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Prima Voce - Strauss: Die Fledermaus / Krauss, Patzak, Guden, Wagner, Gedda, Et Al
Prima Voce Sep 2008
CD
$20.99

NEUJAHRSKONZERT 2025 / NEW YEAR'S CONCERT 2025

SONY CLASSICS

$18.49 Feb 14, 2025

Few concerts in the world are awaited with as much excitement as the New Year's Concert from Vienna. Under the direction of Riccardo Muti, the Vienna Philharmonic ushers in the New Year with a concert in the magnificent Golden Hall of the Vienna Musikverein. Marking his seventh time conducting this prestigious event, Riccardo Muti leads the orchestra in a program that celebrates the 200th birthday of Johann Strauss II, exploring new perspectives on the musical world of the Strauss family. Riccardo Muti has played an exceptional role in the history of the Vienna Philharmonic for over 50 years. The artistic collaboration with Maestro Muti began in 1971. Since then, he has conducted over 500 concerts with the orchestra, including six New Year's concerts, Philharmonic subscription concerts, memorial concerts, annual orchestral concerts at the Salzburg Festival, guest performances and tours, and numerous opera productions. He has been an honorary member of the Vienna Philharmonic since 2011.

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NEUJAHRSKONZERT 2025 / NEW YEAR'S CONCERT 2025
SONY CLASSICS Feb 2025
CD
$18.49

Strauss: Eine Nacht In Venedig / Clear, Singer, Schorkhuber, Irosch

Videoland

DVD

$32.99 Nov 11, 2014

Featuring: Marc Clear; Gideon Singer; Evelyn Schorkhuber; Anton Steingruber; Mirjana Irosch; Wilhelm Gartner; Ingrid Habermann; Christian Baumgartel; Markus Heinrich; Christine Bath; Chor und Statisterie der Seefestspiele Morbisch; Ballett der Seefestspiele Morbisch

Live performance from 1999
Language: German
Subtitles: English
Run Time: 126 minutes

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Strauss: Eine Nacht In Venedig / Clear, Singer, Schorkhuber, Irosch
Videoland Nov 2014
DVD
$32.99

Die Fledermaus (Sung In English)
MYTO Historical Apr 2009
CD
$10.99

J. Strauss Jr.: Die Fledermaus / Armstrong, Allen [Blu-ray]

Opus Arte

Blu-Ray

$26.99 May 27, 2008

*** This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD or HD DVD players. ***

3223070.az_J_STRAUSS_II_Die.html

J. STRAUSS II Die Fledermaus • Vladimir Jurowski, cond; Pamela Armstrong ( Rosalinde ); Thomas Allen ( Eisenstein ); Håkan Hagegård ( Dr. Falke ); Pär Lindskog ( Alfred ); Malena Ernman ( Prince Orlovsky ); Lyubov Petrova ( Adele ); Ragnar Ulfung ( Dr. Blind ); Artur Korn ( Frank ); Udo Samel ( Frosch ); Reneé Schüttengruber ( Ida ); Glyndebourne Ch; London PO • BBC/OPUS ARTE 7004 (Blu-ray Disc: 198:00) Live: Glyndebourne 8/17/2003

& Cast & costume galleries. The Genesis of the Waltz. The Architect Returns. Interviews. Frosch interlude

This pretty-much-perfect production of Strauss’s pretty-much-perfect operetta is an ideal specimen to demonstrate the visual and sonic virtues of the Blu-ray medium. The Glyndebourne staging is a feast to watch: the sets and costumes are lavish, the dancing accomplished. Opus Arte’s 24-bit PCM sound is way better than anything you’ve ever heard on a traditional DVD, both the stereo version and the spacious multichannel that puts the listener in the middle of the appreciative audience who experienced the real thing in Sussex back in August of 2003.

Director Stephen Lawless has moved the setting of Die Fledermaus ahead a few decades to around 1910, the Vienna of Sigmund Freud and Gustav Klimt. (Eisenstein’s dressing gown, in fact, is a facsimile of Klimt’s The Kiss .) This Fledermaus is clearly viewed as a play that happens to have awfully good music, and Lawless and Daniel Dooner have created new dialogue for the production. In the hands of an ensemble of terrific singing actors, the texts never impede the headlong momentum of this comic masterpiece.

What a cast! Pamela Armstrong, as Rosalinde, handles the part vocally quite well but is equally concerned with her character’s development: when she dresses up as someone else, Eisenstein’s wife discovers her “real self” (as the soprano puts it in one of the disc’s “extras”). Thomas Allen notes that the high tessitura of his role was a bit of a challenge—it sure doesn’t sound it—but his comic timing is impeccable and the man can actually dance. As Dr. Falke, Håkan Hagegård gives his character an edge: the practical joke that Eisenstein played on him months before the curtain rises for act I has deeply wounded him, and Falke is serious about getting revenge. Singing Alfred in an appropriately seductive manner is Swedish tenor Pär Lindskog who, like Allen, is obviously quite a versatile artist. You’d never know from this performance that the guy also sings Siegfried and Parsifal.

The kudos go on. Lyubov Petrova’s rendition of Adele’s big second-act aria is a showstopper and Malena Ernman is utterly convincing as the terminally bored and sexually ambiguous Orlovsky. It’s a surprise every time Ernman starts to sing and her voice jumps up an octave or two. The smaller parts—Dr. Blind, Frank, Ida, Frosch—are all covered quite well.

Vladimir Jurowski takes the music very seriously (as, the notes remind us, did Gustav Mahler) and his leadership of the LPO is spirited and knowingly inflected. To accompany the curtain calls, Jurowski conducts a rousing “Radetzky March.” Opus Arte provides subtitles in English, French, German, Spanish, and Dutch. There’s a generous supply of extras, including cast and costume “galleries” and brief featurettes on the history of the waltz and the new (in 1994) opera house at Glyndebourne, as revisited by the architect who designed it. We also get observations on Fledermaus from Armstrong, Allen, Hagegård, Jurowski, and director Lawless and, to close, some shtick, mostly about champagne, by Udo Samel, the actor who has the speaking role of the jailer Frosch.

Yes, this one’s on my Want List.

FANFARE: Andrew Quint

Picture Format: 1080i High Definition, NTSC 16:9
Sound Format: 2.0 / 5.0 PCM Audio
Region Code: 0 (All Regions)
Menu Languages: English
Subtitles: English, French, German, Spanish, Dutch
Running Time: 198 min

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J. Strauss Jr.: Die Fledermaus / Armstrong, Allen [Blu-ray]
Opus Arte May 2008
Blu-Ray
$26.99

Lumbye - Festival At Tivoli / Rozhdestvensky, Et Al

Chandos

$13.99 Nov 01, 2005

The Danish composer Hans Christian Lumbye came from a military background and was taught to play the violin and trumpet at an early age. In 1839 he heard the music of Johann Strauss the elder during a visit to Copenhagen made by a Viennese orchestra. This proved to be a lasting influence and one that is abundantly evident in many of the works on this disc. Though Lumbye’s music lacks a truly original voice, it is nevertheless consistently delightful listening.

The most famous piece is "Købehavns Jernbane Damp Galop" or the "Copenhagen Steam Railway Galop" – an unforgettable four minute ride. With the exception of Drømmebilleder and Amélie Vals, all the pieces given here are miniatures but these two more extended works fully justify their extra length. Lumbye could certainly write a good tune and for about thirty years he did just that for the patrons of Copenhagen’s music halls. In 1843 "Tivoli and Vauxhall", an amusement park which was opened and Lumbye became its music director, a position he held until shortly before his death.

This well-chosen program covers most of Lumbye’s career and two works reflect a sabbatical taken in St. Petersburg in 1850. There is also a Polonaise with Cornet solo which dates from fairly early in his career and for which I presume Lumbye would have taken the solo part. With Champagne Galops complete with popping corks to start and finish, the program has the feel of a New’s Year day concert with a difference.

Gennady Rozhdestvensky’s association with the Danish Radio Symphony Orchestra appears to have been on a guest basis. He seems a slightly surprising choice for this repertoire until you put the disc on when it rapidly becomes clear that he was enjoying himself as much as the players. The readings therefore sound completely idiomatic and they are backed up by excellent, atmospheric sound from the early 90s. The various extra musical effects (e.g. the train guard’s voice in the Steam Railway Galop) are captured most realistically. The documentation is detailed and informative with the Danish titles on the liner (as given above) being translated in the booklet.

Anyone who likes the music of the Strauss family should also try some Lumbye. There is quite a substantial series on Marco Polo (currently running to 11 volumes) but a single disc selection will suffice for most people. At mid-price this one will be very hard to beat given its all round excellence. There is a bargain price collection with an overlapping program on Regis conducted by Peter Guth and the Odense Symphony Orchestra. At least some of that I have heard in a previous incarnation and, although it was good, Rozhdestvensky’s collection is well worth a little extra money. This is a most worthwhile reissue of charm-laden music which should cheer you up on a cold winter’s day.

Patrick C Waller
MusicWeb International

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Lumbye - Festival At Tivoli / Rozhdestvensky, Et Al
Chandos Nov 2005
CD
$13.99

LOVE IS ALL AROUND

DECCA

DVD

$25.99 Apr 12, 2024

Together with his joyful Johann Strauss Orchestra and numerous international soloists, Andre Rieu celebrated a cheerful and emotional party, which ended night after night with a grand firework display. The numerous highlights on this DVD include world hits such as Ballade pour Adeline, Can't Help Falling in Love, Volare, Bolero, An der schonen blauen Donau and Highland Cathedral with around 300 bagpipers. The emotional highlight of the concert was the French ESC title "Voila" sung by the extraordinary 15-year-old singer Emma Kok, who moved the audience to tears and went viral on the internet.

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LOVE IS ALL AROUND
DECCA Apr 2024
DVD
$25.99

JOSEPH KRIPS EDITION: VOLUME 1

ELOQUENCE AUSTRALIA

$120.64 May 31, 2024

The apotheosis of Viennese style: Mozart, Strauss and more under the baton of JOSEF KRIPS. An Original Covers collection of classic Decca albums recorded between 1947 and 1955, including several recordings new to CD. Born and raised in Vienna, Josef Krips trained as a choirboy and studied with Felix Weingartner, who then hired him as a repetiteur at the Volksoper. He his debut there in 1921, before graduating to the Vienna State Opera in 1933. In the aftermath of the Second World War, it was Krips above all who reformed and re-trained the State Opera as a world-class ensemble, and in the most difficult conditions. His pragmatism and understated authority made him a model recording conductor, and Decca hired him to work with orchestras in several of their centers of activity. Mozart was forever Krips's hero: 'My maxim is that everything has to sound as though it were by Mozart, or it will be a bad performance. When you perform Mozart, everything has to be crystal clear, everything has to be in balance, and everything has to have a relaxed sound.' Compiled here for the first time, as one of a two-volume Krips edition, are the conductor's complete mono recordings for Decca beginning with Kingsway Hall sessions in October 1947. Mozart symphonies, concertos, overtures and arias appeared on 78s - newly transferred for this set by Andrew Hallifax. From the early LP era comes the first-ever complete recording of Die Entfuhrung aus dem Serail, with a cast entirely drawn from the Vienna State Opera company, and (also from 1950) a remarkably forward-looking account of the Requiem, recorded with a cathedral-style all-male chorus including boys on the top line, much closer to Mozart's world than contemporary, symphonic-style versions of the piece. Combined with Decca's famous 'ffrr' sound, these Mozartian qualities also illuminate Krips's mono recordings of symphonies by Haydn, Beethoven, Brahms and Schubert, concertos by Schumann and Dvorak, Johann Strauss waltzes and a version of Mendelssohn's Elijah which combines the best of the British oratorio tradition with an operatic momentum and a gently glowing orchestral palette. Distinguished soloists on these recordings include Clifford Curzon and Mischa Elman in Mozart; Zara Nelsova in Dvorak's Cello Concerto; and Hilde Gueden, Maria Reining, Anton Dermota and Richard Lewis singing opera arias (recorded on 78, several receiving their first CD transfer in this box). A companion volume from Eloquence is dedicated to Krips's Decca and Philips recordings from the stereo era (1955-72) and will be released next month. The booklet for each set contains session photos and an essay on Krips's life and legacy by Niek Nelissen.

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JOSEPH KRIPS EDITION: VOLUME 1
ELOQUENCE AUSTRALIA May 2024
CD
$120.64

Korngold: String Quartets 1-3, Piano Quintet Op 15 / Sigfridsson, Aron Quartett

CPO

$36.99 Jan 26, 2010

KORNGOLD String Quartets Nos. 1-3; Piano Quintet 1 • Aron Qrt; 1 Henri Sigfridsson • CPO 777 436-2 (2 CDs: 103:24)

“I feel it—and can’t comprehend it—can’t retain it—and yet can’t forget it; and if I grasp it all, I can’t measure it. … No rule would fit it, and yet there was no error in it.”

Hans Sachs’s rumination from the act II “Fliedermonolog” of Die Meistersinger is a perfect summation of Erich Wolfgang Korngold’s music. At once gay yet wistful, familiar yet elusive, inviting yet unsettling, it aurally distilled all the complex contradictions of fin de siècle Vienna, preserving it for generations to come and carrying it into exile in America after the debacle of World War I. If the waltzes of Johann Strauss Jr. embody a carefree present moment, the works of Korngold preserve and nurture nostalgic memories of a lost past, ardently clinging and seeking to re-create those, that it might still dwell in them rather than an alien present.

The four works in this set, spanning almost a quarter-century from 1921 to 1945, offer refractions of those memories over a generation. The Piano Quintet and First String Quartet, composed almost simultaneously, present two decidedly different faces. The Quintet acts as if nothing has been lost; it is gay and brilliant, with unabashed romantic ardor emphasized by sweeping runs in the keyboard part. The outer movements are energetic, while the lyrical second movement employs an utterly haunting, gorgeous theme from Korngold’s song “Mond, so gehst du wieder auf” (Moon, Thus Risest Thou Again) from his op. 14 song cycle Lieder der Abschied (Songs of Farewell); once heard, it simply won’t leave one’s head. The First Quartet, by contrast, is more introspective and even melancholic at points; its backwards longing has a certain assertive determination to it. A far greater reliance on chromaticism and freer employment of spicy dissonance give it a constantly edgy, unsettled character, with an antsy, off-kilter Intermezzo and quirky Finale that includes a jaunty, almost Vaughan Williams-like march fragment as a second subject (Korngold inscribed the movement’s opening page with a quote from Shakespeare’s As You Like It ).

The Second Quartet dates from the summer of 1933, near the close of a period of several years’ involvement by Korngold with operetta, and just before his first visit to Hollywood. It is a microcosm of melodic and harmonic devices that Korngold would employ so brilliantly in years to come as a composer of film scores. Given Hitler’s recent assumption of power in neighboring Germany, the first, second, and fourth movements would almost seem to be a perverse denial of reality. The opening Allegro epitomizes the skittish music of the Hollywood light romance; the Scherzo is all charming, gently smiling bustle; the Finale is, improbably, a witty, chatty waltz, but one of a decidedly un-Straussian character. All the more surprising, then, is the third-movement Larghetto, beginning with open harmonics like an icy chill (almost hinting at the Second Viennese School), eventually succeeded by a melody of melancholic yearning that seeks to cling to a wistfully remembered but unrecoverable comfort and security.

The Third Quartet dates from 1945, at a juncture in Korngold’s Hollywood exile when, dispirited by academic critical disdain and convinced his film scores were destined for oblivion, he had secretly decided to turn back to composition in more “serious” genres. Dedicated to a longtime friend and near neighbor in exile, the conductor Bruno Walter, it shows Korngold adopting a leaner, more astringent melodic and harmonic language. The melodic material is more fragmentary and questioning; the dissonances more frequent and unresolved. The scherzo has a jittery, almost neurotic character to its outer sections, as short, choppy interjections repeatedly disrupt an incipient moto perpetuo , from which a brief lyrical interlude provides only momentary relief. The slow movement bespeaks stifled grief and haunting bitterness over shattered hopes, with searing pain expressed by violins playing in the higher register as the viola and cello grind out clashing chords below. Only the finale, with its Stravinskian flavor and vigorously offbeat cascades of 16th notes, offers a somewhat hesitantly upbeat finale.

The only other complete set of the quartets is by the Flesch Quartet, originally recorded for ASV and now available on a budget reissue from Brilliant Classics. In Fanfare 23:2 Martin Anderson had high praise for its rendition of the Third Quartet and Sextet (the filler there instead of the Piano Quintet here). If those performances were more competitive, the budget price would tilt a recommendation toward the older set. However, the new cpo set completely outclasses its predecessor at every level, both interpretively and sonically. The Aron Quartet plays with immaculate ensemble and intonation, with far richer tone and irresistible zest and tenderness; the Flesch ensemble is almost lethargic in comparison, with its overall timings averaging almost 15 percent slower. (For example, the respective timings for the First Quartet movements are 7:26, 7:41, 4:42, and 8:07 vs. 8:47, 9: 56, 4:37, and 9:09.) Although its spirit may be willing, the Flesch is relatively weak. Henri Sigfridsson is a perfect teammate for the Aron players in the Quintet, which is likewise far ahead of rival versions such as the uninspired Marco Polo recording. The recorded sound is exemplary in every way. One complaint: This is shockingly short timing for a two-CD set. There is no reason that all three quartets could not have been put on a single CD, and another work such as the Piano Quartet included on the second disc. Nevertheless, this album is a stellar contribution to the ongoing and much needed Korngold renaissance, and is urgently recommended for all devotees of that once unjustly maligned but now belatedly appreciated master of late Romanticism.

FANFARE: James A. Altena

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Korngold: String Quartets 1-3, Piano Quintet Op 15 / Sigfridsson, Aron Quartett
CPO Jan 2010
CD
$36.99

COMPLETE DECCA RECORDINGS

ELOQUENCE AUSTRALIA

$79.60 Nov 26, 2021

The most comprehensive collection ever issued of Clemens Krauss's commercial legacy of recordings, newly remastered and presented as an original jackets limited edition. In Mark Obert-Thorn's new remasterings for this Eloquence box set, we can appreciate anew the genius for colour, pacing and timing which made Clemens Krauss the unrivalled conductor of his day in the music of Johann and Richard Strauss. He began recording for Decca in 1947 - three sessions of Brahms in London including a famous account of the Alto Rhapsody which found Kathleen Ferrier in glorious voice - allowing for less than eight years of activity in the studio before the conductor's untimely death from a heart attack in May 1954, hours after conducting a concert in Mexico City. In that time, however, Decca secured Krauss in much of the repertoire for which he was renowned as a peerless interpreter. A Richard Strauss series captured all the major symphonic poems except the Alpine Symphony, plus a complete Salome with Christel Goltz, and, for Polydor (Deutsche Grammophon) the rapturous final Trio from Der Rosenkavalier recorded in pre-war Berlin with his wife, the soprano Viorica Ursuleac, as the Marschallin. Unlike many later recordings, these are not performances which pull out the modernist strands in Strauss's form and harmony. Rather they place the composer in a lineage of lyricists and musical dramatists stretching back to Mozart. Strauss himself apparently regarded Krauss as the supreme conductor of his generation, supporting the younger man's rise to a succession of top jobs of 1930s and 40s Austria and Germany. During the war, Krauss founded the tradition of New Year's Day concerts in Vienna, and Decca capitalised on their popularity with three albums which have become touchstones of interpretation in the music of the Strauss family - 'by turns committed and distanced, never pasteurized or bent on proving anything', as Carlos Kleiber remarked of the Decca recording of Die Fledermaus, which became a library choice for the work as soon as it was released in January 1951. The trio of Beethoven concertos with Backhaus has also been a perennial favourite among collectors; much less familiar is the album of Leonore/Fidelio overtures which marked the premature end to Krauss's Decca career, charged with visceral intensity and elevated by needle-point rhythmic detail. Sleeves feature the original Decca covers and the booklet includes a survey of Krauss's remarkable life and times by Peter Quantrill.

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COMPLETE DECCA RECORDINGS
ELOQUENCE AUSTRALIA Nov 2021
CD
$79.60

Dietrich Fischer-Dieskau: A Centenary Tribute

SOMM Recordings

$29.99 May 16, 2025

SOMM Recordings is proud to mark the centenary of the legendary German baritone Dietrich Fischer-Dieskau (28 May 1925-18 May 2012) by adding to his canonical discography with live recital and concert recordings from the Music Preserved archive. Fischer-Dieskau was at the very height of his powers from 1960-75, and the performances on this album date from that period. A bonus CD contains two interviews conducted by Jon Tolansky-appearing here in their entirety for the first time-the 75th Birthday Interview (2000) and 80th Birthday Interview (2005). The extraordinarily vast repertoire of Dietrich Fischer-Dieskau over his 45-year career comprised lieder, operas, cantatas, and oratorios. He sang these in German, Italian, French, Russian, English, Hebrew, Hungarian, and Latin, from eras that spanned the Baroque to the latter part of the 20th century. Particularly, it was the controlled power and beauty of his voice, and the dramatic intensity and poetry of his interpretations, that led him to excel in the genre of German lieder. In this form he exerted a virtually unprecedented stylistic and interpretative influence-not only on the musical world of his day, but also on generations of performers to come. SOMM's centenary tribute opens with four songs by Ferruccio Busoni, all being works that were written late in the composer's career. They come from a programme that Fischer-Dieskau gave with Gerald Moore in 1962. At the 1971 Helsinki Festival, Fischer-Dieskau presented a recital with Irwin Gage, which was devoted entirely to songs with texts by Johann Wolfgang von Goethe. The recital, described by a contemporary critic as "a landmark event," featured compositions by contemporaries of Goethe, who lived from 1749 to 1832, such as the Countess Anna Amalia, Kapellmeister Johann Friedrich Reichardt, and Goethe's friend Carl Friedrich Zelter. The more familiar composers represented on this Goethe-inspired recital were active during the first part of the 20th century. They include Richard Strauss, Max Reger, and Ferruccio Busoni. This tribute to Dietrich Fischer-Dieskau also includes six songs from a programme of works by Gustav Mahler, which was presented with his long-time collaborator, Karl Engel. Three of the songs are from Des Knaben Wunderhorn, based on texts of German folk poems, and three are from the collection of five Ruckert-Lieder, after poems written by Friedrich Ruckert. The musical component of this collection closes with a concert performance of three songs by Zoltan Kodaly, sung in Hungarian by Fischer-Dieskau. The composer proves himself an outstanding interpreter of his own music in conducting the London Symphony Orchestra. In the two interviews included on the bonus CD, Dietrich Fischer-Dieskau discusses his early years, his teachers, the development of his career, and a small but revealing cross-section of his enormous repertoire.

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Dietrich Fischer-Dieskau: A Centenary Tribute
SOMM Recordings May 2025
CD
$29.99

Antonio Janigro: The Rare Cello Recordings / Various

Profil

$24.99 Mar 13, 2020

Antonio Janigro (1918-1989), the founder and long-term conductor of the Zagreb Soloists, which developed over time into one of the world’s best string orchestras, lives on in the memory; as an outstanding cello virtuoso he set benchmarks with his recordings. He began his studies at the conservatoire in his native city of Milan. Pablo Casals recommended he then go to Paris, where in subsequent years he won six national and international prizes, and where, in 1933, his worldwide career was to begin. After the end of the Second World War Janigro went on to study orchestral direction, and made his debut as a conductor in 1948. In 1954 he founded the Zagreb Soloists, whose reputation grew at such a mercurial pace that the ensemble was given permission, even at the height of the Cold War, to perform on international stages. Janigro was also conductor of the Radio Zagreb Symphony Orchestra (1954-64) and of the Orchestra Dell’Angelicum di Milano. As successor to Karl Ristenpart he headed the Chamber Orchestra of Saarland Radio. He taught at the music universities of Düsseldorf and Stuttgart and at the Mozarteum in Salzburg and was conductor of that institution’s Camerata. Antonio Janigro compiled a wide repertoire both as a soloist and with the Zagreb Soloists, encompassing works by Vivaldi, Corelli and Boccherini as well as the great works of the Viennese Classical School by Haydn, Mozart and Beethoven through to Brahms. He simultaneously ensured that works by contemporary composers were well represented in his concert programmes and as a result premiered some very interesting works by the likes of Krzysztof Penderecki, György Ligeti and Milko Kelemen, who was involved in this very collection, both as composer and arranger.

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Antonio Janigro: The Rare Cello Recordings / Various
Profil Mar 2020
CD
$24.99

Lutoslawski & Dutilleux: Cello Concertos / Moser, Sondergard, Berlin Radio Symphony

PENTATONE

SACD

$21.99 Nov 16, 2018

This album features cello concertos by Witold Lutoslawski and Henri Dutilleux performed by the multiple prize-winning German-Canadian cellist Johannes Moser and the Rundfunk-Sinfonieorchester Berlin, conducted by Thomas Søndergård. These works, premiered in 1970, are two of the biggest gems of the twentieth century, the golden age of the cello. While equally virtuosic and engaging, both pieces showcase different aspects of the musical landscape of the late twentieth century. Lutoslawski’s concerto explores the possibilities of chance composition in the form of a duel between the solo cello and a ferocious orchestral accompaniment, in which the individual ultimately prevails. In comparison, soloist and ensemble work together more smoothly in Henri Dutilleux’ “Tout un monde lontain”. In this “cello concerto”, the composer invokes a mystical “world from afar”, inspired by Baudelaire quotes and full of allusions to French musical greats such as Debussy and Messiaen, while simultaneously sounding unmistakably Dutilleuxian. This is Moser’s fourth album as an exclusive PENTATONE artist, after releases with the cello concertos of Dvorak and Lalo (2015), Elgar and Tchaikovsky (2017) and works for cello and piano by Rachmaninov and Prokofiev (2016, awarded with a diapason d’or and ECHO Klassik 2017). The Rundfunk-Sinfonieorchester Berlin has an even longer track record with PENTATONE, including albums with Vladimir Jurowski (Mahler/Strauss 2017, Schnittke 2015) Jakub Hruša (Bartók/Kodály 2018) and Marek Janowski (complete Wagner operas, 2011-2013).

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REVIEWS:

Playing with depth and naturalness but above all a sense of theatre, Moser shapes an animated performance of the Lutoslawski, together with Thomas Søndergård and the Berlin orchestra. With its allusion to the poetry of Charles Baudelaire, Dutilleux’s Tout un monde lontain is perhaps more mystical, and Moser allows it to unfold with hypnotic beauty.

– BBC Music Magazine

Moser maintains a keen focus over the eventful trajectory of the Lutoslawski. Many performances rather lose momentum in the Cantilena but Moser neither falters nor sells short this music’s rapt eloquence. In the Dutilleux, Moser eschews any emotional uniformity. Throughout both works, Thomas Søndergård propels the music forwards with a real sense for their vastly different yet equally inevitable destinations.

– Gramophone

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Lutoslawski & Dutilleux: Cello Concertos / Moser, Sondergard, Berlin Radio Symphony
PENTATONE Nov 2018
SACD
$21.99