{"title":"BR Klassik Sale 2026","description":"\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eExplore a \u003cstrong\u003ewell-curated selection of titles\u003c\/strong\u003e from\u003cstrong\u003e BR Klassik\u003c\/strong\u003e are on sale now at \u003cem\u003eArkivMusic\u003c\/em\u003e!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eDiscover incredible works from \u003cstrong\u003eHaydn\u003c\/strong\u003e, \u003cstrong\u003eBeethoven \u003c\/strong\u003eand \u003cstrong\u003eBach\u003c\/strong\u003e; as well as performances from iconic artists such as \u003cem\u003eBavarian Radio Symphony Orchestra\u003c\/em\u003e, \u003cem\u003eMunich Radio Orchestra\u003c\/em\u003e, \u003cem\u003eChor des Bayerischen Rundfunks\u003c\/em\u003e and more!\u003cbr\u003e\u003cbr\u003eShop now through \u003cstrong\u003e9:00am ET, Tuesday, July 7th, 2026\u003c\/strong\u003e.\u003c\/span\u003e\u003c\/p\u003e","products":[{"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":23.99,"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":"bruckner-symphony-no-4-in-e-flat-major-haitink","title":"Bruckner: Symphony No. 4 in E Flat Major \/ Haitink, Bavarian Radio Symphony Orchestra","description":"\u003cp\u003eThe Dutch conductor Bernard Haitink and the Symphonieorchester des Bayerischen Rundfunks 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 Fourth Symphony documents concerts from January 2012 in Munich‘s Philharmonie im Gasteig. Haitink first conducted a Munich subscription concert in 1958, and from then on he repeatedly stood on the podium of the Symphonieorchester des Bayerischen Rundfunks – either in the Herkulessaal of the Residenz or in 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 worldwide. It was on the borderline between High and Late Romanticism, where the style of the times was to change and finally dissolve, that Anton Bruckner once again conjured up the very essence of the Romantic attitude to life with his Fourth Symphony.\u003c\/p\u003e\n\u003cp\u003eIt was the composer himself who gave the work its popular title \"Romantic\"; the name appears in much of his correspondence. – This \"Romantic\" symphony conjures up an ideal world in bright, unbroken colours, and looks back on an intact and carefree past. The consistently relaxed and positive mood of the symphony seems all the more astonishing when one considers the complicated history of the work’s genesis. The first version of 1874, a year of professional setbacks, was rejected by Bruckner after several plans for a premiere came to nothing; with relentless self-criticism, he referred to it as “overladen” and \"too restless\". In 1878 he subjected it to radical revision, in the course of which, among other things, a completely new third movement was written - the Hunting Scherzo. The other three movements were also profoundly reworked, partly shortened and formally condensed, and up to 1880 Bruckner repeatedly altered the final movement, which gradually grew into a crowning finale within the symphonic structure that would dissolve and overcome every last contradiction.\u003c\/p\u003e\n\u003cp\u003eIt was in this version of 1878\/1880, which also forms the basis of this recording, that the Fourth Symphony was premiered on February 20, 1881 in Vienna, played by the Vienna Philharmonic under the baton of the Wagner aficionado Hans Richter. The performance was a great triumph, and marked a decisive change in the reception of Bruckner's music. His symphonic work to date had largely met with rejection, but now, with the \"Romantic\", he had made his breakthrough. As one of Bruckner’s most-performed works alongside the Seventh, the Fourth has remained just as successful to this day. Indeed, the symphony’s unbroken popularity also underscores the timeless appeal of Bruckner’s work: that deeply human longing for the “Romantic”, which has left no-one unmoved to this day.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012431433962,"sku":"4035719002133","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412810-3337344.jpg?v=1778214323"},{"product_id":"mozart-idomeneo","title":"Mozart: Idomeneo","description":"Idomeneo has long been one of Sir Simon Rattle's favourite works, and with good reason. Mozart's \"dramma per musica\" from 1781 completely revitalised the opera seria genre, which had previously been considered outmoded. It opens the series of operas from the composer's mature period. For this commissioned work for the excellent ensemble of the Munich Residenztheater, Mozart had unlimited musical resources at his disposal. It was his most extensive and ambitious stage work to date, featuring demanding arias, differentiated role portraits, a virtuoso orchestral part and several large choral scenes that rank among the most impressive in his oeuvre. - Mozart's first great opera gave Simon Rattle the opportunity to work intensively with the Chorus immediately after taking up his position as the new Chief Conductor of the Bavarian Radio Chorus and Symphony Orchestra in the autumn of 2023, further deepening his interest in historical performance practice in Munich. He was supported by an exceptional cast of singers, including British tenor Andrew Staples in the challenging title role, soprano Sabine Devieilhe and mezzo-soprano Magdalena Kozena as the tender lovers Ilia and Idamante, soprano Elsa Dreisig as the envious and distraught Elettra, and several other soloists and choral soloists. Howard Arman directs the Bavarian Radio Chorus, and Simon Rattle conducts the Bavarian Radio Symphony Orchestra.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012433006826,"sku":"4035719002157","price":34.39,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4439247-3413028.jpg?v=1778194833"},{"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":"haydn-the-creation","title":"Haydn: The Creation","description":"Joseph Haydn's The Creation - a musical masterpiece that was celebrated from the very beginning.  For Simon Rattle there is no question that Haydn's Creation contains everything. The whole world. It looks both towards the past and far into the future of everything music can be. It is balance and revolution at the same time - a true work of the Enlightenment. \"Magnificent choruses, graceful melodies, the finest polyphony, all firmly anchored in an optimistic view of humanity - anyone who doesn't automatically feel better after hearing it really needs help, \" says Simon Rattle with a wink.   \"The Creation is healthy in a very honest way, \" he adds. But health also includes a good dose of humour, and Haydn provides it, even in a setting as sacred as the Creation story. At the same time, a work radiating light also casts a few shadows on our own present. What has remained of the spirit of the Enlightenment? And what have we done with \"this world, so great, so wonderful\"?    To mark his inauguration as Chief Conductor of the Bavarian Radio Chorus and Symphony Orchestra, Sir Simon Rattle chose Joseph Haydn's oratorio The Creation. After two concerts on September 21 and 22, 2023 in Munich's Herkulessaal, the work was performed on September 24 in the historic basilica of Ottobeuren in Upper Swabia, together with the three outstanding soloists Lucy Crowe, Benjamin Bruns and Christian Gerhaher. The Munich recording of the inaugural concerts is now being released on 2 CDs by BR-KLASSIK.               With this late work, Joseph Haydn celebrated his greatest triumph: The acclaim he received for his oratorio The Creation placed all his previous successes firmly in the shade. He was already very famous as a symphonic composer, his string quartets had won him the adoration of countless nobles and amateur musicians, and his late masses had secured the unwavering approval of his Esterhazy prince. However, at it's first performance in 1798, \"The Creation\" caught the spirit of the age - and continues to do so today. The work unites Haydn's orchestral finesse with powerful choruses, combining the vivid account of the creation story with subtle musical interpretation and making it a musical manifesto, as it were, of the Age of Enlightenment. In this regard, the oratorio has enjoyed an unbroken performance tradition, and continues to pose a challenge to every world-class ensemble today.    In 1946, one year after the end of the war, Haydn's masterpiece was the first oratorio ever to be performed in the basilica in Ottobeuren - at that time still in the organ loft. The 1986 performance by the Bavarian Radio Chorus and Symphony Orchestra under Leonard Bernstein remains legendary to this day.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012436906218,"sku":"4035719002218","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4392349-3334112.jpg?v=1778205352"},{"product_id":"dvorak-symphony-no-7-scherzo-capriccioso","title":"Dvorak: Symphony No. 7; Scherzo capriccioso","description":"The Dutch 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. BRKLASSIK now presents outstanding and previously unreleased live recordings of their concerts from past  years. This recording of Dvorak's Seventh Symphony documents a concert given in March 1981 in the  Herkulessaal of the Munich Residenz. The \"Scherzo capriccioso\" is a studio recording, also from March  1981.  Following the success of Antonin Dvorak's first visit to London in 1884, the London Philharmonic Society  asked him to return the following year and to compose a new symphony for the occasion. It was an  honourable request - after all, the London Philharmonic Society had commissioned Beethoven's Ninth  Symphony six decades earlier! When Dvorak began sketching out the symphony on December 13, 1884, he  was well aware of the high expectations involved - both his own and those of others. Most music critics  and Dvorak biographers, however, have struggled with the interpretation of this exceptional piece. For  example, it has been interpreted \"politically\" against the background of the growing German-Czech  tensions of those years. But the existential power of the D minor Symphony - it's anger, it's expansive  pessimism, i.e. it's confessional character - may also derive from the biography and personality of it's    composer, which were probably far more complex, painful and problematic than any \"Bohemian idyll\" we  might assume. Even in Dvorak's Eighth Symphony, which is considered to be more cheerful, and in his last  symphony, \"From the New World\", one can still detect a more or less latent tendency towards tragic  longing. The world premiere of the Seventh Symphony took place on April 22, 1885 in London, with the  composer conducting. It became one of Dvorak's greatest successes.  Dvorak's Scherzo capriccioso of 1883 is certainly more than just a filler on this CD. The fact that it is more  dramatic and passionate than it's playful title suggests is probably due to the fact that it was written at a  time of crisis in the composer's life. The work is an elaborate composition of convincing craftsmanship","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012437659882,"sku":"4035719002232","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4392350-3307327.jpg?v=1778205368"},{"product_id":"mahler-symphony-no-7-with-sir-simon-rattle","title":"Mahler: Symphony No. 7 \/ Rattle, BRSO","description":"\u003cp\u003eIn November 2021, even before taking up his post as chief conductor of the Bavarian Radio Symphony Orchestra, Simon Rattle began a cycle of Mahler symphonies with a performance of the Ninth (BR-KLASSIK 900205). The Sixth followed in September 2023 (BR-KLASSIK 900217), and the conductor is now tackling the composer’s Seventh Symphony. This cycle marks the beginning of a new chapter in Mahler interpretation, as Rattle is just as passionate a Mahler admirer at the helm of the orchestra as his predecessors Jansons, Maazel, and Kubelík.\u003c\/p\u003e\u003cp\u003eSimon Rattle gained his international reputation during his 18 years as Principal Conductor of the City of Birmingham Symphony Orchestra (1980–1998), which he made world famous. In 2002 he was appointed to succeed Claudio Abbado as Chief Conductor of the Berlin Philharmonic, a position he retained until June 2018. In March 2015 the London Symphony Orchestra elected him as their new Chief Conductor for the 2017-2018 season, a position he retained until summer 2023. Simon Rattle also maintains close ties with the Los Angeles Philharmonic, Boston Symphony, and Philadelphia Orchestras, as well as the Vienna Philharmonic.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012438315242,"sku":"4035719002256","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4386389-3290431.jpg?v=1778211562"},{"product_id":"schumann-symphony-no-2-bernstein-divertimento","title":"Schumann: Symphony No. 2; Bernstein:  Divertimento","description":"Leonard Bernstein conducted regularly in Munich from the 1980s onwards. It was then that he learned to appreciate and love the Bavarian Radio Symphony Orchestra in particular. In October 1976, Bernstein appeared with an all-Beethoven programme, and in 1983 he began a series of annual concerts with the orchestra. In November of that year, he rehearsed Robert Schumann's Second Symphony and his own Divertimento (1980), which were performed in the Herkulessaal of the Munich Residenz. This BR-KLASSIK CD presents the live recording of that concert event. Bernstein commendably championed Robert Schumann's Second Symphony - a work from 1845 that was repeatedly perceived as still immature and in need of improvement, and which Schumann himself confessed to having written in poor health. The critic Joachim Kaiser picked up on both facts in his concert review for the Suddeutsche Zeitung: \"So what did Bernstein do differently to silence this scholarly talk, at least for all those who were lucky enough to listen to his Schumann? (...) Bernstein believed not only in Schumann's melodies - not difficult in itself - but also, and fervently, in the work's great symphonic developmental arcs. And because he was able to inspire the musicians of the superbly organised Bavarian Radio Symphony Orchestra in such a natural, free and yet highly differentiated way, the power of Schumann emerged!\" Bernstein's Divertimento, composed in 1980 for the 100th anniversary of the Boston Symphony Orchestra, consists of eight miniatures developed from the semitone B-C. It begins with a fanfare and progresses through a waltz, a mazurka, a samba and a blues to a Radetzky-like march. The music is jazz-like, full of happy syncopation, unusual time signatures and dance-like verve. Bernstein also draws on memories of his first concerts - popular programmes that he attended as a child with his father in Boston's Symphony Hall.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012439068906,"sku":"4035719002263","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4371503-3238015.jpg?v=1778235005"},{"product_id":"beethoven-symphony-no-5-leonore-overture-no-3","title":"Beethoven: Symphony No. 5; Leonore Overture No. 3 \/ Bernstein, BRSO","description":"Leonard Bernstein conducted regularly in Munich from the 1980s onwards. It was then that he learned to appreciate and love the Bavarian Radio Symphony Orchestra in particular. In October 1976, Bernstein had appeared with an all-Beethoven programme, and in 1983 he began a series of annual concerts with the orchestra. This CD from BR-KLASSIK presents the live recording of the Beethoven concert on October 17, 1976, in which Bernstein conducted Beethoven's Fifth Symphony and the Leonore Overture No. 3.    The programme of the Munich concert in October 1976 included Beethoven's Fifth Symphony, which can be seen as stroke of liberation in the sense of \"per aspera ad astra\" (\"through hardships to the stars\" or \"through darkness to light\") and also a symphonic piece that he had written for his only opera \"Fidelio\": the Third Leonore Overture, with it's lone trumpet signal announcing the arrival of the minister Don Fernando - and thus the rescue of Florestan from arbitrary violence and imprisonment. Joachim Kaiser, Munich's leading music critic at the time, said: \"Bernstein demonstrated to a spellbound Munich audience how much he is filled with Beethoven, the man is full of a freedom and fire that can be produced and reproduced. Even if Bernstein's leaps, crouches and crescendos may seem violent to anxious listeners, the inner rightness of the music - which sounds natural, powerful, wonderful and relaxed - is overwhelming.\"    The live recording was made on October 17, 1976 at the Deutsches Museum in Munich.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012439757034,"sku":"4035719002287","price":15.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4383472-3290432.jpg?v=1778231576"},{"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":"devcic-lazic-ronjgov-istrian-rhapsody-4035719003321","title":"Istrian Rhapsody \/ Repušic, Munich Radio Orchestra","description":"\u003cp\u003eThe folk music of the Croatian peninsula of Istria is as characteristic as it is extraordinary. Its melodies, harmonies and rhythms are unique, and sonorously expressed by the sopila - a traditional shawm instrument - as well as through choral singing and folk dances. The music with its asymmetrical rhythms is based on the so-called \"pentatonic Istrian scale\", which consists of major and minor seconds and is thus clearly different from the other musical styles of Croatia. Numerous non-Istrian musicians and composers have been fascinated by it - among them the Croatian composer Natko Devčić, with his \"Istrian Suite\" for orchestra (1946), or the young Croatian pianist and composer Dejan Lazić with his \"Concerto in Istrian Style for Piano and Orchestra” op. 18 (2014\/2021), or his \"Alterations on the Istrian Folk Hymn\" op. 29 (2022).\u003c\/p\u003e\n\u003cp\u003eNatko Devčić was one of Croatia's most important composers and music educators, leaving a lasting impression on subsequent generations of musicians. His most lasting success as a composer came with his \"Istrian Suite\" for orchestra from 1946, which uses Istrian folk music as a source of inspiration and as a link between Slavic late Romanticism and the avant-garde.\u003c\/p\u003e\n\u003cp\u003eDejan Lazić’s five-movement \"Concerto in Istrian Style for Piano and Orchestra” op. 18 is closely connected to Istrian music, with its melodies, harmonies and rhythms, and features the \"Istrian scale\" as well as the typical melodies played in thirds. The central movement of the concerto is an extended cadenza in which Lazić – who has already composed cadenzas for piano concertos by Haydn, Mozart, and Beethoven and also arranged Brahms' Violin Concerto op. 77 for piano and orchestra – demonstrates his diverse experience in this field. Lazić's \"Alterations on the Istrian Folk Hymn\" op. 29 were written for the present CD and are dedicated to the Munich Radio Orchestra and its principal conductor Ivan Repušic.\u003c\/p\u003e\n\u003cp\u003eThe song \"Draga nam je zemlja\", recorded by Ivan Matetić Ronjgov, was and continues to be sung as a folk hymn in Istria, and in his work Lazić has taken its melody as the basis for a theme and twelve variations with coda for orchestra.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012442771690,"sku":"4035719003321","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4202369-3141334.jpg?v=1778206883"},{"product_id":"ich-tanze-mit-dir-in-den-himmel-hinein-tonfilmschlager","title":"I'll Dance to Heaven with You: Music for Propaganda Films \/ Theis, Munich Radio Orchestra","description":"\u003cspan data-mce-fragment=\"1\"\u003eMichael Jary's \"Ich weiß, es wird einmal ein Wunder gescheh'n\" (“I know there will be a miracle one day”) and \"Davon geht die Welt nicht unter\" (“The World Won't End Because of This”), Theo Mackeben's \"Du hast Glück bei den Frau'n, Bel Ami!\" (“You’re lucky with the ladies, Bel Ami!”), Lothar Brühne's \"Ich brech' die Herzen der stolzesten Frau'n\" (“I break the hearts of the proudest women”), and Friedrich Schröder's \"Ich tanze mit dir in den Himmel hinein\" (“I’ll dance to heaven with you”) are just some of the sound film hits that are still popular today and that, if not already commissioned, were later perfidiously misused by the National Socialists for propaganda purposes. Terms such as \"propaganda film\" or \"morale-boosting film\" accompany the program presented on this album as the ugly downside of what were sometimes brilliant musical creations. The Münchner Rundfunkorchester, founded in 1952, has played individual titles from these films again and again in very different scorings and arrangements over the course of its 70-year history. This release was produced as a studio recording in October 2021, and all the sound film hits were played in their purely orchestral form - thus exposing the core of the individual compositions while allowing the necessary historical distance.\u003c\/span\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012443525354,"sku":"4035719003338","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4092630-2833852.jpg?v=1778230229"},{"product_id":"beethoven-egmont-4035719003406","title":"Beethoven: Egmont \/ Zirner, Landshamer, Fiore, Munich Radio Orchestra","description":"\u003cp\u003eIn September 1809, the Vienna Hofburg Theatre commissioned Ludwig van Beethoven to create new incidental music for Johann Wolfgang von Goethe's \"Egmont\". The tragedy had premiered in Mainz on January 9, 1789. It calls for incidental music, but various attempts – some commissioned by the poet himself – had remained unfinished or were unsatisfactory. The music was required in several sections of the drama, however, and the Vienna production of \"Egmont\" was to include it. Beethoven set to work. He made good progress, because the subject suited him: the tragedy is set in Brussels, under threat from Spanish troops, and deals with resistance against oppression and foreign rule. The Viennese theatre premiere of \"Egmont\" on May 24, 1810 still had to make do without music, however – the score was only finally completed by the third performance. Beethoven's incidental music was premiered on June 15, 1810.\u003c\/p\u003e\n\u003cp\u003eThe music itself makes it clear that this commission was close to Beethoven's heart - it far exceeds the level of incidental music common at that time. That applies not only to the compositional demands but also to the relationship of the music to the drama. Eschewing mere illustration, Beethoven provided an interpretation and therefore an additional level of meaning. The well-known Egmont Overture, the most dramatically dense part of the incidental music, anticipates the action and introduces the characters. A clear reference to the drama is made in the ending, which corresponds exactly to the symphony of victory called for by Goethe at the end of the tragedy. The finale - a clear reference to the drama - corresponds exactly to the “symphony of victory” called for by Goethe at the end of the tragedy.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012445098218,"sku":"4035719003406","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4129116-2896369.jpg?v=1778243107"},{"product_id":"verdi-complete-ballet-music","title":"Verdi: Complete Ballet Music","description":"Following the conventions of the Paris Opera, Giuseppe Verdi was also obliged to compose ballet music for the French premieres or first performances of his stage works. Between 1847 and 1894, he wrote a total of seven so-called divertissements, some extensive, for Jerusalem, Les v�pres siciliennes, Le trouvere, MacBeth, Don Carlos, Aida and Otello. With catchy melodies, lively, accentuated rhythms, descriptive sound effects and vivid gestures, but above all with incredibly colourful instrumentation, he succeeded in giving new impetus to the ballet music of his day. While the ballet music was generally omitted from productions of Verdi's operas for a long time - with the exception of Aida - it has recently been performed increasingly often and linked to the dramaturgy of the respective work. These beautiful, well-crafted pieces of music should no longer be withheld from the public. On the new double CD from BR-KLASSIK, the Munich Radio Orchestra and it's chief conductor Ivan Repusic present Verdi's complete ballet music.    In 19th-century Italian operas, a ballet was not part of the composition but was performed either between the acts or after the opera performance - and was usually a work created by a ballet composer who had little or no connection to the operatic work in question. The strict convention at the Paris Opera, however, was that an extensive dance interlude had to be included as a divertissement in the third act of a grand opera. So if an Italian opera composer wanted to have his works performed in Paris (and who would not, given the international importance of that great opera house in Europe's leading musical metropolis), ballet music had to be provided as well. In the case of works originally written for the Paris Opera, the ballet was included in the French-language libretto from the outset, and ballet music also had to be newly added to all existing works as well. Italian opera composers such as Rossini, Donizetti and Verdi were hardly ever enthusiastic about this French preference for extensive dance interludes in the third act, but they had to bow to convention.    Verdi's ballet music for Les v�pres siciliennes (Les quatre saisons - The Four Seasons) and Jerusalem was the most extensive he created. In the dance sequence composed for Le trouvere, which utilises musical material from the gypsy scenes, he created a close musical and dramaturgical link with the stage action. He composed extensive ballet music for MacBeth to illustrate the Hecate scenes of Shakespeare's drama. In the third act of Don Carlos, a Ballet de la Reine entitled La Peregrina is performed in Queen Elisabeth's gardens to celebrate the coronation anniversary of the Spanish King Philip the following day. And for the premiere of Aida in Cairo, there were no obligations regarding the design of the dance interludes, which is why Verdi probably came closest to his ideal of linking the dances as directly as possible to the opera's plot. His shortest ballet music, with oriental-sounding dances, was composed for Otello.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012445753578,"sku":"4035719003413","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4368193-3232715.jpg?v=1778198036"},{"product_id":"caplet-le-miroir-de-jesus-4035719003420","title":"Caplet: Le miroir de Jésus \/ Arman, Munich Radio Orchestra","description":"\u003cp\u003e\u003cem\u003eLe miroir de Jésus\u003c\/em\u003e (The Mirror of Jesus) for mezzo-soprano, women's choir, strings and harp, the last major work composed by the French composer André Caplet in the spring and summer of 1923 and based on fifteen poems by the French writer Henri Ghéon, was subtitled \"Mystères du rosaire\" (Mysteries of the Rosary). The mystical work, whose form and genre defy the usual categorizations, revolves around the most important stations in the life of Jesus, told from the perspective of the Virgin Mary and mirrored, as it were, in her gaze. Each of the three parts consists of an extended instrumental prelude and five episodes. The first begins with the Annunciation, recounts the Visitation of Mary, the birth of Christ and his time in the Temple of Jerusalem. The second part turns to the mysteries of pain: Jesus' scourging, the crown of thorns, the way of the cross and the agony, and finally his death. The last part reflects on the \"Glorious Mysteries\": Jesus's Resurrection, the Ascension, Pentecost and finally Assumption and Coronation.\u003c\/p\u003e\n\u003cp\u003eA mezzo-soprano takes on the perspective of Mary. Occasionally the voice changes to recitation or even recitative, but the singing always serves the text, guaranteeing its comprehensibility and at the same time interpreting the words through musical means. Later, the choir introduces the respective poem titles and also emerges at a few points that are all the more significant: at the end of the first rosary, it reinforces the message of Ghéon's text with a Latin biblical quotation, and later on with eulogies such as \"Sanctus\" and \"Alleluia\". In \"Le miroir de Jésus\", Caplet found a musical form for the mysteries of the ancient passion story that brings together past and present into a peaceful synthesis.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLe Miroir de Jésus\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas André Caplet’s last major completed work, composed two years before his early death at the age of 46.\u003c\/p\u003e\n\u003cp\u003eCaplet’s writing is precise and considered, and his accomplished use of melancholic presentiment – as in the Nativité of the First Part – possesses a simplicity, and yet a directness, that proves consistently compelling. His handling of what are deliberately reduced orchestral forces of strings and a harp reveals a master orchestrator. Incidents such as the rippling water evocations in the Présentation simply reinforce his command of impressionist-derived devices put to his own use.\u003c\/p\u003e\n\u003cp\u003eArman and the Munich Radio Orchestra catch the spare unisons in Part Two’s Prélude and they expand density over the final bars the better to explore the Gregorian implications of the succeeding\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAgonie au Jardin\u003c\/em\u003e. Over this section one encounters reflective lyricism and much beauty as well as terse, jagged writing in the scene where Christ is crowned with thorns.\u003c\/p\u003e\n\u003cp\u003eThe richness and variety of his imagination is palpable throughout and in the Prélude to Part Three Arman ensures that Caplet’s presaging of elements of minimalism is clear even as Caplet generates a halo-like subtlety after the Resurrection scene. The spiritual intensity reaches a transcendence and moving intensity, the women of the choir of Bavarian Radio exuding exultant echo effects as the work draws to a close, Vondung both speaking and then singing rapturously with choral support.\u003c\/p\u003e\n\u003cp\u003eThe performance is beautifully balanced and is taken from a live performance in the Herz-Jesu-Kirche, Munich – not that one would know it’s live, as there’s no audience noise audible. Vondung is a splendid exponent, as she has proved in Baroque Passions and cantatas on disc, whose mezzo provides a sympathetic and rich-voiced conduit both for Ghéon’s texts and for Caplet’s richly varied, spiritually charged music.\u003c\/p\u003e\n\u003cp\u003eArman paces the work perfectly drawing out its radiance as well as its ethereal beauties, and – occasionally – its more harmonically astringent elements.\u003c\/p\u003e\n\u003cp\u003eThere’s a good booklet and full texts are provided in French with German and English translations.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- \u003c\/span\u003eMusicWeb International\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012446540010,"sku":"4035719003420","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4164088-2937099.jpg?v=1778249689"},{"product_id":"silvestrov-requiem-fur-larissa-4035719003444","title":"Silvestrov: Requiem for Larissa \/ Mustonen, Munich Radio Orchestra","description":"\u003cp\u003e\u003cstrong\u003eAwarded a Golden Tuning Fork by \u003cem\u003eDiapason \u003c\/em\u003eMagazine!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eValentin Silvestrov is probably the best-known Ukrainian composer, and his \u003cem\u003eRequiem for Larissa\u003c\/em\u003e, now released on album by BR-KLASSIK, was written in response to the unexpected death in 1996 of his wife, the music and literature scholar Larissa Bondarenko. She had stood by his side from the very beginning of his artistic career. It was in 1999, shortly before the turn of the millennium, that Silvestrov was finally able to complete his \u003cem\u003eRequiem\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eHe did not set a drama of the Last Judgement to music, as Mozart, Berlioz or Verdi had done before him, but rather wrote a lament - in seemingly endless, world-forlorn repetitions. The composer stepped out of the present and into the past, commenting on his life with Larissa with memories of music that had inspired her, and with profound allusions, retrospections and epilogues of the most personal nature. Silvestrov set the words of the Latin mass for the dead to music, yet he did not compose a mass in the sense of a liturgically close or ecclesiastically compatible piece of music. In his seven-movement requiem, the theological order of the Catholic requiem mass is irrevocably dissolved. As if religious gravity had been suspended, isolated words drift about freely and forlornly. The work begins and ends with \"Requiem aeternam\". At the end, only the wind rushes out of the synthesiser – and, at the very end, an echo of the wind.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePerhaps there’s never been a more apposite time for a Ukrainian Requiem. Composed in 1999, the piece is as deeply personal as it gets, being a response by the composer to the death of his wife, three years earlier. As such, it would be improper to seek to reappopriate the work as some kind of surrogate ‘Requiem for Ukraine’. Yet it’s difficult if not impossible, amid the ongoing violence to which Ukraine pointlessly continues to suffer, to listen to any Ukrainian music, particularly music expressing mourning, without some simultaneous reflection on a wider sense of loss.\u003c\/p\u003e\n\u003cp\u003eThe work is a refreshingly unusual take on what has become a bit of a hackneyed, even rather vainglorious concept. Silvestrov’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRequiem\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003esidesteps the usual drama and pseudo-spiritual histrionics, for the most part showing disinterest to the familiar Latin text.\u003c\/p\u003e\n\u003cp\u003eOf course, such a mindset stems from a vast, inconsolable mix of emotions, and signs of this manifest in the following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTuba mirum\u003c\/em\u003e, where the pent-up tension turns volatile, causing turbulence. The words continue in a semi-disoriented stream, articulating an angry\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKyrie\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003enot so much directed at a deity as hurled in its face. We soon become aware that, though the music is so tragically entrenched, we’re nonethless progressing through the conventional Latin text at surprising speed: less than halfway through this second section we’ve already heard\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRequiem aeternam\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKyrie\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDies irae\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTuba mirum\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRex tremendae\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRecordare\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLacrimosa\u003c\/em\u003e, each one reduced to a truncated utterance petering out in ellipsis.\u003c\/p\u003e\n\u003cp\u003e...the subsequent\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLacrimosa\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e– how heard in its entirety – is a soft-edged return to reality, but again its language is pained, the solo soprano progressing one phrase at a time. There’s the distinct impression of an attenuated music, physicality hobbled, pulse fibrillated, coagulating into rising choral clusters as the bass sags and drags downward. We’ve moved into another form of stasis, cycling round and round, rising and falling. Again that paradoxical duality of infinity and the infinitesimal: of being locked into a single “day … of weeping”, stretching on forever.\u003c\/p\u003e\n\u003cp\u003eThe central movement, ‘Prochai svite, prochai zemle’ (Goodbye, o world, o earth, farewell), setting words by renowned Ukraininan poet Taras Shevchenko, both sits outside this traumatised immobility and also serves as another instance of imaginary escape from reality. Its blend of folksong- and chant-like melodic writing sounds dream-like, but is again articulated one phrase at a time, evidently still as pained and doom-laden as everything that preceded it, and its closing moments are an ominous indication that we are in precisely the same place as we were before.\u003c\/p\u003e\n\u003cp\u003eThe remainder of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRequiem für Larissa\u003c\/em\u003e, its final three movements, reinforce the same all-pervading stasis of grief. The\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAgnus Dei\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eoffers illusory evocations of Mozart that, drifting and drenched in reverb, sound even more hauntological than that glimpse of a memory in the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLacrimosa\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eWe’re back in darkness, and the final two sections fixate, again elliptically, on the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRequiem aeternam\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003etext. The work’s conclusion, in keeping with its immobility, presents music heard previously: that radiant memory from the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLacrimosa\u003c\/em\u003e, as lovely as it is heartbreaking, slowly evaporating, via timpani rolls and lone string phrases, into a blackness without end.\u003c\/p\u003e\n\u003cp\u003ePerformed by the Munich Radio Orchestra with the Bavarian Radio Choir, conducted by Andres Mustonen, this is a live recording from June 2011. It’s good that it’s not a studio recording, polished and honed; don’t get me wrong, it’s an absolutely superb performance, but a work like\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRequiem für Larissa\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ebenefits immensely from the vibrancy and tension that permeate the live experience. It’s not the first recording of the work, and i’m sure more recordings will come, but everything about this sounds definitive.\u003c\/p\u003e\n\u003cp\u003e-- 5 Against 4\u003c\/p\u003e\n\u003cp\u003eA remarkable piece, [here] handled with great delicacy and control.\u003c\/p\u003e\n\u003cp\u003e-- Choir \u0026amp; Organ\u003c\/p\u003e\n\u003cp\u003eThe composition of the \u003cem\u003eRequiem\u003c\/em\u003e was a necessity for Silvestrov to come to terms with the unexplained death of his wife Larissa. That is why his work became a lament and not a drama of the Last Day. The endless, world-forlorn repetitions may be heard as a commentary on their life together, peppered with reminiscences, retrospectives and personal epilogues. Meanwhile, one may hear the work of this Ukrainian composer more generally also against the background of the war of Putin and the Russian army against the brother country with connotations of senseless murder.\u003c\/p\u003e\n\u003cp\u003eFor a good half century Silvestrov has had an independent style, which he himself calls meta-music and which one might locate close to Western neo-romanticism or post-modernism. The sweeping gestures still show mourning and the time of processing loss rather than reconsideration. The five-part chorus, rounded out with a basso profundo in the low register, and the soloists who come from it, make this mood, which lets nothing but dejection be heard, impressively clear.\u003c\/p\u003e\n\u003cp\u003eIn this recording of a concert that took place back in 2011, the orchestra finds more of an underlining role, where accents are also added. In some sections, including those in which a synthesizer is added, natural sounds such as wind, are also imitated, as well as the old, ideal world with Mozart sounds. Andres Mustonen keeps all participants in contact with the necessary freedom with good coordination in such a way that a very dense and impressive music becomes audible, which nevertheless does not let despair arise despite all the pain. The recording, produced by the Bayerischer Rundfunk technical department, together with the informative booklet, therefore offers a high-quality rounding off.\u003c\/p\u003e\n\u003cp\u003e-- \u003cem\u003e\u003c\/em\u003ePizzicato\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012448571626,"sku":"4035719003444","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4118948-2866929.jpg?v=1778243162"},{"product_id":"hindemith-cardillac-soltesz-munich-radio-orchestra","title":"Hindemith: Cardillac \/ Soltész, Munich Radio Orchestra","description":"\u003cp\u003eBR-KLASSIK presents the live recording of a concert performance of Hindemith's opera \"Cardillac\" from the Prinzregententheater in Munich on October 13, 2013, in memory of the great conductor Stefan Soltész. Soltész died unexpectedly on July 22, 2022 - exactly one year ago - after collapsing while conducting Richard Strauss' \"Die schweigsame Frau\" at the Munich National Theatre. The Hungarian-born Austrian conductor was General Music Director of the Essen Philharmonic and Artistic Director of the Essen Aalto Music Theatre from 1997 to 2013. Both institutions were decisively shaped by him and received several awards during his era. He was a welcome guest conductor with the orchestras in Munich. In addition to the standard works from Mozart to Strauss, an important focus of his opera repertoire was Classical modernism.\u003c\/p\u003e\n\u003cp\u003ePaul Hindemith's three-act opera \"Cardillac\", composed in 1925\/26, was the composer's long-awaited first full-length stage work, and was based on E. T. A. Hoffmann's novella \"Das Fräulein von Scuderi\". Hindemith’s librettist Ferdinand Lion created a large-scale opera that focused primarily on the goldsmith Cardillac and on the madness that leads him to murder. Any logically structured plot was replaced by individual, self-contained scenes, resembling isolated snapshots. The premiere took place on November 9, 1926 at the Dresden State Opera under the baton of Fritz Busch, who thus spectacularly continued his series of important world premieres. Although the opera's radical style was perceived as highly unusual, it was nevertheless well received. After 1933, the work disappeared from German-language repertoires, but it promptly returned in 1946. Hindemith undertook a fundamental revision, and it was premiered in Zurich in 1952 - combined with a performance ban on the first version. As early as 1960, however, the release of the 1926 version was achieved – and it went on to supplant its revised version almost completely. This recording also features the original, first version of the opera.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012449259754,"sku":"4035719003451","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4218698-3006102.jpg?v=1778234011"},{"product_id":"schubert-lieder-with-orchestra-appl-jockel-minich-radio-orchestra","title":"Schubert: Lieder with Orchestra \/ Appl, Jockel, Munich Radio Orchestra","description":"\u003cp\u003eTime and again, composers – well-known and lesser-known – have arranged Franz Schubert's piano songs for orchestra. These versions are not in any way intended to cast doubt upon the powerful quality of the originals, they merely place them in a different light, and\/or attempt to make them easier to perform on a larger scale – when an art song cannot be performed in an intimate salon or chamber music hall, it can also make an impact in a large concert hall.\u003c\/p\u003e\n\u003cp\u003eBaritone Benjamin Appl has compiled nineteen such arrangements from the 19th and 20th centuries for this new CD from BR-KLASSIK. The Münchner Rundfunkorchester, conducted by Oscar Jockel, provides accompaniment that is subtle and in keeping with the work. The album is ultimately rounded off by the first recording of Johann von Herbeck’s orchestrations of Schubert's dances, thus establishing a connection between folk music and Schubert's art songs.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012450078954,"sku":"4035719003468","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412814-3337348.jpg?v=1778199795"},{"product_id":"zemlinsky-a-florentine-tragedy-munchner-rundfunkorchester","title":"Zemlinsky: A Florentine Tragedy \/ Hahn, Munich Radio Orchestra","description":"\u003cp\u003eGuido Bardi, the son of the Duke of Florence, kneels before Bianca, the wife of the rich merchant Simone, and holds her hands. Simone, who has returned early from a business trip, then enters the room. The very beginning of Alexander Zemlinsky's one-act opera \"A Florentine Tragedy\", based on Oscar Wilde's play of the same name in the German translation by Max Meyerfeld, presents the conflict from which the tragedy arises. This stage work by the Austrian composer, who was forgotten for many decades, had its world premiere on January 30, 1917, in Stuttgart and was not performed again until 1977. This CD from BR-KLASSIK documents the Munich premiere on November 27, 2022, with the Münchner Rundfunkorchester conducted by Patrick Hahn, recorded live at the city’s Prinzregententheater.\u003c\/p\u003e\n\u003cp\u003eWith the \"Florentine Tragedy\", albeit rather belatedly, Zemlinsky followed the fashion for Renaissance and one-act works at the turn of the century. Richard Strauss had made his mark in that genre with \"Salome\" and \"Elektra\" – and the literary basis for the former had also been provided by Oscar Wilde. In the very first notes, seemingly aware of this similarity with Strauss’s work, Zemlinsky goes on the offensive with an \"upbeat fanfare\" – as the prelude to an orchestral introduction that can easily be interpreted as a musical representation of the main romantic relationship. At the transition to the actual stage action, however, Zemlinsky switches to a somber minor-key atmosphere. When Simone appears, the music already makes it clear that the plot cannot end otherwise than tragically. For whom, we do not yet know…\u003c\/p\u003e\n\u003cp\u003eIn the Munich premiere of Zemlinsky's \"A Florentine Tragedy\", Rachael Wilson (mezzo-soprano) sang the part of Bianca, Benjamin Bruns (tenor) was Prince Guido Bardi, and Christopher Maltman (baritone) portrayed the merchant Simone. The Münchner Rundfunkorchester performed under the young conductor Patrick Hahn. Last year, the 27-year-old Austrian – who since 2021 in Wuppertal has been the youngest Generalmusikdirektor in the German-speaking world – was engaged as the Münchner Rundfunkorchester’s Principal Guest Conductor.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012450865386,"sku":"4035719003475","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4313754-3141336.jpg?v=1778240898"},{"product_id":"eisler-kunneke-1929-tempo-tanz-und-technik-munich-radio-orchestra","title":"1929 - Tempo, Tanz und Technik \/ Theis, Munich Radio Orchestra","description":"\u003cp\u003eOctober 29, 1923 was a date steeped in history. In the middle of a year of political and economic crises, the age of public radio in Germany was ushered in with the first broadcast of the \"Berliner Funkstunde\" (Berlin Radio Hour) from the attic of an office building on Potsdamer Platz. Radio offered entirely new possibilities for the production and reception of music. The two compositions on this CD not only benefited from these developments but also played an active role in shaping them.\u003c\/p\u003e\n\u003cp\u003eEduard Künneke's five-movement Concerto grosso \"Tänzerische Suite\" op. 26 for jazz band and large orchestra corresponded to modern dances: the Overture is a Foxtrot, the Andante a Blues, the Intermezzo a Tango, the valse mélancolique a Boston Waltz, and the Finale a Foxtrot again. The suite was celebrated as a milestone in contemporary radio music and soon became part of the regular concert program.\u003c\/p\u003e\n\u003cp\u003eHanns Eisler's cantata \"Tempo der Zeit\" (Tempo of the Times) op. 16 for soloists, narrator, choir, winds, and percussion was written in 1929. The libretto was written by the popular lyricist Robert Gilbert, under the pseudonym of David Weber. With its pure wind ensemble and percussion, \"Tempo der Zeit\" captures the typical Songspiel sound of the time. The fact that Eisler used the \"modern\" medium of radio, of all things, to get his fundamental criticism of blind enthusiasm for technology across to the people is an ironical aspect of the work’s composition and reception history. This CD is part of the special programme focus on the topic \"The Wild Sound of the Twenties\".\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012453290218,"sku":"4035719003505","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412817-3337351.jpg?v=1778195983"},{"product_id":"webber-requiem-barber-adagio","title":"Webber: Requiem; Barber: Adagio","description":"Andrew Lloyd Webber is world-famous as the composer of the musicals Cats and The Phantom of the Opera, but his Requiem has also achieved international acclaim. Winner of a Grammy Award, this grand-sounding masterpiece of contemporary classical music, written in 1985, is dedicated to the memory of Webber's late father. The recording of a concert by the Munchner Rundfunkorchester on June 15, 2023, a tribute to the British composer who celebrated his 75th birthday in March 2023, is now presented on CD by BR-KLASSIK. This live recording from the Herz-Jesu Church in Munich features the Bavarian Radio Chorus accompanied by a select ensemble of soloists, under the baton of principal guest conductor Patrick Hahn.    There was much surprise when Andrew Lloyd Webber presented his Requiem to the public in 1985. Although classical composers had repeatedly ventured into the spheres of the so-called \"light muse\", hardly any path led in the other direction - from musicals or operettas to the sublime heights of sacred music. The fact that a composer like Franz von Suppe also wrote a requiem as well as operettas is a rarity. Lloyd Webber's career in the \"serious\" genre, however, was laid in his cradle: his father, William Lloyd Webber (1914-1982), had worked his way up from humble beginnings to become one of the leading church musicians of his day. He encouraged the classical training of his sons Andrew (b. 1948) and Julian (b. 1951), an excellent cellist. Andrew found his niche in the entertainment industry. His song \"Try it and see\", written for the 1969 Eurovision Song Contest, was not yet a hit, but from a pop cantata he developed his first successful piece Joseph and the Amazing Technicolor Dreamcoat (1968), and from the concept album Jesus Christ Superstar, in which \"Try it and see\" also found a new home, he created the rock musical of the same     name (1971). With Evita (1976), Cats (1981), Starlight Express (1984) and The Phantom of the Opera (1986), Lloyd Webber repeatedly demonstrated his flair for contemporary material that lent itself to a new kind of treatment and appealed to a wide audience. By the mid-1980s, he was the most commercially successful composer of musicals.    As Requiem Masses had been abolished in Anglican England since the Reformation, the composer did not have to consider liturgical functionality or ecclesiastical suitability. Verdi had demonstrated that the texts of the Latin Requiem Mass provided an excellent model for grand opera. And Lloyd Webber found inspiration for the lyrical dimension with hit potential in composers such as Gabriel Faure. The texts of the Requiem were rearranged with a sense of dramaturgy. The repeated insertion of the pithy lines \"Requiem aeternam\" and \"Dies irae\" gave them a fundamental, leitmotif-like character. The theatrical potential of the sequence (\"Dies irae\") was expanded, as it had been with Verdi, into a kaleidoscope of human emotions in the face of death and the Last Judgement.    In a poll conducted by BBC Radio 4 a few years ago, listeners voted Barber's Adagio for Strings the \"saddest piece in the world\". There is no doubt that it's broad musical lines have an elegiac, almost religious tone - something the composer himself emphasised in the choral version, written as an Agnus Dei. However, the Adagio's association with farewell and mourning was not intended by Barber, who conceived of his work as purely instrumental. It has however been used on repeated occasions to mark the deaths of prominent Americans, including Alfred Einstein, Franklin D. Roosevelt, and John F. Kennedy. As funeral music, the Adagio has also been a feature of several films since the 1980s, and two lines of tradition have emerged. On the one hand, the Adagio is often associated with the death of a main character, as in the final transfiguration of the Elephant Man in David Lynch's film of the same name (1980) or, in a light-hearted alienation of the theme, in The Fabulous World of Amelie (2001), where the heroine imagines her own death being televised. On the other hand, the austere serenity of the Adagio is contrasted with images of violence and suffering, most emphatically in Oliver Stone's anti-war film Platoon (1986). All these traditions came together in the days after September 11, 2001, when Barber's Adagio was played over and over again by American radio and television stations - both as a tribute to the victims of the attacks and as a musical expression of American patriotism. Particularly memorable was the live performance on September 15, 2001, when the American conductor Leonard Slatkin conducted the BBC Symphony Orchestra at the Last Night of the Proms in London, leaving the hushed audience deeply moved. Thanks to it's melancholic yet comforting sound, the Adagio for Strings was often the piece of choice internationally during the Covid-19 pandemic to commemorate the many victims - online or \"open air\", on radio and television, and at concerts and other events.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012454830314,"sku":"4035719003529","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4365214-3225935.jpg?v=1778212045"},{"product_id":"puccini-messa-di-gloria","title":"Puccini: Messa di Gloria","description":"Puccini's \"Messa di Gloria\" is one of the most popular settings of the Latin Mass, and is also featured on many concert programmes in the Puccini Year of 2024. The musical quality, energy and freshness of this youthful work ensured it's ever-growing popularity after it's rediscovery in the early 1950s. The composer even went on to quote some of the melodies in his famous operas, notably \"Manon Lescaut\". The \"Messa di Gloria\" was most recently performed on June 27, 2024 in the Herz-Jesu-Kirche in Munich by the Bavarian Radio Chorus and the Munchner Rundfunkorchester under it's chief conductor Ivan Repusic. To mark the 100th anniversary of the death of the great Italian composer, BR-KLASSIK is now presenting the live recording of this outstanding concert on CD.    Giacomo Puccini wrote his \"Messa a quattro voci con orchestra\" (\"Mass for Four Voices with Orchestra\") between 1878 and 1880 as the final thesis of his music studies in his hometown of Lucca. The first preparatory work was done when he was just eighteen, and the young composer was only 21 when the work was first performed on July 12, 1880. The Mass remained unpublished during his lifetime but became immensely popular after it's rediscovery in the early 1950s. However, in the first printed edition and in later performances it was inaccurately described as a \"Messa di Gloria\", a term that in fact refers to a (usually shorter) composition consisting only of Kyrie and Gloria; Puccini's Mass is in fact a full work, the complete setting of the Latin Ordinary with Kyrie, Gloria, Credo, Sanctus\/Benedictus and Agnus Dei. Puccini had begun his work on the Credo as early as 1878.     In the \"Messa di Gloria\", the choir takes centre stage with increasingly beautiful melodies; the solo parts for tenor and baritone are sung by Tomislav Muzek and George Petean. The approximately 45-minute-long work is complemented on this CD by Puccini's orchestral works \"Preludio sinfonico\" and \"Crisantemi\" - the latter in an arrangement for string orchestra by Lucas Drew. (Studio recordings from February 2023.)","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012455682282,"sku":"4035719003543","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4371508-3238016.jpg?v=1778231955"},{"product_id":"puccini-le-villi","title":"Puccini: Le Villi","description":"GIACOMO PUCCINI  \"LE VILLI\" - Opera ballo in two parts  Libretto by Ferdinando Fontana after the story \"Les Willis\" by Alphonse Karr    With his first stage work 'Le Villi', the young Giacomo Puccini instantly struck a chord with his contemporaries. His unerring instinct for deeply moving melodies made him a beacon of hope for a new generation of Italian opera composers. In this 'opera ballo' he masterfully set to music the gruesomely beautiful legend of an unfaithful fiance who is killed by the frenzied dance of the \"Willis\" - elemental spirits haunting the Black Forest. On October 13, 2024, a few weeks before the centenary of the composer's death on November 29, the Munich Radio Orchestra presented a concert performance of the two-act version of 'Le Villi' at the city's Prinzregententheater. Anita Hartig, Kang Wang and Boris Pinkhasovich performed the solo parts, the Bavarian Radio Chorus sang, and the Munich Radio Orchestra played under it's chief conductor, Ivan Repusic. To mark the 100th anniversary of the great Italian composer's death, BR-KLASSIK is now presenting the live recording of this extraordinary concert on CD.    'Le Villi' was composed in the autumn of 1883. The 25-year-old Puccini, who had just passed his final exams at the Milan Conservatory, took part in a one-act opera competition organised by the publisher Sonzogno, but came away empty-handed. The premiere of the one-act version on May 31, 1884 at the Teatro dal Verme in Milan was nevertheless a sensational success, largely due to the magical sound of the music and the charming melodies. Admittedly, the dramaturgy of this 'opera ballo' was probably too unusual for it to remain in the stage repertoire for very long. It's sensational success quickly faded and could not be revived   even after several reworkings (the two-act version created in 1884, and first performed on December 26 of that year at the Teatro Regio in Turin, forms the basis of this recording). Nevertheless, this first work paved the way for all of Puccini's subsequent operatic triumphs.      - Celebrating the Puccini year 2024, the Munich Radio Orchestra conducted by Ivan Repusic presents the composer's first stage work 'Le Villi' in the two-act version from 1884 in Italian   - Recording of a recent concert on October 13, 2024 from the Prinzregententheater in Munich  - Featuring renowned opera performers Anita Hartig, Kang Wang and Boris Pinkhasovich as well as the Bavarian Radio Chorus","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012458828010,"sku":"4035719003598","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4404925-3329250.jpg?v=1778195971"},{"product_id":"brahms-ungarische-tanze","title":"Brahms: Ungarische Tanze","description":"JOHANNES BRAHMS - HUNGARIAN DANCES: Before the publication of his Hungarian Dances in their original version for piano four hands, Johannes Brahms was hardly known to the educated middle classes, but the works ensured that the composer became a household name. In their subsequent orchestral versions, the Dances entered the repertoire of prestigious concert orchestras and, after music had become technically reproducible, went on to become even more massively popular. On this CD, BR-KLASSIK presents Brahms' 21 Hungarian Dances in their orchestral versions, in a studio production with the Munich Radio Orchestra under it's former chief conductor Roberto Abbado. Johannes Brahms had become acquainted with Hungarian melodies and scales through the Hungarian violinist Eduard Remenyi, with whom he had undertaken his first concert tour in 1853. His Hungarian Dances for piano four hands were composed from around 1858 onwards; the first ten were published in 1869, the others in 1880. In 1872, Brahms presented a version of the first ten dances for solo piano and in 1873 he orchestrated Dances Nos. 1, 3 and 10, premiering them in Leipzig on February 5, 1874. In his Hungarian Dances, Brahms skilfully combined various Hungarian folk song melodies with his own. The fact that the originals were, and remain, unknown to most listeners is probably what makes the compositions so appealing. His Hungarian Dances were extremely popular right from the start, and are still among his best-known works today. None other than Antonin Dvorak was responsible for the orchestrations of other dances, and popular orchestral versions were also produced by Albert Parlow, Andreas Hallen, Martin Schmeling, Paul Juon and Hans Gal.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012459483370,"sku":"4035719003604","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4409990-3332349.jpg?v=1778196122"},{"product_id":"mozart-kronungsmesse-coronation-mass-kv-317-vesperae-sollenes-de-dominica-kv-321-4035719005301","title":"Mozart: Sacred Choral Works \/ Arman, Academy for Ancient Music","description":"\u003cp\u003eThe mass that Mozart composed in 1779 for the Easter service in Salzburg Cathedral is shrouded in legend. From the very first bar onwards, it exudes the stately tone that would, much later on, earn it the sobriquet \"Coronation Mass\". Soon after Mozart's death, it became the Viennese court orchestra’s favorite mass for coronation ceremonies.\u003c\/p\u003e\n\u003cp\u003eThis new release from BR-KLASSIK is a live recording of a concert, performed on May 21, 2022 in the Herkulessaal of the Munich Residenz. That concert of sacred music by Wolfgang Amadeus Mozart included three other, lesser-known compositions that were also written during his time in Salzburg. Here they are woven in between the short movements of the Coronation Mass, and thus connected to the Mass in a way that might have been required by the practical performance conditions of a Salzburg church service.\u003c\/p\u003e\n\u003cp\u003eIn his \"Vesperae solennes de Dominica\", composed during the same year as the Mass, Mozart fulfilled the Salzburg prince-archbishop's demands for the greatest possible brevity in a tongue-in-cheek manner, by means of various compositional tricks as well as a particularly sonorous score. The album is rounded off by the \"Epistle Sonata\" for orchestra with obbligato organ in C major, K 329, written to accompany the \"Coronation Mass\", as well as by the solemn offertory \"Alma Dei creatoris\" for soloists, choir and orchestra in F major, K 277.\u003c\/p\u003e\n\u003cp\u003eThe first-rate cast of soloists consists of Katharina Konradi (soprano), Sophie Harmsen (mezzo-soprano), Steve Davislim (tenor) and Krešimir Stražanac (bass). The soloists and the excellent Bavarian Radio Chorus are accompanied by the Akademie für Alte Musik Berlin, one of the most renowned orchestras in the field of historical and historically informed performance practice. The conductor is Howard Arman.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012461744362,"sku":"4035719005301","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4160708-2926530.jpg?v=1778231716"},{"product_id":"arman-davis-angelus-ad-pastores-weihnachtsgeschichte-bavarian-radio-choir","title":"Angelus ad Pastores - Weihnachtsgeschichte \/ Arman, Bavarian Radio Choir","description":"\u003cp\u003eIn the Revelation of James, an apocryphal gospel that was not included in the Bible, events and details surrounding the birth of Christ are reported that do not appear in the better-known versions of the Christmas story from the gospels of Matthew and Luke. The Christmas story is presented by James in a vivid, dramatic, and almost theatrical manner.\u003c\/p\u003e\n\u003cp\u003eHoward Arman's Christmas Story follows the tradition of works such as Bach's \"Christmas Oratorio\", where newly-composed settings of the Gospel alternate with chorales. Here, Gregorian and polyphonic chorales as well as several motets from the 17th century are woven into Arman's composition and form a second narrative level. They frame the episodes of the Christmas story and can also be understood as musical reactions to the narrated events.\u003c\/p\u003e\n\u003cp\u003eThis new BR-KLASSIK CD is complemented by the chorales from Peter Maxwell Davies' Christmas cantata \"O magnum mysterium\". Arman contrasts the powerful language and mysticism of James’ gospel by reducing musical means to their essentials: monophonic singing, syllabically conceived solo passages and, as the only accompanying instrument, a hurdy-gurdy, which with its monotonous, archaic sound represents a certain timelessness. All of this results in maximum text comprehensibility, whereby the emotional declamatory singing style almost makes the figures resemble characters in a stage play. A key moment is Joseph's vision shortly before the birth of Christ: time seems to stand still, and the mystical and sublime aspect of this scene is intensified by poetic words full of linguistic contrasts and contradictions. – The chorales and motets integrated into Arman’s Christmas Story gradually develop ever greater polyphony. Thus, three settings by Nicolaus Zangius, Hieronymus Praetorius and Hans Leo Hassler, scored for ever greater numbers of voices, lead to a fourth, ten-part composition by Melchior Vulpius, which concludes with the words \"Peace on earth\". In its formal layout, Arman's Christmas Story bears similarities to Peter Maxwell Davies' cantata \"O magnum mysterium\". This work, written in 1960 for the choirmaster of Manchester Cathedral, also consists of chorales and instrumental sonatas, although the order is not compulsory. The four a cappella chorales in particular constitute a self-contained unit in terms of both content and music.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012462432490,"sku":"4035719005318","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412819-3337353.jpg?v=1778199795"},{"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":"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":"brass-in-der-farbe-von-erde-der-goldene-steig-der-garten","title":"Brass: In der Farbe von Erde; Der goldene Steig; Der Garten","description":"For Nikolaus Brass, the \"concrete confrontation with the existential fragility of human existence, with new beginnings and happiness, but also pain, infirmity and death\" acted \"like a compass in the search for expression.\" He refers to his music as characterised by \"flowing time processes, questions of order and disturbance, the scanning of the acoustic outer surface for what it harbours as an echo, as well as aspects of human existence, \" within a \"permanent circle of losing and finding again.\" This musica viva CD features three of his compositions, created between 2012 and 2023.    Nikolaus Brass studied medicine and composition in Munich and Berlin, and with Helmut Lachenmann in Hanover. He took part in the Darmstadt Summer Course from 1980 to 1986. His works have been regularly performed at festivals since 1981. In addition to his profession as a medical doctor, which he practised for many years, he has composed numerous works, including several commissioned by the Stuttgart Radio Symphony Orchestra, the Berlin Radio Symphony Orchestra, the Bavarian Radio Symphony Orchestra (as part of the musica viva series), the Munich Chamber Orchestra, the Donaueschingen Music Days and the Wittener Tage fur neue Kammermusik. In 2009, Brass was awarded the Music Prize of the City of Munich. He has been a member of the Bavarian Academy of Fine Arts since 2014.    Brass' composition \"In der Farbe von Erde\" (\"In the colour of earth\") - music for viola, 44 strings and two percussionists\" was first performed on February 17, 2023, with Tabea Zimmermann and the Bavarian Radio Symphony Orchestra conducted by Vimbayi Kaziboni. The work was commissioned by musica viva of Bayerischer Rundfunk. The title of the composition refers to a short text by the French-speaking Swiss poet Philippe Jaccottet (1925-2021).    \"Der goldene Steig\" (\"The Golden Path\") - A narrative for soprano and orchestra\" is based on a text by Peter Kurzeck. The fourth part of his novel cycle \"Das alte Jahrhundert\" has an impressionistic feel to it - and served as a mood painting for Brass' sound fantasies. In addition to the richly scored percussion, the entire orchestra also contributes to the sound development with meticulously prescribed tapping and rattling instructions. The work was commissioned by musica viva of Bayerischer Rundfunk and first performed on December 16, 2016, with Sarah Maria Sun and the Bavarian Radio Symphony Orchestra, conducted by Peter Rundel.    Brass' \"Der Garten\" (\"The Garden\") - music for orchestra with four obbligato male voices (vocalises)\" was also commissioned by musica viva of Bayerischer Rundfunk. The first performance, with the Neue Vocalsolisten Stuttgart and the Bavarian Radio Symphony Orchestra conducted by Peter Eotvos, took place on June 16, 2012.     The new BR-KLASSIK CD documents the live recordings of each of the three first performances, recorded in the Herkulessaal of the Munich Residenz.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012470952170,"sku":"4035719006452","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4368194-3232716.jpg?v=1778235057"},{"product_id":"musica-viva-46-johannes-kalitzke-luc-ferrari","title":"musica viva #46 - Johannes Kalitzke \u0026 Luc Ferrari","description":"Musica viva    KALITZKE AND FERRARI  Johannes Kalitzke: Zeitkapsel - Totentanz fur gro�es Orchester (\"Time Capsule - Dance of Death for large orchestra\")  Luc Ferrari: Histoire du Plaisir et de la Desolation (\"A Story of Pleasure and Desolation\")    On November 10, 2023, Johannes Kalitzke presented himself in a double role as conductor and composer (\"the one makes you want the other\") in the Herkulessaal of the Munich Residenz with the world premiere of his Zeitkapsel - Totentanz for large orchestra (\"Time Capsule - Dance of Death for large orchestra\"), commissioned by musica viva, as well as with Luc Ferrari's Histoire du Plaisir et de la Desolation, a sonic search for \"new sensuality\". - Both compositions can be experienced in this CD live recording of the musica viva concert.    Johannes Kalitzke (born 1959) is a renowned German conductor and composer. Zeitkapsel - Totentanz for large orchestra was commissioned by Bavarian Radio's musica viva in 2022-2023. The world premiere documented on this CD took place on November 10, 2023 in Munich. Sebastian Schottke was responsible for the sound direction. Representing time capsules in the material sense, the orchestral piece contains musical artifacts from different times and cultures that were rediscovered at a later date and that characterise the sonic context of the piece, above all the first ever acoustic recording in history: a recording of sound waves on wax paper from 1860. Fragments of it can be heard at the end of the piece, like a revelation.    Histoire du Plaisir et de la Desolation for orchestra by Luc Ferrari (1929-2005) was written in 1979-1981 as a Radio France commission for the Orchestre National de France, and was premiered in Paris in 1982 by that orchestra under the direction of Michael Luig. Orchestral music is not necessarily what one associates with the name Luc Ferrari. The composer, who died young, became known primarily as an exponent of musique concrete, opening up new creative paths in his use of tape technology. His sonic quest leads from the promising opening movement Harmonie du diable to the double-edged nature of pleasure (Plaisir-Desir), only to fail brilliantly with the \"rupture of all logic\" in the final Ronde de la desolation.    ? Johannes Kalitzke conducts the world premiere of his orchestral piece Zeitkapsel - Totentanz for large orchestra; live recording from the Herkulessaal of the Munich Residenz as part of Bavarian Radio's musica viva concert series     ? He also conducts the impressive and rarely performed orchestral piece Histoire du Plaisir et de la Desolation by the French composer and sound artist Luc Ferrari    ? The conductor and composer Kalitzke conducts the Bavarian Radio Symphony Orchestra    Bavarian Radio Symphony Orchestra  Johannes Kalitzke, conductor","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012471607530,"sku":"4035719006469","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4397821-3315054_1ca85d73-16c2-4e02-bc76-f4005094a38b.jpg?v=1778211353"},{"product_id":"liza-lim-a-sutured-world-mary-the-compass","title":"Liza Lim: A Sutured World; Mary; The Compass","description":"The music of the composer, educator and musicologist Liza Lim, who was born in Perth, Australia in 1966, has a collaborative and transcultural focus. Her recent works have explored beauty, anger and noise, ecological issues, and women's spiritual traditions. Liza Lim has received commissions from leading orchestras and institutions worldwide, and her works continue to be performed at prestigious festivals. In 2024, she was named \"Composer of the Year\" by OPUS KLASSIK. Liza Lim is Professor of Composition and Australian Music at the Sydney Conservatorium of Music. As part of a Laureate Fellowship from the Australian Research Council, she will lead a five-year program starting in 2025 to promote the exploration of pressing climate and social issues through music. Her gender equity initiatives through Sydney Con's Composing Women have had a significant impact on commissioning, performance and next-generation leadership in Australian music.    A Sutured World for cello and orchestra was commissioned in 2024 by musica viva of the Bayerischer Rundfunk, the Royal Concertgebouw Orchestra, the Cello Biennale Amsterdam, the Melbourne Symphony Orchestra and the Casa da Musica Porto. The world premiere recorded on this CD took place in the Herkulessaal of the Munich Residenz on October 25, 2024, with Nicolas Altstaedt (cello) and the Bavarian Radio Symphony Orchestra conducted by Edward Gardner.    The orchestral work Mary - Transcendence after Trauma was commissioned by musica viva of the Bayerischer Rundfunk in 2020\/21. The world premiere of the work at musica viva, originally scheduled for January 28, 2022, had to be cancelled due to the Covid pandemic. In the meantime, the triptych was premiered at the Cologne Philharmonie on April 29, 2022 as part of \"Musik der Zeit\" with the WDR Symphony Orchestra conducted by Cristian Macelaru. This CD features the musica viva recording of May 12, 2023 in Munich's Herkulessaal by the Bavarian Radio Symphony Orchestra under Franck Ollu.    The Compass for flute, didgeridoo and large orchestra was commissioned by musica viva of the Bayerischer Rundfunk and the Sydney Symphony Orchestra in 2005\/06. The premiere took place at the Sydney Opera House on August 23, 2006 with Rosamund Plummer (flute), William Barton (didgeridoo) and the Sydney Symphony Orchestra conducted by Alexander Briger. This CD features the musica viva recording of the European premiere of the work on January 12, 2007 in Munich's Herkulessaal, with Carin Levine (flute), William Barton (didgeridoo) and the Bavarian Radio Symphony Orchestra conducted by Christoph Poppen.      ? The main work on the CD is Liza Lim's latest composition: a live recording of the world premiere of the cello concerto \"A Sutured World\" (2024) as part of the musica viva concert series by the Bayerischer Rundfunk from the Herkulessaal of the Munich Residenz - with the famous cellist Nicolas Altstaedt    ? The CD also features Liza Lim's compositions \"Mary - Transcendence after Trauma\" (2020\/21) and \"The Compass\" (2005\/06) as live recordings from the musica viva concert series    ? Performed and conducted by renowned musicians, all of them experts in contemporary music","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012472393962,"sku":"4035719006476","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4426890-3394332.jpg?v=1778199178"},{"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":"handel-die-macht-der-musik-the-power-of-music-in-german-4035719009118","title":"Handel: Die Macht der Musik - The Power of Music (In German)","description":"\u003cp\u003eHandel's journey from Halle via Hamburg, Rome and Hanover to London is the story of an unprecedented ascent: from the auxiliary organist to the child of the High Aristocracy, from the courtly conductor to the free-lancing artist in the most exciting cultural metropolis of Europe. At the age of 26, he was a European celebrity, claiming to be a leading opera composer in the hard-fought music market of London, through his activities for the royal house and his church music, which also played a political role in the Anglican state religion: the king was the head of the church and The glorification of God served at the same time to represent its temporal power. The dramaturgically directed effect of Handel's mighty splendor could and cannot escape. In Jörg Handsteins audiobiography \"The Power of Music\" in nine chapters and on a total of 3 albums you can hear about the life of Handel, his most famous and most important compositions are heard, which are closely interwoven with the very exciting biography. The numerous musical examples are from well-known interpreters, choirs and orchestras - all of them important baroque specialists. A lively, music-rich portrait of Handel and his time - strictly according to the original sources, but always alive and narrated and inspired.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012478816490,"sku":"4035719009118","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4135056-3141340.jpg?v=1778243316"},{"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":"strozzi-listen-lovers","title":"Strozzi:\"Listen, Lovers!\"","description":"\u003cp\u003eA young female singer in 17th-century Venice: she is a virtuoso and extremely charming, and the gentlemen of her select audience are at her feet. They call her the \"Singing Venus\". But Barbara Strozzi wants more: she regularly publishes her compositions – more than any woman before her. The new BR-KLASSIK audio biography tells her story.\u003c\/p\u003e\n\u003cp\u003eUntil the 20th century, female composers had a hard time in a male-dominated art. And in historiography for even longer: it was not until 1978 that a female American musicologist published the first specialist article on Barbara Strozzi. Today, it is generally accepted that she is one of the most important voices in the history of vocal chamber music. She is featured on a growing number of CDs, concert programmes and websites. However, although research has begun, a lively account of her life and work, accessible to a wider audience, has been lacking.\u003c\/p\u003e\n\u003cp\u003eThis audio biography brings together all the key documents and research that represent her – and also vividly introduces us to the unique cultural space in which the composer lived. The exuberance of Carnival, the development of the fledgling art of opera, and Venice - the\"città galante\"- are all linked to the phenomenon of\"Barbara Strozzi\" and her art. Listeners unfamiliar with this music are invited to rediscover lost treasures – and to get to know one of the great women of music history. Wiebke Puls, an actress at the Münchner Kammerspiele and a singer herself, lends her voice to Barbara Strozzi.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012483141866,"sku":"4035719009385","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412821-3337356_3e1f02c5-dcba-4251-8991-412e0dcc8bed.jpg?v=1778201260"},{"product_id":"brk-bruckner-mass-in-e-motets-bruckners-world-vanhoefer","title":"Bruckner: Mass in E minor \u0026 Motets - \"Bruckner's World\", an introduction to the works by Markus Vanhoefer","description":"\u003cp\u003eIn addition to his symphonies, Anton Bruckner is best known for his sacred works: his stirring masses and his deeply moving a cappella motets. On this new BR-KLASSIK CD, to mark the Bruckner Year 2024, the Bavarian Radio Chorus and the Münchner Rundfunkorchester conducted by Peter Dijkstra present his Mass No. 2 together with five well-known motets and the two short Aequali for three trombones from 1847. The new studio recordings were made in connection with the opening concert of the 2023\/24 season on October 28, 2023. On a second CD, \"Bruckner's World\" by Markus Vanhoefer offers not only an introduction to the recorded works but also a detailed description of the life and work of this important Late Romantic composer.\u003c\/p\u003e\n\n\u003cp\u003eAfter Bruckner's uncommissioned Mass (No. 1) in D minor had brought him to the attention of a wider public – following its premiere on November 20, 1864 in the Old Cathedral in Linz and a repeat performance in the city’s Redoutensaal – Bishop Franz Joseph Rudigier commissioned a second mass from the composer. Bruckner wrote the work between August and November 1866, and it was to be premiered at the consecration of the Votive Chapel of the New Cathedral; due to delays in the construction work, however, the performance could not take place until September 29, 1869. The premiere of the Mass (No. 2) in E minor for eight-part mixed choir and wind ensemble was also a great success, and Bruckner described it as “the most glorious day” of his life. The unusual instrumentation was due to the occasion and the open-air performance venue on the cathedral building site (the new chapel had proven too small for the choir). The work derives its particular tension from the sharp contrasts between archaic, psalm-like monophony and a strictly polyphonic movement structure modeled on Palestrina, combined with the \"modern\" wind accompaniment in sweeping, romantic harmony.\u003c\/p\u003e\n\n\u003cp\u003eBruckner thoroughly revised the Mass (No. 2) between 1876 and 1882, and the premiere of the second version in the Old Cathedral on October 4, 1885, as part of the Diocesan Jubilee in Linz, was once again an outstanding success. The composer \"stood at the organ during the performance and gazed rapturously at the vault of the cathedral, his lips moving in silent prayer.\"\u003c\/p\u003e\n\n\u003cp\u003eBruckner's sacred motets are characterized by Catholic worship and the church spaces that were Bruckner's home from childhood. In 1837, at the age of 13, he was admitted as a choirboy to the Augustinian canons' monastery of Sankt Florian near Linz, where he worked as an organist from 1848 to 1855. His religious devotion and early influence meant that he initially saw himself as a church musician, before broadening his scope to include symphonic music - in whose sound architecture the organ also found an audible echo.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012484616426,"sku":"4035719009408","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4322768-3149130.jpg?v=1778201035"},{"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":"br-klassikmozart-requiem-in-d-minor-op-626","title":"Mozart: Requiem \/ Jansons, BRSO","description":"\u003cp\u003eIt is difficult to say anything about Mozart's famous Requiem – the masterpiece having been described and analysed all too often. It is known to almost everyone in the world, either in its entirety or in large parts, or is familiar to them at the very least from its title. Almost everybody has come into contact with the Requiem’s music, whether from the concert hall or merely from watching Miloš Forman's 1984 film drama \"Amadeus\". What breathes new life into this work and this music time and again are congenial performances with outstanding casts. A true highlight in the performance history of the Requiem was Mariss Jansons' interpretation of it in May 2017, which absolutely delighted the Munich concert audience and was also highly acclaimed by the trade press. Under Jansons' direction, the Bavarian Radio Chorus and the Symphonieorchester des Bayerischen Rundfunks gave of their best, with an excellent quartet of vocal soloists rounding off the outstanding ensemble. This made the performances of Mozart's Requiem in the popular completed version by his student Süßmayr a truly memorable experience.\u003c\/p\u003e\n\u003cp\u003eThe live recording from the Herkulessaal of the Munich Residenz was made on May 11 and 12, 2017 and has now been released on a single CD by BR-KLASSIK.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012789948650,"sku":"4035719001174","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4322769-3141323_7b6a595a-99a9-4efc-bb89-b54debea6563.jpg?v=1778215016"},{"product_id":"mahler-symphony-no-3-symphonieorchester-des-bayerischen-rundfunks","title":"Mahler: Symphony No. 3","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 worth listening to, available on CD and as a stream.\u003c\/p\u003e\n\n\u003cp\u003eGustav Mahler's Third Symphony remains today one of the greatest and most powerful creations of the Late Romantic period. The immense symphony, longer and more monumental than others, incorporates texts from the collection of poems by Clemens Brentano and Achim von Arnim entitled “Des Knaben Wunderhorn”. Composed over a period of four years from 1892 to 1896, with particular focus during the summers of 1895 and 1896 spent at the Attersee in Austria, it was premiered in its entirety on June 9, 1902, at the 38th “Tonkünstler Festival” in Krefeld. Mahler conducted the Städtische Kapelle Krefeld and Cologne’s Gürzenich Orchestra at this momentous event, which garnered great acclaim from his contemporaries. Between 1902 and 1907, the composer conducted his Third Symphony a further 15 times.\u003c\/p\u003e\n\n\u003cp\u003eAmong the symphony's six powerful movements, the slow fourth movement necessitates not only a large orchestra but also a mezzo-soprano solo for a setting of the “Midnight Song” (“O Man! Take heed!”) from Friedrich Nietzsche's poetical-philosophical work \"Thus Spoke Zarathustra.\" In the cheerful fifth movement, the mezzo-soprano soloist is joined by a children’s choir and a female chorus for the song \"Es sungen drei Engel\" from \"Des Knaben Wunderhorn.\" The symphony presents a significant challenge for all its performers, and this concert recording from December 2010 features a prestigious lineup: Mariss Jansons conducting the Chor and Symphonieorchester des Bayerischen Rundfunks, with the Tölzer Knabenchor, and solo parts sung by Nathalie Stutzmann.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012790341866,"sku":"4035719001945","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4302696-3141324.jpg?v=1778228132"},{"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. 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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"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/collections\/3_5_e92e2b89-3e63-4e61-a75e-8fe4c8c9d470.png?v=1779907114","url":"https:\/\/arkivmusic.com\/collections\/br-klassik-sale-2026.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}