The magnificent DG120 Gala Concert at Beijing Forbidden City is just the beginning. The DG120 VIDEO COUNT-UP series brings you to a 120-day-long journey to witness the amazing 120 years of Deutsche Grammophon.  

120 days

120 videos

120 artists.


11 Oct 2018

The première of Leonard Bernstein´s West Side Story took place in New York in 1957. At the piano was the famous Stephen Sondheim, who wrote the lyrics for the musical.

Decades later, Gustavo Dudamel, at the podium, goes over the music with his beloved Simon Bolivar Symphony Orchestra in Caracas, Venezuela.

Leonard Bernstein (composer)

Gustavo Dudamel (conductor)

“West Side Story” – Symphonic Dances, 4. Mambo

Simón Bolívar Youth Orchestra of Venezuela


12 Oct 2018

At nearly six foot ten, with his wild hair and flowing beard, the Dutch pianist resembles a friendly giant from a book of children’s fairy tales. But his playing – understated, haunting, melancholic – marks him out as the gentlest of giants, his delicate melodies soothing the soul in these troubled times.

“The world is a hectic place right now,” says Joep. “I feel a deep urge to reconnect on a basic human level with people in general. Music as our universal language has the power to unite. Regardless of our cultural differences I believe we have an innate understanding of what it means to be human. We have our goosebumps to show for it.” In his Ab Ovo, let the connection be rebuilt.



13 Oct 2018

Russian pianist Evgeny Kissin is one of the most distinguished musicians of his generation, revered the world over by audiences and critics alike for the virtuosity and eloquence of his pianism and the imagination and insight of his interpretations. He was recently described by the Financial Times (London) as a “formidably intelligent pianist” and hailed by the New York Times for his “blend of technical mastery and eloquent artistry”.

At the age of six, he enrolled at Moscow’s Gnessin School, an elite establishment for young musicians, where he received lessons from Anna Pavlovna Kantor, who became his only teacher. Kissin’s progress was such that he gave his first full performance with orchestra at the age of ten, making his debut with Mozart’s Piano Concerto in D minor K466; he presented his first recital in Moscow the following year.


14 Oct 2018

In the past, there never seemed to have been one great artist associated with the accordion, an instrument that, because of its connotations, seemed as far removed from swing as it is possible to be. Then along came Richard Galliano, fired by an unrivalled determination to share his conviction that the accordion was worthy have a place at the heart of jazz alongside the saxophone and trumpet. This interpretation of Mozart takes the art of accordion one step further. Accordion, in his hands, finally finds its place in vast world of traditional classical music.


16 Oct 2018


17 Oct 2018

Praised as “superbly subtle and virtuosic” (The Arts Desk) and “an amazingly accomplished artist” (Classical Source), Ksenija Sidorova is the leading ambassador for the accordion. Encouraged to take up the instrument by a grandmother steeped in the folk tradition of accordion playing, Ksenija started to play the instrument aged eight under the guidance of Marija Gasele in her hometown of Riga. Her quest for more exposure to both classical and contemporary repertoire took her to London where she became a prize-winning undergraduate at the Royal Academy of Music studying under Owen Murray.  This Performance of Bizet’s Carmen will renew your perception about accordion again.



18 Oct 2018

Described by The Times (London) as “the complete musician”, Lisa Batiashvili commands her place among the world’s foremost artists with performances of great insight and expressive eloquence. The German-based Georgian violinist has been acclaimed by critics for her virtuosity, sensitivity and charismatic power. She was named Musical America’s “2015 Instrumentalist of the Year”, an accolade reserved for artists of the highest calibre, and also stands among the winners of Italy’s prestigious International Accademia Musicale Chigiana Prize. Here she plays at a Yellow Lounge concert in Berlin.


19 Oct 2018

It takes a special artist to excel in the fiendishly difficult arias that are central to the landscape of Baroque and early bel canto opera. Franco Fagioli possesses the necessary combination of technical agility, tonal variety and vocal range required to triumph in works that leave many other countertenors perplexed. As well as gaining a reputation as one of today’s finest Handelians, he also specialises in Mozart and in roles originally written for castrato singers. His astonishing artistry has been hailed by critics worldwide and regularly attracts capacity audiences eager to hear a performer blessed with an uncanny ability to deliver the spectacular runs, leaps and turns of even the most difficult virtuoso showpieces.


20 Oct 2018

Whenever Daniil Trifonov performs, time appears to stand still. Out of profound silence emerges a rare kind of music-making, transcendent and revelatory, never predictable yet always alive to the composer’s intentions and rooted in the music’s nature. “What he does with his hands is technically incredible,” observed one commentator shortly after the young Russian pianist’s winning performance in the final of the International Tchaikovsky Competition in Moscow in 2011. “It’s also his touch – he has tenderness and also the demonic element. I never heard anything like that.” This was the opinion not of a professional critic but of one of the world’s greatest pianists, Martha Argerich. She concluded that Trifonov was gifted with “everything and more”, a view endorsed since by a flood of rave reviews, audience ovations and international prizes. This is a music video for one of his recordings from his new album Departure, a collaboration with The Philadelphia Orchestra and Yannick Nézet-Séguin.


21 Oct 2018

Few performers can match the intensity and humanity of Daniel Hope’s music-making or his passion for artistic exploration. The British violinist’s musicianship connects with connoisseurs and newcomers to classical music alike, winning hearts and stimulating minds with its lyricism and insight. His understanding of musical line and expression took root under the early care of his mentor, Yehudi Menuhin; it has matured fully since, enabling him to deliver strikingly personal interpretations of everything from Bach, Handel and Vivaldi to Takemitsu, Tavener and Turnage. The Frankfurter Neue Presse has described Hope as “a musician with a sense and feeling for something extraordinary”, echoing a theme that runs through so many reviews of his work. That “feeling” fuels his desire to break down barriers that separate individuals, communities and nations, and drives his work as a self-styled musical activist.