Die Reichsaufsicht

The Creation Is A Milestone In The History Of The Oratorio, A Work In Which Haydn Set New Standards, Going Far Beyond The Confines Of Viennese Classicism. In It He Describes The Creation Of The World With Ebullient Lightness,Taking The First Chapter Of Genesis As His Starting Point. Scored For What At The Time Were Novel Forces, Thework Features Picturesque Tone-Painting, Celebratory Arias And Monumental Choruses, All Of Which UnderlineHaydn’s Timeless Message And Invite Us To Acknowledge And Preserve The Beauty And Variety Of Creation.

The Munich Philharmonic (German: Münchner Philharmoniker) is a German symphony orchestra located in the city of Munich. It is one of Munich's four principal orchestras, along with the Bavarian Radio Symphony Orchestra, the Munich Radio Orchestra and the Bavarian State Orchestra.

Christian Thielemann writes: I see Die Meistersinger as the pivot and central point of Wagners entire oeuvre. On the one hand it is a reaction to Tristan; on the other, he had found himself in a blind alley with Siegfried, and together those two works showed him the way out of it. The fascinating thing about Die Meistersinger is that you can find everything in it. Hero and anti-hero, comedy and tragedy, upperclass and lower-class lovers, burlesque and reflection, the old and the new, in short a whole world. The magic words summing it up for me are atmosphere and poetry. How can I, as a conductor, make the music glitter in its exaggerations and parodies, and at the same time lend it authority? Conversely, how can I make its emotionalism sound not false but genuine, emphasizing the deeply felt popular note in the music? Wagner is fundamentally asking his interpreters to square the circle, which is what makes Die Meistersinger such a difficult work to perform. Perhaps it can succeed only by osmosis, if we open ourselves up entirely to all its moods, colours and aromas, inhaling them so deeply that they naturally emerge from us again at the right moment.

My interest and fascination for the work of Joseph Haydn date back to 1960-64, when I was completing my music and cello studies at the Barcelona Conservatoire and had the opportunity to discover and study some of the composer’s most beautiful quartets. During that time, two special pocket scores always accompanied in my apprenticeship of musical forms and the fascinating discovery of great masterpieces of musical creation: one was J. S. Bach’s The Art of Fugue and the other Haydn’s The Seven Last Words of Christ on the Cross. Two wonderful works that I later recorded under the ASTRÉE label a few years after having founded and prepared the appropriate music ensembles: L’Art de la Fugue, recorded in March, 1986, with 4 solo wind instruments and 4 violas da gamba from the ensemble HESPÈRION XX, following a year of concerts throughout Europe to celebrate the 300th anniversary of Bach’s birth. It was followed four years later, in December, 1990, by the recording of Haydn’s Seven Last Words of Christ on the Cross, two years after the creation of the orchestra LE CONCERT DES NATIONS.

Jordi Savall leads La Capella Reial de Catalunya and Le Concert des Nations in Haydn's The Creation. The composer confessed that while composing he had "felt an extraordinary religious fervor." However, this work was also inspired by the spirituality of the Viennese Masonic lodges of his day. It is above all the first secular oratorio, in the sense that its message is addressed to all mankind, exactly like The Magic Flute, in operati.

Following its rediscoveries of Meyerbeers Vasco da Gama and Nicolais Il templario, the Chemnitz Opera House has now made yet another valuable contribution to stage history with its revival of Hans Pfitzners Die Rose vom Liebesgarten (The Rose from the Garden of Love). At long last we in turn now have the opportunity to fill a significant discographic gap with a new complete recording of this work.

Sir Thomas Beecham, 2nd Baronet, CH (29 April 1879 – 8 March 1961) was an English conductor and impresario best known for his association with the London Philharmonic and the Royal Philharmonic orchestras. He was also closely associated with the Liverpool Philharmonic and Hallé orchestras.

Otto Klemperer brings his customary nobility of conception to Die Zauberflöte, with its symbolic drama, and is joined by an exceptional cast. Gundula Janowitz sings Pamina with sublime beauty and the young Lucia Popp is brilliant as the Queen of the Night, the role that first made her reputation.

When this recording was released in 2021, conductor Zubin Mehta was 85; it was made over three days in 2019. There isn't an absolutely compelling novelty contained here, and this is very much an old-school Haydn performance with a full symphony orchestra and chorus (not that you'd want anything less in this work, whose rock-concert atmosphere at the initial performance is well described in the booklet).