Carl Seemann – The ORFEO recordings – Carl Seemann was the kind of pianist who didn’t try to impress audiences with brilliant virtuosity. Instead, he understood the piano as his ideal medium for revealing a polyphonic structure on a single instrument. After his death on November 26th, 1983, at the age of 73, in Freiburg, it took some 25 years before the recordings of his studio and concert performances began to be re(dis)covered and today he is once again regarded as one of the leading German pianists of the post-war era. On the occasion of his 40th year of death, ORFEO releases this 7 CD anniversary box with all his recordings on the label and an additional booklet that highlights Carl Seemann’s artistic background and his pianistic environment.

REVIEW:

Pianist Carl Seemann (1910-1983) largely specialized in the Viennese classics, and tended to shine more in collaborations than when under the solo spotlight.

His 1965 Bach Partitas, for example, range from workaday (Nos. 2 and 6) to sensitive and cultivated (No. 3 and No. 5’s outer movements). By contrast, his 1964 recital with frequent partner violinist Wolfgang Schneiderhan features congenial and inspired readings of the Bach E major, Beethoven E-flat Op. 12 No. 3, Mozart B-flat K. 454, and Schubert A major D. 574 sonatas.

The 1979 Mozart C major concerto K. 503 with the NDR Symphony Orchestra under Wilfried Boettcher is sluggish and heavy in the outer movements compared alongside Seemann’s 1950 DG studio recording, which wasn’t all that great to begin with. However, the 1972 E-flat K. 449 captures Seemann on fine form in a work he otherwise did not record. Here his energized and poetic solo work is complemented by Leopold Hager’s shapely orchestral framework.

Seemann’s boring and heavy-handed Beethoven Piano Concerto No. 2 precedes a stylishly flexible 1962 performance of that composer’s Sonata No. 9 in E major Op. 14 No. 1. The 1952 broadcast of Beethoven’s Bagatelles Op. 126 is basically a sonically drab replica of Seemann’s engaging, vibrant, and better engineered 1951 DG studio version. As I listened to cellist Enrico Mainardi’s 1956 Bach Viola da gamba Sonata in D major BWV 1028, I was struck by how the pianist’s tone seemed unusually mellifluous and nuanced. Then I looked at the booklet, and it turned out that the pianist was Carlo Zecchi, not Seemann! No wonder! Yet the real Carl Seemann holds more interest throughout a 1973 Reger Sonata No. 4 than Mainardi, who was way past his prime by that date.

The collection’s final disc focuses on Paul Hindemith conducting the Bavarian Radio Symphony Orchestra. They are not so polished as The Philharmonia Orchestra in Hindemith’s EMI recording of the Symphony for Concert Band, yet they bring more urgency and surface excitement to the fugal finale. The Bavarian musicians rise to the occasion in The Four Temperaments, where I prefer Clara Haskil’s limpid and sparkling fingerwork to pianist Hans Otte in Hindemith’s DG Berlin Philharmonic recording.

Considering that Berg’s Chamber Concerto was hardly a repertoire staple in 1955, Hindemith obtains impressive ensemble cohesion and discipline. Seemann handles the difficult piano part cleanly and securely, capably complementing violinist Wolfgang Marschner’s expressive agility. That said, Marschner comes more alive partnered alongside Paul Jacobs’ fleeter, more incisive pianism in a 1959 Köln Radio broadcast featuring Hermann Scherchen’s volatile podium presence.

At the very least I’m happy to have Seemann’s recital with Schneiderhan, his Mozart K. 449, and his more successful Bach Partita movements in my permanent collection, together with the Zecchi and Haskil selections. Christoph Schlüren’s annotations provide useful biographical information about Seemann and his career.

-- ClassicsToday.com (Jed Distler)

The present collection commemorates the long-standing cooperation between Gary Bertini, born in today’s Republic of Moldova, and the SWR Radio Symphony Orchestra Stuttgart, beginning in 1978 with Hector Berlioz’ 'Symphonie fantastique'. Their last recording featured on this box was Wolfgang Amadeus Mozart’s Symphony No. 40 in G minor, performed in 1996 in Tokyo. Bertini conducted several Israeli orchestras for many years. Even though he had never wanted to set foot in Germany, he was convinced to travel to Hamburg by the offer to conduct the 1971 premiere of the opera Ashmedai by Josef Tal. He later became chief conductor of the WDR Symphony Orchestra in Cologne, then director and highest-ranking conductor at the Frankfurt opera and in 1998 went on to serve as artistic director of the Tokyo Metropolitan Symphony Orchestra.

Danish pianist Emil Gryesten is a graduate of the Sibelius Academy in Finland and the Como International Piano Academy in Italy, in addition to having studied at the Royal Danish Academy of Music in his native Denmark. His notable teachers include Niklas Sivelöv, Erik T. Tawaststjerna and Eero Heinonen, as well as his teacher at the Como International Piano Academu, Fou Ts'ong, Dmitri Bashkirov and Willaim Gran Naboré. He has received awards at a number of competitions of your pianists, including the First Prize at the Hamburg Steinway Conpetion. He has recorded an album with Schubert sonatas and the Liszt sonata for Danacord. His latest release are the three Grieg violin sonatas with Benedikte Damgaard received critical acclaim.

In each volume of my complete recording of the piano sonatas of Ludwig van Beethoven, I have clearly chosen the order of pieces with autobiographical criteria in mind. Over the past 15 years, my work as a pianist has increasingly migrated toward music-making in partnership with others. Whenever I was asked what became of my solo playing, I had to answer with a shrug, explaining that I needed a sort of sabbatical to let me practice solo repertoire undisturbed before I started giving solo piano recitals again. Then, covid struck. All of a sudden, I had time on my hands.

Beethoven Symphony No. 2 in D major Op. 36 was written in 1802 the same year of the Heilegenstadt Testament, the letter never sanded to all his brothers, where the Magister self confessed with deep soul and pain his inability in having normal relationship with the people and the society due to his deafness. even the Symphony No. 2 has been mainly composed in Heiligenstadt it did not represent a close correspondence between the art and life of the german composer. Symphony No. 2 has a more contradictory character to Symphony No. 1 and for this fact some musical researchers consider it as a"Transition work". But nevertheless its thematic richness it is the most remarkable representation less conventional and formal than the previous Symphony; to a more profound analysis we could say thay Beetohven in this Second Symphony had tired to give unity and harmony to different and heterogeneous music elements. The themes and the ideas which came out from the music are now heroics now gallant and all are expressed by an orchestral language rich of syncopation, “sforzando” and frenetical interplay among micro music motives. With this peculiar inhomogeneity Symphonu No. 2 is work already looking toward the Future without reaching it or synthesize it in a formal and expressive vision well defined as Beethoven realized in Symphony No. 3 The Eroic Op. 55.

IDIS in its serie Karajan Spectacular is presenting all Beethoven Symphonies in a serie of live recordings made by the Great German director between Fifties and Seventies XX Century. In this release the recording of Second Symphony in D major is rare and almost unobtainable performed 10th April 1953 with Torino RAI Symphony Orchestra with Karajan well known soloist. As album ending and amazing performance of Concert in D major for violin and orchestra op 61 live recorded in Lucerne in 1954 where Karajan conducts one of the most soloist of these times Wolfgang Schneiderhan a real expert of this Beethoven Concert.

Beethoven und Schulhoff in Dialogue
Schuch:"Indeed, it’s quite exciting to look at what was going on exactly 100 years ago – perhaps because 1923 doesn’t seem all that distant to us.
Certain events and circumstances seem to mirror one another a century apart. From a musical point of view, Erwin Schulhoff’s piano concerto is a truly interesting work that has not attained the recognition it deserves…
In terms of style, the piano concerto, composed between 11 June and 10 July 1923, is one of those works where Schulhoff radically deals with the dance types of jazz, which had crossed the Atlantic at the end of the First World War and spread out from Paris until taking all of Europe by storm…
No other pair of composers could be more different – on paper – than these two.
Schulhoff always took a decisive stance against traditionalism. Indeed, he may have been something of an iconoclast, but he was also a talented and well-trained pianist – a pianist who wanted to earn success in that very role. Of course, Schulhoff studied the Beethoven concertos, performed them, and ultimately also took the opportunity (like many other composers before him) to put his stamp on these works by writing his own cadenzas…
…It was also in Berlin – in February 1923, to be exact – that Schulhoff conceived and worked out the cadenzas for the first four Beethoven piano concertos…" (Excerpts from the booklets notes)

By popular demand, this Berlin Classics recording is reissued on Vinyl. Featured on it are Beethoven’s Concerto in D Major, originally written for the violin, and Concertante Variations by lesser-known composer Franz Schmidt played by virtuoso pianist Ragna Schirmer and the Hamburg Symphony Orchestra. Beethovens Concerto in D Major is a testament to his mastery of crafting music and his profound understanding of melody, harmony, and orchestration. Schmidt’s Concertante Variations are a masterpiece of late Romantic variation writing that not only allows the pianist ample scope for virtuosic display but is also remarkable for its sophisticated formal conception.

With his first two piano concertos, the young Ludwig van Beethoven presented himself in Vienna as the man of the hour and the musician of the future. This new style and momentum is brought to life from the very first note by the eleven musicians around the multi-award-winning Aris Alexander Blettenberg on their current GENUIN CD. The arrangements, written especially for the orchestra of the Kammeroper München, reveal the details of the original scores transparently without losing any of their orchestral radiance. Conductor, pianist, and composer Aris Alexander Blettenberg leads the orchestra with dynamism and expressiveness from the grand piano.

Named one of the greatest string quartets of the last 100 years by BBC Music Magazine, the Grammy-nominated Dover Quartet’s critically acclaimed traversal of Beethoven’s Complete String Quartets is now available as a specially priced 8-disc boxed set (price of 3 CDs), releasing December 8.

“It’s hard to imagine a group better suited to recording these works than the Dover Quartet,” wrote New York’s WQXR of the Vol. 1 Op. 18 quartets, often cited as the epitome of the classical string quartet as developed by Haydn and Mozart, while foreshadowing Beethoven’s future innovation. “Beethoven would find it hard to believe that his quartets could be played with such perfection of execution, such beauty of tone, such nuance of expression, and such keen understanding of his music’s meaning and intent” (Fanfare).

Vol. 2, the Dover Quartet delivered “the most profoundly penetrating performances of Beethoven’s middle string quartets” (Fanfare), including the three Op. 59 “Razumovsky” Quartets, infused with Russian folk tunes; the graceful “Harp,” Op. 74, named for its plucked string figures; and the intense Op. 95 “Serioso,” a forward-looking experiment that Beethoven originally intended “for a small circle of connoisseurs.” Only Strings said, “The Dover performances sparkle and thrill. Their virtuosity is immediately apparent.”

Comprising Beethoven’s very last compositions — the five monumental, revolutionary Late Quartets and imposing Grosse Fuge — Vol. 3 “culminates their excellent recordings of all of Beethoven’s string quartets” (Third Coast Review). Remarkable and often daunting works that upended the concept of the string quartet, they are often considered the ultimate expression of Beethoven’s artistry. “This is a monumental achievement by one of the best string quartets playing today” (Classical CD Reviews).

The Dover Quartet has followed a “practically meteoric” (Strings) trajectory to become one of the most in-demand chamber ensembles in the world since sweeping all prizes at the 2013 Banff International String Quartet Competition. In addition to serving as the Penelope P. Watkins Ensemble in Residence at the Curtis Institute of Music, the Dover Quartet holds residencies with the Kennedy Center, Bienen School of Music at Northwestern University (it’s longest residency, dating back to 2015), Artosphere, and Amelia Island Chamber Music Festival.

Franz Liszt’s project of transcribing all of Beethoven’s symphonies took him 25 years to complete. His approach retains a deep fidelity to the original score with piano writing that is sumptuously rich and always perfectly suited to the instrument and its possibilities. A celebration of music as an independent and absolute language, Beethoven’s Fifth Symphony is considered the perfect utterance of his musical philosophy, while the Second Symphony looks to the future as it wrestles with the conventions of symphonic tradition. Gabriele Baldocci’s second volume in this edition (CDS7771) was admired in ClassicsToday.com, in which the ‘Beethoven/Liszt ‘Eroica’ symphony transcription conveys an impressive, multi-levelled pianistic sheen’.

Severin von Eckardstein: The idea is a journey from the earthly to the light, it is about the question of how life and death are connected. Now you can say that it is generally a function of music that it catapults you into a new level of consciousness. But I think the four works on this CD do that in a special way, they radiate a tremendous power. They reflect different personal worlds, were written at different times and spring from different genres and sound ideas, yet they all have a similar function.

This set consists of previously released performances licensed from the PENTATONE label, recorded 2007-11. - ArkivMusic

In the words of Philippe Herreweghe, who leads the Royal Flemish Philharmonic in this complete recording of the symphonic cycle of Beethoven, ‘For a certain part of the orchestral repertoire, so-called “authentic” or “historical” instruments might seem essential in order to achieve a truly convincing performance. This is not the case for Beethoven. Though orchestrated with a genius sense of economy, the power that emanates from these symphonies is not chiefly linked with sonority. Of course, every driven and conscientious musician only stands to benefit from experimenting with the “right” instruments. Using a natural horn can only enrich the inner hearing capacities of a “modern” horn player. It is precisely our experience with historical instruments that allows us to also work with a “modern” orchestra such as this on vibrato control, articulation and even rhythmicity in a stylistically well-considered context. We consider it important to work idiomatically with natural trumpets (Egger) and Baroque kettle drums with a modern tuning system (Kolberg).’

A modern and stylistically flexible symphony orchestra, the Royal Flemish Philharmonic demonstrates an artistic flair which allows for a variety of styles – from classical to contemporary – in a historically authentic manner. Principal Conductor Philippe Herreweghe makes use of his specific background in his readings of pre-Romantic music to lead the group in this new discographic undertaking of Beethoven’s complete symphonies.

Despite the very large number of recordings already made of this musical corpus, Minnaar and de Vriend have proved that they have something new and totally their own to say about this collection of masterpieces. And it is indeed the peculiar blend of sheer energy and esprit de finesse that can be identified as the distinctive brand or these recordings. Gramophone: "a Beethoven cycle [which] is a bold move, but one that pays off in all sorts of ways"

In his later years, SHURA CHERKASSKY (1909–1995) was regarded as one of the last ‘Romantics’ – a throwback to the so-called ‘golden age’ of pianism in the first decades of the 20th century. As a pupil of Josef Hofmann, he had an impeccable pedigree, but we tend to forget his long career meant he was already playing and recording in that ‘golden age’. Here then are these early recordings, complete for the first time, starting in the acoustic era with the young prodigy’s 1923 Victor discs. Much of the repertoire is unique in his discography, including his only recording of chamber music – the Rachmaninov cello sonata. The Tchaikovsky 2nd Concerto, Cherkassky’s earliest concerto recording, has never previously been reissued and reveals the 36-year-old artist at his virtuoso peak.

REVIEWS:

It is a joy to have all these recordings available together. Cherkassky was a supremely gifted and communicative pianist and there is something to admire in every piece in this collection.

-- MusicWeb International

Of special note are the many Chopin pieces and a smashing performance of the Fantasy in F minor from 1950. The latter has reasonably decent sound and gives us the opportunity of hearing what Cherkassky can do with one of Chopin’s masterworks.

Outstanding in-depth notes are supplied by Jonathan Summers, and special praise must be given to Seth B. Winner for his detail about restoration techniques. No lover of the art of the piano can afford to be without this set.

-- American Record Guide

The Weiss Kaplan Stumpf Trio's highly anticipated BEETHOVEN: COMPLETE PIANO TRIOS (BRIDGE 9505A/C three CDs) is now available. The stellar New York City based trio (Yael Weiss, piano; Mark Kaplan, violin; Peter Stumpf, cello) offer deep and full-bodied interpretations of eight immortal masterworks.