Christina Landshamer

Irena Jancevskyte

Schubert: Heidenröslein, D. 257

Heidenröslein, D. 257

Munich Radio Orchestra

John Fiore

Beethoven: Egmont, Op. 84

Justus Zeyen

Merit Ostermann

Chor des Bayerischen Rundfunks

Schubertiade

Sir Roger Norrington has been chief conductor of the former Stuttgart Radio Symphony Orchestra (today the SWR Symphonieorchester) for thirteen years. During this time he has caused a stir internationally with what has come to be termed ‘The Stuttgart Sound’: a synthesis of historically-informed performance practice with the technical capabilities of a modern orchestra. Whether in Mozart, Haydn, Bruckner or Brahms, Norrington has sought to capture the performance experience of the time, adjusting the orchestra’s size and seating plan to create an authentic sound without vibrato. The present reissue of Brahms' four symphonies, recorded back in 2005, is no exception to Norrington's artistic credo of keeping as close as possible to the composer's expectations. And one of the main features – beside the "pure sound" without vibrato – are the quick tempi. Brahms left no metronome indications in his symphonies. However, the overall timings left by the Brahms conductor von Bülow are so short, compared to today, that there can have been no very slow tempi in his interpretations. Additionally, Norrington considered also one of the many hints left by another admired conductor and friend of Brahsm, Steinbach: “By all means conduct the opening of Brahms First Symphony in 6. But it must sound in 2.” 'A German Requiem' is one of the most popular compositions by Johannes Brahms. Although the texts are taken from the Bible, the piece is not part of any ecclesiastical-liturgical tradition, it is aimed – as Brahms himself expressly emphasized – at people “who are in mourning” and unlike the “Requiem”, the Catholic Mass of the Dead, it is not a liturgical prayer for the souls of the deceased, but rather intended to console the bereaved.

Brahms: Complete Symphonies & Ein deutsches Requiem, Op. 45

Sophie Harmsen

Akademie fur Alte Musik Berlin

The version submitted by Howard Arman for the Bavarian Radio Chorus is based on surviving Mozart sources as well as on Sußmayr's additions; in several places, however, it reaches new conclusions that are implemented with due caution and humble respect for Mozart's magnificent original. Mozart's Requiem is followed by Neukomm's Respond Libera me, Domine. Although it remained incomplete as Mozart’s last work, the Requiem in D minor (1791) ranks as one of the most important settings of the Latin Mass for the Dead ever written. Immediately after Mozart's all too premature death, his pupil Franz Xaver Sußmayr elaborated a completed version that is still appreciated and regularly performed to this day because of its close proximity to the original – and this despite a number of new adaptations created over the years that sometimes add cautious improvements to the Sußmayr version or instead follow their own lights entirely. – Mozart’s Requiem KV 626 from 1791 is followed by Sigismund von Neukomm's Libera me, Domine, the Respond from the Liturgy of Exequies composed by Neukomm in 1821 as a liturgical completion of Mozart's Requiem for a performance in Rio de Janeiro (the Salzburg composer Neukomm had emigrated to Brazil in 1816). • First recording of Mozart's Requiem in the newly-created version by Howard Arman - together with Sigismund von Neukomm’s Libera me, Domine • Live recording of a concert performed in January 2020 at the Herkulessaal in the Munich Residenz • Outstanding singers for the four solo parts • Howard Arman conducts the Bavarian Radio Chorus and the Akademie fur Alte Musik Berlin

Mozart: Requiem in D Minor, K. 626 - Neukomm: Libera me, Domine (Live)

Susanne Bernhard

Danish National Radio Symphony Orchestra

The conductor Ulf Schirmer has a special knack for the light Muse – as his regular operetta performances with the Munich Radio Orchestra, many of them documented on cpo, have shown over the years. Munich was also the site of the 1906 premiere of Die vier Grobiane / I quatro rusteghi by Ermanno Wolf-Ferrari, a work answering to the description of a modern comic opera and displaying this composer’s typical combination of marvelously chatty parlando and charming melodicism. There are two sides to the conflict fueling the plot: four curmudgeonly husbands who believe that they can and should exercise absolute rule over their wives and children and female characters who engage in intrigues. The action of the opera is set in Venice and elaborates a source text by Carlo Goldoni (1760). The composer scores his points with a tone of considerable lightness, a small orchestral ensemble entrusted with the presentation of a famous intermezzo, and spirited melodies in part based on folk songs. The wealth of ideas developed in his harmonic scheme remaining within tonal limits is also surprising.

Wolf-Ferrari: Die vier Grobiane (Live)

Christian Baumann

Anke Vondung

Gert Heidenreich

Messe h-Moll BWV 232 Werkeinfuhrung von Markus Vanhoefer (1 CD) Sprecher: Christian Baumann (Text) Gert Heidenreich (Bibelzitate) Hans Jurgen Stockerl (Zitate) Markus Vanhoefer (Autor und Regie)

Bach: Mass in B Minor

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Schubert: Heidenröslein, D. 257

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อัลบัมอื่นของ Christina Landshamer