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Daniel Müller-Schott, always driven to expand the musical repertoire for his instrument and with a keen sense of transcriptions, for this all-Grieg album – which is his 20th album on the label Orfeo – hence transcribed and recorded for the first time the violin sonata in C minor, Op. 45, No. 3, for the cello. Accompanied by his long-standing duo-partner Herbert Schuch on piano, the short \u003cem\u003eIntermezzo\u003c\/em\u003e in A minor (EG 115) guides us to the second part of the album, where the duo presents selected songs of various characters transcribed for cello and piano.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell4_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eCello originals and borrowings played with great allure… The instrument’s cantabile qualities ensure that the selection of Grieg song transcriptions works equally well, with Müller-Schott presenting a nicely wide-ranging choice. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e-- The Strad\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEdvard Grieg’s cello sonata ekes out a shadowy existence in his oeuvre. Daniel Müller-Schott and Herbert Schuch enter the music with the Allegro agitato in such a furious and energetic way that one is carried away by this inner fire and its power. Even in the Andante, for all its lyricism, there remains much nervousness. The finale is buoyant and dance-like, all nervousness has gone, but the energy remains.\u003c\/p\u003e\n\u003cp\u003eGrieg himself considered the violin sonatas his most important works. Daniel Müller-Schott has rewritten the third for cello. Müller-Schott and Schuch play with the greatest expressivity, very full of contrasts, and thus create a tension even through the second movement that does not even dissolve in the Allegro animato.\u003c\/p\u003e\n\u003cp\u003eAlso in the smaller pieces, there are two Agitatos, so that even this part of the CD is not characterized by charm throughout. And so there is one thing we probably retain from this release: the exceptional energy and intensity with which the performers play their Grieg. I think even the composer would have been amazed.\u003c\/p\u003e\n\u003cp\u003e-- Pizzicato\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012613886186,"sku":"4011790240015","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4119050-2873406.jpg?v=1778240293"},{"product_id":"pfitzner-the-little-elf-of-christ-donath-eichhorn-bavarian-radio-choir-munich-radio-orchestra","title":"Pfitzner: The Christmas Elf \/ Eichhorn, Munich Radio Orchestra","description":"To many contemporaries it might seem incomprehensible that Pfitzner had his poetic and musical masterpiece \u003cem\u003ePalestrina\u003c\/em\u003e followed by this slight fairy-tale opera, whose libretto could scarcely satisfy higher artistic demands. Pfitzner was captivated by the cozy sphere, reminiscent of old picture-books, of this typically German Christmas fable (in which also appear folklore figures like Knecht Ruprecht). The sound of Christmas bells and carols awakens in an elf the wish to draw close to humans. Although the old fir tree warns the elf of the heartlessness of the human race, he has his way and leaves his forest home. He in fact becomes acquainted with grief and illness and at last offers himself to be taken to heaven instead of Trautchen. The Christ-child agrees to the exchange, Trautchen is cured, and from now on the elf will come to earth from heaven each year at Christmas as a Christmas elf. The piece ends with a happy Christmas party by Trautchen’s family. The present recording is a production by the Bavarian Radio in which the original texts that Pfitzner placed between the individual numbers are replaced by a text by German journalist and literary writer Alois Fink. Sung and spoken in German language, the booklet contains a synopsis in English.","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012620439786,"sku":"4011790437026","price":13.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4129434-2899519.jpg?v=1778240311"},{"product_id":"christmas-concert-helen-donath-orfeo","title":"Christmas Concert - Classical to Carols \/ Helen Donath","description":"\u003cp\u003eRecorded here is something which normally is evanescent over the airwaves or in the Philharmonie am Gasteig: the pre-Christmas evening in the series of Munich Sunday concerts, featuring Helen Donath as one of the most distinguished lyric sopranos of her times, the boys’ choir Regensburg Cathedral Sparrows and the Munich Radio Orchestra under the musical direction of Kurt Eichhorn. On this special evening, excerpts from Händels Messias could be heard, followed by Arcangelo Corelli’s Concerto grosso Op. 6,8 Concerto per la notte di natale, Mozart’s Motette Ave verum corpus KV 618 and the Laudate Dominum from the Vesperae solennes de confessore KV 339, Christmas carols performed a cappella by the Regensburg Cathedral Sparrows (dating mostly from the 17th and 18th century) and Mozart’s Exsultate, jubilate KV 165.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHere is a reissue of a Christmas Concert (\u003cem\u003eWeihnachtskonzert\u003c\/em\u003e) from Munich’s Philharmonie am on December 11, 1988 which begins with a sequence of six\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMessiah\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eexcerpts, starring as soloist the great soprano Helen Donath. It has been issued before – as you can see, the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eYouTube\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eexcerpts have a different cover – and it sees daylight once more to grace Yuletide 2022.\u003c\/p\u003e\n\u003cp\u003eThese concerts were a regular event in Munich, with the Regensburger (literally, “Regensburg Cathedral Sparrows”) and the Munich Philharmonic under Kurt Eichhorn. When it comes to Corelli and Handel. This is pretty much good old-fashioned modern instrument interpretation of Baroque music, but injected with energy. Here are a couple of movements from the Corelli Christmas Concerto (Concerto grosso, Op. 6\/8) to give you an idea. The\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMessiah\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cem\u003eMessias\u003c\/em\u003e) excerpts are all sung in German – so “Glory to God” becomes “Ehre sei Gott”; but what a choir this is.\u003c\/p\u003e\n\u003cp\u003eThree Mozart pieces bookend the carol part of the programme: initially the choral\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAve verum corpus\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(K 618), restrained and beautiful, and this, a supremely beautiful “Dominum” from\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVesperæ solennes de confessore\u003c\/em\u003e, K 339. The carols are heartwarming, and performed\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ea cappella\u003c\/em\u003e. Johann Stobäus’\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNun laßt uns mit den Engelein\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a lovely chorale carol, each phrase beautifully sculpted, as are the phrases of Bach’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIch steh’ an deiner Krippen hier\u003c\/em\u003e. I admit a weakness for Johannes Eccard’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eO Freide über Freund’\u003c\/em\u003e. But I think it is\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAdeste fideles\u003c\/em\u003e, beloved of all, surely, that sums up the glory of this choir.\u003c\/p\u003e\n\u003cp\u003e…and what a perfect way to close, with that lovely Mozart\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eExultate, jubilate\u003c\/em\u003e, K 165, festive and joyous (and listen tot he trills in her solo vocal cadenza in the first part. After a tender “Tu Alleluja ,” with Donath’s voice bright and agile, each note like a pinprick of light. There is a rather nice, extended interview with Helen Donath by Bruce Duffie available here, laced with many photos, plus scans of Donath’s famous record sleeves. A real treasure of a disc, and a step back in time! At a generous 77 minutes in duration, this is a lovely, heart-warming Christmas disc.\u003c\/p\u003e\n\u003cp\u003e-- Classical Explorer\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012621226218,"sku":"4011790446011","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4129134-2896357.jpg?v=1778241530"},{"product_id":"handel-judas-maccabaeus-4011790475028","title":"Handel: Judas Maccabaeus","description":"\u003cp\u003eWhen Handel composed his Judas Maccabaeus in 1746 he had brought to an end his activity for the (Italian) opera in London and begun a second career as an oratorio composer, which at first got off to a very successful start but then soon experienced a decline, for which there had been various causes. Judas Maccabaeus is the evidence that Handle had recovered from this setback, and to this day the work is considered one of his most successful. Rafael Kubelík relies, without ifs and buts, on the Handel Edition by the North German musical scholar Friedrich Chrysander that appeared in the second half of the 19th century and represents a monument of the scholarly musical historicism that probably could appear only in Germany and not in England, Handel’s artistic home. Apart from the old-fashioned German translation, most astonishing is the drastic cuts that Chrysander made. This historical live recording from 1963 presents Fritz Wunderlich as Judas together with Agnes Giebel, Julia Falk, Naan Pöld and Ludwig Welter.\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012622110954,"sku":"4011790475028","price":13.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4129433-2899520.jpg?v=1778207257"},{"product_id":"george-london-4011790502014","title":"George London Sings Offenbach, Tchaikovsky, Borodin, Verdi \u0026 Wagner","description":"\u003cp\u003eThe present album is a re-release of Bavarian broadcast recordings of 1953-56 featuring legendary bass-baritone George London at the height of his career. Upon its initial release, the album received glowing reviews from critics and fans, and this now can be enjoyed by a new generation of listeners. “(The) collection is vintage London all the way“ (American Record Guide) “The extracts from Aida and Die Walküre with Astrid Varnay are electrifying“ (BBC Music Magazine) “This is a worthy representation of a singer whose career was ended too soon.“ (International Record Review)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe excerpts on the present disc are uniformly excellent, and the recorded sound is surprisingly good. … London is a sensitive and expressive Dr. Miracle, and with excellent assistance from Teresa Stich-Randall and Maria von Ilosvay. With Russian speaking parentage, London had a special leaning towards Russian operas…\u003c\/p\u003e\n\u003cp\u003eThat London was a great Wotan is very obvious, even more so in the concluding farewell, where his sensitiveness and beauty of tone is striking. One rarely hears such legato singing in Wagner.\u003c\/p\u003e\n\u003cp\u003eLondon sings Prince Igor’s aria with great dignity and feeling but it is the three final items with Varnay that form the high point of this album, in that they contain both the greatest music and the finest partner.\u003c\/p\u003e\n\u003cp\u003eThe playing of the BRSO is fine throughout and all three conductors ensure idiomatic execution.\u003c\/p\u003e\n\u003cp\u003e-- MusicWeb International\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLondon’s voice was massive, focused and dark, with an exciting and secure top. In these recordings he never blusters, and he sings with verbal acuity, noble tone and dramatic verve…The remastered sound is excellent.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- Opera Now\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt’s good to see a dedicated London CD appear on Orfeo, which concludes with the closing sections of \u003cem\u003eDie Walküre\u003c\/em\u003e, where the great American bass-baritone is heard in duet with Varnay under the direction of Varnay’s husband, Hermann Weigert, who is especially sensitive with accompanying lower string lines near the start of Wotan’s Farewell. London’s deep rolling voice…makes a strong impression.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- Gramophone\u003c\/span\u003e\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012623782122,"sku":"4011790502014","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4112441-2861843.jpg?v=1778240315"},{"product_id":"orff-prometheus","title":"Orff: Prometheus \/ Kubelik, BRSO","description":"\u003cp\u003eWhat Carl Orff created with the Prometheus score is neither an opera in the traditional sense nor an oratorio, but also not a play with music or even “authentic” classical tragedy: far more is it an extremely individual musical interpretation of Aeschylus’s tragedy that concentrates primarily on the symbolic imagery of the scenes, which – as Orff himself said – “is accentuated and visualized by the music” and the spectator and hearer thereby enlightened.\u003c\/p\u003e\n\u003cp\u003eThe work is sung in Ancient Greek; the booklet contains a plot synopsis in English and German languages, plus liner notes.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis CD of Carl Orff's Prometheus, released on the Orfeo label, is based on live recordings by Bayerischer Rundfunk from October 1st and 2nd, 1975 in the Herkulessaal of the Munich Residenz. Two concert performances were recorded, which took place in honor of Orff's 80th birthday. Of all the events held in Munich to mark the composer's milestone birthday, these two were considered the greatest. But that's no wonder, because the work, which was successfully premiered on March 24, 1968 at the Stuttgart State Opera, is a real masterpiece. Here we are dealing with a real rarity.\u003c\/p\u003e\n\u003cp\u003eThe very informative booklet shows that Orff did not in any way claim that this was an educational theater for the initiated, but only drew the consequences from the mythical power of language of Aeschylus. Orff's decision was good. The ancient Greek language gives the whole, both sung and declaimed passages, an extremely strong, haunting expression that is typical of this type of musical theatre. Ultimately, Orff was concerned with capturing the spirit of ancient theater by evoking it again with thoroughly modern means, with the aim of interpreting it anew and for our time (booklet). Orff has completely succeeded in this. His intention has worked in every respect. The impact of Prometheus is even greater than that of his predecessors, Antigone and Oedipus, previously written by Orff. Particularly impressive are the fully sung prophecies of the eponymous hero chained to the rock as well as the choruses, which are only entrusted to women. These breathe enormous intensity and lead the listener away from a normal opera to a new form of music theater for which Orff was the godfather.\u003c\/p\u003e\n\u003cp\u003eAlthough the orchestra with the brilliant percussion, which is only joined by wind instruments and double basses, is not very pronounced, its outbursts are nevertheless powerful...Rafael Kubelik succeeds in exploring the diverse and quite unusual musical structures. Under his proven leadership, the Bavarian Radio Symphony Orchestra has surpassed itself. The conductor relies on a distinctive, rhythmically concise and often almost violent sound that corresponds excellently to the content of the work.\u003c\/p\u003e\n\u003cp\u003eThe singers put themselves entirely at the service of this great piece. The first to be mentioned here is Roland Hermann, who impressively proves that even a modern game like Prometheus can be mastered with a fantastic Italian technique. His beautiful baritone manages the balancing act between expressive singing and pathetic declamation magnificently. In her own way, Colette Lorand comes up with a very complex portrayal of the role of Io Inachis.\u003c\/p\u003e\n\u003cp\u003eConclusion: An interesting recording of an unusual work, the acquisition of which is definitely to be recommended.\u003c\/p\u003e\n\u003cp\u003e-- Das Opernfreund\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012624896234,"sku":"4011790526027","price":13.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4210450-3206452.jpg?v=1778266585"},{"product_id":"beethoven-the-piano-concertos-and-choral-fantasy-rudolf-serkin-kubelik","title":"Beethoven: 5 Piano Concertos \u0026 Choral Fantasy \/ Serkin, Kubelik, BRSO","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThese Bavarian Radio recordings, first released in 2005, constitute Rudolf Serkin's third and final edition of the Complete Beethoven Piano Concertos, and were the only performances to be recorded in the concert hall, not in the studio. As such, they fittingly complete both his discography and his artistic legacy as one of the 20th century’s indisputably great pianists. This jewel case presentation, complete with booklet notes in German and English, is a re-release of the original 3-album box set that went out of stock following healthy sales.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor at least a half century Beethoven’s piano concertos played a central role in Rudolf Serkin’s repertoire. Yet out of all the Serkin Beethoven concerto cycles on disc, the present one, recorded over the course of three concerts in October and November of 1977, offers the most consistent artistic and sonic satisfaction.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe slightly distant yet attractively robust engineering conveys a cogent sense of concert hall-realism, and not just to the benefit of Rafael Kubelik’s superb Bavarian musicians. It also reveals Serkin’s elusive, difficult-to-record sonority in more flattering, three-dimensional light than the gaunt, often monochrome impression one gleans from his Columbia Masterworks sessions. As a result, the concentration and inner tension Serkin brings to the slow movements comes off with more warmth and sustaining power.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlthough Serkin at 74 may not have been the impetuous, fiery virtuoso in the first three concertos’ finales that he was in his 40s, when he recorded them for CBS Masterworks, his technique nevertheless is still assured, alert, and responsive, and far more energized than in his relatively careful and labored collaborations with Ozawa.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHowever, Serkin must have drunk from the fountain of youth before hitting the stage for the Choral Fantasy (Kubelik, too, for that matter). The performance radiates inspiration from start to finish, highlighted by Serkin’s ardent yet cannily structured opening cadenza, the chamber episodes’ zestful give and take, plus massed choral and orchestral tuttis that at once communicate elemental power and textural clarity. Let’s hope this major addition to Serkin’s discography will encourage Sony not to leave its own complete Serkin edition hanging.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor all fans of the pianist and\/or the conductor, this release is a must. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e--ClassicsToday.com (Jed Distler)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis recording of Serkin from 1977 highlights a 20th-century great who brought musical purpose and intellectual rigour to every detail. Serkin ranks among the greatest of 20th-century pianists; his repertoire ranged from Bach to Reger, but Beethoven was always at its very heart. In the autumn of 1977, in the Herkulessaal in Munich, he played all five Beethoven concertos as well as the Choral Fantasy in a series of concerts with the Bavarian Radio Symphony Orchestra under Rafael Kubelík, another musician who, like Serkin, always put himself at the service of the music. Recordings of those performances were first released on disc in 2005...their reissue now makes available again what is in every respect a historic musical document.\u003c\/p\u003e\n\u003cp\u003eSerkin was never interested in ingratiating himself through honeyed phrases or silken tone. Instead in these interpretations there is musical purpose and intellectual rigor in every detail. Whether it’s the almost combative muscularity he brings to the piano’s first entry in the third concerto, or the instant authority of his torrential opening to the Emperor, it sets the tone for all that follows, constantly drawing equally intense responses from Kubelík and his superb orchestra. The accounts of the slow movements are just as remarkable; there’s a hymn-like calm to the Largo of the third, a consoling sweetness to the fourth’s exchanges between the soloist and the orchestra. All are in short, remarkable performances, not only among the finest available on disc, but further reminders of just how peerless a Beethoven interpreter Serkin was.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e--The Guardian \u003c\/em\u003e(Andrew Clements)\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012626534634,"sku":"4011790647036","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4046162-2792268.jpg?v=1778241525"}],"url":"https:\/\/arkivmusic.com\/collections\/test-orfeo.oembed?page=14","provider":"ArkivMusic","version":"1.0","type":"link"}