Wunderkinder unter sich: this could be the title of this album, which combines three works by two arch-romantic composers. While one of the two, Ernst von Dohnanyi, still needs a committed plea in practically all areas of his work because he is still overshadowed by his younger, more advanced compatriot Bela Bartok, the other, Richard Strauss, has no need for intercession insofar as he has conquered the world with his symphonic poems and his operas; his chamber music, on the other hand, is still worthy of his eloquent commitment - especially the large-scale violin sonata, in which the 23-year-old already seems to breathe the spicy air of Don Juan and Der Rosenkavalier. It is understandable that violinist Hellen Weiss, violist Wen Xiao Zheng, cellist Gabriel Schwabe and pianist Paul Rivinius enjoy the tasks they have set themselves to the full

The repertoire for string trio is comparatively small, but in addition to the relevant works by Mozart, Beethoven, and Reger, it also contains surprising, newly discovered, and newly composed pieces. In the selection of pieces for the current recording, the Trio Lirico has looked off the beaten track with works by Eugène Ysaye, Ernst von Dohnányi, and Zoltán Kodály. The program is completed by a string trio by Péter Eötvös, a haunting memorial composition with a variety of different playing techniques and gestures of sound and expression.

Ernst von Dohnányi was interested in various inventions throughout his life, so it is not surprising that around 1909–1910 he became one of the main promoters of pianos with a semi-circular keyboard. At that time, they had long been experimenting with creating the most comfortable keyboard possible, with all its parts being at the same distance from the pianist, and being able to play it with the same body and hand position at the bottom, middle or top of the keyboard range. It seems that the Viennese Ludwig Bösendorfer started making pianos with a concave keyboard (Bogenklaviatur) only in 1910, and Dohnányi used them exclusively in the territory of the Austro-Hungarian Monarchy. After Dohnányi moved home to Budapest at the end of 1915, one of his own pianos was the short Clutsam-Bösendorfer, which is currently owned by the Budapest Museum of Music History. This CD offers the first recording of this special instrument after a long time restoration.

A superbly performed selection of Dohnányi works from players entirely immersed in his musical voice, led by a conductor who inspires them all the way.

Of the works Ernst von Dohnányi wrote for the stage, only his ballet pantomime The Veil of Pierrette received any particular acclaim. His concert music, meanwhile, was much more warmly received. With this already sixth recording of his late romantical, sensual music, deeply rooted in the Austro-German classical tradition, Capriccio presents three of his concerts. Apart from two piano concertos and two violin concertos, Ernst von Dohnányi wrote three more, which are concertos in all but name Variations (for piano and orchestra), Concertino (for harp and chamber orchestra), and Konzertstück (for cello and orchestra); the names subtly hinting at their specific character.

REVIEW:

Variations on a Nursery Theme, an unjustly neglected and once-popular work, receives a truly superb performance. Similar delights abound in the rarely heard Concertino for harp. A superbly performed selection of Dohnányi works from players entirely immersed in his musical voice, led by a conductor who inspires them all the way.

-- Gramophone

With the project "The Duplex Coupler Grand Piano" Florian Uhlig and David Stromberg breathe new life into a forgotten idea. The composer Emanuel Moór, whose works combine wonderful melodies and surprising harmonic twists, developed the "Duplex Coupler Piano" with a double keyboard. The coupled, octavated notes help the works achieve special shades of sound. In the recording of the cello sonatas by Moor, Richard Strauss and Ernst von Dohnanyi by David Stromberg and Florian Uhlig, this unique instrument now comes into focus.