{"title":"Bavarian Radio Symphony Orchestra","description":"\u003cp\u003eorchestra.\u003c\/p\u003e\n\u003cp\u003ePrestigious German public broadcasting orchestra based in Munich; long association with conductors including Mariss Jansons and Herbert Blomstedt; strong Austro-German repertoire focus.\u003c\/p\u003e","products":[{"product_id":"piano-concertos-nos-4-5","title":"PIANO CONCERTOS NOS. 4 \u0026 5","description":"Classical Music","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":44711169622250,"sku":"400949545929","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/329327.jpg?v=1778342259"},{"product_id":"vorspiele","title":"VORSPIELE","description":"VORSPIELE","brand":"Orfeo","offers":[{"title":"Vinyl","offer_id":44711887765738,"sku":"4011790168111","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3893034.jpg?v=1778280042"},{"product_id":"fin-al-punto-poemes-symphoniq","title":"FIN AL PUNTO  POEMES SYMPHONIQ","description":"The music of Wilhelm Killmayer needs no declaration of facts, nor a declaration of love. Like almost no other music it \"emanates from itself\", is autonomic. For the premiere of \"fin al punto\" (which was written for the twentieth anniversary of the Munich Chamber Orchestra) in 1971 Wilhelm Killmayer wrote the following text: \"The calm already contains the catastrophe. Out of the calm grows the movement that drives itself to the furthest extreme of its powers, where it collapses. It is the point at which one gives up, beyond which one can escape into the open.\"","brand":"Wergo","offers":[{"title":"CD","offer_id":44712056553706,"sku":"4010228660623","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3418210.jpg?v=1778392236"},{"product_id":"violinkonzert-in-zwei-satzen","title":"VIOLINKONZERT IN ZWEI SATZEN","description":"A central concept for Hamel was and is the \"harmonic\" thinking - the intention of the standardization of heterogeneous elements of conflict resolution, even healing with a new multicultural spirituality \/ clergy (the religious dimension of such musicality can not be misappropriated). Hamel's pursuit of harmony, conflict freedom, beauty... made on a new stage of development, repressed and unfinished designated... Hamel's music was richer, more complex, konfliktu�ser, she approached the avant-garde sound, without, however, the basic trust each harmonic whole to without.","brand":"Wergo","offers":[{"title":"CD","offer_id":44712068022506,"sku":"4010228652024","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2857891.jpg?v=1778302631"},{"product_id":"busoni-piano-concerto-volker-banfield-lutz-herbig-133110","title":"Busoni: Piano Concerto \/ Volker Banfield, Lutz Herbig","description":"Classical Music","brand":"CPO","offers":[{"title":"CD","offer_id":44714281959658,"sku":"761203901722","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/139697.jpg?v=1778284265"},{"product_id":"beethoven-brahms-piano-concertos-orfeo","title":"Beethoven \u0026 Brahms: Piano Concertos","description":"Classical Music","brand":"Orfeo","offers":[{"title":"CD","offer_id":44715812126954,"sku":"4011790271125","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2056760.jpg?v=1778319688"},{"product_id":"pfitzner-palestrina-woo-17-vorspiele-orfeo","title":"Pfitzner: Palestrina, Woo 17 \u0026 Vorspiele","description":"Classical Music","brand":"Orfeo","offers":[{"title":"CD","offer_id":44715821662442,"sku":"4011790168128","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2056949.jpg?v=1778290629"},{"product_id":"hindemith-symphony-in-b-flat-major-the-4-temperaments-berg-chamber-concerto-orfeo","title":"Hindemith: Symphony In B-Flat Major \u0026 The 4 Temperaments - Berg: Chamber Concerto","description":"Classical Music","brand":"Orfeo","offers":[{"title":"CD","offer_id":44722646581482,"sku":"4011790197128","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2056383.jpg?v=1778311720"},{"product_id":"stravinsky-apollon-musagete-jeu-de-cartes-stravinsky-95922","title":"Stravinsky: Apollon Musagete, Jeu De Cartes \/ Stravinsky","description":"Classical Music","brand":"Orfeo","offers":[{"title":"CD","offer_id":44722804850922,"sku":"4011790198125","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2057013.jpg?v=1778290683"},{"product_id":"schoenberg-5-orchestral-pieces-erwartung-scherchen-bavarian-radio-symphony","title":"Schoenberg: Works for Orchestra and Voice \/ Scherchen, BRSO","description":"Classical Music","brand":"Orfeo","offers":[{"title":"CD","offer_id":44722859278570,"sku":"4011790274126","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2056549.jpg?v=1778319751"},{"product_id":"wolfgang-sawallisch-complete-symphonic-lieder-choral-recordings-warner-classics-edition-vol-1","title":"Wolfgang Sawallisch: Complete Symphonic, Lieder \u0026 Choral Recordings - Warner Classics Edition, Vol. 1","description":"For five decades Wolfgang Sawallisch (1923-2013) held a central position in the musical world. That centrality was reflected in a series of top orchestral and operatic posts and in his interpretations, free of self-regarding eccentricities. His modest but highly effective conducting technique also made him the ideal recording artist. Sawallisch was a Bavarian born in Munich, city of orchestras and a great opera company, which he headed for 21 years. He started his career as an outstanding pianist and remained a sought-after accompanist to great Lieder singers and instrumentalists. Volume 1 of a complete conspectus of his Warner Classics recordings (made for Electrola and EMI Classics between 1954 to 1997) includes wonderful Lieder and song collaborations, as well as famous concerto accompaniments for eminent soloists and a heartwarming traversal of Schubert's secular vocal and sacred choral music with Bavarian Radio colleagues. But the main focus among the 65 discs is on his symphonic achievements: Beethoven, Schumann, Mendelssohn, Brahms, Bruckner and Dvor�k - the latter's Eighth Symphony was his first published recording, from 1954. Richard Strauss, an early influence, is strongly represented. This 65CD-box brings together all the non-operatic recordings that the German conductor and pianist Wolfgang Sawallisch (1923-2013) made in the years from 1954 to 1997 for EMI Classics and Electrola (now Warner Classics).","brand":"WARNER CLASSICS","offers":[{"title":"CD","offer_id":45862031163626,"sku":"5054197832178","price":200.17,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4337089-3177571.jpg?v=1778371592"},{"product_id":"wagner-siegfried-rattle-bavarian-radio-symphony","title":"Wagner: Siegfried \/ Rattle, Bavarian Radio Symphony","description":"\u003cdiv style=\"text-align: center;\"\u003eShop \u003ca href=\"https:\/\/arkivmusic.com\/products\/wagner-das-rheingold-rattle-volle-bruns-ulrich-133358\" target=\"_blank\" title=\"Shop Rattle: Das Rheingold\" rel=\"noopener noreferrer\"\u003eDas Rheingold\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003eShop \u003ca href=\"https:\/\/arkivmusic.com\/products\/wagner-die-walkure-theorin-rutherford-rattle-291939\" target=\"_blank\" title=\"Shop Rattle: Die Walkure on ArkivMusic\" rel=\"noopener noreferrer\"\u003eDie Walküre\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003c\/div\u003e\n\u003cp\u003eFollowing the 2015 release of \"The Rhinegold\" – the Vorabend or „preliminary evening“ of Richard Wagner's \"The Ring of the Nibelung\" – and of \"The Valkyrie\" in 2019, BR-KLASSIK is now releasing \"Siegfried\" as the second day of the enthusiastically received tetralogy under Sir Simon Rattle - recorded live on February 3 and 5, 2023 at Munich's Isarphilharmonie im Gasteig.\u003c\/p\u003e\n\u003cp\u003eWith \"The Rheingold\", Rattle had already decisively refuted the longstanding claim that he and Wagner were not a good match, and with \"The Walküre\", he dispelled any remaining doubts. His recent performance of “Siegfried” – with the Bavarian Radio Symphony Orchestra and a first-class lineup of Wagner singers – proves yet again how well the conductor understands and is able to interpret Wagner's music. Now, just a few months after the live event, this powerful and immensely popular music drama is released on three CDs.\u003c\/p\u003e\n\u003cp\u003eWagner's \"Siegfried\" tells the story of how the hero forges his own sword, gains invulnerability by slaying the dragon and bathing in its blood, and finally conquers Brünnhilde. The outstanding soloists include Simon O'Neill (Siegfried), Peter Hoare (Mime), Michael Volle (The Wanderer\/Wotan), and Anja Kampe (Brünnhilde). Moreover, orchestral highlights of \"Siegfried\" such as the lyrical \"Forest Murmurs\" or the prelude to Act Three are brilliantly performed by the Bavarian Radio Symphony Orchestra. As Simon Rattle says: “'Siegfried' contains some of the most dramatic, richly-coloured and enchanting music Wagner ever wrote. I am looking forward immensely to the continuation of our 'Ring', together with the greatest singers one could ever wish for.”\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012429861098,"sku":"4035719002119","price":34.39,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412808-3337342.jpg?v=1778224155"},{"product_id":"bruckner-symphonie-no-8-te-deum-haitink-bavarian-radio-symphony","title":"Bruckner: Symphonie No. 8; Te Deum \/ Haitink, BRSO","description":"\u003cp\u003e\u003cstrong\u003eAnton Bruckner 200 (1824-2024)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra were linked by a long and intensive artistic collaboration, brought to an abrupt end by his death in October 2021. BR-KLASSIK now presents outstanding and as yet unreleased live recordings of concerts from the past years.\u003c\/p\u003e\n\u003cp\u003eThis recording of Bruckner's \"Te Deum\" and his Eighth Symphony (version by Robert Haas, 1939) documents concerts performed in the Philharmonie im Gasteig in November 2010, and in the Herkulessaal of the Munich Residenz in December 1993. \u003cbr\u003e\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012430713066,"sku":"4035719002126","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412809-3337343.jpg?v=1778195949"},{"product_id":"shostakovich-symphony-no-8-bavarian-radio-symphony","title":"Shostakovich: Symphony No. 8 \/ Haitink, Bavarian Radio Symphony Orchestra","description":"\u003cp\u003eThe Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra enjoyed a long and intensive artistic collaboration, which was brought to an abrupt end by his death in October 2021. BR-KLASSIK is now presenting outstanding live recordings of concerts from the past years that have not yet been released. This recording of Shostakovich's Eighth Symphony documents a concert given in September 2006 at Munich’s Philharmonie im Gasteig.\u003c\/p\u003e\n\n\u003cp\u003eFor Shostakovich's contemporaries, educated in the spirit of Socialist Realism, it was clear that the Eighth Symphony had to have a programme and, even more specifically, a topical reference to current events. And at the time, there could hardly have been anything more topical than the recent, decisive turning point in the war in the form of the battle for Stalingrad. It is therefore hardly surprising that the Eighth Symphony, composed in less than nine weeks between July 2 and September 9, 1943, was also referred to as the \"Stalingrad\". Under the pressure of circumstance, Shostakovich was obliged to develop an aesthetic of ambiguity, secret hidden meanings and abysmal irony that was almost without parallel in cultural history. This work also expresses the sheer compulsion under which a musical language in conformity with the system had to be created.\u003c\/p\u003e\n\n\u003cp\u003eHaitink first conducted a Munich subscription concert in 1958, and from then on was a regular guest with the Bavarian Radio Symphony Orchestra – either at the Herkulessaal of the Residenz or at the Philharmonie im Gasteig. This congenial collaboration lasted more than six decades. The orchestral musicians and singers enjoyed working with him just as much as the BR sound engineers. As an interpreter of the symphonic repertoire, and especially that of the German-Austrian Late Romantic period, Haitink was held in high esteem throughout the world. With him, Dmitri Shostakovich's symphonies were also always in the best of hands. Haitink’s driving principle was to make the sound architecture of a musical composition, with its complex interweaving, transparently audible; extreme sensitivity of sound was combined with a clearly structured interpretation of the score.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012432220394,"sku":"4035719002140","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412811-3337345.jpg?v=1778196518"},{"product_id":"mahler-symphony-no-6-bavarian-radio-symphony","title":"Mahler: Symphony No. 6 \/ Rattle, BRSO","description":"\u003cp\u003eAmong Simon Rattle's first concert programs as the new chief conductor of the Bavarian Radio Symphony Orchestra was Gustav Mahler's Sixth Symphony. The performances marked the beginning of a new chapter in Mahler interpretation, for Rattle, like his predecessors Jansons, Maazel and Kubelík, is an ardent admirer of the composer. BR-KLASSIK has now released the live recording of the concerts.\u003c\/p\u003e\n\u003cp\u003eGustav Mahler's Sixth Symphony is perhaps the darkest work he ever wrote – its nickname is \"The Tragic\". And there is something almost destructive about the final movement. \"But strangely enough,\" says Simon Rattle, \"it is also a very classical symphony. Yes, it is extreme, but for long stretches it is less wild than other works of his – although of course it does convey a harrowing message. But it's like a lot of great works: there are always different ways of reading them. I've been conducting the Sixth for forty years now, and over time I’ve come to realise that it also contains hope.\"\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012433793258,"sku":"4035719002171","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412812-3337346.jpg?v=1778214272"},{"product_id":"bruckner-symphony-no-7-haitink-brso","title":"Bruckner: Symphony No. 7 \/ Haitink, BRSO","description":"\u003cp\u003eDutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra enjoyed a long and intensive artistic collaboration, which came to an abrupt end with Haitink’s death in October 2021. BR-KLASSIK now presents outstanding and previously unreleased live recordings of concerts from past years. This recording of Bruckner's Seventh Symphony documents concerts given in November 1981 at the Herkulessaal of the Munich Residenz.\u003c\/p\u003e\n\u003cp\u003eHaitink first conducted a Munich subscription concert in 1958, and from then on was a regular guest with the Bavarian Radio Symphony Orchestra – either at the Herkulessaal of the Residenz or at the Philharmonie im Gasteig. This congenial collaboration lasted more than six decades. The orchestra musicians and singers enjoyed working with him just as much as the BR sound engineers. As an interpreter of the symphonic repertoire, and especially that of the German-Austrian Late Romantic period, Haitink was held in high esteem throughout the world. With him, the symphonies of Anton Bruckner were always in the best of hands. His driving principle was to make the sound architecture of a musical composition, with its complex interweaving, transparently audible; extreme sensitivity of sound was combined with a clearly structured interpretation of the score.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eHaitink was a master at pacing large symphonic structures with impeccable, understated eloquence. Few pieces reward this skill like Bruckner’s Seventh, and here he shapes with just enough momentum to propel the vast opening movements onward without sacrificing the music’s sonic splendor. The Bavarian Radio Symphony Orchestra plays with a refinement that’s expected, and a transparency that surprises. The ensemble’s brasses are appropriately potent at the work’s many apexes, but they impress even more when the score calls for delicacy and restraint.\u003c\/p\u003e\n\u003cp\u003eBruckner front-loads so much in the first two movements that the other half of the symphony can feel like an afterthought. One additional virtue of this account is that Haitink makes the mazelike finale spring with energy, charm and a constant sense of wonder.\u003c\/p\u003e\n\u003cp\u003e-- New York Times (David Weininger)\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012434579690,"sku":"4035719002188","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412813-3337347.jpg?v=1778214471"},{"product_id":"strauss-die-schweigsame-frau-scenes-symphonieorchester-des-bayerischen-rundfunks","title":"Strauss: Die schweigsame Frau (Scenes)","description":"\u003cp\u003eTo celebrate the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024, the BR-KLASSIK label is releasing previously unreleased recordings of concerts for the first time on CD and as a stream. Excerpts from Richard Strauss's comic opera \"Die schweigsame Frau\" (\"The Silent Woman\") were pre-produced as studio recordings for a television program in November 1960. The impressive cast was almost identical to that of the opera production at the Salzburg Festival in 1959 under the premiere conductor Karl Böhm: Hans Hotter (Sir Morosus), Hermann Prey (Barber), Fritz Wunderlich (Henry), Ingeborg Hallstein (Aminta), and many others sang. Here, Heinz Wallberg conducts the Bavarian Radio Symphony Orchestra. In contrast to the live recording from Salzburg, which is marred by the clearly audible stage noises of a turbulent production, the outstanding cast of singers in this recording is more effective. The BR-KLASSIK label is now marking the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024 by making this previously unreleased studio production available for the first time on CD and as a stream.\u003c\/p\u003e\n\n\u003cp\u003eAfter the death of Hugo von Hofmannsthal, Strauss thought he had reached the end of his operatic career – but then he found a librettist of equal calibre in Stefan Zweig, who provided him with \"the best libretto for an opéra comique since Figaro\" (Strauss). The comic opera was written between 1932 and 1935 and, despite the fact that Zweig was a Jewish librettist (who had since emigrated), Strauss managed to have the opera premiered in Dresden on June 24, 1935, conducted by Karl Böhm. However, because the composer insisted on printing Zweig's name on the posters and in the program, the Nazis boycotted the performance. After the Gestapo intercepted a letter that Strauss had written to Zweig expressing his delight at the successful premiere, the composer finally fell out of favor. The opera was taken off the program after only three performances and was not performed at any other German theater until 1946. Strauss resigned from the presidency of the Reich Chamber of Music \"for health reasons\".\u003c\/p\u003e\n\n\u003cp\u003eStrauss endowed \"Die schweigsame Frau\" with an overabundance of musical ideas: turbulent ensembles and individual tone colors, light comedy, and grand arias alternate. He casually quotes himself and a dozen other composers, including Rossini, whose \"Barber of Seville\" was the model for his talkative and manipulative barber. Music connoisseurs appreciate the many musical allusions in the work.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012435366122,"sku":"4035719002195","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4302697-3148151.jpg?v=1778228139"},{"product_id":"berlioz-symphonie-fantastique-symphonieorchester-des-bayerischen-rundfunks","title":"Berlioz: Symphonie fantastique \/ Davis, BRSO","description":"\u003cp\u003eThe BR-KLASSIK label is now commemorating the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024 by releasing previously unreleased recordings of concerts worth listening to on CD and as a stream for the first time. Hector Berlioz's passionate \"Symphonie fantastique,\" the nearly revolutionary symphonic masterpiece by the great French composer, was performed by Colin Davis with the Bavarian Radio Symphony Orchestra at Munich’s Philharmonie im Gasteig on January 15 and 16, 1987.\u003c\/p\u003e\n\u003cp\u003eIn his \"Symphonie fantastique\", subtitled \"Episodes from the Life of an Artist\", Berlioz combines the structures of the musical symphony with the form of a five-part classical drama. Using a leitmotif (an \"idée fixe\"), he narrates to the listener the story of the beloved woman of his dreams. The \"Symphonie fantastique\" thus paved the way for the symphonic poems of the Romantic period as well as the leitmotif method in Wagner's music dramas.\u003c\/p\u003e\n\u003cp\u003e\"I am still unknown,\" wrote Berlioz in June 1829 at the age of 25 – but he was certain that he could achieve resounding success with the idea of a major instrumental work. With his \"Symphonie fantastique\", he created a new kind of programmatic music. Berlioz was inspired by the works of Goethe and by Beethoven's symphonic music – and also by the fascination he felt for the Irish actress Harriet Smithson, whom he saw play Ophelia in Shakespeare's Hamlet at the Odéon Theatre in Paris on September 11, 1827. The \"Idée fixe\", the main theme, represents the artist going through his life story in various inner states of mind.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012436119786,"sku":"4035719002201","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4313753-3141333_f37f4634-aa5a-45a0-8e40-8ac917b876f3.jpg?v=1778201349"},{"product_id":"schubert-symphonie-no-8-dirigenten-bei-der-probe-mit-leo","title":"Schubert: Symphony in C, D. 944 \"The Great\" \/ Bernstein, BRSO","description":"\u003cp\u003eLeonard Bernstein conducted regularly in Munich from the 1980s onwards. It was during this time that he came to appreciate and love the Bavarian Radio Symphony Orchestra in particular. In October 1976, Bernstein had appeared with an all-Beethoven program, and in 1983 he began a series of annual concerts with the orchestra. In 1987, he rehearsed Franz Schubert's Great C Major Symphony, which was performed in the Congress Hall of the Deutsches Museum in Munich. This BR-KLASSIK CD features not only the live recording of this concert event but also a rehearsal recording on a bonus CD, \"Conductors in Rehearsal,\" which has been preserved in the sound archives of Bavarian Radio. Bernstein's warmth and friendliness, as well as his astonishingly good German, are most impressive.\u003c\/p\u003e\u003cp\u003eFranz Schubert most probably composed his Great C Major Symphony in Bad Gastein in the summer of 1825. Chronologically speaking, it is his eighth symphony, although it is still sometimes referred to as his ninth. It can be assumed that Schubert, who had witnessed the first performance of Beethoven's Ninth Symphony in Vienna in 1824, wanted to be on an artistic level with his much older colleague. He dedicated his work to the Gesellschaft der Musikfreunde in Vienna, in whose archives the score can be traced back to the end of 1826. However, it was not until 1839—after Schubert's death—that the history of its performance began, after Robert Schumann became aware of the work and organized its publication. In 1840, after the posthumous first performance by the Leipzig Gewandhaus Orchestra conducted by Felix Mendelssohn Bartholdy on March 21, 1839, Schumann formulated one of the most famous quotations about Schubert’s symphony, that of its \"heavenly length.\" Because of the value the composer himself attached to it, and to distinguish it from the much shorter Sixth Symphony in the same key (therefore often referred to as the \"Little C Major\"), it was titled \"The Great.\u003c\/p\u003e\u003cp\u003e\"The live recording was made on June 13 and 14, 1987, in the Congress Hall of the Deutsches Museum in Munich. In the rehearsal recording “Conductors in Rehearsal – Leonard Bernstein Rehearses with the BRSO in German,” Friedrich Schloffer (narrator) and Johannes Ritzkowsky (horn) can be heard alongside Bernstein.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012440576234,"sku":"4035719002294","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4368192-3232714.jpg?v=1778212296"},{"product_id":"adamek-follow-me-where-are-you","title":"Adámek: Follow Me - Where are You? \/ Kožená, Faust, Rattle, Bavarian Radio Symphony","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eBorn in Prague in 1979, the composer, conductor and chorus master Ondrej Adámek, who studied in his Czech hometown and in Paris, has already won numerous prestigious awards for his orchestral, chamber, vocal and electro-acoustic music. In his musical language, which also repeatedly incorporates elements of distant cultures, he creates unusual musical narratives. He seeks the authenticity of his interpretations by combining voices and movements, gestures and theatricality, phonetic and semantic aspects, and his own specially developed musical instruments. The premieres of Ondrej Adámek's \"Where are You?\" and \"Follow me\" were distinctive for their excellent casts, featuring stars such as Magdalena Kožená, Isabelle Faust and Simon Rattle. In Adámek’s \"Follow me\", a three-movement concerto for violin and orchestra, the melodies are divided between the soloist and the orchestra along the lines of the late medieval hocket technique, whereby the composer seeks to connect a single individual with a (human) crowd. The first performance of Adámek’s \"Where are You?\" for mezzo-soprano and orchestra was an outstanding event in Munich's concert programme this year. In the eleven-part, approximately 35-minute-long kaleidoscope of sound, dominated by constant motoric movement – ranging from everyday sounds such as the monotonous ticking of a clock to the sweeping, electrifyingly rhythmic pounding of the orchestra tutti – the composer embarks on a search for the human (\"Where do we come from and where are we going?\") and the divine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReview\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis is music that grabs the listener by the ears and doesn’t let go. I found it completely exhilarating.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNothing about either score included on this recording is remotely derivative or even predictable. If I were to say that it is as if Adámek had smashed up all previous music into tiny pieces and then reconstructed them into something marvellous and new, that might give the impression that he is some kind of arch post modernist. He is nothing of the sort. Almost miraculously he manages to be both uncompromisingly modernist and yet intensely communicative. Try his setting of what, in effect amounts to St Theresa’s ecstatic, religious orgasm in the seventh song of \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eWhere Are You?\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e and what you’ll get is music that verges on the demented but which manages to be deeply spiritual \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eand\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e very sexy! Both scores are full of such wild, rude, exultant moments.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFollow Me\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is simultaneously a violin concerto and someone having a lot of fun with what a violin concerto might mean. I am not aware of another concerto that concludes with what amounts to a musical lynching of the soloist by the orchestra. One of the characteristics of Adámek’s writing is his absolute command of even the most outré material. Every note delivers an aural punch. He is of course capable of writing music of great delicacy, as in the concerto’s Bach derived slow movement but even here every note makes its point.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe opening movement features orchestral soloists echoing the opening phrases by the solo violin (the ‘follow me’ of the work’s title), phrases the composer explains in his joyous, quixotic note that were inspired by the exaggerated vibrato of a singer in Japanese Noh theatre. The orchestra, in a sense, gathers round the soloist, repeating her phrases. Isabelle Faust is at her imperious best here. This then subsides into silence before the soloist starts again with more seductive phrases. As Adámek puts it, these phrases provoke the orchestra “eventually driving them mad”. This builds and builds as the various motifs combine and recombine. The tension generated by the gradually gathering of tempo and volume is quite ferocious before Adámek pulls the rug from under the expected eruption and the movement ends with weird whistlings and scrapings out of which the slow movement evolves. A great strength of Adámek’s music is to unsettle the listener whilst keeping them on the edge of their seat.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOne of the unifying techniques across all three movements of this concerto is what Adámek likens to a kind of musical ping pong where melodies are split, in alternate notes, between soloist and members of the orchestra. This effect plus an extreme elongation of material taken from Bach is most noticeable in this slow movement. It is a strange and mysterious movement that subsides into the uneasy calm from it emerged.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn a purely technical level, the finale combines all the elements of the previous two movements but that scarcely does justice to the effect it has on the listener. The shadowing of the soloist which gives the work its title is allowed finally to work its way from a hushed, fugitive opening all the way to the mighty climax that the opening movement was robbed of. As in that movement, the following of the soloist by the orchestra becomes more combative- a wry nod I think to the lion taming tradition of the 19\u003c\/span\u003e\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e century virtuoso concerto – and the music, dominated by a rogue trombone, constantly threatens to swamp the soloist whose final phrases are delivered off stage before a final thrilling orchestral stampede rounds things off. Is that a tongue in cheek reference to the final sacrificial dance of the Rite of Spring I hear in this final passage? What this description may not capture is that this is all immensely diverting and colossal fun. The world of Adámek’s music may be capable of great seriousness but it never takes itself too seriously.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFollow Me\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is, in many ways, the curtain raiser for the even more remarkable \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eWhere Are You?\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e My earlier comments have probably already given some indication of what it is like. Written for mezzo soprano and orchestra, it is a song cycle on spiritual themes with texts from the Bible, the Gita and the autobiography of St Theresa. None of this is handled in a conventional manner. The opening section revels in the vowel sounds of the opening line of the Lord’s Prayer in Aramaic. A later movement sets possible Czech translations of those Aramaic words. It’s that sort of piece! \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe theme that unites these disparate elements is the way in which the spiritual quest for the divine however how high it can raise us comes down to earth with the question ‘Where are you?’ left unanswered. It has to be said that the piece celebrates the quest as much as it illustrates its ultimate failure and it does so with affection and good humour as well as profundity and anguish.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe vocalist is required to adopt a huge range of singing styles from breaths and rolled r’s to folk singing to outrageous coloratura. As in most of his other scores that I’ve heard, Adámek can find music in almost anything and make no mistake – this is a \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003emusical\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e event above all else. The composer isn’t advancing some obscure musicological idea but making maddening, frenzied, bewildering, exuberant music. Ultimately, like the spiritual quest it describes, words fail to do justice to this piece. You are just going to have to listen to it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e--\u003cem\u003eMusicWeb International\u003c\/em\u003e (David McDade)\u003cbr\u003e\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012465479914,"sku":"4035719006384","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4041618-2777865.jpg?v=1778268996"},{"product_id":"rihm-jagden-und-formen","title":"Rihm: Jagden und Formen \/ Ollu, Bavarian Radio Symphony Orchestra","description":"\u003cspan data-mce-fragment=\"1\"\u003eWolfgang Rihm is one of the most important contemporary composers of our time. The musician, professor of composition and author from Karlsruhe, Germany is a larger-than-life personality, and the contemporary music scene is impossible to imagine without him. His knowledge of music is all-encompassing, as is his mastery of the arts, literature and philosophy - all of which serve as sources of inspiration for his composing. With more than 400 compositions, he has created a universe that cannot easily be defined. Rihm has written New Music - the titles of his compositions have come to symbolize the musical history of recent decades. Other works by him refer to music history – they include, for example, oratorios inspired by Bach, orchestral works based on Brahms, or chamber music inspired by Schumann. With this release and a further one of instrumental and vocal chamber music, BR-KLASSIK and musica viva are celebrating the 70th birthday of this influential composer. The album features the large-scale symphonic work Jagden und Formen (2008), which received its world premiere in November 2001 in Basel by the Ensemble Modern. Of the original version, which was created between 1995 and 2001, Rihm composed a new version between 2007 and 2008 that was staged for the first time with a choreography by Sasha Waltz at the Schauspiel Frankfurt, again with the Ensemble Modern playing. - Rihm's orchestral work is so instantly gripping in its urgency and relentlessly motor-like power that it already ranks as a modern classic. In its 2008 state, the \"work in progress\" that grew over the years reached its final form. What begins as a courtship dance between two violins soon escalates into breathless music that is irresistibly captivating: virtuosic, intoxicating and overflowing with ideas, without ever losing its tension and urgency.\u003c\/span\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012466954474,"sku":"4035719006407","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4057319-2797300.jpg?v=1778240692"},{"product_id":"herrmann-three-songs-at-the-open-window-2014-for-soprano-orchestra-tour-de-trance-2017-2022-for-soprano-and-piano-tour-de-trance-2020-for-orchestra-with-soprano-4035719006414","title":"A. Herrmann: 3 Songs at the Open Window \u0026 Tour de Trance \/ Bavarian Radio SO","description":"\u003cp\u003eBorn in Heidelberg in 1968, Arnulf Herrmann is considered one of the most renowned German composers of contemporary music. He studied piano, music theory and composition in Munich, Dresden, Paris and Berlin, where he completed his studies in 2002. In 2003, he was entrusted with a teaching position for theory, analysis and aural training at the Hochschule für Musik Hanns Eisler in Berlin; from 2004, he was the main teacher for composition there and, from 2006, also lectured on instrumentation and analysis. Since 2014, he has held the chair of composition at the Hochschule für Musik Saar. Herrmann mainly composes ensemble and chamber music, but also pieces for orchestra and the stage. In 2012, his opera \"Wasser\" (“Water”) premiered at the Munich Biennale; excerpts from it had already been heard in 2011 as part of the Wittener Tage für neue Kammermusik. In 2017, his opera \"Der Mieter\" (“The Tenant”) premiered with great success at the Frankfurt Opera, which had commissioned the work. Numerous international contemporary music ensembles perform his works at music festivals such as the Donaueschinger Musiktage, the Wittener Tage für neue Kammermusik, and Wien Modern.\u003c\/p\u003e\n\u003cp\u003e\"Drei Gesänge am offenen Fenster\" (“Three Songs at the Open Window”) for soprano and large orchestra, based on texts by Händl Klaus and Arnulf Herrmann, was commissioned by musica viva\/BR. This release documents the live recording of its premiere on October 24, 2014. The performers are Anja Petersen (soprano) and the Symphonieorchester des Bayerischen Rundfunks conducted by Stefan Asbury. \"Tour de Trance\" for soprano and piano, on a text by Monika Rinck, was commissioned by the Musiktage Hitzacker, and premiered in 2017. This studio recording from September 19, 2022 is one of the new versions of the song cycle from the year 2022. Anja Petersen sings, with Björn Lehmann accompanying on the piano.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012467839210,"sku":"4035719006414","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4164089-2935695.jpg?v=1778208127"},{"product_id":"ospald-mas-raiz-menos-criatura","title":"Ospald: Mas raiz, menos criatura \/ Rundel","description":"\u003cp\u003eBorn in Münster\/Westphalia in 1956, Klaus Ospald is one of the most renowned German composers of contemporary music. He studied composition in Detmold and Würzburg, and as a master student with Helmut Lachenmann. His works are played by internationally renowned performers and orchestras, and premieres of them are arranged by leading promoters and contemporary music festivals. Klaus Ospald has received numerous awards – most recently the International Hanns Eisler Scholarship of the City of Leipzig 2022. - This BR-KLASSIK CD presents Ospald's \"Más raíz, menos criatura\" in a live recording of a performance on November 22, 2019 in a musica viva concert from the Herkulessaal of the Munich Residenz, and also his \"Quintett von den entlegenen Feldern\" (Quintet from the remote fields), recorded on May 25, 2019 in the Laboratory for Fluid Mechanics and Turbomachinery at Coburg University of Applied Sciences. The ten-part composition \"Más raíz, menos criatura\" (loosely translated: \"More root than man\") (\"Entlegene Felder III\"\/”Remote Fields III”) for orchestra, piano and eight-part chamber choir, based on the poem \"El niño yuntero\" (“The child as draught animal\") by Miguel Hernández, was written in 2014\/15 and revised in 2017. Ospald composed it as a commission from the SWR for the ECLAT Festival 2017, and it received its world premiere at the ECLAT Festival on February 5, 2017 at the Theaterhaus Stuttgart, with Yukiko Sugawara (piano), the SWR Vokalensemble and the SWR Sinfonieorchester conducted by Peter Rundel. The composition is part of a triad of works that Ospald wrote between 2012 and 2016 and placed together under the title \"Remote Fields\". This bundling together of works of different physiognomy is a basic characteristic of Ospald's oeuvre. Musical content is more important to him than performance standards or genre conventions. Such content determines the form and structure of the works and reflects the consciousness of a critical contemporary who has preserved his independence as an artist and human being, and who uncompromisingly defends the rights of the individual. The eight-part \"Quintett von den entlegenen Feldern\" for string trio, clarinet, piano and live electronics was commissioned by the SWR Experimental Studio in 2012\/13, and revised in 2014. It received its world premiere (without live electronics) on May 31, 2014 at the SWR Studio Freiburg, Schlossbergsaal, with the Ensemble Experimental and its world premiere with live electronics on October 3, 2015 at the same venue by the same ensemble, featuring live electronic realisation by the SWR Experimentalstudio. It is important to Ospald that extended sounds become an integral part of the composition and are given their space. This form of live electronics requires a sound director in the performance who – like the musicians – \"plays\" the electronics according to the score.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012468625642,"sku":"4035719006421","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4211064-2989381.jpg?v=1778266649"},{"product_id":"lachenmann-my-melodies-symphonieorchester-des-bayerischen-rundfunks","title":"Lachenmann: My Melodies","description":"\u003cp\u003eTo mark the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024, the BR-KLASSIK label is now making previously unreleased recordings of concerts available on CD and as a stream. The six-part composition My Melodies for eight horns and orchestra was composed between 2016 and 2018, revised for the first time in 2019, and then again in 2023 as the musica viva Munich version. It was commissioned by Bavarian Radio’s musica viva with the support of the Friends of the Bavarian Radio Symphony Orchestra e.V. This is a live recording of the premiere of the Munich 2023 version on June 23, 2023, from the Herkulessaal, again as part of BR's musica viva concert series, with the horn section and the Bavarian Radio Symphony Orchestra under the direction of Matthias Hermann.\u003c\/p\u003e\n\n\u003cp\u003eHelmut Lachenmann, born in Stuttgart in 1935, is one of the most renowned German composers of contemporary music. He studied piano, music theory, and counterpoint in Stuttgart and composition with Luigi Nono in Venice. The first public performances of his works took place in 1962 at the Venice Biennale and at the Darmstadt Summer Courses for New Music. He taught composition in Hanover (1976-1981) and in Stuttgart (1981-1999), and gave numerous master classes in Germany and abroad. His works are performed by internationally renowned players and orchestras all over the world. Helmut Lachenmann has received numerous awards, most recently the GEMA German Music Authors' Prize for his life's work (2015).\u003c\/p\u003e\n\n\u003cp\u003eThe phenomenon of melody has long preoccupied Helmut Lachenmann. He went to study in Venice at the end of the 1950s with Luigi Nono, a teacher who strictly insisted on a critically reflective approach to musical material. Nono had objected to any trace of linear progression in Lachenmann's compositional sketches as a \"tonal cell\" – a melodic object that was seen as a recourse to a romanticizing tonal language that had to be overcome. The impetus for the scoring of My Melodies came from a rehearsal of Lachenmann's opera The Little Match Girl in Madrid in 2008: eight horns forming a homogeneous yet at the same time complex instrument. The premiere took place ten years later. In 2023, My Melodies was extended by 77 additional bars since that first performance, with Lachenmann drawing on further sketch material. It is rare for the composer to alter his own works after their premiere - but the sound ideas for the eight horns seem to have retained a special fascination for him. The bonus tracks offer short excerpts from this concert recording of My Melodies. They present characteristic passages of the work, inviting listeners to detect specific noises or sequences and to familiarize themselves with Lachenmann's world of sound.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012469477610,"sku":"4035719006438","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4302698-3148152.jpg?v=1778220671"},{"product_id":"milica-djordjevic-44-mali-svitac-quicksilver-cvor-mit","title":"Milica Djordjevic, #44 - Mali Svitac; Quicksilver; Cvor; Mit","description":"The music of composer Milica Djordjevic, born in Belgrade in 1984, is based on an exuberant and imaginative use of sound. She has full command of the entire arsenal of contemporary sound and performance techniques, which never cease to surprise. She began her composition studies in her native city of Belgrade, where she was already working with electronic music, then went on to Strasbourg and IRCAM in Paris before completing her studies from 2011-2013 in Berlin with Hanspeter Kyburz at the Hochschule fur Musik Hanns Eisler. Her already extensive oeuvre, which is performed by leading international soloists and ensembles, includes pieces for solo instruments, chamber music works in a wide variety of formations, vocal works, and large-scale orchestral compositions. The diversity of her work highlights her versatility and technical virtuosity. Djordjevic has received numerous prestigious prizes and awards for her compositions, including the Belmont Prize for Contemporary Music (2015), the Composition Prize of the Ernst von Siemens Music Foundation (2016) and the Claudio Abbado Composition Prize of the Berlin Philharmonic (2020). In Milica Djordjevic's short orchestral work Mali svitac, �estoko ozaren i prestravljen nesnosljivom lepotom (Little firefly, brightly lit and shocked by unbearable beauty), commissioned by the Berlin Philharmonic in 2023, the composer is concerned with \"the immense energy it takes to make things glow\". Her extended orchestral work Quicksilver was commissioned by musica viva of Bayerischer Rundfunk and premiered on December 16, 2016 by the Bavarian Radio Symphony Orchestra conducted by Peter Rundel in the Herkulessaal of the Munich Residenz. It is precisely the strict limitation of the melodic movement to very few, narrow interval steps that makes it \"all the richer and more colourful on the inside\". Cvor (Knot) for winds, piano and percussion, a work commissioned for the Donaueschingen Music Festival, briefly but very intensively describes a knot that squeezes and twists and finally bursts. The fourth work on this BR-KLASSIK CD - Mit o ptici (Myth of the Bird) for choir and orchestra - was commissioned by musica viva in 2020 and premiered on October 28, 2022 with the Bavarian Radio Chorus and Symphony Orchestra under the direction","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012470231274,"sku":"4035719006445","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4348906-3201849.jpg?v=1778236581"},{"product_id":"rimsky-korsakov-russische-ostern-franck-symphonie-d-moll-4035719007046","title":"Rimsky-Korsakov - Franck: Orchestral Works \/ Kondrashin, BRSO","description":"\u003cp\u003eKyrill Kondraschin and the Symphonieorchester des Bayerischen Rundfunks: what had been planned as a happy relationship between the significant representative of the Russian conducting school and the first class Munich ensemble ended tragically with the sudden death of the conductor before he could assume the position of Chief Conductor of the orchestra. All the more significant is thus this sound document. The live recording made at concerts in Munich’s Herkulessaal comprises an exciting program that juxtaposes two late romantic works from different symphonic cultures: Rimsky Korsakov’s “Russian Easter” Overture and César Franck’s only symphony, in D minor.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012475998442,"sku":"4035719007046","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1745490.jpg?v=1778333197"},{"product_id":"mahler-symphonies-nos-1-9-2-bonus-cds-4035719007190","title":"Mahler: Symphonies Nos. 1-9 \/ Jansons, Bavarian Radio Symphony Orchestra","description":"\u003cp\u003eIn the complete edition compiled by BR-KLASSIK, the Symphonieorchester des Bayerischen Rundfunks under the direction of its long-time principal conductor Mariss Jansons explores Mahler's symphonic œuvre. This complete recording of Mahler's impressive symphonies is further enhanced by revealing rehearsal recordings and interesting interviews. In his nine symphonies, Gustav Mahler built up an entire world for himself and his listeners. More than almost any other composer, he tried in his symphonic works to get to the very bottom of the cycle of life, that eternal process of becoming and expiring – so what better complete set of symphonies to express the finest qualities of a modern-day conductor and the unique sound of a leading orchestra?\u003c\/p\u003e\n\u003cp\u003eMariss Jansons found simple and clear words to express what it was that so fascinated and moved him about Mahler's music throughout his life. He said that the composer’s work always related to what was universal and contained absolutely everything that exists in the world. In his symphonies, said Jansons, Mahler captured nature, faith, love, death, pain, tragedy, happiness, humor, utopia, irony, sarcasm - everything that makes up human existence. Jansons regarded his music as posing questions that ultimately every thinking person has to ask, and everyone can find something in it where they recognize themselves as if in a mirror. There are nevertheless no definitive answers in Mahler, \"nothing triumphant that is at one with itself.\" When he first encountered Mahler’s music, this experience struck Jansons like a bolt from the blue. Gradually, he developed into one of the leading Mahler conductors of his era. The fact that he had the Symphonieorchester des Bayerischen Rundfunks as a partner here – an orchestra that can look back on a long Mahler tradition - was certainly a very fortunate coincidence.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012476752106,"sku":"4035719007190","price":63.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4140639-2907692.jpg?v=1778208122"},{"product_id":"bernard-haitink-portrait-vol-2","title":"Bernard Haitink - Portrait, Vol. 2","description":"\u003cp\u003eBR-KLASSIK is dedicating a second portrait edition to the eminent Dutch conductor Bernard Haitink, containing a total of 9 CDs. Bernard Haitink died in October 2021; he would have turned 95 in March 2024.\u003c\/p\u003e\u003cp\u003eThese exceptional live recordings document the long-standing and intensive collaboration between Bernard Haitink, the Bavarian Radio Chorus, and the BRSO. Since Haitink conducted a subscription concert for the first time in 1958, he repeatedly led the BRSO for over six decades—sometimes in the Herkulessaal of the Residenz, sometimes in the Philharmonie im Gasteig. The orchestras’ musicians and singers were just as happy to work with him as the Bayerischer Rundfunk’s sound engineers.\u003c\/p\u003e\u003cp\u003eThe box set includes complete recordings of Beethoven's Symphony No. 9 (CD 1) from 2019, Bruckner‘s Symphonies No. 4 (CD 2) from 2012, No. 7 (CD 3) from 1981, and No. 8 (CD 4 \/ CD 5) from 1993, as well as his Te Deum (CD 4) from 2010. Also featured are Dvořák‘s Symphony No. 7 from 1981 and his Scherzo Capriccioso (CD 6) from 1981, Mahler‘s Symphony No. 7 (CD 7) from 2011, and Shostakovich's Symphonies No. 8 (CD 8) from 2006 and No. 15 (CD 9) from 2015.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012477276394,"sku":"4035719007206","price":59.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4362744-3219432.jpg?v=1778200979"},{"product_id":"shostakovich-doppeltes-spiel-and-symphony-no-5-in-d-minor","title":"Shostakovich: Doppeltes Spiel \/ Jansons, Bavarian Radio Symphony Orchestra","description":"\u003cspan data-mce-fragment=\"1\"\u003eFor the first time, the successful series of BR-KLASSIK audio biographies is devoting itself to a 20th-century composer: Dmitri Shostakovich. His symphonies are still highlights in the concert hall, and his fate has inspired great novels. But what do we really know about his life? He liked to play his cards close to his chest – and had good reason to do so... Dmitri Shostakovich himself claimed that his life was “rather grey and colorless\". In reality, it was the most exciting composer's life of the 20th century. Revolution and civil war, Stalin's murderous terror, then the Second World War, the \"thaw\" under Khrushchev and finally Brezhnev's brutalist socialism: the whole tragic history of the Soviet Union runs like a thread through his work. As a functionary who seemed to be loyal to the party line, he played along - but his music spoke against the regime and in favor of its victims and of the freedom of art. \"This is a game that can end badly,\" Stalin threatened, probably in person. Shostakovich was thus obliged to fight his own fears as well. He was playing a double game - and knew it was dangerous. This audio biography draws on many sources, some of them still little-known in Germany. The result is a comprehensive, colorful and detailed picture of the composer’s life, and contains several surprises – also with regard to his private life, which should not pale behind the historical panorama. Like every great composer, Shostakovich had his crises and affairs, his great sufferings and small joys.\u003c\/span\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012479570154,"sku":"4035719009293","price":19.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4037965-2780489.jpg?v=1778269031"},{"product_id":"dirigenten-bei-der-probe-mariss-jansons-vol-1","title":"Rachmaninoff, Shostakovich, Tchaikovsky, Stravinsky: Conductors in Rehearsal - Mariss Jansons Vol. 1 \/ Jansons, Bavarian Radio Symphony Orchestra","description":"\u003cspan data-mce-fragment=\"1\"\u003eWhat does the work of a conductor actually involve? He moves his hands, arms, his whole body, he makes use of his eyes and facial expressions - and he also sings and speaks, but only during rehearsals, of course. Being able to follow a conductor's interpretation makes for an exciting process, and conveys the basic idea behind a work far more vividly at the same time. \"Conductors in Rehearsal\" is a BR-KLASSIK series that takes a closer look at the “orchestral workshop”. One can experience first-hand how the conductor's wishes and instructions are implemented, how his explanations and his temperament change the resulting sound, and what concepts lie behind the interpretation of the work. Thanks to this series - which also now being released on album - the special collaboration between Mariss Jansons and the Bavarian Radio Symphony Orchestra can be documented. The first set presented by BR-KLASSIK documents four rehearsals for concerts in the Munich Philharmonie im Gasteig, taken from different phases of the collaboration between Mariss Jansons’ work with the BRSO.\u003c\/span\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012480225514,"sku":"4035719009316","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4069282-2813661.jpg?v=1778269052"},{"product_id":"dirigenten-bei-der-probe-mariss-jansons-vol-2","title":"Beethoven, Sibelius, R. Strauss: Conductors in Rehearsal - Mariss Jansons vol. 2 \/ Bavarian Radio Symphony Orchestra","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhat does the work of a conductor actually involve? They move their hands, arms, and whole body; they make use of their eyes and facial expressions - and they also sing and speak (only during rehearsals, of course). Being able to follow a conductor's interpretation makes for an exciting process, and conveys the basic idea behind a work far more vividly at the same time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Conductors in Rehearsal\" is a BR-KLASSIK series that takes a closer look at the “orchestral workshop”. One can experience first-hand how the conductor's wishes and instructions are implemented, how their explanations and temperament change the resulting sound, and what concepts lie behind the interpretation of the work. Thanks to this series - which also now being released on album - the special collaboration between Mariss Jansons and the Bavarian Radio Symphony Orchestra can be documented. The second box set presented by BR-KLASSIK documents four rehearsals for concerts in the Munich Philharmonie im Gasteig and the Herkulessaal der Residenz in Munich, taken from different phases of the collaboration between Mariss Jansons’ work with the BRSO.\u003c\/span\u003e\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012480848106,"sku":"4035719009347","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4092631-2840278.jpg?v=1778240702"},{"product_id":"j-s-bach-die-geheimnisse-der-harmonie-eine-hoerbiografie-von-joerg-handstein-4035719009361","title":"Bach: Die Geheimnisse der Harmonie - Eine Hoerbiografie von Joerg Handstein","description":"\u003cp\u003eYou don't have to like every composer - but there's no getting around J. S. Bach. The successful series of BR-KLASSIK audio biographies is now devoted to this central star of the musical firmament. His sparsely documented life leaves plenty of room for the imagination in works of fiction, but the authentic sources – well narrated – are just as captivating in every way. \"If ever a tone artist brought the hidden secrets of harmony into the most artistic execution, it was undoubtedly our Bach.” (from the Necrology published by C.P.E. Bach in 1754). Son of a town piper, organist, concertmaster, Kapellmeister, then Thomaskantor in Leipzig for 27 years. Married twice, 20 children. Active in Thuringia and Saxony. When compared with the spectacular biography of Handel (BR-KLASSIK 900911), this one seems rather short on excitement – yet Bach's biography also provides a fascinating insight into an age that is very distant and foreign to us today. An age of proud, aspiring cities, magnificent courts, simple-minded town councillors, music-loving but unpredictable princes, church music that was already somewhat antiquated, and fashionable instrumental music from France and Italy. Bach moves confidently in the field of tension created by these opposing worlds – while creating music that surpasses that of all his contemporaries in terms of its artistry, depth and expressiveness. In Leipzig, Bach intends to raise church music to a completely new level and place it on a par with theology; he wants it to be multi-layered and speak directly to the faithful. Only a few years later, however, this initial enthusiasm wanes. Headstrong and uncompromising by nature, he now becomes restless and dissatisfied due to his frustrating battles with the petty town authorities. He composes a lot of secular music once again, seeks contact with the Dresden court, and finally retreats into his very own world to fathom the final \"secrets of harmony\". For all its modesty, therefore, the story of Bach's life is nevertheless magnificent, moving, and sometimes even shocking. This audio biography gets as close to the protagonist as the sources allow, also bringing his environment to life – the princes, churchmen and town councillors, and his friends and adversaries. In addition, we are introduced to the frequently bizarre everyday world of the 18th century: not always edifying church services, terrible transportation, lavish dining and drinking, or the horrors of an eye operation. At the centre of it all, however, is the music. \"He should not be called brook (in German: Bach) but sea,\" Beethoven once apparently said, \"because of his infinite inexhaustible wealth of tone combinations and harmonies.\" The numerous musical examples in this audio biography are densely interwoven with the narrative, and literally immerse the listener in this boundless abundance. Famed as an actor in the popular German detective series “Tatort”, Udo Wachtveitl is also a music lover and long-time narrator of the BR audio biographies. He regards the \"structure behind music\" as highly important, so Bach's life and work are a special source of inspiration to him. The Jena-born and currently highly regarded actor Albrecht Schuch (\"All Quiet on the Western Front” plays the role of Johann Sebastian Bach, and several other outstanding BR narrators also shine in a wide variety of roles – making this audio biography a real treat!\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012481634538,"sku":"4035719009361","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4201647-2975037_4b0f4cd4-71e6-45bb-b814-fb37d7defc5e.jpg?v=1778234000"},{"product_id":"messiaen-mozart-beethoven-braunfels-schubert-sacred-wo","title":"Messiaen, Mozart, Beethoven, Braunfels \u0026 Schubert: Sacred Wo","description":"Selected sacred works under the direction of Gunter Wand  Wand's music-making moved those who heard it with it's impeccable balance of perfection coupled with faithfulness to the original, emotional fulfilment, intellectual control, utmost sensitivity and spiritual penetration. He described his mission as \"serving music\", a cause to which this totally unpretentious man remained committed for seventy years. He rose to be one of the true \"greats\" of the twentieth century, a figure standing head and shoulders above our restless times, his name synonymous with the highest musical quality","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":46012520825066,"sku":"881488240313","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4344206-3202062.jpg?v=1778236297"},{"product_id":"handel-judas-maccabaeus-4011790475028","title":"Handel: Judas Maccabaeus","description":"\u003cp\u003eWhen Handel composed his Judas Maccabaeus in 1746 he had brought to an end his activity for the (Italian) opera in London and begun a second career as an oratorio composer, which at first got off to a very successful start but then soon experienced a decline, for which there had been various causes. Judas Maccabaeus is the evidence that Handle had recovered from this setback, and to this day the work is considered one of his most successful. Rafael Kubelík relies, without ifs and buts, on the Handel Edition by the North German musical scholar Friedrich Chrysander that appeared in the second half of the 19th century and represents a monument of the scholarly musical historicism that probably could appear only in Germany and not in England, Handel’s artistic home. Apart from the old-fashioned German translation, most astonishing is the drastic cuts that Chrysander made. This historical live recording from 1963 presents Fritz Wunderlich as Judas together with Agnes Giebel, Julia Falk, Naan Pöld and Ludwig Welter.\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012622110954,"sku":"4011790475028","price":13.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4129433-2899520.jpg?v=1778207257"},{"product_id":"beethoven-the-piano-concertos-and-choral-fantasy-rudolf-serkin-kubelik","title":"Beethoven: 5 Piano Concertos \u0026 Choral Fantasy \/ Serkin, Kubelik, BRSO","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThese Bavarian Radio recordings, first released in 2005, constitute Rudolf Serkin's third and final edition of the Complete Beethoven Piano Concertos, and were the only performances to be recorded in the concert hall, not in the studio. As such, they fittingly complete both his discography and his artistic legacy as one of the 20th century’s indisputably great pianists. This jewel case presentation, complete with booklet notes in German and English, is a re-release of the original 3-album box set that went out of stock following healthy sales.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor at least a half century Beethoven’s piano concertos played a central role in Rudolf Serkin’s repertoire. Yet out of all the Serkin Beethoven concerto cycles on disc, the present one, recorded over the course of three concerts in October and November of 1977, offers the most consistent artistic and sonic satisfaction.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe slightly distant yet attractively robust engineering conveys a cogent sense of concert hall-realism, and not just to the benefit of Rafael Kubelik’s superb Bavarian musicians. It also reveals Serkin’s elusive, difficult-to-record sonority in more flattering, three-dimensional light than the gaunt, often monochrome impression one gleans from his Columbia Masterworks sessions. As a result, the concentration and inner tension Serkin brings to the slow movements comes off with more warmth and sustaining power.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlthough Serkin at 74 may not have been the impetuous, fiery virtuoso in the first three concertos’ finales that he was in his 40s, when he recorded them for CBS Masterworks, his technique nevertheless is still assured, alert, and responsive, and far more energized than in his relatively careful and labored collaborations with Ozawa.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHowever, Serkin must have drunk from the fountain of youth before hitting the stage for the Choral Fantasy (Kubelik, too, for that matter). The performance radiates inspiration from start to finish, highlighted by Serkin’s ardent yet cannily structured opening cadenza, the chamber episodes’ zestful give and take, plus massed choral and orchestral tuttis that at once communicate elemental power and textural clarity. Let’s hope this major addition to Serkin’s discography will encourage Sony not to leave its own complete Serkin edition hanging.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor all fans of the pianist and\/or the conductor, this release is a must. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e--ClassicsToday.com (Jed Distler)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis recording of Serkin from 1977 highlights a 20th-century great who brought musical purpose and intellectual rigour to every detail. Serkin ranks among the greatest of 20th-century pianists; his repertoire ranged from Bach to Reger, but Beethoven was always at its very heart. In the autumn of 1977, in the Herkulessaal in Munich, he played all five Beethoven concertos as well as the Choral Fantasy in a series of concerts with the Bavarian Radio Symphony Orchestra under Rafael Kubelík, another musician who, like Serkin, always put himself at the service of the music. Recordings of those performances were first released on disc in 2005...their reissue now makes available again what is in every respect a historic musical document.\u003c\/p\u003e\n\u003cp\u003eSerkin was never interested in ingratiating himself through honeyed phrases or silken tone. Instead in these interpretations there is musical purpose and intellectual rigor in every detail. Whether it’s the almost combative muscularity he brings to the piano’s first entry in the third concerto, or the instant authority of his torrential opening to the Emperor, it sets the tone for all that follows, constantly drawing equally intense responses from Kubelík and his superb orchestra. The accounts of the slow movements are just as remarkable; there’s a hymn-like calm to the Largo of the third, a consoling sweetness to the fourth’s exchanges between the soloist and the orchestra. All are in short, remarkable performances, not only among the finest available on disc, but further reminders of just how peerless a Beethoven interpreter Serkin was.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e--The Guardian \u003c\/em\u003e(Andrew Clements)\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012626534634,"sku":"4011790647036","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4046162-2792268.jpg?v=1778241525"},{"product_id":"dvorak-hussite-overture-op-67-brahms-violin-concerto-op-77-4011790719016","title":"Dvořak: Hussite Overture - Brahms: Violin Concerto \/ Szeryng, Kubelik, BRSO","description":"\u003cp\u003eThe visiting Bavarian Radio Symphony Orchestra opened its concert at the 1967 Vienna Festival with a high-octane performance of Dvorák’s patriotic overture The Hussites. In the Brahms Violin Concerto, the elegant soloist Henry Szeryng and the conductor Rafael Kubelík entered into a musical dialogue that was both subtly sensitive and quick-witted. This release has been digitally mastered from the original tapes for optimal sound quality, and is sure to delight a whole new generation of listeners.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSome recordings need merely seconds to make their mark, especially when taken from memorable concerts. One such occurred on June 11, 1967, when the Bavarian RSO under Rafael Kubelík were joined by Henryk Szeryng at the Vienna Konzerthaus for a performance of Brahms’s Violin Concerto, music-making that exhibited a degree of elasticity and intellectual elevation that is typical of both artists (it’s newly reissued but was originally released by Orfeo in 2017).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eTry the first movement’s big central \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003etutti\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e at 8’38”, Kubelík’s natural brand of rubato and the strings’ soaring tone, winding down to Szeryng’s meditative re-entry soon afterwards. And there’s the superb oboe solo at the start of the \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eAdagio\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, the perfect preparation for Szeryng’s angelic solo. Rarely have I heard a reading that captures the music’s rhapsodic spirit as tellingly as Szeryng and Kubelík do here, tracing the line’s ever-shifting expressive focus with an uncanny musical instinct. And the bustle of the finale, crisp and upbeat, its gypsy inflections unmistakable from the off, its lyrical central section returning us to the songlike aspects of the first two movements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eBut it’s the disc’s opening track that in many respects proves a prize among prizes, Dvořák’s \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eHussite\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e Overture, music originally intended as part of a dramatic trilogy on the Bohemian religious leader Jan Hus. The principal theme is more famous for its use in Smetana’s \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMá vlast\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e but Dvořák knits it into a 13-minute panoply of dramatic events that Kubelík and his players respond to as if their lives depended on it. There have been fine commercial recordings but none that fans the flames quite as effectively as this one. The stereo recording wears its years lightly. Unmissable!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e-- Gramophone\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAfter an excellent \u003cem\u003eHussite\u003c\/em\u003e Overture from Kubelik and the orchestra, the conductor shapes Brahm’s tutti well, working up quite a storm and not relaxing too much for the lyrical theme. Szeryng’s entry is imperious; he produces lovely lyrical playing for the quieter passages.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e-- The Strad\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe stereo sound is quite good, and not just for the time—it is vivid and full, making for an enjoyable listen. I feel a touch of regret at having missed out on Szeryng this long, but in the spirit of better late than never, this is a memorable recording that deserves high praise.\u003c\/p\u003e\n\u003cp\u003e-- Fanfare\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012627353834,"sku":"4011790719016","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4112442-2861846.jpg?v=1778229564"},{"product_id":"sir-colin-davis-conducts-mozart-serenades-overtures","title":"Sir Colin Davis Conducts Mozart","description":"\u003cp\u003eSony Classical is pleased to announce a new batch of reissues from the CBS\/Sony and RCA Victor\/BMG back catalogues. This latest instalment of the popular series showcases Mozart and Chopin along with conductor Robert Craft’s pioneering Webern recordings and the global journeys of that irrepressible musical explorer Yo-Yo Ma.\u003c\/p\u003e\n\u003cp\u003eSir Colin Davis was indisputably one of the greatest Mozart conductors of the last century, both in the opera house and in the recording studio. In Munich in the early 1990s, near the end of his tenure as chief conductor of the Bavarian Radio Symphony Orchestra, he recorded several of the popular serenades and wind concertos (“Davis is completely at home in this music and brings to it grandeur and delicacy in good measure and judicious balance” – Gramophone). And in 1998, as the Dresden Staatskapelle’s first-ever conductor laureate, he recorded twelve opera overtures (“Beautifully turned string playing, wonderful contributions from the wind section, and transparent textures: it all represents splendid ‘big band’ Mozart in the modern tradition” – Classics Today). These superb RCA recordings are now reissued in a 4-album box set.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eColin Davis’s RCA Mozart CDs from the 1990s, mostly with the Bavarian RSO, tend towards more relaxed tempos than on his earlier analog recordings, a live coupling of the Posthorn Serenade and the Bassoon Concerto recorded at the Mozartfest in Würzburg in June 1992 claiming among its many virtues textural opulence (Eberhard Marschall’s bassoon is among the richest in tone that I’ve ever heard) and, as Christopher Headington noted in these pages (9\/94), an unhurried finale ‘despite the Presto marking that tempts less experienced conductors’. You might additionally note Davis’s Toscanini-like vocalizing at the start of the Andantino, a romantic reading that works wonderfully well. Also included are similarly affecting accounts of Eine kleine Nachtmusik, the Wind Serenades Nos 10-12, the Clarinet Concerto (with a mellifluoussounding Karl-Heinz Steffens), and the one CD featuring the Dresden Staatskapelle, an hour’s worth of overtures. I’d never clocked on previous occasions the strong similarity between the very brief \u003cem\u003eBastien und Bastienne\u003c\/em\u003e Overture and the opening of Beethoven’s \u003cem\u003eEroica\u003c\/em\u003e Symphony. As Mozart orchestral compilations go, this is among the best, one that you should return to with constantly renewed pleasure. The recordings are full-bodied.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e--Gramophone\u003c\/em\u003e\u003c\/p\u003e","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46012666937578,"sku":"194399129227","price":11.48,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4044292-2871860.jpg?v=1778268830"},{"product_id":"tchaikovsky-romeo-julia-stravinsky-l-oiseau-de-feu-varese-ameriques-4035719000160","title":"Tchaikovsky, Stravinsky, Varese: Romeo \u0026 Juliet; The Firebird Suite; Ameriques \/ Jansons, Symphonieorchester des Bayerischen Rundfunks","description":"\u003cp\u003eWhat made Mariss Jansons different from many of his colleagues? What was the key to his success? And most importantly, after all his artistic experiences, what brought about his maturity and artistic completion In addition to his own willpower and his work ethic, his extraordinary musical life was determined by many factors; they included an open-minded and supportive environment, and an orchestra of outstanding musicians. One important aspect was certainly the fact that Jansons despised any kind of routine. Even when rehearsing Beethoven's Eroica for the umpteenth time, he was always inspired anew by the work - discovering the as yet undiscovered. Routine would have prevented any change in his perspective, and hampered his enthusiasm. Moreover there was Jansons' meticulous and analytical approach to his work, which started long before he mounted the podium. He began by reading biographical information on the composer, scholarly information on the work, texts about its era and its milieu - everything he could lay his hands on. During rehearsals, he then passed on his profound knowledge and his resulting interpretive approach to the musicians. Jansons considered it his task, as early as the first rehearsal, to bring all the musicians up to the same level of knowledge. He wanted them to understand his thought processes, to recognise the explained concept behind the work and, ideally, to be able to feel the same way during their performance as he did on the podium. In the concerts, this synchronous implementation by one hundred musicians of the musical content of a work and of the concept inherent in it duly brought about that incredible pull that almost all of Janson's interpretations exert(ed) on his listeners. In addition to this collective aspect of everyone pulling together, Jansons also worked on the sound that is genuine for each composer. In this regard, for instance, he condemned accusations of kitsch where Tchaikovsky's music was concerned. He was aware of the danger of music being played too sweetly. For him, it was simply Tchaikovsky played wrongly, and was like pouring \"sugar into honey\". It meant a lot to Jansons to bring out the emotions in Tchaikovsky's Sixth Symphony, of course - the emotional drama, the tragedy, the depression - but he would never force, exaggerate or emphasise them merely for the sake of effect. When the Sixth is performed as sensitively as it is by Jansons, Tchaikovsky's music acquires its true depth of meaning. \"A conductor,\" said Mariss Jansons, \"is like a director on the podium\" – he analyses, stages and interprets the work. This principle, resulting from his opera conducting, was one that he transferred to the many levels of meaning in symphonic music, and here he developed a kind of directorial concept with precise approaches to interpretation. Works such as Stravinsky's Petrushka or Berlioz's Symphonie fantastique were primarily suited to this, because as programme music they sparked the visual imagination and demanded a certain musical \"realism\". He wanted the fairground music in Petrushka to sound shrill and out of tune, and asked the musicians to have the courage to articulate their part in just the same manner, rather than trimming it to the expectations of high culture. The contrabassoon was to play roughly, even vulgarly. Jansons was against any attempt to make the music sound pleasant here – he wanted the orchestral barrel-organ to sound out of tune, and the symphonically portrayed drunken passer-by to sound very drunk indeed. Similarly, in Berlioz's Symphonie fantastique, the March to the Scaffold passes us by as a musically realistic nightmare, gripping right to the end – when the head of the executed man, severed by the guillotine, falls very audibly to the ground. Jansons also worked especially intensively on modifying the sound of the strings, above all when a phrase had to assume a subtle and psychologically important function. He differentiated playing styles very precisely in individual passages - rough, melancholy, brisk, cynical, gloating, whispering, giggling or radiant – and here he particularly influenced the bow stroke, the pressure on the string and the stroke length.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012788965610,"sku":"4035719000160","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4179713-3141322.jpg?v=1778208212"},{"product_id":"mozart-symphonies-nos-39-40-41-4035719001969","title":"Mozart: Symphonies Nos. 39, 40 \u0026 41 \/ Blomstedt, BRSO","description":"\u003cp\u003eFor today’s musicologists, performers and concert-going audiences, Mozart’s final symphonies are still a veritable miracle. Why they were written remains a mystery, and no-one knows whether Mozart ever heard them performed during his lifetime. One thing is certain: Mozart created three individual, distinctive and unique works here, which complement each other despite their extreme diversity. The symphonies in E Major, K 543 (no. 39), G minor, K. 550 (no. 40), and C Major, K. 551 (no. 41, also known as “The Jupiter”) are the ones that most represent Mozart’s symphonic legacy to later generations of musicians. With its slow introduction, the Symphony in E flat major also opens the entire cycle, already giving the listener a sense of its highs and lows. As early as 1800, the popular \"Great\" G minor Symphony was praised as the “painting of a passion-stricken soul”. Like its big sister, the \"Jupiter\" Symphony in C Major, it numbers among the most-played works in classical music and has been immortalized in countless recordings. Nevertheless, these symphonies - probably the most profound ones before Beethoven - reveal themselves as something quite new in every interpretation.\u003c\/p\u003e\n\u003cp\u003e\"Mozart placed all the dark sides of human existence into his G minor Symphony\", says Herbert Blomstedt, adding that its “passion” continues to fascinate him. The eminent Swedish conductor Herbert Blomstedt, a close associate and regular guest conductor of the BRSO, conducted the E Major Symphony on December 18 and 19, 2019 in the Philharmonie at the Munich Gasteig, the G minor Symphony in concerts on January 31 and February 1, 2013 and the \"Jupiter\" Symphony on December 21 and 22, 2017 in the Herkulessaal of Munich’s Residenz. The new 2-CD set from BR-KLASSIK now presents these great cornerstones of Mozart's symphonic oeuvre –in the very best sound quality.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012790964458,"sku":"4035719001969","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4182385-2960728.jpg?v=1778392236"},{"product_id":"rimsky-korsakov-die-fuenf-raeuber-und-das-geheimnis-im-sack-scheherazade-op-35-4035719001976","title":"Rimsky-Korsakov: Die fuenf Raeuber und das Geheimnis im Sack; Scheherazade, Op. 35","description":"\u003cp\u003eTogether with narrator Rufus Beck, the Bavarian Radio Symphony Orchestra conducted by Yannick Nézet-Séguin presents \"The Five Thieves and the Secret in the Sack\". Inspired by the Thousand and One Nights, it is a magical story about the power of friendship. Author Katharina Neuschaefer and illustrator Martin Fengel captivate their young audience with this exotic tale, set amid the vastness of the desert – and musically illustrated by the colorful sounds of Nikolai Rimsky-Korsakov's \"Scheherazade\".\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012791259370,"sku":"4035719001976","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4135055-2902959.jpg?v=1778240755"},{"product_id":"shostakovich-concerto-for-piano-trumpet-string-orchestra-no-1-c-minor-op-35-symphony-no-9-in-e-flat-major-op-70","title":"Shostakovich: Concerto for Piano, Trumpet, \u0026 Strings; Symphony no. 9 \/ Läubin, Bronfman, Jansons, BRSO","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Increasingly, Shostakovich's music is captivating people all over the world and appealing to their deepest emotions. Almost like no other, it bears witness to a traumatic political epoch while remaining a timeless expression of existential human feeling and experience. For me personally,\" said conductor Mariss Jansons, who died two years ago, \"Shostakovich is one of the most serious and sincere composers of them all.\" Now BR-KLASSIK is releasing two more outstanding performances by this important Soviet-Russian composer: his impressive Concerto for Piano, Trumpet and String Orchestra, and his Ninth Symphony - performed live by the Symphonieorchester des Bayerischen Rundfunks under its long-time principal conductor Mariss Jansons. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eShostakovich's (first) piano concerto features impressive pianistic virtuosity, bold experimentation, satire, and caricatures of different musical styles. The composer wrote it in the summer of 1933, only a few weeks after the completion of his opera \"Lady Macbeth of Mtsensk\". This concerto in particular demonstrates the immense versatility and magnificent talent of the still carefree 26-year-old Shostakovich. He blends a wealth of musical thoughts and ideas into a colorful and fascinating kaleidoscope. Despite the wealth of different stimuli, the concerto does not seem chaotic or overloaded: the young composer effortlessly maintains the balance. Shostakovich performed a similar balancing act between creative work and conformity to the state in his Ninth Symphony, which premiered on November 3, 1945. Instead of the expected heroic, regime-conformist orchestral thunder along the lines of his Seventh Symphony, the \"Leningrad”, the music heard here was playful, without pathos, somewhat witty, full of allusions – yet something did not seem quite right. This musical conundrum, full of ironic refractions and caricatures of melodramatic and triumphant music, was recognized by the censors as a masquerade, yet one that was not easily decipherable.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eI don’t think of any first-rate recording as needless, and this release, despite its short timing, features two excellent performances, even though Yefim Bronfman already has a recording of Shostakovich’s Piano Concerto No. 1 on Sony. That version, from 1999 with Esa-Pekka Salonen and the LA Phil, is nimble and quick, and it finds Bronfman more scintillating than he is in Munich in 2012. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe new Symphony No. 9, BRSO version is a live account from Vienna’s Musikverein in 2011, and in every way it is splendid. Superb recorded sound captures every detail and instrumental color in the score, and the orchestra shows off its world-class status. Jansons’s touch is light and lively, giving the symphony an irresistible buoyancy. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThanks to some highly individual solo playing from the BRSO’s first desks, which expressively ranges from soulful melancholy to dizzying brilliance, this concert performance displays great emotional variety, including wit and suspense. I can warmly recommend it as one of Jansons’s best efforts in Shostakovich, and you can bypass the stingy timing of the CD by resorting to digital downloads and streams.\u003c\/p\u003e\n\u003cp\u003eThis CD is extracted from BR Klassik’s 68-disc Jansons Edition. Final applause is briefly included.\u003c\/p\u003e\n\u003cp\u003e-- Fanfare\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012792111338,"sku":"4035719002027","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4057317-2790497.jpg?v=1778269072"},{"product_id":"shostakovich-concerto-for-piano-trumpet-string-orchestra-no-1-in-c-minor-op-35-symphony-no-9-e-flat-major-op-70-4035719002041","title":"Shostakovich: Piano Concerto no. 1 \u0026 Symphony no. 9 \/ Jansons, Bavarian Radio Symphony","description":"\u003cp\u003eIncreasingly, Shostakovich's music is captivating people all over the world and appealing to their deepest emotions. Almost like no other, it bears witness to a traumatic political epoch while remaining a timeless expression of existential human feeling and experience. For me personally, said conductor Mariss Jansons, who died two years ago, \"Shostakovich is one of the most serious and sincere composers of them all.\" Shostakovich's (first) piano concerto features impressive pianistic virtuosity, bold experimentation, satire, and caricatures of different musical styles. The composer wrote it in the summer of 1933, only a few weeks after the completion of his opera \" Lady Macbeth of Mtsensk\". He himself called it a \"mocking challenge to the conservative-serious character of the classical concert attitude\". This concerto in particular demonstrates the immense versatility and magnificent talent of the still carefree 26-year-old Shostakovich. He blends a wealth of musical thoughts and ideas into a colorful and fascinating kaleidoscope. Despite the wealth of different stimuli, the concerto does not seem chaotic or overloaded: the young composer effortlessly maintains the balance.\u003c\/p\u003e\n\u003cp\u003eShostakovich performed a similar balancing act between creative work and conformity to the state in his Ninth Symphony, which premiered on November 3, 1945. Instead of the expected heroic, regime-conformist orchestral thunder along the lines of his Seventh Symphony, the \"Leningrad”, the music heard here was playful, without pathos, somewhat witty, full of allusions – yet something did not seem quite right. This musical conundrum, full of ironic refractions and caricatures of melodramatic and triumphant music, was recognized by the censors as a masquerade, yet one that was not easily decipherable. Shostakovich had mocked Stalin without the latter noticing.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"Vinyl","offer_id":46012792406250,"sku":"4035719002041","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4118947-3141325.jpg?v=1778240680"},{"product_id":"mahler-symphony-no-9-simon-rattle-bavarian-radio-symphony","title":"Mahler: Symphony No. 9 \/ Rattle, Bavarian Radio Symphony Orchestra","description":"\u003cp\u003e\u003cstrong\u003eNamed \u003cem\u003eGramophone \u003c\/em\u003eMagazine Editor's Choice for December 2022!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFor the Bavarian Radio Symphony Orchestra, the performances on November 26 and 27, 2021 in the Isarphilharmonie marked the beginning of a new chapter in its Mahler interpretation: with its designated new principal conductor Simon Rattle, the orchestra is now headed by a Mahler admirer every bit as ardent as his predecessors Mariss Jansons, Lorin Maazel, and Rafael Kubelík. The musicians dedicated the benefit concert on November 26 to the memory of conductor Bernard Haitink, who died in October 2021 and was associated with the renowned orchestra for 61 years. The very long silence after the final chord was one of those “goosebumps moments” that one goes to concerts for – and for which music is made in the first place.\u003c\/p\u003e\n\u003cp\u003eGustav Mahler’s Ninth Symphony, in particular, is understood as the composer’s reaction to a heart ailment that was diagnosed shortly before he wrote the first drafts in the summer of 1908. He was in deep despair, but still scarcely aware of how few years he actually had left to live. With Mahler, it was always in and through music that he tried to come to terms with his life experiences and such topics as farewell, the meaning of existence, death, redemption, life after death and love. He wrote his Ninth Symphony in Dobbiaco, in a kind of creative frenzy, between 1909 and 1910. Its premiere took place in Vienna on June 26, 1912, when the Vienna Philharmonic Orchestra performed the work under Bruno Walter. Mahler did not witness the premiere of his last completed work – he had already died on May 18, 1911.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI would rank Rattle's performance here with the best of the competition and would add that even the classic recordings of Bernstein, Giulini, and Karajan have no significant advantage over Rattle's. In the end Rattle would be my top choice among newer versions and probably the equal of the classic performances on disc.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- MusicWeb International (Robert Cummings)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf he has always shown very sensitive affinities with Symphony No. 9, Simon Rattle delivers his most accomplished recording to the Bavarian Radio. \u003c\/span\u003e\u003cspan\u003eRecorded live between November 24 and 27, 2021, at the Isarphilharmonie im Gasteig in Munich by Winfried Messmer, [this] powerful orchestral mass presents both great volume and precise definition of timbre and range.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- Diapason (citation for a \u003cstrong\u003eDiapason d'or\u003c\/strong\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe Bavarian Radio Symphony Orchestra and its designated principal conductor dedicated one of the two concerts used for this recording to the conductor Bernard Haitink, who died in October 2021. It is a great tribute to this outstanding Mahler conductor, and Rattle once again proves what a major Mahler interpreter he is as well.\u003c\/p\u003e\n\u003cp\u003eRight in the first movement, he succeeds in drawing the whole Mahler world in its gripping originality with magnificent breath. Rising and collapse are always close together, and the exciting alternation between tension and release is maintained throughout the symphony. At the same time, this reading is not lacking in sensuality. There is both lyrical beauty, full of abyss, and the light-hearted (and artfully illuminated) play of sound and movement. The three-movement back-and-forth of emotions leads to the Adagio finale, which Rattle conducts thoughtfully and in moderate tempo. The music dies away in a deeply moving 24 minutes with nostalgia, sadness and also some thoughts of hope.\u003c\/p\u003e\n\u003cp\u003eThe orchestra is brilliantly disposed and fascinates with both differentiated coloration and the greatest possible transparency. Under Rattle’s direction, Mahler, the orchestral musicians, and he himself merge into a single instrument.\u003c\/p\u003e\n\u003cp\u003e-- Pizzicato\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSuperbly played and recorded, from November last year (Isarphilharmonie im Gasteig), a memorial concert for Bernard Haitink, Sir Simon’s third recording (following Birmingham and Vienna, both EMI\/Warner) of Mahler Nine sports a first movement, if not without a few cosmetic touches, that is a flowing and feisty affair, defiant, better to be alive than not, with impassioned fortissimos, and only in the concluding few minutes does the music issue calmness as well as bittersweet sentiments, although it seems too sudden as well as much too soon – bearing in mind how the Symphony will end, spare and fading to nothingness. The second movement, with its competing waltz and ländler, has its tempo contrasts well-managed, but is perhaps a little too manicured – it needs to be rougher, more rustic and pesante. Poker-faced sophistication suits the ensuing ‘Rondo-Burleske’, its counterpoint wonderfully clear (antiphonal violins swirl either side of the podium) albeit greater bite is sometimes required, and it’s a surprise that Rattle doesn’t linger more in the central section (his is a tempo-related ‘trio’), and the conclusion is thrillingly fast and rendered with A+ virtuosity – the abyss awaits. The final Adagio follows more or less attacca (I can vouch for such a joining from an LSO concert years ago) and is a dignified if intense leave-taking, powerful (vibrant strings, eloquent woodwinds) and ethereal, with a cathartic climax and a hypnotically controlled paring down of resources as expression becomes more and more off the radar.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- Colin's Column\u003c\/span\u003e\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012792701162,"sku":"4035719002058","price":15.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4129350-2896808.jpg?v=1778243082"},{"product_id":"tchaikovsky-symphony-no-5-liszt-mazeppa-zubin-mehta-bavarian-radio-symphony","title":"Tchaikovsky: Symphony No. 5 - Liszt: Mazeppa \/ Mehta, BRSO","description":"\u003cp\u003eThis BR-KLASSIK CD features recordings of concerts on February 28 and March 1, 2013 in the Philharmonie im Gasteig.\u003c\/p\u003e\n\u003cp\u003eZubin Mehta is closely associated with the city of Munich and the orchestras based there. From 1998 to 2006, he was General Music Director of the Bavarian State Opera in Munich, and has similarly close ties with the Bavarian Radio Symphony Orchestra.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTchaikovsky wrote his Symphony No. 5 in E minor, op. 64, the so-called \"Fate Symphony,” in 1888. All four movements of the work are permeated by the so-called “fate” theme. Together with his fourth and sixth (“Pathétique”) symphonies, the fifth is one of Tchaikovsky's most popular.\u003c\/p\u003e\n\u003cp\u003eFranz Liszt's symphonic poem \"Mazeppa\" is based on a poem by Victor Hugo and uses musical material from the composer’s fourth \"Etude d'exécution transcendante\" from 1846. The symphonic poem was composed in 1850 during Liszt's tenure as court conductor in Weimar, and was first performed on April 16, 1854. Liszt's symphonic poem describes the wild ride across the steppe of the emaciated and exhausted Ivan Masepa (Mazeppa), tied to the back of a horse. He is finally rescued by Cossacks, who take him to Ukraine.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012793094378,"sku":"4035719002072","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4201646-3141326.jpg?v=1778234110"},{"product_id":"mahler-symphony-no-7-haitink-bavarian-radio-symphony-orchestra","title":"Mahler: Symphony No. 7 \/ Haitink, Bavarian Radio Symphony","description":"\u003cp\u003eThe Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra were linked by a long and intensive artistic collaboration, brought to an abrupt end by his death in October 2021. BR-KLASSIK now presents outstanding and as yet unreleased live recordings of concerts from the past years. This recording of Mahler's Seventh Symphony documents concerts from February 2011 in Munich.\u003c\/p\u003e\n\u003cp\u003eAs an interpreter of the symphonic repertoire, and especially that of the German-Austrian late Romantic period, Haitink was held in high esteem worldwide. With him, the symphonies of Gustav Mahler were always in the best of hands. His driving principle was to take the sound architecture of a musical composition with its many-layered interweavings and render it transparently audible; extreme sensitivity of sound was paired with a clearly structured interpretation of the score.\u003c\/p\u003e\n\u003cp\u003eA valid recording of Mahler's Seventh Symphony places the highest demands on the skills of the conductor as well as on the virtuosity of each individual orchestral musician. Only under such circumstances can the highly complex individual voices merge to form a magnificent whole – an undertaking that achieves breathtaking effects time and again. A conductor is required here who unites the ensemble of individual, soloist-level musicians with an overarching musical concept. With its two grotesque \"night musics\", its sounds of nature, naïve folk motifs and intoxicating orchestral tutti, the Seventh Symphony is highly typical of Mahler's unique sound world.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012793356522,"sku":"4035719002096","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4207004-3141327.jpg?v=1778215235"},{"product_id":"strauss-don-quixote-dvorak-symphony-no-8-83332","title":"Strauss: Don Quixote - Dvorak: Symphony No. 8 \/ Yo-Yo Ma, Jansons","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=2247011\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Recorded at the Philharmonie am Gasteig, Munich, 2016. As an artist in residence with the Bavarian Radio Symphony Orchestra, the American cellist Yo-Yo Ma had the opportunity to do what is perhaps the second thing he loves the most after playing: sharing his love of music with others. Yo-Yo Ma doesn’t fade away into the music, nor does he take a worshipful attitude towards the pieces he performs. From the moment he walks onto the stage, he exudes charisma that immediately confirms his truly exceptional status as the “best cellist in the world”. With its ten variations on a theme of knightly character for full orchestra, Richard Strauss’ tone poem “Don Quixote” not only depicts the colourful adventures of Cervantes’ chivalrous hero, but also functions as a virtuoso display of glorious solo melodies embedded in stunning orchestral passages. It is, in a way, a second Strauss cello concerto that can take it up with any other late-19th century piece of this kind. Joining “the Don” later is a viola solo that personifies the faithful Sancho Panza and is played by Wen Xiao Zheng.\u003cbr\u003e","brand":"Belvedere Edition","offers":[{"title":"DVD","offer_id":46012836315370,"sku":"4260415080233","price":16.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3531247.jpg?v=1778308520"},{"product_id":"r-strauss-late-orchestral-works","title":"R. Strauss: Late Orchestral Works","description":"Richard Strauss’ Metamorphoses for 23 solo strings, his last great orchestral work, was given its premiere on 25 January 1946 in Zürich, Switzerland under the direction of the work’s dedicatee, the eminent Swiss musician Paul Sacher (1906-99). + Here, the conductor Eugen Jochum (1902-87) conducts the dynamic Bavarian Radio Symphony, the orchestra he helped found. + The Concerto for Oboe in D, also one of the composer‘s late works, received its premiere a mere one month after Metamorphoses, also in Zürich. + The performers here are once again the BRSO and their solo oboist Stefan Schilli.","brand":"Oehms Classics","offers":[{"title":"CD","offer_id":46012854829290,"sku":"4260330918024","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2804686.jpg?v=1778295430"},{"product_id":"mozart-w-a-symphonies-nos-35-haffner-and-41-jupiter","title":"Mozart, W.A.: Symphonies Nos. 35, \"Haffner\" and 41, \"Jupiter","description":"Classical Music","brand":"Profil","offers":[{"title":"CD","offer_id":46012900409578,"sku":"881488702156","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1539275_773a92b4-951a-4d24-9d54-64bfe1e65696.jpg?v=1778379043"},{"product_id":"resonanzen","title":"Resonanzen","description":"2006 4 X CD collection of recordings in Munich \u0026amp; Baden-Baden, Germany \u0026amp; Basel, Switzerland conducted by the late Swiss conductor Paul Sacher. Includes pieces by composers Stravinsky, Haydn, Bartok, Milhaud \u0026amp; more.","brand":"Musiques Suisses","offers":[{"title":"CD","offer_id":46012905423082,"sku":"7613105640687","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2548042.jpg?v=1778308313"},{"product_id":"strauss-don-quixote-dvorak-symphony-no-8-80932","title":"Strauss: Don Quixote - Dvorak: Symphony No. 8 \/ Yo-Yo Ma, Jansons [Blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e\u003ca class=\"links\" href=\"album.jsp?album_id=2247010\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003eRecorded at the Philharmonie am Gasteig, Munich, 2016. As an artist in residence with the Bavarian Radio Symphony Orchestra, the American cellist Yo-Yo Ma had the opportunity to do what is perhaps the second thing he loves the most after playing: sharing his love of music with others. Yo-Yo Ma doesn’t fade away into the music, nor does he take a worshipful attitude towards the pieces he performs. From the moment he walks onto the stage, he exudes charisma that immediately confirms his truly exceptional status as the “best cellist in the world”. With its ten variations on a theme of knightly character for full orchestra, Richard Strauss’ tone poem “Don Quixote” not only depicts the colourful adventures of Cervantes’ chivalrous hero, but also functions as a virtuoso display of glorious solo melodies embedded in stunning orchestral passages. It is, in a way, a second Strauss cello concerto that can take it up with any other late-19th century piece of this kind. Joining “the Don” later is a viola solo that personifies the faithful Sancho Panza and is played by Wen Xiao Zheng.","brand":"Belvedere Edition","offers":[{"title":"Blu-Ray","offer_id":46012949922026,"sku":"4260415080240","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3531248.jpg?v=1778391539"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/collections\/960px-BR_Symphonieorchester_Logo_2023_svg.png?v=1777637945","url":"https:\/\/arkivmusic.com\/collections\/bavarian-radio-symphony-orchestra.oembed?page=5","provider":"ArkivMusic","version":"1.0","type":"link"}