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Brahms & Berg: Violin Concertos / Tetzlaff, Ticciati, German Symphony Orchestra Berlin
Ondine · Sep 2022CD$18.99 -
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Schulhoff: Concerto for Piano and Orchestra, Op. 11; Der Burger als Edelmann
Haenssler Classic · May 2022CD$20.99 -
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Hindemith, Kirsch, Koechlin & Perrino: Maria Lindo - English Horn Recital
IBS Classical · Mar 2023CD$17.99 -
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Dubois, d'Indy & Caplet: Chamber Music for Winds / Polyphonia Ensemble Berlin
Oehms Classics · May 2022CD$19.99 -
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Rachmaninov: The Bells & Symphonic Dances / Jansons, Bavarian Radio Symphony
BR Klassik · Feb 2018CD$19.99 -
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Ginastera: Orchestral Works / Tamayo, Deutsches Symphonie-Orchester Berlin
Capriccio · Aug 2016CD$21.99 -
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Beethoven & Sibelius: Violin Concertos / Tetzlaff, Ticciati, Deutsches Symphony Orchestra Berlin
Ondine · Sep 2019CD$18.99 -
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Beethoven: Piano Concertos Nos. 2 & 5 / Helmchen, Manze, Deutsches Symphonie Orchestra
Alpha · Oct 2019CD$20.99
Brahms & Berg: Violin Concertos / Tetzlaff, Ticciati, German Symphony Orchestra Berlin
In this new concerto album one of the greatest violinists 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)
REVIEWS:
This is a master violinist at the height of his powers. Teztlaff's playing demonstrates the range of emotion that each work requires. Needless to say, he is wholly in command of the technical demands of each work. The balance between soloists and orchestra is good.
-- MusicWeb International
Tetzlaff’s performance of the Brahms Concerto is brisk, and his interpretation at times feels very much of the moment. The first movement’s second subject is deliciously languid, but always moving onwards, and he develops increasing excitement and momentum in the build-up to the great tutti.
-- The Strad
Brahms & Koncz: Sonatas for Clarinet & Orchestra
Berlioz: Symphonie fantastique; Boulanger: D'un soir triste
Vom Himmel hoch - Christmas Carols
Recorded between 1950 and 1964, these holiday carols are sung by some of the finest recital singers of that time, including Dietrich Fischer-Dieskau and Rita Streich, Erna Berger, Elisabeth Grümmer. In tandem with exquisite arrangements that transcend the usual sentimental tropes, these famed carols gain a gem-like quality with the RIAS Symphonie Orchester (today known as Deutsches Symphonie Orchester Berlin).
Tchaikovsky: Swan Lake / Rouvali, Philharmonia Orchestra
A self-critical composer, Tchaikovsky once said “‘I listened to the Delibes ballet Sylvia... what charm, what elegance, what wealth of melody, rhythm, and harmony. I was ashamed, for if I had known of this music then, I would not have written Swan Lake.” It is ironic that Tchaikovsky’s own words should actually be applied to Swan Lake itself; “what charm, what elegance, what wealth of melody, rhythm, and harmony.”
In the 2019/20 season Santtu-Matias Rouvali continued as Chief Conductor of Gothenburg Symphony and as Principal Conductor Designate of the Philharmonia Orchestra, where he succeeds Esa-Pekka Salonen as Principal Conductor in 2021/22. Alongside these posts he retains his longstanding position as Chief Conductor with Tampere Philharmonic Orchestra, close to his home in Finland. His international profile continues to flourish. He debuted the season with the New York Philharmonic, Berlin Philharmonic and Royal Concertgebouw orchestras in wide-ranging repertoire. He conducted the New York premiere of Bryce Dessner’s Wires, and at the Concertgebouw he conducted the world premiere of Ariadne by Theo Verbey, as well as Stravinsky’s Oedipus Rex. He has built a loyal following internationally after successful tour concerts last season with Gothenburg Symphony in Vienna, where he returned in December to conduct the Wiener Symphoniker and Nicola Benedetti. In 2019/20 he returned to several orchestras across Europe, including the Orchestre Philharmonique de Radio France and Deutsches Symphonie-Orchester Berlin.
REVIEW:
Rouvali is a most agreeable Tchaikovskian, shaping the Act I Valse with a danceable lilt, and bringing rhythmic verve to the Dance of the Cygnets, and flamboyance to the Spanish and Neopolitan Dances.
– Sunday Times (UK)
Schumann: Cello Concerto, Etc / Schwabe, Vogt, Royal Northern Sinfonia
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REVIEW:
With just the necessary amount of vibrato, Gabriel Schwabe's cello, dating from around 1600, sings eloquently for him. The score of the concerto’s central section contains much sadness; without any undue haste, he generates an appropriate sense of triumphant brilliance as the work ends.
Schwabe and pianist Nicholas Rimmer give a particularly fast and vibrant account of the Allegro, in the Adagio and Allegro. It is a similarly outgoing performance of the Fantasiestucke that acts as a foil to the moments of beauty in the Three Romances; the five Volkston vividly characterised and contrasted, while the arrangement of the Intermezzo has simply taken the solo part down by an octave.
The catalogue is certainly not short of recordings of the Concerto, but this coupling is unusual and most enjoyable.
– David's Review Corner (David Denton)
Schulhoff: Concerto for Piano and Orchestra, Op. 11; Der Burger als Edelmann
Hindemith, Kirsch, Koechlin & Perrino: Maria Lindo - English Horn Recital
Charles Koechlin had a very personal style and was inspired by a wide variety of motifs, as nature, the mysterious Orient, French folk songs ... Sometimes, he came close to musical Impressionism, as in Au Loin. Hindemith’s composed the Sonata for the english horn in 1941, by which time he had moved to the United States, where he was teaching at Yale University. The Sonata for cor anglais and piano of Dirk Michael Kirsch is a very intimate homage to the composer’s homeland (Westerland/Sylt, Germany), in which he musically evokes colourful images of landscapes and souls. The work of Ander Perrino combines several ideas that I wanted to try out and that has a very strong connection to popular music. Following the initial idea, each movement is independent as if it were a story, hence the name of Five short stories. Maria Lindo collaborated with symphony and opera orchestras such as the Kammerakademie Potsdam, the Deutsches Symphonie-Orchester, the Deutsche Oper Berlin, the Mahler Chamber Orchestra, the WDR Rundfunkorchester Köln, the Deutsche Oper Berlin, the Budapest Festival Orchestra. María is the artistic director of the company Linien Soundkraft, which realises projects fusing music with other art forms.
Dubois, d'Indy & Caplet: Chamber Music for Winds / Polyphonia Ensemble Berlin
The Polyphonia Ensemble Berlin, which was founded by musicians from the Deutsches Symphonie-Orchester Berlin, presents French chamber music from around 1900 on this recording. The featured composers – Théodore Dubois, Vincent d’Indy and André Caplet – may have been overshadowed by their better-known contemporaries, but they nevertheless played major and original roles in the development of music in France, bequeathing us an appreciable quantity of remarkable works. At the same time, they represent three generations in the development of music at the dawn of the 20th century.
REVIEW:
The concert is thoroughly professional and artistically convincing. Timbres are resonant; and the balance, blend, and teamwork are terrific. The slow movements are warm and lyrical; and the fast movements are vigorous and sparkling. Each of the scores here deserves more frequent performances; and the Polyphonia Ensemble Berlin gives a masterclass in how to play them. Every serious chamber music collector should have this album.
-- American Record Guide
Of the three works on this disc, the one by perhaps the least well-known composer, Caplet, turns out to be the most virtuosic for the wind instruments, the most colorful, and the most enjoyable. … Caplet was a master orchestral scorer. And it sounds to me like his Suite persane demands the most in technical skill from the Polyphonia Ensemble Berlin’s ensemble of 10 wind players. The performance is really quite outstanding. The vivid and vibrant playing from this all-wind band is executed with absolute accuracy of pitch and such clarity of detail that all the rhythmic complexity and brilliance of Caplet’s scoring take on a three-dimensional quality.
-- Fanfare
Overall, this is a very enjoyable recording. None of the individual movements is longer than nine minutes, so there is never a sense of them overstaying their welcome...[nor] of the aimless burbling that I used to associate with the few wind ensemble works I had heard in the past. The playing of the wind section of Polyphonia Ensemble Berlin seems, to my inexperienced ears, to be very good. In the Dubois, there were a few moments when the violins were a little harsher than the music seemed to require. The recording blends the instruments naturally, and there are no extraneous noises from the players or the instruments.
-- MusicWeb International
HOLLYWOOD
The Romantic Piano Concerto Vol 2 / Michael Ponti
Moscheles' Concerto, Op. 58 is said to be one of his finest works, showing the classical influences of Beethoven, Schubert and Chopin. From the opening of the Allegro moderato one can be forgiven for thinking you are listening to an orchestral score composed by Mendelssohn. However the piano lines have more of a Saint-Saëns ring about them. Bold statements punctuate gently-flowing passages with lightweight orchestral involvement. The Adagio contains recitative-like figures with background tremolos that eventually lead into an Allegro agitato. This movement skips along with a bright theme that is extemporised and builds to a suitable coda and rousing close.
Hiller's compositions are largely forgotten now but in his day his works reached the concert hall. His piano impromptu Zur Gitarre was played by Clara Schumann. His Concerto, Op. 69 contains some lovely melodies and has for too long been neglected, a point the CD notes confirm. Hiller premiered the work as soloist in Amsterdam (1856). It was performed in the presence of royalty nine years later, so we must assume that the work enjoyed a certain degree of popularity. This was one of the first piano concertos to utilise the key of F-sharp Minor and is full of ideas also original for the time. A Moderato movement opens the piece with an energetic main theme (without introduction) and use of alternating octaves - a device copied by d'Albert 28 years later. The emotional Andante espressivo is filled with ravishingly romantic melodies. It has a feeling of Liszt about it. A purposeful Allegro con fuoco closes the concerto.
Henry Litolff was taken as a pupil for the composer Moscheles. The older man declared Litolff so good that a public performance was arranged which he gave at the age of fourteen. Later as a proficient pianist, Litolff undertook concert tours on the continent and wrote his Concerto Sinfonique about 1846. Berlioz monitored his progress and referred to Litolff "as one of our best composers", praising his knowledge, inspiration, mobility of melodic style, and excellence of orchestration. At 39 minutes it is a long concerto and with a four movement structure broke new ground. There is freshness to this composition that gives me the impression of sprightly youthful eagerness. Why this amazing work is not better known I can't guess, but it would be ideal for part of a Proms programme.
An Allegro provides a majestic opening, with accelerating energy and an introduction of two principal ideas. In the Scherzo a Beethovenian hunting scene comes to mind, with echoes of the Ninth. The piano part complements the orchestra-dominated main theme. A peaceful Andante conveys a lyrical mood of relaxing charm, the piano syncopating a flowing horn melody. A bold Furioso moves with urgency before it breaks into a trumpet-led rendering of the Dutch National song "Wein Neerlands". The song weaves in and out of the movement before virtuosity brings the piece to an energetic close.
Carl Reinecke is usually remembered for the cadenzas he wrote to other composers' classic concertos rather than for his own compositions. This is despite the fact that he was a prolific writer of around 300 works. His writing is not as demonstrative as the other composers in this set: there is more of a relaxed feel to this concerto. Reinecke made his debut as a violinist at 11 but toured Europe as a pianist, before turning to the education of others. Reinecke settled in Leipzig where he became professor of piano and composition at the Conservatorium.
In Reinecke's Concerto the Allegro is a good vehicle for virtuosity, but there is practically no partnership with the orchestra. In the Adagio, sincerity of purpose is given with its meandering theme. A bold statement from the strings opens the Finale Allegro and rippling measures maintain momentum throughout the movement.
Mendelssohn's Capriccio brilliant is well known and needs little introduction. Written as a fantasia for piano and orchestra it is constructed on four themes - introductory theme, fortissimo theme, pianissimo theme, and piano theme. It is here played with sensitivity and purpose.
Rheinberger is better known for his organ compositions rather than the writing of orchestral works. He studied under Lachner and became an intimate friend of Schubert, yet his music is often linked with Brahms.
His Concerto deviates in its opening Moderato from the Beethoven pattern by dispensing with the orchestral exposition and replacing it with a short preludial statement; the piano entering with the main idea and acting as a dominant force. An Adagio follows with lyrical delicacy and appealing musical ideas. The orchestra contributes with important thematic and colouristic contributions throughout. A piano solo opens the Allegro energico with a flourishing statement and running into a fast-flowing theme before returning to the heroic idea of the first movement.
This set contains rarely recorded works of the lesser-known composers who provided a valuable contribution to the development of music through the 19th Century. The notes make interesting reading and give useful historical information. Descriptions of the works could have been fuller and more detailed.
Michael Ponti plays with considerable dexterity, and handles both powerful and sensitive passages with considerable skill. The orchestras play competently under knowledgeable conductors.
The analogue recordings of the '70s are clear without the extraneous noise that can show up in CD transfers of this period. They are pleasantly balanced for concerto recording with the piano placed nicely forward on the sound-stage. In the Reinecke concerto, a slight metallic timbre is noticed with the piano. A slight lack of dynamic range causes some detail of the orchestra to be hidden but this is not an obtrusive problem. There is no obvious mismatching in the acoustics or microphone placements between the different venues (not given).
-- Raymond Walker, MusicWeb International
Karl Böhm - The SWR Recordings
The lasting fame of conductor Karl Böhm is based on qualities that were praised by listeners, musicians and critics throughout his long career: his discipline and meticulousness when rehearsing compositions as well as his modesty, his willingness to take second place to work and composer. After many years serving as principal conductor in several opera houses he left his administrative duties behind and embarked on an international career as an acclaimed guest, concert and opera conductor. He was regularly invited by the New York Met and the Deutsche Oper Berlin, to the festivals in Salzburg (as of 1938) and Bayreuth (as of 1962), he gave guest performances from Tokyo to Moscow, from Milan to Buenos Aires, and at the broadcasting corporations in Berlin, Munich, Cologne, Frankfurt and Stuttgart where he was invited whenever there was something important to celebrate.
The Radio Sinfonieorchester Stuttgart (formerly known under a few different names and since 2016 merged with its sister from Baden-Baden and Freiburg to form the SWR Symphonieorchester) not only played in its home region, the Southwest of Germany, but toured extensively all over Europe. It has a catalogue of several hundreds of recordings and accompanied during its history many famous soloists. Branka Musulin was an extraordinary pianist who worked with some of the most important conductors of her time, among them Willem Mengelberg, Hermann Abendroth, Franz Konwitschny, Georg Solti and Sergiu Celibidache.
Rachmaninov: The Bells & Symphonic Dances / Jansons, Bavarian Radio Symphony
Very much a Cinderella work, The Bells, which the composer described at different times as a choral symphony and also as a cantata, deserves wider circulation and certainly rewards repeated hearing. Rachmaninov was fired up to write the work following receipt of an anonymous text in Rome which he assumed was an original work by the Russian poet Konstantin Balmont. The text was in fact Balmont’s own free adaptation of the poem ‘The Bells’ by Edgar Allan Poe. Bells have a special significance for Russian people and one might imagine that for Rachmaninov the sound of bells in his Russian homeland evoked a bittersweet range of emotions, from intense joy to mourning. Various bell sounds are contained in Rachmaninov’s scoring: sleigh-bells, church bells, alarm bells, marriage and funeral bells. This is a striking live performance by the Chor und Symphonieorchester des Bayerischen Rundfunks under Jansons, supported by a fine trio of Russian soloists. In the opening movement - ‘The Silver Sleigh Bells’ - the playing conveys a crisp, wintry chill together with commitment and urgency. Singing with vitality and clarity, tenor Oleg Dolgov makes a considerable impression. In the movement ‘The Mellow Wedding Bells’, the music takes on a mysterious, rather sensuous quality with soprano Tatiana Pavlovskaya displaying clarity and an unswerving approach to the text. In ‘The Loud Alarum Bells’, marked presto, the chorus and orchestra convey a heavy sense of tension and near-angst before a more positive tone develops. The baritone Alexey Markov, in the Finale, entitled ‘The Mournful Iron Bells’, intones splendidly and convincingly the grave yet hauntingly affecting text. In the substantial part for the cor anglais, there is some lovely playing - warm and mellifluous. Inspiring and powerful are the two words that best describe this reading from Jansons and his Bavarian players. Worthy of praise, too, is Simon Rattle’s outstanding live 2012 Philharmonie, Berlin account with the Rundfunkchor Berlin and the Berliner Philharmoniker and a satisfying trio of soloists on Warner. As with Jansons’ account, Rattle’s coupling is also the Symphonic Dances. Admirable, also, is the exciting and committed 1979 account from the RSFSR Yurlov Academic Russian Choir and USSR Academic Symphony Orchestra under Yevgeni Svetlanov. Originally released on Melodiya, I have the Regis reissue. Worthy of consideration, too, is the finely judged 2000 Moscow account from the Moscow State Chamber Choir and Russian National Orchestra conducted by Mikhail Pletnev on Deutsche Grammophon.
After finally settling in the USA in 1939, Rachmaninov completed the Symphonic Dances, his final orchestral, work at Long Island, New York in 1940. Delighted with the score, the composer commented, “I don’t know how it happened, it must have been my last spark.” Rachmaninov was certainly in a highly reflective mood, citing quotations from some of his earlier works as well as including the Dies irae motif in the finale. Jansons and his players clearly revel in the brilliant orchestration. In the opening movement, Non Allegro, Jansons provides playing of potent drama as well as strong rhythmic impetus and a weighty percussion section. The affecting lyrical middle section is beautifully played, with the solo saxophone part especially notable. It is marked Andante con Moto (Tempo di valse) and, in Jansons’ hands, the waltz rhythms are imbued with an undertow of melancholy and a sense of near despair. The colourful woodwind and brass figures and pleasingly unified strings are a constant delight. In the Finale, the sumptuous playing from the Bavarians is quite outstanding, conveying a strong element of brooding and struggle. Jansons’ control of dynamics and transitions is striking here, together with strong and committed playing in the concluding section. Jansons’ conducts a riveting account of the Symphonic Dances, then, convincingly performed with character, passion and compelling momentum. It can stand comparison with the best recordings and probably even surpasses them. Simon Rattle’s powerful 2010 Philharmonie, Berlin recording with the Berliner Philharmoniker on Warner is certainly equal to Eugene Ormandy’s passionate and powerful 1960 Cleveland Hall, Philadelphia account with the Philadelphia Orchestra on Sony Classical. Other recordings to consider are headed by the excellent 2008/09 recording, full of character, played by the Royal Liverpool Philharmonic Orchestra under Vasily Petrenko on Avie. There is much to enjoy in the recordings by the Berliner Philharmoniker under Lorin Maazel from 1983 on Deutsche Grammophon and by André Previn conducting the London Symphony Orchestra in 1974 on EMI Classics, both of which are splendidly performed and recorded.
Jansons has recorded both works at live concerts in the renowned acoustic of Herkulessaal, Munich, which the sound engineers have utilised to stunning effect, providing first class clarity and balance. Audience applause has been taken out and there is no extraneous noise to worry about. In the booklet the essay ‘Legacy of a Lost Homeland’ written by Larissa Kowal-Wolk is both readable and informative.
– MusicWeb International (Michael Cookson)
Schubert: Symphonies Nos. 8 "Unfinished" & 9 "The Great"
With regard to the universally esteemed Symphony No. 8 Unfinished its history continues to be a matter of much debate. Schubert authority Nikolaus Harnoncourt recognises the symphony was intended as a four movement score although he is convinced there must have been a point when Schubert decided the two completed movements were perfect on their own. In the first movement Allegro moderato chief conductor Philippe Jordan ushers the listener into Schubert’s enthralling and dramatic sound-world with a reading that maintains a remarkable inner tension. Marked in the Andante con moto is the bitter-sweet quality of drama and breathtaking allure that Jordan imparts. The woodwind playing is top drawer.
Harnoncourt firmly believes that the ‘Great’ C Major is “a colossal edifice in which Schubert remakes the symphony … anyone who has experienced this masterpiece is no longer the same as before.” Schubert’s final symphony is a work the composer described in his personal letters as “a grand symphony.” Here maestro Jordan gives a disarming reading that in turn combines magnificent drama and deep compassion. It is hard to ignore the Beethovenian/Wagnerian influence on the opening horn calls. The resolute playing of the expansive opening movement is tinged with a dark hue. Jordan excels in the Andante con moto maintaining an exemplary pulse throughout. I savour the encounter between the primarily pastoral quality of the fresh outdoors and the dramatic squally extremes. The dignified march theme on the oboe is a highlight. The spirited dance melodies of the Scherzo receive polished playing and resolute bite. Jordan exercises judicious control of the bold and courageous Finale: Allegro Vivace a movement full of colourful incident that feels both compelling and expressive.
Despite its excellence this Wiener Symphoniker coupling has to compete with a wealth of rival accounts. My first choice recording for the Unfinished is from the Berliner Philharmoniker under Günter Wand: raptly beautiful playing engages the listener from start to finish. Wand was recorded live in 1995 from the Philharmonie, Berlin on RCA Victor Red Seal. My single standout recording of the ‘Great’ C Major is from Claudio Abbado with the Orchestra Mozart assembled at live concerts in 2011 at Bologna Auditorium Manzoni and Bolzano Auditorium, Italy. Recently released Abbado’s captivating DG account with a wealth of orchestral detail is quite superbly played and recorded.
On the other hand it may be more sensible to buy a complete set of the Schubert symphonies. Although the competition is extremely fierce I can suggest four recommendable boxes. My first choice is conducted by Karl Böhm and the Berliner Philharmoniker recorded in 1963/71 in the exceptional acoustic of Jesus-Christus-Kirche, Berlin. As a Schubert conductor Böhm has few peers. He conducts typically warm and polished performances on Deutsche Grammophon. On Decca there is an excellently played and recorded set from István Kertész and the Wiener Philharmoniker recorded in 1963/71 at the Sofiensaal, Vienna.
There is a quite outstanding set from the Berliner Philharmoniker under Harnoncourt recorded live in 2003/06 at Philharmonie, Berlin on the orchestra’s own label. Harnoncourt has made lengthy and serious study of Schubert’s manuscripts removing the unauthentic revisions that have become part and parcel of the scores. From start to finish the well prepared Berliner Philharmoniker plays magnificently with a sense of spontaneity that carries the listener along on an enthralling journey. Rather under the radar but well worth investigating is the impressive 2013 release conducted by Lorin Maazel with the Symphonieorchester des Bayerischen Rundfunks. All the symphonies were recorded live by them in 2001 at the Prinzregententheater, Munich and after a decade have finally been issued on BR-Klassik.
Returning to this Wiener Symphoniker release, the recording engineers can be congratulated for a satisfying sound quality that is especially clear and well balanced. Jordan draws expressive yet firmly controlled playing from his Vienna orchestra. The tempi, rhythm, phrasing and dynamics are shaped into one impressive whole. This is an engaging CD that will grace any serious collection.
- Michael Cookson, MusicWeb International
Ginastera: Orchestral Works / Tamayo, Deutsches Symphonie-Orchester Berlin
Considered one of the most influential 20th century composers of the Americas, Alberto Ginastera (1916-1983) composed a great oeuvre including ballets, operas, piano works, orchestral pieces and more. His works can be grouped into three periods, “Objective Nationalism” (1934-1948), “Subjective Nationalism” (1948-1958), and “Neo-Expressionism” (1958-1983). The four works featured on this release come from his late period of neo-expressionism. In these pieces traditional classical style can be heard, as well as Ginastera’s experimentations with the avant-garde. Arturo Tamayo conducts the brilliant Deutsches Symphonie-Orchester Berlin for this recording. Tamayo conducts in both the concert hall as well as the opera house, and conducts with orchestras across Europe, Asia, and the Americas.
Beethoven & Sibelius: Violin Concertos / Tetzlaff, Ticciati, Deutsches Symphony Orchestra Berlin
In this new concerto album one of the greatest violinists of our time, Christian Tetzlaff, performs two standard violin concertos in fresh new interpretations together with the Deutsches Symphonie-Orchester Berlin directed by the orchestra’s exciting new music director, Robin Ticciati.
Christian Tetzlaff is considered one of the world’s leading international violinists and maintains a most extensive performing schedule. Musical America named him ‘Instrumentalist of the Year’ in 2005. His recording of the Bartók Violin Concertos (ODE 1317-2) received both Gramophone and ICMA Awards, and the recording was also a finalist for the BBC Music Award in 2019. His recording of the Violin Concertos by Mendelssohn and Schumann, released on Ondine in 2011 (ODE 1195-2), and Bach Sonatas and Partitas released in 2017 (ODE 1299-2D) received the ‘Preis der deutschen Schallplattenkritik’. In addition, in 2015 ICMA awarded Christian Tetzlaff as the ‘Artist of the Year’, and he also received ECHO ‘Instrumentalist of the Year’ award in 2017.
REVIEWS:
Tetzlaff may at times excitedly rush his fences, but in collaboration with Robin Ticciati and his alert Deutsches Symphonie-Orchester Berlin, he transforms aspects of what so many have treated as a sort of Holy Grail into a beer tankard. If Beethoven’s Concerto emerges as uncompromisingly provocative, Tetzlaff’s Sibelius also errs on the side of danger…In many respects, a real knock-out.
– Gramophone (Editor's Choice)
What I especially admire about these entrancing performances by Tetzlaff is the freshness and vitality he brings so effectively to these masterworks. One senses that he is entirely inside the music emotionally. Throughout both works the sound of Tetzlaff’s violin, a modern instrument made by German luthier Stefan-Peter Greiner, is glorious. Under Robin Ticciati the Deutsches Symphonie-Orchester Berlin excel with firm and resolute playing in performances which are entirely empathetic to the soloist from start to finish.
– MusicWeb International
Beethoven: Piano Concertos Nos. 2 & 5 / Helmchen, Manze, Deutsches Symphonie Orchestra
As the celebration of the 250th anniversary of Beethoven’s birth approaches, and following a much-admired version of the Diabelli Variations (Alpha 386 – Gramophone Editor’s Choice), Martin Helmchen has decided to record his complete piano concertos in the company of musical partners with whom he has a special affinity, Andrew Manze and the Deutsches Symphonie-Orchester Berlin. They devote this first volume to the Concertos nos. 2 and 5, giving lovingly polished performances of these two masterpieces of the piano repertory. Composed even before Concerto ‘no. 1’, the ‘Second’ Concerto was premiered in Vienna in 1795, when Beethoven was only twenty-five years old, but underwent several revisions before being published in its final version in 1801. Concerto no. 5 is the last that Beethoven composed. Though completed in 1808, it was not premiered until 1811. Beethoven normally gave the first performance of his concertos himself, but this time his increasing deafness meant he was unable to do so.
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REVIEW:
Theirs is to all appearances a straight-down-the-middle approach. Yet it does stand high and proud for its artistry, poetry, stylish musicianship and, perhaps above all, rapport between soloist and conductor. This really does feel like a meeting of minds.
– Gramophone
