Antonín Dvorák's Stabat Mater, Op. 58, written in the aftermath of the deaths of three of his children, is a sober and powerful work, inexplicably neglected and unlike any other work of choral music from the 19th century. Perhaps most performances don't capture its full weight, but this live recording from the Bavarian Radio Symphony Orchestra under Mariss Jansons, does so. There are many deep pleasures here. The orchestra's choir is extraordinary: rich yet without a hint of wobble and utterly clear in its sense of the text. Jansons keeps things at a deliberate pace that lets the music breathe and the currents of personal experience rise to the surface. The soloists, none terribly well known, are fine in their individual numbers, but absolutely transcendent in ensembles, nowhere more so that in the sublime "Quando corpus morietur" finale (track 10); there are a couple of other strong recordings of this work, but it seems likely that no one has ever matched this conclusion. The live recording from the Herkulessaal in Munich is impressively transparent and faithful to the spontaneity of the event. A superb Dvorák release.
Beethoven wrote his Piano Concerto No. 3 around 1800, at a time in which the ambitious composer had created his first important works in Vienna, such as the “Pathétique” Sonata and the “Moonlight” Sonata – personal works full of power and passion, with which he distanced himself from his mentor and model, Haydn. This performance of Beethoven’s Piano Concerto No. 3 with the Symphonieorchester des Bayerischen Rundfunks under the direction of its principal conductor Mariss Jansons stars the distinguished pianist Mitsuko Uchida, who is known the world over for her outstanding interpretations of the piano works of Schubert, Mozart and Beethoven, as well as of 20th-century masters such as Schoenberg, Berg, Webern and Boulez.
Though written barely 20 years apart, Dvorák's Cello Concerto and Tchaikovsky Rococo Variations draw their inspiration from two entirely different epochs. Dvorák's lush, Romantic concerto has hints of Czech motherland and even adaptations of his own previous works. The accompaniment is densely scored with tutti sections that could easily be right out of one of his symphonies.
Mozarts Requiem may have been written under strange circumstances in the final months of the composers life, but the work itself it is timeless. Mariss Jansons and the Bavarian Radio Symphony Orchestra and Chorus give a powerful and poignant performance of Mozarts masterpiece with an impressive group of solo singers, in a concert recorded live in Munich in May 2017.
Ever since the tenure of its chief conductor Eduard van Beinum (1945–59), the Royal Concertgebouw Orchestra has cherished one of the greatest Bruckner symphonic traditions in the world. With this release of Bruckner’s Sixth and Seventh Symphonies, Mariss Jansons and his Amsterdam-based orchestra add a new chapter to the RCO’s impressive performance and recording history of Bruckner’s works.
With Gustav Mahler, the Royal Concertgebouw Orchestra has a very special relationship. The composer conducted the orchestra no less than 12 times and found in Amsterdam an understanding audience. Mahler's Fourth Symphony was premiered in Amsterdam by the composer, who conducted it twice, once before and once after the interval, so that the audience could get to know the work better. With this release, Mariss Jansons and the Concertgebouw orchestra add an impressive new chapter to the RCO’s recorded history of Mahler Symphonies.