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All of this results in maximum text comprehensibility, whereby the emotional declamatory singing style almost makes the figures resemble characters in a stage play. A key moment is Joseph's vision shortly before the birth of Christ: time seems to stand still, and the mystical and sublime aspect of this scene is intensified by poetic words full of linguistic contrasts and contradictions. – The chorales and motets integrated into Arman’s Christmas Story gradually develop ever greater polyphony. Thus, three settings by Nicolaus Zangius, Hieronymus Praetorius and Hans Leo Hassler, scored for ever greater numbers of voices, lead to a fourth, ten-part composition by Melchior Vulpius, which concludes with the words \"Peace on earth\". In its formal layout, Arman's Christmas Story bears similarities to Peter Maxwell Davies' cantata \"O magnum mysterium\". This work, written in 1960 for the choirmaster of Manchester Cathedral, also consists of chorales and instrumental sonatas, although the order is not compulsory. The four a cappella chorales in particular constitute a self-contained unit in terms of both content and music.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47105317011736,"sku":"4035719005318","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412819-3337353.jpg?v=1777534931"},{"product_id":"schubert-lieder-with-orchestra-benjamin-appl","title":"Schubert: Lieder with Orchestra \/ Benjamin Appl","description":"\u003cp\u003eTime and again, composers – well-known and lesser-known – have arranged Franz Schubert's piano songs for orchestra. These versions are not in any way intended to cast doubt upon the powerful quality of the originals, they merely place them in a different light, and\/or attempt to make them easier to perform on a larger scale – when an art song cannot be performed in an intimate salon or chamber music hall, it can also make an impact in a large concert hall. Baritone Benjamin Appl has compiled nineteen such arrangements from the 19th and 20th centuries for this new CD from BR-KLASSIK. The Münchner Rundfunkorchester, conducted by Oscar Jockel, provides accompaniment that is subtle and in keeping with the work. \"To my ear, it is often quite insulting, in a giant hall and after an orchestral number, to have to listen to a singer performing lieder to a spindly piano accompaniment!” Max Reger scolded, and he went on to take appropriate action by orchestrating several piano songs, including thirteen by Schubert. Many famous composers were not above taking on the role of arranger. Indeed, they even saw an artistic challenge in \"staging\" the Lied in a new and colourful way using the possibilities of the orchestra – and without altering the musical substance in the process. The versions of Schubert's \"An die Musik\", \"Im Abendrot\", \"Nacht und Träume\", \"Prometheus\" and \"Erlkönig\" recorded here are by Max Reger; Anton Webern created those for \"Du bist die Ruh\", \"Tränenregen\" or \"Der Wegweiser\"; Johannes Brahms arranged \"Geheimes\", Jacques Offenbach the \"Ständchen\", and Benjamin Britten \"Die Forelle\". Further arrangements are by conductor Felix Mottl (\"Der Tod und das Mädchen\"), lied accompanist Alexander Schmalcz (\"Abendstern\", \"An Silvia\") and composer Kurt Gillmann (\"Ganymed\"). The album is rounded off by the first recording of Johann von Herbeck’s orchestrations of Schubert's dances, thus establishing a connection between folk music and Schubert's art songs.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47105344667928,"sku":"4035719003468","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412814-3337348.jpg?v=1777534966"},{"product_id":"bruckner-symphony-no-4-romantic-bernard-haitink","title":"Bruckner: Symphony No. 4 \"Romantic\" \/ Bernard Haitink","description":"\u003cp\u003eThe Dutch conductor Bernard Haitink and the Symphonieorchester des Bayerischen Rundfunks were linked by a long and intensive artistic collaboration, brought to an abrupt end by his death in October 2021. BR-KLASSIK now presents outstanding and as yet unreleased live recordings of concerts from the past years. This recording of Bruckner's Fourth Symphony documents concerts from January 2012 in Munich‘s Philharmonie im Gasteig. Haitink first conducted a Munich subscription concert in 1958, and from then on he repeatedly stood on the podium of the Symphonieorchester des Bayerischen Rundfunks – either in the Herkulessaal of the Residenz or in the Philharmonie im Gasteig. This congenial collaboration lasted more than six decades. The orchestral musicians and singers enjoyed working with him just as much as the BR sound engineers. As an interpreter of the symphonic repertoire, and especially that of the German-Austrian late Romantic period, Haitink was held in high esteem worldwide. It was on the borderline between High and Late Romanticism, where the style of the times was to change and finally dissolve, that Anton Bruckner once again conjured up the very essence of the Romantic attitude to life with his Fourth Symphony. It was the composer himself who gave the work its popular title \"Romantic\"; the name appears in much of his correspondence. – This \"Romantic\" symphony conjures up an ideal world in bright, unbroken colours, and looks back on an intact and carefree past. The consistently relaxed and positive mood of the symphony seems all the more astonishing when one considers the complicated history of the work’s genesis. The first version of 1874, a year of professional setbacks, was rejected by Bruckner after several plans for a premiere came to nothing; with relentless self-criticism, he referred to it as “overladen” and \"too restless\". In 1878 he subjected it to radical revision, in the course of which, among other things, a completely new third movement was written - the Hunting Scherzo. The other three movements were also profoundly reworked, partly shortened and formally condensed, and up to 1880 Bruckner repeatedly altered the final movement, which gradually grew into a crowning finale within the symphonic structure that would dissolve and overcome every last contradiction. It was in this version of 1878\/1880, which also forms the basis of this recording, that the Fourth Symphony was premiered on February 20, 1881 in Vienna, played by the Vienna Philharmonic under the baton of the Wagner aficionado Hans Richter. The performance was a great triumph, and marked a decisive change in the reception of Bruckner's music. His symphonic work to date had largely met with rejection, but now, with the \"Romantic\", he had made his breakthrough. As one of Bruckner’s most-performed works alongside the Seventh, the Fourth has remained just as successful to this day. Indeed, the symphony’s unbroken popularity also underscores the timeless appeal of Bruckner’s work: that deeply human longing for the “Romantic”, which has left no-one unmoved to this day.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47105349943576,"sku":"4035719002133","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412810-3337344.jpg?v=1777534997"},{"product_id":"eisler-kunneke-1929-tempo-tanz-und-technik","title":"Eisler \u0026 Kunneke: 1929 - Tempo, Tanz und Technik","description":"\u003cp\u003eOctober 29, 1923 was a date steeped in history. In the middle of a year of political and economic crises, the age of public radio in Germany was ushered in with the first broadcast of the \"Berliner Funkstunde\" (Berlin Radio Hour) from the attic of an office building on Potsdamer Platz. - Radio offered entirely new possibilities for the production and reception of music. The two compositions on this CD not only benefited from these developments but also played an active role in shaping them.Eduard Künneke's five-movement Concerto grosso \"Tänzerische Suite\" op. 26 for jazz band and large orchestra was the sixth commission the composer received from the Berliner Funk-Stunde. Its five movements corresponded to modern dances: the Overture is a Foxtrot, the Andante a Blues, the Intermezzo a Tango, the valse mélancolique a Boston Waltz and the Finale a Foxtrot again. The premiere took place under Künneke's baton on September 8, 1929 in Hall 5 at the Berlin Funkausstellung. The Berlin Funk Orchestra played together with Dajos Béla’s renowned jazz band. The suite was celebrated as a milestone in contemporary radio music and soon became part of the regular concert programme. Even the critics were enthusiastic: \"Künneke skilfully combines the character of the old suite with modern means. Modern dances are stylised vividly with exciting rhythms and rich tone colours, and with delightful use of prominent solo instruments such as the violin, the saxophone, etc. It all sounds very good on the radio: this is pleasing, imaginative, symphonic jazz at the best level.\" Hanns Eisler's cantata \"Tempo der Zeit\" (Tempo of the Times) op. 16 for soloists, narrator, choir, winds and percussion was written in 1929 as a commission for the Donaueschingen Festival (known as \"Deutsche Kammermusik Baden-Baden\" from 1927 to 1929). The premiere took place in Baden-Baden on July 28 as part of the concert \"Original Music for Radio\", with the Frankfurt Radio Orchestra conducted by Hermann Scherchen. The libretto was written by the popular lyricist Robert Gilbert (\"Ein Freund, ein guter Freund\") under the pseudonym of David Weber. With its pure wind ensemble and percussion, \"Tempo der Zeit\" captures the typical Songspiel sound of the time. The fact that Eisler used the \"modern\" medium of radio, of all things, to get his fundamental criticism of blind enthusiasm for technology across to the people is an ironical aspect of the work’s composition and reception history. This CD is part of the special programme focus on the topic \"The Wild Sound of the Twenties\".\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47227812544792,"sku":"4035719003505","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412817-3337351.jpg?v=1777532835"},{"product_id":"bach-johannes-passion-chor-des-bayerischen-rundfunks-concerto-koeln-dijkstra-stra-anac","title":"Bach: Johannes-Passion  Chor Des Bayerischen Rundfunks, Concerto Koeln, Dijkstra, Stra?Anac","description":"\u003cp\u003eThe music of J.S. 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 in March, 2015 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.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"DVD","offer_id":47242814193944,"sku":"4035719005158","price":23.19,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3571968.jpg?v=1777824110"},{"product_id":"beethoven-symphony-no-9-karg-fujimura-schade-volle-bavarian-radio-choir-bavarian-radio-symphony-orchestra-jansons","title":"Beethoven: Symphony No. 9  Karg, Fujimura, Schade, Volle, Bavarian Radio Choir, Bavarian Radio Symphony Orchestra, Jansons","description":"\u003cp\u003eTaken from the 2012 Japan tour that performed the complete Beethoven cycle in various cities across Japan garnering much acclaim for the Chor and Symphonieorchester des Bayerischen Rundfunks and now available in single editions, this live recording of Beethoven's Symphony No. 9 from Tokyo's Suntory Hall also includes noted vocal soloists, Christiane Karg, Mihoko Fujimura, Michael Schade and Michael Volle, all frequent collaborators with the Symphonieorchester des Bayerischen Rundfunks.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47242815242520,"sku":"4035719001396","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3037695.jpg?v=1777792998"},{"product_id":"beethoven-symphony-no-9-matthews-romberger-padmore-finley-symphonieorchester-des-bayerischen-rundfunks-haitink","title":"Beethoven: Symphony No. 9  Matthews, Romberger, Padmore, Finley, Symphonieorchester Des Bayerischen Rundfunks, Haitink","description":"\u003cp\u003eA recording of Ludwig van Beethoven's \"Ninth\" is always a great event, especially because the symphony’s final chorus, Schiller's \"Ode to Joy\", is understood around the world as a plea for peace and international understanding. It was no coincidence that the catchy melody to the text \"Joy, beautiful spark of divinity\" was chosen as the Hymn of the European Union. This recording of Beethoven’s great choral symphony under thedirection of Bernard Haitink and with excellent instrumental and vocal soloists is not only an outstanding interpretation of the work but also very much an event in itself –because these recordings document Haitink’s last ever concerts with the Symphonieorchester des Bayerischen Rundfunks. Only a few months after his two Munich concerts on February 21 and 22, 2019, the great Dutch conductor –who celebrated his 90thbirthday on March 4 –announced the end of his career.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47242815308056,"sku":"4035719001808","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3738133-2523868.jpg?v=1777815595"},{"product_id":"bruckner-symphonie-no-8-te-deum-symphonieorchester-des-bayerischen-rundfunks","title":"Bruckner: Symphonie No. 8; Te Deum  Symphonieorchester Des Bayerischen Rundfunks","description":"\u003cp\u003eThe Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra were linked by a long and intensive artistic collaboration, brought to an abrupt end by his death in October 2021. BR-KLASSIK now presents outstanding and as yet unreleased live recordings of concerts from the past years. This recording of Bruckner's \"Te Deum\" and his Eighth Symphony (version by Robert Haas, 1939) documents concerts performed in the Philharmonie im Gasteig in November 2010, and in the Herkulessaal of the Munich Residenz in December 1993. Haitink first conducted a Munich subscription concert in 1958, and from then on, he repeatedly stood on the podium of the Bavarian Radio Symphony Orchestra – either in the Herkulessaal of the Residenz or in the Philharmonie im Gasteig. This congenial collaboration lasted more than six decades. The orchestral musicians and singers enjoyed working with him just as much as the BR sound engineers. As an interpreter of the symphonic repertoire, and especially that of the German-Austrian Late Romantic period, Haitink was held in high esteem worldwide. With him, the symphonies of Gustav Mahler were also in the best of hands at all times. His driving principle was to take the sound architecture of a musical composition with its many-layered interweavings and render it transparently audible; extreme sensitivity of sound was paired with a clearly structured interpretation of the score. Anton Bruckner created his \"Te Deum\" in May 1881, while he was finishing his Sixth Symphony. He then set to work on the Seventh. After completing it, he took up the \"Te Deum\" again at the end of September and completed it in March 1884. Hans Richter conducted the premiere on January 10, 1886 by the Vienna Singverein in the Musikvereinssaal. Gustav Mahler was much taken with the work; in his copy of the score, he replaced the subtitle \"for choir, soloists and orchestra, organ ad libitum\" with \"for the tongues of angels, seekers of God, chastened hearts and souls purified by fire!\" Bruckner described the \"Te Deum\" as the \"pride of his life\", writing: “If the good Lord ever calls me to him and asks me what I did with the talents he gave me, I will hold out to him the scroll with my 'Te Deum' - and he will be a merciful judge.\" The piece is one of the most important great choral works of its time and is considered a high point of the composer's artistic output. It was the last of his works that Bruckner ever heard – in a concert on January 12, 1896. Since he was unable to complete the final movement of his Ninth Symphony, he decreed that the \"Te Deum\" should be played as a substitute for it. The creation of Bruckner's Eighth Symphony was probably influenced by his suddenly becoming famous, and this must also have strengthened the composer's ever unstable self-confidence. After the performance of Bruckner’s Seventh Symphony, the famous conductor Hermann Levi had proclaimed him \"the greatest symphonist after Beethoven's death\"; in Munich, Bruckner, who had often been ridiculed in Vienna, was finally taken seriously, his importance recognised; and the Emperor of Austria awarded him the Order of Franz Joseph, which made the composer especially proud. In the summer of 1884, he set to work on the Eighth. With C Minor, he returned to the key of his first two symphonies – a key that had already played a foremost role in Beethoven's Fifth and that virtually challenged him to walk \"per aspera ad astra\", through the night to the light. He wanted to create the greatest instrumental symphony of all time; its dimensions grew to gigantic proportions, and the demands on performers and listeners increased enormously. The incomparably bold finale is the longest and most daring sonata movement ever composed; Bruckner referred to it as “the most important movement of (his) life\". At the point where the main themes of all four movements resound simultaneously towards the end, he wrote a euphoric \"Hallelujah!\" in his draft. – The symphony was finally completed in August 1887, after three years of work – but performance was delayed due to Levi's energetic objections. Between October 1887 and March 1890, Bruckner thoroughly revised the work – and on December 18, 1892 the premiere of the Eighth Symphony in its new version finally took place, performed by the Vienna Philharmonic under Hans Richter. It was an extraordinary success. Hugo Wolf reported: \"It was an absolute victory of light over darkness, and the storm of delighted applause was like some elemental manifestation of nature. In short, it was a triumph as complete as any Roman emperor could have wished for.\"\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47242883105048,"sku":"4035719002126","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412809-3337343.jpg?v=1777532819"},{"product_id":"anton-bruckner-symphonies-nos-3-4-6-7-8-9-symphonieorchester-des-bayerischen-rundfunks-jansons","title":"Anton Bruckner: Symphonies Nos. 3, 4, 6, 7, 8, 9  Symphonieorchester Des Bayerischen Rundfunks, Jansons","description":"\u003cp\u003eAnton Bruckner's symphonies were a constant part of the repertoire for Mariss Jansons and the Symphonieorchester des Bayerischen Rundfunks. The existing recordings - almost all the great Bruckner symphonies – are important documents of Jansons’ deep understanding of the works, and the high musical quality of the recordings also testifies to the long Bruckner tradition at the BRSO. Jansons followed Bruckner’s notes and markings with painstaking precision, and listening to a recording with the score reveals again and again how closely the conductor studied these works.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47301692162328,"sku":"4035719007183","price":47.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3851153-2604420.jpg?v=1777824559"},{"product_id":"wagner-die-walkure-rattle-symphonieorchester-des-bayerischen-rundfunks","title":"Wagner: Die Walküre  Rattle, Symphonieorchester Des Bayerischen Rundfunks","description":"\u003cp\u003eSir Simon Rattle has already decisively disproved the longstanding claim that he and Wagner were unsuited to one another. This next collaboration between the Symphonieorchester des Bayerischen Rundfunks and the British conductor not only features a team of first-rate Wagner singers but also reveals once again how well Rattle understands and interprets Wagner's music. 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(BR Klassik)\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47301814812952,"sku":"4035719009118","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4135056-3141340.jpg?v=1777713447"},{"product_id":"strozzi-listen-lovers","title":"Strozzi: \"Listen, Lovers!\"","description":"\u003cp\u003eA young female singer in 17th-century Venice: she is a virtuoso and extremely charming, and the gentlemen of her select audience are at her feet. They call her the \"Singing Venus\". But Barbara Strozzi wants more: she regularly publishes her compositions – more than any woman before her. The new BR-KLASSIK audio biography tells her story.\u003c\/p\u003e\n\u003cp\u003eUntil the 20th century, female composers had a hard time in a male-dominated art. And in historiography for even longer: it was not until 1978 that a female American musicologist published the first specialist article on Barbara Strozzi. Today, it is generally accepted that she is one of the most important voices in the history of vocal chamber music. She is featured on a growing number of CDs, concert programmes and websites. However, although research has begun, a lively account of her life and work, accessible to a wider audience, has been lacking.\u003c\/p\u003e\n\u003cp\u003eThis audio biography brings together all the key documents and research that represent her – and also vividly introduces us to the unique cultural space in which the composer lived. The exuberance of Carnival, the development of the fledgling art of opera, and Venice - the\"città galante\"- are all linked to the phenomenon of\"Barbara Strozzi\" and her art. Listeners unfamiliar with this music are invited to rediscover lost treasures – and to get to know one of the great women of music history. Wiebke Puls, an actress at the Münchner Kammerspiele and a singer herself, lends her voice to Barbara Strozzi.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47472017375512,"sku":"4035719009385","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412821-3337356.jpg?v=1777529294"},{"product_id":"bruckner-symphony-no-7-bavarian-radio-symphony-orchestra-bavarian-radio-symphony-orchestra-bavarian-radio-symphony-orchestra-bavarian-radio-symphony-orchestra","title":"Bruckner: Symphony No. 7 - Bavarian Radio Symphony Orchestra","description":"\u003cspan data-mce-fragment=\"1\"\u003eDutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra enjoyed a long and intensive artistic collaboration, which came to an abrupt end with Haitink’s death in October 2021. BR-KLASSIK now presents outstanding and previously unreleased live recordings of concerts from past years. This recording of Bruckner's Seventh Symphony documents concerts given in November 1981 at the Herkulessaal of the Munich Residenz. Haitink first conducted a Munich subscription concert in 1958, and from then on was a regular guest with the Bavarian Radio Symphony Orchestra – either at the Herkulessaal of the Residenz or at the Philharmonie im Gasteig. 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Terms such as \"propaganda film\" or \"morale-boosting film\" accompany the program presented on this album as the ugly downside of what were sometimes brilliant musical creations. The Münchner Rundfunkorchester, founded in 1952, has played individual titles from these films again and again in very different scorings and arrangements over the course of its 70-year history. This release was produced as a studio recording in October 2021, and all the sound film hits were played in their purely orchestral form - thus exposing the core of the individual compositions while allowing the necessary historical distance.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47613796811032,"sku":"4035719003338","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4092630-2833852.jpg?v=1777718085"},{"product_id":"le-miroir-de-jesus-1928-4035719003420","title":"Le miroir de Jesus - 1928","description":"\u003cp\u003eLe miroir de Jésus (The Mirror of Jesus) for mezzo-soprano, women's choir, strings and harp, the last major work composed by the French composer André Caplet in the spring and summer of 1923 and based on fifteen poems by the French writer Henri Ghéon, was subtitled \"Mystères du rosaire\" (Mysteries of the Rosary). The mystical work, whose form and genre defy the usual categorizations, revolves around the most important stations in the life of Jesus, told from the perspective of the Virgin Mary and mirrored, as it were, in her gaze. Each of the three parts consists of an extended instrumental prelude and five episodes. The first begins with the Annunciation, recounts the Visitation of Mary, the birth of Christ and his time in the Temple of Jerusalem. The second part turns to the mysteries of pain: Jesus' scourging, the crown of thorns, the way of the cross and the agony, and finally his death. The last part reflects on the \"Glorious Mysteries\": Jesus's Resurrection, the Ascension, Pentecost and finally Assumption and Coronation. A mezzo-soprano takes on the perspective of Mary. Occasionally the voice changes to recitation or even recitative, but the singing always serves the text, guaranteeing its comprehensibility and at the same time interpreting the words through musical means. Later, the choir introduces the respective poem titles and also emerges at a few points that are all the more significant: at the end of the first rosary, it reinforces the message of Ghéon's text with a Latin biblical quotation, and later on with eulogies such as \"Sanctus\" and \"Alleluia\". In \"Le miroir de Jésus\", Caplet found a musical form for the mysteries of the ancient passion story that brings together past and present into a peaceful synthesis.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47613798187288,"sku":"4035719003420","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4164088-2937099.jpg?v=1777729061"},{"product_id":"mariss-jansons-dirigenten-bei-der-probe-box-2-4-cds-4035719009347","title":"Mariss Jansons - Dirigenten bei der Probe, Box 2 [4 CDs]","description":"\u003cp\u003eWhat does the work of a conductor actually involve? 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The Mass, completed in 1748\/49, is a musical masterpiece in which the Baroque musical splendor is always to the fore, though reflective moments and intense, heartfelt chorales are also very important elements. The Latin Ordinarium constitutes the silk thread along which all these musical pearls are strung. Even after almost three hundred years, the music of Bach's Mass in B minor is still animated, fresh, and a true Baroque delight – whether heard live in concert or recorded. What makes this concert version of April 2016 in the Herkulessaal of the Munich Residenz so special that it should definitely be added to any audio collection? The fresh voices of the young but 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 of the renowned period instrument ensemble Concerto Köln; and last but not least, the exciting live atmosphere of a concert event that delighted the audiences, and even managed to coax the word “magical” from Munich’s music critics – rare praise, but in this case, richly deserved!\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47678866194712,"sku":"4035719009101","price":23.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4035719009101.pt01_29c55f76-9dbc-4626-8719-c2b379773016.jpg?v=1777969454"},{"product_id":"edita-gruberova-live-munchner-rundfunkorchester","title":"Edita Gruberová (Live) \/ Münchner Rundfunkorchester","description":"\u003cp\u003eEdita Gruberova – her very name is melodious. The Slovak soprano is undoubtedly one of today’s most well-known interpreters of coloratura opera singing, and especially of Italian bel canto. She made her debut in 1970 as Queen of the Night in Mozart's \"Magic Flute\" at the Vienna State Opera and, ever since her performances in the same role at Glyndebourne and Salzburg in 1974, she has been a regular fixture on the world’s leading operatic stages and concert podiums. Flattering epithets such as \"the Queen of Coloratura\", \"the Slovak Nightingale\" or \"prima donna assoluta\" are hardly exaggerated, for they really do represent what Edita Gruberova has embodied for almost half a century. She is celebrated all over the world for her perfect mastery of vocal technique, her astonishing ability to master even the most difficult coloraturas and highest notes, her clear and precise intonation and, most importantly, for something that overshadows and transfigures everything else: the seductive and beguiling timbre of her voice. This album, released by BR-KLASSIK to celebrate her 50th stage anniversary, presents nine recordings made between October 1983 and June 2000 at Bayerischer Rundfunk concerts. In addition to well-known as well as lesser-known arias from operas by Handel, Rossini, Donizetti, and Bellini, and also the Couplet of Adele from Johann Strauss' operetta \"Die Fledermaus\", Edita Gruberova can also be heard in interpretations from Mozart's \"Exsultate, jubilate\", his “Laudate Dominum” from the “Vesperae solennes de confessore,” and also Michael Haydn’s far too rarely performed Christmas cantata “Lauft, ihr Hirten, allzugleich.” This album is more than a historical portrait – it offers a representative musical cross-section of Edita Gruberova's wide-ranging repertoire, and also includes several surprises that complement and enrich her comprehensive discography.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47678871142680,"sku":"4035719003253","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3799353.jpg?v=1777822834"},{"product_id":"mahler-symphony-no-6-symphonieorchester-des-bayerischen-rundfunks","title":"Mahler: Symphony No. 6  Symphonieorchester Des Bayerischen Rundfunks","description":"\u003cp\u003eAmong Simon Rattle's first concert programs as the new chief conductor of the Bavarian Radio Symphony Orchestra was Gustav Mahler's Sixth Symphony. The performances marked the beginning of a new chapter in Mahler interpretation, for Rattle, like his predecessors Jansons, Maazel and Kubelík, is an ardent admirer of the composer. BR-KLASSIK has now released the live recording of the concerts.\u003c\/p\u003e\n\u003cp\u003eGustav Mahler's Sixth Symphony is perhaps the darkest work he ever wrote – its nickname is \"The Tragic\". And there is something almost destructive about the final movement. \"But strangely enough,\" says Simon Rattle, \"it is also a very classical symphony. Yes, it is extreme, but for long stretches it is less wild than other works of his – although of course it does convey a harrowing message. But it's like a lot of great works: there are always different ways of reading them. I've been conducting the Sixth for forty years now, and over time I’ve come to realise that it also contains hope.\"\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":47844600316184,"sku":"4035719002171","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412812-3337346.jpg?v=1777532128"},{"product_id":"strauss-die-schweigsame-frau-scenes-symphonieorchester-des-bayerischen-rundfunks-fritz-wunderlich-ingeborg-hallstein-hans-hotter","title":"Strauss: Die Schweigsame Frau (Scenes)  Symphonieorchester Des Bayerischen Rundfunks, Fritz Wunderlich, Ingeborg Hallstein, Hans Hotter","description":"\u003cp\u003eTo celebrate the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024, the BR-KLASSIK label is releasing previously unreleased recordings of concerts for the first time on CD and as a stream. Excerpts from Richard Strauss's comic opera \"Die schweigsame Frau\" (\"The Silent Woman\") were pre-produced as studio recordings for a television program in November 1960. The impressive cast was almost identical to that of the opera production at the Salzburg Festival in 1959 under the premiere conductor Karl Böhm: Hans Hotter (Sir Morosus), Hermann Prey (Barber), Fritz Wunderlich (Henry), Ingeborg Hallstein (Aminta), and many others sang. Here, Heinz Wallberg conducts the Bavarian Radio Symphony Orchestra. After the death of Hugo von Hofmannsthal, Strauss thought he had reached the end of his operatic career – but then he found a librettist of equal calibre in Stefan Zweig, who provided him with \"the best libretto for an opéra comique since Figaro\" (Strauss). 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The immense symphony, longer and more monumental than others, incorporates texts from the collection of poems by Clemens Brentano and Achim von Arnim entitled “Des Knaben Wunderhorn”. Composed over a period of four years from 1892 to 1896, with particular focus during the summers of 1895 and 1896 spent at the Attersee in Austria, it was premiered in its entirety on June 9, 1902, at the 38th “Tonkünstler Festival” in Krefeld. Mahler conducted the Städtische Kapelle Krefeld and Cologne’s Gürzenich Orchestra at this momentous event, which garnered great acclaim from his contemporaries. Between 1902 and 1907, the composer conducted his Third Symphony a further 15 times. 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Richard Strauss had made his mark in that genre with \"Salome\" and \"Elektra\" – and the literary basis for the former had also been provided by Oscar Wilde. In the very first notes, seemingly aware of this similarity with Strauss’s work, Zemlinsky goes on the offensive with an \"upbeat fanfare\" – as the prelude to an orchestral introduction that can easily be interpreted as a musical representation of the main romantic relationship. At the transition to the actual stage action, however, Zemlinsky switches to a somber minor-key atmosphere. When Simone appears, the music already makes it clear that the plot cannot end otherwise than tragically. For whom, we do not yet know…\u003c\/p\u003e\n\n\u003cp\u003eIn the Munich premiere of Zemlinsky's \"A Florentine Tragedy\", Rachael Wilson (mezzo-soprano) sang the part of Bianca, Benjamin Bruns (tenor) was Prince Guido Bardi, and Christopher Maltman (baritone) portrayed the merchant Simone. The Münchner Rundfunkorchester performed under the young conductor Patrick Hahn. 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Hector Berlioz's passionate \"Symphonie fantastique\", the nearly revolutionary symphonic masterpiece by the great French composer, was performed by Colin Davis with the Bavarian Radio Symphony Orchestra at Munich’s Philharmonie im Gasteig on January 15 and 16, 1987.\u003c\/p\u003e\n\n\u003cp\u003eIn his \"Symphonie fantastique\", subtitled \"Episodes from the Life of an Artist\", Berlioz combines the structures of the musical symphony with the form of a five-part classical drama. Using a leitmotif (an \"idée fixe\"), he narrates to the listener the story of the beloved woman of his dreams. The \"Symphonie fantastique\" thus paved the way for the symphonic poems of the Romantic period as well as the leitmotif method in Wagner's music dramas.\u003c\/p\u003e\n\n\u003cp\u003e\"I am still unknown,\" wrote Berlioz in June 1829 at the age of 25 – but he was certain that he could achieve resounding success with the idea of a major instrumental work. 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