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FORÅRSUDSALG: BR KLASSIK 50%

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Image St Matthew Passion, BWV244
Karina Gauvin, Gerhild Romberger, Julian Prégardien, Maximilian Schmitt, Michael Nagy & Karl-Magnus Fredriksson
Chor des Bayerischen Rundfunks, Regensburger Domspatzen, Concerto Köln, Peter Dijkstra

To follow the Christmas Oratorio, the Chor des Bayerischen Rundfunks under its artistic director Peter Dijkstra again present a major work by Johann Sebastian Bach, in a live recording on CD and DVD: the St. Matthew Passion. The choir's instrumental partner is the renowned period instrument group Concerto Köln, who can already be heard together with the choir on several BR-KLASSIK CDs. (Händel: Israel in Egypt, Dixit Dominus; Bach: Magnificat). Bach's epoch-making St. Matthew's Passion can be heard in historically informed performance practice with the renowned Bach singer Julian Prégardien, the Regensburger Domspatzen and further well-known soloists.




kr. 279,95
Image Symphonies Nos 4 & 5
Symphonieorchester des Bayerischen Rundfunks / Mariss Jansons

The Symphonieorchester des Bayerischen Rundfunks has already performed Beethoven symphony cycles on several occasions. Its chief conductor Mariss Jansons has now extended the cycle concept in many respects, with concerts from the Tokyo Suntory Hall with its excellent acoustics, specially assigned commissions from contemporary composers providing their own musical reflections on Beethoven symphonies, and also presentation of the outstanding concert events in live recordings for the music market. The live recordings of Symphonies Nos. 4 and 5 by Ludwig van Beethoven were made in 2012 in the Suntory Hall in Tokyo. The orchestral work Fires by the Lithuanian composer Raminta Šerkšnytes (born 1975) refers to the "con brio" tempo marking of the first movement of Beethoven's Fifth, which can also mean "with fire." It was also recorded in 2012, but in Munich's Herkulessaal.



kr. 139,95
Image Rite of Spring, The / Firebird
Under Lorin Maazel, who held the Chief Conductor position from 1993 to 2002, the Symphonieorchester des Bayerischen Rundfunks reached a new level of performance culture, precision and flexibility. Like no other conductor, Maazel is capable of masterfully handling large-dimensioned works and performing music tightly packed with emotional content clear-headedly to make its effect even greater. The works on this CD mark two key moments in Stravinsky's development as a composer during the period before the First World War. The ballet music for L'oiseau de feu (The Firebird) contains many of the attributes that had made the Sacre such a scandalous avant-garde event in the Paris of 1913: unprecedented sound colors, rapidly changing rhythms, orgiastic climaxes and an exotic subject matter. Lorin Maazel and the Symphonieorchester des Bayerischen Rundfunks - a dream combination for Stravinsky's sensuous and rhythmically irresistible ballet works.



kr. 99,95
Image Fritz Wunderlich
A new CD from BR-KLASSIK commemorating the 50th anniversary of the singer’s death.

Early, as yet unreleased radio recordings made between 1959 and 1965.

Although fifty years have now passed since Fritz Wunderlich’s tragic death on September 17, 1966, the singer and his incomparable tenor voice have remained unforgotten. One reason was the meteoric success of his artistic career. Following his performance in a student production of Mozart's Magic Flute in Freiburg, the young singer was instantly engaged by the Stuttgart State Opera; he then went on to Frankfurt and Munich, performed at the Vienna State Opera and the Salzburg Festival, and had already received an offer from the New York Metropolitan Opera. What people remember most about him was his vital, lively personality, his almost limitless ability to cope under pressure, and of course his mellifluous voice, with its great depth, radiance, and delightful timbre. His accurate and always intelligible pronunciation of the words he sang has remained quite unparalleled. He performed operetta scenes with ease and charming levity; he bestowed the grace of genuine feeling onto lieder that had fallen into sentimental discredit; and he belted out party pieces with all the effortless verve of an Italian….

This new CD from BR-KLASSIK commemorating the 50th anniversary of the singer’s death presents early, as yet unreleased radio recordings made between 1959 and 1965. The recordings of some Munich Sunday concerts and studio recordings by the Bayerischer Rundfunk show him and his tenor voice at the height of their success. Together with the Munich Radio Orchestra and the Chor des Bayerischen Rundfunks, he can be experienced singing with such renowned conductors as Kurt Eichhorn, Siegfried Köhler, Willy Mattes, Hans Moltkau and Meinhard von Zallinger.

Here he focused primarily on the German repertoire, from comic opera to operetta all the way to popular hits which, to this day, more or less owe their very survival to his interpretations of them in concerts and recordings.

Fritz Wunderlich - the tenor voice of the 20th century par excellence – can be relived here in these unreleased recordings from BR-KLASSIK.

kr. 139,95
Image Mass (Harmoniemesse)
kr. 139,95
Image Symphony No. 4
Rafal Bartminski, tenor (Szymanowski)
Andreas Röhn. solo violin (Szymanowski)
Nimrod Guez, solo alto (A. Tschaikowsky)

Chor und Symhonieorchester des Bayerischen Rundfunks
Mariss Jansons, conductor

Three works that are very close to his heart were brought together by Mariss Jansons for this new CD release. Karol Szymanowski's Third Symphony, which, in addition to gigantic orchestral forces, also calls for a chorus and a tenor soloist, depicts a fantastic sound painting of an idealized Near East, including the setting of a 13th century Persian text. Witold Lutoslawski blends Slavic local color into his 1954 Concerto for Orchestra, has a reference to Béla Bartók in the title, but it is marked by a musical approach all his own, one that reaches all the way into the avant-garde period despite its immediate accessibility. Alexander Tchaikovsky, born in 1946, may be the namesake of a giant of the Russian romantic era, although they are not related to one another in any way. His Symphony No. 4 is a musical appeal for peace. The work, written in 2005 on commission from Yuri Bashmet comprises sound-painting choral passages and a significant solo part for the viola.





kr. 139,95
Image Symphony No. 9
Bavarian Radio Symphony Orchestra
Haitink, Bernard, conductor

Two years before his death, Gustav Mahler composed his Ninth Symphony, the last one he was able to complete. In view of his serious heart condition, the composer concerned himself in this work with the resulting existential change in his life. Bernard Haitink is a regular guest on the podium of the Symphonieorchester des Bayerischen Rundfunks. In December of 2011, the conductor from the Netherlands led the orchestra in this work, replacing Mariss Jansons, who was indisposed at the time and he was highly praised for his "old-wise" interpretation. Following Bruckner's 5th Symphony, this is already the second release Bernard Haitink has presented with the Symphonieorchester des Bayerischen Rundfunks on the BR-KLASSIK label.




kr. 139,95
Image Symphony No. 6
Symphonieorchester des Bayerischen Rundfunks / Mariss Jansons

The Symphonieorchester des Bayerischen Rundfunks has already performed Beethoven symphony cycles on several occasions. Mariss Jansons has now extended the cycle concept in two respects: with works specially commissioned from contemporary composers, who have contributed their own musical reflections on Beethoven symphonies, and by presenting these outstanding concert events on the record market as a series of live recordings. Following the excellent response from critics and audiences for the award-winning Complete Edition (BR-KLASSIK, 900119), BR-KLASSIK now also presents Beethoven's symphonies on individual CDs. In addition to the live recording of the "Pastorale" by Ludwig van Beethoven from Munich's Herkulessaal in 2012, the production includes a contribution from the Georgian composer Giya Kancheli (born 1935), whose work "Dixi" ("I have spoken") for choir and orchestra is oriented towards Beethoven's Ninth Symphony and was first performed in 2009.



kr. 139,95
Image Symphony No. 9
Christiane Karg, soprano
Mihoko Fujimara, alto
Michael Schade, tenor
Michael Volle, baritone

Chor & Symphonieorchester des Bayerischen Rundfunks / Mariss Jansons


★ ★ ★ ★ ★
"This is a crucial performance, one that tells all about the Ninth."
Stereophile September 2016


The Symphonieorchester des Bayerischen Rundfunks has already performed several Beethoven symphony cycles in the concert hall. Its chief conductor Mariss Jansons has now extended and enhanced the cycle concept, with guest performances in Tokyo's Suntory Hall with its excellent acoustics and the publication of live recordings of these outstanding concert events. The live recording of Beethoven's Symphony No. 9 was made in 2012 in Tokyo's Suntory Hall with its spectacularly good acoustics, and was extremely well received by the public and press. Soon after the tour, the Music Pen Club of Japan praised Mariss Jansons for his "new, modern and transparent-sounding Beethoven." Christiane Karg, Mihoko Fujimura, Michael Schade and Michael Volle, all of whom have worked regularly with the Symphonieorchester des Bayerischen Rundfunks, can be heard as the vocal soloists.


kr. 139,95
Image Stabat Mater
Erin Wall, soprano
Mihoko Fujimara, mezzo-soprano
Christian Elsner, tenor
Lian Li, bass

Chor and Symphonieorchester des Bayerischen Rundfunks / Mariss Jansons

Dvorák's haunting 'Stabat Mater' for solo voices, chorus and orchestra is not only the most famous work of church music by the Bohemian composer - it is also one of the most impressive ever settings of the medieval hymn in which Mary, the mother of Jesus, gives vivid expression to the pain she feels at the sight of her crucified son. The terrible misfortunes that befell the composer in his private life during the creation of this work may have been a reason for this. It is the continuous expression of deep piety, above all, that gives this music its special dignity. It was precisely this intensity that was conveyed by the concert on March 26, 2015 in the Herkulessaal of the Munich Residenz, where the four renowned soloists were in fine voice, and the Chor des Bayerischen Rundfunks once again delivered the "crystal clear sound" and "incredible three-dimensionality" for which it is highly praised time and again. And the Symphonieorchester des Bayerischen Rundfunks, conducted by Mariss Jansons, performed Dvorák's deeply moving music authentically, in keeping with the composer's intentions: sensitively felt, yet with a resonant, magnificent sound. The live recording of Dvorak's "Stabat Mater" has been re-released by BR KLASSIK on CD.



kr. 139,95
Image Symphony No. 2 / Finlandia / Karelia Suite
Symphonieorchester des Bayerischen Rundfunks / Mariss Jansons


"Virtouso conducting and immaculate orchestral playing, for sure..."
Gramophone (august 2016)



The latest new release from BR KLASSIK gathers together on one CD the most famous and popular musical works of the great Finnish composer Jean Sibelius. The music of the symphonic poem "Finlandia", op 26, which premiered in Helsinki in 1899 as a "historical tableau" from Finnish history, inspired Sibelius's compatriots immediately. The work - as it were the unofficial national anthem of Finland - became internationally known in 1900, and continues to be world-famous today, not only because of the hymn-like chorale that concludes it. Sibelius's "Karelia" Suite op. 11, composed some years earlier, which refers to the Finnish landscape of Karelia and the legends of the "Kalevala" epic, was also received very enthusiastically by the national Finnish movement at that time and soon became internationally famous as well. The Symphony No. 2, op 43, the best-known and most popular of the composer's seven completed symphonies, premiered in 1902. With this work Sibelius managed to emancipate himself, moving from being a merely national Finnish composer to an international one. The clear, confident character of the work goes far beyond the purely "exotic" national style, and its "absolute" music remains unaffected by any extra-musical programme.

Whether we appreciate Sibelius as an absolute musician or as Finland's national composer, and whether we regard his music as international or as an expression of Finland's struggle for independence – as his compatriots have done to this day – the music remains highly individual and unique, and has successfully established itself in the international concert repertoire. The exemplary interpretations on this CD by the Symphonieorchester des Bayerischen Rundfunks under its chief conductor Mariss Jansons were recorded at several Munich concerts during the autumn of 2015.

Sensitively conducted and full of gripping majesty, the performances show clearly why Sibelius's symphonies have retained their importance to the present day.

kr. 139,95
Image Symphony No. 1; Symphony No. 3
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. Both works emanate youthful freshness and a profoundly positive attitude to life. Robert Schumann's "Spring Symphony", which he said was "born in a fiery hour", took him just four days to sketch out. Schubert’s Third Symphony was composed in only nine days, and, with its dance-like effervescence and enthusiasm, could equally well have been called a “Spring Symphony” by his contemporaries. • Two important compositions of the symphonic core repertoire of Romanticism in excellent interpretations • The ideal combination of two youthful and fresh orchestral works of the early 19th century (a real "Spring CD") • Live recordings from the Munich Herkulessaal, made in January 2015 (Schubert) and March 2018 (Schumann) • Mariss Jansons on tour with the Vienna Philharmonic and Robert Schumann's First Symphony: May 30 Musikverein, Vienna May 31 Konzerthaus, Vienna June 1 and 2 Musikverein, Vienna June 4 Philharmonie de Paris June 5 Elbphilharmonie, Hamburg

kr. 139,95
Image Symphonic Dances from West Side Story
Also includes Bernstein's Trouble in Tahiti.
Munich Radio Orhestra / Ulf Schirmer.



kr. 139,95
Image A Portrait
Michael Volle, baritone

Münchner Rundfunkorchester
Ralf Weikert, conductor

BR-Klassik presents the first portrait CD of baritone Michael Volle. Volle is a long-standing member of Bavarian State Opera choral ensemble.

This disc includes works from the Messiah, Don Giovanni and The Marriage of Figaro. Volle also commemorates Wagner and Verdi's 200th Anniversary by singing arias from Parsifal, Tannhäuser, Don Carlos and Falstaff.

Previous recordings include, St John's Passion (Harmonia Mundi); Ariadne Auf Naxos (Art Haus) and Zemlinsky: 21st Century Classics (EMI Classics).



kr. 139,95
Image L'heure espagnole
The thought of Spain filled many French composers of the 19th and early 20th century with musical yearning – one has only to think of Georges Bizet's opera "Carmen", Maurice Ravel's "Rhapsodie espagnole" (1907), or his famous "Boléro" (1928). Ravel was already inspired by things Iberian in his first work for the stage: "L’heure espagnole" ("The Spanish Hour"), a one-act musical comedy set in Toledo, which premiered in Paris on May 19, 1911. Here he combined fantasy and comedy in the action with “spoken music” full of local Spanish colour. The short opera ends, for instance, with a fiery habanera. Ravel masterfully and wittily integrates the clocks chiming in the workshop of clockmaker Torquemada into the score, together with the sound of their ticking, and of all kinds of chimes or mechanical music machines producing cuckoo calls when striking the hour. Emmanuel Chabrier's rhapsody for orchestra with the promising title of "España" was composed in 1883 and premiered in Paris. The music was inspired by a Spanish journey that Chabrier had undertaken the year before, during which he had noted down many original motifs and rhythms. Spanish folklore is ever-present; in addition to the melodies, it is above all the rhythmic motifs and movement patterns that, when combined, achieve a complexity that was still unknown in art music at that time. A magnificently rousing dance piece in rapid triple time. A concert performance of the two works took place on April 24, 2016 as part of the "Sonntagskonzerte" (Sunday Concerts) series in Munich’s Prinzregententheater, and can now be experienced on CD. Ravel's opera (in its original French-language version) is interpreted by young soloists, all of them entirely at home in the Franco-Spanish oeuvre; they are accompanied by the Munich Rundfunkorchester under the direction of Asher Fisch. ? Two well-known examples of the fondness for Spanish music and folklore among French composers of the Romantic and Late Romantic eras ? Live recording from a recent Munich "Sonntagskonzert" on April 24, 2016 ? Excellent young vocal soloists, accompanied by the Munich Rundfunkorchester conducted by Asher Fisch

kr. 139,95
Image Psalmen
Hardly any other composer of his epoch was as deeply rooted in the German and European choral traditions as Felix Mendelssohn Bartholdy. Strongly influenced by the art of Johann Sebastian Bach, which he had encountered in the Berlin Singakademie under his teacher Carl Friedrich Zelter, the young composer wrote a series of eight chorale cantatas, including "Verleih uns Frieden gnadiglich" (“Give us Thy blessed peace”, 1831) - a short prayer for choir and orchestra set to words by Martin Luther. Mendelssohn's five wide-ranging and large-scale psalm settings became even more famous, and three of them can be heard here. The first piece in the group is the multi-part setting of Psalm 115 "Non nobis Domine" (“Not unto us, O Lord”) for soloists, choir and orchestra, op. 31 (1829/30), which was probably begun during the composer’s first stay in England and reveals his fascination for Handel's music. Mendelssohn himself considered “Wie der Hirsch schreit” ("As pants the hart"), a multi-part, cantata-like setting of Psalm 42 for soprano, choir and orchestra, op. 42 (1837/38), to be the best work of this group. Also highly praised by Robert Schumann, it remains one of the composer’s most famous choral works to this day. For the newly-formed Berlin Cathedral Choir, he also wrote a setting of Psalm 98 "Singet dem Herren ein neues Lied” (“Sing to the Lord a new-made song”) for soloists, choir and orchestra, op. 91, and in response to requests from London he composed "Hear my Prayer", a “hymn” based on Psalm 55 for soprano, choir and organ, which he later orchestrated. The piece became one of his most famous sacred works in Victorian England. The new CD from BR-KLASSIK contains these five high-profile psalm settings in a recording made on December 17, 2016 in Munich’s Prinzregententheater. The regularly praised Chor des Bayerischen Rundfunks is joined by soloists Johanna Winkel, Julian Pregardien and Kresimir Stražanac, together with the Munich Rundfunkorchester conducted by Howard Arman. ? Five psalm settings by Mendelssohn in German, Latin and English on one CD ? Recording of a recent Munich concert performance on December 17, 201 ? Exciting live atmosphere

kr. 139,95
Image Symphony No. 2
Symphonieorchester des Bayerischen Rundfunks
Eugen Jochum, conductor

Wilhelm Furtwängler himself would have gladly have exchanged his fame as a conductor for international recognition as a composer. Nevertheless, performances of his works have remained rarities in our concert life. A few days before the performance of his 2nd Symphony by Eugen Jochum and the Symphonieorchester des Bayerischen Rundfunks, Furtwängler unexpectedly died, turning the concerts in December of 1954 into a memorial service for the great musician.

Furtwängler's compositions stand in the tradition of Bruckner, Wagner and Reger. His 2nd Symphony, composed in 1944 and 1945 in Switzerland, bursts the dimensions of most Bruckner symphonies and takes the musical material of the late romantic era in gigantic architectures almost to its breaking point.

Eugen Jochum had founded the Symphonieorchester des Bayerischen Rundfunks in 1949 and would continue to preside over it as Chief Conductor until 1960. As early as this first phase of its existence, the orchestra welcomed such significant guest conductors as Igor Markevitch, Ernest Ansermet and Clemens Krauss to its podium.

An early recording with Eugen Jochum, who regarded Furtwängler all his life as a role model.

Catalogue rarity: a seldom-performed work.

Live recordings, Munich, Herkulessaal, 9th and 10th December 1954.




kr. 139,95
Image 3CD-BOX: St John Passion
Julian Prégardien (Evangelist), Tareq Nazmi (Christ), Krešimir Stražanac (bass-baritone/Pilate)

Chor des Bayerischen Rundfunks; Concerto Köln / Peter Dijkstra

The music of Bach's 'St. John Passion', which the composer wrote for Holy Week in 1724 immediately after his appointment as cantor of St Thomas's Church in Leipzig, still retains all its freshness and vitality nearly 300 years later, and is a true Baroque delight. The two main choruses Herr, unser Herrscher and Ruht wohl, ihr heiligen Gebeine form the beginning and culmination of a large-scale orchestral and vocal structure in which Bach reveals his absolute mastery of polyphony. Inwardly reflective chorales are as much interwoven into the events of the Passion as the haunting arias which comment on the biblical texts of the Gospel of St John. Throughout this solemn Passion oratorio, there is a constant emphasis on Baroque musical magnificence. What makes this live recording of the concert version of March 7, 2015 in the Herkulessaal of the Munich Residenz so special? The fresh voices of the young and excellent vocal soloists, the regularly praised "astonishing three-dimensionality" and "crystalline clarity" of the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra and, of course, the renowned period instrument ensemble Concerto Köln.









kr. 279,95
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