

A triumph of remembrance, wrote Die Welt following this stirring concert given by the Berliner Philharmoniker under Seiji Ozawa and with Anne-Sophie Mutter as soloist. It left its audience hovering between hushed reverence and deafening exultation. The Golden Hall of Vienna's Musikverein was the dazzling venue for the live recording of this concert celebrating the 100th birthday of Herbert von Karajan. And there Karajan s Berliner never sounded better, evoking a time which selfconfidently sought the private and subjective in music, and believed it could find them in the mirror of the works (Frankfurter Allgemeine Zeitung). It is a concert that commemorates Herbert von Karajan for the ages in a supremely moving manner. Beethoven: Violin Concerto, Tchaikovsky: Symphony No. 6, Bach: Sarabande,br. Seiji Ozawa, Anne-Sophie Mutter


A triumph of remembrance, wrote Die Welt following this stirring concert given by the Berliner Philharmoniker under Seiji Ozawa and with Anne-Sophie Mutter as soloist. It left its audience hovering between hushed reverence and deafening exultation. The Golden Hall of Vienna's Musikverein was the dazzling venue for the live recording of this concert celebrating the 100th birthday of Herbert von Karajan. And there Karajan s Berliner never sounded better, evoking a time which selfconfidently sought the private and subjective in music, and believed it could find them in the mirror of the works (Frankfurter Allgemeine Zeitung). It is a concert that commemorates Herbert von Karajan for the ages in a supremely moving manner. Beethoven: Violin Concerto, Tchaikovsky: Symphony No. 6, Bach: Sarabande,br. Seiji Ozawa, Anne-Sophie Mutter
2008-01-28
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10.0Karajan had been appointed music director for life of the Berlin Philharmonic in 1955, and soon the orchestra mastered the entire palette of Karajan's subtly defined phrasings, moods and orchestral colors. At home in the majesty of Bruckner or the raw power of Beethoven, the orchestra was also able to "let go" with Suppé or a Lisztian Hungarian Rhapsody, as the recording illustrates. For the 1978 New Year's Eve concert with the Berlin Philharmonic, Karajan put together a program of exclusively popular classical works, pieces that would guarantee a bubbly good time. Following Verdi's Overture to "La forza del destino" are the two major works of the program, Bizet's Arlésienne Suite No. 2 and Liszt's Hungarian Rhapsody No. 2. The Hungarian March, or "Rákóczy March," from Berlioz's "La damnation de Faust" never fails to rouse listeners with its instrumentation. The program closes with the Intermezzo from Mascagni's "L'amico Fritz" and the popular Overture to "Leichte Kavallerie" by Suppé.
10.0The Band's 15th anniversary live show held on June 26, 1995 at the Petrovsky Stadium in St. Petersburg.
8.01. Acid Rain (9:25) 2. Kindred Spirits (8:00) 3. Biaxident (7:39) 4. Freedom of Speech (9:00) 5. Improv Jam #1 (8:10) 6. Another Dimension (10:51) 7. State of Grace (6:20) 8. Universal Mind (9:36) 9. When the Water Breaks (16:49) 10. Improv Jam #2 (11:31) 11. Rhapsody in Blue (13:49) 12. Osmosis (3:43) 13. Paradigm Shift (9:31)
8.0Live show of Rammstein (fans bootleg) in St.Petersburg, Russia 13.02.2012. Setlist: 1. Intro 2. Sonne - 7:52 3. Wollt Ihr Das Bett In Flammen Sehen? - 12:36 4. Keine Lust - 17:37 5. Sehnsucht - 21:39 6. Asche zu Asche - 26:08 7. Feuer Frei! - 30:14 8. Mutter - 33:47 9. Mein Teil - 38:54 10. Du Riecht So Gut - 46:40 11. Links 234 - 52:12 12. Du Hast - 57:16 13. Haifisch - 1:01:35 B-Stage 14. Buck Dich - 01:08:28 15. Mann Gegen Mann - 1:16:43 16. Ohne Dich - 1:20:41 M-Stage 17. Mein Herz Brennt - 1:28:35 18. Amerika - 1:34:25 19. Ich Will - 1:39:21 20. Engel - 1:43:35 21. Pussy - 1:49:01
0.0Ellie Goulding's performance at iTunes Festival 2013.
9.0ITunes Festival, is an annual music festival that takes place over a month in London. Sponsored by Apple Inc., it had its first edition in 2007
8.7A documentary about the history and reformation of Toronto punk band Death from Above 1979.
6.0A pair of beautiful eyes, shot in high-definition cinemascope, gazing out at the listener and reacting emotionally to the music...for the entire 75 minutes of the album.
7.8A Year And A Half In The Life Of Metallica is a two-part documentary about the process of making the Metallica album (or "The Black Album"), and the following tour. It was produced by Juliana Roberts and directed by Adam Dubin. The second part runs approximately two-and-a-half hours and follows Metallica at the start of their Wherever We May Roam Tour in Europe through to the Guns N' Roses/Metallica Stadium Tour of 1992.
8.8Outspoken Grammy-winning pop princess Pink brings her bold brand of danceable R&B to the stage of London's Wembley Arena, and the cameras roll to capture every infectious note to the delight of fans on both sides of the pond. Captured in a sizzling 15-camera high-definition shoot in her final sold-out London show, P!nk pushes the envelope on her I'm Not Dead tour.
0.0For those of you wanting more Postcard records then this is the film for you! The Glasgow School is a companion to Big Gold Dream and is the most comprehensive account of Postcard, Swamplands, Strawberry Switchblade, The Jazzateers/Paul Quinn, James King, WIN and The Bluebells that's ever been assembled. No soundbites here, just plenty of accounts from those who were there.
4.0A comedy about the young notary Thore, who mistakenly opens a private letter to his boss, lawyer Larsson. The letter says that a certain Eva Larsson will inherit a piece of land in Guatemala, containing large oil deposits. A baby photo of Eva has been included for identification, and when Thore is fired for his mistake he happens to bring the photo with him.
0.0Axel Köhler’s production of Der Freischütz at the Dresden State Opera was described by Die Presse as “a minor miracle in Dresden”. In the words of the Salzburger Nachrichten, Köhler “scored a bulleye” with his sombre and satanic interpretation of Weber’s Romantic opera about love, temptation, souls sold to the Devil, obsession andfaith. According to the Financial Times, Christian Thielemann and the Dresden Staatskapelle conjured up a sense of “mortal terror from the orchestra pit. […] Thielemann is in command of every detail. That makes for utterly gripping listening.”