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Tag: Mariss Jansons

Mariss Jansons – R. Schumann: Symphony No. 1, Op. 38 "Spring" – Schubert: Symphony No. 3, D. 200 (Live) (2019) [Official Digital Download 24bit/48kHz]

Mariss Jansons – R. Schumann: Symphony No. 1, Op. 38 “Spring” – Schubert: Symphony No. 3, D. 200 (Live) (2019)
FLAC (tracks) 24-bit/48 kHz | Time – 58:05 minutes | 575 MB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

The two orchestral works on this new CD from BR-KLASSIK reflect early experiments with the symphonic genre by Franz Schubert and Robert Schumann, who would both later become such important Romantic composers. In his Third Symphony in D major, D. 200, written in the early summer of 1815 and probably first performed at a private concert, the eighteen-year-old Schubert emancipated himself from the style copies of his First and Second Symphonies and finally found his own musical expression. None of his symphonies would be heard in public during his lifetime, however; the Third was first performed as late as 1881 in London, where it was immediately received with great enthusiasm. Schumann’s First Symphony in B flat major, op 38 (after an unfinished symphony he wrote in his youth) was an impressive success for the 31-year-old composer. Two months after its completion, in January 1841, the work was premiered by Felix Mendelssohn at the Leipzig Gewandhaus to great public acclaim.

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Berliner Philharmoniker – European Concert from Istanbul with Mariss Jansons and Emmanuel Pahud 2001 1080p WEB-DL AAC2.0 H.264-CHDWEB

Every year the Berliner Philharmoniker mark the anniversary of the day they were founded on 1 May 1882, the date on which fifty-four musicians formed a democratically run ensemble that was determined to survive without the support of the State or of a well-to- do patron. Their courage was rewarded and the story of their success has continued right down to the present day. In 2001 the orchestra travelled for the first time to Istanbul, the easternmost tip of Europe, where they gave their eleventh Europakonzert in the Hagia Irene, the Church of the Holy Peace.

On the podium was the Latvian conductor Mariss Jansons, who was then the principal conductor in Pittsburgh and who has always been a welcome guest in Berlin. He began the programme with Haydn’s Symphony No. 94 (“Surprise”), one of the composer’s ten “London” Symphonies. According to the press, Jansons “had obviously been studying period performance techniques”, resulting in “light, bright textures, relatively fast speeds and a phrasing which would have had old Karajan turning in his grave”. Next up was Mozart’s D major Flute Concerto, which was given a brilliant performance by Emmanuel Pahud, the orchestra’s principal flautist since 1992, who brought to the piece his hallmark digital dexterity and velvety mellow tone. At no point does the work betray the fact that Mozart, by his own admission, could not abide the flute.

Following the interval, Jansons conducted Berlioz’s Symphonie fantastique, a key work of Romantic programme music. It tells of a love story that inevitably ends badly, its five movements accompanying the “narrator” on various adventures that extend from a magnificent ball to the narrator’s own execution when he thinks he has murdered his lover out of jealousy. The work culminates in a Witches’ Sabbath. The result is a gripping mixture of sex and crime that has undoubtedly contributed to the work’s lasting success, even if Berlioz himself hoped that “on its own the symphony will provide sufficient musical interest independently of any dramatic intention”.

https://www.digitalconcerthall.com/en/concert/24320

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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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Berliner Philharmoniker – Concert with Mariss Jansons and Hilary Hahn from Suntory Hall 2000 1080p WEB-DL AAC2.0 H.264-CHDWEB

Within days of the official opening of Suntory Hall in October 1986 the Berlin Philharmoniker paid their first visit to this breath-taking concert hall and immediately felt at home, which was hardly surprising since the new hall was modelled on its counterpart in Berlin. From the very outset Suntory Hall established a place for itself in the top league of international concert halls. The Berliner Philharmoniker perform here each time that they visit Japan, and in November 2000 they delighted their Japanese audience with performances of Dvořák’s Eighth Symphony and Shostakovich’s First Violin Concerto. The conductor was Mariss Jansons and the soloist the exceptionally talented American violinist Hilary Hahn.

Jansons first conducted the Berlin Philharmonic in 1976 and since then has developed a particularly close relationship with it. “I love this orchestra. The musicians are not only absolutely fantastic instrumentalists but are also genuinely passionate about their work. Their artistic commitment is incredible. Each time I conduct them, it is a pleasure to appear with this top orchestra.” In Tokyo in November 2000 he led them in a Slav programme. Each of the four movements that make up Dvořák’s Eighth Symphony is marked by the countryside, moods and music of his Bohemian homeland, and we can only agree with Dvořák when he said: “Here I’m not just a pure musician but a poet.”

After the interval Hilary Hahn, performing just a day before her twenty-first birthday, dazzled her Japanese audience with her performance of Shostakovich’s First Violin Concerto, one of the most challenging works in the whole of the violin repertory – its technical demands are a reflection of the abilities of its dedicatee, David Oistrakh. Hilary Hahn effortlessly mastered all of these difficulties, having already performed the work at her Philharmonic debut in December 1999, also under Jansons, when she had provoked veritable storms of enthusiasm on the part of the local press. Der Tagesspiegel praised her “perfect projection and soaring phrases played with the most delicate pianissimo”, while the Berliner Morgenpost summed up her performance as follows: “The sensitivity with which she took up the orchestra’s mood of heaviness and oppression in the opening movement with her delicate and extraordinarily beautiful tone attests to a profound understanding of music and presupposes both sensibility and imagination as well as a lively intelligence. The question as to outstanding virtuosity is one that we no longer need to ask with Hilary Hahn, for she possesses it in abundance.”

https://www.digitalconcerthall.com/en/concert/24516

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RCO & Mariss Jansons – Stravinsky: Petrushka & Rachmaninov: Symphonic Dances (Live) (2005/2019) [Official Digital Download 24bit/88,2kHz]

RCO & Mariss Jansons – Stravinsky: Petrushka & Rachmaninov: Symphonic Dances (Live) (2005/2019)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:09:12 minutes | 1,06 GB | Genre: Classical
Studio Masters, Official Digital Download | Front covers | © Royal Concertgebouw Orchestra

Stravinsky’s Petrushka was performed to great public acclaim and recorded in the Concertgebouw in Amsterdam on 29 and 31 October 2004, whilst Rachmaninoff’s Symphonic Dances were recorded later that same year on 22, 23 and 25 December.

From the clear and transparent orchestral sound in Stravinsky’s Petrushka to the full glory of the symphony orchestra in the Rachmaninoff, Mariss Jansons and the Royal Concertgebouw Orchestra demonstrate once again the immense artistic heights attained by this unique collaboration between conductor and orchestra.

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Mariss Jansons – Bruckner: Symphony No. 9 (2019) [Official Digital Download 24bit/48kHz]

Mariss Jansons – Bruckner: Symphony No. 9 (2019)
FLAC (tracks) 24 bit/48 kHz  | Time – 57:06 minutes | 568 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

“It seems that the Ninth is a limit. He who wants to go beyond it must pass away. […] Those who have written a Ninth stood too close to the hereafter.” Arnold Schoenberg wrote those words in reference to Gustav Mahler, who had just died without ever having heard his own Ninth Symphony performed. Bruckner was apparently afraid of the fatal number as well: “I don’t want to start on my Ninth at all, I don’t dare”. However, very soon after the completion of his Eighth Symphony in September 1887, Bruckner started on his first drafts. Overall, work on the Ninth then dragged on over the long period from 1887 to 1896, having to be constantly interrupted because of the composer’s deteriorating health. Bruckner finally died while working on the fourth movement – and his masterpiece dedicated to “the beloved God” remained unfinished. Even without a finale, the three-movement torso that survives is, of course, extremely impressive. The completed movements were first performed in Vienna on February 11, 1903, in an unusual personal version by the conductor Ferdinand Löwe. The actual first performance of the original score with its three movements only took place on April 2, 1932 in Munich. Ever since, Bruckner’s Ninth has been an essential part of the Late Romantic symphonic repertoire – above all in its original version. In January 2014, Mariss Jansons and the Symphonieorchester des Bayerischen Rundfunks presented the original version of the three completed movements to the public in Munich at the Philharmonie in Gasteig. In its current position, the slow movement cuts a fine figure and helps the symphony reach a dignified conclusion. What could be more appealing than this swan song, swaying as it does between suffering and promise before fading away into a vision of peace and serenity?

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Udo Wachtveitl, Mariss Jansons – R. Schumann: Die innere Stimme (2019) [Official Digital Download 24bit/48kHz]

Udo Wachtveitl, Mariss Jansons – R. Schumann: Die innere Stimme (2019)
FLAC (tracks) 24-bit/48 kHz | Time – 04:34:09 minutes | 2,36 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

There are many biographies of Robert Schumann, but none that gives a real voice to his music – and the life and the music of this great Romantic composer were connected in a particularly subtle way. This new release in the successful series of BR-KLASSIK audio biographies contains approximately 150 excerpts from Schumann’s works; carefully interwoven into his life story, they give voice to his inner world. The mysterious “inner voice” that Schumann noted down in the score of his Humoreske op. 20 thus becomes the motto of this audio biography. “Unknown songs I had never heard flowed through my heart – songs that sounded to me like ghostly voices.” It was this passage from ETA Hoffmann’s Kreisleriana that inspired Schumann to write his own Kreisleriana op 16. In February 1854, the composer himself heard such voices – and this marked the start of a journey that would culminate in the mental asylum. Schumann’s “inner voice” thus represents not only his romantic sensitivity but also his fragile and volatile psyche. Of course, this ten-part audio biography also devotes a lot of room to the relationship between Robert and Clara – probably the greatest “romantic novel” of music history. Nothing is exaggerated, however; it is all based on the original sources, which are dramatic and touching enough in themselves. Outstanding actors including Udo Wachtveitl (narrator), Matthias Brandt (Schumann) and Brigitte Hobmeier (Clara) contribute, alongside further narrators, to all the fascinating sounds and colours of this audio biography. Performers such as John Eliot Gardiner, Eric Le Sage and Christian Gerhaher guarantee the highest quality in the musical excerpts, which also feature several rarities. The audio biography is rounded off by a new live recording of the “Spring Symphony” with the Symphonieorchester des Bayerischen Rundfunks, conducted by Mariss Jansons.

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Mariss Jansons – Wolfgang Rihm: Requiem-Strophen (Live) (2018) [Official Digital Download 24bit/48kHz]

Mariss Jansons – Wolfgang Rihm: Requiem-Strophen (Live) (2018)
FLAC (tracks) 24 bit/48 kHz  | Time – 01:19:39 minutes | 782 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

Wolfgang Rihm’s Requiem-Strophen is a magnificent work. The composer, who was long contained with avant-garde circles, shows us here that he is also Brahms’ direct heir – the formal parallels with Brahms’ German Requiem are obvious in the lyrical tenderness of the most contemplative moments. Requiem-Strophen – created in 2017 by the same Bavarian Radio Symphony Orchestra who recorded it live here – combines Latin and German, mixing both the sacred biblical texts (the “Requiem” as well as passages from the Bible) with the secular poems (“stanzas”) of Rilke, Michelangelo and Johannes Bobrowski. The orchestral writing, powerfully modern and yet in tune with all the music of the past, displays sounds that are disturbing at times, reassuring at others, but always fascinating. Undoubtedly Rihm’s Requiem-Strophen joins the elite group of great Requiems in the history of music: Mozart, Britten, Brahms, Duruflé, Verdi, Penderecki, Berlioz and Fauré, to name of few of the best.

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Mariss Jansons – Beethoven: Mass in C Major & Leonore Overture No. 3 (Live) (2019) [Official Digital Download 24bit/48kHz]

Mariss Jansons – Beethoven: Mass in C Major & Leonore Overture No. 3 (Live) (2019)
FLAC (tracks) 24 bit/48 kHz  | Time – 58:31 minutes | 572 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

The tonal language of Beethoven’s Mass in C major, the first of his two Mass settings, is that of a personal confession, making the work very modern and forward-looking and opening up entirely new worlds of expression for the liturgical text. It is in no way to be seen as a precursor of the “Missa solemnis’ but instead as a highly independent work that set new standards for the advancement of mass compositions in the 19th century. Beethoven himself was well aware of its innovative nature, and wrote as much in a letter to his publisher: ‘I am reluctant to say anything about my Mass, or indeed about myself, but I do believe that I have treated the text in a manner to which it has rarely been treated.’ For people at the time, the Mass in C major, Op. 86 of 1807 provided unprecedented access to the Christian faith in a way that is still relevant today.

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Mariss Jansons – Stravinsky: Le sacre du printemps & The Firebird Suite (2018) [Official Digital Download 24bit/48kHz]

Mariss Jansons – Stravinsky: Le sacre du printemps & The Firebird Suite (2018)
FLAC (tracks) 24 bit/48 kHz  | Time – 01:04:27 minutes | 622 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

The two essential pieces of early 20th-century ballet music by Stravinsky combined on this new CD are live recordings of concerts performed on January 16, 2009 in the Philharmonie im Gasteig (Le sacre du printemps) and on November 17, 2016 in the Herkulessaal of the Munich Residenz (L’oiseau de feu), and both feature the excellent recording quality of the Bayerischer Rundfunk.

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