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Bayerska Radions Symfoniorkester och Kör lockar till sig världens stora dirigenter i den tyngre klassiska repertoaren. Därför är vi särskilt glada och stolta att kunna presentera Bayrische Rundfunks eget skivmärke BR Klassik som Månadens label i maj månad.

Bayerska Radions arkiv sitter verkligen på en musikskatt av stora mått. Förra året kom en samling från BR Klassik som innehåller inspelningar från 1962-1984 med välkända Verdiarior med Nicolai Gedda bland solisterna. En annan svensk sångare som nyligen spelade in en skiva med Bayerska Radions Symfoniorkester är sopranen Camilla Tilling. Haydns ”Skapelsen” med Bernard Haitink på podiet!

Eller vad sägs om Strauss sista stora symfoniska verk, ”Alpsymfonin”, med Franz Welser-Möst? Eller Wagners ”Rhenguldet” (första delen av operacykeln ”Ringen”) med Simon Rattle? Svåra att motstå – särskilt till dessa priser!

Sveriges Radios Symfoniorkesters chefsdirigent, Daniel Harding, är till exempel en flitigt återkommande gästdirigent. Senast spelade han in Mahlers storslagna sjätte symfoni med orkestern. En annan gigant som också tolkat Mahler med BRS är Bernard Haitink. Nyligen släpptes en inspelning av Symfoni nr 3.

Mariss Jansons Beethoventolkningar i en fullmatad box. Eller Bachs stora H-mollmässa med Peter Dijkstra som släpptes i början av året (se nedan).

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Image Great Verdi Voices
Leontyne Price, Nicolai Gedda, José Carreras and others

The radio recordings collected on the newly-released CD from BR-KLASSIK entitled Great Verdi Voices were made between 1962 and 1984. All impressively convey the vocal presence of the renowned performing artists and are thus also of historical significance: the recordings produced by the Bayerischer Rundfunk document the development of how Verdi's music was received in Germany during the two decades in question.

Many live recordings also offer interesting alternatives to their studio counterparts at that time by the same renowned performers. Their names read like a Who's Who of the most excellent Verdi interpretations: Arleen Auger, Sena Jurinac, Leontyne Price, Margaret Price, Anneliese Rothenberger and Julia Varady are the ladies presented here, and the gentlemen are Vladimir Atlantov, Carlo Bergonzi, Franco Bonisolli, Renato Bruson, Piero Cappuccilli, José Carreras, Nicolai Gedda, Neil Shicoff and Giuseppe Taddei.

The selection of arias and opera scenes ranges from Verdi's early operas Ernani, Macbeth and Il Corsaro (The Corsair) and middle operas Rigoletto, Il Trovatore (The Troubadour), La Traviata and Un ballo in maschera (A Masked Ball), to the later works: Don Carlo, Aida, Otello and Falstaff. The arias and scenes, arranged chronologically according to their dates of composition, are a representative cross-section of Verdi's operatic oeuvre. The Münchner Rundfunkorchester accompanies throughout, under various German and international conductors.

127 kr (159 kr)
Image Die Schöpfung
With the live concert recording of Joseph Haydn's Creation's Fifth Symphony, the third CD recording of old master Bernard Haitink appears in BR Klassik after Mahler's Ninth and Bruckner's already on the podium of the Bavarian Radio Symphony Orchestra. For over 50 years Haitink is this sound body connected as a guest conductor. Haydn's oratorio The Creation was first performed in 1798 once the repertoire piece and the biggest success of the Esterházy Kapellmeister had ever recorded. Today it is considered an important touchstone for an ensemble of soloists, chorus and orchestra.

238 kr (298 kr)
Image Eine Alpensinfonie
Symphonieorchester des Bayerischen Rundfunks
Franz Welser-Moest, conductor

For Richard Strauss, writing poetry in tones was a central artistic credo. What Beethoven, Berlioz and Liszt had begun was perfected in the Munich-born composer's great tone poems: "Don Juan", "Till Eulenspiegel", "Thus Spake Zarathustra", and his final work of symphonic programme music "An Alpine Symphony", completed in 1915. In this work, which is a summit in the musical depiction of nature in its own right, Strauss sends the listener on a tour through the mountains and has him experience pastures, waterfalls, undergrowth, glaciers, the elation of reaching the summit, and also a thunderstorm. Beneath the surface, however, the "Alpine Symphony", which Strauss originally entitled "The Antichrist", has several echoes of Beethoven and Wagner and - especially in the sections entitled Night, Vision and Elegy - leads us subtly into philosophically charged soundscapes intended to convey "moral purification through one's own strength" and also "worship of eternal and magnificent nature."

127 kr (159 kr)
Image Rheingold (Das)
Michael Volle (Wotan), Tomasz Konieczny (Alberich), Burkhard Ulrich (Loge), Elisabeth Kulman (Fricka), Herwig Pecoraro (Mime), Peter Rose (Fasolt), Eric Halfvarson (Fafner), Annette Dasch (Freia), Janina Baechle (Erda), Christian van Horn (Donner), Benjamin Bruns (Froh), Mirella Hagen (Woglinde), Stefanie Irányi (Wellgunde), Eva Vogel (Flosshilde)

Symphonieorchester des Bayerischen Rundfunks / Simon Rattle

The general consensus over the past few years among music critics and the public at large is that everything the conductor Sir Simon Rattle touches "turns to gold". Everything with the exception of the music dramas of Richard Wagner, that is! The oft-repeated assertion here is that Rattle and Wagner do not go together, even though no good reasons have been furnished to support this. The third collaboration between Rattle and the Symphonieorchester des Bayerischen Rundfunks, together with a team of the very best Wagner singers, now conclusively proves the opposite. This concert performance of "Das Rheingold", the first opera in Wagner's mighty tetralogy "The Ring of the Nibelung", was performed live in the Herkulessaal of the Munich Residenz on April 24 and 25, 2015, and has now been brought out by BR KLASSIK on two CDs only a few months after the event.

No question about it: Rattle is a master of the Rheingold score, which is certainly a tricky one due to its closely interwoven ensemble of soloists and to the fact that the orchestra does not accompany events and flow round them in a lofty manner, as in other Wagnerian music dramas, but is also sometimes quite openly rebellious! Rattle has already impressively proven his expertise at handling the music of Wagner on two occasions: in 2004 in London, together with the Orchestra of the Age of Enlightenment, and in 2006 in Berlin with the Berlin Philharmonic. The fact that he is more inclined to conduct this "evil conversation piece, almost a black comedy" (as Robert Braunmüller described "Das Rheingold" in the Munich "Abendzeitung") with light and sometimes even dance-like inflections, and that he has the orchestra play with a great deal of colour and detail, shakes a little of the supercilious Wagnerian dust from this work, without in any way compromising the glittering brilliance of the musical sound. The soloists - all of them very good without exception - blend in completely with Rattle's fine interpretation, which is very much in the spirit of the drama.

Audiences and critics alike were unanimously delighted by the Munich concert performances. Even more than in the small Herkulessaal, which already enabled more intimate insights into the structures of the score and of the aesthetic created by Rattle, this listening experience on CD makes it clear "just how radically the avant-garde artist Richard Wagner composed in every single bar" (Reinhard J. Brembeck, "Sueddeutsche Zeitung").

238 kr (298 kr)
Image Symphony No. 6
Live-Recording, Munich, Philharmonie im Gasteig, 20.- 22.03.2014

Symphonieorchester des Bayerischen Rundfunks / Daniel Harding

Daniel Harding follows his first CD recording on the BR-KLASSIK label (Schumann's Faust Scenes, BR-KLASSIK, 900122) with this live recording of Gustav Mahler's Sixth Symphony. Counting Sir Simon Rattle and Claudio Abbado among his teachers, since 2005 he has constantly made a name for himself with spectacular concerts with the Symphonieorchester des Bayerischen Rundfunks as a guest conductor. In this live recording of 2014 from Munich's Philharmonie im Gasteig, BR-KLASSIK presents one of Mahler's most unusual symphonies. Its dark and complex score contrasts starkly with what appeared on the surface to be a happy and carefree phase of the composer's life when he wrote it. The world-class conductor Daniel Harding demonstrates great artistic flexibility here; and with the Symphonieorchester des Bayerischen Rundfunks, he encounters an ensemble that has been among the pioneers of Mahler performance ever since the Kubelik era of the 1960s.

127 kr (159 kr)
Image Symphony No. 3
Gustav Mahler's Third Symphony still ranks today as one of the greatest and most powerful creations of the Late Romantic period. The huge symphony, longer and more monumental than the others and containing texts from the collection of poems by Clemens Brentano and Achim von Arnim entitled “Des Knaben Wunderhorn”, was composed over a period of four years from 1892 to 1896, and especially during the summers of 1895 and 1896, which Mahler spent at the Attersee in Austria. Following performances of several individual movements of the symphony, the complete work was premiered on June 9, 1902, at the 38th “Tonkünstler Festival” in Krefeld. Mahler conducted the Städtische Kapelle Krefeld and Cologne’s Gürzenich Orchestra at this exciting event. It was one of his greatest successes, and his contemporaries were deeply impressed. Between 1902 and 1907, the composer conducted his Third Symphony a further 15 times. Of the six powerful movements, the slow fourth one requires 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 "Thus Spoke Zarathustra," while 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 is a huge challenge for all its performers, and this concert recording of June 2016 has a prestigious line-up: guest conductor Bernard Haitink with the Symphonieorchester des Bayerischen Rundfunks, the Augsburger Domsingknaben and the Frauenchor des Bayerischen Rundfunks; the solo parts are sung by Gerhild Romberger.

254 kr (318 kr)
Image 6CD-BOX: The Symphonies
Christiane Karg, soprano
Mihoko Fujimura, alto
Michael Schade, tenor
Michael Volle, baritone

Chor und Symphonieorchester des Bayerischen Rundfunks
Mariss Jansons, conductor

The complete cycle of all nine symphonies supplemented by works comissioned for Beethoven's symphonies, composed by Johannes Maria Staud, Misato Mochizuki, Rodion Shchedrin, Raminta Šerkšnyte, Giya Kancheli and Jörg Widmann, with Mariss Jansons and Chor und Symphonieorchester des Bayerischen Rundfunks.

The first and, according to the maestro, only complete recording of all the Beethoven Symphonies with Mariss Jansons and his Symphonieorchester des Bayerischen Rundfunks.

The 6-CD edition is supplemented by works personally commissioned by Mariss Jansons from internationally renowned contemporary composers, the requirement being that each should refer to a Beethoven symphony.

343 kr (429 kr)
Image Mass in B Minor (3 CD)
For Bach, the Mass in B minor marked the culmination and also the end point of his life’s work as a composer. This "great Catholic Mass," the only mass he composed, and in which he set to music the complete Ordinary of the Latin Mass, was his last great vocal work. The Mass, completed in 1748/49, is a musical masterpiece in which the Baroque musical splendour is always to the fore, though reflective moments and intense, heartfelt chorales are also very important elements. The Latin Ordinarium constitutes the silk thread along which all these musical pearls are strung. Even after almost three hundred years, the music of Bach's Mass in B minor is still animated, fresh, and a true Baroque delight – whether heard live in concert or recorded. What makes this concert version of April 2016 in the Herkulessaal of the Munich Residenz so special that it should definitely be added to any CD collection? The fresh voices of the young but excellent vocal soloists: the regularly praised "astonishing three-dimensionality" and "crystalline clarity" of the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra and of course of the renowned period instrument ensemble Concerto Köln; and last but not least, the exciting live atmosphere of a concert event that delighted the audiences, and even managed to coax the word “magical” from Munich’s music critics – rare praise, but in this case, richly deserved! The audio recording of Bach's Mass in B Minor has now been reissued by BR-KLASSIK on two excellent CDs, together with an introduction to the work by Markus Vanhoefer. (1 CD) ? Exciting live atmosphere ? Recording of a recent concert from April 2016 ? Audio recording of the Mass in B minor, together with an introduction to the work, on a total of 3 CDs

287 kr (359 kr)
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