Symphonieorchester Des Bayerischen Rundfunks - Dirigenten Bei Der Probe - Mariss Jansons 2 - COMPACT DISCS [CD]

What does the work of a conductor actually involve? He moves his hands, arms, his whole body, he makes use of his eyes and facial expressions - and he also sings and speaks, but only during rehearsals, of course. Being able to follow a conductor's interpretation makes for an exciting process, and conveys the basic idea behind a work far more vividly at the same time. InchConductors in RehearsalInch is a BR-KLASSIK series that takes a closer look at the Inchorchestral workshopInch. One can experience first-hand how the conductor's wishes and instructions are implemented, how his explanations and his temperament change the resulting sound, and what concepts lie behind the interpretation of the work. Thanks to this series - which also now being released on album - the special collaboration between Mariss Jansons and the Bavarian Radio Symphony Orchestra can be documented. The first set presented by BR-KLASSIK documents four rehearsals for concerts in the Munich Philharmonie i'm Gasteig, taken from different phases of the collaboration between Mariss Jansons' work with the BRSO.

Anton Bruckner's symphonies were a constant part of the repertoire for Mariss Jansons and the Symphonieorchester des Bayerischen Rundfunks. The existing recordings - almost all the great Bruckner symphonies - are important documents of Jansons' deep understanding of the works, and the high musical quality of the recordings also testifies to the long Bruckner tradition at the BRSO. Jansons followed Bruckner's notes and markings with painstaking precision, and listening to a recording with the score reveals again and again how closely the conductor studied these works with the musicians of his orchestra. Bruckner's symphonies form the backbone of Late Romantic symphonic music. To a certain extent, Bruckner reinvented the symphony - something that not even Liszt or Wagner had dared to do in the wake of the groundbreaking masterpieces of Beethoven, which until then had been considered the culmination and conclusion of the genre. It was Bruckner and, somewhat later, Brahms who sought and found new methods of reviving the symphonic genre and developing it further. In this regard, Bruckner's approach was entirely new. From the outset, he relied on the sound of the large orchestra and, rather than mixing the individual groups of instruments, he tended to either separate them from each other or couple them together like organ registers (with which, as an organist, he was very familiar). Terraced dynamics, that is, the immediate juxtaposition of piano and forte without transition, was also something Bruckner derived from organ music. As a church musician, he had close contact with these and other elements of Baroque music, and they flowed into his symphonies. As far as dramaturgical development was concerned, he tended to favor Schubert; indeed, it was the organic continuation and alternating interconnection of themes Bruckner had learned from Schubert that also explains the un

Leonard Bernstein conducted regularly in Munich from the 1980s onwards. It was during this time that he came to appreciate and love the Bavarian Radio Symphony Orchestra in particular. In October 1976, Bernstein had appeared with an all-Beethoven programme, and in 1983 he began a series of annual concerts with the orchestra. In 1987, he rehearsed Franz Schubert's Great C Major Symphony, which was performed in the Congress Hall of the Deutsches Museum in Munich. This BR-KLASSIK CD features not only the live recording of this concert event but also a rehearsal recording on a bonus CD, InchConductors in Rehearsal, Inch which has been preserved in the sound archives of Bavarian Radio. Bernstein's warmth and friendliness, as well as his astonishingly good German, are most impressive. Franz Schubert most probably composed his Great C Major Symphony in Bad Gastein in the summer of 1825. Chronologically speaking, it is his eighth symphony, although it is still sometimes referred to as his ninth. It can be assumed that Schubert, who had witnessed the first performance of of Beethoven's Ninth Symphony in Vienna in 1824, wanted to be on an artistic level with his much older colleague. He dedicated his work to the Gesellschaft der Musikfreunde in Vienna, in whose archives the score can be traced back to the end of 1826. However, it was not until 1839 - after Schubert's death - that the history of it's performance began, after Robert Schumann became aware of the work and organised it's publication. In 1840, after the posthumous first performance by the Leipzig Gewandhaus Orchestra conducted by Felix Mendelssohn Bartholdy on March 21, 1839, Schumann formulated one of the most famous quotations about Schubert's symphony, that of it's Inchheavenly lengthInch. Because of the value the composer himself attached to it, and to distinguish it from the much shorter Sixth Symphony in the sa