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Symphonieorchester des Bayerischen Rundfunks & Herbert Blomstedt – Mozart: Symphonies Nos. 40 & 41 (2018)
FLAC (tracks) 24 bit/48 kHz | Time – 01:12:36 minutes | 745 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
The symphonies in 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. 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. ‘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 Symphonieorchester des Bayerischen Rundfunks, conducted 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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Symphonieorchester des Bayerischen Rundfunks and Chor des Bayerischen Rundfunk & Daniel Harding – Gustav Holst: The Planets with Daniel Harding and the BRSO (2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 56:45 minutes | 507 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
Seven musical character images – each one immensely sensual and expressive, and standing on its own like a monument. The British composer Gustav Holst, fascinated by (esoteric) astrology, chose the planets of our solar system and the characteristics attributed to them as the basis for what he referred to as musical “”mood pictures”” or “”embodiments””. Ultimately, the seven movements of his orchestral suite “The Planets”, op. 32, composed between 1914 and 1916, can also be understood as general explorations of human traits. The work had not been performed by the Bavarian Radio Symphony Orchestra for almost three decades when, on February 25, 2022, the British conductor Daniel Harding brought it back to Munich’s concert audience in the Herkulessaal of the Residenz, and with great success. During a trip to Mallorca in the summer of 1913, Holst’s friend Clifford Bax introduced him to astrology for the first time and the composer immediately began to draw up horoscopes for himself and his acquaintances. The extent to which he actually believed in the influence of celestial bodies on personality formation played only a subordinate role here; it was the notion of a holistic system that could encompass both man and the world that fascinated him the most. His interest in astrology also offered him a welcome break from the monotony of his life as a teacher – at St. Paul’s School for Girls and at Morley College, where he taught working-class adults.
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Symphonieorchester des Bayerischen Rundfunks & Herbert Blomstedt – Mozart: Symphonies Nos. 39, 40 & 41 (2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:42:39 minutes | 981 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
For 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. “”Mozart placed all the dark sides of human existence into his G minor Symphony””, says Herbert Blomstedt, adding that its “passion” continues to fascinate him. The eminent Swedish conductor Herbert Blomstedt, a close associate and regular guest conductor of the BRSO, conducted the E Major Symphony on December 18 and 19, 2019 in the Philharmonie at the Munich Gasteig, the G minor Symphony in concerts on January 31 and February 1, 2013 and the “”Jupiter”” Symphony on December 21 and 22, 2017 in the Herkulessaal of Munich’s Residenz. The new 2-CD set from BR-KLASSIK now presents these great cornerstones of Mozart’s symphonic oeuvre –in the very best sound quality.
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Jan Lisiecki, Symphonieorchester des Bayerischen Rundfunks, Christian Zacharias – Mozart: Piano Concertos Nos.20 & 21 (2012)
FLAC (tracks) 24 bit/96 kHz | Time – 59:32 minutes | 887 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Deutsche Grammophon (DG)
Jan Lisiecki, the Canadian prodigy, makes his Deutsche Grammophon debut with a masterful interpretation of Mozart Concertos. Lisiecki performs with technical assurance in this collaboration with Christian Zacharias, who leads the Symphonieorchester des Bayerischen Rundfunks. Mozart’s Piano Concertos nos. 20 & 21 are technically challenging pieces and are well-respected in the classical repertoire. Lisiecki displays unworldly virtuosity, far beyond his years. The performances are glowing and compelling. Absolutely essential.
If Mozart was a child prodigy, the Canadian pianist Jan Lisiecki, who here performs both works with assurance and skill, appears something of an equivalent…he is one to watch. – Scotsman
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Iveta Apkalna, Symphonieorchester des Bayerischen Rundfunks & Mariss Jansons – Saint-Saëns: Symphonie No. 3 “Orgelsymphonie” – Poulenc: Orgelkonzert (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 01:00:44 minutes | 601 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
Two great symphonic organ concertos can be heard on the new album from BR-KLASSIK: the famous Organ Symphony by Camille Saint-Saëns and the lesser-known but highly impressive Concerto for Organ, Strings and Timpani by Francis Poulenc. The Symphonieorchester des Bayerischen Rundfunks is conducted by Mariss Jansons, and the organ soloist is the excellent Latvian musician Iveta Apkalna, one of the most renowned concert organists of our time.
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Eugen Jochum, Symphonieorchester des Bayerischen Rundfunks – Bruckner: Masses Nos 1-3 (1996/2016)
FLAC (tracks) 24 bit/96 kHz | Time – 02:28:18 minutes | 2,73 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)
”What seraphic music. It must be Bruckner”, remarked a friend who entered the room as I was playing this recording. I cannot recommend this . . . too highly, both as performances and recordings. Seraphic is the word. Bruckner’s three settings of the Mass are enough in themselves to convert the heathen. I cannot possibly decide which of them I like most, though my head tells me that No. 2 in E minor, with its wind-only accompaniment, is the greatest. What is obvious is that they are the work of a master of choral music, who knew infallibly what effects he wished to create and how to create them, who had the acoustics of a cathedral inbuilt into his notes as he put them on paper and who can rightly be compared with Palestrina in the purity and emotional fervour of his art.
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Symphonieorchester Des Bayerischen Rundfunks, Sir Simon Rattle – Mahler: Symphony No. 9 (Live) (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:18:52 minutes | 1,34 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
For the Bavarian Radio Symphony Orchestra, the performances on November 26 and 27, 2021 in the Isarphilharmonie marked the beginning of a new chapter in its Mahler interpretation: with its designated new principal conductor Simon Rattle, the orchestra is now headed by a Mahler admirer every bit as ardent as his predecessors Jansons, Maazel and Kubelík. The musicians dedicated the benefit concert on November 26 to the memory of conductor Bernard Haitink, who died in October 2021 and was associated with the renowned orchestra for 61 years. The very long silence after the final chord was one of those “goosebump moments” that one goes to concerts for – and for which music is made in the first place.
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Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons – Dvořák: Symphony No. 8 / Suk: Serenade (2016)
FLAC (tracks) 24 bit/48 kHz | Time – 01:13:17 minutes | 730 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
Dvořák’s lyrical and cheerful Eighth Symphony, which premiered successfully in Prague on February 2, 1890, is one of the famous Bohemian composer’s most often-played works. He succeeded here “in writing a work different from my other symphonies, with individual thoughts elaborated in a new way”. Every movement and every melody in this music reflects the fact that it was wholly inspired by the landscape of Bohemia. Dvořák’s close familiarity with and love of Slavonic folk music can be clearly heard, as can his deep preoccupation with the symphonies of Tchaikovsky: the rhapsodic Adagio and the waltz-like Scherzo, for example, in their melodic inventiveness as well as their formal structure, are both highly reminiscent of the famous Russian composer. – Alongside Dvořák’s much-performed Ninth Symphony, his Eighth is a further masterpiece of late 19th-century instrumental music. Josef Suk’s Serenade for Strings of 1892 is far more than a mere time-filler on this CD. The first successful composition by this budding Czech composer – who was Dvořák’s pupil and son-in-law – is audibly influenced by the musical and aesthetic ideas of his teacher and mentor, but is also a highly individual work in its own right and an important example of the genre. In the recordings of the two concerts performed in the Philharmonie im Gasteig on January 29 and 30, 2016, the Symphonieorchester des Bayerischen Rundfunks under Mariss Jansons successfully demonstrated that Dvořák’s traditional yet visionary symphonic writing continues to retain all its validity today: the interpretation is sensitive, dynamic and majestic. Suk’s Serenade for Strings was recorded in a studio only a few days beforehand.
Exciting live atmosphere (Dvořák) combined with a studio production (Suk). Programme contains important works of late 19th-century Czech instrumental music. Recording of a concert that took place as recently as January 29 and 30, 2016 together with a studio production on January 25, 2016. The Symphonieorchester des Bayerischen Rundfunks under its chief conductor Mariss Jansons, regularly praised for his special sensitivity where Slavonic music is concerned.
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Symphonieorchester Des Bayerischen Rundfunks, Rafael Kubelik – Dvořák: Slavonic Dances Opp. 47 & 72 (1975/2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:10:36 minutes | 1,28 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)
Many critics agree that these classic mid-1970s recordings of Dvořák’s complete set of 16 Slavonic Dances rank among the greatest versions ever released, showcasing Czech conductor Rafael Kubelik leading the Symphonieorchester des Bayerischen Rundfunks.
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Diana Damrau, Symphonieorchester des Bayerischen Rundfunks & Mariss Jansons – Richard Strauss: Lieder (2019)
FLAC (tracks) 24 bit/48 kHz | Time – 01:13:21 minutes | 681 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
“For me, Strauss is one of the greatest composers,” Diana Damrau has said. “The way he handles the soprano voice is a joy. And to be able to sing his music with my voice feels like coming home.” The centrepiece of this album of Strauss songs is the sublime Vier letzte Lieder, in which Damrau – born and trained in Bavaria – joins forces with the Bavarian Radio Symphony Orchestra and its long-standing Chief Conductor Mariss Jansons, in what was to become his final recording. Her partner in a tempting and diverse selection of songs with piano is Helmut Deutsch. “Not only is Strauss’s music gorgeous,” says Damrau, “there’s the way he combines words and notes – and the psychology.”
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Symphonieorchester Des Bayerischen Rundfunks, Dietrich Fischer-Dieskau – Mahler: Lieder eines fahrenden Gesellen; 4 Rückert-Lieder; Kindertotenlieder (2022)
FLAC (tracks) 24 bit/192 kHz | Time – 59:21 minutes | 2,20 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)
2022 marks the 10th anniversary of the death of Dietrich Fischer-Dieskau, whom Leonard Bernstein once called “the most significant singer of the 20th century”. He excelled in all areas of the classical repertoire; and yet it is above all the Lied with which he set standards and will remain unforgotten.
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Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons – Chabrier, Gershwin, Enescu, Ravel, Liszt: Rhapsody (2016)
FLAC (tracks) 24 bit/48 kHz | Time – 01:03:56 minutes | 630 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
This latest recording from BR KLASSIK contains five great rhapsodies, devised and elaborated by very different composers from different regions, with a lot of imagination and local flavour. With his rhapsody ‘España’ the Frenchman Emmanuel Chabrier focused on the Iberian music and folk music so popular at the time, as did his more famous compatriot Maurice Ravel with his ‘Rhapsodie espagnole’, the four-movement structure of which still harks back to long-outdated symphonic forms. From the Hungarian-born Franz Liszt we have the famous ‘Hungarian Rhapsody’ No. 2, and from the Romanian composer George Enescu the scarcely less famous and popular ‘Romanian Rhapsody’. The American George Gershwin created what was probably the most famous example of the genre in the 20th century with his ‘Rhapsody in Blue’ for piano and orchestra…
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Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink – Beethoven: Missa Solemnis in D major, Op. 123 (2014)
FLAC (tracks) 24 bit/48 kHz | Time – 01:19:19 minutes | 773 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik
It was originally intended as a Solemn Mass for the investiture of the Archduke Rudolph, one of Beethoven’s piano pupils, as the Archbishop of Olomouc. Beethoven did not complete the piece in time, however, and when he did finally finish it in 1823, it had developed into a work of art that far exceeded the liturgical requirements. With its dedication “Arising in the heart, may it return to the heart!” Beethoven’s “Missa solemnis” enters entirely new territory as a musical interpretation – deeply personal, yet aspiring to general truth – of the old and venerable Mass Ordinary.
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Friedrich Schloffer, Mariss Jansons, Symphonieorchester Des Bayerischen Rundfunks – R. Strauss: Ein Heldenleben, Op. 40, TrV 190 (Rehearsal Excerpts) (2022)
FLAC (tracks) 24 bit/48 kHz | Time – 54:08 minutes | 535 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
Richard Strauss enjoyed early success as both conductor and composer, in the second capacity influenced by the work of Wagner. He developed the symphonic poem (or tone poem) to an unrivalled level of expressiveness and after 1900 achieved great success with a series of impressive operas, at first on a grand scale but later tending to a more Classical restraint. His relationship with the National Socialist government in Germany was at times ambiguous, a fact that protected him but led to post-war difficulties and self-imposed exile in Switzerland, from which he returned home to Bavaria only in the year of his death, 1949.
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Udo Wachtveitl, Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons – R. Schumann: Die innere Stimme (2019)
FLAC (tracks) 24 bit/48 kHz | Time – 04:34:15 minutes | 2,37 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
There are many biographies of Robert Schumann, but none that gives a real voice to his music – and the life and the music of this great Romantic composer were connected in a particularly subtle way. This new release in the successful series of BR-KLASSIK audio biographies contains approximately 150 excerpts from Schumann’s works; carefully interwoven into his life story, they give voice to his inner world. The mysterious “inner voice” that Schumann noted down in the score of his Humoreske op. 20 thus becomes the motto of this audio biography. “Unknown songs I had never heard flowed through my heart – songs that sounded to me like ghostly voices.” It was this passage from ETA Hoffmann’s Kreisleriana that inspired Schumann to write his own Kreisleriana op 16. In February 1854, the composer himself heard such voices – and this marked the start of a journey that would culminate in the mental asylum. Schumann’s “inner voice” thus represents not only his romantic sensitivity but also his fragile and volatile psyche. Of course, this ten-part audio biography also devotes a lot of room to the relationship between Robert and Clara – probably the greatest “romantic novel” of music history. Nothing is exaggerated, however; it is all based on the original sources, which are dramatic and touching enough in themselves. Outstanding actors including Udo Wachtveitl (narrator), Matthias Brandt (Schumann) and Brigitte Hobmeier (Clara) contribute, alongside further narrators, to all the fascinating sounds and colours of this audio biography. Performers such as John Eliot Gardiner, Eric Le Sage and Christian Gerhaher guarantee the highest quality in the musical excerpts, which also feature several rarities. The audio biography is rounded off by a new live recording of the “Spring Symphony” with the Symphonieorchester des Bayerischen Rundfunks, conducted by Mariss Jansons.
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