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BR Klassik

10th Anniversary

10 tuotetta erikoishintaan.

Made in Munich for music lovers worldwide
BR-KLASSIK – The Bayerischer Rundfunk’s own CD label celebrates its tenth anniversary.

Selailu 10 tuotteet
Image Masses
Live-Recording, Munich, Herkulessaal, 27.-29.03.2007

Luba Orgonášová - Soprano
Christian Elsner - Tenor
Gustáv Belácek - Bass
Chor und Symphonieorchester des Bayerischen Rundfunks / Mariss Jansons

These two popular 19th century orchestral masses could hardly be more different: even though there are only 40 years between Franz Schubert's Mass No. 2 in G major D. 167 and Charles Gounod's St. Cecilia Mass. While Schubert at the tender age of 18 wrote his mass - in a single week! - in the customary style at the time of the Missa brevis, Charles Gounod's St. Cecilia Mass stands out by virtue of lustrous tone colors with harp and winds - reminiscent in many places of grand opéra.

The recording of the present CD took place in March of 2007 in Munich's Herkulessaal in the Residence and reveal Mariss Jansons, the Chief Conductor of the Chor and Symphonieorchester des Bayerischen Rundfunks in an especially deeply felt program.




9,95 € (19,95 €)
Image Symphony No. 3 "Eroica"
Symphonieorchester des Bayerischen Rundfunks / Mariss Jansons

The Symphonieorchester des Bayerischen Rundfunks has already performed Beethoven symphony cycles on several occasions. Mariss Jansons has now extended the cycle concept in two respects: with works specially commissioned from contemporary composers, who have contributed their own musical reflections on Beethoven symphonies, and by presenting these outstanding concert events on the record market as a series of live recordings. Following the excellent response from critics and audiences for the award-winning Complete Edition (BR-KLASSIK, 900119), BR-KLASSIK now presents the symphonies on individual CDs. The first of these is the Symphony No 3 in E Flat, op 55, in a live recording made in 2012 in Munich's Herkulessaal, accompanied by a work of the Russian composer Rodion Shchedrin (born 1932). For his symphonic fragment "Beethoven's Heiligenstadt Testament," Schedrin has selected the devastating document - written around the same time as the Eroica - in which the composer described the progressive deafness that almost drove him to suicide.



9,95 € (19,95 €)
Image Symphony No. 1
Symphonieorchester des Bayerischen Rundfunks / Yannick Nézet-Séguin

The music of Gustav Mahler, the Late Romantic composer on the threshold of modernity, has been a firm part of the repertoire of the Symphonieorchester des Bayerischen Rundfunks ever since the early 1960s, when the orchestra's Mahler tradition was established by its former chief conductor Rafael Kubelik. BR-KLASSIK has already released Mahler's First (as part of an audiobook CD) and Seventh Symphonies with Mariss Jansons, as well as the Ninth with Bernard Haitink. The young Canadian conductor Yannick Nézet-Séguin is making his debut here on the BR-KLASSIK label with Mahler's First Symphony. He is one of the most important representatives of a younger generation of conductors and, since his European debut in 2004, has already conducted such renowned orchestras as the Berlin and Vienna Philharmonic. Yannick Nézet-Séguin is currently chief conductor of the Rotterdam Philharmonic Orchestra and the Philadelphia Orchestra.

Booklet contains original symphony programme explanations by Mahler.



9,95 € (19,95 €)
Image Symphony No. 2 / Finlandia / Karelia Suite
Symphonieorchester des Bayerischen Rundfunks / Mariss Jansons

The latest new release from BR KLASSIK gathers together on one CD the most famous and popular musical works of the great Finnish composer Jean Sibelius. The music of the symphonic poem "Finlandia", op 26, which premiered in Helsinki in 1899 as a "historical tableau" from Finnish history, inspired Sibelius's compatriots immediately. The work - as it were the unofficial national anthem of Finland - became internationally known in 1900, and continues to be world-famous today, not only because of the hymn-like chorale that concludes it. Sibelius's "Karelia" Suite op. 11, composed some years earlier, which refers to the Finnish landscape of Karelia and the legends of the "Kalevala" epic, was also received very enthusiastically by the national Finnish movement at that time and soon became internationally famous as well. The Symphony No. 2, op 43, the best-known and most popular of the composer's seven completed symphonies, premiered in 1902. With this work Sibelius managed to emancipate himself, moving from being a merely national Finnish composer to an international one. The clear, confident character of the work goes far beyond the purely "exotic" national style, and its "absolute" music remains unaffected by any extra-musical programme.

Whether we appreciate Sibelius as an absolute musician or as Finland's national composer, and whether we regard his music as international or as an expression of Finland's struggle for independence – as his compatriots have done to this day – the music remains highly individual and unique, and has successfully established itself in the international concert repertoire. The exemplary interpretations on this CD by the Symphonieorchester des Bayerischen Rundfunks under its chief conductor Mariss Jansons were recorded at several Munich concerts during the autumn of 2015.

Sensitively conducted and full of gripping majesty, the performances show clearly why Sibelius's symphonies have retained their importance to the present day.

9,95 € (19,95 €)
Image A Portrait
Michael Volle, baritone

Münchner Rundfunkorchester
Ralf Weikert, conductor

BR-Klassik presents the first portrait CD of baritone Michael Volle. Volle is a long-standing member of Bavarian State Opera choral ensemble.

This disc includes works from the Messiah, Don Giovanni and The Marriage of Figaro. Volle also commemorates Wagner and Verdi's 200th Anniversary by singing arias from Parsifal, Tannhäuser, Don Carlos and Falstaff.

Previous recordings include, St John's Passion (Harmonia Mundi); Ariadne Auf Naxos (Art Haus) and Zemlinsky: 21st Century Classics (EMI Classics).



9,95 € (19,95 €)
Image L'heure espagnole
The thought of Spain filled many French composers of the 19th and early 20th century with musical yearning – one has only to think of Georges Bizet's opera "Carmen", Maurice Ravel's "Rhapsodie espagnole" (1907), or his famous "Boléro" (1928). Ravel was already inspired by things Iberian in his first work for the stage: "L’heure espagnole" ("The Spanish Hour"), a one-act musical comedy set in Toledo, which premiered in Paris on May 19, 1911. Here he combined fantasy and comedy in the action with “spoken music” full of local Spanish colour. The short opera ends, for instance, with a fiery habanera. Ravel masterfully and wittily integrates the clocks chiming in the workshop of clockmaker Torquemada into the score, together with the sound of their ticking, and of all kinds of chimes or mechanical music machines producing cuckoo calls when striking the hour. Emmanuel Chabrier's rhapsody for orchestra with the promising title of "España" was composed in 1883 and premiered in Paris. The music was inspired by a Spanish journey that Chabrier had undertaken the year before, during which he had noted down many original motifs and rhythms. Spanish folklore is ever-present; in addition to the melodies, it is above all the rhythmic motifs and movement patterns that, when combined, achieve a complexity that was still unknown in art music at that time. A magnificently rousing dance piece in rapid triple time. A concert performance of the two works took place on April 24, 2016 as part of the "Sonntagskonzerte" (Sunday Concerts) series in Munich’s Prinzregententheater, and can now be experienced on CD. Ravel's opera (in its original French-language version) is interpreted by young soloists, all of them entirely at home in the Franco-Spanish oeuvre; they are accompanied by the Munich Rundfunkorchester under the direction of Asher Fisch. ? Two well-known examples of the fondness for Spanish music and folklore among French composers of the Romantic and Late Romantic eras ? Live recording from a recent Munich "Sonntagskonzert" on April 24, 2016 ? Excellent young vocal soloists, accompanied by the Munich Rundfunkorchester conducted by Asher Fisch

9,95 € (19,95 €)
Image Requiem; Concerto gregoriano
Ivan Repušic, the new chief conductor of the Munich Rundfunkorchester, devotes his first CD on BR-KLASSIK to works by the composers Maurice Duruflé and Ottorino Respighi, both of whom took a major interest in the melodies and harmonies of Gregorian chant.

9,95 € (19,95 €)
Image Magnificat / Dixit Dominus
Chor des Bayerischen Rundfunks
Concerto Köln
Peter Dijkstra, conductor

With the release of Bach's Magnificat and Händel's Dixit Dominus, the Chor des Bayerischen Rundfunks now joins forces with the Concerto Köln to produce another festive CD with choral music for the (pre-) Christmas season. Both works glow with a fulsomeness of sound and grandiose orchestral writing.



9,95 € (19,95 €)
Image Psalmen
Hardly any other composer of his epoch was as deeply rooted in the German and European choral traditions as Felix Mendelssohn Bartholdy. Strongly influenced by the art of Johann Sebastian Bach, which he had encountered in the Berlin Singakademie under his teacher Carl Friedrich Zelter, the young composer wrote a series of eight chorale cantatas, including "Verleih uns Frieden gnadiglich" (“Give us Thy blessed peace”, 1831) - a short prayer for choir and orchestra set to words by Martin Luther. Mendelssohn's five wide-ranging and large-scale psalm settings became even more famous, and three of them can be heard here. The first piece in the group is the multi-part setting of Psalm 115 "Non nobis Domine" (“Not unto us, O Lord”) for soloists, choir and orchestra, op. 31 (1829/30), which was probably begun during the composer’s first stay in England and reveals his fascination for Handel's music. Mendelssohn himself considered “Wie der Hirsch schreit” ("As pants the hart"), a multi-part, cantata-like setting of Psalm 42 for soprano, choir and orchestra, op. 42 (1837/38), to be the best work of this group. Also highly praised by Robert Schumann, it remains one of the composer’s most famous choral works to this day. For the newly-formed Berlin Cathedral Choir, he also wrote a setting of Psalm 98 "Singet dem Herren ein neues Lied” (“Sing to the Lord a new-made song”) for soloists, choir and orchestra, op. 91, and in response to requests from London he composed "Hear my Prayer", a “hymn” based on Psalm 55 for soprano, choir and organ, which he later orchestrated. The piece became one of his most famous sacred works in Victorian England. The new CD from BR-KLASSIK contains these five high-profile psalm settings in a recording made on December 17, 2016 in Munich’s Prinzregententheater. The regularly praised Chor des Bayerischen Rundfunks is joined by soloists Johanna Winkel, Julian Pregardien and Kresimir Stražanac, together with the Munich Rundfunkorchester conducted by Howard Arman. ? Five psalm settings by Mendelssohn in German, Latin and English on one CD ? Recording of a recent Munich concert performance on December 17, 201 ? Exciting live atmosphere

9,95 € (19,95 €)
Image Gulda plays Mozart & Gulda
Mozart was certainly among the "domestic deities" of Viennese pianist Friedrich Gulda. He repeatedly played Mozart's piano music in his concerts and had it recorded. In so doing, this classically-trained musician, who had already played successfully in jazz bands at a young age, ignored the strict limits imposed by genres: he wanted to show audiences that there are no distinctions between musical styles whenever good music is played honestly and conscientiously. On June 27, 1982, Gulda again appeared at Munich's "Klaviersommer" festival. His partner was the jazz pianist Chick Corea, and the collaboration of both musicians is documented on the CD (and DVD) "The Meeting" - a standard in recording history. Until now, only the famous second half of this concert has been available and not the first, which Gulda performed on his own and was devoted primarily to Mozart. Gulda thus used Mozart's piano music as a kind of introduction to the world of jazz improvisation. The first part of this legendary concert, performed at the Deutsches Museum in the summer of 1982, took the soloist Gulda over 40 minutes to perform, even though he "only" played Mozart's Piano Sonata in C Major K 330. But he began and ended it with his own improvisations, which sound less than Mozartian, even though they do contain a broad and subtle range of different styles and effects, catchy melodies, and violent cascades of sound. Gulda proves to be a highly gifted interpreter of Mozart as well as a mischievous improviser on the piano – who also wants to entertain and can do so on a high level. - As a transition to the second part of the concert, he performs two of his own compositions, which can also be heard on this CD from BR-KLASSIK. It is a piece of good fortune that the Bayerischer Rundfunk has now made the first half of this concert event accessible to a wide audience too. The recording begins and ends with Mozart's rarely-heard Rondos for Piano and Orchestra in A Major KV 386 and D Major KV 382. Gulda played them on October 4, 1969 in the Herkulessaal of the Munich Residenz, accompanied by the Symphonieorchester des Bayerischen Rundfunks under Leopold Hager. Gulda plays cheerfully without the slightest audible effort, combining Mozart with the finesse of a grandiose performer who is in fact laughing up his sleeve. ? CD premiere of the first part of the legendary Munich concert of 27 June 1982 ? Exciting live atmosphere ? Mozart's Piano Sonata No. 10, framed by improvisations and two own compositions by Gulda ? Mozart's rarely-played Rondos for Piano and Orchestra

9,95 € (19,95 €)
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