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BELVEDERE

30% RABAT!

Hos Belvedere finder du nogle af de rigtig store stjerner blandt andre: Yo-Yo Ma, Julia Fischer, Klara Haskil, Mariss Jansons, Franz Welser-Möst, Nikolaus Harnoncourt, Barbara Bonney og mange flere på såvel CD, Blu-ray og DVD.

I November kan vi tilbyde 30 % rabat på hele kataloget!

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Image Symphony No. 8; Don Quixote (DVD)
Recorded at the Philharmonie am Gasteig, Munich, 2016

As an artist in residence with the Bavarian Radio Symphony Orchestra, the American cellist Yo-Yo Ma had the opportunity to do what is perhaps the second thing he loves the most after playing: sharing his love of music with others.

During his residency, he transformed himself from sensitive teacher to inimitable Bach interpreter to first cello of a major symphony orchestra.

Yo-Yo Ma doesn’t fade away into the music, nor does he take a worshipful attitude towards the pieces he performs. From the moment he walks onto the stage, he exudes charisma that immediately confirms his exceptional status as the 'best cellist in the world'.

With its ten variations on a theme of knightly character for full orchestra, Richard Strauss’ tone poem 'Don Quixote' not only depicts the colorful adventures of Cervantes' chivalrous hero, but also functions as a virtuoso display of glorious solo melodies embedded in stunning orchestral passages. It is, in a way, a second Strauss cello concerto. Joining 'the Don' later is a viola solo that personifies the faithful Sancho Panza and is played by Wen Xiao Zheng.

To those in the know, Jansons’ partnership with the great Munich-based BRSO is one of the most transcendent conductor-orchestra pairings.

kr. 153,97 (kr. 219,95)
Image Symphony No. 8; Don Quixote (Blu-ray)
Recorded at the Philharmonie am Gasteig, Munich, 2016

As an artist in residence with the Bavarian Radio Symphony Orchestra, the American cellist Yo-Yo Ma had the opportunity to do what is perhaps the second thing he loves the most after playing: sharing his love of music with others.

During his residency, he transformed himself from sensitive teacher to inimitable Bach interpreter to first cello of a major symphony orchestra.

Yo-Yo Ma doesn’t fade away into the music, nor does he take a worshipful attitude towards the pieces he performs. From the moment he walks onto the stage, he exudes charisma that immediately confirms his exceptional status as the 'best cellist in the world'.

With its ten variations on a theme of knightly character for full orchestra, Richard Strauss’ tone poem 'Don Quixote' not only depicts the colorful adventures of Cervantes' chivalrous hero, but also functions as a virtuoso display of glorious solo melodies embedded in stunning orchestral passages. It is, in a way, a second Strauss cello concerto. Joining 'the Don' later is a viola solo that personifies the faithful Sancho Panza and is played by Wen Xiao Zheng.

To those in the know, Jansons’ partnership with the great Munich-based BRSO is one of the most transcendent conductor-orchestra pairings.

kr. 153,97 (kr. 219,95)
Image Academic Festival Overture; Violin Concerto; Symph
The Cleveland Orchestra is the “aristocrat among American orchestras” (The Telegraph) and its sovereign, Franz Welser-Möst, rules his subjects with a velvet glove. Indeed, velvet and silk keep showing up in descriptions of the Clevelanders’ sound under its principal conductor. It is Welser-Möst’s nimble alternation between smoothness and a sound that’s as “sharp-edged as a skyscraper” (The Telegraph after the Brahms’ First at the orchestra’s London Proms concert). That keeps the ensemble and the audience figuratively on its toes.Brahms’ Fourth and last Symphony could be said to glow with autumnal colours. Endowed with a strong undercurrent of subdued melancholy, it seems to pine for an irretrievable past. Franz Welser-Möst offers a “lean, propulsive performance” (The Plain Dealer) of this work with his highly concentrated Cleveland Orchestra. The swift pace of the symphony in Welser-Möst’s hands reflects the conductor’s quest for a distinctive, far-from-the-mainstream interpretation.Written nearly contemporaneously in the late 1870s, Johannes Brahms’ rousing Academic Festival Overture and Violin Concerto op. 77 bear witness to a composer at the height of his abilities, a mature master of large-scale masterpieces. The Violin Concerto demands extreme technical proficiency. As if to exemplify this, violinist Julia Fischer gears herself from the very start of this emotionally searing work to maintaining a restrained yet passionate tone.

kr. 153,97 (kr. 219,95)
Image Academic Festival Overture; Violin Concerto; Symph
The Cleveland Orchestra is the “aristocrat among American orchestras” (The Telegraph) and its sovereign, Franz Welser-Möst, rules his subjects with a velvet glove. Indeed, velvet and silk keep showing up in descriptions of the Clevelanders’ sound under its principal conductor. It is Welser-Möst’s nimble alternation between smoothness and a sound that’s as “sharp-edged as a skyscraper” (The Telegraph after the Brahms’ First at the orchestra’s London Proms concert). That keeps the ensemble and the audience figuratively on its toes.

kr. 153,97 (kr. 219,95)
Image Stabat Mater (DVD)
Like a prayer that comes from the heart "... stood the mournful Mother weeping" whispers the chorus after the orchestral introduction of Antonín Dvorák 's most celebrated choral work, the Stabat mater op. 58. As the work builds up to include the four vocal soloists, the obsessively repeated main motif of a descending chromatic line begins to work its magic on the rapt audience. And under the baton of Mariss Jansons, the Chorus and Symphony Orchestra of the Bayerischer Rundfunk, graced with four superb soloists, take us to a higher sphere of artistry, where hushed tones alternate with glorious fortissimi. Next to a Bruckner symphony performed by Jansons and his ensemble, the Stabat mater was, in the words of the Neue Zürcher Zeitung, "the second high point of this year's Lucerne Easter Festival," the venue of our concert. Perhaps Dvorák was truly moved by the death of his two-day-old daughter to write the work; Jansons, however, sees within it a broader and more profound range of sorrow. Having begun the work in late 1875 / early 1876, but set aside soon, Dvorák returned to it after two tragedies befell him and plunged him into an uncharacteristically melancholic mood: the accidental death of his 11-month-old daughter Rose and the succumbing to smallpox of his three-year-old son Otakar. Yet even stricken with grief, Dvorák could not resist writing simple, folk-like, life-affirming melodies for his luminous Stabat mater. To master these tragic events, the devout Catholic Dvorák sought comfort and strength in God and in the composition of a work dedicated to the Mother of Sorrows.

kr. 153,97 (kr. 219,95)
Image Stabat Mater (Blu-ray)
Like a prayer that comes from the heart "... stood the mournful Mother weeping" whispers the chorus after the orchestral introduction of Antonín Dvorák 's most celebrated choral work, the Stabat mater op. 58. As the work builds up to include the four vocal soloists, the obsessively repeated main motif of a descending chromatic line begins to work its magic on the rapt audience. And under the baton of Mariss Jansons, the Chorus and Symphony Orchestra of the Bayerischer Rundfunk, graced with four superb soloists, take us to a higher sphere of artistry, where hushed tones alternate with glorious fortissimi. Next to a Bruckner symphony performed by Jansons and his ensemble, the Stabat mater was, in the words of the Neue Zürcher Zeitung, "the second high point of this year's Lucerne Easter Festival," the venue of our concert.Perhaps Dvorák was truly moved by the death of his two-day-old daughter to write the work; Jansons, however, sees within it a broader and more profound range of sorrow. Having begun the work in late 1875 / early 1876, but set aside soon, Dvorák returned to it after two tragedies befell him and plunged him into an uncharacteristically melancholic mood: the accidental death of his 11-month-old daughter Rose and the succumbing to smallpox of his three-year-old son Otakar. Yet even stricken with grief, Dvorák could not resist writing simple, folk-like, life-affirming melodies for his luminous Stabat mater. To master these tragic events, the devout Catholic Dvorák sought comfort and strength in God and in the composition of a work dedicated to the Mother of Sorrows.

kr. 153,97 (kr. 219,95)
Image Symphony No. 9
The Ninth's "sharply profiled landscape" sketched by the Bavarian Radio Symphony Orchestra under the incomparable
Mariss Jansons was, in the words of the daily newspaper Süddeutsche Zeitung, a "musical feast." And London's The
Guardian was so bold as to proclaim the orchestra "one of the world's great ensembles." Conductor Mariss Jansons and Mussorgsky's "Pictures at an Exhibition" were predestined to come together. The lavish
colors of Ravel's orchestration of the Russian work, the breathtaking inventiveness of the wildly different movements that are
all interconnected through a recurring "Promenade" - few conductors are as adept as Jansons to savor all the richness and
colorfulness of the paintings and sketches by Victor Hartmann. A noted artist and architect, Hartmann was friends with the
Group of Five, a loose society of composers and musicians.

kr. 153,97 (kr. 219,95)
Image Symphony No. 9 (BD)
The Ninth's "sharply profiled landscape" sketched by the Bavarian Radio Symphony Orchestra under the incomparable
Mariss Jansons was, in the words of the daily newspaper Süddeutsche Zeitung, a "musical feast." And London's The
Guardian was so bold as to proclaim the orchestra "one of the world's great ensembles." Conductor Mariss Jansons and Mussorgsky's "Pictures at an Exhibition" were predestined to come together. The lavish
colors of Ravel's orchestration of the Russian work, the breathtaking inventiveness of the wildly different movements that are
all interconnected through a recurring "Promenade" - few conductors are as adept as Jansons to savor all the richness and
® harmonia mundi sa, 03-2016
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colorfulness of the paintings and sketches by Victor Hartmann. A noted artist and architect, Hartmann was friends with the
Group of Five, a loose society of composers and musicians.

kr. 153,97 (kr. 219,95)
Image Requiem (DVD)
Mozart’s Requiem may have been written under strange circumstances in the final months of the composer’s life, but the work itself it is timeless. Mariss Jansons and the Bavarian Radio Symphony Orchestra and Chorus give a powerful and poignant performance of Mozart’s masterpiece with an impressive group of solo singers, in a concert recorded live in Munich in May 2017. Even its composer’s death could not halt the success of Mozart’s Requiem. Although left incomplete on his death in December 1791, having been anonymously commissioned, the Requiem was completed by a pupil of Mozart’s, Franz Xaver Süssmayr. By the time it was premiered in 1793, it was already a famous work, shrouded in mystery. But even more mysterious than the story behind it is the magisterial quality of Mozart’s writing, from the ferocity of the Dies irae to the otherworldly grace of the Lacrimosa. Genia Kühmeier, Elisabeth Kulman, Mark Padmore and Adam Plachetka are the world-class soloists joining Jansons and his orchestra and chorus. Padmore was Artist in Residence with the orchestra for the 2016/17 season and his rapport with the orchestra is evident. His ringing, distinctive tenor voice is well matched, too, to Jansons’s eloquent and subtle interpretation. ‘For him it is not about rhetoric, but more about transcendence’, wrote Süddeutsche Zeitung of Jansons’s conducting – suggesting a transcendent faith in humanity, even in the face of death.

kr. 153,97 (kr. 219,95)
Image Requiem (Blu-ray)
Mozart’s Requiem may have been written under strange circumstances in the final months of the composer’s life, but the work itself it is timeless. Mariss Jansons and the Bavarian Radio Symphony Orchestra and Chorus give a powerful and poignant performance of Mozart’s masterpiece with an impressive group of solo singers, in a concert recorded live in Munich in May 2017. Even its composer’s death could not halt the success of Mozart’s Requiem. Although left incomplete on his death in December 1791, having been anonymously commissioned, the Requiem was completed by a pupil of Mozart’s, Franz Xaver Süssmayr. By the time it was premiered in 1793, it was already a famous work, shrouded in mystery. But even more mysterious than the story behind it is the magisterial quality of Mozart’s writing, from the ferocity of the Dies irae to the otherworldly grace of the Lacrimosa. Genia Kühmeier, Elisabeth Kulman, Mark Padmore and Adam Plachetka are the world-class soloists joining Jansons and his orchestra and chorus. Padmore was Artist in Residence with the orchestra for the 2016/17 season and his rapport with the orchestra is evident. His ringing, distinctive tenor voice is well matched, too, to Jansons’s eloquent and subtle interpretation. ‘For him it is not about rhetoric, but more about transcendence’, wrote Süddeutsche Zeitung of Jansons’s conducting – suggesting a transcendent faith in humanity, even in the face of death.

kr. 153,97 (kr. 219,95)
Image VOCAL WORKS
Soprano Barbara Bonney dedicates this evening to lieder by Mozart, Previn and Strauss in a programme that extends from the classical period to the present day. On this new release from Belvedere, which is a recording from Mozartwoche 2000, Barbary Bonney interprets 'Sallie Chisum remembers Billy the Kid' - which was written for her. In Bonney s work with André Previn the American art song has become more and more important. In the third part of the Concert she sings Lieder written by Richard Strauss and shows again her attention to detail and her interest in the meaning of the lyrics. Desire is the theme that weaves in various aspects through all three parts of the concert: in Mozart it is the search for his dream, the longing for spring, the desire to be loved. His 'Kleine deutsche Kantate' KV 619 can be heard as an appeal for tolerance and unity. Prévin bases his compositions on contemporary American poetry and with them touches on the wish for recognition as well as for the abolition of inequality between people. Strauss, on the other hand, expresses in his unique colours the search for peace of mind in nature and in a love that is beyond this world. Barbara Bonney, André Previn ad Franz Bartolomey convey all these messages with a fine yet robust artistry. Sheer enjoyment from Salzburg. Barbara Bonney achieved equal success in art song, oratorio, modern vocal music and opera. Her small but well-projected voice is especially suited to Mozart, the lighter Richard Strauss operas, and all but the heaviest lieder, and she was careful in her choice of repertoire; even in her forties, she could still call forth a fresh, girlish timbre when it was needed. In 1984, she made her Vienna State Opera debut as Sophie in Richard Strauss's 'Der Rosenkavalier', a role which was to become one of her most famous. Another characteristic role, that of Pamina in Mozart's 'Die Zauberflõte', she first undertook in her 1985 La Scala debut. In 1987, she sang Sophie at Monte Carlo, which brought her to the attention of conductor Carlos Kleiber. Lucia Popp, too, greatly admired her Sophie, and when Popp relinquished the role, moving on to the Marschallin, she declared that she was passing it on to Bonney. Her Met debut was in 1988, as Naiad in Strauss's 'Ariadne auf Naxos'. During the 1990s, increasingly able to pick and choose what roles and repertoire she would sing,she began to reduce her operatic roles to a few of her special favorites, such as Pamina, Susanna and Ilia (in Idomeneo), and adding a few new roles, such as Zdenka in Strauss' 'Arabella' and Hanna Glawari (The Merry Widow]). She is currently Professor at the Mozarteum in Salzburg as well as guest professor at the Royal Academy in London.


kr. 104,97 (kr. 149,95)
Image Die schöne Magelone
Legendary German tenor Peter Schreier performing Brahms' beautiful song cycle "Die schone Magellone". Schreier is accompanied by none other than Andras Schiff! Spoken interludes with excerpts from Ludwig Tieck's novella "The Love Story of the Fair Magelone and Count Peter of Provence" are read by Gert Westphal.

kr. 125,97 (kr. 179,95)
Image Piano works
Playing pieces from 'Miroirs' and 'Gaspard de la nuit', empathetic pianist Ragna Schirmer reveals the essence of Ravel's artistic compositions with delicate brilliance. These musical works are animated by an incomparable union of mechanical precision and aching fantasy and these mournfully beautiful sound creations epitomise the artistic soul Maurice Ravel wove into his compositions so assuredly.

Ragna Schirmer has won the highly regarded International Bach Competition in Leipzig twice and the receipt of two of Germany’s top classical music awards, the ECHO Klassik, reflect her remarkable career. Her tutors include Bernard Ringeisen in Paris, himself a student of Marguerite Long, friend and student of Maurice Ravel. She performs in the greatest concert halls of Europe, China and New Zealand, as well as at renowned music festivals such as the Heidelberger Frühling (artist in residence 2010), the Beethovenfest Bonn, the MDR-Musiksommer, the Haydn Festival Eisenstadt, and the Salzburg Festival. She has played with Zubin Mehta, Sir Roger Norrington, Kurt Masur, Sir Neville Marriner, and Herbert Blomstedt, to name only a few, and has performed with orchestras such as the Munich Philharmonic Orchestra, the Orchestre National de France, the Leipzig Gewandhaus and the Academy of St. Martin in the Fields.

kr. 104,97 (kr. 149,95)
Image String Quintets Nos. 1-6
Renaud Capuçon, Alina Ibragimova (violins), Gérard Caussé, Léa Hennino (violas) & Clemens Hagen (cello)

The rarely performed string quintets for two violins, two violas and cello, which Mozart produced in his last four years, show him at his best. With this sleeping giant of his chamber output - well-wrought, deeply expressive chamber music - he created benchmark models for the genre which make it hard not to speculate on what its future might have been had Mozart not died so young. The textural richness and warmth provided by the two violas was an attraction, as was the increased freedom allowed the cello. The extra instrument also enabled Mozart to draw upon a broader set of partnerships, dialogues and accompaniment combinations within the group, in almost symphonic fashion.


kr. 195,97 (kr. 279,95)
Image Johannes Brahms: The Cycle (3 DVD)
The Cleveland Orchestra, Conductor: Franz Welser-Möst Yefim Bronfman Piano, Julia Fischer Violin Academic Festival Overture, Opus 80; Violin Concerto in D major, Opus 77; Symphony No. 4 in E minor, Opus 98; Symphony No. 1 in C minor, Opus 68; Symphony No. 2 in D major, Opus 73; Symphony No. 3 in F major, Opus 90; Variations on a Theme by Haydn, Opus 56a; Piano Concerto No. 1 in D minor, Opus 15; Tragic Overture, Opus 81; Piano Concerto No. 2 in B-flat major, Opus 83.

kr. 314,97 (kr. 449,95)
Image Symphonies Nos. 1, 2 & 3 (DVD)
Johannes Brahms: Symphony No 1 in C minor op. 68 / Symphony No. 2 in D major op. 73 / Symphony No. 3 in F major op. 90

kr. 153,97 (kr. 219,95)
Image Variations on a Theme by Haydn; Tragic Overture; P
The Cleveland Orchestra is the “aristocrat among American orchestras” (The Telegraph) and its sovereign, Franz Welser-Möst, rules his subjects with a velvet glove. Indeed, velvet and silk keep showing up in descriptions of the Clevelanders’ sound under its principal conductor. It is Welser-Möst’s nimble alternation between smoothness and a sound that’s as “sharp-edged as a skyscraper” (The Telegraph after the Brahms’ First at the orchestra’s London Proms concert). That keeps the ensemble and the audience figuratively on its toes.The Second Piano Concerto, completed in 1881, is the work of a composer who has become skilled in the manipulation of large forms. Brahms treats the soloist as an equal partner with the orchestra. Yefim Bronfman has the uncanny ability to play large without stridency, to handle the most delicate passages without losing presence, and to play everything in between with a ravishing sense of tonal colour. Welser-Möst and Bronfman brought pulsing energy to the concerto’s second movement, a Scherzo, setting up an oasis of calm for the third that segued immediately into the genial finale, whose last chords were nearly obliterated by roars of approval from the audience. Laced into his forceful performance of Piano Concerto No. 1 was a surprising element of fury, as if the pianist had come unhinged momentarily. And yet Bronfman was also wholly present, taking time in relaxed passages to savour every second. Which of the two concertos Bronfman knocked further out the park is impossible to say. Both scores the pianist seized by their very hearts, drawing forth all the majesty, raw power and exquisite beauty that each contains.

kr. 153,97 (kr. 219,95)
Image Johannes Brahms: The Cycle (3 Blu-ray)
The Cleveland Orchestra, Conductor: Franz Welser-Möst Yefim Bronfman Piano, Julia Fischer Violin Academic Festival Overture, Opus 80; Violin Concerto in D major, Opus 77; Symphony No. 4 in E minor, Opus 98; Symphony No. 1 in C minor, Opus 68; Symphony No. 2 in D major, Opus 73; Symphony No. 3 in F major, Opus 90; Variations on a Theme by Haydn, Opus 56a; Piano Concerto No. 1 in D minor, Opus 15; Tragic Overture, Opus 81; Piano Concerto No. 2 in B-flat major, Opus 83.

kr. 314,97 (kr. 449,95)
Image Symphonies Nos. 1, 2 & 3 (Blu-ray)
Johannes Brahms: Symphony No 1 in C minor op. 68 / Symphony No. 2 in D major op. 73 / Symphony No. 3 in F major op. 90

kr. 153,97 (kr. 219,95)
Image Variations on a Theme by Haydn; Tragic Overture; P
The Cleveland Orchestra is the “aristocrat among American orchestras” (The Telegraph) and its sovereign, Franz Welser-Möst, rules his subjects with a velvet glove. Indeed, velvet and silk keep showing up in descriptions of the Clevelanders’ sound under its principal conductor. It is Welser-Möst’s nimble alternation between smoothness and a sound that’s as “sharp-edged as a skyscraper” (The Telegraph after the Brahms’ First at the orchestra’s London Proms concert). That keeps the ensemble and the audience figuratively on its toes.

kr. 153,97 (kr. 219,95)
Image Mozart-Lieder
The concert that brought together Peter Schreier, the leading Mozart tenor of the 1970s from Dresden, and Erik Werba, the Vienna-born doyen of lied accompanists on 25 January 1978 featured 17 songs, the cantata with piano accompaniment “Die ihr des unermesslichen Weltalls Schöpfer ehrt” K619 from the final year of Mozart’s life, as well as two encore pieces.

Schreier and Werba obviously intended to present Mozart’s entire lied repertoire, except for those songs whose texts were too obviously written from the perspective of a female protagonist.

From today’s perspective the interpretation of the Mozart songs in this recital is remarkably homogeneous. For Peter Schreier, the opera singer, Mozart was the first true romantic composer. The songs are presented in a deeply emotional, but never sentimental manner. The chosen tempos are therefore rather on the slow side of the spectrum and here as well as in the ballad-like song “Das Veilchen” K476, Schreier makes it apparent how he reads Mozart’s mature, through-composed songs as text based and text centered, as if they were foreshadowing Schubert, Schumann and Brahms.

kr. 77,00 (kr. 110,00)
Image Ein Deutsches Requiem (DVD)
Brahms’ German Requiem is a work of great intensity that speaks to people of all faiths and to believers and non-believers alike. In this concert recorded at the magnificent Baroque basilica of Saint Florian in Austria, The Cleveland Orchestra and its Music Director Franz Welser-Möst pare down all traces of bombast and, together with the Wiener Singverein, soloists Hanna-Elisabeth Müller and Simon Keenlyside, they create a meditation on life and death, hailed by the press as "an event of the first order".

kr. 153,97 (kr. 219,95)
Image Ein Deutsches Requiem (BD)
Brahms’ German Requiem is a work of great intensity that speaks to people of all faiths and to believers and non-believers alike. In this concert recorded at the magnificent Baroque basilica of Saint Florian in Austria, The Cleveland Orchestra and its Music Director Franz Welser-Möst pare down all traces of bombast and, together with the Wiener Singverein, soloists Hanna-Elisabeth Müller and Simon Keenlyside, they create a meditation on life and death, hailed by the press as "an event of the first order".

kr. 153,97 (kr. 219,95)
Image Traumgekrönt
“A Lieder recital is sung speech. So it is my job as an interpreter on the song to lead those listeners speedily and simply into this sphere, to open the way for them into this quite different world. On this CD are songs that I have grown into. Straight away Alban Berg with his “Seven Early Songs”, I definitely wanted to record them in their original version for piano, although I do sing the orchestral version as well these days. Then I searched with pianist Juliane Ruf – she is really on my wavelength – and we soon found Lieder from Richard Strauss. I am in my element with his music and it fits in well with Berg’s fin-de-siecle feeling. Then we targeted our search on songs that leave reality behind, and came upon songs with flowers as their theme. There is a lot of ambiguity in them. I believe the feelings that are portrayed, addressed, analysed in these songs are absolutely contemporary feelings as well. Since they were composed decades have passed, there is much that we may express in different words today, as a singer, I translate that state into the present day. They are beautiful, wonderfully executed paintings of girls, miniatures on an imaginary wall, which speak directly to us.” (Hanna-Elisabeth Muller)

kr. 104,97 (kr. 149,95)
Image Der Schauspieldirektor; Prima la musica e poi le p
Emperor Joseph II was partial to musical contests. In 1786 he decided to regale his visitors with a contest involving what were then the two most popular forms of vocal music for the stage: Italian opera and the German Singspiel. And so he commissioned two works from two composers, both of them outstanding in their respective fields, each work to involve the same basic arrangement. For the Italian opera the choice fell on Antonio Salieri, the director of music at the Vienna Court Opera, while Mozart was chosen to write the German Singspiel. The first performance took place at a magnificent gala at Schönbrunn 1786, when two stages were set up, one at each end of the Orangery. This musical contest produced no outright winner, Joseph II having been astute enough to offer his visitors only the crème de la crème of singers and composers. Salieri’s stature as an opera composer was abundantly demonstrated by Nikolaus Harnoncourt when he conducted Prima la musica at the Mozart Week Festival in Salzburg in 2002 – but at no point was Mozart’s own reputation impugned in consequence.

kr. 125,97 (kr. 179,95)
Image Pierrot lunaire, Op. 21
Mitsuko Uchida, piano
Barbara Sukowa, sprechgesang
Marina Piccinini, flute
Anthony McGill, clarinet
Mark Steinberg, violin
Clemens Hagen, cello

The 2011 Salzburg Festival hosted pianist Mitsuko Uchida, actress Barbara Sukowa, and a hand-picked international ensemble, who performed Schoenberg's 'Pierrot Lunaire' for its centennial with exemplary energy and finesse, acclaimed as a real occasion by audience and critics alike.

Along with the live concert recording, a documentary film was made during the rehearsals at Schloss Elmau in Salzburg on the work's historical, contextual and musical exegesis. Mitsuko Uchida and the other musicians speak of the eclectic scoring for their instruments and the great emotions they constantly encountered during the performance, while Nuria Schoenberg Nono and Lawrence Schoenberg present a variety of original materials from the time when 'Pierrot' was written, retelling how Schönberg was commissioned to compose it in 1912 by elocutionist Albertine Zehme of Berlin. Schoenberg's now-famous expressive device of Sprechgesang and specific instrumentation for each poem characterises the 21 poems in previously unimaginable splendour.

"A good performance needs to have heart and spirit, and that is what we try to achieve. The piano should sing and the voice should speak. I should also play the piano in a way that doesn't sound like piano. I have to sound like the flute, the violin and so on. Everybody melts into one". Mitsuko Uchida

Special Interview Partners: Nuria Schoenberg Nono, Lawrence Schoenberg

1 DVD: Concert 39'32'', Documentary 52'
Sound: 5.1 Dolby Digital Language: English and German
Picture Format: 16:9 Subtitles: English and German



kr. 153,97 (kr. 219,95)
Image Hänsel und Gretel (DVD)
Hansel & Gretel is a fairy tale opera, which Engelbert Humperdinck brilliantly composed in 1892. Its charming melodies are enjoyed by children and adults alike. The Salzburg Marionette Theatre created a fascinating production of Hansel & Gretel performed by renowned singers and highly skilled puppeteers.

kr. 153,97 (kr. 219,95)
Image Rodelina
kr. 195,97 (kr. 279,95)
Image Mozarts Costa-Violine
MOZART: Andante & Fugue Sonata A major K402
Sonata B flat major K454, Sonata A major K526
SCHUBERT: Sonata D major D384, Sonata A minor D385
"This violin originates from Mozart's estate and Mozart always played it. I bought it from Mozart's widow", noted publisher and
composer Johann Anton André around 1840. And in a diary entry by William Hill written on 11 Nov. 1909 he noted: "Dr.
Henkel, who wants to sell his Violin by Petrus della Costa, has sent me the history of the fiddle, it is as follows. His father
bought the violin from Hofrath Anton André of Offenbach about 1840 since which time it has been in the family. Henkel's
father (Kgl. Musikdirector in Frankfurt), was a pupil of André who was one of the first publishers of Mozart's compositions. On
this latter's death he purchased from the widow the greater part of his MSS & effects, amongst which was this identical violin.
André always spoke of it as 'Mozart's violin' and I see no reason to doubt this statement."
The instrument was kept under lock and key by the company Hill & Sons until its dissolution.
During the time Mozart lived and worked in Vienna, he possessed and played the Costa violin. It is quite likely that, now,
Mozart's Costa violin resounds again in this public concert after a very long period of silence.

kr. 104,97 (kr. 149,95)
Image Bernhard Paumgartner probt und dirigiert Mozart
Bernhard Paumgartner conducts the Salzburg Mozarteum Orchestra and rehearses the Symphony in E flat major, K. 543. Through this album we as listeners can share in the process of how an interpretation evolves. In his charming Viennese manner Paumgartner reads and interprets the notation, for and with the orchestral musicians, exploring the meaning beyond what is written down, convinced that humility is essential for the performance of Mozart’s works.

kr. 77,00 (kr. 110,00)
Image Symphonies 39 & 40
kr. 77,00 (kr. 110,00)
Image Piano Sonatas
The CD Wilhelm Backhaus plays Mozart contains a recording of the pianist s recital from 1956, the 200th anniversary of Mozart s birth and also the year when the Mozart Week was founded, and recordings from the recital in 1967. It offers an interesting opportunity to compare Backhaus s interpretations and the implicit relationships between Mozart s compositions. Writing in the CD booklet Wolfgang Schaufler says, 'We have to bear in mind that Backhaus worked closely with Hans Richter who conducted the first performances of some works by Brahms.'


kr. 77,00 (kr. 110,00)
Image Concert for a Deaf Soul (CD+DVD)
Concert for a Deaf Soul is a theatrical take on the secretive life of French composer Maurice Ravel. A harmonious collaboration between Halle Puppet Theatre and pianist Ragna Schirmer has produced an “evening of empathy, filled with love for Ravel and his music.”

kr. 188,65 (kr. 269,50)
Image Concerto for Piano No 20
One of the highlights of the Mozart Week 1956 was the concert, the Herbert von Karajan, Clara Haskil and the Philharmonia Orchestra in London brought together. The qualities of this orchestra knew Karajan with his excellent choice to illuminate program. So z. B. him already offered the slow introduction of the E flat major Symphony KV 543 the opportunity precision and tonal splendor of the orchestra to show. A magical hour experienced listeners in D minor piano concerto K. 466 with Clara Haskil at the piano. Never otherwise it has the slow movement so intimately, so calm, so expressively played as on that evening. In the slow movement, above the hovered a shiver of eternal beauty, the artist has outdone themselves.


kr. 104,97 (kr. 149,95)
Image Super Leben - Friedrich Liechtenstein
A film by Jan Schmidt-Garre about the artist, actor, chansonnier, utopist Friedrich Liechtenstein.

kr. 83,97 (kr. 119,95)
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