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Berliner Philharmoniker – Mariss Jansons conducts Sibelius, Weber and Bartok 2017 1080p WEB-DL AAC2.0 H.264-CHDWEB

Mariss Jansons has been a regular guest of the Berliner Philharmoniker since 1976, but in fact he already conducted them five years earlier: during the Karajan Conducting Competition, which he won then in his late twenties. In 2015 the Latvian conductor raved in an interview with the Berliner Morgenpost: “I love this orchestra. The musicians are not only absolutely fantastic instrumentalists – they are truly passionate. Their artistic dedication is unbelievable. It is a joy for me every time I make music with the top-class orchestra.”

For his next concerts with the orchestra, Mariss Jansons has selected a programme that encompasses different eras of music history. This musical journey through time starts with the Clarinet Concerto in F minor, which Weber wrote in 1811 for Heinrich Joseph Baermann, clarinetist with the Munich court orchestra. He had a clarinet of the latest design, and it was this that provided the composer with the inspiration for this brilliant concerto. However, even the melancholy yet elegant first movement goes much further than mere virtuoso musical display: the music develops an inner drama that derives its power from the juxtaposition of bravura figures and elegiac tranquility. With its Romantic musical language, the atmospheric Adagio already hints at the Freischütz, while in contrast, the lively Rondo which follows makes for a dashing finale. The soloist is Andreas Ottensamer, principal clarinetist with the Berliner Philharmoniker. Jean Sibelius’s E minor symphony, which Mariss Jansons has also programmed, was composed 88 years after Weber’s musical stroke of genius – a first symphony in which the Finnish composer formally oriented himself towards the models of the genre, but in so doing found his way to a highly individual national romantic inflection (not for nothing did Armas Järnefelt, Sibelius’s brother-in-law, summarise: “He transformed everything that reached his ear into ‘Sibelius’”).

The concert concludes with the suite from the expressionist dance pantomime The Miraculous Mandarin, which Béla Bartók, as an ostentatious renunciation of the aestheticism of traditional ballets, intended to reflect “the repulsiveness of the civilized world”. The premiere, which took place at the Cologne Opera on 27 November 1926 conducted by Jenő Szenkár, turned out to be a scandal which even prompted a political intervention: the conductor was summoned to the office of Konrad Adenauer, then the mayor, who banned Bartók’s piece from the schedule …

https://www.digitalconcerthall.com/en/concert/23505

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Berliner Philharmoniker – Mariss Jansons conducts Dvorak’s Symphony “From the New World” 2012 1080p WEB-DL AAC2.0 H.264-CHDWEB

Anyone thinking of Czech music has a specific sound in mind: colourful, passionate, decidedly rhythmical, mildly exotic and almost always with a melancholy undertone. These and many other facets of the music of Bohemia and Moravia are to be found in this concert with Mariss Jansons and violinist Frank Peter Zimmermann. Following works by Smetana and Bohuslav Martinů, the evening culminates in Antonín Dvořák’s famous Symphony No. 9 From the New World.

With at least two of his works, Bedřich Smetana added to his country’s cultural heritage: the cycle Má vlast, and the opera The Bartered Bride, from which we will hear the fast-paced overture in this concert. Bohuslav Martinů’s Second Violin Concerto is more restrained, reflecting the composer’s state of mind when he wrote the work in exile in the USA during the Second World War. His homesickness is conveyed through many of the Czech folk-inspired melodies. Five decades before, Dvořák’s Symphony “From the New World”, full of inspiration and verve, originated in a similar way, leaving a lasting monument to Czech (much more than to American) folk music.

Mariss Jansons, chief conductor of the Royal Concertgebouw Orchestra in Amsterdam and the Symphonieorchester des Bayerischen Rundfunks has long been a close friend of the Berliner Philharmoniker. Among his recordings which first attracted the attention of the international music world is his recording of Dvořák’s Ninth Symphony, full of emotional depth and exciting details: a performance that still impresses today.

https://www.digitalconcerthall.com/en/concert/2886

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Berliner Philharmoniker – Mariss Jansons conducts “World Encores” at the Waldbühne 2002 720p WEB-DL AAC2.0 H.264-CHDWEB

Strictly speaking, the annual Waldbühne Concert of the Berliner Philharmoniker is itself an encore, coming as it does at the end of a ten-month season in the city’s Philharmonie, during which time the orchestra has worked its way through the great symphonic repertory. Only then is it able to step away from the classical canon at its final appearance before its summer break and spend the evening out of doors. And since the orchestra practically never performs an encore at any of its normal subscription concerts, the players decided that in 2002 they would bring together everything that might serve this purpose and present a selection of World Encores under the baton of Mariss Jansons.

They were supported in this by the Russian violinist Vadim Repin, who was making his debut with the Philharmoniker. According to the critic of the Berliner Morgenpost, his was an “entirely successful debut. With his virtuosically thrilling playing Repin remained the key player”, dazzling his audience not only with showpieces by Wieniawski and Tchaikovsky but also with Kreisler’s Tambourin chinois and Gardel’s famous tango Por una cabeza. Following Paganini’s Variations on Carnevale di Venezia, the appreciative audience refused to let him go until he had repeated the famous melody a few more times – in Germany the tune is sung to the words “Mein Hut, der hat drei Ecken” – and provided what might almost be described as an encore to an encore.

As for the purely orchestral pieces, they ranged from the Expressionist scream of Bartók’s Miraculous Mandarin to Sibelius’s melancholy Valse triste and to operatic excerpts by composers such as Moniuszko, Massenet and Mascagni, culminating in New Year’s favourites by Ziehrer and Lumbye. Time and again the various orchestral departments were able to show off their skills. Listen, for example, to the virtuosic drummers in the ballet music Yugen by the Japanese composer Yuzo Toyama and to the resplendent brass in the prelude to Act III of Wagner’s Lohengrin. Not for a moment was the audience bored, and at the end they all joined in a typically spirited rendition of the evening’s only genuine encore, Paul Lincke’s Berliner Luft, a piece that is now such a regular part of the Waldbühne programme as the end-of-season concert itself.

https://www.digitalconcerthall.com/en/concert/23688

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Berliner Philharmoniker – Mariss Jansons and Truls Mork 2016 1080p WEB-DL AAC2.0 H.264-CHDWEB

“The Tenth Symphony made an incredibly great impression on me, even when I was just a small boy in Riga. I always loved Shostakovich. My inner world is closely linked with his,” Mariss Jansons admitted in an interview. From childhood on, the music of the Russian composer has been familiar to him – not least due to the collaboration of his father, conductor Arvīds Jansons, with Yevgeny Mravinsky, principal conductor of the Leningrad Philharmonic and later Mariss Jansons’s teacher, who premiered many of Shostakovich’s works.

From the beginning of his career, the native Latvian has espoused the Russian composer; today, he is considered the leading Shostakovich interpreter. Also as guest conductor of the Berliner Philharmoniker he frequently devotes himself to his works, though he has not yet conducted his Tenth Symphony here. It is the first symphony with which Shostakovich went public after his ideological ostracism in the year 1948, ending only after Stalin’s death in 1953. The work generated heated contention after the premiere: the sombre mood of the first three movements and the seemingly artificial cheerfulness of the Finale were vexing.

The first part of this concert programme opens with Hector Berlioz’s brilliant overture Le Carnaval romain, which leads us into completely different musical worlds. Based on themes from his failed opera Benvenuto Cellini, the overture quickly became one of the French composer’s most successful pieces. The second work on the programme was inspired by verses from the cycle Les Fleurs du mal by Charles Baudelaire: Henri Dutilleux composed his expressive cello concerto entitled Tout un monde lointain for the Russian cellist Mstislav Rostropovitch. The soloist in this concert is the Norwegian cellist Truls Mørk.

https://www.digitalconcerthall.com/en/concert/22404

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Berliner Philharmoniker – Mariss Jansons and Frank Peter Zimmermann 2015 1080p WEB-DL AAC2.0 H.264-CHDWEB

In his Music for Strings, Percussion and Celesta, Béla Bartók succeeded in weaving a dense network of relationships between tonal colours; continuous transitions are juxtaposed with direct contrasts. The arrangement of the instrumentalists, targeting spatial sound effects, emphasises the great significance of the orchestral sound: the score states that the strings, split into two quintets, are to be placed to the left and right of the podium so that the two groups converge in the contrabasses at the extreme end of the semicircle, while the middle of the podium is reserved for the percussion. Mariss Jansons selected Bartók’s “masterpiece” (Paul Sacher) for his guest appearance with the Berliner Philharmoniker, as well as the Second Suite from Maurice Ravel’s “Symphonie choréographique” Daphnis et Chloé, which Igor Stravinsky called “one of the most beautiful products of all French music”.

Between these two pieces, Frank Peter Zimmermann plays Dmitri Shostakovich’s emotionally charged Second Violin Concerto, a work which Shostakovich wrote for David Oistrakh’s 60th birthday. However, the composer had miscalculated by one year so that the successful première took place in Moscow on 26 October 1967 when Oistrakh was 59 years old…

https://www.digitalconcerthall.com/en/concert/20429

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DJ Bobo – KaleidoLuna The Show (2019) Blu-ray 1080i AVC LPCM 2.0 + BDrip 1080p

Title: DJ Bobo – KaleidoLuna The Show
Release Date: 2019
Genre: Pop, Electronic

Production/Label: Sony Music Entertainment Germany
Duration: 02:07:03
Quality: Blu-ray
Container: BDMV
Video codec: MPEG-4 AVC
Audio codec: LPCM
Video: MPEG-4 AVC Video / 19954 kbps / 1080i / 25 fps / 16:9 / High Profile 4.1
Audio: LPCM Audio / Undetermined / 2.0 / 48 kHz / 2304 kbps / 24-bit
Size: 21.18 GB

Mit einer großartigen Mischung aus neuen Songs und seinen großen Hits brachte DJBoBo die Konzerthallen zum Kochen.
DJ BoBo, dessen Shows auch für beeindruckende Bühnen stehen, sorgt diesmal mit einem acht Meter hohen Raumschiff für staunende Gesichter. Mit Hilfe von Video-Projektion verwandelt sich die riesige Bühne immer wieder neu und überrascht die Fans. Passend dazu unterstreichen auch die 80 unterschiedlichen Kostüme, für die DJ BoBos Frau Nancy verantwortlich ist, die fantasievolle Show. DJ BoBo: „Wir wollten wieder neue Wege gehen und die Zuschauer mit der Bühne in andere Welten entführen. Das ist dem ganzen Team hervorragend gelungen.
In 22 Städten in Deutschland und der Schweiz kamen rund 175.000 Fans. Damit war die Tournee erfolgreicher als all seine vorangegangen Shows sowie die Jubiläumstournee vor zwei Jahren.
DJ BoBo ist auch nach 27 Jahren nicht nur einer der bekanntesten Schweizer, sondern auch international einer der erfolgreichsten Musiker der letzten Jahrzehnte. Über 15 Millionen verkaufte Tonträger, über 250 Gold- und Platinauszeichnungen, unzählige Preise und mehr als 5,5 Mio. Zuschauer bei seinen Live-Tourneen – der sympathische Star blickt auf eine bislang beeindrucke Karriere zurück.

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Berliner Philharmoniker – Marek Janowski conducts Verdi’s Requiem 2017 1080p WEB-DL AAC2.0 H.264-CHDWEB

Standing in for an indisposed Riccardo Chailly who was originally to conduct these concerts, Marek Janowski returns after an absence of more than 20 years to the conductor’s desk of the Berliner Philharmoniker – with Giuseppe Verdi’s both monumental and emotional Messa da Requiem, a work he has already performed at the Philharmonie with the Rundfunk-Sinfonieorchester Berlin in 2015. The performance by Janowski, then still head of the Rundfunk-Sinfonieorchester, was – according to the Tagesspiegel – far from a sentimental tearjerker.

The initial impetus behind Verdi’s famous Requiem was a pasticcio commemorating the death of Gioacchino Rossini: the idea was that the most prestigious Italian composers would jointly compose a requiem without any fees. The project, in which Verdi participated with the Libera me, failed. When the writer Alessandro Manzoni died on 22 May 1873, he decided to honour the most important figure of Italian literary Romanticism by setting the entire mass to music, making use of the movement already composed. It is perhaps hardly surprising for an opera composer like Verdi that the Dies irae is accorded the greatest significance in this requiem: no other line of text is brought to mind so often, with such emphasis and in so many musical hues, as in this apocalyptic vision, whose scenery takes on almost expressionist traits – of the Earth shaking, of the trembling of all mortals, and of the final judgement reinforced by trombones.

The operatic field is truly reached at the latest in the Lacrimosa, because the piece is based on a discarded duet from Don Carlo (the thunderstorm scene from Rigoletto is heard before that). As in his stage works, Verdi also developed in his Requiem a compelling tonal language rich in gesture that does not aspire to transcendence. For that reason, the Italian music critic and journalist Massimo Mila called the piece a “Requiem ante mortem”: its music does not seek any reconciliation with death or intend to offer solace, but instead calls for a more conscious life in the here and now.

https://www.digitalconcerthall.com/en/concert/23470

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Berliner Philharmoniker – Manfred Honeck and Yo-Yo Ma at the Easter Festival 2016 1080p WEB-DL AAC2.0 H.264-CHDWEB

Piotr Ilyich Tchaikovsky felt a deep connection to the works of Robert Schumann. In the 1870s, he wrote: “The music of Robert Schumann opens up a whole world of new musical forms, tugs at strings that not even his great predecessors touched.” The audience of the Berliner Philharmoniker was able to convince itself of the relationship between the two composers in this concert from the Easter Festival in Baden-Baden which juxtaposes two late works of Schumann and Tchaikovsky.

Originally designating his only cello concerto as a “Concert Piece for Cello with orchestral accompaniment”, Schumann already indicates that here, the collective should withdraw while gently supporting the wistful singing of the soloist. However, again and again, the monologue of the cello – for example in the motif in fifths in the slow movement – develops into an inner dialogue with Robert’s wife, Clara. In terms of form, the transition to the finale, which Schumann creates from a combination of the main themes of the first two movements, is particularly unusual.

While Schumann’s Cello Concerto was never played publicly during his lifetime, Tchaikovsky died just nine days after the premiere of his Sixth Symphony. The Pathétique has often been interpreted as a musical autobiography. An originally elaborate written programme was, however, later withdrawn by Tchaikovsky, allowing the symphony, like all great music, to speak for itself and transcend any biographical aspect.

Manfred Honeck, currently musical director of the Pittsburgh Symphony Orchestra, made his successful debut with the Berliner Philharmoniker in 2013, followed by a joint CD recording with Anne-Sophie Mutter with works by Antonín Dvořák. The cellist Yo-Yo Ma has worked with the Berliner Philharmoniker since 1978.

https://www.digitalconcerthall.com/en/concert/22496

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Berliner Philharmoniker – Manfred Honeck and Matthias Goerne 2016 1080p WEB-DL AAC2.0 H.264-CHDWEB

When you hear the Shakespeare setting An Silvia, you cannot but regret that Franz Schubert did not set many more texts by the English playwright to music: with instinctive sureness he sets the gallant poem to music; one could scarcely imagine another solution. Matthias Goerne commences his guest appearance with the Philharmonic with this lied, whereby the excellent Schubert interpreter has programmed the work in the orchestral version by pianist Alexander Schmalcz, premiered at Vienna’s Musikverein in mid-April 2015: “Goerne sings Schubert so that you cannot but follow him into those distant spheres where the romantic view rules. It is the triumph of sensitivity” (Frankfurter Rundschau). Besides Fischers Liebesglück and the Goethe lied Grenzen der Menschheit (also set for voice and orchestra), the renowned baritone with a soft timbre and admirable legato technique performs Schubert’s Litanei auf das Fest aller Seelen, based on a poem by Johann Georg Jacobi. The singer is supported on the podium by Manfred Honeck and the Berliner Philharmoniker; the conductor began his musical career as a violist with the Vienna Philharmonic before becoming Claudio Abbado’s assistant.

Matthias Goerne juxtaposes the Schubert transcriptions with genuine orchestral songs by Richard Strauss – works which (according to the music publicist Richard Specht) contain “everything fervent, zestful, child-like and at the same time lightning-quick, everything ecstatic, witty, cultivated and sensitive” from Strauss’s musical language. After the interval, Manfred Honeck makes orchestral colours shine vividly in Antonín Dvořák’s Eighth Symphony; the Austrian conductor, who has worked, inter alia, as head of the Swedish Radio Symphony Orchestra Stockholm and music director of the Staatsoper Stuttgart, and who since the 2008/09 season has held the position of music director of the Pittsburgh Symphony Orchestra, is known for his stirring interpretation of just this work. In its first two movements, Dvořák presents an almost inexhaustible abundance of themes (“the melodies just surged upon me”), the third of which is a wistful waltz, reminiscent in its sinuous melodies of ballet music by Tchaikovsky. The symphony ends with a rhythmically animated finale in which Dvořák once again pays his respects to his native folklore. The opening piece on the programme is also music by the Czech composer: Manfred Honeck has compiled an orchestral fantasy from his opera Rusalka.

https://www.digitalconcerthall.com/en/concert/23439

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Berliner Philharmoniker – Bernard Haitink conducts Mahler’s Seventh Symphony 2009 720p WEB-DL AAC2.0 H.264-CHDWEB

It is his unpretentious musicality, in particular, avoiding all exaggeration, that makes Bernard Haitink an ideal conductor of the symphonies of Gustav Mahler, which are unsuited to interpretational excess and forced originality. Haitink looks back on many years of experience with Mahler and has recorded the First through the Seventh Symphonies and the Adagio of the Tenth with the Berliner Philharmoniker. For that reason, the performance of the Seventh in January 2009 was anticipated with great excitement.

The composer considered it his “best work” up to that point and in a letter to his publisher wrote that it had a “primarily cheerful” character. The rather gloomy introduction of the first movement, with a melody played by the tenor horn above a funeral-march rhythm, casts doubt on that assessment. Musicologists will probably never agree on the question of whether the C major exultation of the finale is intended seriously or put in quotation marks, so to speak, as exaggeration.

The middle movement is a ghostly Scherzo, marked “shadowy” and framed by two movements described as “night music”. The solemn slow movement usually obligatory in Mahler’s symphonic works is replaced in fourth position by a serenade-like Andante amoroso, which is accompanied by mandolin and guitar.

The Seventh Symphony was long overshadowed by Gustav Mahler’s other works in this genre, but it has become an indispensable part of the concert schedules of the great orchestras. Sir Simon Rattle and the Berliner Philharmoniker opened both the 2011/2012 and 2016/2017 seasons with this work.

https://www.digitalconcerthall.com/en/concert/24

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