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Tag: Lorin Maazel

Berliner Philharmoniker – Lorin Maazel conducts the “Ring Without Words” 2000 1080p WEB-DL AAC2.0 H.264-CHDWEB

Is it possible to reduce the fifteen hours of music of Wagner’s Ring to the length of a single CD and at the same time dispense with the services of singers? When a record label approached Lorin Maazel with this question in 1987, he did not hesitate, for he could still remember a comment that Wieland Wagner had made at the time of the conductor’s Bayreuth debut in 1960: “The essence of the work is to be found, after all, in the orchestra. This is the subtext, the universal subconscious that links Wagner’s characters together and that is tied to the proto-ego of the legend.” For Wagner’s grandson and co-founder of New Bayreuth, the Wagnerian orchestra is the “fountainhead” of the entire cycle.

Maazel finally understood the full import of Wieland Wagner’s comment when he conducted the first post-war production of the Ring at the Deutsche Oper in Berlin in 1965: “The orchestral score itself is the Ring, encrypted in a musical code,” the conductor explained. He was keen for audiences to decrypt this code through his “symphonic synthesis”, for which he imposed strict conditions on himself: the music had to unfold without interruption and follow the course of the drama in every detail from the opening note of Das Rheingold to the closing chord of Götterdämmerung. Every note was to be by Wagner himself, and no bridge passages were to be included in the score.

Maazel succeeded in meeting all of these self-imposed demands, and the first recording of his Ring Without Words with the Berliner Philharmoniker proved a huge success when it was released in 1987. The work quickly became an independent concert piece, which Maazel also performed with the Pittsburgh Symphony Orchestra in 1990, with the New York Philharmonic in 2000 and 2008 and with the Vienna Philharmonic in 2012. In 2000 he again conducted it with the orchestra for which he had ultimately conceived the work. As Maazel noted retrospectively, “I think that as an introduction to the Ring, this version is an unqualified success. And I am fortunate that my project was underpinned by the magnificent sound of the Berliner Philharmoniker.”

https://www.digitalconcerthall.com/en/concert/12111

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Bavarian Radio Symphony Orchestra – Bruckner: Symphonies Nos. 1-9 (Live) (2019) [Official Digital Download 24bit/48kHz]

Bavarian Radio Symphony Orchestra, Herbert Blomsted, Bernard Haitink, Mariss Jansons, Lorin Maazel – Bruckner: Symphonies Nos. 1-9 (Live) (2019)
FLAC (tracks) 24-bit/48 kHz | Time – 09:43:21 minutes | 5,29 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

Bruckner’s Nine Symphonies are a constant in the repertoire of the Symphonieorchester des Bayerischen Rundfunks, as in those of all major orchestras. The special feature of the 9 album being presented here by BR KLASSIK is that the recordings are conducted by not only one but a total of four conductors closely associated with the orchestra, all of them proven international Bruckner experts. More than in any other compilation, common features in interpretation (also due to the same orchestra) as well as fascinating differences due to the various interpretive approaches of the respective conductors can all be detected. In these recordings it also becomes clear what brilliant contributions Herbert Blomstedt, Bernard Haitink, Mariss Jansons and Lorin Maazel have made over the decades to Bruckner’s symphonic oeuvre.

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Lorin Maazel – Britten: War Requiem (2017) [Official Digital Download 24bit/44,1kHz]

Lorin Maazel – Britten: War Requiem (2017)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 01:33:01 minutes | 823 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Front Cover | © MUNCHNER PHILHARMONIKER GBR

The War Requiem, Op. 66, is a large-scale, non-liturgical setting of the Requiem composed by Benjamin Britten mostly in 1961 and completed in January 1962. The War Requiem was performed for the consecration of the new Coventry Cathedral, which was built after the original fourteenth-century structure was destroyed in a World War II bombing raid. The traditional Latin texts are interspersed, in telling juxtaposition, with settings of poems by Wilfred Owen, written in World War I. The work is scored for soprano, tenor and baritone soloists, chorus, boys’ choir, organ, and two orchestras (a full orchestra and a chamber orchestra). The chamber orchestra accompanies the intimate settings of the English poetry, while soprano, choirs and orchestra are used for the Latin sections; all forces are combined in the conclusion. The Requiem has a duration of approximately 90 minutes.

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