Concerto Copenhagen, the Danish National Baroque Orchestra, has developed into one of Scandinavia’s leading Baroque orchestras and has earned its place in the front ranks of the world’s most fascinating and innovative orchestras of this kind. The orchestra now turns to Johann Sebastian Bach’s famous Orchestral Suites. Although extensive research has been conducted for many years, it is not known when the suites were composed. Today everything indicates that the suites were written much earlier than is assumed and then merely had to be adapted to Bach’s new Leipzig circumstances. It is therefore not unusual for them to be performed – as on this recording – without timpani and trumpets. Although the especially popular third suite is a ceremonious, sumptuous work, the material contributed by the wind instruments is hardly of considerable significance. The suite enjoys a top ranking on the charts of Bach’s most attractive and best-loved works. Some of his most popular melodies can be found in their movements. Suite No. 2 in B minor ends with the immensely famous flute solo of the Badinerie (a “joke” comparable to the Italian “scherzo”) frequently employed on television as a signature tune. Here the Johann Sebastian Bach we encounter is not the one who quests for deep spiritual knowledge or probes hidden aspects of the human soul. On the other hand, he rarely wrote mellower, more uplifting melodies or simpler, more elegantly designed dance rhythms than in these twenty-four movements brimming with magical variations, atmosphere, and rich color.

Wilhelm Furtwängler was an avid composer even as a boy. His natural talent developed continuously until he had reached early adulthood. His compositions from these early years included symphonic works and an impressive Te Deum, but the promise they contained was not fulfilled: while Furtwängler quickly was able to obtain increasing success as a conductor, his creative juices ceased to flow for almost a quarter of a century. It was first after his open conflict with the new German regime (in the “Hindemith Affair”), causing him to resign from all his official posts, that his compositional energies once again streamed forth. The yield from the last twenty years of his life, when he apparently was in search of lost times past, included two violin sonatas, a piano quintet, a piano concerto, and three monumental symphonies. And the search was successful: already the Symphony No. 1 in B minor composed between 1938 and 1941 releases with elemental force the energies formerly held back and sends them flowing into architectures of Brucknerian dimensions without the composer ever slavishly following the precedents set by the Austrian master. With this work Wilhelm Furtwängler, standing firmly on Late Romantic tonal ground, thoroughly acquainted with the resources of the philharmonic orchestra, slow and deliberate in his composing, introduced a triptych that can be understood as a memorial to a bygone era and at the same time is to be heard as a hopeful signal.

REVIEWS:

Never publicly performed during Furtwängler’s lifetime, his first symphony has been overshadowed by the rather better-known second. On this new disc, recorded in first-rate sound that uncovers more than a few hitherto unappreciated felicities, American conductor Fawzi Haimor delivers a performance that effectively overcomes the work’s structural deficiencies. As a result, this flawed but nevertheless impressive score may now be appreciated more than ever before.

-- MusicWeb International

Furtwängler’s First Symphony has long been seen as a problem child, but Fawzi Haimor surpasses earlier accounts and finds elegant solutions to its many problems.

-- Fanfare

Felix Mendelssohn composed his three String Quartets op. 44 dedicated to Sweden’s crown prince and later king Oscar I during the years from 1837 to 1838. In 1840 Mendelssohn, who was regarded as an absolute perfectionist, revised these “Trois Grands Quatuors,” which he judged to be »some hundred times better« than all of his previous works. Vol. 3 presents the first two quartets from op. 44. The first, the last of the series to be composed, belongs to the genre of the “quatuor brilliant” – a type in which it is the first violin that shines. Already the introductory “Allegro vivace” is like a concerto movement by reason of the fact that the first violin is mostly accompanied by the three other instruments, often even with orchestral tremolos and timpani imitations in the violoncello. The second quartet, the first to be composed in this series of three, conveys an elegiac and passionate tone and displays expressive passages together with powerful accents.

Michael Haydn wrote his Italian “Serenata” to a libretto by Metastasio on the theme of the lover’s grief felt by the goddess Diana, who took vows of chastity without thinking that she might be hit by Amor’s arrows. This opera in two acts from 1778 celebrated its premiere during Michael Haydn’s lifetime but then was forgotten for more than two centuries; it was first performed again in full in Salzburg in 2018 and now is finally available on cpo. The performance was a cooperative venture of the Institute for Mozart Interpretation, Salzburger Hofmusik, and Johann Michael Haydn Society. The term “serenata” should not be mistakenly equated with “serenade.” It refers to musical tributes for instruments and voices performed mostly in the seventeenth and eighteenth centuries for occasions such as coronations, weddings, and birthdays and ranging in genre from the secular cantata to the full-scale opera. After the successful performance drehpunktkultur. at wrote: “Johann Michael Haydn, the great Joseph’s ‘little brother,’ the ‘Salzburg Haydn,’ is always good for surprises. Wolfgang Brunner introduced the composition with humorous wit and supplied finely felt and energetic accents at the harpsichord, also in the arias. His approach to the performance of the work was perfect and in original sound. The Hofmusik – and, in its sole short appearance, the Mozart University Vocal Ensemble – performed with animo and sympathetic feeling. The audience was extremely pleased.”

During the more recent past, finds in libraries have made it clear that Johann Sebastian Bach held his Gotha colleague Gottfried Heinrich Stölzel in high regard. But what was it about Stölzel’s music that made Bach and some of his contemporaries so interested in it? As in the text of the famous Brockes-Passion, which was set to music by Telemann and Handel and then later by Stölzel, what is involved here is not a biblical text expanded by arias but a free poetic composition based on the Passion. While the Evangelist, like a live reporter, documents Jesus’s last hours, the “Faithful Soul” and the “Christian Church” act from the perspective of knowledge of how events will turn out. The oratorio is divided into twenty-two “Reflections” concentrating the perspectives of the three allegorical figures on particular moments in the action. This impressive music beyond doubt will have a very individual effect on each and every hearer – as was also the case with Bach, who some years later once again took the manuscripts from his music library and used the aria of the thirteenth meditation, “Dein Kreuz, o Bräutigam meiner Seele,” as the basis for his own aria “Bekennen will ich seinen Namen” (BWV 200).

On 23 June 1962, in the Mainz City Theater, Paul Hindemith conducted the premiere of a commissioned work that he had composed together with the writer and dramatist Carl Zuckmayer for the two thousandth anniversary of the former Roman castellum “Mogontiacum.” In their Mainzer Umzug the two authors had the city’s extraordinarily long history, from the Celts to current times, march before the mind’s eye of the public, whose members were delightfully amused by the explanations given by the commentators in dialect and at the end applauded all the participants with tremendous ovations. Despite this success, the Mainzer Umzug has continued to the present day to be a rarity in the catalogue of Hindemith’s works. After two repeat performances in Vienna and Berlin, it disappeared into the publisher’s archive until the conductor Hermann Bäumer again brought it into public view one and a half years ago. This General Music Director of the Mainz State Theater introduces his most recent cpo release with this practically forgotten parade, continues with the popular Symphonic Metamorphoses of Themes by Carl Maria von Weber and the prelude to the Requiem When Lilacs Last in the Door-Yard Bloom’d, and rounds things off with a stylistically genuine bonus that is an absolute must: the Narrhalla-Marsch with which the military musician Georg Karl Zulehner, one of the founding fathers of the Mainz Carnival Society (MCV), created the »theme song« for all female and male Carnival revelers.

At long last our successful Reger Edition continues on its way. The critics have been more than enthusiastic about the previous releases, and Musik & Theater even stated: “These recordings number among the best currently available in the field of Reger’s organ music.” This month we are releasing Vol. 7, again with two albums in the best SS, and this time featuring Reger’s five easy-to-play Preludes and Fugues op. 56. Although the composer termed this composition “an organ work of small caliber” in a letter to the publisher Lauterbach & Kuhn, the critics reacted positively, and the organist and composer Robert Frenzel numbered its pieces, which form anything but a secondary work, “among the most poetic phenomena in the most recent organ literature.” And we absolutely have to agree with him. The generic combination of “Prelude and Fugue” is frequently assigned to the realm of so-called absolute music, but Reger’s op. 56 does not seem to belong to this world in which only the musical structure is of significance; instead, particularly the preludes, which mostly practice dynamic moderation – like many of the “pieces” from op. 59 and other works – are distinguished by a pronounced poetic character.

Following marches, polkas, and waltzes by Benjamin Bilse, Richard Eilenberg, Josef Gung’l, and Carl Millöcker, this new release is now the fifth cpo album with the conductor Christian Simonis. This time he turns to two members of the Fahrbach family of musicians: to Philipp Fahrbach the Younger and Philipp Fahrbach the Elder. In mere numbers the members of the Fahrbach family by far surpassed the members of the Strauss family. Like the Strausses, the Fahrbachs also composed superb dances and marches. Moreover, in the Vienna and Austria of those times the Fahrbach dynasty of musicians contributed enormously to the music culture and development of popular music not only in the capital city’s region but also beyond it. The titles of the works, the occasions of their composition and performance, and not least the music itself with all its allusions are in the oeuvre of the Fahrbachs just as much »history in music« as they are in the compositions by the Strauss family. The Fahrbachs are no longer so famous today simply because of the poor state of the surviving source documentation. Like his father, Philipp Fahrbach the Younger was a conductor of military and private orchestras and in this capacity of course also a composer. The waltzes of father and son in particular enjoyed great favor among the public and music critics. The musical oeuvre of Philipp Fahrbach the Younger comprises more than five hundred compositions, most of which can be assigned to the genres of Viennese dance and march music. His most successful and most famous work is also heard on this album: the brilliant polka française “Im Kahlenbergerdörfel” op. 340.

The compositions on this album, broadly considered, are connected with Beethoven’s efforts on behalf of the theater, and they also attest to his desire to compose for the larger public without having to lower his standards. The center here is formed by his music for Goethe’s Egmont. The Dutch Count Egmont failed in his resistance against the tyrannous rule of the Duke of Alba and was executed. The decisive factor in Beethoven’s choice of this subject must have been that Goethe himself assigned a dramaturgically important role to music above all at the end of his play, and in his composition Beethoven followed these pretextual givens to the letter. When Egmont, in prison prior to his execution, sees the vision of his beloved Klärchen as the personification of liberty, then Egmont’s words and the musically designed vision join together in a melodrama. The album also includes three overtures and Wellington’s Victory, in which Beethoven combines the older tradition of the “battaglia,” the musical depiction of a battle, with victory pathos. Its effect lies not so much in the masterful treatment of the musical material itself as in the development of a spatial dimension for a realistic battle scene and in the big sound overpowering the listener, in short: in its theatrical character. During Beethoven’s lifetime it was his most successful composition.

The highly esteemed Cipriani Potter bequeathed a rich compositional oeuvre to posterity. Born in London in 1792, Potter received his education as a composer from Thomas Altwood, William Crotch, and Joseph Wölfl. He later traveled to Vienna, where he continued his studies with Aloys Förster on Beethoven’s recommendation.

Back in England, he soon became a sought-after composer and pianist. During a commemorative event held by the Musical Association in London, he was praised for his nine symphonies – and in particular for the first, in G minor, which is heard on this new release.

The first movement from the very start attests to Potter’s dramatic instinct; his favorite compositions included works charged with suspense like Mozart’s overture to Don Giovanni. Potter was one of the first renowned composers from England to write symphonies based on his experience of Mozart’s late oeuvre and Beethoven’s orchestral music. The furious “Allegro con spirito” first movement of his G minor symphony is a bold stroke of genius filled with powerful melodic invention in combination with masterful thematic development.

The phenomenal pianist Potter also repeatedly presented cabinet pieces for the piano. He composed the “Introduction” followed by a “Rondo in the Military Style” of 1827 six years before his first piano concerto. Like the “Variazioni di Bravura on a Theme by Rossini” for piano and orchestra also dating from the late 1820s or the “Introduction and Rondo Giocoso” for solo piano, they offer listening pleasure in which Potter’s humorous side, a trait mentioned by many who knew him, is revealed.

REVIEWS:

Londoner Cipriani Potter is a figure for music histories. He is one of those figures alongside Sterndale Bennett who peopled nineteenth century Britain while it was supposedly a "land without music". His teachers included William Crotch and Joseph Wölfl; the latter of whom is also enjoying reborn attention at the hands of CPO. The First Symphony was written after some years in Vienna continuing his studies with Beethoven's endorsement. Back in London, he attracted praise for his symphonies and the 24-minute First was among these. A four-movement work, it wastes no time in establishing itself with some crushing Beethovenian rhetoric and with buoyant fast passages which balance anxiety with celebration. There's a temperate and freshly imagined Andante, a dignified but not rigorous Minuetto and a flighty finale, lightly orchestrated at first and then heavily accented. The 20-minute Introduzione e Rondo for piano and orchestra is a cheery piece, written in the year of Beethoven's death. Its light-fingered witty display does not subjugate musical freshness. It's the first of eight works by Potter for piano and orchestra of which three from the 1830s are piano concertos.

You might think in terms of Chopin's non-Concerto works for piano and orchestra: Variations on "Là ci darem la mano" (1827) and Krakowiak (1828). The Potter piece is utterly charming and devastatingly fresh. Claire Huangci does not disappoint. There are three Shakespeare-based overtures from Potter's very prolific 1830s: Antony and Cleopatra (1835) and The Tempest overture (1837). The Overture to Cymbeline (CPO favour 'Cymbelene') is heard on this disc. The writing here has a Mendelssohnian accent and when it becomes emphatic has you thinking about Schumann. It's very accomplished and at times there is quite delicate writing (as at 2:57). This does not preclude some volcanic writing familiar from the outer movements of the First Symphony.

These three works have a convincing support act from the liner essay by one of the most knowledgeable of music-writers, Meinhard Saremba. I hope that we will hear more from him. This disc looks like a fierily encouraging start of another series from CPO.

Momentous Beethovenian writing coupled with a well recorded freshness that takes this music beyond the work of a mere shadow.

-- MusicWeb International

The premiere of Franz Lachner’s Symphony No. 6 was held in Munich on 19 April 1837 with the composer as the conductor. The Munich press termed it a “magnificent work” and an “outstanding masterpiece,” and in this truly extraordinary work Lachner refrains from the confrontational juxtaposition of large-format thematic blocks (above all occurring in his third and fifth symphonies), instead presenting a “more organic” compositional style in which motivic-thematic developments are realized step by step. Lachner’s Concertino for Bassoon and Orchestra is a work from 1824, composed during his Vienna years. He dedicated it to Theobald Hürth, who was then the Vienna Court Opera Orchestra’s principal bassoonist. It is not known whether or not Hürth ever performed this work in public, and performances of it are not documented. It is one of the earliest extant compositions by Lachner and possibly his first work with orchestra. Here Chia-Hua Hsu, the solo bassoonist of Taiwan’s Evergreen Symphony Orchestra, interprets its recording premiere.

Da capo!” This is what Emperor Leopold II shouted in the Vienna court theater in 1792 – and all the musicians once again began the musical fun from the beginning. Il matrimonio segreto is the only opera that has ever had the honor of being repeated in full at its premiere, so very much did the comical musical goings-on please its distinguished audience. On the occasion of the fortieth anniversary of the Innsbruck Early Music Festival Weeks, the conductor Alessandro De Marchi again at long last led a performance of Cimarosa’s most popular opera in historical performance practice and in original sound. The music forms a direct transition from the Baroque opera to the Bel Canto era of Rossini and in every way merits a production in which the musical and vocal practice of Cimarosa and Mozart’s times is brought back to life. Nowadays Cimarosa’s opera is always heard in greatly abbreviated versions; repetitions and parts of arias often end up being eliminated. Alessandro De Marchi: “Though precisely these repetitions are interesting because in them the female and male singers, just as then was still the practice, are able to vary and improvise.” The orchestral sound is also more colorfully and sharply contoured when original instruments are used. For the anniversary occasion everybody was supposed to have good reason to laugh, and this opera is optimally suited toward this end. The tradition of the opera buffa, with its origins going back to the commedia dell’arte, in this work experiences a “high point full of irresistible moments of fun, on the stage and in the music” as De Marchi puts it.

Since only a very few compositions from Johann Wilhelm Hertel’s complete oeuvre were printed during his lifetime, the dissemination of his music was very limited and restricted. The rediscovery of this master’s two cello concertos in the early 1990s already represented a great enrichment of the repertoire of violoncello concertos from the age of Empfindsamkeit and the style galant around 1750. Bettina Messerschmidt became acquainted with Hertel’s music at the beginning of her career as a Baroque cellist and enthusiastically welcomed the warmth, power, and melodiousness of his compositions right from the very start. In the concertos she often develops a dialogue between the cello and the strings through contrasting expression of an intensity recalling the cello concertos written by Carl Philipp Emanuel Bach around the same time. Along with two symphonies by Hertel, his only organ concerto, in all probability composed during 1756-57, is heard on our new releases. Here too the organ shines in dancy movements with fiery figurations

On her solo debut album, Muffat Meets Handel, the successful young harpsichordist Flóra Fábri performs harpsichord pieces by precisely these two composers. Although the dates of the two musicians overlap for a period of almost seventy years, the same thing happened in this case as with many of Handel’s contemporaries: the two never met personally. However, unlike Bach and Mattheson, here musical awareness of the other did not operate in accordance with a »one-way-street principle«: it was not only Muffat who admired Handel and arranged his music; the process also functioned the other way around. In contrast to Handel’s Muffat arrangements, in his Handel arrangements Gottlieb Muffat dealt much more gently with the originals and left many parameters unchanged. Something like a relationship of “soul mates” can be detected in their mutual inclination to arrange each other’s works. This in turn forms the essential prerequisite for the dialogue of minds on which the program on this album draws: the adventure of a conversation between two exceptional musical talents without the use of language, without any direct physical contact, and over a distance of at least 1, 593 kilometers (as the crow flies). It is first when the creative production of the one flows into the other’s work that it has the chance to grow beyond itself.

Our Leo Fall cycle continues with Die Rose von Stambul (The Rose of Stamboul). This operetta in three acts offers music that is full of feeling. This highly emotional work celebrated its premiere with great success at the Theater an der Wien in 1916. Die Rose von Stambul’s 422 straight performances made it the most successful operetta in the history of the Theater an der Wien, next to Franz Lehár’s The Merry Widow. Within the shortest time performances followed throughout Central Europe. However, like Emmerich Kálmán’s The Csárdás Princess, it did not become an international success – primarily because of World War I, since the theaters of the Allied counties had stopped staging German-language works. Achmed Bey, the son of a Turkish minister, is married to Kondja, “The Rose of Stamboul.” However, she has exchanged letters with a passionate novelist and fallen in love with him. What she does not suspect: none other than her husband is behind this pseudonym –which provides plenty of opportunities for the expression of emotions – rendered in the Viennese waltz mode (“Ein Walzer muss es sein”) or tunes of Oriental flair.