Genia Kühmeier

Christa Mayer

Timothy Robinson

Matthew Rose

Schubert: Mass No. 6 in E Flat Major, D. 950; Mozart: Vesperae solennes de confessore, K. 339

Staatskapelle Dresden

Chor der Sächsischen Staatsoper Dresden

Sir Charles Mackerras

I. Kyrie

IIa. Gloria in excelsis Deo

IIb. Domine Deus, Agnus Dei

IIc. Quoniam, tu solus Sanctus

IId. Cum Sancto Spiritu

IIIa. Credo in unum Deum

Oliver Ringelhahn

IIIb. Et incarnatus est

IIIc. Et resurrexit

IV. Sanctus

V. Benedictus

VIa. Agnus Dei

VIb. Dona nobis pacem

I. Dixit Dominus

II. Confitebor

III. Beatus vir

IV. Laudate pueri

V. Laudate Dominum

VI. Magnificat

Chor des Bayerischen Rundfunks

Symphonie Orchester des Bayerischen Rundfunks

Mariss Jansons

Pärt, Poulenc & Stravinsky: Works for Choir & Orchestra (Live)

Elisabeth Kulman

It is difficult to say anything about Mozart's famous Requiem – the masterpiece having been described and analysed all too often. It is known to almost everyone in the world, either in its entirety or in large parts, or is familiar to them at the very least from its title. Almost everybody has come into contact with the Requiem’s music, whether from the concert hall or merely from watching Miloš Forman's 1984 film drama "Amadeus". What breathes new life into this work and this music time and again are congenial performances with outstanding casts. A true highlight in the performance history of the Requiem was Mariss Jansons' interpretation of it in May 2017, which absolutely delighted the Munich concert audience and was also highly acclaimed by the trade press. Under Jansons' direction, the Bavarian Radio Chorus and the Symphonieorchester des Bayerischen Rundfunks gave of their best, with an excellent quartet of vocal soloists rounding off the outstanding ensemble. This made the performances of Mozart's Requiem in the popular completed version by his student Sussmayr a truly memorable experience. The live recording from the Herkulessaal of the Munich Residenz was made on May 11 and 12, 2017 and has now been released digitally on BR-KLASSIK.

Mozart: Requiem in D Minor, K. 626 "Missa pro defunctis" (Completed by F.X. Süßmayr) [Live]

Gerhild Romberger

Maximilian Schmitt

Luca Pisaroni

The tonal language of Beethoven’s Mass in C major, the first of his two Mass settings, is that of a personal confession, making the work very modern and forward-looking and opening up entirely new worlds of expression for the liturgical text. It is in no way to be seen as a precursor of the "Missa solemnis" but instead as a highly independent work that set new standards for the advancement of mass compositions in the 19th century. Beethoven himself was well aware of its innovative nature, and wrote as much in a letter to his publisher: “I am reluctant to say anything about my Mass, or indeed about myself, but I do believe that I have treated the text in a manner to which it has rarely been treated.” For people at the time, the Mass in C major, Op. 86 of 1807 provided unprecedented access to the Christian faith in a way that is still relevant today. This important work from the history of sacred music offers a devotional sound that is simultaneously heartfelt and beautiful. Beethoven's Mass in C major was recorded at two concerts that took place exactly one year ago at the Philharmonie in Gasteig in Munich, on January 11 and 12, 2018. The high-quality performers are Genia Kühmeier (soprano), Gerhild Romberger (alto), Maximilian Schmitt (tenor) and Luca Pisaroni (bass-baritone), together with the Bavarian Radio Chorus and the Symphonieorchester des Bayerischen Rundfunks conducted by Mariss Jansons. These concerts took place on the occasion of Maestro Jansons’ 75th birthday. The album also includes a recording of Beethoven’s Leonore Overture No. 3, performed live in the Herkulessaal of the Munich Residenz on January 29 and 30, 2004.

Schubert: Mass No. 6 in E Flat Major, D. 950; Mozart: Vesperae solennes de confessore, K. 339

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