Orchestra

Gustav Mahler
Symphony Nr.4

Stuttgart Philharmonic Orchestra
Jeannette Wernecke, Soprano
Gabriel Feltz

Catalog number 21072

“… What I was attempting here was exceedingly difficult to realize. Imagine the uniform blue of the skies, which is more difficult to paint than all changing and contrasting shades. This is the fundamental mood of the whole. Only sometimes it darkens and becomes ghostly, gruesome. But heaven itself is not darkened; it shines on in an eternal blue. Only to us it suddenly seems gruesome, just as on the most beautiful day in the woods, flooded with light, we are often gripped by a panic and fear. The Scherzo is mystical, confused and eerie so that your hair will stand on end. But in the following Adagio you will soon see that things were not so bad - everything is resolved.”

(Gustav Mahler in a letter to his friend Natalie Bauer-Lechner, 1900)

 

Gustav Mahler
Symphony Nr.3

Stuttgart Philharmonic Orchestra
Gabriel Feltz

Catalog number 21065

"A highly exciting performance in which Feltz, from the first bar to the last, succeeded in transposing the ever-changing, almost mountainously craggy and often hard-cut material into a pulsing flow of sound. The Philharmoniker were at their very best: Wonderful, the range of dynamics, from a whispering quadruple pianissimo right up to a raging thunder. Magnificent, the realisation of the abruptly contrasting characters. Divine, the transparent melodiousness of the strings in the profound and thoughtfully-flowing finale." 
Verena Großkreutz, Esslinger Zeitung

 

Johannes Brahms
Symphonies 3 & 4

Bremen Philharmonic
Markus Poschner

Catalog number 21064

“… As with the Third Symphony, audiences for the most part greeted the Fourth “with exceptional applause”. Whether this was due to or in spite of the high degree of artificiality is a matter for conjecture. Brahms’ achievement of realizing the ideals of chamber music-like structure in the monumental framework of the genre symphony was something which was upheld by future composers. When asked what had been able to learn from Brahms, the composer Arnold Schoenberg answered: “Economy, and yet richness”.
Alexander Butz

Live recording
A co-production with Radio Bremen

 
Johannes Brahms Symphonies 1 & 2

Johannes Brahms
Symphonies No. 1 & 2

Bremen Philharmonic
Markus Poschner

Catalog number: 21056

Brahms and Bremen

Brahms and Bremen, Bremen and Brahms: born in Hamburg in 1833 and later a Viennese by choice, he had a special affinity to the Hansa city on the river Weser. The Bremer Philharmonic’s Brahms Project is thus a continuation of a special tradition. One of the composer’s landmarks as a composer has a direct connection to the Hansa city. At the age of 35 he made nothing less than his breakthrough as an internationally renowned composer in Bremen’s Dom (Cathedral) with the premiere of his German Requiem. On that Good Friday in 1868 Robert Schumann’s prophecy for the young composer came true: “If he [Brahms] lowers his magic wand where the might of the masses, a chorus and orchestra, empower him, then we are in for some wonderful insights into the spiritual world”, said Schumann in his famous article on Brahms Neue Bahnen (New Paths). It had however taken thirteen years for Brahms, who until then had mainly composed piano and chamber music, to lower his own “magic wand” in the direction of a work for chorus and orchestra.
It was, significantly, Clara Schumann who remembered the article by her husband at the world premiere in Bremen conducted by Brahms himself: “As I watched Johannes [in Bremen Cathedral] standing with the baton in his hand, I remembered my dear Robert’s prophecy - which today was realized. The baton really did become a magic wand and bewitched everyone, even his most bitter enemies.”

Wolfgang Sandberger

A co-production with Radio Bremen

 

Nader Mashayekhi
fié ma fié II
moulana

Catalog number 21050

Salar Aghili, vocals
Munich Radio Symphony Orchestra
Frank Cramer


A ‘beginning’ with a new and highly individual aesthetic is something which most certainly characterises the orchestral songs by Nader Mashayekhi. fié ma fié II and moulana are two works from a series of compositions, whereby each in itself constitutes an innovative song cycle, because the lyric, which is the basis of each of the compositions, is in several parts or is taken from the works of various poets.
Both works bring together two music cultures which, from a music-historical point of view, are distant and different: contemporary orchestral composition and traditional Iranian musical practice.
This creates simultaneity of asynchrony which in this form represents something completely new. The simultaneity of both cultures in a performance shows the historico-cultural asynchrony in a much clearer light.
Mohsen Mirmehdi

A co-production with the Bayerischer Rundfunk

"CD-Tipp" Fono Forum

 
<< Start < Prev 1 2 3 4 5 Next > End >>

Page 2 of 5