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Schumann: Symphonies No 2 & 4 / Zacharias, Orchestre De Chambre De Lausanne

MDG

SACD

$24.99 May 01, 2012

SCHUMANN Symphonies: No. 2; No. 4 • Christian Zacharias, cond; Lausanne CO • MDG MGD 940 1745-6 (SACD: 64:51)

This is the first time I have ever heard these symphonies played gracefully by a chamber orchestra. What makes them so beautiful is that Christian Zacharias does not employ his orchestra’s limitation of size as an excuse for delivering spiky phrasing and rude noises. (Roger Norrington! Beware of Dog!) What I encounter instead in these performances is the delicacy of Schumann’s piano suites and the fine ear of a pianist who knows this music must dance. In fairness, the Lausanne Chamber Orchestra is not that small—perhaps 50-strong here—but usually the temptation would be to overcompensate with smaller-dog tensile energy.

Happily we find instead kinder, gentler versions of big-orchestra Schumann. This approach works best in the inner movements of both symphonies, but also especially well in the danceable opening allegro of the Fourth. Taken a bit faster than usual, the Adagio of the Second Symphony could actually propel a couple gracefully around the room. In the outer movements we get similar tea-dance spirit, but at the slight expense of something larger and more exciting. This is such smooth, euphonious cozy Schumann; it is almost Dvo?ák.

Schumann, of course, was obsessed by the sound of disembodied trumpets during the composition of his Second Symphony. And there is more metaphysical fear and Wagnerian mystery to be captured in its introduction than heard here. Christoph Eschenbach evoked this hauntingly in his Bamberg cycle for Virgin in the early ’90s. And Ernest Ansermet, just up the road in Geneva, didn’t do badly with it, either. Small forces have difficulty with the stasis of mood and mystery. In particular, tremoli with a large complement of strings can evoke the infinite nature of things. But in reduced numbers, they demystify and can pester like flies at a picnic.

So I shall not argue that Zacharias has exhausted the possibilities found in these symphonies, just that the beauty of his approach will surprise you, in delicious but unobtrusive surround sound. If there is perhaps more grit, force, and sheer amorous passion to be found in the Second Symphony, well, Clara Schumann would certainly have thought so. As a small symbol in her diaries reveals, she and Schumann had sex virtually every day for 10 years! I always suspected girls loved Schumann!

FANFARE: Steven Kruger

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Schumann: Symphonies No 2 & 4 / Zacharias, Orchestre De Chambre De Lausanne
MDG May 2012
SACD
$24.99

Theodor Von Schacht: Symphonies, Vol. 1

CPO

$18.99 Apr 29, 2014

SCHACHT Symphonies: in C; in E?; in E?, “Echo” • Gernot Schmalfuss, cond; Evergreen SO • CPO 777 737-2 (79:33)

CPO’s liner notes for this release are typically long, but surprisingly focused entirely on music-making in the Perpetual Diet of Regensburg. Nothing about Schacht, and none of the musical analysis CPO typically offers. The latter is most surprising, given that two of the works on this record are truly imaginative examples of the Haydn symphony’s further development.

Let’s start with a brief note about the composer. Theodor von Schacht (1748–1823) was a pupil in Stuttgart of Jomelli, between 1766 and 1771. His subsequent career centered almost entirely around Regensburg: appointed musical intendant and creator of the Court’s Italian Opera in 1774, of its German Singspiel company in 1778, and of a renewed Italian Opera in 1784. He became musical director of the Court’s orchestra in 1786. Schacht was well regarded both at home and abroad, and decided in 1805 to try his luck in Vienna. There his sacred music proved very popular—popular enough, at any rate, for Napoleon in 1809 to commission six solemn Masses from Schacht. He moved to Württemberg in 1812, and back to Regensburg in 1819. I’ve found no indication as to when he was ennobled and acquired his von, but presumably it was achieved either from Prince Karl Anselm during Schacht’s first lengthy stay in Regensberg, or from Austria’s Archduke Rudolf, who gave Schacht his protection while the latter was in Vienna. (Rudolf was a great patron of Beethoven, and received many dedications from the latter. Yes, including the so-called “Archduke” Trio.)

The symphonies are remarkably inventive. While presenting a Haydn-like synthesis of Italian, German, and French traits, they display a richer chromatic harmonic and thematic vocabulary. (The Regensburg rulers had family ties with the Esterháza, and there was a lively exchange of musical materials over decades. One symphony of Schacht’s was actually credited for a while to Haydn.) The Andante of his Sinfonia in C jumps at one point directly from a passage in F Major to one in A? Major; and the trio in the same Sinfonia’s minuet explores a modulating chain from its home key of C Major—by way of delicately handled solo and paired winds—through B Minor, A Major, A? Minor, E? Major, D Major, etc. The effect in retrospect is Schubertian, and not merely here, for short bursts of wide-ranging harmonic progression occur in most of his movements. This isn’t to suggest that Schubert was influenced by Schacht, but that the latter was a composer with an ear to the latest musical developments, and the skill to capitalize on them in ingenious ways.

If these works are typical of his symphonic output, then Schacht, like Haydn, had a love of the theme and variations form. Both the undated symphonies on this album (the sinfonias in C Major and E? Major; the Sinfonia con Eco in E? Major is credited to 1775, and sounds earlier than the others) employ this for their slow movements. He not only varies the entire theme, but suddenly expands short motivic sections of it, either after a fashion that extends the theme when it returns, or moves it in an entirely new direction. Once again like Haydn, his rondo finales play games with meter, accent, rhythm, postponed cadences, false final cadences, and sudden expressive, harmonic shifts. Grove I notes that Schacht’s instrumental music was less notable for its contrapuntal interest, but in fact his two- and three-part writing is often striking, made more so by his sensitive orchestration. I shouldn’t be surprised if these works begin to make their ways into concerts.

Gernot Schmalfuss doesn’t lack energy, nor the Evergreen SO of Taiwan lack precision, discipline, and color. I would have preferred more attention spent on phrasing in the warmer galant material—Schacht has a gift for ravishing bel canto melody, which he rightly rations for a few special moments—and Schmalfuss takes the Andante movement of the C-Major Symphony at 114 bpm, which vitiates some of the composer’s sensuous writing. But overall, these are good readings, especially tight in the bustling finales, with careful attention paid to dynamics. CPO’s engineering is less distant than in some of their releases, and does a good job of catching Schacht’s bright, frequently shifting orchestral palette.

As charming as Weber’s symphonies, Schacht’s are considerably more substantial than his. And since this is labeled “volume one,” we can look forward to future installments. Meanwhile, don’t miss this.

FANFARE: Barry Brenesal

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Theodor Von Schacht: Symphonies, Vol. 1
CPO Apr 2014
CD
$18.99

David Matthews: Anna: Symphonic Diptych; Symphony No. 11; Fl

SOMM Recordings

$20.99 Oct 17, 2025

SOMM Recordings is proud to present an album devoted to works by David Matthews, hailed as one of the leading symphonists of our time. His diverse output is superbly represented here by a Symphonic Diptych from his opera, Anna; his Symphony No. 11; and his Flute Concerto. The release features Dutch conductor Jac van Steen and the Ulster Orchestra, of which he is Honorary Principal Guest Conductor. Both are frequent SOMM collaborators, most recently on Manuel de Falla: The Three-Cornered Hat, Nights in the Gardens of Spain & Seven Spanish Folk Songs, SOMMCD 0694, about which Gramophone magazine wrote, "when van Steen unleashes the full orchestra... The tone is big and generous." They are joined by flautist Emma Halnan, winner of the BBC Young Musician Competition in 2010 in the woodwind category. She was also elected an Associate of the Royal Academy of Music (ARAM) in the Academy's 2024 Honours, recognizing alumni of the Academy who have distinguished themselves in the music profession. Emma enjoys commissioning new works, and composers who have written for her include Sir Karl Jenkins, James Francis Brown, and, as here, David Matthews. David Matthews' first opera Anna had it's concert premiere at The Grange Hampshire in July 2023, conducted by Jac van Steen. Shortly afterwards, Jac suggested that David should make an orchestral reduction, as Strauss had done for his Intermezzo and Die Frau ohne Schatten. So, in this Symphonic Diptych, David has compressed the opera into two movements, one for each act-I. Anna in Love and II. Lament for Anna-which tell the story in purely orchestral terms about a brother (Peter) and sister (Anna) and their different reactions to the revolution that has just taken place in their country. In transferring all the vocal parts to instruments, David has slightly increased the opera's orchestra. In 2022, at the Presteigne Festival, David Matthews heard some striking trumpet playing at an orchestral concert. The next day, he wrote a few bars of quiet trumpet solo over a string chord. At first, he did not know what to do with this idea, until he thought it might be the beginning of a symphony, and so his single-movement Symphony No. 11 was conceived. He decided to preface it with an allegro D major/d minor theme, beginning on violas and moving to first violins, and these two ideas form the basis for a set of free variations. Considering the flute to be, essentially, a melodic instrument, David Matthews composed his Flute Concerto as alternating song and dance. The first movement combines a gentle allegretto with a fast waltz. The slow middle movement evokes a dance celebrating Pan, while the finale begins with a little tune that he wrote for his wife, Jenifer, at Christmas 2019, which has something of an Irish flavour. Siegfried Wagner was named for the young hero in Richard Wagner's Ring Cycle and immortalized in the Siegfried Idyll, included on this release. He was born to Richard Wagner and his future wife, Cosima (nee Liszt), on 6 June 1869. Although Siegfried considered following a profession outside music (and, as a youth, studied architecture in Berlin and in Karlsruhe), it was inevitable that he would follow a career in music given the lineage of both his parents and his grandfather, Franz Liszt. In addition to receiving instruction in music from Liszt, the thirteen-year-old Siegfried began his advanced musical studies in Frankfurt with Engelbert Humperdinck, a true disciple of Richard Wagner. Siegfried became an assistant at Bayreuth in 1892, immersing himself in his father's music under the strong influence of Cosima Wagner and the conductor Hans Richter. In 1895, he made his debut at Bayreuth conducting a complete Ring cycle. The debut was a considerable artistic success, and Siegfried's future as the true guardian of the Wagner inheritance was assured, as he took a greater share in the direction of the Bayreuth Festival. With Cosima's full endorsement, Siegfried assumed the general directorship from his mother in 1908. Siegfried's busy professional life was devoted in the main to Bayreuth in the 1920s, but it was also during this time that he began a recording career devoted almost exclusively to his father's and his own works. Apart from his evident qualities as a conductor of his father's music-heard here in the recorded legacy he left of his performances at Bayreuth and in Berlin and London-he was equally keen to establish himself as a composer. The first of his twelve completed operas, Der Barenhauter (Bearskin) inspired by the German fairytale, met with public and critical acclaim when it was produced in 1899. The acoustic recording of the overture is heard here. Among the Richard Wagner works conducted by Siegfried Wagner on this historic release are well-known selections from Das Rheingold and Die Walkure from the Ring Cycle. Also included are a suite from Parsifal and selections from Tannhauser, Lohengrin, and Tristan und Isolde.

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David Matthews: Anna: Symphonic Diptych; Symphony No. 11; Fl
SOMM Recordings Oct 2025
CD
$20.99

Mix & Match

Bruckner: Symphony No 1 / Tintner, Royal Scottish National

Naxos

$19.99 May 01, 2000

This first-ever recording of the original version of Anton Bruckner's sweeping Symphony No. 1 marked the final great achievement of the acclaimed Bruckner conductor, Georg Tintner, who died in 1999. Following the premiere of the symphony in 1868, Bruckner's devoted conductor friends, all of whom were die-hard Wagnerians like Bruckner himself, championed the work (and Bruckner's other compositions) while subjecting it to their own modifications in order to make Bruckner sound more Wagnerian! Regrettably, the trusting Bruckner sometimes allowed and even abetted these interventions. With the advantage of twenty-twenty hindsight, one can see that Bruckner was, from the beginning, a majestically individual composer and should have been left to his own devices. Under the knowing hand of Tintner, the Royal Scottish National Orchestra reveals this symphony's sprawling orchestral architecture as it was first conceived. The first two movements are surprisingly novel for a fledgling essay in the genre. The second movement already sets the standard for those otherworldly adagio movements, with their glacially unfolding melodies, that populate Bruckner's symphonies.

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Bruckner: Symphony No 1 / Tintner, Royal Scottish National
Naxos May 2000
CD
$19.99

Mahler: Symphony No. 1; Wagner: Faust Overture; Siegfried Idyll

Music and Arts Programs of America

$18.99 Jul 10, 2012

MAHLER Symphony No. 1. WAGNER Faust Overture . Siegfried Idyll • Bruno Walter, cond; NBC SO • MUSIC & ARTS 1241, mono (77:25) Live: New York 4/8/1939

This important release brings together Walter’s complete final concert from the series of five he did at NBC in 1939. The Faust Overture appeared in a previous Music & Arts Walter collection; otherwise I’m not aware of any previous CD release of the material. The sound is excellent: full-bodied with great clarity and immediacy (capturing many of Walter’s exhortations and strenuous vocalizations)—interestingly, Walter seemed to hold a minority (high) opinion of the notorious Studio 8H.

The Mahler is Walter’s earliest preserved performance of the work (indeed, the earliest by any conductor I’m aware of; Mitropoulos’s Minneapolis premiere recording dates from 1940). It is a reading of thrilling spontaneity, a combustible meeting of Walter’s totally idiomatic Mahler style with the distinctively bright, tightly focused expressive intensity of the NBC orchestra, which responds with total commitment. The first movement is lithe, supple, with a very flexible pulse; hear his impulsive pressing ahead in response to the music’s having modulated one key too far in the sharpward direction (E Major, Rehearsal 6 + 8). The beginning of the slow movement brings a real surprise: what sounds like Mahler’s original conception of solo cello doubling the customary bass in unison—an experiment Walter seems not to have repeated in any of his later extant performances. The finale is intensely dramatic, working to a dénouement of overwhelming emotional force and, ultimately, saturated splendor.

Other available Walter performances give a fascinating picture of the gradual transformation of his interpretation over the years: A live 1947 version with the LPO (Testament) is similar in conception to NBC: swift, light-toned, characterful, and spontaneous, but preserved in problematic sound. A Concertgebouw performance from the same year (Tahra r RCO Live) is sharp and pungent, with a memorably old-world string style. A 1950 performance with the Bavarian State Orchestra (Orfeo) is darker, smoother, less pointed; the 1954 NYPO studio recording weightier, straighter, more severe. By comparison, the final Columbia Symphony version (1961) represents very much an old man’s view—mellow, deliberate, soft-focused, and comparatively uninflected.

Walter conducts a memorable performance of Wagner’s Faust Overture, of seething intensity and swashbuckling drama, on a looser rein than Toscanini’s with the same orchestra two years later (Naxos). Siegfried Idyll was a great Walter specialty, and the NBC version is distinguished by its swift pacing, expressive freedom, and highly nuanced execution, with a pp conclusion of truly heart-stopping beauty. Again, comparisons are instructive: the 1935 studio recording with the VPO (Opus Kura) transparent, lean, surprisingly ascetic with very little string vibrato. A live Los Angeles PO performance from 1949 (Music & Arts) is similar in conception to NBC, but less refined, heavier in expression. Two NYP versions—the 1953 studio recording (United Archives) and a live one from 1957 (Music & Arts)—are more symphonically imposing, less intimate; the final Columbia Symphony recording (1959) slower, less flexible, of muted shades and a decidedly autumnal feeling.

All in all, a major new addition to the Walter discography, one that shows the conductor at his formidable best, and preserved in lifelike, vivid sound. Riches indeed!

FANFARE: Boyd Pomeroy

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Mahler: Symphony No. 1; Wagner: Faust Overture; Siegfried Idyll
Music and Arts Programs of America Jul 2012
CD
$18.99

M. Haydn: Symphonies, Vol. 1 / Gallois, Czech Chamber Philharmonic

Naxos

$19.99 Jun 10, 2016

This is the first of what one hopes will be a complete set of the Michael Haydn symphonies. If so, this release is a more than auspicious start, which will give much pleasure, especially in these idiomatic performances (on modern instruments).

For all that Michael lurks in the shadow cast by his brother, recent performances – and it is welcome to have so many more, especially on CD – have made it clear that he was no minor figure, but an accomplished composer in his own right. His contemporaries had little doubt of his stature. Although his relationship with Leopold Mozart was strained, he had a close friendship with Wolfgang, who appears to have been influenced by his music, and certainly promoted it in Vienna. A common feature between the two, heard to good effect in these symphonies, is a charming gift for writing effectively for the woodwinds.

Nor should these symphonies be considered less pleasurable than those by Josef. If there is a difference, it is not in musical facility nor in ingenious orchestration. If Michael does not quite plumb the same depths, there are similarities in construction and in the unusual effects. Listen for example, to the Rondeau of the C major work (track 8) as a splendid instance of confident, even exuberant, invention. There is an interesting study to be done on the extent to which Josef influenced his brother and vice-versa. They corresponded but rarely met during the forty years of Michael’s time in Salzburg, yet there are similarities in approach. I sometimes forget which brother I am hearing, though Michael was less of a pioneer. Also, he had a strong preference for major keys, as here (only Symphony No 20, not on this disc, is in a minor key), which slightly limited his emotional range. His gift is for the exciting.

This CD will give enormous pleasure, and perhaps encourage wider performance. Gallois has the music’s measure and the orchestra plays very well. It is interesting to make comparisons with Bohdan Warchal’s set of 20 symphonies on CPO (CPO 9995912), though the D major is not included there (but it is on a recording from the same label conducted by Johannes Goritzki – CPO 9991792) . The CPO set is a joy – so is this.

I look forward very much to the remainder of this series. It would be a wonderful if Naxos turned its attention to a complete set of the Masses. Josef thought Michael’s finer than his own, not without justice. From time to time a new recording appears (Hungaraton have shown commitment to the cause), but there is so much to explore.

– MusicWeb International (Michael Wilkinson)

Sinfonia in G major (Perger 16) (Symphony No. 25)
Sinfonia in D major (Perger 21) (Symphony No. 30)
Sinfonia in C major (Perger 19) (Symphony No. 28)
Sinfonia in A major (Perger 15) (Symphony No. 24)

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M. Haydn: Symphonies, Vol. 1 / Gallois, Czech Chamber Philharmonic
Naxos Jun 2016
CD
$19.99

Widor: Organ Symphonies, Vol. 1 / Rubsam

Naxos

$19.99 Jan 10, 2020

During his unprecedented 64 years as organist at Saint-Sulpice in Paris, Charles-Marie Widor developed a powerfully symphonic approach to music for the organ, finding new combinations of color, sonority and texture. The ten symphonies for organ are central to his repertory for the instrument. Featured on this first volume are the Symphony No. 1 in C minor, with its homage to Bach, luminous and ceremonial and with virtuoso flourishes; and the Symphony No. 2 in D major offering a fascinating series of contrasts with some spectacular effects. Wolfgang Rubsam plays at the restored E.M. Skinner instrument at The University of Chicago, the largest pipe organ in Midwest America.

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Widor: Organ Symphonies, Vol. 1 / Rubsam
Naxos Jan 2020
CD
$19.99

Mozart: Symphonies Nos. 25 & 40, Piano Concerto No. 14 / Gulda, Sawallisch, RCO

Orfeo

$16.99 Sep 04, 2009

REVIEW:

MOZART Symphonies: No. 25; No. 40. Piano Concerto No. 14 • Wolfgang Sawallisch, cond; Friedrich Gulda (pn); Concertgebouw O • ORFEO 795 091, mono (69:37) Live: Salzberg 7/2/1958

This concert places the E? Piano Concerto (K 449) between the two G-Minor Symphonies (K 183 and K 550), resulting in an artfully constructed Mozart program. For a monaural recording, the sound quality is good, although a bit damped. Audience noise is not present except between movements and as applause at the end of each work.

Sawallisch’s beat is strong throughout, and orchestral clarity is good enough to allow part-writing transparency. Tempos are generally rapid, so that nothing ever drags. The opening movement tempo of K 550, however, could use a little braking. Exposition repeats are observed in the first and last movements of K 183 and in the first movement of K 550. The last movement of K 550, however, is played without repeats, and this leaves impressions of imbalance and unfinished business. Obviously, the conductor thought otherwise, and I bow to his judgment.

Friedrich Gulda at 28 and Wolfgang Sawallisch at 35 were, in 1958, among the most promising young pianists and conductors of the time. This account of Mozart’s Concerto No. 14 is a living example of that promise. The conductor reached great heights in the coming years, eventually being named conductor laureate of the Philadelphia Orchestra. The pianist was a maverick with a penchant for challenging the musical establishment and daring to display a strong interest in jazz. He eventually faded as a performer who was once sought-after by the more traditional concertgoers. His death in 2000 at age 69 revived interest in his early recordings. In the Piano Concerto, this disc offers a snapshot of promise of two artists in vintage Mozart. Twenty years earlier in a studio recording, 35-year-old Rudolf Serkin and conductor Adolf Busch and the Adolf Busch Chamber Players offered this Concerto in a different, more quickly paced style, but still as vintage Mozart. In both performances, there is no tempo tampering, no dynamics distortion, and no excesses of expression—there is just beautiful Mozart expressed by beautiful phrase shaping. The closest to these standards in a modern recording is Murray Perahia’s with the English Chamber Orchestra. Perahia’s tempos are closer to Serkin’s than to Gulda’s in the first movement, but closer to Gulda’s than to Serkin’s in the last movement. Where Serkin and Perahia perform with chamber orchestras, Gulda performs with a full, but suitably reduced, orchestra that Sawallisch never allows to overpower either the music or the piano sound.

This is a memorable Salzberg Festival program from which one comes away with a deeper understanding of Mozart. This is a very good disc to have.

FANFARE: Burton Rothleder

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Mozart: Symphonies Nos. 25 & 40, Piano Concerto No. 14 / Gulda, Sawallisch, RCO
Orfeo Sep 2009
CD
$16.99

Strauss: Burleske In D Minor, Trv 145 - Beethoven: Symphony No. 7 In A Major, Op. 92
Orfeo Aug 2008
CD
$16.99

Franck: Symphony in D Minor & Symphonic Variations / Kozhukhin, Luxembourg Philharmonic Orchestra

PENTATONE

SACD

$21.99 Jun 12, 2020

The Orchestre Philharmonique du Luxembourg and its Music Director Gustavo Gimeno present a composer portrait of César Franck. The album features the famous Symphony in D Minor, as well as the lesser known, but equally enchanting Symphonic Variations for piano and orchestra, with Denis Kozhukhin as soloist. Born in Liege but raised in Paris, Franck synthesized Wagnerism with French musical traditions, resulting in a fine equilibrium between a voluptuous orchestral sound and audacious harmonies on the one hand, and lucidity and graceful charm on the other. While the three-movement symphony follows a from-darkness-to-light trajectory, the delightful Variations oscillate between symphonic poem and miniature piano concerto. The OPL and Gustavo Gimeno continue their acclaimed PENTATONE series of composer portraits that already featured monographs of Shostakovich, Bruckner, Ravel, Mahler, Stravinsky, Debussy and Rossini. Denis Kozhukhin adds another release to his extensive PENTATONE discography that already contains Grieg/Mendelssohn (2019), Strauss’s Burleske (2018), Piano Concertos by Ravel and Gershwin (2018), Tchaikovsky and Grieg (2016), as well as a Brahms solo recital (2017).

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Franck: Symphony in D Minor & Symphonic Variations / Kozhukhin, Luxembourg Philharmonic Orchestra
PENTATONE Jun 2020
SACD
$21.99

BRAHMS, J.: Violin Concerto / TCHAIKOVSKY, P.I.: Symphony No
Profil Jan 2008
CD
$18.99

Weinberg: Symphony No 12 "In Memoriam D. Shostakovich" / Lande

Naxos

$19.99 Jan 28, 2014

WEINBERG Symphony No. 12. The Golden Key: Ballet Suite No. 4 • Vladimir Lande, cond; St. Petersburg St SO • NAXOS 8.573085 (75: 40)

I have been at least mildly enthusiastic about Lande’s previous Weinberg discs for Naxos (Symphony No. 6 on 8.572779 and Symphony No. 19 on 8.572752) and this one is as good, if not better. This is not the first recording of Weinberg’s Symphony No. 12—Maxim Shostakovich had that privilege—but it appears to be the only one available on CD, and the coupling, which is very different in tone, and a nice complement to the symphony, is as enjoyable as it is generous.

Weinberg’s Symphony No. 12 “In Memoriam D. Shostakovich” was composed in 1976, a year after Shostakovich’s death. Many of Weinberg’s works are stylistically similar to Shostakovich’s. This is not surprising, as Shostakovich was a friend and mentor to Weinberg, almost from the time that the latter arrived in the Soviet Union after fleeing his native Poland. This symphony is particularly Shostakovich-like. Although it is “in memoriam,” it is not funereal in tone. In fact, like many of Shostakovich’s works, it displays an emotional ambiguity that encourages a number of interpretations from performers and from listeners alike. Shostakovich’s “Leningrad” Symphony appears to have been an especially strong source of inspiration, but the work’s structure—for example, the epic first movement—is more reminiscent of Shostakovich’s Symphony No. 10. The D-S-C-H (D-E?-C-B) monogram even makes several subtle appearances. The symphony’s themes are distinctive, and Weinberg is a surefooted musical architect. Another similarity with Shostakovich is his ear for unusual scoring, and his always interesting and sometimes grotesque use of wind instruments at the extremes of their register. No one hearing this symphony for the first time will miss its connections with Shostakovich. Weinberg is not an imitator, however, any more than Telemann imitated Bach.

The Golden Key is a ballet from 1955 based on a story by Aleksey Tolstoy. The lead character, Burattino, is a puppet, and the eponymous golden key allows its bearer to enter the country of Happiness. In addition to puppets, there are various animal characters as well. On one level, this is an innocent ballet—even a children’s ballet—but its themes of rebellion and idealism also suggest a deeper and even socio-political interpretation. Shostakovich’s ballet scores have their moments of excellence as well as moments of more workmanlike writing. The Golden Key , from what I have heard of it, is at least on their level. The first three suites were recorded by Mark Ermler with the Bolshoi Theater Orchestra—Olympia OCD 473, if you can find it. That disc also included excerpts from the Fourth Suite. In other words, all four suites have been recorded. Taken together, they add up to about 85 minutes of music, so I am wondering if all of the ballet’s music was used in one of the four suites.

As on the previous CDs, Lande and the St. Petersburg Symphony Orchestra are very satisfactory. Certainly one can imagine more assertive conducting and a richer sounding orchestra, but I don’t think anyone will be unhappy with these performances. In fact, I would say that this is an improvement from the earlier recordings, particularly that of the Symphony No. 6, but that’s one Weinberg symphony in which there was more competition. If you’re interested in Shostakovich, or in music from the Soviet Union in general, there is absolutely no reason not to give this fine new CD a try.

FANFARE: Raymond Tuttle

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Weinberg: Symphony No 12 "In Memoriam D. Shostakovich" / Lande
Naxos Jan 2014
CD
$19.99

Taneyev: Symphonies No 1 & 3 / Polyansky, Russian State SO

Chandos

$21.99 Apr 01, 2007

Sergei Taneyev's music, written in the late nineteenth-century romantic tradition, is well-crafted, attractively scored and tuneful. Polyansky and the Russian State Symphony Orchestra are renowned for their recordings of Russian repertoire and have made many acclaimed recordings for Chandos. Both symphonies receive their premiere recordings with this release.

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Taneyev: Symphonies No 1 & 3 / Polyansky, Russian State SO
Chandos Apr 2007
CD
$21.99

Bruckner: Symphony No. 9 & Extracts from the rehearsals

BR Klassik

$29.99 Sep 04, 2026

The distinguished Swedish conductor Herbert Blomstedt, long associated with the Bavarian Radio Symphony Orchestra as a regular guest, conducted Anton Bruckner's Symphony No. 9 in d Minor, in concerts on May 7 and 7, 2009 in the in the Philharmonie i'm Gasteig in Munich. This new BR-KLASSIK CD presents not only the live recording of this compelling interpretation but also a live orchestral rehearsal recording from May 2009. The latter forms part of BR Klassik's acclaimed series Conductors at Rehearsal, offering a glimpse into their artistic work with the orchestra. "It seems that the Ninth is a limit. He who wants to go beyond it must pass away. [...] Those who have written a Ninth stood too close to the hereafter." Arnold Schoenberg wrote those words in reference to Gustav Mahler, who had just died without ever having heard his own Ninth Symphony performed. Bruckner was apparently afraid of the fatal number as well: "I don't want to start on my Ninth at all, I don't dare'. However, very soon after the completion of his Eighth Symphony in September 1887, Bruckner started on his first drafts. Overall, work on the Ninth then dragged on over the long period from 1887 to 1896, having to be constantly interrupted because of the composer's deteriorating health. Bruckner finally died while working on the fourth movement - and his masterpiece dedicated to "the beloved God' remained unfinished. Even without a finale, the three-movement torso that survives is, of course, extremely impressive. The completed movements were first performed in Vienna on February 11, 1903, in an unusual personal version by the conductor Ferdinand Lowe. The actual first performance of the original score with it's three movements only took place on April 2, 1932 in Munich. Ever since, Bruckner's Ninth has been an essential part of the Late Romantic symphonic repertoire - above all in it's original version. The detailed rehearsal recordings on the CD provide a deeper insight into this magnificent work. Listeners can experience first-hand how the conductor's wishes, ideas and instructions are implemented, how his explanations and his temperament change the resulting sound, and what thoughts lie behind the interpretation of the work. Thanks to this series, which is now also available on CD, the unique artistic partnership between Herbert Blomstedt and the Bavarian Radio Symphony Orchestra can be documented. Blomstedt's seemingly inexhaustible source of energy - music itself - is palpable in every word and every bar. ? Herbert Blomstedt conducts the Bavarian Radio Symphony Orchestra in concerts on May 7 and 8, 2009 ? Live recording of Bruckner's Symphony No. 9 ? Includes "Conductors at Rehearsal": live recording of the orchestra rehearsal May 7 and 8, 2009 for the Munich concerts

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Bruckner: Symphony No. 9 & Extracts from the rehearsals
BR Klassik Sep 2026
CD
$29.99

Mix & Match

E . T. A. Hoffmann: Missa; Miserere / Rupert Huber, Wdr Symphony Orchestra Cologne

CPO

$18.99 Feb 25, 2014

E. T. A. HOFFMANN Mass in d, AV 18. Miserere in b?, AV 42 • Rupert Huber, cond; Sibylla Rubens, Jutta Böhnert (sop); Rebecca Martin (mez); Thomas Cooley (ten); York Felix Speer (bs); WDR Radio Ch; WDR SO • CPO 777832 (62:01 Text and Translation)

Butcher, baker, candlestick maker? Well, not exactly, but it wouldn’t be off the mark to call E. T. A. Hoffmann (1776–1822) a polymath, for he was one of Germany’s greatest early Romantic writers of fantasy fiction and horror tales, a lawyer and a jurist, a draftsman and a caricaturist, and a music critic and serious writer on the art of music and its aesthetics. And, oh yes, by the way, did I mention that in his spare time he was a composer? His output includes a symphony, several stage works, a handful of piano sonatas, a piano trio, a harp quintet, and of course, the concerted choral-orchestral Mass and Miserere on this disc.

Hoffmann’s literary works are commonly cited as the inspiration for Schumann’s Kreisleriana and Offenbach’s The Tales of Hoffmann, but less often noted is that Hoffmann’s novella The Nutcracker and the Mouse King was the basis for Tchaikovsky’s Nutcracker, and that Léo Delibes’s ballet Coppélia is also based on stories by Hoffmann.

Hoffmann’s literary works had more of an influence on 19th-century composers and the Romantic movement than his musical compositions did, for his abilities as a composer were judged to be more modest than his talent for the written word. Add to that his relatively small output, and it’s hardly surprising that there’s not a lot of E. T. A. Hoffmann’s music on disc. In light of this, what’s perhaps surprising is that this is at least the third recording of the Miserere I’m aware of. A performance on Koch-Schwann/Music Sacra with a different conductor and cast of vocal soloists, but the same chorus and, I believe, the same orchestra was reviewed by David Johnson in 12:4. And yet another recording, also on Koch Schwann, but this time with an entirely different cast of singers, players, and conductor—Rolf Beck, leading the Southwest German Vocal Ensemble and the Concerto Bamberg—was released in 1997, 10 years later.

Johnson was mightily impressed by the Miserere, calling it “a work of genuine, even astonishing power and beauty,” an assessment with which I wholly concur. The piece wasn’t published in Hoffmann’s lifetime, and the exact date of composition isn’t given. It can be deduced, however, that Hoffmann had to have completed it towards the end of 1806 or the beginning of 1807, for the work was to have been performed at the ceremonies earlier in 1806 when Archduke Ferdinand of Austria became the Grand Duke of Würzburg, but the score wasn’t ready in time. It didn’t receive its first performance until Good Friday, 1809.

It’s important to keep in mind when listening to this masterful piece of choral/orchestral writing that its date of composition coincides with that of Beethoven’s C-Major Mass, op. 86. Yet if I had to make a comparison to Hoffmann’s Miserere, it wouldn’t be to Beethoven’s chronologically contemporary Mass, but to a work of 17 or so years earlier, Mozart’s Requiem. Whether Hoffmann was consciously imitating the musical style of that work or not, it’s impossible to say, but the similarities are striking.

Listen to the sighs in the strings just seconds into the opening movement, and tell me you don’t expect to hear the mournful entry of the basset horns. Or tell me there isn’t a resemblance between the Miserere’s “Ecce enim in veritatem” and the Offertorium of the Requiem in the Süssmayer completion.

Understand that in no way am I diminishing Hoffmann’s effort. His Miserere is a gorgeous work, and there’s much in it that postdates Mozart stylistically, specifically the vocal solos, which tend to be more ornate and less liturgical sounding than what Mozart would have considered proper for a sacred setting of such a solemn text, and also in the more symphonic scoring and treatment of the orchestral parts. But as noted by Johnson, Hoffmann additionally takes great pains to fully demonstrate his contrapuntal skills, composing “grand choral double fugues that Bach, himself, could have found no fault with.”

However you hear Hoffmann’s Miserere—whether as an echo of Mozart, a sympathetic vibration with Beethoven, or a precursor to Verdi—it doesn’t matter, as long as you hear it, because it’s a stunning work, which really ought to spark a reassessment of E. T. A. Hoffmann’s output in general.

The Mass in D Minor is a little earlier than the Miserere, dating from between 1803 and 1805, but it’s composed on an equally grand scale. The solemn introductory measures followed by a running fugue is reminiscent of the type of Baroque overture one hears at the beginning of Handel’s Messiah, and simultaneously anticipatory of the overture to Mendelssohn’s Elijah.

As in the Miserere, Mozart looms large over major portions of the Mass. Listen, for example, to the Kyrie, which once again reverberates with recollections of Mozart’s Requiem. But now Haydn takes a bow in the joyful Gloria. Yet through it all, a new Romantic spirit infuses Hoffmann’s work. It’s not as daring as Beethoven’s adventures of the same timeframe, but then whose were?

One thing that deserves some criticism, in my opinion, is Hoffmann’s over-reliance on fugue. At first, one marvels at his aptitude for counterpoint, but when a fugue appears in practically every movement, not only does one begin to wonder if Hoffmann isn’t short on arrows in his quiver, but the recurring fugal textures begin to become a bit tiresome. Remember Saint-Saëns’s dictum: “A fugue is a piece where the voices come in and the audience goes out one at a time.”

Koch-Schwann seems to have taken more than a passing interest in E. T. A. Hoffmann back in the 1990s, for in addition to the above-cited recordings of the Miserere, the label also released a recording of this Mass in 1999, featuring the chorus and orchestra of the Capella Cracoviensis, led by Roland Bader. Unfortunately, I haven’t heard that one either, so I have no basis for comparing different versions of the works on this disc. CPO, however, rarely disappoints in its releases, and the soloists, chorus, and orchestra heard in these performances sound secure in execution and thoroughly engaged in the moment of the music. The recording, too, is excellent—open, spacious, bright, and detailed, without any reverb to muddy the singers’ diction. Very strongly recommended.

FANFARE: Jerry Dubins

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E . T. A. Hoffmann: Missa; Miserere / Rupert Huber, Wdr Symphony Orchestra Cologne
CPO Feb 2014
CD
$18.99

Bruckner: Symphony No. 9 & Mass No. 3

Capriccio

$22.99 Mar 11, 2016

For this outstanding two-disc set, the RSO Vienna Radio Symphony Orchestra under the direction of Cornelius Meister, brings us two works by Anton Bruckner (1824-1896): his Symphony No. 9 in D minor WAB 109, and his Mass No. 3 in F minor WAB 28. One of the more popular choral works of late Romanticism, the Mass in F minor is said to have been a work of gratitude for the composer’s recovery from a persistent nervous illness. Soloists featured here are soprano Ruth Ziesak, alto Janina Baechle, tenor Benjamin Bruns, and bass Gunther Groissbock.

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Bruckner: Symphony No. 9 & Mass No. 3
Capriccio Mar 2016
CD
$22.99

Haydn: Symphonies Nos. 82 96 & 100

Naxos

$19.99 Oct 06, 1988

Joseph Haydn was as prolific as any eighteenth century composer, his fecundity a matter, in good pan, of the nature of his employment and the length of his life. Born in 1732 in the village of Rohrau, the son of a wheelwright, he was recruited to the choir of St. Stephen's Cathedral in Vienna at the age of eight, later earning a living as best he could as a musician in the capital and making useful acquaintances through his association with Metastasio, the Court Poet, and the composer Nicola Porpora. The first movement opens, as do most of the London symphonies, with a slow introduction, the solo oboe leading to the Allegro, in which the first violin proposes the principal theme, followed by a subsidiary theme in which the woodwind instruments at first answer the first violin. The development seems to end with a sudden pause, but what follows is in another key, leading eventually to the recapitulation proper. The G Major slow movement allows the wind instruments a gradually increasing share, after the announcement of the principal theme by the first violin. There is a Minor middle section, before the return of the main theme, with scoring for two solo violins. The Minuet calls for the full orchestra, with it's flutes, oboes, bassoons, horns, trumpets and drums, while the companion Trio is dominated by the solo oboe. The finale is opened by the strings with the principal theme, a lively and delicate rondo, that includes an excursion into the Minor, with the same theme, and a contrapuntal development of the material. Symphony No. 82 in C Major, the first of the set, was written in 1786, one of a second group of three in order of composition. All seem to have been played for the first time during the 1787 concert season, when they were enthusiastically received. No. 85 appealed particularly to Queen Marie Antoinette, and was thereafter known as La Reine, while No. 83 became known as La poule, a reference to the clucking of a first movement melody rather than to any lady of the French court. No. 82 won the nickname L'Ours, The Bear, from the bagpipe bear-dance that opens it's last movement. The symphony provides a fine opportunity for the premier coup d'archet, the unanimous attack at the beginning of a work, a feature on which French orchestras prided themselves and that Mozart had found unexceptional. The gentler second subject of the first movement follows relatively startling discords. The slow movement, not a particularly slow one, offers two themes, the first in F Major, the second, a related one, in F Minor. These elements are repeated with variations, with a final repetition of an even more varied version of the first theme, followed by a coda. The French-style Menuet and it's contrasting Trio leads to the famous finale, with it's opening bagpipe drone from the cellos and double basses, and bear-dance violin melody, elements that dominate the rest of a remarkable movement.

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Haydn: Symphonies Nos. 82 96 & 100
Naxos Oct 1988
CD
$19.99

Khatchaturian: Cello Concerto In E Minor & Violin Concerto In D Minor
Orfeo Mar 2004
CD
$20.99

Schumann: Symphonies Nos. 2 & 4 (Live)

ICA Classics

$14.99 Aug 26, 2016

This is the first recording of Antonio Pappano conducting two of Schumann’s most popular symphonies, No. 2 in C major and No. 4 in D minor. Pappano brings his customary energy to the ensemble, while drawing out the magnificent beauty of the string section and the delicacies of the woodwind. His careful approach to detail makes this a commanding interpretation. Antonio Pappano began his conducting career as assistant at the Bayreuth Festival. He became music director of the Den Norske Opera in Oslo in 1990. Since 2005 he has been music director of this ensemble, the Orchestra dell’Accademia Nazionale di Santa Cecilia. He was knighted in 2012, and was made a Knight Grand Cross of Italy’s Order of Merit.

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Schumann: Symphonies Nos. 2 & 4 (Live)
ICA Classics Aug 2016
CD
$14.99

FARRENC: SYMPHONIES NOS. 1-3 OVERTURES 1 & 2

ERATO

$18.56 May 26, 2023

Laurence Equilbey, conducting her period-instrument Insula Orchestra, champions more music by Louise Farrenc, a prominent and pioneering composer in 19th century Paris. This set completes the cycle with Symphony No. 2 in D Major Op. 35 and two overtures: Overture No. 1 in E minor, Op. 23 and Overture No. 2 in E-flat Major, Op. 24. The Financial Times states,.The score is so well written that it deserves a prominent place in the history of the early Romantic symphony... Equilbey and the Insula orchestra gave it a fleet, fiery performance. Their crusading spirit lived up to the day's billing".

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FARRENC: SYMPHONIES NOS. 1-3 OVERTURES 1 & 2
ERATO May 2023
CD
$18.56

Marcel Tyberg: Symphony No 3 / Piano Trio Falletta, Chuang, Ludwig

Naxos

$19.99 Aug 31, 2010

TYBERG Symphony No. 3. 1 Piano Trio 2 • 1 JoAnn Falletta, cond; Buffalo PO; 2 Michael Ludwig (vn); 2 Roman Mekinulov (vc); 2 Ya-Fei Chuang (pn) • NAXOS 8.572236 (60:51)

Don’t bother trying to find Tyberg in Grove , or in the six-volume Baker’s Biographical Dictionary , or in the 14th edition of the International Who’s Who in Music , or even in MGG ’s monumental 17-volume Personenteil , of which the volume with the Ts was published as recently as 2006. Until only about five years ago, Tyberg languished among the many forgotten names of music history, in particular among those of Jewish background who were sent to the death camps by the Nazis. Tyberg was only 1/16th Jewish, but he was deported anyway and died in late 1944 (the circumstances of his death remain unclear). But posthumous recognition is finally coming to this Austrian composer.

Shortly before he was arrested, Tyberg entrusted his scores to his friend Milan Mihich, who in turn gave them to his son Enrico. The latter eventually moved to Buffalo. For years he attempted to interest Buffalo Philharmonic conductors, among others, in Tyberg’s music. Rafael Kubelík expressed keen interest but died soon afterward. About half a dozen years ago, Tyberg’s scores caught the attention of JoAnn Falletta, and she programmed the Third Symphony with her Buffalo Philharmonic. The Tyberg Legacy Foundation was established in Buffalo at the Foundation for Jewish Philanthropies, and funding therefrom helped bring forth the Naxos recording we now have.

The Third Symphony, composed in the 1930s, received its world premiere by the BPO and Falletta on May 10, 2008, and the recording soon followed. (Falletta has also programmed Tyberg’s Second Symphony for performances on April 30 and May 1 of this year to coincide with Holocaust Memorial Day.)

The score is richly romantic, with strong echoes of Bruckner, Mahler, Zemlinsky, and Szymanowski. The huge orchestra requires quadruple woodwinds, heckelphone, eight horns (four doubling on tenor tubas), bass trumpet, contrabass trombone, two timpanists, and much more. It opens with a portentous call from a tenor horn heralding music of dark, Mahlerian angst (comparison with the opening of Mahler’s Seventh cannot be ignored). One almost immediately becomes aware that, like Mahler, Tyberg is going to use his orchestra as a vast palette of colors to play with. The second subject is as warmly romantic and gracious as the first was menacing and tortured. The D-Minor Scherzo has a Brucknerian drive and energy, thickly yet brilliantly orchestrated and with a virtuosic edge that recalls Dukas’s Sorcerer’s Apprentice as well. Shades of Bruckner hover also over the Adagio, which moves slowly and inexorably to its main climax. Its somber colors would have benefited from a warmer recording acoustic, but what is a small defect in this movement becomes an asset in the finale, a rollicking rondo whose main theme has the flavor of a saucy British sea shanty, tossed off in its initial presentation with virtuosic abandon by the Buffalo Philharmonic horns. The Philharmonic sustains the sense of high spirits and energy throughout the movement, indeed, throughout the entire symphony, though one cannot avoid the feeling that Tyberg might have left us a more convincing conclusion—the ending is simply too abrupt and unexpected.

The Piano Trio of 1936 is, if anything, even more engaging, filled as it is with big-boned, sumptuous themes and rich textures right out of Schumann, Brahms, Franck, and Tchaikovsky. Themes are masterfully worked out. One listens in disbelief to music composed in the age of Stravinsky and Satie, of Schoenberg and Berg, of Bartók and Messiaen, that is as accomplished as Tyberg’s yet so untouched by the fast-changing world around him—“as if he had truly lived a century before,” as Buffalo Philharmonic archivist Edward Yadzinski puts it in his fine booklet notes. Concertmaster Michael Ludwig and principal cellist Roman Mekinulov, joined by pianist Ya-Fei Chuang, deliver a performance that glows with passion and power. This disc is worth acquiring for either the symphony or the trio alone. Together they constitute an irresistible combination. This is definitely a Want List candidate.

More information on Tyberg can be found at Wikipedia and in an extensive article by Herman Trotter, music critic emeritus of the Buffalo News (reprinted on the website of the Jewish Music Institute). Readers are also referred to an interview in Fanfare 34:2 in which Falletta and Yadzinski disuss the Tyberg situation in some detail.

FANFARE: Robert Markow

How Marcel Tyberg's Third Symphony wound up in Buffalo is an interesting story, related in the booklet notes to this world-premiere recording. Tyberg (1893-1944) was a Jewish Viennese composer who died in Auschwitz in 1944 (as did several members of my own family--it's strange to think that they may have been there together). His Third symphony was composed in 1943, and it's a fine work, obviously in the Viennese tradition--sort of Wagner/Strauss with a Brahmsian structural overlay. It's colorful, uninhibited, perhaps a bit thickly scored, full of attractive melodic invention, and not a moment too long. For its date of composition it's a conservative work, but given the circumstances that hardly counts against it. JoAnn Falletta and her Buffalo forces do it proud: this is a bold, confident performance, excellently paced, that never suggests any unfamiliarity with what must have been a very unfamiliar work.

Tyberg's Piano Trio, from 1936, is even more stylistically reactionary, sounding like a typical example of mid-19th century Romanticism--but again, because it's the real thing and not a decadent relic it comes across simply as freshly melodious. Okay, it's not a masterpiece, but its three euphonious movements pass by very pleasingly, and like the symphony it's very well played (and recorded). Tyberg had a particular knack, both here and in the symphony, for creating vigorous rondo finales that never drag or sound tired, and if you know anything about late-Romantic finales then you know what a rare feat that is! There are many recordings of neglected composers around these days: this one deserves a greater claim on your attention (and purse) than most. It's a real find.

--David Hurwitz, ClassicsToday.com

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Marcel Tyberg: Symphony No 3 / Piano Trio Falletta, Chuang, Ludwig
Naxos Aug 2010
CD
$19.99

Schumann: Symphonies Nos. 2 & 4; Genoveva Overture / Gardiner, London Symphony

LSO LIVE

$11.99 Sep 20, 2019

Following their award-winning Mendelssohn cycle, Sir John Eliot Gardiner and the London Symphony Orchestra embark on a new journey through the symphonies of Robert Schumann.

Gardiner feels the Schumann symphonies are criticised unfairly and with these recordings he is on a mission to dispel the cobweb of myths around these symphonic masterpieces.

-----

REVIEW:

The LSO respond with elan to the bracing textures, confounding the cliché that Schumann “couldn’t orchestrate”. Gardiner chooses the 1841 version of the D minor work, No 4, which the LSO play as if discovering it anew.

– Sunday Times (UK)

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Schumann: Symphonies Nos. 2 & 4; Genoveva Overture / Gardiner, London Symphony
LSO LIVE Sep 2019
CD
$11.99

Mozart: Piano Concertos, Vol. 4 / McDermott, Lang-Lessing, Odense Symphony Orchestra

Bridge Records

$18.99 Jan 07, 2022

The first three volumes of Anne-Marie McDermott's Mozart piano concerto cycle with Denmark's Odense Symfoniorkester have received ecstatic notices from the international musical press. Volume 4, again conducted by German maestro Sebastian Lang-Lessing, presents two of Mozart's very greatest concertos - the grand C major, K. 503, and the brooding D minor, K. 466.

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Mozart: Piano Concertos, Vol. 4 / McDermott, Lang-Lessing, Odense Symphony Orchestra
Bridge Records Jan 2022
CD
$18.99

Schubert: Symphonies - The "Unfinished" & "Great" / Janowski, Dresden Philharmonic

PENTATONE

SACD

$16.99 ~~$21.99~~ Save 20% May 26, 2023

Marek Janowski presents his first purely-orchestral Schubert recording, together with the Dresdner Philharmonie, performing the composer’s two final, groundbreaking and most famous symphonies. While the two movements of the “Unfinished” symphony in B Minor reach a level of perfection despite the work’s apparent incompleteness, Robert Schumann praised the “Great” symphony in C Major for its “heavenly length”. Janowski’s interpretation combines a sense of tradition with vitality and intensity.

Marek Janowski is one of the most celebrated conductors of our time. After having recorded Schubert songs in orchestrations by Reger and Webern with the tenor Christian Elsner in 2015, Janowski now adds this symphonic Schubert album to his impressive Pentatone discography, following complete recordings of Bruckner, Brahms and Beethoven’s symphonies, several works by Richard Strauss, as well as Wagner’s ten mature operas. He works together with the Dresdner Philharmonie, with whom he already released complete recordings of Beethoven’s Fidelio (2021), Puccini’s Il Tabarro and Mascagni’s Cavalleria rusticana (both 2020).

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Schubert: Symphonies - The "Unfinished" & "Great" / Janowski, Dresden Philharmonic
PENTATONE May 2023
SACD
~~$21.99~~ $16.99

Mendelssohn: String Symphonies Nos. 7, 9 & 12

Haenssler Classic

$20.99 Aug 17, 2018

Felix Mendelssohn's string symphonies can be broadly split into two groups: the first six all have a three-movement structure; the movements of the first three are ordered fast-slow-fast and are thus based on the pre-Classical models. The second group of string symphonies comprises more substantial compositions. This release features no. 7 in D minor, no. 9 in C major, and no. 12 in G minor. There are several ways through these three symphonies when we hear Mendelssohn's ingenuity break fresh ground. The Bolzano String Academy was established in 1987 by the South Tyrolean Music Association under the artistic direction of Georg Egger. The string orchestra consists mainly of South Tyrolean musicians who have gained a wealth of experience in prominent chamber ensembles and orchestras at national and international level and pass on their experience in joint projects with budding young artists. The String Academy usually performs without a conductor. Some of the String Academy's members also play in the Klassische Philharmonie Stuttgart, and this connection has led to collaboration with the conductor Frieder Bernius.

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Mendelssohn: String Symphonies Nos. 7, 9 & 12
Haenssler Classic Aug 2018
CD
$20.99