Analog Algorithm Christoph

This programme is something of a memorial to Daniel Majeske who died from cancer in November 1993 after being Concert Master of the Cleveland Orchestra for 25 years. Christoph von Dohnanyi honours his memory in a written note, and Majeske's performance of Mozart's Sinfonia concertante, K364, recorded two years before his death, celebrates his searching, highly cultivated solo playing.

This new Saul, recorded live in July 2008 in the breathtaking, beautifully restored Dresden Frauenkirche, captures the grand scale, interactive drama, exciting choruses, and sumptuous, scintillating orchestral writing of Handel's huge, three-act oratorio. And of course, there are loads of well-sung airs and recits that make their dramatic points especially well due not only to the fine lineup of soloists but also to conductor Hans-Christoph Rademann's masterful pacing and careful textural balances.

After an acclaimed disc of Johann Ludwig Bach, Hans-Christoph Rademann continues his fascinating exploration of the most famous musical dynasty. Born in 1735, the ‘London Bach’ was the youngest of Johann Sebastian’s sons. He seems to have remained in his father’s shadow until the age of 19, when he had the chance to travel to Italy, very likely to receive guidance from the celebrated Padre Martini, as his (future) friend Mozart was to do some years later. It was in Milan that he wrote the two works recorded here, including an incredible Requiem with a completely unexpected formal design; in matters of style, however, the 22-year-old composer had already laid the foundations of all his later output.

Christoph Graupner (January 13, 1683 in Kirchberg – May 10, 1760 in Darmstadt) was a German harpsichordist and composer of high Baroque music who lived and worked at the same time as Johann Sebastian Bach, Georg Philipp Telemann and George Frideric Handel.

The Mass in B Minor, Bach's last completed vocal work as well as the climax of his creativity, reveals the overwhelming wealth of his compositional skills. In the history of music it ranks highly, as the "Montblanc of church music" (Franz Liszt) composed during Bach's time as cantor at the St. Thomas Church in Leipzig. Performed in this important composer's domain, the Mass in B Minor casted a spell over its listeners as the crowning glory of the Leipzig Bach Festival in 2013: Under the direction of Bach's successor Georg Christoph Biller, the St. Thomas Boys Choir and an outstanding soloist quintet perform with the prestigious Freiburg Baroque Orchestra, playing on authentic period instruments.

Jedes Jahr begeistert die traumhafte Kulisse des Sommernachtskonzertes im Park von Schloss Schönbrunn nicht nur die über 100.000 Besucher im Park, sondern auch die Fernsehzuschauer in aller Welt. Die Wiener Philharmoniker und der Dirigent Christoph Eschenbach präsentierten ein farbenprächtiges, stimmungsvolles Programm zum Thema "Märchen und Mythen": von Dvorák erklingt die Konzertouvertüre "Karneval", Stargast Renée Fleming singt eine Arie aus der Oper "Armida" und das berühmte Lied an den Mond aus "Rusalka"; dann folgen von Tschaikowsky Stücke aus der "Dornröschen-Suite" und von Rachmaninow die orchestrierten Lieder Sumerki (Twilight), Ne poy, krasavitsa, pri mne ((Sing not to me, beautiful maiden) und Vesenniye vodi (Spring waters), von Humperdinck das Vorspiel aus der Oper "Hänsel und Gretel".

“Kurt Rydl crowns a fine stage career with a gloriously eccentric impersonation of La Roche…The singing honours belong entirely to Angelika Kirchschlager as Clairon.” (BBC Music Magazine). “this Countess's preference for 'Ton' over 'Wort' is clear from the start…The greatest pleasure of the performance, for me, undoubtedly comes in the wonderful playing of the Staatsoper orchestra, the sweet, tender strings and the mellifluous horns in particular; and Christoph Eschenbach conducts a leisurely and loving account of Strauss's gorgeous score.” (Gramophone Magazine)

Christoph Eschenbach's superb live performance provides a refreshingly vital alternative to the prevailing trend toward stodgy Bruckner interpretation. Eschenbach shows himself a supremely assured Brucknerian, directing his excellent Houston Symphony players in a taut, flowing performance. The first movement has a fiery coda, the ebb and flow of the beautiful Adagio is expertly controlled, and the exultant finale has a drive and excitement rarely heard in modern Bruckner performances.