The great Yevgeny Svetlanov frequently conducted Debussy. His interpretation of Debussy's Prelude a l'apres-midi d'un faune in the Philharmonia concert recorded here in 2001 has an almost operatically vocal style, coupled with spacious tempo. He achieves a most remarkable response from the Philharmonia both in this piece and La Mer, in which the dramatically assertive style of brass playing contributes to a particularly powerful approach to the French composer's music. Svetlanov's conducting of Respighi's orchestration of two of Rachmaninov's Etudes-Tableaux, with the BBC Symphony Orchestra in October 1999, is typically atmospheric in the first tableaux - La Mer et les Mouettes (The Sea and the Gulls) following Debussy's La Mer, while the second, La Foire (The Fair) demonstrates the conductor's wonderful ear for colour. Prokofiev's Overture on Hebrew Themes was composed for sextet in 1919 while in the USA, but was re-scored for orchestra in 1934. Svetlanov's concert with the LSO from October 1979 is a rarity since his only recording dates back to an early Melodiya account.

Goedicke, Rachmaninoff, Schonberger & Weinberg: Resonance

For the first time, this cycle is now being released as a limited vinyl edition on 17 LPs. The edition brings together Berliner Philharmoniker recordings from the last ten years. It includes the nine completed symphonies and the Adagio of the Tenth, whose performance under the direction of Claudio Abbado on the 100th anniversary of Mahler's death is one of the highlights. In addition to chief conductor Kirill Petrenko and his predecessor Sir Simon Rattle, the edition features other outstanding Mahler interpreters closely associated with the orchestra: Gustavo Dudamel, Bernard Haitink, Daniel Harding, Andris Nelsons and Yannick N�zet-S�guin.

BR-KLASSIK is dedicating a second portrait edition to the eminent Dutch conductor Bernard Haitink, containing a total of 9 CDs. Bernard Haitink died in October 2021; he would have turned 95 in March 2024.

These exceptional live recordings document the long-standing and intensive collaboration between Bernard Haitink, the Bavarian Radio Chorus, and the BRSO. Since Haitink conducted a subscription concert for the first time in 1958, he repeatedly led the BRSO for over six decades—sometimes in the Herkulessaal of the Residenz, sometimes in the Philharmonie im Gasteig. The orchestras’ musicians and singers were just as happy to work with him as the Bayerischer Rundfunk’s sound engineers.

The box set includes complete recordings of Beethoven's Symphony No. 9 (CD 1) from 2019, Bruckner‘s Symphonies No. 4 (CD 2) from 2012, No. 7 (CD 3) from 1981, and No. 8 (CD 4 / CD 5) from 1993, as well as his Te Deum (CD 4) from 2010. Also featured are Dvořák‘s Symphony No. 7 from 1981 and his Scherzo Capriccioso (CD 6) from 1981, Mahler‘s Symphony No. 7 (CD 7) from 2011, and Shostakovich's Symphonies No. 8 (CD 8) from 2006 and No. 15 (CD 9) from 2015.

When Brahms composed his "German Requiem", he thought little of the salvation of the deceased. With his music, Brahms wanted to give comfort to the bereaved, so he decided against the usual Latin text of the Roman Catholic Church and chose German texts from Luther's Bible instead. Nevertheless, or precisely because of this, the work thrilled the audience and made it a triumphant success for Brahms. In this performance Christian Thielemann, doubtless one of the leading conductors for the romantic symphonic music, at the podium of the Wiener Philharmoniker, together with the Wiener Singverein, the choir that first performed the first three movements of the Requiem in December 1867, and a duo of outstanding singers, "conjures unforgettable moments" (BR Klassik). Soloists of the evening were French-Danish soprano Elsa Dreisig ("delicate", Der Standard) and German baritone Michael Volle. Thielemann's "differentiated conception finds a harmonious balance between intimacy and archaic moments and transports Brahms's core message of consolation to the audience's delight in an immediate way." (Salzburger Nachrichten) "A musical highlight" (Kurier) "Beautiful to cry" (BR Klassik)

Special concerts reserved for subscribers. Due to the exceptional quality of the concerts and the limited offer, the average waiting time for subscribers is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. For this subscription concert, the Wiener Philharmoniker asked a long-time artistic companion to take the podium: more than 140 concerts and a multitude of celebrated recordings connect Christian Thielemann with the traditional Viennese orchestra. The live recording of his debut on the podium at the Vienna Musikverein almost 23 years ago promptly became a reference recording. On the programme then as now: Richard Strauss' monumental Eine Alpensinfonie (An Alpine Symphony). This work, often regarded as the final and climax of the "symphonic poem" genre, is juxtaposed with Arnold Sch�nberg's probably most famous tonal composition, the orchestral version of the string sextet Verkl�rte Nacht (Transfigured Night). Composed in 1899, this highly expressive work by the 25-year-old Sch�nberg reads, in retrospect, like a swan song to the 19th century. "Sch�nberg and Strauss rarely sound so grandiose." Kurier "A truly persuasive performance." The New York Times "The 'Alpine Symphony' under Thielemann has long been a Viennese legend." Die Presse Program: Arnold Schoenberg: Verkl�rte Nacht (Transfigured Night), op. 4 Richard Strauss: Eine Alpensinfonie (An Alpine Symphony), op. 64

Few conductors of Klaus Tennstedt's generation demonstrated such complete mastery of the Classical and Romantic repertoire from Beethoven to Mahler and Strauss, coupled with an intensity in live performance that was palpable. He was among the finest German conductors to emerge after the Second World War and was in constant demand with such orchestras as the New York Philharmonic the Boston Symphony, the Berlin Philharmonic and the London Philharmonic. Doremi's fourth volume of live concert material of Klaus Tennstedt features the New York Philharmonic Orchestra in Beethoven's fourth and fifth symphonies, Don Quixote by Richard Strauss (with cellist Lorne Monroe) and Boris Blacher's Paganini Variations; also included is the same composer's Concertante Musik with the Chicago Symphony.

Although Bruce Broughton is best known for his many film and television scores, over the past five decades he has composed scores for a diverse array of projects from film and TV to concert music and even theme parks. His work has been recognized with an Academy Award nomination for Best Original Score for the film "Silverado" (1985) and a record ten Emmy Awards for his musical compositions in television. This album presents a small selection of his concert works.

The Subscription Concert Series of the Wiener Philharmoniker from the Golden Hall of the famous Musikverein are special concerts reserved for subscribers. Due to the exceptional quality of the concerts and the limited offer, the average waiting time for subscribers is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. Conductor Herbert Blomstedt, honorary member of the orchestra, is a regular guest at the subscription concerts. For this one he chose Carl Nielsen's Fifth Symphony: "It is full of Danish humour: very serious and at the same time very comic and yet sublime. " As a counterpoint to Nielsen's exciting experimentation, Greek star violinist Leonidas Kavakos interprets Johannes Brahms' Violin Concerto, one of the most beloved and frequently performed works in the violin concerto repertoire. "Leonidas Kavakos, together with the Philharmoniker, makes this beautiful work a true celebration. " (klassik-begeistert. De) Program: Johannes Brahms: Concerto for Violin and Orchestra J. S. Bach: Partita for violin solo No. 1, III. Sarabande - Double Carl Nielsen: Symphony No. 5

Two historic recordings with famous conductor Karl Bohm and the Swiss/Hungarian pianist Geza Anda. The Mozart concerto dates from 1974 and marks the artist's last appearance with orchestra in Salzburg.

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

SOMM Recordings is thrilled to announce Pierre Monteux Live, a two-CD set comprised entirely of first releases including never-before-issued performances led by the renowned conductor. Among these is a legendary 50th Anniversary performance of Stravinsky's Rite of Spring with the composer in attendance, given a half-century to the day after Monteux himself conducted the storied Paris world premiere! This recording captures an extraordinary moment of historical continuity: between 1913 and 1963 five decades elapsed in the evolution of 20th-century music, in the taste and understanding of the public and in the lives of both creator and pioneering interpreter. The concert was broadcast live on the BBC from the Royal Albert Hall and performed by the London Symphony Orchestra who referred to Monteux affectionately as their "Ma�tre". Both the devoted playing and the emotional audience acclaim are preserved in vividly present sound. This set also commemorates the revered conductor - on the 60th anniversary of his death and ahead of the 150th anniversary of his birth - with moving testimony from LSO musicians involved in the landmark Stravinsky concert. These interviews were recorded between 1992 and 1995 by this set's producer, Jon Tolansky, co-founder of Music Preserved and the author of documentary features on�composers and performers. Monteux is also heard speaking on tape here, in a�1955 interview and a 1959 rehearsal of the LSO in Dvorak's Seventh Symphony, providing a window onto the man's intellect, work ethic and rapport with fellow musicians. Rounding out this set are still more never-before-issued recordings of Monteux conducting the BBC Northern Orchestra and Royal Philharmonic Orchestra in music by Haydn, Weber and Beethoven, as well as works by Ravel, who, like Stravinsky, was a composer Monteux knew personally. To the highly discriminating players of the RPO of 1960, Monteux was a favourite guest conductor. As�with The�Rite of Spring, he represented a direct link to the origins of Daphnis and Chloe, another Ballets Russes production that Monteux led in it's world premiere. The�RPO's Principal Clarinet, Jack Brymer, remembered "this wonderfully energetic and meticulous little man" who "even in his eighties... had the touch of elegance, the humour, the exquisite good taste" and "could produce a sudden sforzato second to none by a tiny stab of his baton." The recordings of the performances in this album, all made privately off-air from various sources, have been fastidiously polished by Restoration Engineer Paul�Baily. His restoration of the recent Sir Adrian Boult Conducts (ARIADNE 5024-2) was honoured with the Preis der deutschen Schallplattenkritik (German Records Critics' Award) in the Historical Recordings�category.

If the first three piano concertos have the heft and communicative power of Lloyd's larger middle-period symphonies, the Fourth has a close affinity to the Ninth Symphony, which was completed the previous year. Both pieces exhibit an impish sense of fun, tempered by profound feelings of yearning and regret. George Lloyd approached the piano concerto form with imagination and individuality. His idiomatic solo writing avoids shallow virtuosity and empty rhetoric and there are no mighty tussles between piano and orchestral forces encountered in archetypal large-scale concertante scores. Instead, the composer offers a series of deeply personal attempts to reconcile time-honoured elements of display with symphonic preoccupations of long-range tonality, rhythmic energy and melodic growth. In sum, Lloyd's four piano concertos constitute a compelling and distinctive branch of his creative legacy. � Paul Conway

The Subscription Concert Series of the Wiener Philharmoniker from the Golden Hall of the famous Musikverein, are special concerts reserved for subscribers, hence the name. But to become a subscriber, due to the exceptional quality of the concerts and the limited offer, the average waiting time is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. With Zubin Mehta and Martha Argerich "two veteran musicians gave rise to real storms of enthusiasm in the Musikverein." (Wiener Zeitung) "The power of true 'Old Masters' - Martha Argerich sat at the piano as spiritedly sparkling as ever. Just as Bruckner's Fourth subsequently succeeded in becoming a magnificent dialogue between orchestra and conductor: Bruckner impulsive, intimate, poignant, stirring." (Kronenzeitung) Program: Robert Schumann: Piano Concerto in A minor Robert Schumann: From Kinderszenen, Op. 15: No. 1 Von fremden Landern und Menschen Anton Bruckner: Symphony No. 4 "Romantic"

To 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.

After 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".

Strauss 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.