Gustav Mahler’s gigantic “Symphony No. 2” in C minor usually fills out a concert on its own. But in this recording with the Symphonieorchester des Bayerischen Rundfunks (Bavarian Radio Symphony Orchestra) under its principal conductor Mariss Jansons, the work is introduced by an exquisite – and fitting – choral work: A contemporary (1982) 16-voice arrangement of a song by Mahler, “Ich bin der Welt abhanden gekommen”, based on a poem by Friedrich Rückert and originally composed for voice and orchestra in 1901 – performed here by the superb Chor des Bayerischen Rundfunks (Bavarian Radio Choir). The nickname “Resurrection” for Mahler’s “Second Symphony” is derived from the closing chorus of the last movement, in which Mahler set to music verses from Klopstock’s “Messias”. Although the symphony is a challenge to perform, due to the length of the work as well as the exceptionally large musical scoring, it has become part of the standard repertoire. The “Second Symphony” is a central work in Mahler’s oeuvre, a work whose Munich performance of 1900 brought him the long hoped-for recognition as composer.
Aktualisiert: 2023-05-18
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A “star event” wrote The Guardian about the performance of Johannes Brahms’ “Second Symphony” with the Bavarian Radio Symphony Orchestra under Mariss Jansons. Recalling that this orchestra is now “among the leading ensembles in the world,” The Guardian asserted that “their style is generous, warm and big-hearted, their relationship with Jansons one of mutual adoration.”
In 1926 Leoš Janáček wrote his contribution to liturgical settings in a language last spoken about a thousand years ago. With the “Glagolitic Mass” he wanted to emphasize the common bonds between the Slavic nations by writing the text in Old Church Slavonic, which used an alphabet devised by Saints Cyril and Methodius called “Glagolitic”. In this “blistering performance” (The Guardian) filmed at the Lucerne Easter Festival 2012, the Bavarian Radio Chorus complemented the instrumental ensemble of the Bavarian Radio Symphony Orchestra under Mariss Jansons to “give a compelling reading with an enormous breadth of dynamics and an impressive presence, and with the Slovak-Russian quartet guaranteeing idiomatic soli” (Neue Zürcher Zeitung).
Aktualisiert: 2023-05-18
> findR *
Ludwig van Beethoven - ein Komponist zwischen Genie und Wahnsinn, Tradition und Moderne. 2012 erfüllte sich der lettische Stardirigent Mariss Jansons einen Herzenswunsch und brachte sämtliche Sinfonien von Beethoven gemeinsam mit dem Symphonieorchestter des Bayerischen Rundfunks zur Aufführung in einem der schönsten Konzertsäle der Welt - der Suntory Hall in Tokyo. Konzerte, die von den Besuchern mit großer Begeisterung aufgenommen wurden. Musik, die begeistert!
3 DVD Box Set
Untertitel: DE, GB, FR, ES, IT, KOR
Aktualisiert: 2023-05-18
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Conducting the brilliantly disposed Bavarian Radio Chorus and Symphony Orchestra, Mariss Jansons transforms the Golden Hall of Vienna’s Musikverein into a heavenly anteroom. From the very fi rst, hushed measures, the orchestra “once again impressively demonstrates its leading rank among the German orchestras” (Die Presse).
The four outstanding soloists fuse together to project a vast range of emotions, from whispered reverence to emotional upheavals. While Bulgarian soprano Krassimira Stoyanova has been closely associated with the Wiener Staatsoper for several years now, mezzo-soprano Marina Prudenskaya has been steadily building her international career, one major role after another. Albanian-born tenor Saimir Pirgu was chosen by Claudio Abbado at the young age of 22 to sing Ferrando in “Così fan tutte.” Bulgarian bass Orlin Anastassov, meanwhile, has established himself as a superb Verdi singer. Verdi’s “Messa da Requiem” is in itself a work of superlatives: a towering structure of blazing brass, mighty choral masses and tour-deforce passages for four soloists... a work of deepest and most heartfelt intimacy... a mass for the dead without any mawkish undertones... quite possibly the foremost achievement in 19th-century liturgical music.
Aktualisiert: 2023-05-18
> findR *
Conducting the brilliantly disposed Bavarian Radio Chorus and Symphony Orchestra, Mariss Jansons transforms the Golden Hall of Vienna’s Musikverein into a heavenly anteroom. From the very fi rst, hushed measures, the orchestra “once again impressively demonstrates its leading rank among the German orchestras” (Die Presse).
The four outstanding soloists fuse together to project a vast range of emotions, from whispered reverence to emotional upheavals. While Bulgarian soprano Krassimira Stoyanova has been closely associated with the Wiener Staatsoper for several years now, mezzo-soprano Marina Prudenskaya has been steadily building her international career, one major role after another. Albanian-born tenor Saimir Pirgu was chosen by Claudio Abbado at the young age of 22 to sing Ferrando in “Così fan tutte.” Bulgarian bass Orlin Anastassov, meanwhile, has established himself as a superb Verdi singer. Verdi’s “Messa da Requiem” is in itself a work of superlatives: a towering structure of blazing brass, mighty choral masses and tour-deforce passages for four soloists... a work of deepest and most heartfelt intimacy... a mass for the dead without any mawkish undertones... quite possibly the foremost achievement in 19th-century liturgical music.
Aktualisiert: 2023-05-18
> findR *
Gustav Mahler’s gigantic “Symphony No. 2” in C minor usually fills out a concert on its own. But in this recording with the Symphonieorchester des Bayerischen Rundfunks (Bavarian Radio Symphony Orchestra) under its principal conductor Mariss Jansons, the work is introduced by an exquisite – and fitting – choral work: A contemporary (1982) 16-voice arrangement of a song by Mahler, “Ich bin der Welt abhanden gekommen”, based on a poem by Friedrich Rückert and originally composed for voice and orchestra in 1901 – performed here by the superb Chor des Bayerischen Rundfunks (Bavarian Radio Choir). The nickname “Resurrection” for Mahler’s “Second Symphony” is derived from the closing chorus of the last movement, in which Mahler set to music verses from Klopstock’s “Messias”. Although the symphony is a challenge to perform, due to the length of the work as well as the exceptionally large musical scoring, it has become part of the standard repertoire. The “Second Symphony” is a central work in Mahler’s oeuvre, a work whose Munich performance of 1900 brought him the long hoped-for recognition as composer.
Aktualisiert: 2023-05-18
> findR *
Ludwig van Beethoven – a composer between genius and madness, tradition and modernism. It is not without good reason that the German composer is considered both consummator of Viennese Classicism as well as pioneer of Romanticism. He created works whose impact on the development of several genres in terms of formal structures can hardly be matched in music history. His large-scale orchestral compositions constitute an integral part of his oeuvre. He composed nine symphonies within 24 years – the “First” at the age of 29, the “Ninth” and last he completed almost entirely deaf in 1824. Last year, Latvian conductor Mariss Jansons fulfilled his heart’s desire and performed all of Beethoven’s symphonies together with the Bavarian Radio Symphony Orchestra in one of the world’s most beautiful concert halls – the Suntory Hall in Tokyo. Concerts, that received enthusiastic response from the audience. Music, that inspires.
Aktualisiert: 2022-08-22
> findR *
Gustav Mahler’s gigantic “Symphony No. 2” in C minor usually fills out a concert on its own. But in this recording with the Symphonieorchester des Bayerischen Rundfunks (Bavarian Radio Symphony Orchestra) under its principal conductor Mariss Jansons, the work is introduced by an exquisite – and fitting – choral work: A contemporary (1982) 16-voice arrangement of a song by Mahler, “Ich bin der Welt abhanden gekommen”, based on a poem by Friedrich Rückert and originally composed for voice and orchestra in 1901 – performed here by the superb Chor des Bayerischen Rundfunks (Bavarian Radio Choir). The nickname “Resurrection” for Mahler’s “Second Symphony” is derived from the closing chorus of the last movement, in which Mahler set to music verses from Klopstock’s “Messias”. Although the symphony is a challenge to perform, due to the length of the work as well as the exceptionally large musical scoring, it has become part of the standard repertoire. The “Second Symphony” is a central work in Mahler’s oeuvre, a work whose Munich performance of 1900 brought him the long hoped-for recognition as composer.
Aktualisiert: 2021-05-20
> findR *
Gustav Mahler’s gigantic “Symphony No. 2” in C minor usually fills out a concert on its own. But in this recording with the Symphonieorchester des Bayerischen Rundfunks (Bavarian Radio Symphony Orchestra) under its principal conductor Mariss Jansons, the work is introduced by an exquisite – and fitting – choral work: A contemporary (1982) 16-voice arrangement of a song by Mahler, “Ich bin der Welt abhanden gekommen”, based on a poem by Friedrich Rückert and originally composed for voice and orchestra in 1901 – performed here by the superb Chor des Bayerischen Rundfunks (Bavarian Radio Choir). The nickname “Resurrection” for Mahler’s “Second Symphony” is derived from the closing chorus of the last movement, in which Mahler set to music verses from Klopstock’s “Messias”. Although the symphony is a challenge to perform, due to the length of the work as well as the exceptionally large musical scoring, it has become part of the standard repertoire. The “Second Symphony” is a central work in Mahler’s oeuvre, a work whose Munich performance of 1900 brought him the long hoped-for recognition as composer.
Aktualisiert: 2021-05-20
> findR *
A “star event” wrote The Guardian about the performance of Johannes Brahms’ “Second Symphony” with the Bavarian Radio Symphony Orchestra under Mariss Jansons. Recalling that this orchestra is now “among the leading ensembles in the world,” The Guardian asserted that “their style is generous, warm and big-hearted, their relationship with Jansons one of mutual adoration.”
In 1926 Leoš Janáček wrote his contribution to liturgical settings in a language last spoken about a thousand years ago. With the “Glagolitic Mass” he wanted to emphasize the common bonds between the Slavic nations by writing the text in Old Church Slavonic, which used an alphabet devised by Saints Cyril and Methodius called “Glagolitic”. In this “blistering performance” (The Guardian) filmed at the Lucerne Easter Festival 2012, the Bavarian Radio Chorus complemented the instrumental ensemble of the Bavarian Radio Symphony Orchestra under Mariss Jansons to “give a compelling reading with an enormous breadth of dynamics and an impressive presence, and with the Slovak-Russian quartet guaranteeing idiomatic soli” (Neue Zürcher Zeitung).
Aktualisiert: 2021-05-20
> findR *
Conducting the brilliantly disposed Bavarian Radio Chorus and Symphony Orchestra, Mariss Jansons transforms the Golden Hall of Vienna’s Musikverein into a heavenly anteroom. From the very fi rst, hushed measures, the orchestra “once again impressively demonstrates its leading rank among the German orchestras” (Die Presse).
The four outstanding soloists fuse together to project a vast range of emotions, from whispered reverence to emotional upheavals. While Bulgarian soprano Krassimira Stoyanova has been closely associated with the Wiener Staatsoper for several years now, mezzo-soprano Marina Prudenskaya has been steadily building her international career, one major role after another. Albanian-born tenor Saimir Pirgu was chosen by Claudio Abbado at the young age of 22 to sing Ferrando in “Così fan tutte.” Bulgarian bass Orlin Anastassov, meanwhile, has established himself as a superb Verdi singer. Verdi’s “Messa da Requiem” is in itself a work of superlatives: a towering structure of blazing brass, mighty choral masses and tour-deforce passages for four soloists... a work of deepest and most heartfelt intimacy... a mass for the dead without any mawkish undertones... quite possibly the foremost achievement in 19th-century liturgical music.
Aktualisiert: 2021-05-20
> findR *
Conducting the brilliantly disposed Bavarian Radio Chorus and Symphony Orchestra, Mariss Jansons transforms the Golden Hall of Vienna’s Musikverein into a heavenly anteroom. From the very fi rst, hushed measures, the orchestra “once again impressively demonstrates its leading rank among the German orchestras” (Die Presse).
The four outstanding soloists fuse together to project a vast range of emotions, from whispered reverence to emotional upheavals. While Bulgarian soprano Krassimira Stoyanova has been closely associated with the Wiener Staatsoper for several years now, mezzo-soprano Marina Prudenskaya has been steadily building her international career, one major role after another. Albanian-born tenor Saimir Pirgu was chosen by Claudio Abbado at the young age of 22 to sing Ferrando in “Così fan tutte.” Bulgarian bass Orlin Anastassov, meanwhile, has established himself as a superb Verdi singer. Verdi’s “Messa da Requiem” is in itself a work of superlatives: a towering structure of blazing brass, mighty choral masses and tour-deforce passages for four soloists... a work of deepest and most heartfelt intimacy... a mass for the dead without any mawkish undertones... quite possibly the foremost achievement in 19th-century liturgical music.
Aktualisiert: 2021-05-20
> findR *
Ludwig van Beethoven - ein Komponist zwischen Genie und Wahnsinn, Tradition und Moderne. 2012 erfüllte sich der lettische Stardirigent Mariss Jansons einen Herzenswunsch und brachte sämtliche Sinfonien von Beethoven gemeinsam mit dem Symphonieorchestter des Bayerischen Rundfunks zur Aufführung in einem der schönsten Konzertsäle der Welt - der Suntory Hall in Tokyo. Konzerte, die von den Besuchern mit großer Begeisterung aufgenommen wurden. Musik, die begeistert!
3 DVD Box Set
Untertitel: DE, GB, FR, ES, IT, KOR
Aktualisiert: 2021-09-01
> findR *
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