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Tag: Mariss Jansons

Mariss Jansons, Royal Concertgebouw Orchestra – Music is the Language of Heart and Soul: A Portrait of Mariss Jansons; Gustav Mahler – Symphony No.2 “Ressurection” (2012) Blu-ray 1080i AVC DTS-HD 5.0

Title: Music is the Language of Heart and Soul: A Portrait of Mariss Jansons; Gustav Mahler – Symphony No.2 “Ressurection”
Released: 2012
Genre: Classical, Documentary
Directors: Robert Neumüller / Joost Honselaar
Artists: Mariss Jansons /
Royal Concertgebouw Orchestra
Ricarda Merbeth (soprano), Bernarda Fink (mezzo-soprano), Netherlands Radio Choir

Released: CMajor
Duration: 00:51:39 + 01:30:11
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio Codec: DTS, PCM
Video: MPEG-4 AVC Video / 30840 kbps / 1080i / 29.970 fps / 16: 9 / High Profile 4.1 (doc)
Audio #1: German / LPCM Audio / 2.0 / 48 kHz / 1536 kbps / 16-bit (doc)
Audio #2: German / LPCM Audio / 2.0 / 48 kHz / 2304 kbps / 24-bit
Audio #3: German / DTS-HD Master Audio / 5.0 / 48 kHz / 3641 kbps / 24-bit (DTS Core: 5.0 / 48 kHz / 1509 kbps / 24-bit)
Subtitles: English, Chinese, German, French, Korean, Spanish
Size: 38.73 GB

Mariss Jansons is one of the most influential conductors of our age. In 2012 the charismatic Latvian musician conducted his second New Year Concert in Vienna, an honour that very few conductors have enjoyed. For the present documentary portrait, the film maker Robert Neumüller observed Jansons at work in Amsterdam, Riga, St Petersburg, Vienna and Salzburg. The film shows Jansons working with his various orchestras, including rehearsals for the 2012 New Year Concert, and also explores his private life, resulting in a number of fascinating insights into Jansons’ artistic development and philosophy. By way of a bonus, this release features a complete performance of Mahler’s Second Symphony with the Royal Concertgebouw Orchestra under Mariss Jansons.

Music is the Language of Heart and Soul is the only available documentary about Mariss Jansons from his early days till today. Jansons is one of the leading conductors, performing with the most important orchestras in the world. This blu-ray disc includes a performance with Mariss Jansons and Concertgebouw Orchestra of Mahler. “Mariss Jansons is one of the best orchestra builders around.” The New York Times “No conductor has a more extraordinary story to tell than Mariss Jansons.” The Independent

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Berliner Philharmoniker – Mariss Jansons conducts Verdi’s Requiem 2010 720p WEB-DL AAC2.0 H.264-CHDWEB

At the beginning of the 1970s Herbert von Karajan invited the young Mariss Jansons to come to Berlin to be his assistant but the Soviet authorities would not permit it – a “terrible disappointment” for Jansons. In the meantime, the Cold War is over and the Latvian conductor is now a regular and much valued guest with the Berliner Philharmoniker. In this concert, he conducts Verdi’s Messa da Requiem.

Probably nowhere else do the worlds of the opera house and the concert hall overlap more seamlessly than in this Requiem – the melos, fury and sentiment of Italian music theatre are refined with all the means of symphonic choral and orchestral sound. At the time of its premiere, this concept irritated some, yet even Brahms – not exactly a fan of Verdi – opined: “Only a genius could write such a work.”

For this performance the solo parts were taken by four outstanding young opera singers. They were joined by the Chor des Bayerischen Rundfunks – a “deluxe ensemble” (New York Times), of which Jansons has been the principal conductor since 2003.

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Berliner Philharmoniker – The 2017 European Concert from Cyprus with Mariss Jansons and Andreas Ottensamer 2017 1080p WEB-DL AAC2.0 H.264-CHDWEB

Since its premiere in 1991, the direction of the annual European Concert of the Berliner Philharmoniker on 1 May has mostly been in the hands of chief conductors Claudio Abbado and Sir Simon Rattle. Mariss Jansons, who has had close ties to the orchestra for over 40 years, is one of the small number of guests who have been invited to conduct the concert. Jansons has already conducted one European Concert – in Istanbul in 2001, and now, in the Cypriot port city of Pafos, he conducts a programme of works by Carl Maria von Weber and Antonín Dvořák.

The programme for Pafos includes the overture to the opera Oberon by Weber, plus his First Clarinet Concerto, with Andreas Ottensamer, the young Austrian principal clarinet of the Berliner Philharmoniker, as the soloist. Like Mozart before and Brahms after, Weber’s work for this instrument was also inspired by a major virtuoso of his time: Joseph Heinrich Bärmann, a member of the Munich court orchestra who developed previously unknown playing techniques for the clarinet and advised Weber closely on the writing of the composition. In the concerto, two virtuoso outer movements frame a melancholy Adagio containing an irresistible, chamber music dialogue between the solo instrument and a horn trio.

From its very first performance, Antonín Dvořák’s Eighth Symphony was a huge success. The composition, which never comes across as tragic even in its solemn passages, is full of the spirit of nature, with the principles of movement construction loosened in favour of a more narrative style. The finale, a set of variations based on a simple triadic theme, including in the form of an elegiac cello cantilena, opens with a fanfare on the trumpets and closes with an effective flourish on the same instrument. Any associations with the military are however misguided, as the conductor Rafael Kubelik once explained: “In Bohemia, the trumpets never call to battle—they always call to the dance!”

This open air performance offers impressive views of the harbour-side castle in Pafos, built by the Byzantines and restored after being destroyed by the Ottomans. A member of the EU since 2004, the island Republic of Cyprus is known to classical music fans as the setting for Verdi’s Shakespeare opera Otello, and just off the coast of Pafos according to myth, is the location where Aphrodite, just risen from the sea, stepped onto the mainland. A better patron than the goddess of beauty and love for a concert dedicated to European understanding would be hard to imagine.

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Mariss Jansons – Rodion Shchedrin: Carmen Suite – Respighi: Pini di Roma (Live) (2020) [Official Digital Download 24bit/48kHz]

Mariss Jansons – Rodion Shchedrin: Carmen Suite – Respighi: Pini di Roma (Live) (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 01:06:00 minutes | 664 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

This new CD from BR-KLASSIK features the ballet music ‘Carmen Suite’, based on the famous melodies from George Bizet’s eponymous opera and masterfully arranged and adapted by the composer Rodion Shchedrin in 1968, and Ottorino Respighi’s well-known symphonic poem ‘Pini di Roma’ (The Pines of Rome), written in 1924. The name of the Russian composer Rodion Shchedrin is primarily associated in the West with his ‘Carmen Suite’, which has been highly popular ever since its first performance. The thirteen movements of this ballet music are based on Bizet’s opera Carmen, and carefully adapted to the musical language of the present day. After Shchedrin’s wife Maya Plisetskaya, long-time prima ballerina of the Bolshoi Theatre, had vainly asked both Shostakovich and Khachaturian to compose a Carmen ballet especially for her, her husband decided to do so instead – a decision that was rewarded with international success. The rousing music in Shchedrin’s interpretation sounds very familiar, yet in many ways, entirely new! The Italian composer Ottorino Respighi is especially admired for his masterly instrumentation. The symphonic poems in his ‘Roman Trilogy’, which deal with the fountains, pine trees and festivals of his adopted home city of Rome, made his name immortal. In his ‘Pines of Rome’ he describes four locations in the Eternal City, each with a different historical background.

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Bavarian Radio Symphony Orchestra & Mariss Jansons – Strauss: Also sprach Zarathustra, Op. 30, TrV 176 (Live) (2020) [Official Digital Download 24bit/48kHz]

Bavarian Radio Symphony Orchestra & Mariss Jansons – Strauss: Also sprach Zarathustra, Op. 30, TrV 176 (Live) (2020)
FLAC (tracks) 24-bit/48 kHz | Time – 34:40 minutes | 360 MB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

It was as an obedient pupil of his father, the celebrated horn player Franz Strauss, that Richard Strauss began his musical career – entirely in the spirit of the classics and early Romantics, with proven forms and traditional genres. Strauss senior loathed Richard Wagner’s monstrous music dramas as well as the achievements of the “New German School” around Franz Liszt, with its avant-garde tone poems and extra-musical programmes. As Richard grew up, he shared his father’s views unquestioningly – but then found a mentor in Hans von Bülow, who, of all people, had once worked together very closely with Wagner. In 1885, Bülow engaged the 21-year-old Strauss as conductor of the Meiningen Court Orchestra. Its concert master, the radical Wagnerian Alexander Ritter, took the young man under his wing and acquainted him with the blessings of “progressive music” – with the result that Richard Strauss soon began composing symphonic poems himself.

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Mariss Jansons – Bruckner: Symphony No. 3 in D Minor, WAB 103 “Wagner” (Live) (2019) [Official Digital Download 24bit/48kHz]

Mariss Jansons – Bruckner: Symphony No. 3 in D Minor, WAB 103 “Wagner” (Live) (2019)
FLAC (tracks) 24 bit/48 kHz | Time – 56:18 minutes | 554 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

Bruckner’s Symphony No. 3 with the BRSO under the conduction of Mariss Jansons. This is a live recording of a concert at Munich Philharmonie im Gasteig from 20./21.01.2005.

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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 …

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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.

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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.

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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.

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