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CROSS-CULTURAL DIALOGUE

The Imperial Ancestral Temple in Beijing’s Forbidden City to host Deutsche Grammophon’s unique 120th Anniversary Concert

Spectacular event to feature Shanghai Symphony Orchestra and maestro Long Yu together with leading international vocalists and DG pianist Daniil Trifonov

Yellow Lounge classical club nights to be launched in China for the first time


Deutsche Grammophon’s live 120th-anniversary festivities take flight on 10 October 2018 with a sensational concert at Taimiao – the Imperial Ancestral Temple of Beijing’s Forbidden City. The event trains the spotlight on Chinese excellence in classical music while underlining Deutsche Grammophon’s position as one of the world’s leading cultural ambassadors. It also marks the beginning of an unprecedented, comprehensive and strikingly ambitious international programme of activities designed to raise awareness of the label’s rich legacy, present innovations and future aspirations. The year-long anniversary programme, presented with global support from Google Arts & Culture and Volkswagen Group, offers everything from rare archive recordings and new albums to high-profile performances, classical club nights and extensive online coverage. The concert at the Imperial Ancestral Temple, organised by Beijing Mingxun Communications Consultants Co., Ltd, will be presented in partnership with Chinese digital-music platform Kuke Music and the luxury watch and jewellery brand Chopard.

Dr Clemens Trautmann, President Deutsche Grammophon, believes that DG120’s programme of events and recordings holds the power to build bridges between different cultures. Above all, he says, it will highlight the international reach and enduring power of classical music. “Deutsche Grammophon has been in the business of inspiring people with music and performances of the highest quality since the 1890s. The label has always been alive to new markets and new technologies. Long Yu and the Shanghai Symphony Orchestra share our vision of building the future audience for classical music, one that is open to people from all backgrounds and ages. I am thrilled that Deutsche Grammophon will start its anniversary year with a genuinely historic event in Beijing. Millions will be able to watch the concert on TV and digital media and to follow other DG120 events online.”

Managing Director of Universal Music China, Garand Wu, praises Deutsche Grammophon’s vision for the future of western classical music in China and beyond. “We know that there are well over 40 million piano students in China and that the already strong appetite among Chinese audiences for orchestral concerts and opera productions is only set to increase,” he comments. “Deutsche Grammophon’s decision to launch its 120th -anniversary year with a live performance in Beijing, at one of the world’s great historic landmarks, is sure to inspire millions of young people in China and give momentum to the rise of a vast audience here and across Southeast Asia. This is an exciting time for everyone involved in introducing new listeners to classical music in China. I am delighted to see Deutsche Grammophon and Universal Music China leading the way with such a bold series of DG120 events and outreach projects.”

Taimiao last hosted a classical concert twenty years ago, when Zubin Mehta led a production of Puccini’s Turandot. Deutsche Grammophon artist Long Yu will become the first Chinese conductor to perform there when he directs the internationally renowned Shanghai Symphony Orchestra in a programme crowned by Carl Orff’s Carmina Burana. They will be joined by the mixed adult voices of the Wiener Singakademie; the Shanghai Spring Children’s Choir; soprano Aida Garifullina, tenor Toby Spence and baritone Ludovic Tézier. The lyrics of Carmina Burana are taken from a 13th-century manuscript discovered in a Bavarian monastery and are thus from a similar era as the inceptions of the Forbidden City.

The concert opens with a special arrangement of Enchanted Night by Liu Tianhua. Violinist Mari Samuelsen takes the solo lead in “November” from Max Richter’s Memoryhouse, a seminal work of contemporary neoclassical composition, before Rachmaninov’s Piano Concerto No.2, with soloist Daniil Trifonov, closes the concert’s first half. A press conference was held in Shanghai on 5 September and ticket sales was open that same day.

Deutsche Grammophon also signals its long-term commitment to China and the development of new audiences for western classical music on 13 September with the introduction of its pioneering Yellow Lounge classical club night format to Beijing. Violinist Daniel Hope, members of the Zurich Chamber Orchestra and clarinettist Wang Tao, whose local DG debut album proved an online sensation across Asia, are among the artists set to bring the Yellow Lounge experience to China. Special DG120 editions will take place during the anniversary year in Beijing, Hong Kong, Seoul, Shanghai and Tokyo and will be live streamed to fans around the world.

Maestro Yu and the Shanghai Symphony Orchestra, who signed an exclusive contract with Deutsche Grammophon earlier this year, will preview the Taimiao programme for their home audience at Shanghai Symphony Orchestra Hall on 7 October. Shortly before delivering the DG120 Beijing concert, conductor and orchestra will also record their debut album for the label in Shanghai. Set for release next year and coinciding with the orchestra’s 140 th anniversary, it will establish a dialogue between Chinese and European orchestral music in repertoire including Qigang Chen’s Violin Concerto, with Maxim Vengerov as soloist, and Rachmaninov’s Symphonic Dances.



Kuke Music, title sponsor for the DG120 Forbidden City concert, now in its second decade operating in the field of classical music and education services, will broaden its commitment to classical music in partnership with Deutsche Grammophon during the DG120 year. “We are delighted to sponsor this bold initiative from one of the great names in classical recording and contribute to its plans to grow the global audience for classical music,” observes the website’s founder and President, Yu He. “Deutsche Grammophon’s wholehearted commitment to China is such an important step in creating the next generation of classical fans. And, as being the only non-pop music platform in China, Kuke Music will also commit to the development of classical music more generally.”

Caroline Scheufele, Artistic Director and Co-President of Chopard, is very honoured to be the partner of DG120. The Swiss luxury watch and jewellery Maison shares Deutsche Grammophon’s commitment to excellence and to the highest standards of beauty in art. “Chopard and Deutsche Grammophon were both founded in the 19th century and have developed since by understanding the need to build and create for the future. We are delighted to support DG120’s Beijing gala and to be involved with a project of celebrating the arts as its highest level.”





From the most influential musician of all time

J.S. BACH - THE NEW COMPLETE EDITION

THE LARGEST COMPOSER PROJECT IN RECORDING HISTORY

32 Labels, 222CDs, 750+ Performers & Ensembles, 280 Hours of Music, 10 Hours of New Recordings including 7 World Premieres, 2 luxury hardback books, advance presentation of BWV3 Catalogue, plus digital product suite

Deutsche Grammophon and Decca proudly announce the release of the largest and most complete box set ever devoted to the work of a single composer. The 222 CD Complete Edition is the result of two years of curation and scholarship and has been developed with the cooperation of 32 labels and a team of scholars at the Leipzig Bach Archive, with an introductory DVD documentary and written welcome by its President Sir John Eliot Gardiner, and with editorial consultant Nicholas Kenyon presiding over work-by-work musical commentary.

The set marks 333 years since the birth of J.S. Bach. We can confidently say that certain numbers and numerical proportions had a special structural and sometimes religious significance for Bach. References to the number three reflect the important doctrine of God’s Tri-unity which lies at the core of Bach’s Lutheran faith. Nicholas Kenyon says: “333 is important, because one of the key Bach numbers is 3 representing the Trinity: Father, Son and Holy Ghost. The symbolism of three, and three times three, is everywhere in the collection of organ works Clavier-Übung III (1739). We often sense these underlying features in Bach’s work; while I don’t think he ever let them dominate his thinking, it was clearly a way in which he was expressing the harmony of the universe as he saw it.” The set is thus known as ‘Bach 333’.

Across 16,926 minutes of music over 5,533 tracks, Bach 333 presents every known note from the great master and opens up his world – and his impact on our world – in a uniquely immersive way: through audio, visual, printed and online materials. The set, the largest ever devoted to a single composer and exceeding in size even the massively-successful ‘Mozart 225’ Edition of two years ago, presents Bach’s complete oeuvre from 750 hand-picked performers and ensembles across 32 labels including Sony, Warner, BIS, SDG, Denon and Harmonia Mundi.

Two handsomely illustrated hardback books are included. The first book, entitled LIFE, presents a lavishly illustrated biography by leading Bach scholar Dorothea Schröder plus thirteen essays of the latest thinking from leading scholars from the Leipzig Bach Archive. The second book, MUSIC presents a new essay by doyen of Bach scholarship Christoph Wolff followed by work-by-work commentary by Nicholas Kenyon (author of The Faber Pocket Guide to Bach). Also included are complete sung texts and English translations, facsimile reproductions of key scores and a guide to further online resources including the Bach Archive’s ground-breaking Bach Digital initiative. Meanwhile, the set also conforms to the very latest research from the Leipzig Bach Archive and their new BWV3 catalogue due to be published in 2019-20. The life of Bach is further explored on DVD in Sir John Eliot Gardiner’s 90-minute BBC film ‘Bach: A Passionate Life’. The colour-coded layout of Bach 333 presents the works chronologically within one of four genres – Vocal Music, Keyboard Music, Orchestral Music and Instrumental Music. The consumer can navigate with ease across the enormous and rich array of content.

Best-in-class historically-informed performancesinclude a handpicked set of the complete Cantatas led by outstanding contributions from Sir John Eliot Gardiner and Masaaki Suzuki, plus strong showings from Ton Koopman, Philippe Herreweghe, Gustav Leonhardt, Nicolaus Harnoncourt, Sigiswald Kuijken and more; other leading names featured across the Edition include Reinhard Goebel, Christopher Hogwood, Paul McCreesh, Franz Brüggen, Trevor Pinnock, Christophe Coin, Christophe Rousset and Rinaldo Alessandrini.

The set also presents over 50 CDs of alternative recordings including modern piano performances of all the key works from András Schiff, Murray Perahia, Angela Hewitt, Martha Argerich, Alfred Brendel and many more. 90 years of evolving Bach performance traditions in vocal and instrumental practice can be heard in legendary performances from a plethora of artists from Alfred Deller to Lorraine Hunt Lieberson, Adolf Busch to Claudio Abbado, Willem Mengelberg to Karl Richter, Edwin Fischer to Glenn Gould, Albert Schweitzer to Marie-Claire Alain, Wanda Landowska to Zuzana Růžičková, Pablo Casals to Pierre Fournier, Arthur Grumiaux to Anne-Sophie Mutter.

Highlights among 10 hours of entirely new recordings include a new recording of the Sonatas & Partitas for solo violin by period specialist Giuliano Carmignola, as well as 7 premieres of works never recorded before - 6 alternative Chorale versions and Beethoven’s only completed arrangement of a Bach work.

16 CDs entitled “Bach Interactive” and “Bach after Bach” form the basis of a major offering to enrich our experience and understanding of Bach’s unique impact on composers and composition ever since; from Mozart and Beethoven to today’s masters such as Arvo Pärt and György Kurtág. Included are albums devoted to Bach à la Jazz (Stéphane Grappelli, Stan Getz, Jacques Loussier, Bill Evans and more) and New Colours of Bach - remixers, composers and artists of our own time.

Sir John Eliot Gardiner, President, Leipzig Bach Archive: “This superb array of recordings is to be welcomed and valued on different levels simultaneously. First, it displays the colossal range and sheer variety of Bach's output; then the challenges of performing it and how these have evolved - exemplified by the multiplicity of recorded interpretations assembled here for the first time. Listening to any of these CDs will surely induce in you a heightened sense of consciousness – of the role of music which Bach enriched and extended so brilliantly. For him music was pure necessity. It occupied his whole being: to compose it and perform it demanded multiple skills, a capacity to solve puzzles and challenges, and a way of making sense of the world in which he lived. In our day the music of J.S. Bach continues to affect and change people’s lives in the most profound way. It has the power to reflect our innermost concerns and even to mitigate the way we respond to contemporary events.”

Bach is regularly singled by composers across all traditions from jazz, pop, world and classical for his unique importance,” says Paul Moseley, Universal Music Group’s Director of Bach 333. “We have set out to do him, his life, his world, full justice, taking in current and past performance practice, fresh scholarship and the latest media, to produce something that will educate, entertain and deepen our relationship with probably the most influential composer of all time.”

Peter Wollny, Executive Director, Leipzig Bach Archive: “Deutsche Grammophon’s invitation to collaborate on the Bach 333 Edition was both a challenge and a welcome opportunity to bring the Archive’s research to the attention of the musical world through the recorded medium. We sincerely hope this Edition opens eyes and ears around the world to the universal relevance of Johann Sebastian Bach’s creative oeuvre both today and in the future.

Bach 333 is released worldwide on October 26th in two language versions – English and German. The flagship Edition is accompanied by a 2CD entry level product Peaceful Bach and a suite of 13 digital products including Bach à la Jazz and New Colours of Bach, all aimed at achieving the widest possible awareness and engagement.



THE LARGEST, MOST COMPLETE, MOST AUTHORITATIVE

& ENRICHED COMPOSER SET OF ALL TIME ON 222 CDs + 1 DVD




RECOVERED TREASURES

Deutsche Grammophon, in association with Google Arts & Culture, restores great recordings from its archive to vibrant life with The Shellac Project

· Deutsche Grammophon’s Shellac Project continues with release of 39 remarkable recordings from the era of 78rpm discs.

· Advanced digital transfer technology brings unprecedented sound quality to recordings made a century ago.

· Latest highlights include Verdi performances from Mattia Battistini, Fritz Kreisler playing his Tambourin chinois in an early recording from 1911, outstanding Wagner interpretations from the Staatskapelle Berlin (then the orchestra of the Staatsoper Berlin), and the project’s first complete orchestral work, featuring the Concertgebouw Orchestra.

· Remastered tracks reflect Yellow Label’s repertoire variety and the bold musical personalities of its historic artists.

· Landmark collaborative restoration project, created in partnership with Google Arts & Culture, opens online access to one of the world’s oldest and most important sound archives.

· All digitally remastered tracks available through DG’s own channels and on partner platforms including Google Play Music, YouTube Music, Spotify, Apple Music and Amazon.


The Shellac Project took wing with the release of 75 tracks in August 2018, gathered momentum with a second selection soon after, and is set to deliver a third batch of titles on 21 September 2018. The latest instalment of 39 tracks, transferred from 42 metal sources, spans everything from Neapolitan songs and salon pieces to excerpts from the operas of Verdi and Wagner. Fritz Kreisler makes his Shellac Project debut with a joyful 1911 recording of his Tambourin chinois. The Austrian violinist joins a list of star performers from the gramophone’s early years, among them Italian baritones Mattia Battistini and Umberto Urbano, Franco-German contralto Sigrid Onégin, and artists from a younger generation such as the tenors Julius Patzak and Helge Rosvaenge.

The new offerings include a selection of orchestral music from Wagner’s operas recorded in 1926 and 1927 by the orchestra of the Berlin Staatsoper (today’s Staatskapelle Berlin) conducted by its then director Max von Schillings, whose understanding of Wagner’s style is clear in every bar of the “Good Friday Music” from Parsifal and the Overture toThe Flying Dutchman. The new batch also contains The Shellac Project’s first complete performance of an orchestral composition, a wonderful 1943 performance of Reger’s Variations and Fugue on a Theme of Mozart from the Concertgebouw Orchestra and Eduard van Beinum. Vocal highlights include Sigrid Onégin’s reading of Brahms’s “Sapphische Ode”, recorded in 1919 with Deutsche Grammophon’s artistic director, Bruno Seidler-Winkler, at the piano. Fans of great singing can also compare Mattia Battistini’sbel canto delivery of “Eri tu che macchiavi” from Verdi’s Un ballo in maschera, recorded in 1907, with Umberto Urbano’s more expansive performance of the same aria from the late 1920s. And The Shellac Project continues to raise Koloman von Pataky from the ranks of unjustly neglected tenors with tracks of the highest quality, none better than “Donna non vidi mai” from Puccini’s Manon Lescaut.

The Shellac Project takes its name from a product of nature, the unlikely raw material from which records were made between the mid-1890s and the mid-1940s. Shellac, a resin secreted by the female lac insect, native to India, had been used as a varnish long before it became the standard material for gramophone records. Many fine violins, for instance, were polished to perfection with shellac. Although fragile, shellac records were affordable and easy to produce because of the inventive brilliance of Deutsche Grammophon’s founder, Emil Berliner.

While it was Thomas Edison who pioneered sound recording and reproduction, it was Berliner who created a viable system for the mass duplication of the sounds recorded. During the mid-1890s he worked with his fellow engineers to overcome the limitations of Edison’s method of recording on wax cylinders. Instead of cylinders, Berliner cut recordings into wax-covered rotating discs; he then used a galvanoplastic process to make a copper master for the archive and robust metal “mothers” and “fathers” from which multiple copies of the original recording could be pressed.

The contents of Deutsche Grammophon’s early archives were depleted, often by accident, sometimes by design. Many early “mother” discs, however, survived wartime damage and peacetime clear-outs. Those chosen for The Shellac Project are converted to digital form via state-of-the-art turntables and remastering software. Several tracks have been recovered following a rerun of the galvanoplasty method to create new “mothers” from their surviving “father” counterparts. The thrill of discovering strikingly individual artistry from a lost world of music-making, once open only to a small band of record connoisseurs, has become accessible to all thanks to the Yellow Label’s project to restore its buried archive treasures.

Generous extracts from The Shellac Project can be found as part of an online exhibition on the Google Arts & Culture platform (g.co/deutschegrammophon).




Deutsche Grammophon und Apple Music stellen neues digitales Forum für klassische Musik mit Audio- und Video-Inhalten auf Medienevent während der Salzburger Festspiele vor

Im Jubiläumsjahr zum 120. Geburtstag von Deutsche Grammophon kuratieren Künstler des Labels Musik von Beethoven, Mozart und Bach auf Radiostationen von Apple Music

Innovativer Auftakt mit Daniil Trifonov: erste Video Essential Playlist eines klassischen Interpreten auf Apple Music. Rolando Villazón präsentiert erstes Visual Album einer Oper mit seinem Auftritt in Gounods »Roméo et Juliette«

10. August 2018. Deutsche Grammophon und Apple Music geben eine langfristige Zusammenarbeit bekannt mit dem Ziel, das Erlebnis von klassischer Musik für ein globales Publikum zu bereichern.

Im Mittelpunkt des neu geschaffenen Forums auf Apple Music stehen »The DG Playlist« – eine regelmäßig aktualisierte Auswahl von Spitzenaufnahmen des 120-jährigen Traditionslabels –, Visual Albums mit zeitlosen und legendären Aufführungen von DG-Künstlern, neu kreierte Video-Clips von Daniil Trifonov und Ildar Abdrazakov sowie von Rolando Villazón, Peter Gregson und Daniil Trifonov kuratierte Radiostationen mit Werken von Mozart, Bach und Beethoven.

Die neue Initiative von Deutsche Grammophon auf Apple Music bringt Audio- und Video-Inhalte auf einer einzigen Plattform zusammen und präsentiert große Ereignisse der Klassikwelt, herausragende Veröffentlichungen, Porträts von Komponisten und Künstlern, aber auch bedeutende Jubiläen neben kuratierten Playlists und erstklassigen audiovisuellen Inhalten.

2016 war Deutsche Grammophon bereits das erste Klassiklabel, das ein Kuratoren-Profil auf Apple Music etablierte. Die Kooperation hat sich positiv entwickelt, indem unter anderem mehr als zwei Dutzend erfolgreiche Playlists konzipiert wurden, und so war die Grundlage geschaffen für den Start eines kuratierten Label-Forums.

Dieses Label-Forum ging heute live auf www.applemusic.com/dg und wurde auf einer hochkarätig besetzten Pressekonferenz in Mozarts Geburtshaus vorgestellt. Die DG-Künstler Daniil Trifonov, Rolando Villazón, Ildar Abdrazakov und Peter Gregson traten auf und diskutierten außerdem auf dem Podium über die Präsentation von Musik im digitalen Zeitalter. Gesprächspartner war ferner Michael Bladerer, der Geschäftsführer der Wiener Philharmoniker. Die Künstler boten einen Überblick über ihren persönlichen Ansatz als Kuratoren und offenbarten dabei ihre Leidenschaft, Energie und Begeisterung für die klassische Musik in der digitalen Ära.

»Die Bedeutung des Gelben Labels und unserer lebendigen Künstlergemeinschaft als Kuratoren und Wegweiser für Qualität war schon immer überragend, in Schallplattengeschäften gleichermaßen wie im digitalen Raum«, sagt Dr. Clemens Trautmann, Präsident von Deutsche Grammophon. »In einer Welt, in der Aufmerksamkeits¬spannen kurz geworden sind und klassische Musik überall leicht verfügbar ist, müssen die Menschen ihre knappe Zeit und begrenzte Ressourcen mit Bedacht nutzen. Gemeinsam mit unserem Partner Apple Music wollen wir Entdeckungen ermöglichen und Orientierung bieten für alles, was in der klassischen Musik relevant ist. Wir freuen uns außerdem über die Möglichkeit, in umfassender Weise kurze und längere Videoproduktionen zu präsentieren und das neue Forum so zu einem Eckpfeiler der globalen audiovisuellen Strategie von Deutsche Grammophon zu machen.«

Jonathan Gruber von Apple Music erklärt: »Bei klassischer Musik geht es um die Freude am Entdecken. Wir sind begeistert, dass diese großartigen Künstler von Deutsche Grammophon nun Teil unseres erweiterten internationalen Teams von vertrauenswürdigen Kuratoren sind.«

Daniil Trifonovs Aufführung an Mozarts Geburtsstätte wurde live mitgeschnitten und zeitnah auf Trifonovs neuer Video Essential Playlist mit eigens dafür zusammengestellten Performance-Clips präsentiert. »Ich sehe es als wunderbare Chance, dass ich meine Arbeit auf Apple Music vorstellen kann. Durch dieses neue Forum meines Labels können Künstler wie ich ihre Musik mit der Klassik-Fangemeinde teilen«, sagt Daniil Trifonov. »Ich empfinde es als Privileg, dass ich der erste klassische Künstler bin, der auf seiner eigenen audiovisuellen Playlist die Videos seiner Aufführungen präsentiert, denn ich habe natürlich sehr schöne Erinnerungen daran, wie sie entwickelt wurden und entstanden sind. Dass sie nun auf Apple Music die