111 Years of Deutsche Grammophon(55 CDs, Collector's Edition, 2009)

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111 Years of Deutsche Grammophon(55 CDs, Collector's Edition, 2009)

• CD 1. 21 Hungarian dances / Brahms (Abbado)
• CD 2. String quartets op. 59, no. 1, op. 131 / Beethoven (Amadeus Quartet)
• CD 3. 24 préludes / Chopin (Argerich)
• CD 4. Boléro ; La valse ; Pavane ; Daphnis & Chloé / Ravel (Barenboim)
• CD 5. Préludes I ; Images I & II / Debussy (Benedetti Michelangeli)
• CD 6. West Side Story / Bernstein (Bernstein)
• CD 7. Requiem / Mozart (Böhm)
• CD 8. Pétrouchka ; Le sacre du printemps / Stravinsky (Boulez)
• CD 9. Violin concertos / Vivaldi (Carmignola)
• CD 11. Symphony 5 / Mahler (Dudamel)
• CD 12. The art of fugue / Bach (Emerson String Quartet)
• CD 13. Winterreise / Schubert (Fischer-Dieskau)
• CD 14-15. Cello suuites / Bach (Fournier)
• CD 16. Requiem / Verdi (Fricsay)
• CD 17. Schumann & Haydn (Furtwängler)
• CD 18-19. Vespers / Monteverdi (Gardiner)
• CD 20. Piano sonatas op. 53, 57, 81a / Beethoven (Gilels)
• CD 21. Baroque favourites (Goebel)
• CD 22. Credo / Grimaud
• CD 23. Violin concertos / Bach (Hahn)
• CD 24. Horowitz in Moscow (Horowitz)
• CD 25. Carmina burana / Orff (Jochum)
• CD 26. Symphony 9 / Beethoven (Karajan)
• CD 27. Piano concertos 4 & 5 / Beethoven (Kempff)
• CD 28. Symphonies 5 & 7 / Beethoven (Kleiber)
• CD 29. Ah! mio cor / Handel (Kožena)
• CD 30. Symphonies 8 & 9 / Dvořák (Kubelik)
• CD 31. Piano concertos / Tchaikovsky & Mendelssohn (Lang Lang)
• CD 32. Symphonies 4 & 5 / Mendelssohn (Maazel)
• CD 33. Adagio / Maisky
• CD 34. Symphonie fantastique / Berlioz (Markevitch)
• CD 35. Christmas mass / Praetorius (McCreesh)
• CD 36. Une symphonie imaginaire / Rameau (Minkowski)
• CD 37. Violin concerto ; Double concerto / Brahms (Mutter)
• CD 38. Opera arias (Netrebko)
• CD 39. Violin concerto / Tchaikovsky (Oistrakh)
• CD 40. Lamenti (Von Otter)
• CD 41. The four seasons / Vivaldi (Pinnock)
• CD 42-43. Nocturnes / Chopin (Pires)
• CD 44. Sonatas / Scarlatti (Pogorelich)
• CD 45. Études / Chopin (Pollini)
• CD 46. German opera arias (Quasthoff)
• CD 47-48. B minor mass / Bach (Karl Richter)
• CD 49. Piano concerto 2 / Rachmaninoff (Sviatoslav Richter)
• CD 50. Cello concerto / Dvořák. Rococo variations / Tchaikovsky (Rostropovich)
• CD 51. The vagabond (Terfel)
• CD 52. Cielo e mar (Villazón)
• CD 53. Toccata & fugue / Bach (Walcha)
• CD 54. Dichterliebe / Schumann (Wunderlich)
• CD 55. Piano concertos / Liszt (Zimerman).

CD 01: Johannes Brahms - 21 Ungarische Tanze (1984 DG 477 8403) Wiener Philharmoniker and Claudio Abbado
CD 02: Ludwig van Beethoven - Quartette Op.59 No.1, Op.131 (1960 DG 477 8379) Amadeus-Quartett
CD 03: Frederic Chopin - 24 Preludes Op.28 et al. (1975 DG 477 8380) Martha Argerich
CD 04: Maurice Ravel - Bolero, La Valse et al. (1982 DG 477 8381) Orchestre de Paris and Daniel Barenboim
CD 05: Claude Debussy - Preludes Vol.1 (1971 DG 477 8382) Arturo Benedetti Michelangeli
CD 06: West Side Story (1985 DG 477 8383) Leonard Bernstein et al
CD 07: Wolfgang Amadeus Mozart - Requiem K.626 (1971 DG 477 8385) Wiener Philharmoniker, Karl Bohm et al
CD 08: Igor Stravinsky - Petrouchka, Le Sacre du Printemps (1992 DG 435 769-2) The Cleveland Orchestra and Pierre Boulez
CD 09: Antonio Vivaldi - Concertos for Violin et al. (2003 DG 477 8387) Venice Baroque Orchestra, Guliano Carmignola et al
CD 10: Opern Gala (1981 DG 477 8388) Los Angeles Philharmonic Orchestra, Placido Domingo, Carlo Maria Giulini et al
CD 11: Gustav Mahler - Symphony No.5 (2007 DG 477 8389) Simon Bolivar Youth Orchestra of Venezuala and Gustavo Dudamel
CD 12: Johann Sebastian Bach - The Art of Fugue (2003 DG 477 8390) Emerson String Quartet
CD 13: Franz Schubert - Winterreise (1972 DG 477 8391) Gerald Moore and Dietrich Fischer-Dieskau
CD 14: Johann Sebastian Bach - Sechs Suiten fur Violoncello solo - Part 1 (1961 DG 477 8392) Pierre Fournier
CD 15: Johann Sebastian Bach - Sechs Suiten fur Violoncello solo - Part 2 (1961 DG 477 8393) Pierre Fournier
CD 16: Giuseppe Verdi - Messa da Requiem (1954 DG 477 8394) Symphonie Orchester Berlin, Ferenc Fricsay et al
CD 17: Robert Schumann, Joseph Haydn - Symphony No.4, No.88 (1952 DG 477 8395) Berliner Philharmoniker and Wilhelm Furtwangler
CD 18 & CD 19: Claudio Montverdi - Vespro della Beata Vergine - Part 1-2 (1990 DG 477 8396) John Eliot Gardiner et al
CD 20: Ludwig van Beethoven - Piano Sonatten - Waldstein, Les Adieux, Appassionata (1972 DG 447 8398) Emil Gilels
CD 21: Pachelbel, Handel, Vivaldi, Bach - Various (1982 DG 477 8399) Musica Antiqua Koln and Reinhard Goebel
CD 22: Corigliano, van Beethoven, Part - Various (2003 DG 477 8400) Swedish Radio Symphony Orchestra, Helene Grimaud et al
CD 23: Johann Sebastian Bach - Concertos (2003 DG 477 8401) Los Angeles Chamber Orchestra, Jeffrey Kahane and Hilary Hahn
CD 24: Various - Horowitz in Moscow (1986 DG 477 8402) Vladimir Horowitz
CD 25: Carl Orff - Carmina Burana (1968 DG 477 8403) Chor Und Orchester Der Deutschen Oper Berlin, Eugen Jochum et al
CD 26: Ludwig van Beethoven - Symphonie No.9 Ouverture Coriolan (1963 DG 447 8404) Berliner Philharmoniker and Herbert von Karajan
CD 27: Ludwig van Beethoven - Klavierkonzerte Nos. 4 & 5 (1962 DG 477 8405) Wilhelm Kempff, Berliner Philharmoniker and Ferdinand Leitner
CD 28: Ludwig van Beethoven - Symphonien Nos. 5 & 7 (1975 DG 477 8406) Wiener Philharmoniker and Carlos Kleiber
CD 29: George Frideric Handel - Arias (2007 DG 477 8407) Venice Baroque Orchestra, Andrea Marcon and Magdalena Kozena
CD 30: Antonin Dvorak - Symphony No. 8 and 9 (1966 DG 477 8408) Berliner Philharmoniker and Rafael Kubelik
CD 31: Tchaikovsky, Mendelssohn - 1st Piano Concertos (2003 DG 477 8409) Chicago Symphony Orchestra, Daniel Barenboim and Lang Lang
CD 32: Felix Mendelssohn - Italienische, Reformations Sinfonie (1961 DG 4777 8410) Berliner Philharmoniker and Lorin Maazel
CD 33: Various - Adagio (1992 DG 477 8411) Orchestre de Paris, Semyon Bychkov and Mischa Maisky
CD 34: Hector Berlioz - Symphonie Fantastique (1962 DG 477 8412) Orchestre Lamoureux and Igor Markevitch
CD 35: Michael Praetorius - Christmette (1994 DG 477 8413) Gabrieli Consort, Paul McCreesh et al
CD 36: Jean-Philippe Rameau - Une Symphonie Imaginaire (2005 DG 477 8414) Les Musiciens du Louvre and Marc Minkowski
CD 37: Johannes Brahms - Violinkonzert (1982 DG 477 8415) Berliner Philharmoniker, Herbert von Karajan and Anne-Sophie Mutter
CD 38: Various - Opera Arias (2003 DG 477 8416) Wiener Philharmoniker, Gianandrea Noseda and Anna Netrebko
CD 39: Peter Tchaikovsky, Henryk Wieniawski et al. - Various (1954 DG 477 8417) Gewandhausorchester Leipzip, Oistrakh brothers et al
CD 40: Various - Lamenti (1998 DG 477 8418) Lusica Antiqua Koln, Reinhard Goebel and Anne Sofie von Otter
CD 41: Antonio Vivaldi - Le Quattro Stagioni (1982 DG 477 8419) The English Concert, Trevor Pinnock and Simon Standage
CD 42 - 43: Frederic Chopin - Nocturnes - Part 1 - 2 (1996 DG 477 8420) Maria Joao Pires
CD 44: Domenico Scarlatti - Sonatas (1992 DG 477 8422) Ivo Pogorelich
CD 45: Frederic Chopin - Etudes (1972 DG 477 8423) Maurizio Pollini
CD 46: Various - Die Stimme (2002 DG 477 8424) Chor und Orchester der Deutschen Oper Berlin, Christian Thielemann, Thomas Quasthoff et al
CD 47 - 48: Johann Sebastian Bach - Messe in h-moll - Part 1 - 2 (1962 DG 477 8425) Muchener Bach Orchester und Chor, Karl Richter et al
CD 49: Sergei Rachmaninoff - Preludes (1959 DG 477 8427) Warsaw National Philharmonkier Orchestra, Stanislaw Wislocki and Sviatoslav Richter
CD 50: Antonin Dvorak, Pyotr Tchaikovsky - Cellokonzert, Rokoko-Variationen (1969 DG 477 8428) Berliner Philharmoniker, Mstislav Rostropovich and Herbert von Karajan
CD 51: Various - The Vagabond (1995 DG 477 8429) Bryn Terfel and Malcolm Martineau
CD 52: Various - Cielo e Mar (2008 DG 477 8430) Coro & Orchestra Sinfonica di Milano Giuseppe Verdi, Rollando Villazon and Daniele Callegari
CD 53: Johann Sebastian Bach - Werke fur Orgel (1959 DG 477 8431) Helmut Walcha
CD 54: Schumann, van Beethoven, Schubert - Various (1966 DG 477 8432) Fritz Wunderlich and Hubert Giesen
CD 55: Franz Liszt - Klavierkonzerte Nos.1 and 2, Totentanz (1988 DG 477 8433) Boston Symphony Orchestra, Seiji Ozawa and Krystian Zimerman

CD1: Johannes Brahms - Wiener Philharmoniker · Claudio Abbado - 21 Ungarische Tänze = Hungarian Dances = Danses Hongroises
CD2: Ludwig van Beethoven - Amadeus-Quartett - String Quartet In F Major "Razumovsky" · String Quartet In C Sharp Minor
CD3: Frédéric Chopin - Martha Argerich - 24 Préludes - Piano Sonata no.2
CD4: Maurice Ravel - Orchestre De Paris · Daniel Barenboim - Bolero · La Valse · Pavane Pour Une Infante Défunte · Daphnis Et Chloé: Suite No.2
CD5: Claude Debussy - Arturo Benedetti Michelangeli - Préludes · Volume 1
CD6: Leonard Bernstein - Kiri Te Kanawa · José Carreras · Tatiana Troyanos · Kurt Ollmann · Marilyn Horne - West Side Story
CD7: Wolfgang Amadeus Mozart - Wiener Philharmoniker · Karl Böhm, Edith MAthis · Julia Hamari · Wiesław Ochman · Karl Ridderbusch · Wiener Staatsopernchor - Requiem
CD8: Igor Stravinsky - The Cleveland Orchestra · Pierre Boulez - Pétrouchka · Le Sacre Du Printemps
CD9: Antonio Vivaldi, Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon - Concertos For Violin, Strings And Continuo
CD10: Placido Domingo · Carlo Maria Giulini / Los Angeles Philharmonic Orchestra - Opern-Gala = Gala Opera Concert = Grands Airs D'Opéras
CD11: Gustav Mahler / Simón Bolívar Youth Orchestra Of Venezuela / Gustavo Dudamel - Mahler 5
CD12: Johann Sebastian Bach - Emerson String Quartet - The Art Of Fugue
CD13: Dietrich Fischer-Dieskau / Franz Schubert / Gerald Moore - Winterreise
CD14, CD15: Johann Sebastian Bach / Pierre Fournier - Sechs Suiten Für Violoncello Solo
CD16: Giuseppe Verdi - Maria Stader, Marianna Radev, Kim Borg / RIAS-Kammerchor, RIAS Symphonie-Orchester Berlin, Chor Der St. Hedwigs-Kathedrale Berlin, Ferenc Fricsay - Requiem
CD17: Robert Schumann, Joseph Haydn - Berliner Philharmoniker, Wilhelm Furtwängler - Schumann: Symphony No. 4 / Haydn: Symphony No. 88
CD18, CD19: Claudio Monteverdi - John Eliot Gardiner - Vespro Della Beata Vergine = Vespers Of The Bless Virgin = Marien-Vesper
CD20: Ludwig van Beethoven - Emil Gilels - Sonaten »Waldstein = Les Adieux = Appassionata«
CD21: Johann Pachelbel · Johann Sebastian Bach · Georg Friedrich Händel · Antonio Vivaldi - Musica Antiqua Köln, Reinhard Goebel - Pachelbel: Kanon & Gigue · J.S. Bach · Handel · Vivaldi
CD22: Hélène Grimaud, Sveriges Radios Symfoniorkester, Radiokören, Esa-Pekka Salonen - Credo
CD23: Johann Sebastian Bach - Hilary Hahn, The Los Angeles Chamber Orchestra, Jeffrey Kahane - Concertos
CD24: Vladimir Horowitz - Horowitz In Moscow
CD25: Carl Orff - Gundula Janowitz · Gerhard Stolze · Dietrich Fischer-Dieskau - Chor der Deutschen Oper Berlin Und Orchester Der Deutschen Oper Berlin, Eugen Jochum - Carmina Burana
CD26: Ludwig van Beethoven - Berliner Philharmoniker, Herbert von Karajan - Symphony No. 9 · "Coriolan" Overture
CD27: Ludwig van Beethoven – Wilhelm Kempff, Berliner Philharmoniker · Ferdinand Leitner - Klavierkonzerte Nos. 4 & 5 = Piano Concertos = Concertos Pour Piano
CD28: Ludwig van Beethoven - Wiener Philharmoniker, Carlos Kleiber - Symphonie Nos. 5 & 7
CD29: Magdalena Kožená, Georg Friedrich Händel, Venice Baroque Orchestra, Andrea Marcon - Ah! Mio Cor (Handel Arias)
CD30: Antonín Dvořák - Berliner Philharmoniker · Rafael Kubelik - »Aus Der Neuen Welt« = »From The New World«
CD31: Pyotr Ilyich Tchaikovsky | Felix Mendelssohn-Bartholdy - Lang Lang, The Chicago Symphony Orchestra, Daniel Barenboim - First Piano Concertos
CD32: Felix Mendelssohn-Bartholdy - Berliner Philharmoniker, Lorin Maazel - Italienische Sinfonie / Reformations-Sinfonie
CD33: Mischa Maisky, Orchestre De Paris, Semyon Bychkov - Adagio
CD34: Hector Berlioz, Orchestre Des Concerts Lamoureux, Igor Markevitch - Symphonie Fantastique
CD35: Michael Praetorius, Gabrieli Consort, Paul McCreesh - Christmette = Christmas Mass = Messe De Noël
CD36: Jean-Philippe Rameau, Les Musiciens Du Louvre, Marc Minkowski - Une Symphonie Imaginaire
CD37: Johannes Brahms - Anne-Sophie Mutter, Berliner Philharmoniker · Herbert von Karajan - Violinkonzert = Violin Concerto
CD38: Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda - Opera Arias
CD39: Pyotr Ilyich Tchaikovsky, David Oistrach, Staatskapelle Dresden, Franz Konwitschny - Konzert Für Violine Und Orchester D-Dur Op. 35
CD40: Claudio Monteverdi · Antonio Vivaldi · Henry Purcell · Antonio Bertali · Giovanni Legrenzi - Anne Sofie Von Otter · Musica Antiqua Köln · Reinhard Goebel - Lamenti
CD41: Antonio Vivaldi - English Concert, Simon Standage, Trevor Pinnock - Le Quattro Stagioni
CD42, 43: Frédéric Chopin - Maria-João Pires - The Nocturnes
CD44: Domenico Scarlatti - Ivo Pogorelich - Sonaten
CD45: Frédéric Chopin • Maurizio Pollini - Etudes
CD46: Thomas Quasthoff, Orchester Der Deutschen Oper Berlin, Christian Thielemann - Die Stimme (Deutsche Opernarien)
CD47, CD 48: Johann Sebastian Bach - Missa Symbolum Nicenum Sanctus Osanna, Benedictus, Agnus Dei Et Dona Nobis Pacem (Messe In H-Moll) BWV 232
CD49: Sergei Vasilyevich Rachmaninoff, Sviatoslav Richter - 2. Konzert Für Klavier Und Orchester C-Moll Op. 18 • 6 Préludes
CD50: Antonín Dvořák, Pyotr Ilyich Tchaikovsky - Mstislav Rostropovich • Berliner Philharmoniker • Herbert von Karajan - Cellokonzert H-Moll (In B Minor) / Rokoko-Variationen Op. 33
CD51: Bryn Terfel - The Vagabond
CD52: Rolando Villazón - Cielo E Mar
CD53: Johann Sebastian Bach - Helmut Walcha - Toccata And Fugue In D Minor · Prelude And Fugue In E Flat Major · 6 Chorales Of Diverse Kinds ("Schübler Choräle") · Trio Sonata No. 11 In E Flat Major
CD54: Robert Schumann, Ludwig van Beethoven, Franz Schubert - Fritz Wunderlich, Hubert Giesen - Dichterliebe
CD55: Franz Liszt - Krystian Zimerman / Boston Symphony Orchestra · Seiji Ozawa - Klavierkonzerte Nos. 1 & 2 = Piano Concertos = Concertos Pour Piano · Totentanz

2009 Marks The 111th Anniversary Of Deutsche Grammophon.

Over 11 Decades, The Label's Philosophy Has Always Been 'The Greatest Recordings By The Greatest Artists In The World' And Now They Showcase This With This Incredible 55 Cd Box Set. This Unique Collection Forms Dg's Major Release In Its 111th Anniversary Celebrations. The Limited Edition Box Set Gathers Together Many Landmark Recordings, From The Past To The Present. Most Of Them Appear Complete, As Originally Programmed, In Their Original Cover Art And Several Include Additional Material. It Is A True Library Of Music, Artists And Recordings Extending From Abbado To Zimerman, Monteverdi To P„rt, Furtw„ngler To Dudamel-- There's Never Been Anything Quite Like It Before. The Opulent Deluxe Box With Hinged Lid Opens Up To Reveal The Neatly Stacked Contents Of 51 'Original Jacket' Albums And 150-Page Booklet.

From the Artist "With 111 years of history behind it, Deutsche Grammophon remains the world's largest and proudest classical music label. Since its 100th anniversary eleven years ago, it has continued to thrive in an especially challenging global environment for recorded music. For me, in nearly two decades of leading the worldwide classical-music business for Universal, it has been a huge but rewarding challenge to help guide this great label into the future. Deutsche Grammophon continues to flourish because it has never lost sight of its underlying philosophy: Support the artist with the means to make great music and deliver this great music to the public in a beautiful package with creative ideas." Christopher Roberts President Classics and Jazz Universal Music Group International

For me, Deutsche Grammophon's anniversary also represents an exceptionally fruitful collabo-ration between artist and record label. I congratulate Deutsche Grammophon's great team on this unique anniversary - may they continue to bring unprecedented beauty to the ears of the world. Anne-Sophie Mutter

In the world of classical music, Deutsche Grammophon's Yellow Label has long been acknowl-edged as a symbol of high quality, and it still is today. My own relationship with the company, although not exclusive, has been an extremely productive one, and it has been going on for about forty percent of Deutsche Grammo­phon's 111-year history! Plácido Domingo

My earliest musical memories are my mother playing the piano and the sounds from my parents' record collection. Those records, mainly Deutsche Grammophon LPs, were both my conserva-tory and the gates to a magic world of possibility in sound and drama. When listening to them as a child growing up in a small town in Argentina in the 1960s, I was in the house, in the world, but in another world as well. This form of ritual listening has changed with the new technologies, but I will cherish it forever, as a key experience of my early life and one that also shaped me as an adult. I feel profoundly grateful for those memories, and honoured to have my music now part of the DG world. Osvaldo Golijov

What makes DG such a special record company? It's much more than an impressive history, tradition and catalogue. It's the people at the label who carry the torch into the future and make up a real family and creative home for so many of today's musicians. Everyone in this team im-plements a strong and courageous vision with total dedication and energy - not only physical and mental, but often emotional as well. For that is truly what makes the difference: they engage their hearts to create a fertile and inspiring environment for us musicians. Congratulations on this remarkable anniversary and many happy returns. Hélène Grimaud

It is a great honour for me to join DG's family of exceptional musicians and singers, and to be part of a label which has an extremely rich history and tradition. For me, DG is also a testimony of past and future generations and I would like to carry on this tradition. Patricia Petibon

Since I came to Deutsche Grammophon, my life has been one exciting musical challenge after another. And my record company is always by my side to capture every moment for listeners and viewers everywhere. Thank you, DG, and Happy Birthday! Anna Netrebko

Deutsche Grammophon has given me and the Simón Bolívar Youth Orchestra of Venezuela incredible opportunities and encouragement. Thank you, DG, and congratulations on another milestone anniversary. Gustavo Dudamel

Deutsche Grammophon represents a wonderful tradition of making timeless music accessible to many people and preserving great interpretations for future generations. I admire DG because both of these things are of paramount importance to me as a musician and as a human being. In its 111 years Deutsche Grammophon managed to find unique synergy between the traditional and the new. I felt this very strongly in all our col­laborations. I salute this amazing label and wish its team continued success and inspiration. Lang Lang

I have recorded for Deutsche Grammophon for nearly 40 years. During this time we have docu­mented a large part of my repertoire, including major works of contemporary music. I have always found the greatest professionalism in the people who collaborate with me - from executives to recording producers and technicians. I shall always be grateful to Deutsche Grammophon for enabling me to work under the best imaginable conditions. Deutsche Grammophon Gesellschaft in all these years has played a highly important role in producing discs which, along with the most famous titles, also include important works that are not so popular - with a strong presence in chamber and early as well as contemporary music. In the difficult current situation, nearly all the recording companies and concert organizations find themselves confronted with an awkward decision: should they take the easier, more com-mercial path, based on easily marketable works? In my view, that would be a great mistake. My wish is that the all-important role of these institutions in making all music available will con-tinue in the future. I am convinced that despite the difficulties in the long run that would be the more fortunate choice. Maurizio Pollini

My father worked in a recording company when I was a boy, and he used to bring a lot of LPs to our house. He brought mostly recordings from the label he was working with (CBS), but some-times also some from other labels and whenever he brought home a DG album, it somehow seemed to me that it "weighed" more. What made it heavier? Tradition, quality, art - and some¬thing else that I was not able to explain then. I felt that what I held in my hands (and heard in my ears) was not only an LP, but an artistic object, a little treasure. The same elements that gave weight to LPs then continue to be present in the CD of today, but DG has also been alert and dynamic, and reacted to the challenges of modernity. It remains the label with the oldest and best tradition, but is also the most modern classical label. Being part of DG is a big responsibil-ity and has allowed me to understand that other element I could not explain as a child: What makes DG the label it is, are the people working there. All of them are knowledgeable, passion-ate, adventurous and full of enthusiasm. To all of those who have built the great yellow label in these 111 years I say "Congratulations", and to all of you whom I am lucky to work with I say, from the bottom of my heart: Thank you! Rolando Villazón

To me, Deutsche Grammophon represents a record company that is the reference standard for classical music, so it meant a great deal to me when at the age of 40 I first signed with them. To be accepted by that family of musicians gave me a very good feeling. My best reminiscences of DG have to include recording the Schumann Concerto with Claudio Ab-bado. That was very special. Another special moment was when I signed my first contract in the old Vienna office with Aman Pedersen, and I still think very fondly of the first meeting I ever had with Dr. Andreas Holschneider, and how he impressed me with his culture and vast knowledge. The quality of the recordings on the DG label is always very high indeed. The expertise of the recording teams I have worked with has always been of the very highest order, and I have had the good fortune of working with the same Tonmeister (Helmut Burk) on most of my records. DG has always provided excellent conditions in which to work (something not always found in the recording business), and I am most appre­ciative for the support and understanding I have received from the company during the many years of our collaboration. Maria João Pires

Deutsche Grammophon for me has always meant a guarantee of quality. Now it's also a musical family I feel very close to, with the finest artists and the top professionals in the recording busi-ness. If you work with only the best, then the results are bound to be the best. Elīna Garanča

Deutsche Grammophon and I have had a wonderful working relationship for close to two dec-ades. No label could be more open to its artists' wishes, and for me that's meant doing a huge variety of repertoire. When I was keen to make a Wagner disc with Claudio [Abbado] and the Berlin Phil, DG was only too happy to make that possible. And when I wanted to do an album of Lerner and Loewe, they were with me all the way. One couldn't ask for more. I look forward to many more years of this rewarding collabora­tion and wish Deutsche Grammophon all the best on its anniversary. Bryn Terfel

With Deutsche Grammophon I have at my disposal the finest recording engineers and an artistic team that perfectly understands my musical intentions - in short, Deutsche Grammophon and I speak the same language. Herbert von Karajan (1968)

Deutsche Grammophon represents to me - and to the music industry - an ideal platform for "re-cording" in the classical sense of the word as well as a constant source of fresh ideas in new pro-ductions. May these qualities continue to distinguish the label and ensure its illustrious reputation! Dietrich Fischer-Dieskau

Deutsche Grammophon for me has always been the outstanding label in classical music. So it was a dream come true when, after recording Mahler's "Des Knaben Wunderhorn" with Claudio Ab-bado and the Berliner Philharmoniker, I was offered an exclusive contract. Ten years have passed since then. During this time I've even had the opportunity to make a jazz album for the classical label Deutsche Grammophon, and that's been a special source of joy and great pride. Thomas Quasthoff

It has been a pleasure to have collaborated with Deutsche Grammophon since 1967. From the start, this experience has been enjoyable: imagine what it's like to begin one's relationship by recording the Prokofiev and Ravel piano con­certos with Martha Argerich and the Berliner Philharmoniker! And now, for more than forty years, we have maintained this outstanding rela-tionship - based on common aesthetic, artistic, and technical aims. During these four decades, Deutsche Grammophon committed itself to make great recordings with Beethoven, Brahms, Mahler, and Schubert cycles - as well as Mozart's major operas. It is a wonderful opportunity for an artist to record for DG, not only because of its unparalleled history but for its artistic ex-cellence. I've witnessed its continual support for both musicians and for outstanding orchestras like the Berliner Philharmoniker, as well as for new orchestras such as the Mozart Orchestra with which we have recently recorded Mozart's late symphonies and Pergolesi's sacred master-works -- I have deeply enjoyed working with such passionate professionals, devoted to their cause and sharing common ambitions to serve music, musicians, and repertoire. Happy anniversary, Deutsche Grammophon, Claudio Abbado

Since the recording of my first "Parsifal", in 1970, DG has played a central role in the preser-vation, promotion and distribution of my interpretations. With all my best wishes for your con-tinued success. Pierre Boulez

It is so rewarding to collaborate artistically with a company that has such a legacy of mutual respect and understanding with its artists. I have enjoyed every minute of my part in that legacy, and I'm honoured to be connected with the company's illustrious name. May Deutsche Gram-mophon flourish another 111 - or 222 or 333! - years to continue to make history. Hilary Hahn

There are not many of us lucky artists of my generation who were given the extraordi­nary chance to get married to a major recording label so young. Over the years making recordings has become an essential part of my work. I am grateful for any soul who - surely feeling from time to time like Don Quixote - cares and battles for classical ­music and its future. Thank you to every one who makes these unique and special experiences happen. Happy anniversary! Magdalena Kozená

Even before we became Deutsche Grammophon artists in 1987, and in the 22 years since, we have always thought of DG as the pinnacle of achievement in the classical recording industry. We were thrilled when we learned of the company's interest in us; it was an honour to be in-cluded among the legendary musicians on its roster. Having recorded a great deal of the mag-nificent string quartet repertoire, and quintets with such artists as Mstislav Rostropovich, Me-nahem Pressler and Leon Fleisher, we feel that our relationship with DG has represented a major part of our career and will form an even greater part of our legacy. Eugene Drucker, for the Emerson String Quartet

I have had a great 15 years working with Deutsche Grammophon, starting from "early" early music and ending up with many of the classics of the oratorio tradition. DG has always been an artistic family; and I was honoured and privileged to be a part of it and to follow such a great legacy of fantastic musicians in history. Paul McCreesh

Deutsche Grammophon represents to me a fine team of people which, despite turbulent market times, is committed to producing core classical music documents of uncompromised quality. Deutsche Grammophon is now a great partner in my musical life. Vadim Repin

I've been a professional musician for over three decades now, and I thought there were few dreams left unrealized, but when I saw the first Deutsche Grammophon release of my own works it felt like some kind of milestone. To have one's own music alongside the old masters on a label committed to the best is an awesome and somewhat scary privilege. Esa-Pekka Salonen

I came to Deutsche Grammophon with totally different projects from anything I'd done before, and the DG team has always given me the freedom to realize them with complete confidence. I'm also honoured that my previous recital discs have all been reissued by this prestigious label and integrated into its catalogue for worldwide release. Deutsche Grammophon continues to re-spond to and support my aspirations. Roberto Alagna

It is so rewarding to collaborate artistically with a company that has such a legacy of mutual respect and understanding with its artists. I have enjoyed every minute of my part in that legacy, and I'm honoured to be connected with the company's illustrious name. It is a surprising fact that the Amadeus Quartet, in its recording history from 1950 until 1987, encompassed, with the exception of course of the pre-electric period, the entire history of recording from the 78s (in-cluding the brief time DG had the 9-minute side) to 33s and finally CDs. I well remember Dr. Steinhausen, who was responsible for the excellent reputation of DG's superb quality of recording and frequently had us to lunch while we were in Hannover for re-cordings. Now that my three colleagues have all died, and I alone am alive to see the latest celebration of DG, I would like to take this opportunity of wishing DG a further 50 years of success. Martin Lovett (cellist, Amadeus Quartet)

I am happy and grateful to be one of the Deutsche Grammophon artists celebrating 111 years of its history. This 3-digit number is a triple confirmation of the company's fidelity to classical mu-sic, to its professionalism, and to its willingness to share the beauty of art with millions of music lovers all around the world. I also firmly believe that Deutsche Grammophon's respect for tradi-tion and never-ending quest for perfection will ensure that these words are still true 111 years from now. Rafał Blechacz

About the Artist

The story of Deutsche Grammophon begins with the birth of recording itself. On 6 December 1898, Emile Berliner, the Hanover-born American inventor of both the disc and the player, and his brother, Joseph, founded this company in Hanover. Since then, recording great performances of classical music in optimal audio-quality has been our mission. In 2009, Deutsche Grammophon celebrates its 111th anniversary with a dedicated website, three limited-editions (and a book): these box-set releases of CDs (downloads, too) and DVDs offer proof that each year since 1898 Deutsche Grammophon has honoured its motto - "the greatest recordings by the greatest artists in the world" - in incomparable fashion. The First Decade (1898-1909) The story of Deutsche Grammophon goes back as far as the birth of recording itself. In Decem-ber 1898, the company is founded in Hanover along with the first record and gramophone manu-facturing works. Its directors are Emile Berliner - the Hanover-born American inventor of both the disc and the player - and his brother Joseph. Their factory uses American-made hydraulic presses to produce shellac discs for the Gramophone Company, established earlier that year in London by Emile's associate William Barry Owen, with recordings supervised by Emile's American associate Fred Gaisberg. By 1900, when the Deutsche Grammophon Gesellschaft becomes a joint-stock company with headquarters in Berlin, Berliner's disc has eclipsed Edison's cylinder as the industry standard, and Gaisberg is busy acquiring respectability for the new medium by signing up famous artists. Enrico Caruso makes his first recording for the Gramophone Company in Milan in 1902. Among others following suit are Mattia Battistini, Emma Calvé, Alessandro Moreschi (the last castrato), Antonio Scotti, Leo Slezak, Francesco Tamagno (Verdi's first Otello), Geraldine Farrar, Mary Garden, and Elena Gerhardt. The Russian bass Feodor Chaliapin becomes the first singer whose reputation is actually estab-lished by the gramophone. In 1904, the company finally succeeds in persuading the great Nellie Melba to record for it, and a year later Gaisberg brings his recording team and equipment to the Welsh castle of Adelina Patti - after Melba the world's biggest opera star. Deutsche Grammophon is soon appointed purveyor to the British and Spanish royal households, thereby acquiring the ultimate seal of approval. By 1907 its Hanover factory has some 200 re-cord-pressing machines in operation and that year it turns out the first two-sided records. The Second Decade (1910-1919) The earliest orchestral recording is marketed in 1910: the opening movement of Grieg's Piano Concerto with Wilhelm Backhaus, who two years earlier made his recording debut for the com-pany playing selections from Bach's Well-Tempered Clavier. Another famous pianist, Ignace Jan Paderewski, makes his recording debut in 1911. In 1913, Deutsche Grammophon causes a sensation with its first complete recording of an or-chestral work: Beethoven's Fifth Symphony, with the Berliner Philharmoniker under its princi-pal conductor Arthur Nikisch, is released on four double-sided discs, for Mark 9.50 (then equivalent to about $2.25 / 1,70 ) per disc; in Britain it is issued on single-sided discs over sev-eral months. Also published at this time are excerpts from Wagner's Parsifal with the Berliner Philharmoniker under Alfred Hertz. With the outbreak of World War I, Deutsche Grammophon's assets are impounded by the Ger-man government on the grounds that the company is English and therefore its holdings are en-emy property. In 1916, the German and English firms - the latter destined to become the modern EMI - go their separate ways. Deutsche Grammophon can no longer use the trademark "His Master's Voice" or export from Germany discs recorded abroad. Because the company can no longer sell records by such top names as Caruso, Melba, and Patti, a new repertoire has to be built up. In the next years, recordings will focus on the finest artists of Germany and central Europe. The Third Decade (1920-1929) In 1920 the 25-year-old Wilhelm Kempff makes his first Deutsche Grammophon recording (Beethoven), as does Elisabeth Schumann ("Non so più" from Figaro, sung in German). Thus begins a new direction for the company with artists including the soprano Maria Ivogün, conductors such as Hermann Abendroth, Leo Blech, and Hans Pfitzner and a recording philoso-phy of uncut performances, faithful to the score. In 1921 Frida Leider records Elisabeth's Greet-ing from Tannhäuser and Richard Strauss is the pianist in his own lieder for baritone Heinrich Schlusnus, who soon becomes one of the company's leading singers. In 1924 DG is allowed to resume use of the Nipper "His Master's Voice" trademark as well as its pre-war matrices for issue in Germany, while the Polydor logo is introduced for exported re-cords. The releases of this period emphasize Wagner and often feature the Berlin Staatskapelle under Leo Blech or the Berliner Philharmoniker under Max von Schillings. By 1925, when the electro-acoustic recording system is introduced, the company has brought out all nine Beethoven Symphonies, with Oskar Fried and others conducting the Berlin Staatskapelle, plus such large-scale symphonies as Bruckner's Seventh and Mahler's Second. In 1926, Wilhelm Furtwängler overcomes his scepticism regarding the medium to record Beethoven's Fifth Symphony and Weber's Freischütz Overture with the Berliner Philharmoniker. In "Beethoven Year" 1927, when the company takes over the American Brunswick label, its catalogue also contains the composer's symphonies conducted by Otto Klemperer, Hans Pfitzner, and Richard Strauss, as well as the Adagio from Bruckner's Eighth conducted by Klemperer, Haydn's "Oxford" under Hans Knappertsbusch, the Mozart 39 and "Jupiter" conducted by Strauss, Tchaikovsky's "Pathétique" with Bruno Walter and the Fledermaus Overture under Erich Kleiber, all with the Berlin Staatskapelle, which also plays for Strauss's recordings of his symphonic poems (1926-33). By the time of Joseph Berliner's death in 1928 and Emile's the following year, DG's annual production has reached nearly 10 million records, with the Hanover factory employing some 600 people. The Fourth Decade (1930-1939) Ravel's Boléro is recorded by the company's new French subsidiary Société phonographique française Polydor S.A. in 1930, with the composer himself conducting the Lamoureux Orchestra. The worldwide "great depression" precipitates a decline in record sales and in 1932 the company merges with Polyphon and moves its headquarters back to Hanover. In 1937, after further years of falling production, Deutsche Grammophon AG goes into liquidation and in its place Deutsche Grammophon GmbH is founded, co-financed by the Deutsche Bank and Telefunken Gesell-schaft. In spite of increasing Third Reich restrictions, some important recordings continue to be made. In December 1938 the first record by Herbert von Karajan (the Zauberflöte Overture with the Berlin Staatskapelle) is released. Other DG artists in this period included conductors Paul van Kempen, Carl Schuricht, and Victor de Sabata; pianist Elly Ney; violinist Georg Kulenkampff; and singers Erna Berger, Tiana Lem-nitz, Walther Ludwig, and Julius Patzak. The Fifth Decade (1940-1949) After the outbreak of World War II and faced with a shortage of raw material, Deutsche Gram-mophon again stagnates - and in 1941 it is taken over by the electronics and engineering com-pany Siemens & Halske. In spite of curtailed production, recording projects such as a relatively complete St. Matthew Passion conducted by Bruno Kittel in 1942 are produced (with the matrices taken by submarine to Japan, where Nippon Polydor has ordered 17,000 sets). On 9 May 1942 the Gestapo formally prohibits DG from producing masters using Jewish artists and orders the destruction of all records in which they are featured. Some recordings continued to be issued during this and the following year, notably of Karajan conducting the Berlin Staatskapelle, Concertgebouw, Berliner Philharmoniker, and RAI Orches-tra of Turin. Among the other recordings from 1943 is Strauss's Ein Heldenleben, conducted by the composer. After the war's end, a small record-manufacturing facility is opened in Berlin while the de-stroyed factory and administrative buildings in Hanover are being rebuilt. In 1946, Deutsche Grammophon becomes the first company to make all recordings using mag-netic tape. In the following year, Archiv Produktion is founded to promote early music - its first recordings are of Bach played in Lübeck's Jakobikirche by organist Helmut Walcha, who re-mains closely related with the label for 30 years. In 1949 exclusive rights to the trademark "His Master's Voice" in Germany are sold to Electrola (EMI Germany) and the yellow Deutsche Grammophon label with tulip crown is introduced. Eugen Jochum, Ferenc Fricsay (who is to be a mainstay of the company's roster during the 1950s), and Dietrich Fischer-Dieskau make their first recordings for the now-Yellow Label. The Sixth Decade (1950-1959) In 1950 78-rpm records with up to nine minutes playing time per side are introduced, based on the DG invention of variable grooves, and the next year the company releases its first 33-rpm long-playing records (also known as LPs). Wilhelm Kempff begins a new Beethoven piano-sonata cycle in 1950 and records the Beethoven Concertos in 1953 (he re-records both in stereo in the '60s). Furtwängler resumes his association with Deutsche Grammophon in 1951. The Amadeus Quar-tet and the violinist Wolfgang Schneiderhan make their first DG recordings in 1951 and 1952 respectively. In 1959, having already recorded Brahms, Haydn, Mozart, and Schubert, the Ama-deus Quartet embarks on a complete stereo recording of the Beethoven Quartets. Also that year, Karajan returns to the company from EMI - he will make some 330 records for DG over the next thirty years, including three Beethoven cycles and the complete Ring. Two other conductors play a significant part in establishing Deutsche Grammophon's strong postwar position in the Classical and Romantic repertoire: Karl Böhm (most notably in Mozart and the conductor's friend Richard Strauss) and Rafael Kubelik (most ¬notably in Dvořák and Smetana, Lohengrin, and a complete Mahler cycle). The versatile American conductor Lorin Maazel is signed in 1957. Archiv Produktion makes some pioneering recordings of medieval and Renaissance music during its first decades; how-ever the focus is on Baroque, above all the complete Bach organ works with Walcha and Ger-man and Italian repertoire directed by Rudolf Baumgartner, Fritz Lehmann, August Wenzinger, and Karl Richter, who after Lehmann's death becomes the label's chief Bach interpreter. In 1956 the company transfers its headquarters to Hamburg, while the production plants remain in Hanover. In the following year, the new Deutsche Grammophon trademark, the "cartouche", is introduced. The Seventh Decade (1960-1969) In 1960, DG signs an exclusive agreement with Martha Argerich, one of a number of leading pianists who join the label over the next decades. In 1962 Karajan's first stereo recording of the nine Beethoven Symphonies with the Berliner Philharmoniker is released as DG's first subscription package. In this decade's early years, the label records Verdi operas at La Scala - Claudio Abbado, who makes his DG debut in 1967, resumes the series in the mid-'70s. His numerous recordings over the coming decades include the complete symphonic works of Beethoven, Brahms, Mahler, Mendelssohn, Ravel, and Schubert, as well as more than a dozen complete operas. Significant large-scale projects in this period include Fischer-Dieskau with Schubert's complete lieder, followed over the next ten years by his comprehensive collections of lieder by Brahms, Liszt, Schumann, and Wolf. In 1969, anticipating the Beethoven bicentenary in 1970, DG releases its first Beethoven Edition on 76 LPs. Other generously documented complete composer anniversary editions undertaken include: Beethoven again in 1977 and 1997; Bach in 1975 and 1985; Brahms in 1983 and 1997; and Berg in 1985. The electronics companies Siemens (Munich) and Philips (Eindhoven) combine their interests in the recording business in 1962, establishing a new entity DGG/PPI (Philips Phonographic Indus-try); however DG retains control of its own recording activities and catalogue. The Eighth Decade (1970-1979) A restructuring of the DGG/PPI group in 1971 is followed by the formation of PolyGram, with headquarters in Baarn (Netherlands) and Hamburg. In 1973, to mark its 75th anniversary, Deutsche Grammophon releases The Symphony on ninety-three LPs. Also in this decade, DG continues to expand its international horizons as Arturo Benedetti Michelangeli makes a series of distinguished recordings beginning in 1971. In 1972, three conductors begin long-term associations: Daniel Barenboim (also as a pianist), Seiji Ozawa and, most prominently, Leonard Bernstein, who in 1981 becomes an exclusive DG artist. Bernstein begins recording the Austro-German symphonic repertoire, largely from live concerts with the Wiener Philharmoniker, as well as many of his own and other American works (his 1985 recording of West Side Story becomes one of the bestselling releases in the company's history). Carlo Maria Giulini makes his first recordings for DG in 1976 with the Chicago Symphony Or-chestra. During the coming years the company documents his return to opera after a long ab-sence to record Rigoletto in Vienna, Falstaff in Los Angeles, and Il trovatore in Rome. Carlos Kleiber's first recording, Der Freischütz in 1973, is followed over the next decade by La Traviata, Die Fledermaus, Tristan - and symphonic works by Beethoven, Brahms, and Schubert. In 1978 a brilliant career begins as 14-year old violinist Anne-Sophie Mutter makes her debut recording of Mozart with the Berliner Philharmoniker under her mentor Karajan. Also Gidon Kremer records the first of many lauded projects for Deutsche Grammophon. The LaSalle Quartet's recordings of the Second Viennese School win numerous prizes. Archiv Produktion signs exclusive contracts with the violinist Reinhard Goebel and his Musica Antiqua Köln in 1977 and with the harpsichordist Trevor Pinnock and his English Concert the next year. These represent the company's first period-instrument ensembles since Wenzinger's Schola Cantorum Basiliensis in the 1950s. Also in 1978, John Eliot Gardiner makes his first recording for Archiv with the English Baroque Soloists. In 1980, PolyGram takes over Decca Records. The Ninth Decade (1980-1989) Giuseppe Sinopoli conducts his first Deutsche Grammophon recording in 1980 - and three years later signs the first of several long-term exclusive recording-agreements, resulting in a complete Mahler-cycle with the Philharmonia Orchestra, Bruckner symphonies with the Dresden Staat-skapelle, and several opera projects. James Levine becomes an exclusive DG artist in 1987, making recordings including Mozart's complete symphonies and violin concertos with the Wiener Philharmoniker and Itzhak Perlman and the Metropolitan Opera production of Wagner's Ring. The label's three premiere pianists following Kempff's retirement, Martha Argerich, Maurizio Pollini, and Krystian Zimerman, all make distinguished recordings with repertoire that Kempff generally avoided, particularly Chopin, Liszt, and music of the 20th century. Ivo Pogorelich be-gins recordings in 1981. Two elder statesmen of the keyboard come to Deutsche Grammophon: Rudolf Serkin in 1981 and Vladimir Horowitz - the latter releases five successful discs between 1985 and 1989. A younger generation of artists begins to join the label, including singers (Kathleen Battle, 1984; Anne Sofie von Otter, 1985; then later, Bryn Terfel, 1993; and Thomas Quasthoff, 1999), in-strumentalists (cellist Mischa Maisky, 1982; pianist Maria João Pires, 1989), string quartets (Hagen, 1985; Emerson, 1987), and orchestras (Orpheus Chamber Orchestra, 1985). At the end of 1984 Siemens sells 40% of its half share in PolyGram International to Philips, who later buys the remaining 10% in 1987. In 1986 the Hanover factories - the first and largest produc-ers of CDs - are taken over from PolyGram by Philips as part of a Hanover factories joint venture with the chemical company, DuPont; Hanover remains the label's most important supplier. In 1987 DG, with its sister PolyGram labels Philips and Decca, begins to ¬release videocassettes and laser discs of mainly ¬concert and opera recordings licensed from Unitel, entering a new era of video recordings of classical music. The Tenth Decade (1990-1999) In 1989 and 1990 respectively, the music world loses two great conductors long associated with Deutsche Grammophon, Herbert von Karajan and Leonard Bernstein. At the same time two other acclaimed conductors begin new phases of activity at DG: Pierre Boulez and André Previn, featuring works of the 20th century (including their own). On the Ar-chiv label John Eliot Gardiner conducts period-instrument recordings of Baroque (Bach orato-rios, Monteverdi operas), Classical (Mozart operas and Beethoven symphonies), as well as Ro-mantic works. New recording agreements are made with conductors Myung-Whun Chung, 1990; Oliver Knus-sen and Christian Thielemann, 1995. Archiv Produktion's roster is further internationalized through the signing of Paul McCreesh and his Gabrieli Consort & Players; Marc Minkowski and his Musiciens du Louvre; and the Renaissance wind band Piffaro. In 1998 PolyGram is acquired by Seagram - and is merged with its subsidiary Universal, form-ing the world's largest record company, Universal Music Group. Deutsche Grammophon also reaches its centenary in 1998, as the world's largest and most suc-cessful classical record company of its day. The Eleventh Decade (2000-2009) At the beginning of the new millennium, the Universal Music Group is purchased by the Vivendi Group, adding the largest record company to its portfolio as its new-media vision expands. Michael Lang becomes General Manager of Deutsche Grammophon in July 2001 and later is promoted to President. The keyword of his vision for the company is "revitalization" - Deutsche Grammophon focuses on strengthening its artist roster through new exclusive recording agree-ments. These signings include singers (Anna Netrebko, 2002; Rolando Villazón, 2005; Measha Brueg-gergosman, Elīna Garanča, and René Pape, 2006; Patricia Petibon, 2008; Ildebrando D'Arcangelo, 2009); pianists (Hélène Grimaud, 2002; Lang Lang, 2003; Rafał Blechacz, 2006; Pierre-Laurent Aimard, 2007; Yuja Wang and Alice Sara Ott, 2008); violinists (Hilary Hahn, 2002; Giuliano Carmignola, 2003; Vadim Repin, 2006; Daniel Hope, 2007); and, in a decade that witnessed the passing of the legendary conductors Giulini, Kleiber, and Sinopoli, a new generation of conductors joins the label (Esa-Pekka Salonen and Andrea Marcon, 2003; Gustavo Dudamel, 2005; Daniel Harding, 2006). The contemporary scene is represented by ac¬claimed composer Osvaldo Golijov, who releases the song-cycle Ayre in 2005 to inaugu¬rate the first of a series of premiere recordings on DG. A new imprint, edge, is launched in 2003 for music that embraces the world and becomes the home for successful soundtracks (Frida, Motorcycle Diaries), iconic artists (Mercedes Sosa), and captivating projects such as the Café de los Maestros tango album. And in 2006 a new digital-only imprint, DG Concerts, brings top-flight, live orchestral re-cordings directly to iTunes listeners, inviting them into the great concert halls of the world via the internet. Next Deutsche Grammophon becomes the first major classical label to sell its recordings directly to music lovers over the internet. With the launch of its DG Web Shop in 2007, the complete catalogue is now available in more than 180 countries; in addition, over 1,000 out-of-print re-cordings are available again as downloads. Beginning in 2008 the online offering expands to include the mail-order sale of CDs and DVDs to European customers. In recognition of these remarkable achievements, Deutsche Grammophon is named "Label of the Year 2007" by Gramophone magazine - who writes: "Deutsche Grammophon stands for all that is best about classical music." 7/2009

https://www.discogs.com/ko/release/2070889-Various-111-Years-Of-Deutsche-Grammophon-The-Collectors-Edition

Various - 111 Years Of Deutsche Grammophon | The Collector's Edition