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Christian Thielemann & Staatskapelle Dresden – Schumann: Symphonies (2019) [Official Digital Download 24bit/96kHz]

Christian Thielemann & Staatskapelle Dresden – Schumann: Symphonies (2019)
FLAC (tracks) 24-bit/96 kHz | Time – 02:20:18 minutes | 2,33 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Sony Classical

To celebrate the 60th birthday of the international renowned conductor, Christian Thielemann, Sony Classical is pleased to release this stunning new recording of Schumann’s complete symphonies performed by the world class Staatskapelle Dresden under the baton of Thielemann. This breathtaking release comes after the success of the critically acclaimed New Year’s concert which was conducted by Thielemann. An expert of romantic German repertoire, Thielemann‘s brilliant interpretation of Schumann’s Symphonies is performed wonderfully by the Staatskapelle Dresden. Robert Schumann (1810-1856) is considered one of the greatest composers of the Romantic era. His four symphonies are considered masterpieces amongst German romantic symphonic works.

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Berliner Philharmoniker – Christian Thielemann conducts Tchaikovsky’s “Pathétique” 2012 1080p WEB-DL AAC2.0 H.264-CHDWEB

Whether he is performing Wagner in Bayreuth or Bruckner with the world’s major orchestras, Christian Thielemann’s interpretations of late German Romanticism always receive high praise from the critics. All the more interesting then is this concert which sheds light on this same period from a Russian perspective: Piotr Ilyich Tchaikovsky’s stirring Sixth Symphony, the Pathétique.

Tchaikovsky himself declared the symphony to be the “keystone of his whole creative works”; while composing it, he was repeatedly reduced to tears. The idea of the Pathétique as Tchaikovsky’s highly emotional legacy is still given credence by the fact that he died nine days after the premiere. Contemporaries report, however, that the composer worked on the piece no differently than on any other, and turned immediately after its completion to other projects. And in fact, it probably needs a minimum of serenity in order to create such a soulful, but also ingeniously constructed work in which there is, for example, a waltz in the complicated 5/4 time.

The way in which music developed after Tchaikovsky’s death can be seen in Claude Debussy’s Nocturnes, which were completed shortly afterwards. Although they have the subtitle “symphonic triptych”, they leave the traditional symphony far behind, and in their shimmering Impressionistic pictures, they point more in the direction of the new genre of the tone poem. With his intensive tonal colours, Debussy inspired countless subsequent French composers, including Olivier Messiaen. His song cycle Poèmes pour Mi, dedicated to Messiaen’s first wife, is a brilliant profession of faith and of the sacrament of marriage – and as such stands in striking contrast to the resignation and rebelliousness of the Pathétique.

https://www.digitalconcerthall.com/en/concert/2540

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Berliner Philharmoniker – Christian Thielemann conducts Brahms’s “Deutsches Requiem” 2015 1080p WEB-DL AAC2.0 H.264-CHDWEB

Johannes Brahms, the great symphonist of the 19th century, established his reputation not with an orchestral work but with a choral work: his Deutsches Requiem brought him triumphant success after the complete version premiered in 1869, making him one of the leading composers of his time virtually overnight. Brahms’s many years of experience as a choral conductor and his thorough study of the a cappella movements of old masters benefited him during the composition process. He congenially joins various vocal genres such as fugue, motet, chorale and lied to form a coherent whole. Brahms, the Protestant, addresses the Catholic rite of the requiem with the work. Nonetheless, he did not set the Latin words of the liturgy to music, but rather arranged German texts from the Old and New Testaments. The theme is not otherworldly salvation, but rather temporal solace for the bereaved. He finds a musical language full of dramatic power and touching intimacy for their grief, their pain.

The list of conductors who have conducted Brahms’s masterpiece with the Berliner Philharmoniker since Herbert von Karajan’s death is remarkable: Carlo Maria Giulini, Claudio Abbado, Nikolaus Harnoncourt, Bernard Haitink, Simon Rattle and lastly Donald Runnicles. Christian Thielemann conducts the Deutsches Requiem. He already established that he possesses the right touch for the composer’s choral-symphonic works at concerts with the Berliner Philharmoniker in 2009, where he conducted performances of Nänie, Song of the Fates and the Song of Destiny and received unanimous praise: his interpretations had “intoxicating potential” and a “goose-pimple factor”.

https://www.digitalconcerthall.com/en/concert/20341

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Berliner Philharmoniker – Christian Thielemann conducts Beethoven’s “Eroica” 2015 1080p WEB-DL AAC2.0 H.264-CHDWEB

For these concerts with the Berliner Philharmoniker, Christian Thielemann programmed three orchestral works that refer to literary or mythological figures in completely different ways. There’s Hans Werner Henze’s orchestral piece Sebastian im Traum, premiered in 2005, based on a poem by Georg Trakl. As the composer himself notes, his music tries to “follow the traces of the poet’s words (as someone with a movie camera tries to capture the course of events or as another perhaps takes down the communication of subject matter in shorthand)”. The piece, to which Henze gave the subtitle Salzburg Night Music, is full of allusions “to the rustic Baroque, to the biblical, to the wooden crucifix, to the nearness of death, to the moonlight, to Traklish evening sonatas”.

This concert also includes two works that refer to the legends of the ancient world: Franz Liszt’s symphonic poem Orpheus, composed precisely 150 years before Henze’s composition, and Ludwig van Beethoven’s Eroica, bearing witness to the composer’s grappling with a symbolic figure of the European enlightenment: Prometheus. It was no coincidence that Beethoven based the finale of his Third Symphony, originally titled “Bonaparte”, on a melody from his ballet music The Creatures of Prometheus, which premiered in 1801: for – as Johann Wolfgang von Goethe later remarked – Napoleon also brought to mankind “light: a moral enlightenment.”

https://www.digitalconcerthall.com/en/concert/20338

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Berliner Philharmoniker – Christian Thielemann conducts a concert “à la française” 2016 1080p WEB-DL AAC2.0 H.264-CHDWEB

“Your Pie Jesu is the only Pie Jesu, just as Mozart’s Ave Verum is the only Ave Verum,” Camille Saint-Saëns wrote to his former student Gabriel Fauré in 1916. This was referring to the soprano solo from Fauré’s Requiem, first performed in 1888 and later revised; in 1924, it would also be played at the composer’s funeral. Fauré – lyricist par excellence – took an individual musical approach to the text of the medieval requiem. As the composer himself once explained: “It has been said that my Requiem does not express the fear of death, and someone has called it a lullaby of death. But it is thus that I see death: as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience. Perhaps I have also instinctively sought to escape from what is usual, after all the years of accompanying burial services on the organ! I know it all by heart. I wanted to write something different.”

The temporal counterpart to Fauré’s consolatory Requiem is provided in these Berliner Philharmoniker concerts by Ernest Chausson’s Poème de l’amour et de la mer. Chausson, who was instructed in composition by Jules Massenet and César Franck, set poems by his friend Maurice Bouchor to music in this two-part composition, in terms of form somewhere between song cycle and cantata, and connected with an orchestral interlude. Composed between 1882 and 1890, thePoème de l’amour et de la mer was written at a time in which Chausson, after first visits to the Bayreuth Festival, was strongly inspired by Richard Wagner’s music. The subtle Wagnerisms contained in Chausson’s musical language, iridescent in every conceivable orchestral colour, are clearly heard in Christian Thielemann’s interpretation. Claude Debussy’s Danse sacrée et danse profane for harp and strings creates a thematic bridge between Fauré’s Requiem and Chaussons Poème.

https://www.digitalconcerthall.com/en/concert/22397

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Berliner Philharmoniker – Christian Thielemann and Maurizio Pollini with Mozart’s Piano Concerto No. 21 2012 1080p WEB-DL AAC2.0 H.264-CHDWEB

The name of Franz Liszt is closely linked to the so-called “New German School”, a group which in the second half of the 19th century made it its mission to create closer integration of music and the other arts. In his time, Liszt (as father-figure) and Wagner were regarded as their role models, in contrast to the traditionalists, who had chosen Johannes Brahms as their spokesperson.

In this concert with the Berliner Philharmoniker, conducted by Christian Thielemann, the position of the “New German School” is represented by three symphonic poems composed by Franz Liszt: Les Préludes, based on a work by the French poet Alphonse de Lamartine, Mazeppa from a poetic idea of Victor Hugo, and Von der Wiege bis zum Grabe which was inspired by a sketch of the painter Michael Zichy.

The concert overtures of Mendelssohn, poetically described by his contemporaries as “tone paintings”, were the precursors to these forms of programme music. Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage) is based on two poems by Johann Wolfgang von Goethe. For Mendelssohn, the attraction lay in writing a musical representation of the complete stillness and the gradual picking up of the wind that brings the ship safely into port.

The Piano Concerto No. 21 in C major, K 467 by Wolfgang Amadeus Mozart serves as the musical counterpoint to these. Mozart composed this work under tremendous pressure for a performance at the Vienna Court Theatre in March 1785. Nevertheless, this cheerful and festive work is distinguished by both its masterly formal structure and melodic and harmonic ingenuity. The soloist is Maurizio Pollini, a long-time associate of the orchestra. It was, however, the first time the Italian pianist performed together with Christian Thielemann at the Philharmonie.

https://www.digitalconcerthall.com/en/concert/3409

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Berliner Philharmoniker – Christian Thielemann and Gidon Kremer 2016 1080p WEB-DL AAC2.0 H.264-CHDWEB

Als Gidon Kremer am 30. Mai 1981 im Rahmen der Wiener Festwochen Sofia Gubaidulinas Violinkonzert Offertorium aus der Taufe hob, war die 1931 im tatarischen Tschistopol geborene Komponistin noch so gut wie unbekannt: Der sowjetische Komponistenverband lehnte ihr Schaffen rundweg ab, weshalb sie einzig und allein »für die Schublade« schrieb. Im Westen sorgte das Werk, in dem aus Bachs Musikalischem Opfer zitiert wird, für Aufsehen, obwohl keine neuen Techniken und Systeme zur Anwendung kommen: »Als Ideal betrachte ich ein solches Verhältnis zur Tradition und zu neuen Kompositionsmitteln, bei dem der Künstler alle Mittel – sowohl neue als auch traditionelle – beherrscht, aber so, als schenke er weder den einen noch den anderen Beachtung.« Knapp 25 Jahre nach der erfolgreichen Premiere des Offertoriums schrieb Sofia Gubaidulina ihr zweites Violinkonzert mit dem Titel In tempus praesens, diesmal für Anne-Sophie Mutter. Auch in diesem Stück stand die Musik Johann Sebastian Bachs Pate: Bereits in den sich behutsam vortastenden Einleitungstakten der Solovioline erinnert die chromatische Linienführung an die tönende Chiffre B-A-C-H. Anschließend gelingt es der Komponistin, den Instrumenten die fantastischsten Farbeffekte abzuringen – u. a. wenn sich der Klang der Solovioline äußerst raffiniert mit dem von Flöten, Klarinetten, Harfen, Celesta und dem hohen Schlagwerk mischt oder wenn vier Solobratschen, von unterschiedlichsten Instrumentenkombinationen unterstützt, eine Art Concertino bilden. Bei seinem philharmonischen Gastspiel wird Gidon Kremer Sofia Gubaidulinas Konzert In tempus praesens präsentieren – mit jener außergewöhnlichen Tongebung, bei der sich, wie die Komponistin bemerkte, alle Lebensenergie auf die gespielten Saiten zu konzentrieren scheine.

Anschließend hat Christian Thielemann Anton Bruckners Messe Nr. 3 in f-Moll aufs Programm gesetzt. Entstanden ist sie in den Jahren 1867/1868; sie ist seine letzte und größte Messkomposition, die sich nach Bekunden des Komponisten an Beethovens Missa solemnis und den beiden späten Messen von Franz Schubert orientiert. Noch als Domorganist in Linz schrieb Bruckner das Werk für die Hofmusikkapelle in Wien, die am kaiserlichen Hof auch für die Kirchenmusik zu sorgen hatte. Wenig später siedelte er selbst nach Wien über, um dort sein Amt als Hoforganist anzutreten und seine Berufung als Lehrer am Konservatorium wahrzunehmen. Da die Messe die Musiker der Hofkapelle vor große Schwierigkeiten stellte, verschob sich die Uraufführung um ganze vier Jahre und fand unter Leitung des Komponisten im Juni 1872 in der nahe der Hofburg gelegenen Augustinerkirche statt. Für Bruckner war es ein großer Erfolg, und bald fand das Werk auch Eingang in die Konzertsäle.

https://www.digitalconcerthall.com/de/concert/23465

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Berliner Philharmoniker – Christian Thielemann and Albrecht Mayer with works by Strauss and Bruckner 2012 1080p WEB-DL AAC2.0 H.264-CHDWEB

Christian Thielemann’s international fame rests to a large extent on his interpretations of Bruckner. In this concert with the Berliner Philharmoniker he conducts the composer’s most popular work, the Fourth Symphony. As the epithet Romanticimplies, Bruckner here creates a vision of a better past. The Oboe Concerto by Richard Strauss which opens the concert has a similarly nostalgic flavour. The soloist is Albrecht Mayer, principal oboist with the Berliner Philharmoniker since 1992.

To a friend, Bruckner outlined a historical scene which forms the basis of the first movement of his symphony. There is mention of a “medieval city”, “the rustle of the forest” and of knights who “gallop out into the fields on their proud steeds”. But we must assume that Bruckner devised these poetic descriptions only later to facilitate access to his music to his audiences. Indeed, the Fourth Symphony is in no way programme music, but is “Romantic” through its use of melody which surges between pride and melancholy, through its horn calls and archaic fanfares.

Richard Strauss had a decidedly low opinion of Bruckner’s work, which he described as “boring peasant music.” It may be that Strauss – who had long seen himself as the spearhead of the avant-garde – simply found this music to be too old fashioned. However, in his 1945 Oboe Concerto, composed in the face of the devastation of World War II, he dreams himself into history. And so Strauss’s work, infused with Mozartian grace is, in the words of Albrecht Mayer – “one of his most heartfelt and among the best he ever wrote.”

https://www.digitalconcerthall.com/en/concert/2537

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Berliner Philharmoniker – Chopin’s Piano Concerto No. 1 with Maurizio Pollini and Christian Thielemann 2016 1080p WEB-DL AAC2.0 H.264-CHDWEB

Maurizio Pollini has by now been a musical partner and indeed friend of the Berliner Philharmoniker for many decades. And Christian Thielemann has also been closely associated with the orchestra since his Philharmonic debut in 1996. The grandseigneur among the pianists of our time and the acting chief conductor of the Dresdner Staatskapelle have already repeatedly proven that they get along swimmingly as artists – not least on the podium of the Berlin Philharmonie.

In December 2012, together with the Berliner Philharmoniker, they gave a performance of Wolfgang Amadeus Mozart’s Piano Concerto in C major K. 467 that was acclaimed equally by press and audience. And this sets the course for a reunion with Thielemann and Pollini in the Berlin Philharmonie. This time, the artists placed Frédéric Chopin’s First Piano Concerto on the programme, a work that has accompanied the pianist since the beginning of his career, when he played it at the final concert of the Warsaw Chopin Competition in 1960 after winning first prize.

The Berlin composer Aribert Reimann has never made a secret of his admiration for the music of Robert Schumann. Reimann’s Seven Fragments for Orchestra from 1988 are dedicated “in memoriam Robert Schumann” and can be seen as compositional meditations about the Romantic whose person and music Reimann so admires. Schumann himself can be heard in these three concerts with the overture to his only opera Genoveva, composed in 1847-49. The composer wrote the overture even before writing the libretto based on dramas by Friedrich Hebbel and Ludwig Tieck. In it, he already presents all the themes of the figures acting in his opera in free sonata form.

With four symphonic interludes from Richard Strauss’s Intermezzo, premiered at the Semperoper in 1924, Christian Thielemann also brings a musical greeting from Dresden to his home town of Berlin, thus concluding a concert whose programme is just as exquisite and multi-faceted as its interpreters!

https://www.digitalconcerthall.com/en/concert/22398

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Berliner Philharmoniker – Christian Thielemann conducts Bruckner’s Eighth Symphony (2008) 720p WEB-DL AAC2.0 H.264-CHDWEB

Like many of his contemporaries, Hugo Wolf was also overwhelmed when Bruckner’s Eighth Symphony was premiered in Vienna on 18 December 1892: “This symphony is the creation of a giant and surpasses all the master’s other symphonies in spiritual dimension, richness and greatness.”

The greatness attested to by Wolf is shown in many ways – first in its length, which puts all other works by Bruckner in the shade. In addition, the composer achieves a unique emotional power, such as in in the slow movement where themes of changing moods – we can hear doubt, sadness and warm comfort – intertwine, building up great intensity of expression.

Bruckner’s inspiration here is also rich and varied. He himself claimed to use both the emotional and sound worlds of Wagner in the first movement, in particular the Todesverkündigung, the “annunciation of death” from the Valkyrie and the monologue of the Flying Dutchman. In the finale on the other hand, there are echoes of a historical meeting of the Austrian Emperor and the Russian czar, for example in a “Ride of the Cossacks” in the string accompaniment at the beginning of the movement. Despite its multifaceted and well-calculated contrasting nature, the music is not fractured: Rather, it is firmly bound together by the ever-present personality of the composer, which ensures that the symphony maintains a never-diminishing intensity.

https://www.digitalconcerthall.com/en/concert/20

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