Wiener Philharmoniker Concert Films
Summer Night Concert 2018
Valery Gergiev & Wiener Philharmoniker
Runtime: 1 hr 15 minFor many music lovers, summer means the Vienna Philharmonic’s annual concert at the city’s Schönbrunn Palace—a spectacular live performance of classical favorites in front of more than 100,000 people. Russian Valery Gergiev was 2018’s guest conductor, bringing a taste of Italy to the Austrian capital. Music by the great Italian composers, including arias from Verdi’s Aida, Puccini’s Tosca, and Leoncavallo’s Pagliacci, complement composers inspired by Italy itself—Prokofiev (Romeo & Juliet) and Julius Fučik (Florentiner Marsch) among them. The orchestra is joined by soprano Anna Netrebko for this thrilling, heartwarming, balmy evening of great music-making.
Summer Night Concert 2015
Runtime: 1 hr 33 minThe Vienna Philharmonic performed its annual Summer Night Concert Schönbrunn, an open-air concert with free admission, in the unique ambience of the gardens of Schönbrunn Palace on Thursday, May 14, 2015. Zubin Mehta conducted the Summer Night Concert with Rudolf Buchbinder as soloist.
This year's concert, which also represented the opening concert of the Vienna Festival, was attended by 100,000 visitors.
With this open-air concert in Schönbrunn, the Vienna Philharmonic wishes to provide all Viennese, as well as visitors to the city, with a special musical experience in the impressive setting of Schönbrunn Palace and its beautiful baroque gardens, a UNESCO World Cultural Heritage Site.
Wiener Philharmoniker Top Tracks
Mahler Symphony No. 6
Runtime: 1 hr 29 minAn invisible thread runs between Claudio Abbado and the Second Symphony, "Resurrection" by Mahler. It is with this work that he made his debut with the London Symphony Orchestra and the Philharmonic Orchestra of Vienna in Salzburg at the age of thirty-two and it is this symphony he decides to conduct in August 2003 in Lucerne, with the new orchestra that he helped revive, the Lucerne Festival Orchestra.
The Club Album
Anne Sophie Mutter
Runtime: 1 hr 9 minIn May 2015 Anne-Sophie Mutter put her noble, impressively named “Lord Dunn-Raven” Stradivarius through more than its usual paces. For a change, rather than standing on stage in one of the world’s renowned well-tempered grand concert halls, she spent two evenings playing in a tiny graffiti-scrawled nightclub in the Friedrichshain district of Berlin. The name of the club was Neue Heimat, or “new home”, and on two evenings in early summer it was jam-packed with hip young people.
Live in Warsaw
Runtime: 1 hr 29 minCritics put him on a par with Brendel, Gould or Rubinstein. As a young musician he partnered living legends like Rudolf Serkin, Pablo Casals and Benjamin Britten. Vladimir Horowitz was a teacher and a friend. Today Murray Perahia is a legend in his own right. He numbers among the most sought-after pianists of our time, both on the concert platform and in the recording studio. And all this despite the fact that his career has been repeatedly interrupted by the after-effects of an injury to his right hand. This film gives viewers a rare opportunity to look behind the scenes and observe a world-class pianist at work.
The camera observes him as he works slowly and thoroughly on some of Chopin’s mazurkas, his E major scherzo and Schumann’s ‘Kinderszenen’ (‘Scenes from Childhood’). The settings include his summer retreat in Switzerland, his terraced house in the West End of London and a private concert for friends.
Perahia spends weeks and months exploring the ways in which the various parts of a given work combine to form a whole. Like a skilled psychoanalyst, he uncovers one layer of meaning after another in his single-minded endeavour to fathom the importance of each individual note for the ultimate realisation of a musical masterpiece. ‘As soon as I start working on something, it is with me all the time. I live with the piece – no matter whether I am eating, sleeping, reading a book or talking to my wife – it becomes a part of me.’
Finally, the long-awaited concert in Warsaw. Murray Perahia sits down at the piano and begins to
play. The performance transcends all the theory and analysis that have gone into its preparation. The playing itself is the expression of the pianist’s profound insights, resulting in a truly miraculous rendering. After the concert, members of the audience describe it as ‘out of this world. ’