![Symphonieorchester Des Bayerischen Rundfunks - Berlioz Symphonie fantastique Op. 14 H. 48 (Live) (2024) [24Bit-48kHz] FLAC [PMEDIA] ⭐️ Download](https://i0.wp.com/imageurl.xyz/images/2024/04/22/SymphonieorchesterDesBayerischenRundfunksBerliozSymphoniefantastiqueOp.14H.48Live202424Bit48kHzFLACPMEDIA.jpg?ssl=1)
Symphonieorchester des Bayerischen Rundfunks & Sir Colin Davis – Berlioz: Symphonie fantastique (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 59:00 minutes | 549 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
The BR-KLASSIK label is now taking the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024 as an opportunity to make previously unreleased recordings of concerts that are worth listening to available on CD and as a stream for the first time. Hector Berlioz’s passionate “Symphonie fantastique”, the almost revolutionary symphonic masterpiece by the great French composer, was performed by Colin Davis with the Bavarian Radio Symphony Orchestra at Munich’s Philharmonie im Gasteig on January 15 and 16, 1987. In his “Symphonie fantastique”, subtitled “Episodes from the Life of an Artist”, Berlioz combines the structures of the musical symphony with the form of a five-part classical drama. With the help of a leitmotif (an “idée fixe”), he tells the listener about the beloved woman of his dreams. The “Symphonie fantastique” thus paved the way for the symphonic poems of the Romantic period as well as the leitmotif method in Wagner’s music dramas. “I am still unknown,” wrote Berlioz in June 1829 at the age of 25 – but he was certain that he could achieve resounding success with the idea of a major instrumental work. With his “Symphonie fantastique”, he created a new kind of programme music. Berlioz was inspired by the works of Goethe and by Beethoven’s symphonic music – and also the fascination he felt for the Irish actress Harriet Smithson, whom he saw play Ophelia in Shakespeare’s Hamlet at the Odéon Theatre in Paris on September 11, 1827. The “Idée fixe”, the main theme, refers to the artist going through his life story in various inner states of mind. The starting point of the first movement is an unhappy love affair. The music presses ahead passionately and captivatingly towards its finale.
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Symphonieorchester des Bayerischen Rundfunks & Mariss Jansons – Tschaikowsky: Symphonie Nr. 5, Francesca da Rimini (2010)
DFF Stereo DSD64/2.82MHz | Time – 01:09:48 minutes | 2,75 GB | Genre: Classical
Source: SACD | Artwork: Front cover | © BR-KLASSIK
In two live-recordings from the Philharmonie München with Tchaikovskys Symphony No. 5 and his Orchestral Fantasia “Francesca da Rimini” Mariss Jansons proves his deep understanding and close relationship to the music of Peter Tchaikovsky. Jansons shows his “Russian Soul” and makes the music shine with all its emotions and powerful colors.
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Isabelle Faust, Symphonieorchester des Bayerischen Rundfunks & Jakub Hruša – Britten: Violin Concerto, Chamber Works (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 01:04:55 minutes | 1,22 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © harmonia mundi
After Berg, Schoenberg, Bartók and Stravinsky, Isabelle Faust now tackles Britten with Jakub Hrůša and the Bavarian Radio Symphony Orchestra, revealing a little-known facet of the British composer. This concerto, highly personal in its language, combines drama with humour, seriousness with satire, in music of overwhelming emotional depth. The programme is completed by early chamber works.
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Symphonieorchester des Bayerischen Rundfunks & Matthias Herrmann – Helmut Lachenmann: My Melodies (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 59:19 minutes | 523 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR Klassik
To mark the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024, the BR-KLASSIK label is now making previously unreleased recordings of concerts worth listening to available on CD and as a stream. The six-part composition My Melodies for eight horns and orchestra was composed between 2016 and 2018, revised for the first time in 2019, and then again in 2023 as the musica viva Munich version. It was commissioned by Bavarian Radio’s musica viva with the support of the Friends of the Bavarian Radio Symphony Orchestra e.V. This is a live recording of the premiere of the Munich 2023 version of June 23, 2023 from the Herkulessaal, again as part of BR’s musica viva concert series, with the horn section and the Bavarian Radio Symphony Orchestra under the direction of Matthias Hermann. Helmut Lachenmann, born in Stuttgart in 1935, is one of the most renowned German composers of contemporary music. He studied piano, music theory and counterpoint in Stuttgart and composition with Luigi Nono in Venice. The first public performances of his works took place in 1962 at the Venice Biennale and at the Darmstadt Summer Courses for New Music. He taught composition in Hanover (1976-1981) and in Stuttgart (1981-1999), and gave numerous master classes in Germany and abroad. His works are performed by internationally renowned players and orchestras all over the world. Helmut Lachenmann has received numerous awards, most recently the GEMA German Music Authors’ Prize for his life’s work (2015). The phenomenon of melody has long preoccupied Helmut Lachenmann. He went to study in Venice at the end of the 1950s with Luigi Nono, a teacher who strictly insisted on a critically reflective approach to musical material. Nono had objected to any trace of linear progression in Lachenmann’s compositional sketches as a “tonal cell” – a melodic object that was seen as a recourse to a romanticising tonal language that had to be overcome. The impetus for the scoring of My Melodies came from a rehearsal of Lachenmann’s opera The Little Match Girl in Madrid in 2008: eight horns forming a homogeneous yet at the same time complex instrument. The premiere took place ten years later. In 2023, My Melodies was extended by 77 additional bars since that first performance, with Lachenmann drawing on further sketch material. It is rare for the composer to alter his own works after their premiere – but the sound ideas for the eight horns seem to have retained a special fascination for him. The bonus tracks offer short excerpts from this concert recording of My Melodies. They present characteristic passages of the work, inviting listeners to detect specific noises or sequences and to familiarise themselves with Lachenmann’s world of sound.
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Symphonieorchester des Bayerischen Rundfunks & Heinz Wallberg – Richard Strauss: Die Schweigsame Frau (Scenes) (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 50:31 minutes | 668 MB | Genre: Classical, Opera
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
To mark the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024, the BR-KLASSIK label is now making previously unreleased recordings of concerts worth listening to available for the first time on CD and as a stream. Excerpts from Richard Strauss’s comic opera “Die schweigsame Frau” (“The Silent Woman”) were pre-produced as studio recordings for a television programme in November 1960. The impressive cast was almost identical to that of the opera production at the Salzburg Festival in 1959 under the premiere conductor Karl Böhm: Hans Hotter (Sir Morosus), Hermann Prey (Barber), Fritz Wunderlich (Henry) as well as Ingeborg Hallstein (Aminta) and many others sang. Here, Heinz Wallberg conducts the Bavarian Radio Symphony Orchestra, and in contrast to the live recording from Salzburg, which is marred by the clearly audible stage noises of a turbulent production, the outstanding cast of singers in this recording is more effective. The BR-KLASSIK label is now marking the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024 by making this previously unreleased studio production available for the first time on CD and as a stream. After the death of Hugo von Hofmannsthal, Strauss thought he had reached the end of his operatic career – but then he found a librettist of equal calibre in Stefan Zweig, who provided him with “the best libretto for an opéra comique since Figaro” (Strauss). The comic opera was written between 1932 and 1935 and, despite the fact that Zweig was a Jewish librettist (who had since emigrated), Strauss managed to have the opera premiered in Dresden on June 24, 1935, conducted by Karl Böhm. However, because the composer insisted on printing Zweig’s name on the posters and in the programme, the Nazis boycotted the performance. And after the Gestapo intercepted a letter that Strauss had written to Zweig expressing his delight at the successful premiere, the composer finally fell out of favour. The opera was taken off the programme after only three performances, and was not performed at any other German theatre until 1946. Strauss resigned from the presidency of the Reich Chamber of Music “for health reasons”. Strauss endowed “Die schweigsame Frau” with an overabundance of musical ideas, turbulent ensembles and individual tone colours; light comedy and grand arias alternate. He casually quotes himself and a dozen other composers, including Rossini, whose “Barber of Seville” was the model for his talkative and manipulative barber. Music connoisseurs appreciate the many musical allusions in the work.
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![Symphonieorchester Des Bayerischen Rundfunks- Mahler Symphony No. 6 in A Minor Tragic (Live) (2024) [24Bit-96kHz] FLAC [PMEDIA] ⭐️ Download](https://i0.wp.com/imageurl.xyz/images/2024/03/05/SymphonieorchesterDesBayerischenRundfunksMahlerSymphonyNo.6inAMinorTragicLive202424Bit96kHzFLACPMEDIA.jpg?ssl=1)
Symphonieorchester des Bayerischen Rundfunks & Simon Rattle – Mahler: Symphony No. 6 (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 01:21:59 minutes | 1,53 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR Klassik
“Among Simon Rattle’s first concert programmes as the new chief conductor of the Bavarian Radio Symphony Orchestra was Gustav Mahler’s Sixth Symphony. The performances marked the beginning of a new chapter in Mahler interpretation, for Rattle, like his predecessors Jansons, Maazel and Kubelík, is an ardent admirer of the composer. BR-KLASSIK has now released the live recording of the concerts. Gustav Mahler’s Sixth Symphony is perhaps the darkest work he ever wrote – its nickname is “The Tragic”. And there is something almost destructive about the final movement. “”But strangely enough,”” says Simon Rattle, “”it is also a very classical symphony. Yes, it is extreme, but for long stretches it is less wild than other works of his – although of course it does convey a harrowing message. But it’s like a lot of great works: there are always different ways of reading them. I’ve been conducting the Sixth for forty years now, and over time I’ve come to realise that it also contains hope.”” Mahler composed his Sixth Symphony during the summers of 1903 and 1904 at his “composer’s cottage” in Maiernigg, near Klagenfurt. At the Vienna performance in 1907 (the third under his baton), he called it the “”Tragic Symphony”” – a nickname that soon became the stuff of legend. In particular, the darkness and devastating hopelessness of the finale – written at a time when he was at the high point of his life, both professionally and personally – are puzzling. Even his wife Alma could not quite explain the contradiction. As always, it was in and through music that Mahler came to terms with his experiences, exploring themes such as farewell, the meaning of existence, death, redemption, the afterlife, and love. More than other Mahler works, the Sixth Symphony is committed to “”classical”” symphonic form: it is in four movements and has no vocal parts. Despite all the liberties it takes, the opening movement follows sonata form. The Andante draws on the rondo form, as do the Scherzo and the Finale. The march, which sets the tone from the very first note of the first movement, plays a major role. Very unusually, even the Scherzo has march-like features and seems like a parodistic paraphrase of the opening, with a change of perspective. Simon Rattle concludes: “I think Mahler presents here the whole package of a colossal life – and that includes love and optimism.”””
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Mariss Jansons, Symphonieorchester Des Bayerischen Rundfunks – R. Strauss: Eine Alpensinfonie, Op. 64, TrV 233 (Live) (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 51:08 minutes | 524 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
Superlatives should be used sparingly. Nevertheless, there is probably no work in the centuries-old genre of programme music that is easier for listeners to understand than An Alpine Symphony by Richard Strauss. Moreover, no composition in the long series of sonorous descriptions of nature, including bird calls, pastoral sounds and storm effects was probably ever scored for as many instruments as this highly eventful hike through the Werdenfelser Land in Bavaria. No orchestra in the world can, with its salaried musicians alone, present this piece the way Strauss ideally envisioned it and as he proposes in the score: the composer calls for some 130 instrumentalists, including at least 12 horn players and, ideally, even more. And no work that reproduces the realities and phenomena of nature – civilized nature, atmosphere, sunrise and sunset – in music has ever been treated with so much reserve with regard to its actual artistic content as this Alpine Symphony, a latecomer in Strauss’ symphonic work. This over-sensational depiction of what is, ultimately, a mere hike through the mountains sparked several arguments about whether the returns had justified the investment.
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Bernard Haitink, Symphonieorchester Des Bayerischen Rundfunks – Bruckner: Symphony No. 8 in C Minor, WAB 108 (Ed. R. Haas) (Live) (2023)
FLAC (tracks) 24 bit/48 kHz | Time – 01:28:04 minutes | 905 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR Klassik
The Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra were linked by a long and intensive artistic collaboration, brought to an abrupt end by his death in October 2021. BR-KLASSIK now presents outstanding and as yet unreleased live recordings of concerts from the past years. This recording of Bruckner’s “Te Deum” and his Eighth Symphony (version by Robert Haas, 1939) documents concerts performed in the Philharmonie im Gasteig in November 2010, and in the Herkulessaal of the Munich Residenz in December 1993.
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Augustin Hadelich, Symphonieorchester des Bayerischen Rundfunks & Jakub Hrůša – Bohemian Tales (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 01:21:29 minutes | 827 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
“Mr Hadelich increasingly seems to be one of the outstanding violinists of his generation,” wrote the New York Times after Augustin Hadelich played Dvorák’s Violin Concerto under Czech-born Jakub Hrusa’s baton in 2017. Hadelich and Hrusa have now recorded the concerto with the Symphonieorchester des Bayerischen Rundfunks.
Bohemian Tales pairs the concerto with works for violin and piano by Dvorák and two other major Czech composers of the late 19th/early 20th centuries, Leos Janácek and Josef Suk. The pianist is Charles Owen.
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Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons – Strauss: Eine Alpensinfonie; Tod und Verklärung (2016)
FLAC (tracks) 24 bit/48 kHz | Time – 01:14:47 minutes | 766 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
“An Alpine Symphony” is probably Strauss’ most famous symphonic poem. Its content is easily understandable, and the work became especially well-known for its gigantic orchestra. The music is far from heavy-handed, however, with many of the passages orchestrated like chamber music. Like a kind of greeting from the Bavarian Alps, as it were, the Symphonieorchester des Bayerischen Rundfunks and its chief conductor Mariss Jansons have placed this masterpiece, and the music of Richard Strauss in general, on the programme of their forthcoming tour of Asia in late 2016.
At the age of just fifteen, the budding composer Richard Strauss (1864-1949) lost his way during a summer hike on the Heimgarten in the Bavarian Alps, and ended up in a thunderstorm. The next day, he fantasized about the experience on the piano. – Twenty years later, that memory had matured into a concept describing a one-day hike in the form of a symphonic poem, and in 1915 – a further fifteen years later – Strauss finally completed his masterpiece. The hike begins in the darkness before dawn, and after sunrise the ascent goes through a forest, past a stream and a waterfall, through meadows and pastures, and up to a glacier. The hiker then loses his way, and after several risky moments arrives at the summit, where he also experiences a vision. The weather then suddenly worsens, and the descent is accompanied by heavy rain and fierce thunderstorms. The eventful day – summarized in just sixty minutes of music – ends with a sunset, and darkness returns.
The live recording of “Alpine Symphony” concerts planned for October 2016 in Munich’s Philharmonie im Gasteig is enhanced on this latest CD from BR-KLASSIK by the addition of Strauss’ symphonic poem “Death and Transfiguration”, first performed in 1890; the recording here is of concerts performed in Munich in February 2014. – We thus have two very recent interpretations of two of this great German composer’s most important tone poems on one CD.
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Symphonieorchester Des Bayerischen Rundfunks, Mariss Jansons – Tchaikovsky: Symphony No. 5 in E Minor, Op. 64, TH 29 (Rehearsal Excerpts) (2021)
FLAC (tracks) 24 bit/48 kHz | Time – 53:48 minutes | 533 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BR-Klassik
His Fifth Symphony is one of Tchaikovsky’s most popular works today. A live recording of the rehearsals for this work with the Symphonieorchester des Bayerischen Rundfunks and Mariss Jansons from 2009 is now published in a special edition!
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