Christoph Eschenbach & Vienna Philharmonic Orchestra - Sommernachtskonzert 2017 (Summer Night Concert 2017) (2017) [Hi-Res]
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BAND/ARTIST: Christoph Eschenbach, Vienna Philharmonic Orchestra
- Title: Sommernachtskonzert 2017 (Summer Night Concert 2017)
- Year Of Release: 2017
- Label: Sony Classical
- Genre: Classical
- Quality: flac lossless / flac 24 bits - 96.0kHz +Booklet
- Total Time: 01:25:50
- Total Size: 429 mb / 1.6 gb
- WebSite: Album Preview
Tracklist
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01. Carnival Overture, Op. 92
02. Armida, Op. 115, Act I: Za stíhlou gazelou
03. Rusalka, Op. 114, Act I: Mesícku na nebi hlubokém (Song to the Moon)
04. The Sleeping Beauty, Ballet Suite, Op. 66a: II. Adagio-Pas d'action
05. The Sleeping Beauty, Ballet Suite, Op. 66a: V. Valse
06. 12 Romances, Op. 21, No. 3 Sumerki (Twilight)
07. 6 Romances, Op.4, No. 4 Ne poy, krasavitsa, pri mne! (Oh, never sing to me again)
08. 12 Romances, Op.14, No. 11 Vesenniye vody (Spring Waters)
09. Hänsel und Gretel: Prelude
10. Hedwig's Theme (From "Harry Potter and the Philosopher's Stone")
11. L'oiseau de feu (Firebird Suite)-Ballet Suite for Orchestra (1919): V. Danse infernale du roi Kachtcheï
12. L'oiseau de feu (Firebird Suite)-Ballet Suite for Orchestra (1919): VI. Berceuse
13. L'oiseau de feu (Firebird Suite)-Ballet Suite for Orchestra (1919): VII. Finale
14. The Bartered Bride, JB 1:100: Dance of the Comedians
15. Wiener Blut, Walzer, Op. 354
You probably didn’t think you’d ever hear the venerable Vienna Philharmonic play music from the Harry Potter films. However, they make a fine job of “Hedwig’s Theme” as part of a let-your-hair-down summer program under the baton of Christoph Eschenbach and themed around figures from the world of fairy-tale and fantasy. Renée Fleming, in voluptuous voice, is luxury casting for a sequence of songs and arias—with one of her party pieces, Rusalka’s “Song to the Moon”, making a welcome appearance.
Christoph Eschenbach overcame the most difficult of circumstances to become one of the finest pianists and conductors of the late 20th century. He was orphaned at a young age: his mother died in childbirth and his father, musicologist Heribert Ringmann, was killed in battle during World War II. His adoptive grandmother was then killed while trying to extract him and herself from the path of the Allied armies. Fortunately for the young boy, his mother's cousin, Wallydore Eschenbach, tracked him down after the war and adopted him from the refugee camp that would likely have claimed his life. It is from her side of the family that he eventually took his better-known surname. Eschenbach began studying piano at the age of eight, taught by his adoptive mother. She quickly realized his talents and enrolled him in the Hamburg Hochschule für Musik, where he studied both piano and conducting. It was with his first prize at the Clara Haskil Competition in Montreux, France, in 1965, that he finally made his mark. This new notoriety led to a London concert debut in 1966, and a prestigious debut with the Cleveland Orchestra and George Szell in 1969. Szell was impressed with his musicianship and gave him lessons in conducting, starting a close relationship that lasted until Szell's death in 1970. Notable in his programs were a large number of works from 20th century composers, such as Bartók, Henze, Rihm, Reimann, Blacher, and Ruzicka; however, his performances of Mozart, Beethoven, and Schubert were considered revelatory. Eschenbach made his conducting debut in 1972 with a performance of Bruckner's Symphony No. 3, soon followed by Verdi's La Traviata at Darmstadt in 1978. He was permanent guest conductor, then chief conductor, of the Zürich Tonhalle Orchestra (1971-1985). In 1988 he began his most significant and productive association to date as music director of the Houston Symphony Orchestra, where he remained until 1999. He also formed the Houston Symphony Chamber Players from its ranks, recording with it Kurt Weill's The Rise and Fall of the City Mahagonny suite, Tobias Picker's Las Encantadoras, and the violin concertos of John Adams and Philip Glass. From 1991 to 1998 he was co-artistic director of the Pacific Music Festival, along with Michael Tilson Thomas. In 1994 Eschenbach was appointed music director of the Ravinia Festival, the summer outdoor season of the Chicago Symphony Orchestra. In the 1998-1999 season he became music director of the North German Radio Symphony Orchestra of Hamburg, and, concurrently, artistic director of its Schleswig-Holstein Festival. In 2003, he became music director of the Philadelphia Orchestra, where he continued to guest conduct from 2007-2010. Eschenbach spent the 2010-2011 season as music director of the National Symphony Orchestra. Discs on which he conducts include Elgar & Schnittke: Viola Concertos (2009), The Best of Lang Lang (2010), and Remembering JFK - 50th Anniversary Concert (2011).
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01. Carnival Overture, Op. 92
02. Armida, Op. 115, Act I: Za stíhlou gazelou
03. Rusalka, Op. 114, Act I: Mesícku na nebi hlubokém (Song to the Moon)
04. The Sleeping Beauty, Ballet Suite, Op. 66a: II. Adagio-Pas d'action
05. The Sleeping Beauty, Ballet Suite, Op. 66a: V. Valse
06. 12 Romances, Op. 21, No. 3 Sumerki (Twilight)
07. 6 Romances, Op.4, No. 4 Ne poy, krasavitsa, pri mne! (Oh, never sing to me again)
08. 12 Romances, Op.14, No. 11 Vesenniye vody (Spring Waters)
09. Hänsel und Gretel: Prelude
10. Hedwig's Theme (From "Harry Potter and the Philosopher's Stone")
11. L'oiseau de feu (Firebird Suite)-Ballet Suite for Orchestra (1919): V. Danse infernale du roi Kachtcheï
12. L'oiseau de feu (Firebird Suite)-Ballet Suite for Orchestra (1919): VI. Berceuse
13. L'oiseau de feu (Firebird Suite)-Ballet Suite for Orchestra (1919): VII. Finale
14. The Bartered Bride, JB 1:100: Dance of the Comedians
15. Wiener Blut, Walzer, Op. 354
You probably didn’t think you’d ever hear the venerable Vienna Philharmonic play music from the Harry Potter films. However, they make a fine job of “Hedwig’s Theme” as part of a let-your-hair-down summer program under the baton of Christoph Eschenbach and themed around figures from the world of fairy-tale and fantasy. Renée Fleming, in voluptuous voice, is luxury casting for a sequence of songs and arias—with one of her party pieces, Rusalka’s “Song to the Moon”, making a welcome appearance.
Christoph Eschenbach overcame the most difficult of circumstances to become one of the finest pianists and conductors of the late 20th century. He was orphaned at a young age: his mother died in childbirth and his father, musicologist Heribert Ringmann, was killed in battle during World War II. His adoptive grandmother was then killed while trying to extract him and herself from the path of the Allied armies. Fortunately for the young boy, his mother's cousin, Wallydore Eschenbach, tracked him down after the war and adopted him from the refugee camp that would likely have claimed his life. It is from her side of the family that he eventually took his better-known surname. Eschenbach began studying piano at the age of eight, taught by his adoptive mother. She quickly realized his talents and enrolled him in the Hamburg Hochschule für Musik, where he studied both piano and conducting. It was with his first prize at the Clara Haskil Competition in Montreux, France, in 1965, that he finally made his mark. This new notoriety led to a London concert debut in 1966, and a prestigious debut with the Cleveland Orchestra and George Szell in 1969. Szell was impressed with his musicianship and gave him lessons in conducting, starting a close relationship that lasted until Szell's death in 1970. Notable in his programs were a large number of works from 20th century composers, such as Bartók, Henze, Rihm, Reimann, Blacher, and Ruzicka; however, his performances of Mozart, Beethoven, and Schubert were considered revelatory. Eschenbach made his conducting debut in 1972 with a performance of Bruckner's Symphony No. 3, soon followed by Verdi's La Traviata at Darmstadt in 1978. He was permanent guest conductor, then chief conductor, of the Zürich Tonhalle Orchestra (1971-1985). In 1988 he began his most significant and productive association to date as music director of the Houston Symphony Orchestra, where he remained until 1999. He also formed the Houston Symphony Chamber Players from its ranks, recording with it Kurt Weill's The Rise and Fall of the City Mahagonny suite, Tobias Picker's Las Encantadoras, and the violin concertos of John Adams and Philip Glass. From 1991 to 1998 he was co-artistic director of the Pacific Music Festival, along with Michael Tilson Thomas. In 1994 Eschenbach was appointed music director of the Ravinia Festival, the summer outdoor season of the Chicago Symphony Orchestra. In the 1998-1999 season he became music director of the North German Radio Symphony Orchestra of Hamburg, and, concurrently, artistic director of its Schleswig-Holstein Festival. In 2003, he became music director of the Philadelphia Orchestra, where he continued to guest conduct from 2007-2010. Eschenbach spent the 2010-2011 season as music director of the National Symphony Orchestra. Discs on which he conducts include Elgar & Schnittke: Viola Concertos (2009), The Best of Lang Lang (2010), and Remembering JFK - 50th Anniversary Concert (2011).
Year 2017 | Classical | FLAC / APE | HD & Vinyl
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