Classical Music

Classical Music

Paul Hindemith was an all-round musician, virtuoso violist, composer and educator. He mastered all the instruments of the orchestra to a more or less professional level of proficiency, all of which was more than adequate preparation for conducting too. He was strongly influenced in his conducting by Wilhelm Furtwängler, placing the highest value on the living tradition of interpretation. This release features his 1958 recording of Bruckner’s radiant Seventh Symphony; the mature master locating Bruckner’s achievements as a high point on the continuum between Bach and his own work.

Bruckner, A.: Symphony No. 6

SYMPHONY NO. 7

�Bruckner's last mass is a masterpiece. Rooted in the traditional Austrian mass, it also contains symphonic elements found only in Beethoven's Missa solemnis, although Mahler can be seen on the horizon. Premiered in Vienna in 1872 to immense acclaim, the work is now performed both in the liturgy and in concert, a permanent part of the repertoire. In contrast to the monumental symphonies, here we encounter a very special soundscape, reaching from soft ethereal sounds to jubilant surges

No more Bruckner under Haitink, that's a cut in the history of interpretation (Wiener Zeitung) To end his active conducting career after 65 years, maestro Bernard Haitink together with the Wiener Philharmoniker gives a farewell concert at the Gro�es Festspielhaus at Salzburg Festival, leaving no doubt of being one of the best Bruckner interpreters ever. The Dutch conductor, who was appointed honorary member of the Wiener Philharmoniker shortly before the concert, is joined by star pianist Emanuel Ax in Beethoven's Piano Concerto No. 4: a musical interaction "of a depth of sentiment and an agreement in making music together that sounds wonderfully natural" (Salzburger Nachrichten). The concert ends with Bruckner's monumental Symphony No. 7 with it's famous second movement, which marked the composer's breakthrough and remains one of his most popular symphonies. The Wiener Philharmoniker play under Haitink's masterful baton completely focused, but dynamic and with deepest sensation. The atmosphere of this last performance is without doubt exceptional and a visibly emotional Haitink was celebrated by the audience with long standing ovations. "You shouldn't throw terms like 'magic moments' around easily. But what could be heard in Salzburg was certainly one" (Klassikinfo. De)

This music is more serious and more significant than one had thought, the Berliner Zeitung summarized in it's review of Daniel Barenboim's celebrated Bruckner cycle with the Staatskapelle Berlin. Bruckner's unfinished Symphony No. 9 brought to an end, in a poignant manner, the work of one of the greatest symphonic composers of the Classic-Romantic era. Once more the essential elements of Bruckner's symphonic style are present; the technical standard, the intensity of sound, and the enormous richness of expression are in this singular work brought to an unsurpassed niveau.

Anton Bruckner’s Eighth Symphony was the last the Austrian composer completed. + Many of his contemporaries regarded the symphony as “the pinnacle of 19th c. music”. + Even today, this monumental work fascinates listeners with its virtuoso orchestral technique, immensity of sound and its inexhaustible richness of detail. + “Clarity was one thing that made this performance a marvel. + The flexibility of Barenboim’s tempi meant that Bruckner’s charm – an often overlooked aspect of his genius – shone through, especially in the genial Trio.” (The Telegraph)

Both Bruckner's belief in God, as it majestically wells up out of the chorale of the Fifth, and his deeply tragic world view, collide with one another in Barenboim's interpretation... without betraying Bruckner's unerring sense of striking proportions.

This recording of Anton Bruckner’s eighth symphony is performed in its original version completed in 1887.; Because of the piece’s boldness, Bruckner’s contemporaries criticized the work, and convinced him to revise the piece.; Here, Fabio Luisi leads the Philharmonia Zurich in this “huge cathedral” of a work, bringing out the perfections in the original, unrevised version.

On March 14, 1849, 24-year-old Anton Bruckner finished his first major vocal composition. The only requiem of the composer who would later become the architect of big symphonic "castles in the sky" was still created during his work in St. Florian. Some references to older models and some stylistic incongruities in musical stature still refer to the phase of self-discovery of the young composer. But those who listen closely will certainly discover the passages in which the mystical aura and sublimity of the large orchestral scores shine through already, be it in the gently glowing tone of the Benedictus, the intimate creed of the Agnus Dei or the powerful or the masterfully conceived double fugue of Quam olim Abrahae. It is essentially "Bruckner on the way to Bruckner". Goal in sight, full of auspices. After the Missa Solemnis, released in February 2018, this recording marks the second step in the journey of discovery into the cosmos of Anton Bruckner's seldom heard early works.

• Third release in this projected complete Bruckner symphony cycle, and the first of Mr. Barenboim's Bruckner cycles released exclusively to video. • Daniel Barenboim is the General Music Director of the Staatskapelle Berlin (since 1992) and its “Conductor for life” (since 2000). • Highly accomplished and lauded conductor/pianist in the Classical and Romantic repertoire. • The Staatskapelle Berlin's modern history dates back to the 1840's. • Available in both Blu-ray and DVD formats."

When, on 26th August 2013 in the KKL Concert Hall, Claudio Abbado conducted a performance of Bruckner's Ninth with the Lucerne Festival Orchestra, there was present in the room an inescapable sense of an ending. To this day, those present recall the conductor's gesture of gratitude and thanks at the final ovation: Abbado placed his right hand on his heart with that gently self-effacing yet friendly look which was so characteristic of this man who was a star conductor yet who was devoid of any lordly airs. The premonition that this could turn out to be the last concert of Abbado's could be felt in the atmosphere. And what a concert experience it was, this last concert and therefore also last concert recording of Claudio Abbado! One year before, in August 2012, the Lucerne Festival audience experienced Bruckner's groundbreaking Symphony No. 1 in Lucerne's concert hall in a similarly spectacular performance. For his interpretation with the Lucerne Festival Orchestra, Abbado had opted for thr less familiar "Vienna" version, which Bruckner himself considered to be the definitive one. In the taut, pared-down sound of the Lucerne Festival Orchestra, the tempestuous musical developments acquired an electrifying presence and urgency. At the same time, Abbado succeeded in bringing out the coherence of the work's formal design even in the midst of all it's angular awkwardness and quasi-volcanic innovative character.

Bruckner’s famous “Romantic” Symphony No. 4 forms the prelude to a spectacular DVD series from Accentus Music and Unitel Classica, exploring Bruckner’s symphonic cosmos. Recorded live at Philharmonie Berlin on 20 June 2010, Der Tagesspiegel describes Barenboim’s Bruckner as ‘… conceived and performed very theatrically, like an opera without words.”