For twenty years the Berliner Philharmoniker has celebrated its 1882 founding with a concert at a major European venue, and the 2011 event takes place at the magnificent Teatro Real in Madrid. The renowned orchestra, under the baton of Sir Simon Rattle, performs Joaquín Rodrigo’s beloved Concierto de Aranjuez, Emmanuel Chabrier’s exuberant España, and Sergey Rachmaninov’s dramatic Second Symphony. It is joined for the Concierto by the famous flamenco guitarist Cañizares, whose virtuosity and sensitivity are given full opportunity to shine in this multi-faceted and subtle work.
Esoteric Japan released a Hybrid SACD box set of Mozart: 9 Symphonies on December 15, 2015.
Even though Anne-Sophie Mutter recorded most of the great violin concertos early in her career, working closely with Herbert von Karajan and the Berlin Philharmonic, she hadn't recorded the Violin Concerto in A minor of Antonín Dvorák. This 2013 recording with Manfred Honeck and the Berlin Philharmonic fills that gap in her legacy, and this is an exceptionally bright and passionate performance, well worth the wait.
At last, a remastered release of the legendary Jascha Horenstein Mahler Symphony no 5, with the Berlin Philharmonic Orchestra recorded at the Edinburgh Festival in 1961. It's available for digital download from Pristine Classical, the specialist supplier.
The town of Palermo was illuminated and Claudio Abbado revealed his strong Sicilian roots. Viewers of this concert, broadcasted on TV all across Europe, were inspired to see the maestro so relaxed, gesticulating so emphatically.
For twenty years the Berliner Philarmoniker has celebrated its 1882 founding with a concert at a major European venue, and the 2011 event takes place at the magnificent Teatro Real in Madrid.
Between 1961 and 1986, Herbert von Karajan made three recordings of the Mozart Requiem for Deutsche Grammophon, with little change in his conception of the piece over the years. This recording, from 1975, is, on balance, the best of them. The approach is Romantic, broad, and sustained, marked by a thoroughly homogenized blend of chorus and orchestra, a remarkable richness of tone, striking power, and an almost marmoreal polish. Karajan viewed the Requiem as idealized church music rather than a confessional statement awash in operatic expressiveness. In this account, the orchestra is paramount, followed in importance by the chorus, then the soloists. Not surprisingly, the singing of the solo quartet sounds somewhat reined-in, especially considering these singers' pedigrees. By contrast, the Vienna Singverein, always Karajan's favorite chorus, sings with a huge dynamic range and great intensity, though with an emotional detachment nonetheless. Perfection, if not passion or poignancy, is the watchword. The Berlin orchestra plays majestically, and the sound is pleasingly vivid.