something new.”

ANDRIS NELSONS CONDUCTS BRAHMS

Johannes Brahms:
Serenade No. 2 in A Major, Op. 16
Alto Rhapsody, Op. 53
Symphony No. 2 in D Major, Op. 73

Sara Mingardo, contralto
Bavarian Radio Chorus
Lucerne Festival Orchestra
Andris Nelsons, conductor

Recorded live at the Concert Hall of KKL Luzern, 15–16 August 2014

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: German, English, French, Japanese, Korean
Running time: 109 mins
No. of DVDs: 1 (DVD 9)

Also available on Blu-ray

LUCERNE FESTIVAL 2013 OPENING CONCERT

Johannes Brahms: Tragic Overture, Op. 81

Arnold Schoenberg: Gurre-Lieder: Orchestral Interlude & Song of the Wood Dove

Ludwig van Beethoven: Symphony No. 3 in E-Flat Major, Op. 55, “Eroica”

Mihoko Fujimura, mezzo-soprano
Lucerne Festival Orchestra
Claudio Abbado, conductor

Recorded live at the Concert Hall of KKL Luzern, 16-17 August 2013

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: German, English, Japanese, Korean
Running time: 100 mins
No. of DVDs: 1 (DVD 9)

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

LUCERNE FESTIVAL 2013 OPENING CONCERT

Johannes Brahms: Tragic Overture, Op. 81

Arnold Schoenberg: Gurre-Lieder: Orchestral Interlude & Song of the Wood Dove

Ludwig van Beethoven: Symphony No. 3 in E-Flat Major, Op. 55, “Eroica”

Mihoko Fujimura, mezzo-soprano
Lucerne Festival Orchestra
Claudio Abbado, conductor

Recorded live at the Concert Hall of KKL Luzern, 16-17 August 2013

Picture format: 1080i Full-HD
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: German, English, Japanese, Korean
Running time: 100 mins
No. of Discs: 1 (blu-ray)

For his inaugural concert as the new Gewandhauskapellmeister, Andris Nelsons chose three pieces, each with symbolic power. At its center is the “Scottish” Symphony by Felix Mendelssohn, his most prominent predecessor, which was premiered by the Gewandhausorchester Leipzig under the baton of the composer himself in 1842. The symphony is framed by a commissioned work by the Leipzig composer Steffen Schleiermacher and Alban Berg’s Violin Concerto, a key work of classical modernism. There is no question about it: this program defines his agenda. It professes Leipzig‘s rich musical tradition, spanning the period from the 19th to the 20th century, and to the music of our time. Andris Nelsons is Music Director of the Boston Symphony Orchestra and is Gewandhauskapellmeister of the Gewandhausorchester Leipzig, with the appointment commencing in February 2018. With these positions, and in leading a pioneering alliance between two such esteemed institutions, Grammy Award-winning Nelsons is firmly underlined as one of the most renowned and innovative conductors on the international scene today.

Ludwig van Beethoven's 9th Symphony and the musical city of Leipzig are closely intertwined with each other: Felix Mendelssohn, Kapellmeister of the Gewandhausorchester, made the work an indispensable part of the concert hall repertoire and Arthur Nikisch, one of his successors, established in 1918 the worldwide tradition of performing this groundbreaking and pioneering work at the end of the year. The phenomenal Herbert Blomstedt, Gewandhaus-kapellmeister from 1998 to 2005, once again conducted Beethoven's Ninth in Leipzig for the 2016 New Year celebrations. With his former orchestra, of which he has been Conductor Laureate since 2005 and with whom he enjoys a close friendship, he achieves a gripping interpretation of this monumental work. Under the direction of Blomstedt, together with his excellent musicians, the choirs, and an outstanding quartet of soloists led by the magnificent voice of Christian Gerhaher, the utopia of global freedom and humanity in Friedrich Schiller's "Ode to Joy," penned in Leipzig in 1785, grows to overwhelming dimensions.

Ludwig van Beethoven's 9th Symphony and the musical city of Leipzig are closely intertwined with each other: Felix Mendelssohn, Kapellmeister of the Gewandhausorchester, made the work an indispensable part of the concert hall repertoire and Arthur Nikisch, one of his successors, established in 1918 the worldwide tradition of performing this groundbreaking and pioneering work at the end of the year. The phenomenal Herbert Blomstedt, Gewandhaus-kapellmeister from 1998 to 2005, once again conducted Beethoven's Ninth in Leipzig for the 2016 New Year celebrations. With his former orchestra, of which he has been Conductor Laureate since 2005 and with whom he enjoys a close friendship, he achieves a gripping interpretation of this monumental work. Under the direction of Blomstedt, together with his excellent musicians, the choirs, and an outstanding quartet of soloists led by the magnificent voice of Christian Gerhaher, the utopia of global freedom and humanity in Friedrich Schiller's "Ode to Joy," penned in Leipzig in 1785, grows to overwhelming dimensions.

In his Sixth Symphony, the "Pastoral", Ludwig van Beethoven conveys his musical message in such a way that lets the listener literally "see" images of beautiful nature, tempestuous storms, and shepherds singing in the fields, whereas in his Seventh Symphony, Beethoven lets the music speak for itself. The performances of these works by the Gewandhausorchester under its conductor laureate Herbert Bomstedt give the uplifting feeling that the intentions of both composer and performers are united in serving the musical message. In the lively, subtly differentiated interpretation of the works, sincere happiness, deep respect, piety, joyful, serenity and an affinity to nature as well as passion, vitality and spirit can all be felt. This is what the "authenticity" of making music is all about. The humanist and musician Herbert Blomstedt embodies this truth in a unique way, creating an atmosphere where the wonders of music all become true.

Also available on Blu-ray

The Daily Telegraph describes Nikolaj Znaider as "the most stimulating young musician playing today, drawing on musical intelligence, perception and dynamism to give performances of rare intensity.” This release presents one of the world's foremost violinists playing two landmark concertos, accompanied by the Leipzig Gewandhausorchester,  "one of Europe's finest orchestras" (The Guardian), under the baton of its music director Riccardo Chailly. 

It was the Gewandhausorchester that, in 1845, first performed Mendelssohn’s Concerto for Violin and Orchestra in E minor. Mendelssohn himself had conducted Beethoven's Violin Concerto in D major several times and helped this milestone in the history of music to its great breakthrough.


Picture Format: NTSC 16:9
Sound Formats: PCM Stereo, Dolby Digital 5.1, DTS 5.1
Region Code: 0 (Worldwide)
Running Time: 84 Minutes

Zhu Xiao-Mei writes of this new release: “It is with children in mind that I recorded these French Suites, always having heartfelt simplicity and purity in their mind. Children see the world with hope, optimism, and cast in light – much like Miró sees the world. I find a childlike purity in him, similar to what I hear in the French Suites. There is a quote by Miró that touches me enormously and makes me think a lot whenever I play, as it reflects something that may be the most difficult aspect of musical interpretation – and of art in general: „To gain freedom is to gain simplicity.” This release was recorded at the Mendelssohnsaal of the Gewandhaus zu Leipzig, May 2016.

It is with children in mind that I recorded these French Suites, always having heartfelt simplicity and purity in their mind. Children see the world with hope, optimism, and cast in light – much like Miró sees the world. I find a childlike purity in him, similar to what I hear in the French Suites. There is a quote by Miró that touches me enormously and makes me think a lot whenever I play, as it reflects something that may be the most difficult aspect of musical interpretation – and of art in general: To gain freedom is to gain simplicity.'' (Zhu Xiao-Mei) Zhu Xiao-Mei was born in 1949 in Shanghai. She began performing early, playing on Beijing radio and television when she was only 8. When she was ten she entered the National School of Music for exceptionally gifted children. She came to America in 1979, attending the New England Conservatory in Boston. Currently, she teaches at the Conservatoire de Paris.

Also available on Blu-ray

Johann Sebastian Bach
ST MATTHEW PASSION, BWV 244

Christina Landshamer, soprano
Stefan Kahle, alto
Wolfram Lattke, tenor
Martin Lattke, tenor
Klaus Mertens, bass
Gotthold Schwarz, bass

Leipzig St Thomas Boys Choir
Leipzig Gewandhaus Orchestra
Georg Christophe Biller, conductor

Recorded live from the St Thomas Church, Leipzig, 5 and 6 April 2012

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: German, English, French, Korean
Running time: 164 mins
No. of DVDs: 1

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Johann Sebastian Bach
ST MATTHEW PASSION, BWV 244
(Blu-ray Disc Version)

Christina Landshamer, soprano
Stefan Kahle, alto
Wolfram Lattke, tenor
Martin Lattke, tenor
Klaus Mertens, bass
Gotthold Schwarz, bass

Leipzig St Thomas Boys Choir
Leipzig Gewandhaus Orchestra
Georg Christophe Biller, conductor

Recorded live from the St Thomas Church, Leipzig, 5 and 6 April 2012

Picture format: 1080i Full-HD
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: German, English, French, Korean
Running time: 164 mins
No. of Discs: 1 (BD 50)