Tracklisting:
1 Beethoven: 6 Lieder op. 48 - 1. Bitten
2 Beethoven: 6 Lieder op. 48 - 2. Die Liebe des Nächsten
3 Beethoven: 6 Lieder op. 48 - 3. Vom Tode
4 Beethoven: 6 Lieder op. 48 - 4. Die Ehre Gottes aus der Natur
5 Beethoven: 6 Lieder op. 48 - 5. Gottes Macht und Vorsehung
6 Beethoven: 6 Lieder op. 48 - 6. Bußlied
7 Beethoven: Resignation WoO 149
8 Beethoven: An die Hoffnung op. 32
9 Beethoven: Gesang aus der Ferne WoO 137
10 Beethoven: Maigesang op. 52 no. 4
11 Beethoven: Der Liebende WoO 139
12 Beethoven: Klage WoO 113
13 Beethoven: An die Hoffnung op. 94
14 Beethoven: Adelaide op. 46
15 Beethoven: Wonne der Wehmut op. 83 no. 1
16 Beethoven: Das Liedchen von der Ruhe op. 52 no. 3
17 Beethoven: An die Geliebte WoO 140
18 Beethoven: An die ferne Geliebte op. 98 - 1. Auf dem Hügel sitz ich, spähend
19 Beethoven: An die ferne Geliebte op. 98 - 2. Wo die Berge so blau
20 Beethoven: An die ferne Geliebte op. 98 - 3. Leichte Segler in den Höhen
21 Beethoven: An die ferne Geliebte op. 98 - 4. Diese Wolken in den Höhen
22 Beethoven: An die ferne Geliebte op. 98 - 5. Es kehret der Maien, es blühet die Au
23 Beethoven: An die ferne Geliebte op. 98 - 6. Nimm sie hin denn, diese Lieder
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01 PRELUDE 2:35
02 A MINOR ASTRONOMICAL EVENT 3:40
03 A MOVE TO NEPTUNE 3:48
04 PHYSICAL DESCRIPTION OF THE LAST HUMAN BEINGS 4:37
05 ARCHITECTURE 5:01
06 SUPREME MONUMENTS 1:48
07 TELEPATHIC UNITY 1:59
08 CHILDHOOD / LAND OF THE YOUNG 5:36
09 THE NAVIGATORS 8:09
10 THE SUN 1:29
11 A NEW DOOM 2:54
12 TASK NO. 1: THE SCATTERING OF SEEDS 1:56
13 TASK NO. 2: COMMUNICATING WITH THE PAST 1:06
14 THE LAST OFFICE OF HUMANITY 2:11
15 SLOW DESTRUCTION OF NEPTUNE 4:25
16 THE FEW THAT PREVAIL 2:01
17 THE LAST MEN 3:19
18 REMEMBRANCE OF THE PAST 2:35
19 THE UNIVERSAL END 1:23
20 EPILOGUE 5:09
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01 PRELUDE 2:35
02 A MINOR ASTRONOMICAL EVENT 3:40
03 A MOVE TO NEPTUNE 3:48
04 PHYSICAL DESCRIPTION OF THE LAST HUMAN BEINGS 4:37
05 ARCHITECTURE 5:01
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13 TASK NO. 2: COMMUNICATING WITH THE PAST 1:06
14 THE LAST OFFICE OF HUMANITY 2:11
15 SLOW DESTRUCTION OF NEPTUNE 4:25
16 THE FEW THAT PREVAIL 2:01
17 THE LAST MEN 3:19
18 REMEMBRANCE OF THE PAST 2:35
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20 EPILOGUE 5:09
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1966 beschloss man, den Wiener Singverein, eigentlich ein Amateurchor, nach Berlin zu fliegen, weil Karajan dort die Missa solemnis und Haydns Schöpfung aufnehmen wollte. Mitunter nahmen wir vormittags Teile der Missa und nachmittags Teile der Schöpfung auf. Das waren damals Aufnahmezeiten von 10 bis 14 Tagen, von denen man heute nur noch träumen kann. Die Missa solemnis war damals noch wenig etabliert, für viele war sie ein »böhmisches Dorf«. Selbst heutet fristet die Missa wohl ein wenig ein Schattendasein und ist trotz ihrer Bedeutung ein vergleichsweise unbekanntes Werk. Wenn jemand sagt, ich kenne und liebe die Missa, glaube ich das nur selten und denke bei mir: »Gehen Sie raus und kochen Sie Erdäpfel!« Meine erste Begegnung mit dem Werk war Anfang der 60er Jahre, als mir ein von der Missa begeisterter Freund Auszüge auf LP vorspielte; ich kannte es also zunächst nur in Bruchstücken und dachte instinktiv: »Das ist aber schwierig.« Als ich wusste, dass ich es mit Karajan aufnehmen würde, habe ich das neben meinen anderen Verpflichtungen etwa ein halbes Jahr lang mit einem Korrepetitor studiert. Karajan hatte eine sehr instrumentale Vorstellung vom Sänger, und am liebsten hätte er das Quartett in der Neunten Symphonie gerne einmal mit Instrumentalisten statt mit Sängern aufgeführt. Die Geschichte mit dem Tempo im Benedictus haben Christa Ludwig und ich oft erzählt. Angst vor den hohen Tönen hatte ich nicht, auf die konnte ich vertrauen. Meine Sorge war eher: »Hoffentlich steigst du nicht aus und dir passiert ein muskalischer Fehler.« Natürlich war da eine gewisse Spannung im Raum und hinterher, als es geglückt war, war man erleichtert. Das Benedictus hat eine zentrale Bedeutung, da öffnet sich der Himmel; meine Tochter liebt es sehr und wir hören es jedes Jahr zu Weihnachten, zusammen mit dem »Et incarnatus est«. Karajan war ein begnadeter Sängerbegleiter. Es setzte voraus, dass alle perfekt vorbereitet waren, und so war es oft gar nicht notwendig, so wie heute mehrere Takes aufzunehmen. Karajan hatte Vertrauen in uns – und wir haben ihm vertraut. Er dirigierte diese großen Werke ja ohne Stab und er hat nur mit seinem Schlag, mit ganz kleinen Bewegungen und seiner Aura somnambulisch aus uns herausgelockt, was er hören wollte. Karajan war ein Genie. Nein, er war mehr als Genie: ein Mensch. Auf gewisse Weise war er auch ein scheuer und schüchterner Mensch, und durchaus großzügig und liebevoll mit den Leuten, mit denen er gearbeitet hat. Er war höflich. Ein Herr. Vor nicht allzu langer Zeit war ich bei Freunden auf einem Barockschloss in Niederösterreich eingeladen, Schloss Ebenthal. Wir hatten dort einen Geburtstag gefeiert. Das Schloss besitzt eine eigene Schlosskapelle, und dort habe ich zu den anderen gesagt: »Wäre es nicht schön, genau hier die Missa solemnis zu hören?« Erst haben sie mich verdutzt angeschaut, aber dann haben wir eine Anlage in die Kapelle gebracht und schließlich gemeinsam, aber jeder für sich auf einer Bank, die ganze Missa in der Karajan-Aufnahme angehört. Da ich sonst bei der Missa ja meistens singen musste, war das wohl eines der wenigen Male, wo ich die Missa komplett gehört habe. Am Ende haben alle geweint. Es ist wirklich eine Jahrhundertaufnahme, und der Himmel tut sich auf. (Aus einem Telefonat mit KS Gundula Janowitz, 6. August 2019)
CD 1
Mass in D, Op.123 "Missa Solemnis"
- Kyrie: Kyrie eleison
- Kyrie: Christe eleison
- Kyrie: Kyrie eleison
- Gloria: Gloria in excelsis Deo
- Gloria: Qui tollis peccata mundi
- Gloria: Quoniam tu solus sanctus
- Gloria: In gloria Dei Patris, Amen
- Gloria: Amen - Quoniam tu solus sanctus
- Credo: Credo in unum Deum
- Credo: Et incarnatus est
- Credo: Et ascendit in coelum
- Credo: Et vitam venturi saeculi
- Credo: Amen
- Sanctus: Sanctus Dominus Deus Sabaoth
- Sanctus: Pleni sunt coeli
- Sanctus: Praeludium
- Sanctus: Benedictus
- Agnus Dei: Agnus Dei
- Agnus Dei: Dona nobis pacem
- Agnus Dei: Allegro assai - Presto
CD 2
Mass in D, Op.123 "Missa Solemnis"
- Kyrie: Kyrie eleison
- Kyrie: Christe eleison
- Kyrie: Kyrie eleison
- Gloria: Gloria in excelsis Deo
- Gloria: Qui tollis peccata mundi
- Gloria: Quoniam tu solus sanctus
- Gloria: In gloria Dei Patris, Amen
- Gloria: Amen - Quoniam tu solus sanctus
- Credo: Credo in unum Deum
- Credo: Et incarnatus est
- Credo: Et ascendit in coelum
- Credo: Et vitam venturi saeculi
- Credo: Amen
- Sanctus: Sanctus Dominus Deus Sabaoth
- Sanctus: Pleni sunt coeli
- Sanctus: Praeludium
- Sanctus: Benedictus
- Agnus Dei: Agnus Dei
- Agnus Dei: Dona nobis pacem
- Agnus Dei: Allegro assai - Presto
Format: CD
“There's a huge commonality between what we're interested in.” Roger Eno
“These pieces are very Impressionistic and very much to do with sonic quality, sonic colour.” Brian Eno
Roger Eno and Brian Eno – together and individually among the foremost innovators in experimental ambient music – will release their first album on Deutsche Grammophon: Mixing Colours.
Brian and Roger Eno have revolutionized many concepts of music production and performance, from pioneering treatments of pop music by Brian Eno to younger brother Roger Eno’s ambient synth/piano recordings reminiscent of Erik Satie.
These qualities resonate on this new release. Each brings his unerring sense of place and mood to the album. The timbre in each title deepens and opens up with each listening. Specific yet abstract titles guide listeners through the collection created over several years in a unique collaboration by both artists.
The result is deep-dive listening and landscapes of sound bearing titles like abstract art: Obsidian, Deep Saffron, or Wintergreen.
This debut DG release will reach a wide new audience still unfamiliar with their artistry. The poetic and ambient anthology reveals two celebrated ambient musicians at the height of their artistry.
TRACKLIST
01 Spring Frost
02 Burnt Umber
03 Celeste
04 Wintergreen
05 Obsidian
06 Blonde
07 Dark Sienna
08 Verdigris
09 Snow
10 Rose Quartz
11 Quicksilver
12 Ultramarine
13 Iris
14 Cinnabar
15 Desert Sand
16 Deep Saffron
17 Cerulean Blue
18 Slow Movement – Sand
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Format: 2LP
“There's a huge commonality between what we're interested in.” Roger Eno
“These pieces are very Impressionistic and very much to do with sonic quality, sonic colour.” Brian Eno
Roger Eno and Brian Eno – together and individually among the foremost innovators in experimental ambient music – will release their first album on Deutsche Grammophon: Mixing Colours.
Brian and Roger Eno have revolutionized many concepts of music production and performance, from pioneering treatments of pop music by Brian Eno to younger brother Roger Eno’s ambient synth/piano recordings reminiscent of Erik Satie.
These qualities resonate on this new release. Each brings his unerring sense of place and mood to the album. The timbre in each title deepens and opens up with each listening. Specific yet abstract titles guide listeners through the collection created over several years in a unique collaboration by both artists.
The result is deep-dive listening and landscapes of sound bearing titles like abstract art: Obsidian, Deep Saffron, or Wintergreen.
This debut DG release will reach a wide new audience still unfamiliar with their artistry. The poetic and ambient anthology reveals two celebrated ambient musicians at the height of their artistry.
TRACKLIST
01 Spring Frost
02 Burnt Umber
03 Celeste
04 Wintergreen
05 Obsidian
06 Blonde
07 Dark Sienna
08 Verdigris
09 Snow
10 Rose Quartz
11 Quicksilver
12 Ultramarine
13 Iris
14 Cinnabar
15 Desert Sand
16 Deep Saffron
17 Cerulean Blue
18 Slow Movement – Sand
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1 Piano Sonata No.30 in E major, Op.109
1. Vivace, ma non troppo - Adagio espressivo
2 Piano Sonata No.30 in E major, Op.109
2. Prestissimo
3 Piano Sonata No.30 in E major, Op.109
3a. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo)
4 Piano Sonata No.30 in E major, Op.109
3b. Variation I: Molto espressivo
5 Piano Sonata No.30 in E major, Op.109
3c. Variation II: Leggiermente
6 Piano Sonata No.30 in E major, Op.109
3d. Variation III: Allegro vivace
7 Piano Sonata No.30 in E major, Op.109
3e. Variation IV: Etwas langsamer als das Thema
8 Piano Sonata No.30 in E major, Op.109
3f. Variation V: Allegro, ma non troppo
9 Piano Sonata No.30 in E major, Op.109
3g. Variation VI: Tempo I del tema
10 Piano Sonata No.31 in A flat major, Op.110
1. Moderato cantabile molto espressivo
11 Piano Sonata No.31 in A flat major, Op.110
2. Allegro molto
12 Piano Sonata No.31 in A flat major, Op.110
3a. Adagio ma non troppo
13 Piano Sonata No.31 in A flat major, Op.110
3b. Fuga (Allegro ma non troppo)
14 Piano Sonata No.32 in C minor, Op.111
1. Maestoso - Allegro con brio ed appassionato
15 Piano Sonata No.32 in C minor, Op.111
2a. Arietta. Adagio molto semplice e cantabile
16 Piano Sonata No.32 in C minor, Op.111
2b. Variation I
17 Piano Sonata No.32 in C minor, Op.111
2c. Variation II
18 Piano Sonata No.32 in C minor, Op.111
2d. Variation III
19 Piano Sonata No.32 in C minor, Op.111
2e. Variation IV
20 Piano Sonata No.32 in C minor, Op.111
2f. Variation V
Fresh from his hugely acclaimed and multi-award-winning album Johann Sebastian Bach, Icelandic pianist Víkingur Ólafsson’s third Deutsche Grammophon recording pairs works by two revolutionary French composers separated by a century and a half: Jean-Philippe Rameau and Claude Debussy.
Debussy is most often called an impressionist – “People get lost a little bit in sound for the sake of sound”, Ólafsson comments. But the composer was also “a real perfectionist… there is this incredibly refined structure at work.” Rameau, “the bad boy of the French baroque”, likewise combined a strong sense of structure with a fondness for breaking conventions: “He broke the rules and paved the way for new ideas, new creativity, new spontaneity.” What unites the two composers, Ólafsson comments, is “a kind of freedom and discipline, juxtaposed”.
The album Debussy & Rameau alternates music by the two composers, creating an enthralling dialogue between them. Works are drawn from across both composers’ careers, with the Debussy selection including well-known miniatures such as La Fille aux cheveux de lin as well as the less familiar Prelude to La Damoiselle élue arranged for piano solo. Rameau’s works are mainly drawn from his Pièces de clavecin collections of between 1724 and 1741. One of the album’s centrepieces is Ólafsson’s own Rameau arrangement The Arts and the Hours.
Ólafsson’s album concludes with a piece that connects the two composers directly: Debussy’s Hommage à Rameau from Images book 1, a moving sarabande written as a tribute from one rule-breaking composer to another.
CLAUDE DEBUSSY (1862–1918)
1. La Damoiselle élue L. 69*: Prélude
JEAN-PHILIPPE RAMEAU (1683–1764)
Pièces de Clavecin (1724)
2. Le rappel des oiseaux
3. Rigaudons I, II & double
4. Musette en rondeau
5. Tambourin
6. La villageoise. Rondeau
7. Gigues en rondeau I & II
DEBUSSY
8. Estampes L.108: 3. Jardins sous la pluie
Children’s Corner L. 119
9. 3. Serenade for the Doll
10. 4. The Snow is dancing
RAMEAU
Pièces de Clavecin (1724)
11. Les tendres plaintes. Rondeau
12. Les tourbillons. Rondeau
13. L’entretien des Muses
DEBUSSY
14. Préludes, Book 1, L. 125: Des pas sur la neige
RAMEAU
Pièces de Clavecin (1724)
15. La joyeuse. Rondeau
16. Les Cyclopes. Rondeau
RAMEAU / ÓLAFSSON
17. The Arts and the Hours
DEBUSSY
18. Préludes, Book 1: La fille aux cheveux de lin
Très calme et doucement expressif
19. Préludes, Book 2, L. 123: Ondine. Scherzando
RAMEAU - Pièces de Clavecin en Concerts (1741)
20. Cinquième concert (Fifth Concert): La Cupis
Quatrième concert (Fourth Concert):
21. L’indiscrète. Rondeau. Vivement
22. La Rameau
Nouvelles Suites de Pièces de Clavecin (1726/27)
23. La Poule
24. L’Enharmonique. Gracieusement
25. Menuets I & II
26. Les Sauvages
27. L’Égyptienne
DEBUSSY
28. Images, Book 1, L. 105: Hommage à Rameau
Víkingur Ólafsson piano
The “L” numbers (by François Lesure) are the latest ones,
different from Lesure’s original work list from 1977.
Fresh from his hugely acclaimed and multi-award-winning album Johann Sebastian Bach, Icelandic pianist Víkingur Ólafsson’s third Deutsche Grammophon recording pairs works by two revolutionary French composers separated by a century and a half: Jean-Philippe Rameau and Claude Debussy.
Debussy is most often called an impressionist – “People get lost a little bit in sound for the sake of sound”, Ólafsson comments. But the composer was also “a real perfectionist… there is this incredibly refined structure at work.” Rameau, “the bad boy of the French baroque”, likewise combined a strong sense of structure with a fondness for breaking conventions: “He broke the rules and paved the way for new ideas, new creativity, new spontaneity.” What unites the two composers, Ólafsson comments, is “a kind of freedom and discipline, juxtaposed”.
The album Debussy & Rameau alternates music by the two composers, creating an enthralling dialogue between them. Works are drawn from across both composers’ careers, with the Debussy selection including well-known miniatures such as La Fille aux cheveux de lin as well as the less familiar Prelude to La Damoiselle élue arranged for piano solo. Rameau’s works are mainly drawn from his Pièces de clavecin collections of between 1724 and 1741. One of the album’s centrepieces is Ólafsson’s own Rameau arrangement The Arts and the Hours.
Ólafsson’s album concludes with a piece that connects the two composers directly: Debussy’s Hommage à Rameau from Images book 1, a moving sarabande written as a tribute from one rule-breaking composer to another.
CLAUDE DEBUSSY (1862–1918)
1. La Damoiselle élue L. 69*: Prélude
JEAN-PHILIPPE RAMEAU (1683–1764)
Pièces de Clavecin (1724)
2. Le rappel des oiseaux
3. Rigaudons I, II & double
4. Musette en rondeau
5. Tambourin
6. La villageoise. Rondeau
7. Gigues en rondeau I & II
DEBUSSY
8. Estampes L.108: 3. Jardins sous la pluie
Children’s Corner L. 119
9. 3. Serenade for the Doll
10. 4. The Snow is dancing
RAMEAU
Pièces de Clavecin (1724)
11. Les tendres plaintes. Rondeau
12. Les tourbillons. Rondeau
13. L’entretien des Muses
DEBUSSY
14. Préludes, Book 1, L. 125: Des pas sur la neige
RAMEAU
Pièces de Clavecin (1724)
15. La joyeuse. Rondeau
16. Les Cyclopes. Rondeau
RAMEAU / ÓLAFSSON
17. The Arts and the Hours
DEBUSSY
18. Préludes, Book 1: La fille aux cheveux de lin
Très calme et doucement expressif
19. Préludes, Book 2, L. 123: Ondine. Scherzando
RAMEAU - Pièces de Clavecin en Concerts (1741)
20. Cinquième concert (Fifth Concert): La Cupis
Quatrième concert (Fourth Concert):
21. L’indiscrète. Rondeau. Vivement
22. La Rameau
Nouvelles Suites de Pièces de Clavecin (1726/27)
23. La Poule
24. L’Enharmonique. Gracieusement
25. Menuets I & II
26. Les Sauvages
27. L’Égyptienne
DEBUSSY
28. Images, Book 1, L. 105: Hommage à Rameau
Víkingur Ólafsson piano
The “L” numbers (by François Lesure) are the latest ones,
different from Lesure’s original work list from 1977.
Disk #1
1. Concert for Violin, Piano and String Quartet, Op. 21
1. Décidé - Calme - Animé (Orch.)
2. Concert for Violin, Piano and String Quartet, Op. 21
2. Sicilienne - Pas vite (Orch.)
3. Concert for Violin, Piano and String Quartet, Op. 21
3. Grave (Orch.)
4. Concert for Violin, Piano and String Quartet, Op. 21
4. Finale - Très animé (Orch.)
5. Rêverie, L. 68 (Arr. Badzura)
6. Thaïs Méditation (Arr. Knoth)
7. 4 Lieder, Op.27, No.1-4
4. Morgen!
8. Notturno for Strings and Harp
9. Chanson de Matin, Op. 15 No. 2 (Arr. Bateman)
10. Introduction and Allegro for Strings, Op. 47
Disk #2
1. Morceaux de Salon, Op.6
1. Romance
2. Piece in D Minor
3. Serenade für Violine und Klavier
1. Mäßig
4. Quatre Petites Pièces
2. Très modéré
5. Quatre Petites Pièces
4. Scherzando
6. Quatre Petites Pièces
3. Allegretto quasi andantino
7. Quatre Petites Pièces
1. Andante
8. Andante, Op. 75
9. Sonate Posthume for Violin and Piano, M. 12
10. Schließe mir die Augen beide
11. Impromptu concertant
12. Morceau de lecture
13. Four Pieces for Violin and Piano, Op. 28
14. Jugendlieder
10. Winter
15. Miniatures, Set 3 H89
7. Valse Russe
16. Préludes - Book 1, L. 117
8. La fille aux cheveux de lin (Arr. Hope and Crawford-Phillips)
17. Liebesleid
18. À Chloris (Arr. Hope and Crawford-Phillips)
19. Préludes - Book 1, L. 117
12. Minstrels (Arr. for Violin and Piano)
20. Four Pieces, Op.7 - for violin and piano
1. Sehr langsam
21. Four Pieces, Op.7 - for violin and piano
2. Rasch
22. Four Pieces, Op.7 - for violin and piano
3. Sehr langsam
23. Four Pieces, Op.7 - for violin and piano
4. Bewegt
Format: CD im Mintpack
»Für mich ist Myopia ein Album über Vertrauen und Zweifel. Kannst du dir selbst vertrauen oder nicht? Kannst du deinem eigenen Urteil vertrauen? Kannst du darauf vertrauen, dass du das Richtige tust? Kannst du deinen Instinkten und deinen Gefühlen vertrauen? Oder sind deine Gefühle verzerrt?« – Agnes Obel
Seit fast zehn Jahren zählt Agnes Obel zu den unabhängigen und eigenwilligen Künstlern der Gegenwartsmusik. Nun meldet sie sich mit einer neuen Arbeit zurück und veröffentlicht ihre Single »Island Of Doom« aus dem mit Spannung erwarteten Album Myopia. Myopia erscheint am 21. Februar 2020 bei Deutsche Grammophon.
Wie schon bei früheren Alben (Philharmonics, Aventine und Citizen Of Glass), die Agnes Obel im Alleingang in ihrem Berliner Studio schuf, zog sich die Musikerin auch für diese Arbeit in eine selbst auferlegte kreative Isolation zurück. Alle äußeren Einflüsse und Ablenkungen wollte sie ausblenden, während sie mit dem Schreiben, der Aufnahme und dem Abmischen beschäftigt war. »Sämtliche Alben, an denen ich gearbeitet habe, verlangten, dass ich eine Art Blase schaffe, in der sich alles nur noch um das Album dreht.«
»Für mich ist die Produktion fest verknüpft mit dem Text und der Geschichte hinter den Songs«, sagt sie. Und genau das macht ihre Musik so überzeugend – wie sich auf Myopia zeigt. »Paradoxerweise muss ich meine eigene Myopie schaffen, um Musik zu machen.« Obel experimentierte bei der Aufnahme mit Bearbeitungen und Verzerrungen, mit den Tonhöhen von Gesang, Streichern, Klavier, Celesta und Luthéal-Klavier. Dabei fand sie Wege, diese Elemente miteinander zu verschmelzen, sie zur Einheit werden zu lassen und sie so einzusetzen, dass man sich wohlfühlt bei dem Klang, den sie auf Myopia hervorbringt.
Agnes Obels Musik kann oft einen Monolog von quasi dystopischen aktuellen Nachrichten kuratieren – er betrifft uns alle –, zugleich aber ist der Inhalt von »Island Of Doom« sehr viel persönlicher. Die Künstlerin sagt: »Die Elemente des Songs sind tiefer gestimmtes Klavier, Cello-Pizzicato und Gesang, das Klangniveau der Chöre ist mal höher, mal tiefer … Wenn jemand stirbt, der dir nahesteht, ist es nach meiner Erfahrung einfach unmöglich zu begreifen, dass du nie wieder mit ihm sprechen oder ihn erreichen kannst, nie wieder. In vielerlei Hinsicht ist er immer am Leben, denn in deinem Bewusstsein hat sich nichts geändert, er ist immer noch da wie alle anderen, die du kennst.«
Agnes Obel geht im Frühjahr 2020 auf Europatournee und ist im April und Mai als Special Guest mit der Gruppe Dead Can Dance auf einer Tournee durch Nordamerika.
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»Für mich ist Myopia ein Album über Vertrauen und Zweifel. Kannst du dir selbst vertrauen oder nicht? Kannst du deinem eigenen Urteil vertrauen? Kannst du darauf vertrauen, dass du das Richtige tust? Kannst du deinen Instinkten und deinen Gefühlen vertrauen? Oder sind deine Gefühle verzerrt?« – Agnes Obel
Seit fast zehn Jahren zählt Agnes Obel zu den unabhängigen und eigenwilligen Künstlern der Gegenwartsmusik. Nun meldet sie sich mit einer neuen Arbeit zurück und veröffentlicht ihre Single »Island Of Doom« aus dem mit Spannung erwarteten Album Myopia. Myopia erscheint am 21. Februar 2020 bei Deutsche Grammophon.
Wie schon bei früheren Alben (Philharmonics, Aventine und Citizen Of Glass), die Agnes Obel im Alleingang in ihrem Berliner Studio schuf, zog sich die Musikerin auch für diese Arbeit in eine selbst auferlegte kreative Isolation zurück. Alle äußeren Einflüsse und Ablenkungen wollte sie ausblenden, während sie mit dem Schreiben, der Aufnahme und dem Abmischen beschäftigt war. »Sämtliche Alben, an denen ich gearbeitet habe, verlangten, dass ich eine Art Blase schaffe, in der sich alles nur noch um das Album dreht.«
»Für mich ist die Produktion fest verknüpft mit dem Text und der Geschichte hinter den Songs«, sagt sie. Und genau das macht ihre Musik so überzeugend – wie sich auf Myopia zeigt. »Paradoxerweise muss ich meine eigene Myopie schaffen, um Musik zu machen.« Obel experimentierte bei der Aufnahme mit Bearbeitungen und Verzerrungen, mit den Tonhöhen von Gesang, Streichern, Klavier, Celesta und Luthéal-Klavier. Dabei fand sie Wege, diese Elemente miteinander zu verschmelzen, sie zur Einheit werden zu lassen und sie so einzusetzen, dass man sich wohlfühlt bei dem Klang, den sie auf Myopia hervorbringt.
Agnes Obels Musik kann oft einen Monolog von quasi dystopischen aktuellen Nachrichten kuratieren – er betrifft uns alle –, zugleich aber ist der Inhalt von »Island Of Doom« sehr viel persönlicher. Die Künstlerin sagt: »Die Elemente des Songs sind tiefer gestimmtes Klavier, Cello-Pizzicato und Gesang, das Klangniveau der Chöre ist mal höher, mal tiefer … Wenn jemand stirbt, der dir nahesteht, ist es nach meiner Erfahrung einfach unmöglich zu begreifen, dass du nie wieder mit ihm sprechen oder ihn erreichen kannst, nie wieder. In vielerlei Hinsicht ist er immer am Leben, denn in deinem Bewusstsein hat sich nichts geändert, er ist immer noch da wie alle anderen, die du kennst.«
Agnes Obel geht im Frühjahr 2020 auf Europatournee und ist im April und Mai als Special Guest mit der Gruppe Dead Can Dance auf einer Tournee durch Nordamerika. [FLAG_ACTIVE] => Y [FLAG_LIMITED] => Y [FLAG_VARIANT_HEAD] => N [FORCED_VISIBLE_UNTIL] => 0 [ID] => 0028948371754 [MAIN_ASSET_LINK] => P0028948371754_1.jpg [MEDIUM_COUNT] => 0 [MEDIUM_NAME] => LP [MEDIUM_TYPE] => [META] => Array ( [age_recommendation] => [age_restriction] => [artist] => Agnes Obel [category_id] => 1 [category_name] => Pop [category_type] => music [color] => Mehrfarbig [color_EN] => multicoloured [composer] => [date_release] => 2020-02-21 [director] => [gender] => [genre_main] => [item_number] => [label] => [label_code] => [marketing_division] => [material] => Tonträger [material_EN] => [medium_count] => 0 [medium] => LP [medium_EN] => LP [medium_type] => 0004 [price_code] => [price_vendor] => [size] => OS [title_extra] => [vendor] => ) [ORDER_END] => 300001001 [ORDER_MAX] => 0 [ORDER_MIN] => 0 [ORDER_START] => 20191029 [RELEASE_DATE] => 2020-02-21 [SHOW_FROM] => 2019-10-29 00:00:00.000000 [STREETDAY] => 2020-02-21 [STATUS_HIDE] => N [STATUS_SALE] => Y [STOCK] => 11 [STOCK_TOTAL] => 11 [TAX_ID] => 1 [TITLE] => Myopia [TOPSELLER_COUNT] => [VARIANT_ID] => 0 [VENDOR_CODE] => MGS [VENDOR_DELIVERY_TIME] => [PRICE] => 19,99 [PRICE_SPECIAL] => 0 [PRICE_ORIGINAL] => 19,99 [PRICE1] => [PRICE2] => [PRICE3] => [PRICE4] => [PRICE5] => [PRICE_NETTO] => [PRICE_NETTO1] => [PRICE_NETTO2] => [SPECIAL_PRICE_START] => [SPECIAL_PRICE_END] => [SCORE_H] => 0 [SCORE_P] => 0 ) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SFCProductListItem::item ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ sfd_item Object ( [ARTIST] => Agnes Obel [ARTIST_ID] => 157464 [ARTNR] => DRM131444000 [CATEGORY_NAME] => Pop [CATEGORY_TYPE] => music [COMPOSER] => [DELIVERY_DATE] => [DELIVERY_STATUS] => 8 [DESCRIPTION] =>
* Exklusiv hier im Shop *
Format: Ltd. Crystal Clear Vinyl
»Für mich ist Myopia ein Album über Vertrauen und Zweifel. Kannst du dir selbst vertrauen oder nicht? Kannst du deinem eigenen Urteil vertrauen? Kannst du darauf vertrauen, dass du das Richtige tust? Kannst du deinen Instinkten und deinen Gefühlen vertrauen? Oder sind deine Gefühle verzerrt?« – Agnes Obel
Seit fast zehn Jahren zählt Agnes Obel zu den unabhängigen und eigenwilligen Künstlern der Gegenwartsmusik. Nun meldet sie sich mit einer neuen Arbeit zurück und veröffentlicht ihre Single »Island Of Doom« aus dem mit Spannung erwarteten Album Myopia. Myopia erscheint am 21. Februar 2020 bei Deutsche Grammophon.
Wie schon bei früheren Alben (Philharmonics, Aventine und Citizen Of Glass), die Agnes Obel im Alleingang in ihrem Berliner Studio schuf, zog sich die Musikerin auch für diese Arbeit in eine selbst auferlegte kreative Isolation zurück. Alle äußeren Einflüsse und Ablenkungen wollte sie ausblenden, während sie mit dem Schreiben, der Aufnahme und dem Abmischen beschäftigt war. »Sämtliche Alben, an denen ich gearbeitet habe, verlangten, dass ich eine Art Blase schaffe, in der sich alles nur noch um das Album dreht.«
»Für mich ist die Produktion fest verknüpft mit dem Text und der Geschichte hinter den Songs«, sagt sie. Und genau das macht ihre Musik so überzeugend – wie sich auf Myopia zeigt. »Paradoxerweise muss ich meine eigene Myopie schaffen, um Musik zu machen.« Obel experimentierte bei der Aufnahme mit Bearbeitungen und Verzerrungen, mit den Tonhöhen von Gesang, Streichern, Klavier, Celesta und Luthéal-Klavier. Dabei fand sie Wege, diese Elemente miteinander zu verschmelzen, sie zur Einheit werden zu lassen und sie so einzusetzen, dass man sich wohlfühlt bei dem Klang, den sie auf Myopia hervorbringt.
Agnes Obels Musik kann oft einen Monolog von quasi dystopischen aktuellen Nachrichten kuratieren – er betrifft uns alle –, zugleich aber ist der Inhalt von »Island Of Doom« sehr viel persönlicher. Die Künstlerin sagt: »Die Elemente des Songs sind tiefer gestimmtes Klavier, Cello-Pizzicato und Gesang, das Klangniveau der Chöre ist mal höher, mal tiefer … Wenn jemand stirbt, der dir nahesteht, ist es nach meiner Erfahrung einfach unmöglich zu begreifen, dass du nie wieder mit ihm sprechen oder ihn erreichen kannst, nie wieder. In vielerlei Hinsicht ist er immer am Leben, denn in deinem Bewusstsein hat sich nichts geändert, er ist immer noch da wie alle anderen, die du kennst.«
Agnes Obel geht im Frühjahr 2020 auf Europatournee und ist im April und Mai als Special Guest mit der Gruppe Dead Can Dance auf einer Tournee durch Nordamerika.
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- 4LP limited edition deluxe designer boxset with art prints and photo book, commemorating the entire re:member project
- 1LP contains content exclusive to the box, meditative extended sonic textures played on Ólafur’s patented Stratus Pianos
- Other LPs contain (already released) original re:member album, string quartet versions and (unreleased) choir versions by Voces8 and live versions
Track Listing:
LP, re:member
Original Album
LP2, re:arrangements
VOCES8 Choir Versions
*physical release exclusive to this set*
A1 momentary
A2 partial
A3 nyepi
String Quartet Versions
B1 saman
B2 momentary
B3 nyepi
LP3, re:visions
*physical release exclusive to this set*
A1 brot (lisboa)
A2 saman (berlin)
A3 ypsilon (leicester)
B1 undir (london)
B2 ekki hugsa (amsterdam)
B3 nyepi (münchen)
LP4, re:generate
*Music ONLY available in this set*
A1 flow one
B1 flow two
* Deutsche Grammophon Shop Exclusive *
After the highly acclaimed album “Destination Rachmaninov – Departure” Daniil Trifonov concludes his Rachmaninov project on 11 October 2019 with his new album “Destination Rachmaninov – Arrival”.
For this occasion, DG will release a 4 LP Gatefold set exclusively as D2C product, which will include all 4 Piano Concertos by Russian composer Sergei Rachmaninov.
In addition to the Piano Concertos, this album features a selection of Daniil Trifonov’s own Rachmaninov transcriptions including Rachmaninov’s famous “Vocalise” and virtuosic “The Silver Sleigh Bells”.
Finally, the product features an unreleased track of the heart-rending “Vocalise” in an exclusively long version.
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Format: 2LP
- 2LP Gatefold
180grams
Black
incl. "Arrival" CD
Tracklist:
1 The Bells, Op.35 (06:56)
Allegro ma non tanto (The Silver Sleigh Bells) (Arr. Trifonov for Piano) (Live at Philharmonie, Berlin / 2019)
2 Piano Concerto No.1 in F sharp minor, Op.1 (13:08)
Vivace
3 Piano Concerto No.1 in F sharp minor, Op.1 (07:20)
Andante
4 Piano Concerto No.1 in F sharp minor, Op.1 07:47
Allegro vivace
5 Vocalise, Op. 34, No. 14 (Arr. Trifonov for Piano) 03:34
6 Piano Concerto No. 3 in D Minor, Op. 30 17:26
Allegro ma non tanto (Live at Verizon Hall, Philadelphia / 2018)
7 Piano Concerto No. 3 in D Minor, Op. 30 11:19
Intermezzo (Adagio) (Live at Verizon Hall, Philadelphia / 2018)
8 Piano Concerto No. 3 in D Minor, Op. 30 14:25
Finale (Alla breve) (Live at Verizon Hall, Philadelphia / 2018)
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Tracklist:
1 The Bells, Op.35 (06:56)
Allegro ma non tanto (The Silver Sleigh Bells) (Arr. Trifonov for Piano) (Live at Philharmonie, Berlin / 2019)
2 Piano Concerto No.1 in F sharp minor, Op.1 (13:08)
Vivace
3 Piano Concerto No.1 in F sharp minor, Op.1 (07:20)
Andante
4 Piano Concerto No.1 in F sharp minor, Op.1 07:47
Allegro vivace
5 Vocalise, Op. 34, No. 14 (Arr. Trifonov for Piano) 03:34
6 Piano Concerto No. 3 in D Minor, Op. 30 17:26
Allegro ma non tanto (Live at Verizon Hall, Philadelphia / 2018)
7 Piano Concerto No. 3 in D Minor, Op. 30 11:19
Intermezzo (Adagio) (Live at Verizon Hall, Philadelphia / 2018)
8 Piano Concerto No. 3 in D Minor, Op. 30 14:25
Finale (Alla breve) (Live at Verizon Hall, Philadelphia / 2018)
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Seit langem ein neues Solo-Projekt von Cecilia Bartoli.
Das neue Album ist dem Superstar des 18. Jahrhunderts, dem Kastraten Farinelli gewidmet. Der für seine spektakuläre Technik, extreme Höhen und bei gleichzeitig schier unendlichem Atemfluss bekannte Carlo Broschi – der bürgerliche Name dieses Sängers, wird von „La Bartoli“, begleitet von den auf original Instrumenten spielenden Il Giardino Armonico, portraitiert.
Die große Virtuosin unserer Zeit zieht in ihrem neuen Album „Farinelli“ alle Register ihres Könnens mit ihrerseits flirrend-agilem Mezzo und technischer Brillanz gepaart mit ebenso leidenschaftlichem wie sinnlichem Ausdruck. Eine würdige Nachfolgerin des Farinelli in unserer Zeit.
TRACKLIST:
- ‘Nell’attendere mio bene’ from Polifemo by Porpora
- ‘Vaghi amori, grazie amate’ from La festa d’imeneo by Porpora
- ‘Morte col fiero aspetto’ from Marc’Antonio e Cleopatra by Hasse
- ‘Lontan… Lusingato dalla speme’ from Polifemo by Porpora*
- ‘Chi non sente al mio dolore’ from La Merope by Broschi
- ‘Come nave in ria tempesta’ from Semiramide regina dell'Assiria by Porpora
- ‘Mancare o Dio mi sento’ from Adriano in Siria by Giacomelli
- ‘Si, traditor tu sei’ from La Merope by Broschi*
- ‘Questi al cor finora ignoti’ from La morte d’Abel by Caldara
- ‘Signor la tua Speranza… A Dio trono, impero a Dio’ from Marc’Antonio e Cleopatra by Hasse
- ‘Alto Giove’ from Polifemo by Porpora
Format:
188 CDs + 3 Blu-ray Audio discs + 2 DVDs
Product Details:
- Teaser Video
- Deutsche Grammophon presents the most modern and complete set of Beethoven’s work ever issued – 180 Hours of Music on 188 CDs, 2 DVDs and 3 Blu-ray Audios
- Assembled in cooperation with Decca and 10 other labels, it includes many alternative performances including three complete symphony cycles.
- The Edition includes over 250 legendary performers from Gilels to Gardiner, Amadeus Quartet to Arrau, Furtwangler to Fischer-Dieskau, Kempff to Karajan, Böhm to Brendel, Menuhin to Mutter and Perahia to Pollini
- Leading Beethoven scholars have contributed to the editorial
- Over 150 minutes of new recordings, including several world premieres recorded especially for this edition by Lang Lang and Daniel Hope
- The Edition has been compiled in partnership with the Beethoven-Haus Bonn, the only Complete Edition with support of the official Beethoven 2020 foundation
- 118 CDs divided into 9 genres (for more details see below)
- 2 DVDs: Fidelio (Bernstein) and Symphonies nos. 4 & 7 (Kleiber)
- 3 BD Audio: Symphonies (Karajan) / Piano Sonatas (Kempff) / Quartets (Amadeus Quartet)
- Colour-coded for easy navigation
- Lavishly illustrated hardback book with new essay by Christine Siegert, introductory note by Barry Cooper and a biography in pictures, alphabetical work index & artist index
- 9 softcover books with tracklistings, notes and sung texts (EN/DE), illustrations, and full recording information
- Limited edition
- Measurements: 205 x 274 x 271 mm
- Weight: 7.4 kg
- There is an extra protective packaging for transport.
Contents:
Vol. 1 ORCHESTRAL MUSIC:
- CD 1-15 Symphonies, Overtures etc.: Abbado, Bernstein, Böhm, Chailly, Gardiner, Giulini, Karajan, Kleiber, Monteux, Nelsons, Szell
- CD 16-23 Concertos: Argerich, Barenboim, Brendel, Buchbinder, Gulda, Kempff, Mutter, Pollini, Repin, Zimerman
Vol. 2 MUSIC FOR THE STAGE:
- CD 24-27 Ballet Music, Incidental Music, Dances & Marches: Abbado, Chung, Karajan, Maazel, Marriner
- CD 28-31 Opera: Abbado, Gardiner
Vol. 3: KEYBOARD MUSIC
- CD 32-43 Piano Sonatas: Arrau, Ashkenazy, Brendel, Cascioli, Curzon, de Larrocha, Freire, Gilels, Grimaud, Gulda, Kissin, Kocsis, Kovacevich, Lang Lang, Lupu, Perahia, Pletnev, Pollini, Uchida
- CD 44-51 Keyboard Works
Vol. 4 CHAMBER MUSIC
- CD 52-55 Violin Sonatas: Dumay, Kremer, Menuhin, Mutter, Perlman
- CD 56-57 Cello Sonatas: Maisky
- CD 58-59 Flute & Other Duos: Gallois, Hagen Quartett, Tuckwell
- CD 60-64 Piano Trios: Beaux Arts Trio, Mullova/Schiff/Previn, Szeryng/Kempff/Fournier
- CD 65-67 String Trios: Mutter/Giuranna/Rostropovich
- CD 68-77 String Quartets: Emerson String Quartet, Hagen Quartett, Takacs Quartet
- CD 78-81 Large Chamber Music: Amadeus Quartet
Vol. 5 LIEDER & PARTSONGS
- CD 82-85 Fischer-Dieskau, Schreier, Stolte
Vol. 6 FOLKSONG SETTINGS
- CD 86-92 Martineau
Vol. 7 VOCAL WORKS WITH ORCHESTRA
- CD 93 Vocal Works with Orchestra: Abbado, Tilson Thomas
- CD 94-97 Masses: Cantatas Chung, Gardiner, Karajan, Thielemann
- CD 98 Christus am Ölberge: Klee
Vol. 8 WORLD PREMIERES & RARITIES
- CD 99-101 Goerne, Hope, Koch
Vol. 9 CLASSIC PERFORMANCES & PERIOD INSTRUMENT PERFORMANCES
+ SUPPLEMENT
- CD 102-118 Busch, Fricsay, Furtwängler, Jochum, E. Kleiber, Klemperer, Nikisch, Scherchen, R. Strauss, Backhaus, Fournier, Haskil, Levin, Michelangeli, Pogorelich, S. Richter, Schnabel, Serkin
Busch Quartet, Lindsay Quartet, Quartetto Italiano, Bartoli, Nilsson, Pavarotti, Vickers, von Otter - BD Audio 119-121 Symphonies Piano Sonatas, String Quartets: Karajan (1962), Kempff (1960s), Amadeus Quartet (1960s)
- DVD 122/123 Symphonies 4 & 7, Fidelio: Kleiber, Bernstein
* Campaign has ended*
Pre-Order this new Complete Edition from this store and receive two free tickets to our Deutsche Grammophon invited-guests only concert in Munich on Friday 27th September with Maurizio Pollini as part of your purchase.
Maurizio Pollini will be playing the following Beethoven repertoire:
Piano Sonata No. 30 in E major, op. 109
Piano Sonata No. 31 in A flat major, op. 110
Piano Sonata No. 32 in C minor, op. 111
- This offer is only available from this Beethoven 2020 Store and runs until midnight 15th September, 2019.
- Purchasers of this pre-order will receive two tickets to the concert sent to them by the concert organizer, Münchenmusik.
Please see the following page for further details and FAQs
If you would like to pre-order the Complete Edition WITHOUT the two free tickets please use this separate page.
Format:
188 CDs + 3 Blu-ray Audio discs + 2 DVDs
Product Details:
- Teaser Video
- Deutsche Grammophon presents the most modern and complete set of Beethoven’s work ever issued – 180 Hours of Music on 188 CDs, 2 DVDs and 3 Blu-ray Audios
- Assembled in cooperation with Decca and 10 other labels, it includes many alternative performances including three complete symphony cycles.
- The Edition includes over 250 legendary performers from Gilels to Gardiner, Amadeus Quartet to Arrau, Furtwangler to Fischer-Dieskau, Kempff to Karajan, Böhm to Brendel, Menuhin to Mutter and Perahia to Pollini
- Leading Beethoven scholars have contributed to the editorial
- Over 150 minutes of new recordings, including several world premieres recorded especially for this edition by Lang Lang and Daniel Hope
- The Edition has been compiled in partnership with the Beethoven-Haus Bonn, the only Complete Edition with support of the official Beethoven 2020 foundation
- 118 CDs divided into 9 genres (for more details see below)
- 2 DVDs: Fidelio (Bernstein) and Symphonies nos. 4 & 7 (Kleiber)
- 3 BD Audio: Symphonies (Karajan) / Piano Sonatas (Kempff) / Quartets (Amadeus Quartet)
- Colour-coded for easy navigation
- Lavishly illustrated hardback book with new essay by Christine Siegert, introductory note by Barry Cooper and a biography in pictures, alphabetical work index & artist index
- 9 softcover books with tracklistings, notes and sung texts (EN/DE), illustrations, and full recording information
- Limited edition
- Measurements: 205 x 274 x 271 mm
- Weight: 7.4 kg
- There is an extra protective packaging for transport.
Contents:
Vol. 1 ORCHESTRAL MUSIC:
- CD 1-15 Symphonies, Overtures etc.: Abbado, Bernstein, Böhm, Chailly, Gardiner, Giulini, Karajan, Kleiber, Monteux, Nelsons, Szell
- CD 16-23 Concertos: Argerich, Barenboim, Brendel, Buchbinder, Gulda, Kempff, Mutter, Pollini, Repin, Zimerman
Vol. 2 MUSIC FOR THE STAGE:
- CD 24-27 Ballet Music, Incidental Music, Dances & Marches: Abbado, Chung, Karajan, Maazel, Marriner
- CD 28-31 Opera: Abbado, Gardiner
Vol. 3: KEYBOARD MUSIC
- CD 32-43 Piano Sonatas: Arrau, Ashkenazy, Brendel, Cascioli, Curzon, de Larrocha, Freire, Gilels, Grimaud, Gulda, Kissin, Kocsis, Kovacevich, Lang Lang, Lupu, Perahia, Pletnev, Pollini, Uchida
- CD 44-51 Keyboard Works
Vol. 4 CHAMBER MUSIC
- CD 52-55 Violin Sonatas: Dumay, Kremer, Menuhin, Mutter, Perlman
- CD 56-57 Cello Sonatas: Maisky
- CD 58-59 Flute & Other Duos: Gallois, Hagen Quartett, Tuckwell
- CD 60-64 Piano Trios: Beaux Arts Trio, Mullova/Schiff/Previn, Szeryng/Kempff/Fournier
- CD 65-67 String Trios: Mutter/Giuranna/Rostropovich
- CD 68-77 String Quartets: Emerson String Quartet, Hagen Quartett, Takacs Quartet
- CD 78-81 Large Chamber Music: Amadeus Quartet
Vol. 5 LIEDER & PARTSONGS
- CD 82-85 Fischer-Dieskau, Schreier, Stolte
Vol. 6 FOLKSONG SETTINGS
- CD 86-92 Martineau
Vol. 7 VOCAL WORKS WITH ORCHESTRA
- CD 93 Vocal Works with Orchestra: Abbado, Tilson Thomas
- CD 94-97 Masses: Cantatas Chung, Gardiner, Karajan, Thielemann
- CD 98 Christus am Ölberge: Klee
Vol. 8 WORLD PREMIERES & RARITIES
- CD 99-101 Goerne, Hope, Koch
Vol. 9 CLASSIC PERFORMANCES & PERIOD INSTRUMENT PERFORMANCES
+ SUPPLEMENT
- CD 102-118 Busch, Fricsay, Furtwängler, Jochum, E. Kleiber, Klemperer, Nikisch, Scherchen, R. Strauss, Backhaus, Fournier, Haskil, Levin, Michelangeli, Pogorelich, S. Richter, Schnabel, Serkin
Busch Quartet, Lindsay Quartet, Quartetto Italiano, Bartoli, Nilsson, Pavarotti, Vickers, von Otter - BD Audio 119-121 Symphonies Piano Sonatas, String Quartets: Karajan (1962), Kempff (1960s), Amadeus Quartet (1960s)
- DVD 122/123 Symphonies 4 & 7, Fidelio: Kleiber, Bernstein
* Now available at special pricing for the Beethoven Year *
Celebrating 120 Years of Deutsche Grammophon the yellow label presents a landmark in the history of recorded music: This special edition of Herbert von Karajan’s 1963 Beethoven Symphony Cycle is a particularly thrilling part of the DG120 celebrations as only 120 of this 8LP super deluxe art set will be manufactured, presented in a luxury black linen box with artwork specially commissioned from artist Gregor Hildebrandt.
The Berlin based artist is known for his use of cassette tape and vinyl as raw material in the creative process. Pressed on 180gsm vinyl by OPTIMAL and mastered from original ATP files, this set also includes, for the first time a download code for the complete repertoire in 24bit/96kHz.
• Limited-Edition of 120 numbered 8LP sets of Karajan’s famous 1963 Beethoven Symphony Cycle presented in a luxury black linen set newly designed by artist Gregor Hildebrandt. The top of the lift-off lid box functions as a piece of art, when mounted to a wall.
• Limited to 120 sets worldwide; each set is signed by artist Gregor Hildebrandt.
• Includes 9 Leporellos presenting reproductions of original art specially commissioned for this set from Gregor Hildebrandt, where the artist has created a visual representation of each symphony.
• A portrait of Karajan: based on a picture - by Siegfried Lauterwasser - Gregor Hildebrandt has created a unique piece of art for each set using cassette tape as his choice of media.
• One art print with special artistic intervention.
• 24-page facsimile booklet of the original release with new cover art by Hildebrandt.
• Additional liner notes by Richard Osborne.
• Mastered from original ATP files and pressed on eight 180gsm heavyweight vinyl at OPTIMAL.
• Engraving in the final groove of the final disc: wo dein sanfter Flügel weilt.
• Download Voucher which allows consumers to download the symphonies as mp3 files or in 24bit/96kHz for free.
THE FAMOUS 1963 KARAJAN BEETHOVEN SYMPHONIES
Karajan recorded the Complete Symphonies of Beethoven no fewer than 4 times for DG, but his first recording, made in 1963, was financially the most daring, artistically the most radical, and commercially the most successful.
It was estimated that over 100,000 boxes would have to be sold if Deutsche Grammophon’s gargantuan 1.5 million Deutschmark investment was to be recouped. The head of a rival company predicted that Deutsche Grammophon was heading for “a colossal financial catastrophe”.
By 1973 nearly one million sets had been sold, ten times the original breakeven estimate. 50 years on from its original launch, the set remains the best-selling Beethoven cycle of all time.
The 1963 Berlin set dazzled like no other, aided in no small measure by the clean, clear, daringly “lit” recordings made in Berlin’s Jesus-Christus-Kirche by the young Günter Hermanns whose debut as Karajan’s principal recording engineer this was.
Critics and the record-buying public were enthused above all by the urgency and beauty of the music-making and by a fierce sense of joy which reached its apogee in a thrillingly played and eloquently sung account of the finale of the epic Ninth Symphony.
LP1 SYMPHONY NO.1 IN C, OP.21
A1 1. Adagio molto - Allegro con brio
A2 2. Andante cantabile con moto
A3 3. Menuetto (Allegro molto e vivace)
A4 4. Finale (Adagio - Allegro molto e vivace)
SYMPHONY NO.2 IN D, OP.36
B1 1. Adagio molto - Allegro con brio
B2 2. Larghetto
B3 3. Scherzo (Allegro)
B4 4. Allegro molto
LP2 SYMPHONY NO.3 IN E FLAT, OP.55 -"EROICA"
A1 1. Allegro con brio
A2 2. Marcia funebre (Adagio assai)
B1 3. Scherzo (Allegro vivace)
B2 4. Finale (Allegro molto)
LP3 SYMPHONY NO.4 IN B FLAT, OP.60
A1 1. Adagio - Allegro vivace
A2 2. Adagio
B1 3. Allegro vivace
B2 4. Allegro ma non troppo
LP4 SYMPHONY NO.5 IN C MINOR, OP.67
A1 1. Allegro con brio
A2 2. Andante con moto
B1 3. Allegro
B2 4. Allegro
LP5 SYMPHONY NO.6 IN F, OP.68 -"PASTORAL"
A1 1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande: Allegro ma non troppo
A2 2. Szene am Bach: (Andante molto mosso)
B1 3. Lustiges Zusammensein der Landleute (Allegro)
B2 4. Gewitter, Sturm (Allegro)
B3 5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm: Allegretto
LP6 SYMPHONY NO.7 IN A, OP.92
A1 1. Poco sostenuto - Vivace
A2 2. Allegretto
B1 3. Presto - Assai meno presto
B2 4. Allegro con brio
LP7 Symphony No.8 In F, Op.93
A1 1. Allegro vivace e con brio
A2 2. Allegretto scherzando
A3 3. Tempo di menuetto
A4 4. Allegro vivace
SYMPHONY NO.9 IN D MINOR, OP.125 - "CHORAL" BEGINNING
B1 1. Allegro ma non troppo, un poco maestoso
LP8 SYMPHONY NO.9 IN D MINOR, OP.125 - "CHORAL" CONCLUSION
A1 2. Molto vivace
A2 3. Adagio molto e cantabile
B1 4. Presto -
B2 5. Presto - "O Freunde nicht diese Töne"
Gundula Janowitz · Hilde Rössel Majdan · Waldemar Kmentt · Walter Berry
Wiener Singverein · Berliner Philharmoniker
Herbert von Karajan
