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Daniel Barenboim is an expert in exploiting the impact of cyclical performances of composers’ works: This time he focuses his sharp intellect on all six of Anton Bruckner’s mature symphonies. Der Tagesspiegel described Barenboim’s performance of the works with the Staatskapelle Berlin on six nearly consecutive evenings in June 2010 as a “superhuman” accomplishment and went on to praise how: “His Bruckner is conceived and performed very theatrically, like an opera without words.”Bruckner’s famous “Romantic” Symphony No. 4 forms the prelude to a spectacular DVD series from Accentus Music and Unitel Classica, exploring Bruckner’s symphonic cosmos.

The Süddeutsche Zeitung summed up this highly acclaimed performance of Bruckner's monumental Fifth Symphony by saying: “Both Bruckner’s belief in God, as it majestically wells up out of the chorale of the Fifth, and his deeply tragic world view, collide with one another in Barenboim’s interpretation”. The operatic experience of the conductor was almost tangible, revealing the “sheer dramatic instrumental battle between Bruckner’s God and the Devil – between heaven and hell – without betraying Bruckner’s unerring sense of striking proportions.” The release of this “contrapuntal masterpiece” (as Bruckner, not without pride, referred to this work) is part of Daniel Barenboim’s Bruckner cycle with the renowned Staatskapelle Berlin.

In Anton Bruckner’s 7th Symphony, the listener encounters a music characterized by great spaciousness and profound solemnity, a music which speaks of grief and lamentation, but also of their transcendence. With its monumental architecture and intensity of sound, the symphony has moved listeners ever since its triumphal premiere in 1884. The Guardian calls Daniel Barenboim’s London interpretation “Tremendous … Barenboim and the Staatskapelle seem to have this work in their systems, and the overall impression was of music unfolding organically at its own pace rather than of a work being self-consciously interpreted or led.”

Anton Bruckner’s 6th Symphony was written between 1879 and 1881: a very happy time in his life. Unlike most of Bruckner’s symphonies, the 6th was not revised. Of all his works, this one seems to come from a single source of inspiration. Bruckner himself called it his “boldest” symphony – probably due to its extreme degree of motivic, rhythmic and harmonic originality. This live recording of the seldom‐performed 6th Symphony is the next instalment of the acclaimed Bruckner cycle by the Staatskapelle Berlin and Daniel Barenboim.

Berlin reached their commercial peak – and their creative low point – with "Take My Breath Away" in 1986. While it's really not a bad song, the Top Gun hit removed the group from their new romantic roots, straying into adult contemporary territory. Master Series is an enjoyable career summary that collects nearly every track from Berlin that is worth collecting. Like many American new wave groups, Berlin was a superb singles band, but their albums were somewhat inconsistent. And their earliest work is the best, especially MTV classics like "Masquerade," "Dancing in Berlin," and "The Metro." On the naughty "Sex (I'm A…)," singer Terri Nunn shocked pop radio years before Madonna with its pornographic moans and groans and racy lyrics. "The Metro" encapsulates Berlin's affection for European new wave music with its somber, swirling synthesizers and sad, cold-as-ice vocals. The spiteful "No More Words" rips away the saccharine layers of "Take My Breath Away".

Johann Gottlieb Janitsch (1708-1763) was born in Schweidnitz, Silesia (today Poland). His special inclination towards music led him to undertake a brief period of study in Breslau (today Wroclaw) with the court musicians who were under the employment of the Archbishop of Breslau. In 1733 Janitsch moved to Berlin where the then Crown Prince, Frederick offered him a position as a double bass player. With the permission of the Crown Prince, he founded the circle "Freitagsakademien" (Friday academies), in which music was performed by professional and amateur musicians alike.

As part of DG’s celebrations of its incredible pianistic heritage both past and present, the Yellow Label presents within its PIANO MASTERS campaign 8 albums of outstanding performances from its unrivalled roster of pianists accompanied by the two pillars of German musical life: the Berlin Philharmonic and the Staatskapelle Berlin. The witty and eye-catching artwork collects celebrated performances by Pollini, Gilels, Argerich, Barenboim, Géza Anda, Foldes, the Labèque sisters and Yundi.