Artist: Christian Tetzlaff, Deutsches Symphonie-Orchester Berlin, Robin Ticciati
Album: Brahms: Violin Concerto in D Major, Op. 77 & Berg: Violin Concerto To the Memory of an Angel (Live)
Genre: Classical
Release Date: 2022
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:02:25
Total Tracks: 5
Total Size: 1,08 GB

Tracklist:

01. Christian Tetzlaff, Deutsches Symphonie-Orchester Berlin & Robin Ticciati – Brahms: Violin Concerto in D Major, Op. 77: I. Allegro non troppo (Live) (20:38)
02. Christian Tetzlaff, Deutsches Symphonie-Orchester Berlin & Robin Ticciati – Brahms: Violin Concerto in D Major, Op. 77: II. Adagio (Live) (07:52)
03. Christian Tetzlaff, Deutsches Symphonie-Orchester Berlin & Robin Ticciati – Brahms: Violin Concerto in D Major, Op. 77: III. Allegro giocoso, ma non troppo vivace (Live) (07:22)
04. Christian Tetzlaff, Deutsches Symphonie-Orchester Berlin & Robin Ticciati – Berg: Violin Concerto “To the Memory of an Angel”: I. Andante. Allegretto (11:12)
05. Christian Tetzlaff, Deutsches Symphonie-Orchester Berlin & Robin Ticciati – Berg: Violin Concerto “To the Memory of an Angel”: II. Allegro. Adagio (15:19)

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In this new concerto album one of the greatest violinist of his generation, Christian Tetzlaff, offers profound interpretations of two deeply dramatic and lyrical concertos – those of Brahms and Berg – together with the Deutsches Symphonie-Orchester Berlin conducted by Robin Ticciati.“Reasons of substance justify the recording of the Violin Concertos of Johannes Brahms and Alban Berg on a single album: both works concern existential human states of being. For me, the concerto by Johannes Brahms is a work that in a violin concerto dares to address very dangerous, abysmal, and profound states of the soul. Here an enormous contrast between ecstasy and total lonely isolation is in evidence. (…) Brahms also has a lot to say about pain. That’s rare in violin concertos – and links the Brahms concerto to the one by Alban Berg. I’ve been playing both concertos for 40 years – and I’ve played both of them, taken together, much more than 300 times. Here it seems to me as though the experience of these pieces changes one’s own life.” (Christian Tetzlaff’s liner notes)