REVIEW:

Schreker’s Der ferne Klang deserves a much wider audience than it has so far reached, especially in the English-speaking world, so this reissue of a fine 1990 recording from Capriccio is welcome indeed. The reasons for the work’s continuing obscuring are difficult to gauge; the music here draws heavily on Mahler and the Strauss of Salome and Elektra , all of which provide ample preparation for any audiences unfamiliar with Schreker’s work. Fortunately, the opera is now well represented on disc, so interested listeners can get the full measure of this magical score, even if seeing a staged production still remains an unlikely prospect.


The composer wrote his own libretto for the work. That’s almost always a recipe for disaster, but Schreker just about gets away with it. The story revolves around a hapless composer, Fritz, searching for a “distant sound” that he has heard in his imagination. The search ends up consuming his life and separating him from his one true love, Grete. As with Strauss’s (much later) Capriccio , the scenario here allows music to become the subject of the story, rather than just its accompaniment, giving Schreker license to write sumptuous music that in other contexts would run the risk of overwhelming the stage drama. The piece isn’t without its flaws—the narrative lacks focus and the music often seems overly indulgent—but the work’s strong melodic identity, and Schreker’s skillful writing for voices, ensure that everything in the score is engaging and that the music is always properly operatic.


This studio recording was made in Berlin in 1990. Conductor Gerd Albrecht takes a disciplined approach to the score, while still allowing the more expansive textures plenty of space. His many years of experience in the opera pit shine through in his conducting of the singers, who are always kept at the center of attention, despite the often heavy orchestration. When this recording was first released, some critics complained about Gabriele Schnaut’s performance in the lead female role of Grete. I’m inclined to agree that her singing lacks accuracy and that she has occasional tuning problems, but they are minor issues and don’t seriously detract from the listening experience. Few complaints could be raised about the remainder of the cast, who are uniformly impressive. Thomas Moser is certainly up to the challenges posed by the lead role of Fritz, and as well as accuracy and projection he also gives a distinctive and highly emotive performance. The recorded sound is good. In the balance of detail vs. atmosphere it leans slightly towards the latter, but clarity of texture is never seriously compromised.


When this recording was first released, it was one of two available, the other conducted by Michael Halász and released on the Marco Polo label. That version is now available on Naxos and is also good. The cast is not quite as good as here, but the detail in the orchestral sound is greater. The rerelease of the Albrecht recording in 2013 introduces it to a slightly more crowded market with at least one newer version now available, an SACD on the ARS label, conducted by Dirk Kaftan. The improved sound quality made possible by the SACD technology is of considerable benefit to Schreker’s often involved textures, which shine with a new clarity there. That said, Kaftan takes a more relaxed approach to the score, and the pace of the music occasionally drops, leading to longueurs we don’t experience with Albrecht. Kaftan’s Fritz, Mathias Schulz, is the weak link in the cast, although his Grete, Sally Du Randt, gives possibly the finest available performance of the role on record. The Kaftan version also excels in the Bühnemusik ; Schreker employs an onstage gypsy band, including D clarinet and cimbalom, all of which comes to the fore in Kaftan’s recording, but is disappointingly muted here.


The Kaftan probably gets the thumbs-up as the top recommendation, then, but in a competitive field where every available version has considerable merits. This Albrecht version is the pick of the budget releases, at least in terms of the recording. Given the paucity of information in the liner, you’ll probably need to consult the Internet if you want to find out more about the opera. All that’s provided is a brief essay from Schreker himself about the work’s genesis, a biographical note on the composer, and a brief synopsis. But it’s the music that matters, and on that count this release is strongly recommended.


FANFARE: Gavin Dixon

Classical Music

After intensive research, Pietro Massa discovered a copy of the lost score of the Piano Concerto in F major No. 2 op. 92 by Mario Castelnuovo-Tedesco at the Fleisher Collection in Philadelphia. The first European Performance of this work took place in the Berliner Philharmonie. Capriccio now presents this world premiere recording.

In partnership with the Association for Private Musical Performances, formed in Vienna in 1918, Capriccio presents this recording that features new interpretations of Alban Berg and Gustav Mahler works by three composers of our time.

What name comes to mind when you are asked about the essence of the Brazilian music? I am sure that some of you will say Villa-Lobos; others will think of Jobim. In Brazil, classical and the popular music are not far apart. They are more like two cities on the same plain and the present disc travels between these two cities while visiting a few towns on the way. What will carry us along this road? Obviously, the wings of song, as Portuguese is the singing language par excellence. The disc contains a selection of Brazilian songs written over the span of fifty years.

Christiane Roncaglio has a beautiful voice. With its dark smoky notes it sounds more mezzo than soprano. There are sharp corners too and the singing is intense. For these reasons, the album is probably not for repetitive and relaxed “evening listening”, but energises and stimulates. The diction is very clear. The accompaniment is divided between guitar and piano, a solution that provides lightness and diversity.

Jobim’s “Big Four” (Corcovado, Desafinado, One Note Samba and The Girl from Ipanema) are all here and need no introduction. His other songs are also memorably melodic and infectiously swinging in his unique affable way. Roncaglio’s performance of Jobim’s standards is a long way from the classical Astrud Gilberto’s shyness and mystery; her singing is more open and glossy. I like how she colours the long notes so that they are never plain or even, which is important for tracks like Eu sei que eu vou te amar.

Villa-Lobos’ songs from Floresta de Amazonas are all very beautiful and melodic. Roncaglio’s performance of them is alluringly mystical, like the singing of sea sirens. Songs from Santoro’s cycle Canções de Amor are sensual and expressive, and all distinctly Puccinian, especially the gloomy and intense Amor que partiu.

There are tender lullabies like Henrique’s Tamba-Tajá and sad cinematic ballads like Miranda’s Retrato. Some numbers, like Minha Terra, resemble operetta. Others, like Uirapuru, are more cabaret-style. Several tracks glorify Brazil and everything Brazilian. Roncaglio shows good control, plays with her voice and enjoys the process, yet never turns it into vulgar “cabaret singing”.

The two accompanying musicians play with sense and sensibility. Sometimes extra-musical squeaks are noticeable when the guitarist moves his fingers along the strings.

Overall, this is a very fine album with solid performances of beautiful songs. It is full of the colourful, carefree spirit of Brazil.

– M usicWeb International (Oleg Ledeniov)

This 5 disc set features the renowned Vienna Boys' choir performing sacred works from composers such as Mozart, Bach, Handel, Schubert and Beethoven.

This release features Austrian baritone Wolfgang Holzmair, who studies as the Vienne Academy of Music and Dramatic Art with Hilde Rossel-Majdan and Erik Werba. Holzmair performs at venues and festivals around the world, as well as with other renowned artists such as pianist Imogen Cooper.

This 10 CD-Set offers a collection of the most popular Mass compositions from the Viennese Classics up to the romantic period. Performed by well known artists like the Vienna Boys’ Choir, RIAS Chamber Choir, Tölzer Boys’ Choir, Wiener Akademie and also includes the spectacular recording of Beethoven’s Missa solemnis with conductor Michael Gielen.

Ludwig Thuille was one of the leading operatic composers of the Munich School. Despite his lifelong friendship with Richard Strauss, Thuille remained a lesser-known Austrian composer during his short life and career.

On Generation, mother and son Renate Behle and Daniel Behle perform various operatic excerpts. For more than fifteen years Renate Behle has been one of the world’s most outstanding interpreters of dramatic roles. Daniel Behle has won numerous awards including first prizes in the International Robert Stolz Competition and the Queen Sonja Competition.

Max Emanuel Cencic has become one of the best countertenors of his time. Cencic is a former member of the Vienna Boys’ Choir and has had a successful career, regularly performing at some of the world’s most famous opera houses as well as recording for Capriccio and other labels such as Virgin Classics.

Capriccio now presents Cencic’s 3 previous CDs of cantatas by Vivaldi, Scarlatti and Caldara on the label in new packaging and a bonus documentary DVD which includes interviews and video clips.

For over 500 years, the Vienna Boys’ Choir has been a living tradition. Since their beginning, the choir has worked with composers such as Mozart, Schubert, and Bruckner. Capriccio presents this two-disc set of what the choir is best known for - traditional Christmas music.

On this double disc set, musicians from the (Western) European Baroque tradition (and from a Christian background), are joined by musicians from Jewish and Muslim backgrounds. (Capriccio)

The 20th century compositions asssembled on this disc embody the reaction of the ensemble to the political misuse of music. The Unmilitarised Zones by HK Gruber are islands of peace in a chaotic sequence of the most varied march fragments that go from the Badenweiler March via Sousa's Washington Post march to the Hungarian march of Berlioz. (Capriccio)

Hilding Rosenberg became one of the most important Swedish music personalities of the 20th century. In addition to composing his own music, he made contemporary music and old masters available to the public as a conductor – he studied with Hermann Scherchen among others. From 1932 until 1934 he managed the Royal Swedish Opera in Stockholm. Among the dramatists working with him were Bertold Brecht and the elderly Thomas Mann. Numerous awards and distinctions mark the meritorious career of a man, who on paper is considered the “father of Swedish modernity”, but whose fame as a composer is still considerably mysterious.

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REVIEW:

One of the most gratifying aspects of this music is its compactness and lack of pretentiousness. Rosenberg says exactly what he has on his mind, clearly and expressively, then moves on to something else. Christensson’s musicianship is much the same: her fortissimos are big but never bangy, her runs clear but not showy, and she is willing to let the music wistfully die away, as the composer requests at the end of the variations set. Listen espescially to the limpid simplicity of the theme and first variation in this work. I’ve never heard her work before, but she sounds like a first-class artist, and she is well served by the warm recording.

– American Record Guide