audite Musikproduktion
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audite präsentiert in Kooperation mit LUCERNE FESTIVAL herausragende Konzertmitschnitte prägender Festspielkünstler. Ziel der Edition ist es, bislang weitgehend unveröffentlichte Schätze aus den ersten sechs Jahrzehnten des Festivals zu heben, dessen Geburtsstunde 1938 mit einem von Arturomehr
Isaac Stern | Leon Fleisher | Pierre Fournier | Annie Fischer | Wolfgang Schneiderhan | Robert Casadesus | Géza Anda | Felicity Lott | Edith Mathis | John Ogdon | Werner Tripp | Dietrich Fischer-Dieskau | Nathan Milstein | Elisabeth Schwarzkopf | Clara Haskil | Karl Engel | Irmgard Seefried | Gerhard Turetschek | Elisa Cavelti | Alfred Prinz | Ernst Haefliger | Otto Edelmann | Ernst Pamperl | Hubert Jelinek | Schweizerisches Festspielorchester | Czech Philharmonic Orchestra | Wiener Philharmoniker | Chamber Orchestra of Europe | Philharmonia Orchestra | Orchestre Philharmonique de la RTF | Festival Strings Lucerne | Orchestre de la Suisse Romande | New Philharmonia Orchestra | Luzerner Festwochenchor
Lorin Maazel | Wilhelm Furtwängler | Armin Jordan | Ernest Ansermet | Igor Markevitch | Carl Schuricht | Bernard Haitink | Rafael Kubelik | Ferenc Fricsay | Herbert von Karajan | Karl Böhm | Ferdinand Leitner | Claudio Abbado | George Szell | Paul Hindemith | Paul Kletzki | Carlo Maria Giulini | Matthias Bamert | Jean Martinon | István Kertész
Lorin Maazel | Wilhelm Furtwängler | Armin Jordan | Ernest Ansermet | Igor Markevitch | Carl Schuricht | Bernard Haitink | Rafael Kubelik | Ferenc Fricsay | Herbert von Karajan | Karl Böhm | Ferdinand Leitner | Claudio Abbado | George Szell | Paul Hindemith | Paul Kletzki | Carlo Maria Giulini | Matthias Bamert | Jean Martinon | István Kertész
"Das Tschaikowsky-Konzert unter der Leitung des jungen Lorin Maazel [...] ist vielleicht die effektvollste Darstellung dieses Werks, die derzeit auf CD greifbar ist" (Die Presse)
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unmittelbare Eindrücke des Produzenten Ludger Böckenhoff
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Producer's Comment
unmittelbare Eindrücke des Produzenten Ludger Böckenhoff
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Producer's Comment
unmittelbare Eindrücke des Produzenten Ludger Böckenhoff
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Producer's comment
unmittelbare Eindrücke des Produzenten Ludger Böckenhoff
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Producer's comment
unmittelbare Eindrücke des Produzenten Ludger Böckenhoff
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Producer's comment
unmittelbare Eindrücke des Produzenten Ludger Böckenhoff
- Digibooklet Karl Böhm
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Producer's comment
Unmittelbare Eindrücke des Produzenten Ludger Böckenhoff
- Digibooklet
- 95745 Digibooklet Kubelik _ Lucerne Festival Vol. 18
Informationen
audite präsentiert in Kooperation mit LUCERNE FESTIVAL herausragende Konzertmitschnitte prägender Festspielkünstler. Ziel der Edition ist es, bislang weitgehend unveröffentlichte Schätze aus den ersten sechs Jahrzehnten des Festivals zu heben, dessen Geburtsstunde 1938 mit einem von Arturo Toscanini geleiteten «Concert de Gala» schlug. Die Tondokumente stammen aus den Archiven von SRF Schweizer Radio und Fernsehen, das die Luzerner Konzerte seit Anbeginn regelmäßig überträgt. Sie werden klanglich sorgfältig restauriert und durch Materialien und Fotos aus dem Archiv von LUCERNE FESTIVAL ergänzt: eine klingende Festspielgeschichte.
Besprechungen
International Classical Music Awards | 18.01.2023 | 18. Januar 2023 | Quelle: https://www.icma... ICMA-WINNER "HISTORICAL RECORDINGS"
There are recordings that tell stories. And these stories resound anew in every new epoch. On the night of August 20-21, 1968, Soviet tanks rolledMehr lesen
There are recordings that tell stories. And these stories resound anew in every new epoch. On the night of August 20-21, 1968, Soviet tanks rolled across the streets of Prague, ending the Prague Spring. Only a few days later, the Czech Rafael Kubelík, conducted a concert with the New Philharmonia Orchestra in Lucerne. Haydn’s Symphony No. 99 is sparkling with vitality and perfection, and Tchaikovsky’s Symphony No. 4 is marked by a deep, tragic sense of the inevitability of fate. John Ogdon superbly contributes Schönberg’s Piano Concerto. This historic recording is released while Russian tanks are rolling again, and one hears these sounds of all-embracing, defiant and comforting persuasiveness with different ears…
There are recordings that tell stories. And these stories resound anew in every new epoch. On the night of August 20-21, 1968, Soviet tanks rolled
Classical Explorer
| Dec 21, 2022 | Colin Clarke | 21. Dezember 2022 | Quelle: https://www.clas...
A Maestro Conducts: Rafael Kubelík and the New Philharmonia Orchestra
A fabulous reminder of a great conductor
The Piano Concerto has a bit of a reputation as a hard nut to crack, but the great John Ogdon fed off music like this and delivers a performance of wit [...] and lightness. The dialogues with the orchestra are miraculous – it is as if they had all been playing this work together for years. Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
The Piano Concerto has a bit of a reputation as a hard nut to crack, but the great John Ogdon fed off music like this and delivers a performance of wit [...] and lightness. The dialogues with the orchestra are miraculous – it is as if they had all been playing this work together for years.
Piano News | 6|2022 November / Dezember | 1. November 2022 Zu Ehren von lngrid Haebler und eine Erinnerung an John Ogdon
Ogdon spielt hier extrem textgenau, lässt für die Akzente seine schiere Kraft spielen, weiß aber auch extrem rhythmisch genau zu agieren.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Ogdon spielt hier extrem textgenau, lässt für die Akzente seine schiere Kraft spielen, weiß aber auch extrem rhythmisch genau zu agieren.
Audiophile Audition | Oct 3, 2022 | Gary Lemco | 3. Oktober 2022 | Quelle: https://www.auda...
The interplay between the New Philharmonia strings, winds, and brass resounds in superb clarity of line, sober but impassioned, a testament to joie de vivre that political intimidation cannot quell. [...] Highly recommended, and turn up the speakers.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
The interplay between the New Philharmonia strings, winds, and brass resounds in superb clarity of line, sober but impassioned, a testament to joie de vivre that political intimidation cannot quell. [...] Highly recommended, and turn up the speakers.
Fanfare | October 2022 | Henry Fogel | 1. Oktober 2022 A powerful concert by Rafael Kubelik at the 1968 Lucerne Festival
On August 20-21, 1968, Russia-led troops from the Warsaw Pact invaded Prague. The period of expanded freedoms known as the Prague Spring was brutallyMehr lesen
On August 20-21, 1968, Russia-led troops from the Warsaw Pact invaded Prague. The period of expanded freedoms known as the Prague Spring was brutally crushed. The Czech conductor Rafael Kubelik had been living in Lucerne since 1938, having fled from both the Nazis and the Communists. When news of the Russian invasion reached him, he immediately established the “Foundation for Czechoslovak Émigrés after 21, August 1968” and began raising money for the cause. Kubelik had already been scheduled to conduct the New Philharmonia Orchestra in the final concert of the 1968 Lucerne Festival that September (the New Philharmonia, founded in 1964, played three concerts under three different conductors, the other two being Claudio Abbado and Otto Klemperer). At Kubelik’s urging an “Appeal to our Visitors” was placed on every seat requesting support.
It is not surprising, therefore, that Kubelik’s concert had an extra degree of intensity. He often emphasized the lyrical qualities of music more than the dramatic ones. However, on this occasion it is the drama that reigns. There are many details to which one could point, but perhaps the most obvious is the lead-in to the coda in the finale of Tchaikovsky’s Fourth Symphony. Kubelik slows down significantly, creates the quietest possible dynamics, and then elongates the pause before the coda begins. He then accelerates to a blistering conclusion, with every musician in the orchestra giving everything they have in terms of intensity.
A similar intensity is evident from the first chord of Haydn’s Symphony No. 99. There is an energy in the string playing and a richness to the overall sonority that make clear that this will be big-boned Haydn. Muscular does not have to mean heavy-handed, however, as the fleet and crisply articulated finale demonstrates. This performance represents the finest of old-fashioned Haydn in its full, rounded sonority, the tendency to employ ritards at key dramatic moments, and long, sustained phrases without slighting the wit and geniality of the music. Kubelik delivers one of those performances where you sense that everyone involved is giving 100%.
The same applies to the performance of Schoenberg’s Piano Concerto with John Ogdon’s particularly incisive brand of pianism. I will confess that I have spent more than fifty years trying to warm up to this score and have failed. I hear the craft Schoenberg put into the concerto, and how his particular Modernism reveals its roots in the German Romantic tradition. More than most, Ogdon brings a great variety of touch and even wit to the solo part. But the music just will not speak to me beyond being a collection of notes.
It is interesting to compare Kubelik’s reading of Tchaikovsky’s Fourth Symphony with the 1951 Chicago Symphony Orchestra recording that he made for Mercury. At 41:39 the Lucerne performance is only about a minute-and-a-half faster than the Mercury, but the real difference is about more than speed. From the whiplash sound of the opening fanfare to the range of expressivity overall, this is clearly a more energized Kubelik. I gave one specific detail from the finale, which can serve as an indication of the whole. Dynamics are extreme, the contrast between slow and fast is greater, and the sense of triumph in the final coda is more complete than on the studio recording.
The recorded sound is splendid––a good-quality late-1960s FM stereo broadcast, excellently reproduced here. The duration is short for two CDs, but they are being sold for the price of one. This concert, given the context in which it took place, was more than just another fine summer festival event. Kubelik had very strong patriotic feelings for his homeland, and he channeled them into an evening of impassioned music-making. We are fortunate that the event has been preserved and that Audite and the Lucerne Festival have made it available.
It is not surprising, therefore, that Kubelik’s concert had an extra degree of intensity. He often emphasized the lyrical qualities of music more than the dramatic ones. However, on this occasion it is the drama that reigns. There are many details to which one could point, but perhaps the most obvious is the lead-in to the coda in the finale of Tchaikovsky’s Fourth Symphony. Kubelik slows down significantly, creates the quietest possible dynamics, and then elongates the pause before the coda begins. He then accelerates to a blistering conclusion, with every musician in the orchestra giving everything they have in terms of intensity.
A similar intensity is evident from the first chord of Haydn’s Symphony No. 99. There is an energy in the string playing and a richness to the overall sonority that make clear that this will be big-boned Haydn. Muscular does not have to mean heavy-handed, however, as the fleet and crisply articulated finale demonstrates. This performance represents the finest of old-fashioned Haydn in its full, rounded sonority, the tendency to employ ritards at key dramatic moments, and long, sustained phrases without slighting the wit and geniality of the music. Kubelik delivers one of those performances where you sense that everyone involved is giving 100%.
The same applies to the performance of Schoenberg’s Piano Concerto with John Ogdon’s particularly incisive brand of pianism. I will confess that I have spent more than fifty years trying to warm up to this score and have failed. I hear the craft Schoenberg put into the concerto, and how his particular Modernism reveals its roots in the German Romantic tradition. More than most, Ogdon brings a great variety of touch and even wit to the solo part. But the music just will not speak to me beyond being a collection of notes.
It is interesting to compare Kubelik’s reading of Tchaikovsky’s Fourth Symphony with the 1951 Chicago Symphony Orchestra recording that he made for Mercury. At 41:39 the Lucerne performance is only about a minute-and-a-half faster than the Mercury, but the real difference is about more than speed. From the whiplash sound of the opening fanfare to the range of expressivity overall, this is clearly a more energized Kubelik. I gave one specific detail from the finale, which can serve as an indication of the whole. Dynamics are extreme, the contrast between slow and fast is greater, and the sense of triumph in the final coda is more complete than on the studio recording.
The recorded sound is splendid––a good-quality late-1960s FM stereo broadcast, excellently reproduced here. The duration is short for two CDs, but they are being sold for the price of one. This concert, given the context in which it took place, was more than just another fine summer festival event. Kubelik had very strong patriotic feelings for his homeland, and he channeled them into an evening of impassioned music-making. We are fortunate that the event has been preserved and that Audite and the Lucerne Festival have made it available.
On August 20-21, 1968, Russia-led troops from the Warsaw Pact invaded Prague. The period of expanded freedoms known as the Prague Spring was brutally
Der neue Merker | 18.09.2022 | Dr. Ingobert Waltenberger | 18. September 2022 | Quelle: https://onlineme... Erstveröffentlichung des Live-Mitschnitts vom Abschlusskonzert der Internationalen Musikfestwochen Luzern
[...] Tchaikovsky ist wohl kaum je intensiver, in den Rubati und melodienseligen chiaroscuro-Stimmungen aufregender und persönlicher erklungen als damals in Luzern. [...] Wahrhafter kann Musik und deren Interpretation nicht sein. Ein Ereignis.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[...] Tchaikovsky ist wohl kaum je intensiver, in den Rubati und melodienseligen chiaroscuro-Stimmungen aufregender und persönlicher erklungen als damals in Luzern. [...] Wahrhafter kann Musik und deren Interpretation nicht sein. Ein Ereignis.
www.pizzicato.lu | 07/09/2022 | Remy Franck | 7. September 2022 | Quelle: https://www.pizz... Außergewöhnlich spannender Mitschnitt eines Kubelik-Konzerts
Dieses Album begreift den Livemitschnitt des Konzerts, das Rafael Kubelik am 8. September 1968 an der Spitze des damals als New Philharmonia OrchestraMehr lesen
Dieses Album begreift den Livemitschnitt des Konzerts, das Rafael Kubelik am 8. September 1968 an der Spitze des damals als New Philharmonia Orchestra firmierenden Londoner Ensembles in Luzern dirigierte.
Eine in den schnellen Sätzen sehr vitale, im Adagio etwas düstere Interpretation der 99. Symphonie von Joseph Haydn eröffnet das Konzert. Darauf folgt eine rhythmisch straffe, kraftvolle und insgesamt sehr spannende Aufführung des Klavierkonzerts von Arnold Schönberg mit dem britischen Pianisten John Ogdon (1937-1989).
Die zweite CD enthält eine hoch dramatische Darbietung von Tchaikovskys Vierter Symphonie. Zwischen den explosiven, vor Energie berstenden Passagen gibt es wunderschön warme und farbige Momente voller Zärtlichkeit, und diese spontane Kontrastierung lässt die Musik ungemein spannend werden. Hic et nunc. Da passiert wirklich etwas in diesem ersten Satz, und die wie gehetzt wirkende Coda lässt erahnen, was alles noch folgen wird.
Der zweite Satz ist ungewöhnlich atmosphärisch, sehr mitteilsam und suggestiv. Direkt gespenstisch beginnt das Pizzicato des Scherzos, wie ein Vorspiel zu der Szene in Verdis Rigoletto, in dem die Höflinge Gilda entführen. Und auch der Rest ist sehr ungewöhnlich, sehr gestisch, stark akzentuiert und grell, orgiastisch im Sinne eines Hexensabbats. Der Spuk ist nach schnellen 5’15 vorbei. Ich kenne keine andere Aufnahme, in der für den dritten Satz so wenig Zeit beansprucht wird. Und danach explodiert der vierte mit unerhörter Gewalt.
Auch hier schüren die Kontraste die Spannung zwischen Kampf und Ruhe. Stark empfundene Rubati, elektrisierende Steigerungen lassen das Allegro con fuoco ungewöhnlich expressiv brennen.
Inwiefern das brutale Niederschlagen des Prager Frühlings durch die Russen im August 1968, also kurze Zeit vor diesem Konzert, den tschechischen Exilmusiker Kubelik in diesem Konzert revoltierend befeuerte – im Booklet ist ausführlich die Rede davon – muss Spekulation bleiben. Dass Kubelik an diesem 8. September ein außergewöhnlich kraftvolles, packendes Konzert dirigierte, ist nicht zu leugnen, und in der nicht gerade armen Hinterlassenschaft Kubeliks im Tonträgerbereich ist dies eine wichtige Bereicherung des Bestands.
This album comprehends the live recording of the concert conducted by Rafael Kubelik in Lucerne on September 8, 1968, at the head of the London ensemble then known as the New Philharmonia Orchestra.
A very vital interpretation of Joseph Haydn’s 99th Symphony in the fast movements, somewhat somber in the Adagio, opens the concert. This is followed by a rhythmically tight, powerful and altogether very exciting performance of Arnold Schoenberg’s Piano Concerto with British pianist John Ogdon (1937-1989).
The second CD contains a highly dramatic performance of Tchaikovsky’s Fourth Symphony. In between explosive passages bursting with energy, there are beautifully warm and colorful moments full of tenderness, and this spontaneous contrasting makes the music immensely exciting. Hic et nunc. There is really something happening in this first movement, and the very fast coda foreshadows all that is to follow.
The second movement is unusually atmospheric, very communicative and suggestive. The pizzicato of the Scherzo is highly expressive, like a prelude to the scene in Verdi’s Rigoletto in which the courtiers kidnap Gilda. And the rest is also very unusual, very gestural, accented and garish, orgiastic in the sense of a witches’ Sabbath. The haunting is over after a quick 5’15. I know of no other recording in which so little time is taken for the third movement. And after that the fourth explodes with unheard-of violence.
Here, too, the contrasts fuel the tension between struggle and calm. Strongly felt rubati, electrifying climaxes make the Allegro con fuoco burn unusually expressively.
To what extent the brutal suppression of the Prague Spring by the Russians in August 1968, i.e. shortly before this concert, revolted the Czech exile musician Kubelik – the booklet talks about it in detail – must remain speculation. That Kubelik conducted an exceptionally powerful, gripping concert on this September 8 is undeniable, and in Kubelik’s not exactly poor legacy of recordings, this is an important addition to the inventory.
Eine in den schnellen Sätzen sehr vitale, im Adagio etwas düstere Interpretation der 99. Symphonie von Joseph Haydn eröffnet das Konzert. Darauf folgt eine rhythmisch straffe, kraftvolle und insgesamt sehr spannende Aufführung des Klavierkonzerts von Arnold Schönberg mit dem britischen Pianisten John Ogdon (1937-1989).
Die zweite CD enthält eine hoch dramatische Darbietung von Tchaikovskys Vierter Symphonie. Zwischen den explosiven, vor Energie berstenden Passagen gibt es wunderschön warme und farbige Momente voller Zärtlichkeit, und diese spontane Kontrastierung lässt die Musik ungemein spannend werden. Hic et nunc. Da passiert wirklich etwas in diesem ersten Satz, und die wie gehetzt wirkende Coda lässt erahnen, was alles noch folgen wird.
Der zweite Satz ist ungewöhnlich atmosphärisch, sehr mitteilsam und suggestiv. Direkt gespenstisch beginnt das Pizzicato des Scherzos, wie ein Vorspiel zu der Szene in Verdis Rigoletto, in dem die Höflinge Gilda entführen. Und auch der Rest ist sehr ungewöhnlich, sehr gestisch, stark akzentuiert und grell, orgiastisch im Sinne eines Hexensabbats. Der Spuk ist nach schnellen 5’15 vorbei. Ich kenne keine andere Aufnahme, in der für den dritten Satz so wenig Zeit beansprucht wird. Und danach explodiert der vierte mit unerhörter Gewalt.
Auch hier schüren die Kontraste die Spannung zwischen Kampf und Ruhe. Stark empfundene Rubati, elektrisierende Steigerungen lassen das Allegro con fuoco ungewöhnlich expressiv brennen.
Inwiefern das brutale Niederschlagen des Prager Frühlings durch die Russen im August 1968, also kurze Zeit vor diesem Konzert, den tschechischen Exilmusiker Kubelik in diesem Konzert revoltierend befeuerte – im Booklet ist ausführlich die Rede davon – muss Spekulation bleiben. Dass Kubelik an diesem 8. September ein außergewöhnlich kraftvolles, packendes Konzert dirigierte, ist nicht zu leugnen, und in der nicht gerade armen Hinterlassenschaft Kubeliks im Tonträgerbereich ist dies eine wichtige Bereicherung des Bestands.
This album comprehends the live recording of the concert conducted by Rafael Kubelik in Lucerne on September 8, 1968, at the head of the London ensemble then known as the New Philharmonia Orchestra.
A very vital interpretation of Joseph Haydn’s 99th Symphony in the fast movements, somewhat somber in the Adagio, opens the concert. This is followed by a rhythmically tight, powerful and altogether very exciting performance of Arnold Schoenberg’s Piano Concerto with British pianist John Ogdon (1937-1989).
The second CD contains a highly dramatic performance of Tchaikovsky’s Fourth Symphony. In between explosive passages bursting with energy, there are beautifully warm and colorful moments full of tenderness, and this spontaneous contrasting makes the music immensely exciting. Hic et nunc. There is really something happening in this first movement, and the very fast coda foreshadows all that is to follow.
The second movement is unusually atmospheric, very communicative and suggestive. The pizzicato of the Scherzo is highly expressive, like a prelude to the scene in Verdi’s Rigoletto in which the courtiers kidnap Gilda. And the rest is also very unusual, very gestural, accented and garish, orgiastic in the sense of a witches’ Sabbath. The haunting is over after a quick 5’15. I know of no other recording in which so little time is taken for the third movement. And after that the fourth explodes with unheard-of violence.
Here, too, the contrasts fuel the tension between struggle and calm. Strongly felt rubati, electrifying climaxes make the Allegro con fuoco burn unusually expressively.
To what extent the brutal suppression of the Prague Spring by the Russians in August 1968, i.e. shortly before this concert, revolted the Czech exile musician Kubelik – the booklet talks about it in detail – must remain speculation. That Kubelik conducted an exceptionally powerful, gripping concert on this September 8 is undeniable, and in Kubelik’s not exactly poor legacy of recordings, this is an important addition to the inventory.
Dieses Album begreift den Livemitschnitt des Konzerts, das Rafael Kubelik am 8. September 1968 an der Spitze des damals als New Philharmonia Orchestra
Musik & Theater | Jg. 43 Juni/Juli 2022 | Werner Pfister | 1. Juni 2022 Géza Anda in Luzern
In den Ecksätzen ein bemerkenswert lebendiger Bach voller Drive und motorischer Energie, gleichzeitig aber stets offen für feine dynamische Abstufungen und, besonders im langsamen Satz, für atmosphärisch ausgestaltete Empfindungswelten.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
In den Ecksätzen ein bemerkenswert lebendiger Bach voller Drive und motorischer Energie, gleichzeitig aber stets offen für feine dynamische Abstufungen und, besonders im langsamen Satz, für atmosphärisch ausgestaltete Empfindungswelten.
Tibia | 22.03.2022 | Frank Michael | 22. März 2022 | Quelle: https://www.moec...
Diese CD ist eigentlich eine Hommage an Karl Böhm, aufgenommen beim Lucerne Festival 1964. Das ausführliche Booklet stellt das im Detail vor. KarlMehr lesen
Diese CD ist eigentlich eine Hommage an Karl Böhm, aufgenommen beim Lucerne Festival 1964. Das ausführliche Booklet stellt das im Detail vor. Karl Böhm wurde vor allem mit klassischer und romantischer Musik berühmt. Dass er auch hin und wieder ein Fürsprecher der neuen Musik war, zeigen alleine schon mehrere Aufführungen der beiden Berg-Opern. So leitete er auch in Darmstadt ein Meisterwerk der „neuen Sachlichkeit“, nämlich Hindemiths Zeitoper Neues vom Tage. Auch dirigierte er 1958 in Wien die Erstaufführung von Hindemiths Oper Mathis der Maler. Auf der CD ist nun das selten gespielte Konzert für Holzbläser, Harfe und Orchester zu hören. Dass es bei der Aufführung in Luzern seinerzeit, zumindest bei der Kritik, nicht gut ankam, ist nicht nachzuvollziehen. Dieses Werk des reifen Hindemith aus dem Jahre 1949 ist von einer großen Luzidität – nicht nur der üblichen Spielfreudigkeit bei Hindemith – geprägt. Es ist in der Nachfolge der Symphonia serena zu sehen. Hier also eine Art Kontertante Symphonie mit dem Concertino Flöte, Oboe, Klarinette, Fagott, und Harfe, durchweg hervorragend musiziert von den Wiener Philharmonikern und ihren Solisten.
Am Ende des 1. Satzes finden sich spielerisch elegante kurze Solokadenzen, der 2. Satz Grazioso ist ausgesprochen kammermusikalisch gestaltet. Das abschließende Rondo hat einen heiteren Marschcharakter mit einer rasanten Stretta. In diesem Satz leuchtet immer wieder Mendelssohns Hochzeitsmarsch aus dem Sommernachtstraum auf. Konnten doch Paul Hindemith und seine Frau Gertrud im Entstehungsjahr dieses Werkes ihre Silberne Hochzeit feiern. Es gibt wenige Werke Hindemiths mit so viel quirligem Witz und Charme. Allein deswegen schon lohnt die Anschaffung dieser CD. Zu Bruckners Siebter noch viele Worte zu verlieren, ist sicher überflüssig. Natürlich hat sich Böhm immer wieder und viel mit diesem genialen Komponisten auseinandergesetzt. Das ist hier auch zu hören. Eine lohnende Veröffentlichung also.
Am Ende des 1. Satzes finden sich spielerisch elegante kurze Solokadenzen, der 2. Satz Grazioso ist ausgesprochen kammermusikalisch gestaltet. Das abschließende Rondo hat einen heiteren Marschcharakter mit einer rasanten Stretta. In diesem Satz leuchtet immer wieder Mendelssohns Hochzeitsmarsch aus dem Sommernachtstraum auf. Konnten doch Paul Hindemith und seine Frau Gertrud im Entstehungsjahr dieses Werkes ihre Silberne Hochzeit feiern. Es gibt wenige Werke Hindemiths mit so viel quirligem Witz und Charme. Allein deswegen schon lohnt die Anschaffung dieser CD. Zu Bruckners Siebter noch viele Worte zu verlieren, ist sicher überflüssig. Natürlich hat sich Böhm immer wieder und viel mit diesem genialen Komponisten auseinandergesetzt. Das ist hier auch zu hören. Eine lohnende Veröffentlichung also.
Diese CD ist eigentlich eine Hommage an Karl Böhm, aufgenommen beim Lucerne Festival 1964. Das ausführliche Booklet stellt das im Detail vor. Karl
Musik & Theater | Jg. 43 März/April 2022 | Werner Pfister | 1. März 2022 Karl Böhm in Luzern
Der Konzertmitschnitt überzeugt vor allem durch das virtuose Spiel von Solisten der Wiener Philharmoniker. [...] Beeindruckend als InterpretationMehr lesen
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Der Konzertmitschnitt überzeugt vor allem durch das virtuose Spiel von Solisten der Wiener Philharmoniker. [...] Beeindruckend als Interpretation
Diapason | N° 709 MARS 2022 | Rémy Louis | 1. März 2022
Il en va de Hindemith comme de Reger : les artistes qui en sont proches dans le temps en livrent une vision moins compassée que des interprètes plusMehr lesen
Il en va de Hindemith comme de Reger : les artistes qui en sont proches dans le temps en livrent une vision moins compassée que des interprètes plus récents. Böhm était l’aîné d’un an du compositeur ; sa lecture très vivante, à la fois robuste et joyeuse, du Concerto pour vents, harpe et orchestre (Lucerne 1970) illustre cet aspect, et le rapproche presque de Kurt Weill. L’énergie, le mordant, le relief, la fraîcheur d’inspiration sont réellement contagieux. S’il fixe un cadre rythmique clair au jeu instrumental, Böhm laisse les solistes s’épanouir librement. On sent que ces musiciens se connaissent par cœur – mention spéciale à la flûte irrésistible de Werner Tripp, au hautbois si viennois de Turetschek.
Cette proximité vaut aussi pour la Symphonie n° 7 de Bruckner. Ce témoignage de concert, capté au Festival de Lucerne 1964 (dans un son moins présent et lumineux), mêle limpidité chambriste (les bois) et évidence expressive. Böhm articule magistralement rayonnement et introversion, lyrisme et mélancolie. Que cette vision vit et avance, jamais figée, jamais engoncée dans une prétendue métaphysique ! L’aisance avec laquelle le chef donne de l’élan aux phrasés, ménage variations de tempos et légères accélérations pour accompagner les apogées, alterne de façon fulgurante lyrisme et éclat (à 10’ 10’’ dans le premier mouvement) sont irrésistibles. La finesse des cordes, la conversation soutenue entre les groupes, leur expressivité à fleur de peau sont devenues rares dans l’interprétation de Bruckner.
Le naturel avec lequel Böhm développe et maintient la tension, sans que les chorals s’essoufflent, dit combien ce langage lui est consubstantiel. Ne nous y trompons pas : ce Bruckner naturellement puissant (la prise de son surexpose quelque peu les cuivres, comme souvent dans les documents radio assez anciens) mais d’une spontanéité frémissante s’inscrit dans un paysage mental viscéralement autrichien. C’est une nuance essentielle, qui le distingue de visions beaucoup plus (trop ?) germaniques.
Cette proximité vaut aussi pour la Symphonie n° 7 de Bruckner. Ce témoignage de concert, capté au Festival de Lucerne 1964 (dans un son moins présent et lumineux), mêle limpidité chambriste (les bois) et évidence expressive. Böhm articule magistralement rayonnement et introversion, lyrisme et mélancolie. Que cette vision vit et avance, jamais figée, jamais engoncée dans une prétendue métaphysique ! L’aisance avec laquelle le chef donne de l’élan aux phrasés, ménage variations de tempos et légères accélérations pour accompagner les apogées, alterne de façon fulgurante lyrisme et éclat (à 10’ 10’’ dans le premier mouvement) sont irrésistibles. La finesse des cordes, la conversation soutenue entre les groupes, leur expressivité à fleur de peau sont devenues rares dans l’interprétation de Bruckner.
Le naturel avec lequel Böhm développe et maintient la tension, sans que les chorals s’essoufflent, dit combien ce langage lui est consubstantiel. Ne nous y trompons pas : ce Bruckner naturellement puissant (la prise de son surexpose quelque peu les cuivres, comme souvent dans les documents radio assez anciens) mais d’une spontanéité frémissante s’inscrit dans un paysage mental viscéralement autrichien. C’est une nuance essentielle, qui le distingue de visions beaucoup plus (trop ?) germaniques.
Il en va de Hindemith comme de Reger : les artistes qui en sont proches dans le temps en livrent une vision moins compassée que des interprètes plus
Audiophile Audition | Feb 22, 2022 | Gary Lemco | 22. Februar 2022 | Quelle: https://www.auda...
For collectors of historic recordings, a must.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
For collectors of historic recordings, a must.
www.pizzicato.lu | 03/02/2022 | Remy Franck | 3. Februar 2022 | Quelle: https://www.pizz... Geza Anda in Luzern
Géza Anda war von 1955-1969 regelmäßig zu Gast bei den Musikfestwochen Luzern. Aus dieser Zeit stammen die drei Radiomitschnitte, die audite nunMehr lesen
Géza Anda war von 1955-1969 regelmäßig zu Gast bei den Musikfestwochen Luzern. Aus dieser Zeit stammen die drei Radiomitschnitte, die audite nun erstmals gemeinsam auf einer CD veröffentlicht.
Anfangs erklingt das Konzert für zwei Klaviere und Orchester BWV 1061 von Johann Sebastian Bach, aufgenommen unter der Leitung von Herbert von Karajan, zusammen mit Clara Haskil. Die Interpretation ist ein Kind ihrer Zeit und ein Zeugnis der engen Zusammenarbeit Karajans nicht so sehr mit Anda, aber vor allem mit Haskil, die der Dirigent verehrte und mit der er viele Konzerte gab und auch im Duo spielte.
Geza Anda war ein ausgewiesener Bartok-Spezialist und seine Berliner Studioaufnahmen der Konzerte mit Ferenc Fricsay sind legendär.
Hier sind die Konzerte Nr. 2 unter Fricsay und Nr. 3 unter Ernest Ansermet zu hören. Beide Interpretationen sind extrem spannungsvoll und fesselnd.
Géza Anda was a regular guest at the Lucerne Music Festival from 1955-1969. The three radio recordings, which audite is now releasing together on a CD for the first time, date from this period.
At the beginning, we hear the Concerto for Two Pianos and Orchestra BWV 1061 by Johann Sebastian Bach, recorded under the direction of Herbert von Karajan, together with Clara Haskil. The interpretation is a child of its time and a testimony to Karajan’s close collaboration not so much with Anda, but especially with Haskil, whom the conductor adored and with whom he gave many concerts and also played as a duo.
Geza Anda was a proven Bartok specialist and his Berlin studio recordings of the concertos with Ferenc Fricsay are legendary. Here we hear Concertos No. 2 under Fricsay and No. 3 under Ernest Ansermet. Both interpretations are riveting.
Anfangs erklingt das Konzert für zwei Klaviere und Orchester BWV 1061 von Johann Sebastian Bach, aufgenommen unter der Leitung von Herbert von Karajan, zusammen mit Clara Haskil. Die Interpretation ist ein Kind ihrer Zeit und ein Zeugnis der engen Zusammenarbeit Karajans nicht so sehr mit Anda, aber vor allem mit Haskil, die der Dirigent verehrte und mit der er viele Konzerte gab und auch im Duo spielte.
Geza Anda war ein ausgewiesener Bartok-Spezialist und seine Berliner Studioaufnahmen der Konzerte mit Ferenc Fricsay sind legendär.
Hier sind die Konzerte Nr. 2 unter Fricsay und Nr. 3 unter Ernest Ansermet zu hören. Beide Interpretationen sind extrem spannungsvoll und fesselnd.
Géza Anda was a regular guest at the Lucerne Music Festival from 1955-1969. The three radio recordings, which audite is now releasing together on a CD for the first time, date from this period.
At the beginning, we hear the Concerto for Two Pianos and Orchestra BWV 1061 by Johann Sebastian Bach, recorded under the direction of Herbert von Karajan, together with Clara Haskil. The interpretation is a child of its time and a testimony to Karajan’s close collaboration not so much with Anda, but especially with Haskil, whom the conductor adored and with whom he gave many concerts and also played as a duo.
Geza Anda was a proven Bartok specialist and his Berlin studio recordings of the concertos with Ferenc Fricsay are legendary. Here we hear Concertos No. 2 under Fricsay and No. 3 under Ernest Ansermet. Both interpretations are riveting.
Géza Anda war von 1955-1969 regelmäßig zu Gast bei den Musikfestwochen Luzern. Aus dieser Zeit stammen die drei Radiomitschnitte, die audite nun
Musica | n° 333 - febbraio 2022 | Riccardo Cassani | 1. Februar 2022
Restano quindi i 15 minuti circa del Concerto di Hindemith a salvare questo disco dall’inutilità discografica, trattandosi dell’unica testimonianza audio che vede impegnato Böhm con la musica di Hindemith. [...] Qui i Wiener, concentrati a sostenere l’impegno e il divertimento delle proprie prime parti come solisti risultano galvanizzati ed eccitanti anche all’ascoltatore più distratto.Mehr lesen
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Restano quindi i 15 minuti circa del Concerto di Hindemith a salvare questo disco dall’inutilità discografica, trattandosi dell’unica testimonianza audio che vede impegnato Böhm con la musica di Hindemith. [...] Qui i Wiener, concentrati a sostenere l’impegno e il divertimento delle proprie prime parti come solisti risultano galvanizzati ed eccitanti anche all’ascoltatore più distratto.
Luzerner Zeitung | 31.12.2021 | Fritz Schaub | 31. Dezember 2021 | Quelle: https://www.luze... Karl Böhm setzte auch in Luzern Maßstäbe für Bruckner
Bei aller scheinbaren al fresco-Musizierhaltung achtete Böhm sehr auf Details und entfachte einen musikantischen Schwung in Bruckners Tonsprache, ohne den großen Bogen zu vernachlässigen.Mehr lesen
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Bei aller scheinbaren al fresco-Musizierhaltung achtete Böhm sehr auf Details und entfachte einen musikantischen Schwung in Bruckners Tonsprache, ohne den großen Bogen zu vernachlässigen.
Classica – le meilleur de la musique classique & de la hi-fi | Décembre 2021-Janvier 2022 | Yannick Millon | 1. Dezember 2021
De Böhm à Thielemann, la veine Bruckner
Deux concerts, deux festivals, deux chefs. Un même orchestre et la même évidence, à plus d’un demi-siècle de distance
Ce concert à l’élan contagieux, […] atteint un niveau inconnu dans les autres versions de Böhm.Mehr lesen
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Ce concert à l’élan contagieux, […] atteint un niveau inconnu dans les autres versions de Böhm.
Crescendo Magazine | Le 1 octobre 2021 | Pierre-Jean Tribot | 1. Oktober 2021 | Quelle: https://www.cres...
Sans s’avérer un chef d’oeuvre, ce concerto oublié est un sympathique moment de musique d’autant plus qu’il est porté par l’excellence des solistes du Philharmonique de Vienne superbement accompagnés par un chef qui fut dans sa jeunesse un grand défenseur de la musique de son temps.Mehr lesen
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Sans s’avérer un chef d’oeuvre, ce concerto oublié est un sympathique moment de musique d’autant plus qu’il est porté par l’excellence des solistes du Philharmonique de Vienne superbement accompagnés par un chef qui fut dans sa jeunesse un grand défenseur de la musique de son temps.
Audiophile Audition | Sep 28, 2021 | Dr. Gary Lemco | 28. September 2021 | Quelle: https://www.auda...
Audite revives two distinct works in the Austria-German tradition, fromMehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Audite revives two distinct works in the Austria-German tradition, from
Der neue Merker | 10.09.2021 | Dr. Ingobert Waltenberger | 10. September 2021 | Quelle: https://onlineme... CD KARL BÖHM dirigiert HINDEMITH und BRUCKNER, Gastspiele der Wiener Philharmoniker beim LUCERNE FESTIVAL 1964 und 1970
Böhm gelingt es, mit einer fantastischen Truppe an Solisten der Wiener Philharmoniker [...] der spröd klassizistischen Partitur Witz und Leuchten, charmante Soli und ätherische Harfenklänge zu entlocken wie kein anderer. [...] Die Streicher der Wiener Philharmoniker sind wieder einmal eine Klasse für sich.Mehr lesen
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Böhm gelingt es, mit einer fantastischen Truppe an Solisten der Wiener Philharmoniker [...] der spröd klassizistischen Partitur Witz und Leuchten, charmante Soli und ätherische Harfenklänge zu entlocken wie kein anderer. [...] Die Streicher der Wiener Philharmoniker sind wieder einmal eine Klasse für sich.
www.pizzicato.lu | 07/09/2021 | Remy Franck | 7. September 2021 | Quelle: https://www.pizz... Verschmitzt-verspielter Hindemith, sachlicher Bruckner
Diese CD mit Aufnahmen vom Lucerne Festival beginnt mit einer Rarität, dem äußerst beschwingt und quicklebendig gespielten Hindemith-Konzert fürMehr lesen
Diese CD mit Aufnahmen vom Lucerne Festival beginnt mit einer Rarität, dem äußerst beschwingt und quicklebendig gespielten Hindemith-Konzert für Bläser, Harfe und Orchester, das der damals 76-jährige Böhm 1970 in Luzern dirigierte. Sehr reizvoll ist, wie er die verspielte Verschmitztheit des Komponisten vortrefflich zum Ausdruck bringt.
Der Luzerner Mitschnitt der Siebten Symphonie Anton Bruckners stammt aus dem September 1964. Die Interpretation ist wesentlich spontaner und auch etwas gefühlvoller als die Studioaufnahme der Symphonie mit demselben Orchester, die 1977 für DG gemacht wurde.
Beeindruckend sind hier wie dort die Klarheit des Orchesterklangs und der komplexen motivischen Struktur. Insgesamt ist es eine wohl überlegte, sachliche und jedes Pathos vermeidende Interpretation.
This CD with recordings from the Lucerne Festival begins with a rarity, the extremely buoyant and lively Hindemith Concerto for Winds, Harp and Orchestra, conducted in Lucerne in 1970 by the then 76-year-old Böhm, exquisitely expressing the composer’s playful mischievousness. The Lucerne recording of Anton Bruckner’s Seventh Symphony dates from September 1964, and is considerably more spontaneous and also somewhat more soulful than the studio recording of the symphony with the same orchestra made for DG in 1977. Impressive here as there are the clarity of the orchestral sound as well as of the complex motivic structure. Overall, it is a thoughtful, matter-of-fact interpretation that avoids any pathos.
Der Luzerner Mitschnitt der Siebten Symphonie Anton Bruckners stammt aus dem September 1964. Die Interpretation ist wesentlich spontaner und auch etwas gefühlvoller als die Studioaufnahme der Symphonie mit demselben Orchester, die 1977 für DG gemacht wurde.
Beeindruckend sind hier wie dort die Klarheit des Orchesterklangs und der komplexen motivischen Struktur. Insgesamt ist es eine wohl überlegte, sachliche und jedes Pathos vermeidende Interpretation.
This CD with recordings from the Lucerne Festival begins with a rarity, the extremely buoyant and lively Hindemith Concerto for Winds, Harp and Orchestra, conducted in Lucerne in 1970 by the then 76-year-old Böhm, exquisitely expressing the composer’s playful mischievousness. The Lucerne recording of Anton Bruckner’s Seventh Symphony dates from September 1964, and is considerably more spontaneous and also somewhat more soulful than the studio recording of the symphony with the same orchestra made for DG in 1977. Impressive here as there are the clarity of the orchestral sound as well as of the complex motivic structure. Overall, it is a thoughtful, matter-of-fact interpretation that avoids any pathos.
Diese CD mit Aufnahmen vom Lucerne Festival beginnt mit einer Rarität, dem äußerst beschwingt und quicklebendig gespielten Hindemith-Konzert für
https://hdmusic.me | JULY 21, 2021 | François Hudry | 21. Juli 2021 | Quelle: https://hdmusic....
Here we find his stunning sense of colour and unique mix of fluidity, transparence and vigour which he made his own.Mehr lesen
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Here we find his stunning sense of colour and unique mix of fluidity, transparence and vigour which he made his own.
lexnews.free.fr | Édition Semaine n° 5 / Février 2021 | Philippe-Emmanuel Krautter | 1. Februar 2021 | Quelle: http://www.lexne...
Ces archives ne pourront que réjouir le mélomane dès les premiers accords du fameux « Prélude à l’après-midi d’un faune » de Claude Debussy, cette œuvre qui sous la baguette du talentueux chef suisse déploie toutes ses couleurs chatoyantes. Mehr lesen
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Ces archives ne pourront que réjouir le mélomane dès les premiers accords du fameux « Prélude à l’après-midi d’un faune » de Claude Debussy, cette œuvre qui sous la baguette du talentueux chef suisse déploie toutes ses couleurs chatoyantes.
Diapason | N° 697 - Février 2021 | François Laurent | 1. Februar 2021
En concert au Festival de Lucerne, Armin Jordan dirige « son » Orchestre de la Suisse romande (il en fut le directeur musical entre 1985 et 1997),Mehr lesen
En concert au Festival de Lucerne, Armin Jordan dirige « son » Orchestre de la Suisse romande (il en fut le directeur musical entre 1985 et 1997), dans le versant français de son répertoire de coeur. Filez au Poème de l'amour et de la mer donné le 20 août 1994, sommet de l'album : Felicity Lott y captive par la lumière du timbre, lovée dans un écrin capiteux et souple rappelant à propos quel formidable chef lyrique était Jordan. La volupté des phrasés est si superbement appariée à la caresse du verbe, qu'elle rend négligeables les menues faiblesses inhérentes à une prise de concert. Le temps des lilas nous serre la gorge, superbe d'intensité et de délicatesses — « et toi que fais-tu ? », enlacé au violoncelle solo, est pure merveille. La soprano britannique séduit sans réserve, ce qui ne sera plus tout à fait le cas en 2003 dans son disque avec le même chef et le même orchestre (Aeon).
Le reste, hélas, n'est pas de la même eau. Le Prélude à l'après-midi d'un faune capté le 27 août 1988 accuse une certaine nonchalance jusque dans le fini instrumental, avec des cordes joliment frissonnantes mais des vents ternes voire approximatifs. Il y a plus de tenue en 1994 dans les Six épigraphes antiques orchestrées par Ansermet ; les atmosphères et la palette ont gagné en raffinement, malgré quelques baisses de tension (Pour un tombeau sans nom). Des deux partitions, le chef suisse laisse heureusement des gravures officielles abouties pour Erato, ce qui n'est pas le cas de la Suite n° 2 de Bacchus et Ariane, issue du concert de 1988 et jusque-là absente de sa discographie. Les relâchements dans l'exécution (l'« enchantement dionysiaque » est un peu mollasson) et la tendance de Jordan à arrondir les angles jusque dans la Bacchanale conclusive la signalent comme une curiosité. Un dernier regret : pourquoi avoir partout éradiqué les applaudissements du public?
Le reste, hélas, n'est pas de la même eau. Le Prélude à l'après-midi d'un faune capté le 27 août 1988 accuse une certaine nonchalance jusque dans le fini instrumental, avec des cordes joliment frissonnantes mais des vents ternes voire approximatifs. Il y a plus de tenue en 1994 dans les Six épigraphes antiques orchestrées par Ansermet ; les atmosphères et la palette ont gagné en raffinement, malgré quelques baisses de tension (Pour un tombeau sans nom). Des deux partitions, le chef suisse laisse heureusement des gravures officielles abouties pour Erato, ce qui n'est pas le cas de la Suite n° 2 de Bacchus et Ariane, issue du concert de 1988 et jusque-là absente de sa discographie. Les relâchements dans l'exécution (l'« enchantement dionysiaque » est un peu mollasson) et la tendance de Jordan à arrondir les angles jusque dans la Bacchanale conclusive la signalent comme une curiosité. Un dernier regret : pourquoi avoir partout éradiqué les applaudissements du public?
En concert au Festival de Lucerne, Armin Jordan dirige « son » Orchestre de la Suisse romande (il en fut le directeur musical entre 1985 et 1997),
AudioArt | 29.01.2021 | Liu Hansheng | 29. Januar 2021 | Quelle: https://www.audi...
Chinesische Rezension siehe PDF!Mehr lesen
Chinesische Rezension siehe PDF!
Chinesische Rezension siehe PDF!
American Record Guide | January 2021 | Donald R Vroon | 1. Januar 2021
The Epigraphes are Debussy piano pieces orchestrated by Ernest Ansermet, who also recorded them (I have that recording). They have not been recordedMehr lesen
The Epigraphes are Debussy piano pieces orchestrated by Ernest Ansermet, who also recorded them (I have that recording). They have not been recorded much as orchestral pieces. This is Ansermet’s orchestra, but he died in 1969. Still, it sounds the way he made them sound—even in Lucerne at the festival in 1988 and 1994. Despite the generally beautiful sound, I don’t find the Chausson an attractive recording. Maybe it’s the way Felicity Lott is miked— or maybe she was just out of sorts that day. She has an irritating edge to her sound. It may be that I am used to a more subtle sound: my favorite recordings are by Victoria de los Angeles and Montserrat Caballé. Chausson was a student of Massenet and Franck, but he was also friends with—and influenced by— Debussy and Albeniz. It is not a mistake to give this song cycle a slight Spanish edge. And I cannot now like the Roussel—the 19- minute Suite 2 from the ballet. I say “now” because when I was a student in Chicago Jean Martinon made quite a convincing case for the composer. Here his music seems brash and dissonant. I saw Jordan conduct this orchestra, and I thought he was excellent. I expected to be disappointed, because I remember seeing Ansermet; but Jordan maintained the orchestra’s tradition quite well.
The Epigraphes are Debussy piano pieces orchestrated by Ernest Ansermet, who also recorded them (I have that recording). They have not been recorded
Scherzo | n° 368 - Dec 2020 | Santiago Martín Bermúdez | 1. Dezember 2020
El sonido raras veces tendrá un nivel tan elevado como en este recital de Jordan en Lucerna, aunque es muy cierto que se trata de una obra muy tocada. Los Epígrafes, en orquestación de Ansermet, son como una hermosa propina. Y, para concluir, la prueba de bravura del recital, el Poème de Chausson con la voz poderosa, sugerente, de bellísimo timbre de Felicity Lott. 1994: el tiempo pasa, pero para registros así, conciertos como éste, el tiempo no pasa, o los mejora.Mehr lesen
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El sonido raras veces tendrá un nivel tan elevado como en este recital de Jordan en Lucerna, aunque es muy cierto que se trata de una obra muy tocada. Los Epígrafes, en orquestación de Ansermet, son como una hermosa propina. Y, para concluir, la prueba de bravura del recital, el Poème de Chausson con la voz poderosa, sugerente, de bellísimo timbre de Felicity Lott. 1994: el tiempo pasa, pero para registros así, conciertos como éste, el tiempo no pasa, o los mejora.
www.artalinna.com | 5 NOVEMBER 2020 | Jean-Charles Hoffelé | 5. November 2020 | Quelle: http://www.artal... Bacchus
Mais ailleurs la palette de couleurs des Genevois dore les fantaisies des Epigraphes antiques avec infiniment plus de poésie que ne le pouvaient leurs collègues bâlois, et déclenche dans le Poème de l’amour et de la mer tout un océan de sons et de sensationsMehr lesen
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Mais ailleurs la palette de couleurs des Genevois dore les fantaisies des Epigraphes antiques avec infiniment plus de poésie que ne le pouvaient leurs collègues bâlois, et déclenche dans le Poème de l’amour et de la mer tout un océan de sons et de sensations
Fono Forum | November 2020 | Clemens Haustein | 1. November 2020
Nicht mehr allzu präsent ist der Name Armin Jordan fünfzehn Jahre nach seinem Tod. Diese Mitschnitte von Konzerten bei den Luzerner MusikfestwochenMehr lesen
Nicht mehr allzu präsent ist der Name Armin Jordan fünfzehn Jahre nach seinem Tod. Diese Mitschnitte von Konzerten bei den Luzerner Musikfestwochen 1988 und 1994 laden allerdings nachdrücklich dazu ein, die Erinnerung an den schweizerischen Dirigenten zu pflegen.
Kapellmeisterliche Sorgfalt ging bei ihm einher mit wachem Sinn für Klangfarben, untrüglich war sein Gefühl für die innere Bewegungsrichtung einer Musik. Mit dem Orchestre de la Suisse Romande, dem er zwölf Jahre vorstand, gelangen in Luzern Auftritte von großer Klarheit und betörender Sonorität. Gleich Debussys "Prelude a l'apres-midi d'un faune" zu Beginn gerät zur Demonstration, was an Poesie allein schon aus dem exakten Timing erwachsen kann: das organische Beschleunigen und Bremsen der Bewegung, die genaue Vorbereitung und schließlich Bewältigung der Übergänge, von denen es zahlreiche gibt in diesem Stück. Die Musiker wiederum sind so beweglich und reaktionsschnell, weil sie keinen unnötigen klanglichen Ballast herumschleppen. Das schließt die Lust an klanglicher Größe nicht aus, wie sie gefordert ist bei zwei Stücken, die in hiesigen Konzertsälen kaum zu hören sind: Albert Roussels zweite Suite aus dem Ballett "Bacchus et Ariane", mit ihren überraschenden Klangmixturen und sicheren Pointen; und Ernest Chaussons "Poeme de l'amour et da la mer", ein duftig-geheimnisschwangeres Werk in "Tristan"- und "Parsifal"-Nachfolge. Felicity Lotts Sopran bewegt sich zwischen opernhafter Tragik und liedhafter Reflexion, Armin Jordan gibt den Klangbildern dieser Partitur Zeit zur Entfaltung und verliert sich doch nie in ihnen.
Kapellmeisterliche Sorgfalt ging bei ihm einher mit wachem Sinn für Klangfarben, untrüglich war sein Gefühl für die innere Bewegungsrichtung einer Musik. Mit dem Orchestre de la Suisse Romande, dem er zwölf Jahre vorstand, gelangen in Luzern Auftritte von großer Klarheit und betörender Sonorität. Gleich Debussys "Prelude a l'apres-midi d'un faune" zu Beginn gerät zur Demonstration, was an Poesie allein schon aus dem exakten Timing erwachsen kann: das organische Beschleunigen und Bremsen der Bewegung, die genaue Vorbereitung und schließlich Bewältigung der Übergänge, von denen es zahlreiche gibt in diesem Stück. Die Musiker wiederum sind so beweglich und reaktionsschnell, weil sie keinen unnötigen klanglichen Ballast herumschleppen. Das schließt die Lust an klanglicher Größe nicht aus, wie sie gefordert ist bei zwei Stücken, die in hiesigen Konzertsälen kaum zu hören sind: Albert Roussels zweite Suite aus dem Ballett "Bacchus et Ariane", mit ihren überraschenden Klangmixturen und sicheren Pointen; und Ernest Chaussons "Poeme de l'amour et da la mer", ein duftig-geheimnisschwangeres Werk in "Tristan"- und "Parsifal"-Nachfolge. Felicity Lotts Sopran bewegt sich zwischen opernhafter Tragik und liedhafter Reflexion, Armin Jordan gibt den Klangbildern dieser Partitur Zeit zur Entfaltung und verliert sich doch nie in ihnen.
Nicht mehr allzu präsent ist der Name Armin Jordan fünfzehn Jahre nach seinem Tod. Diese Mitschnitte von Konzerten bei den Luzerner Musikfestwochen
www.musicweb-international.com | Friday October 23rd | Stephen Francis Vasta | 23. Oktober 2020 | Quelle: http://www.music...
Armin Jordan can always be counted on for insightful, freshly considered performances, and these concert recordings from the Lucerne Festival prove noMehr lesen
Armin Jordan can always be counted on for insightful, freshly considered performances, and these concert recordings from the Lucerne Festival prove no exception, even if they don't quite match his achievements in the recording studio.
In the mid-1950s, Ernest Ansermet, the Suisse Romande Orchestra's founder and longtime music director, made a cool, clear recording of the Faune that still remains sui generis. Jordan's approach is more Romantic: note the languorous, caressing flute and horn solos in the opening, and the various liquid woodwind interjections. An impulsive surge propels other passages, including the (in)famous nine-against-six; Jordan maintains clear textures in the fuller-sounding bits.
The Bacchus suite comes next - the headnote reflects organizational convenience rather than program order. It's a disappointment, which isn't entirely the conductor's fault. Roussel's style doesn't fit into the standard boxes: its harmonic idiom is extended French late-Romantic, yet his aesthetic is more angular, so much of his orchestral music leaves a vaguely sour impression. The juxtaposition throws Jordan slightly off his game. The mysterious opening and the driving, incisive final dance – akin to the Danse génèrale in Ravel's Daphnis – move with a firm sense of purpose; and the conductor brings a nice uplift to the rhythmically clearer passages. Some of the tuttis, on the other hand, come off as noisy and unorganized.
The Six épigraphes antiques, originally for piano duo, bring us back to Ansermet, who orchestrated them. The "open" soundscapes of the first two movements, with airy, vibrant violins, recall the composer's earlier writing, with the second introducing the more "advanced" harmonies of Jeux. The whole-tone writing characteristic of late Debussy dominates the other movements. I never heard Ansermet's 1953 monaural recording, but Jordan and the orchestra do a nice job, especially with their precise, pointed "landing" of the pizzicatos.
Jordan also does well with Chausson's shimmering palette; he's sensuous in the undulating orchestral passages, projecting an affirmative mood the brief central interlude. Dame Felicity Lott's deep, burnished timbre should have been ideal - despite a relatively quick vibrato – and she inflects the French text comfortably and expressively. But she sounds hard-pressed in the climaxes – literally, as if she's "pressing hard." Gradually, the upper tones "hit a ceiling," without climbing quite all the way up; then, one starts noticing iffy tuning in some of the passing chromatics. Lott draws uplift and mystery from the third movement, but her attempts to float high notes turn tight and throaty. Had I actually heard her in Lucerne, I'd have been impressed; at home, I was less so.
The Lucerne Kunsthaus is slightly more ambient than the orchestra's regular home in Geneva's Victoria Hall; this isn't bothersome, but it may account for the opaque peaks in the Roussel and the Debussy suite. The program booklet fusses over questionable intonation from the third horn – I'm not kidding – but it didn't bother me. Oddly, we hear a fair amount of coughing and other audience noises between movements in 1994, but none at all in 1988.
In the mid-1950s, Ernest Ansermet, the Suisse Romande Orchestra's founder and longtime music director, made a cool, clear recording of the Faune that still remains sui generis. Jordan's approach is more Romantic: note the languorous, caressing flute and horn solos in the opening, and the various liquid woodwind interjections. An impulsive surge propels other passages, including the (in)famous nine-against-six; Jordan maintains clear textures in the fuller-sounding bits.
The Bacchus suite comes next - the headnote reflects organizational convenience rather than program order. It's a disappointment, which isn't entirely the conductor's fault. Roussel's style doesn't fit into the standard boxes: its harmonic idiom is extended French late-Romantic, yet his aesthetic is more angular, so much of his orchestral music leaves a vaguely sour impression. The juxtaposition throws Jordan slightly off his game. The mysterious opening and the driving, incisive final dance – akin to the Danse génèrale in Ravel's Daphnis – move with a firm sense of purpose; and the conductor brings a nice uplift to the rhythmically clearer passages. Some of the tuttis, on the other hand, come off as noisy and unorganized.
The Six épigraphes antiques, originally for piano duo, bring us back to Ansermet, who orchestrated them. The "open" soundscapes of the first two movements, with airy, vibrant violins, recall the composer's earlier writing, with the second introducing the more "advanced" harmonies of Jeux. The whole-tone writing characteristic of late Debussy dominates the other movements. I never heard Ansermet's 1953 monaural recording, but Jordan and the orchestra do a nice job, especially with their precise, pointed "landing" of the pizzicatos.
Jordan also does well with Chausson's shimmering palette; he's sensuous in the undulating orchestral passages, projecting an affirmative mood the brief central interlude. Dame Felicity Lott's deep, burnished timbre should have been ideal - despite a relatively quick vibrato – and she inflects the French text comfortably and expressively. But she sounds hard-pressed in the climaxes – literally, as if she's "pressing hard." Gradually, the upper tones "hit a ceiling," without climbing quite all the way up; then, one starts noticing iffy tuning in some of the passing chromatics. Lott draws uplift and mystery from the third movement, but her attempts to float high notes turn tight and throaty. Had I actually heard her in Lucerne, I'd have been impressed; at home, I was less so.
The Lucerne Kunsthaus is slightly more ambient than the orchestra's regular home in Geneva's Victoria Hall; this isn't bothersome, but it may account for the opaque peaks in the Roussel and the Debussy suite. The program booklet fusses over questionable intonation from the third horn – I'm not kidding – but it didn't bother me. Oddly, we hear a fair amount of coughing and other audience noises between movements in 1994, but none at all in 1988.
Armin Jordan can always be counted on for insightful, freshly considered performances, and these concert recordings from the Lucerne Festival prove no
Le Devoir | 9 octobre 2020 | Christophe Huss | 9. Oktober 2020 | Quelle: https://www.lede...
Tout ici est raffiné, souple (le Faune), intense (Roussel) et stylistiquement juste. Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Tout ici est raffiné, souple (le Faune), intense (Roussel) et stylistiquement juste.
Stretto – Magazine voor kunst, geschiedenis en muziek | oktober 2, 2020 | Michel Dutrieue | 2. Oktober 2020 | Quelle: http://www.stret...
De uitvoeringen van de Zwitserse dirigent Armin Jordan kenmerkten zich door een zachte, soepele en rijk kleurrijke orkestklank, flexibiliteit enMehr lesen
De uitvoeringen van de Zwitserse dirigent Armin Jordan kenmerkten zich door een zachte, soepele en rijk kleurrijke orkestklank, flexibiliteit en warmte. Hij beheerste zowel het Frans repertoire als de muziektraditie van Centraal-Europa en drukte op de combinatie van de beide tradities zijn eigen muzikale stempel. Op deze cd worden voor het eerst live-opnamen uitgebracht die in Luzern zijn gemaakt met het Orchestre de la Suisse Romande, een toporkest dat tussen 1985 en 1997, o.l.v. Jordan, hun gouden tijdperk beleefde.Het prestigieus Festival van Luzern in Zwitserland is opgericht in 1938 en produceert momenteel drie festivals per jaar, met jaarlijks ongeveer 110.000 bezoekers die sinds 2004 voornamelijk plaatsvinden in het Luzern Cultuur- en Congrescentrum (KKL), ontworpen door Jean Nouvel. Elk festival biedt orkesten en solisten, naast gastoptredens van internationale ensembles en artiesten, waaronder in 2019, de Berliner Philharmoniker, het Koninklijk Concertgebouworkest, de Wiener Philharmoniker, Bernard Haitink, Anne-Sophie Mutter en Sir Simon Rattle. Het festival begon ooit met het zogenaamd “Concert de Gala” in de tuinen van Richard Wagners villa, nu een museum, in Tribschen (foto’s) in 1938, onder leiding van Arturo Toscanini, die een orkest had gevormd met leden van verschillende orkesten en solisten uit heel Europa.Met de opkomst van het naziregime besloten verschillende grote artiesten en dirigenten, onder wie Toscanini, Fritz Busch, Adolf Busch en Bruno Walter, niet op te treden op de traditionele Duitse en Oostenrijkse muziekfestivals zoals de Bayreuther Salzburger Festspiele. In de jaren ‘40 werd het Swiss Festival Orchestra (Schweizerische Festspielorchester) opgericht uit leden van de elite van Zwitserse orkesten, dat een centraal onderdeel werd van het festival, dat sinds 1943 bekend staat als het Internationalen Musikfestwochen Luzern (IMF). In 2000 werd het omgedoopt tot het “Lucerne Festival” en maakt momenteel deel uit van de European Festivals Association.
Op deze magnifieke cd, opgenomen in het Kunsthaus in Zürich, in 1988 en 1994, staan “Poème de l’amour et de la mer”, op. 19 van Chausson, “Six Epigraphes antiques” en “Prélude à l’après-midi d’un faune” van Debussy, en “Bacchus et Ariane”, op. 43, Suite nr. 2 van Albert Roussel.Aan het begin van zijn carrière werd de jonge Debussy omschreven als een impressionist, als het muzikaal equivalent van het impressionisme in de figuratieve (schilder)kunst. Dit was begrijpelijk, maar vanwege zijn connecties met Mallarmé en Maeterlinck, paste het niet helemaal, in die mate dat hij later, terecht eerder als symbolistisch kunstenaar zou worden gedefinieerd. Over het algemeen is het zelfs de symbolistische beweging die de kunst van Debussy het beste beschrijft.Pierre Boulez stelde dat “moderne muziek werd gewekt” door Debussy’s reactie op Mallarmé’s gedicht “L’après-midi d’un faune”. Het meesterwerk, met zijn weelderig sensuele opening voor fluit solo, heeft de geloofsbrieven van de componist gevestigd en is terecht een hoeksteen van het orkestrepertoire geworden. “C’est avec la flûte du faune que commence une respiration nouvelle de l’art musical […], on peut dire que la musique moderne commence avec L’après-midi d’un faune.” (Pierre Boulez). De wulpse fluitopening van Debussy’s “Prélude à l’après-midi d’un faune” roept onmiddellijk een wereld van luxueuze fantasie op, die moeiteloos en spontaan door de wisselende scènes van de muziek geweven worden. Elk instrument voegt iets uniek toe, en het hele werk lijkt vrij van vorm en conventie.
“Bacchus et Ariane” is een ballet van Albert Roussel (1869-1937), naar een tekst van Abel Hermant (1862-1950). De première in 1931, was in een choreografie van Serge Lifar met decor en kostuums, ontworpen door Giorgio de Chirico. Sterdansers waren Serge Lifar als Bacchus en Olga Spessivtseva als Ariane. Het thema van het ballet is de ontvoering van Ariadne door de god Bacchus en hun liefdesperikelen. Roussel componeerde tussen juni en december 1930, muziek voor een 60 minuten durende voorstelling. De eerste uitvoering van het ballet vond plaats in mei 1931, door het orkest van Opéra Garnier in Parijs o.l.v. de fluitist, Philippe Gaubert (1879-1941). Roussel distilleerde uit het ballet later, speciaal voor het Orchestre symphonique de Paris, twee suites. De eerste suite (“Prélude”, “Jeux des éphèbes et des vierges” en “Danse du labyrinthe”) was af in 1933. Charles Munch dirigeerde het Orchestre symphonique de Paris in de eerste uitvoering in april 1933. De hier opgenomen, meer uitgebreide, tweede suite, volgde een jaar later. Toen was het Pierre Monteux die hetzelfde orkest dirigeerde op de première in februari 1934. De delen van de 2de Suite zijn “Prélude. Le sommeil d’Ariane”, “Réveil d’Ariane”, “Le baiser”, “L’enchantement dionysiaque”, “Le thiase défile”, “Danse d’Ariane”, “Danse d’Ariane et Bacchus”, “Bacchanale” en “Le couronnement d’Ariane”.“Six Épigraphes antiques” van Claude Debussy zijn zes stukken voor piano voor vier handen gecomponeerd in 1914. Er bestaat ook een arrangement voor piano solo van de hand van Debussy, dat het jaar daarop verscheen. De “Épigraphes” gingen in première in november 1916 in het Casino Saint-Pierre in Genève, door Marie Panthès en Roger Steinmetz. Debussy dacht er aanvankelijk aan om van deze oeroude opschriften een suite voor orkest te maken. De pianistische schriftuur roept daarom achtereenvolgens de klank van de fluit, de harp en de crotales of cymbales antiques op, een instrumentatie die ook terug te vinden was in zijn “Prélude à l’après-midi d’un faune”.De wens van de componist om instrumentale kleur, werd in 1932 ingewilligd door Ernest Ansermet (die een hier opgenomen, arrangement maakte symfonieorkest), en later door Jean-François Paillard, die een arrangement maakte voor kamerorkest. De delen zijn “Pour invoquer Pan, dieu du vent d’été”, “Pour un tombeau sans nom”, “Pour que la nuit soit propice”, “Pour la danseuse aux crotales”, “Pour l’Égyptienne”, en “Pour remercier la pluie du matin”.
Ernest Chausson (1855-1899) was in de Franse muziek gepositioneerd op het kruispunt, waar de romantiek van Berlioz en César Franck, de taal van Wagner en het symbolisme van de jonge Debussy, elkaar ontmoetten. Zijn uniek “Poème de l’amour et de la mer” was tegelijkertijd een profane cantate, een monoloog en een liedcyclus, gecomponeerd tussen 1882 en 1892.“Poème de l’amour et de la mer” op. 19, is een liedcyclus voor zang en orkest (eigenlijk een “Poème symphonique avec voix”). Het werd gecomponeerd tussen 1882 en 1892 en opgedragen aan Henri Duparc (1848-1933), die op zijn beurt, zijn Mélodie “Phidilé” op tekst van Leconte de Lisle, aan Chausson had opgedragen. De compositie van Chausson werd overigens beïnvloed door het symfonisch gedicht “Lénore” uit 1875 van Henri Duparc. Chausson componeerde nog een gelijkaardig werk, nl. in 1898, het “Chanson perpétuelle” op tekst van Charles Cros.
“Poème de l’amour et de la mer” bestaat uit twee delen, gescheiden door een instrumentaal interludium. De compositie is gebaseerd op de mystieke gedichten, “La fleur des eaux” en “La mort de l’amour” uit 1875, van Chaussons vriend, Maurice Bouchor (1855-1929). Bouchor was ook de dichter van 15 mélodies van Chausson. “Le temps des lilas”, koos Chausson als einde van het tweede deel van zijn “Poème”. Chausson koos voor zijn “Chant symphonique” slechts 6 van de 94 gedichten van Bouchor. De compositie bestaat dus eigenlijk uit zes melodieën naar zes gedichten. Het eerste deel bestaat uit drie melodieën, een prélude, twee interludes en een postludium. In het tweede deel, na de tweede Interlude, krijgen we nog eens drie melodieën, gescheiden door korte orkestpassages. “Poème de l’amour et de la mer” is het Frans equivalent van de grote Mahler-liedcycli, van “Vom Ewigen Leben” van Franz Schreker of van “Penthésilée” van Alfred Bruneau.Bij de première in februari 1893, in Brussel, speelde Chausson zelf de piano als begeleider van de Belgische tenor, Désiré Demest (1864-1932). De orkestversie werd voor het eerst uitgevoerd in april van hetzelfde jaar, met de sopraan Eléonore Blanc en het Orchestre de La Société Nationale de Musique, o.l.v. Gabriel Marie (1852-1928).Het begin van “Poème de l’amour et de La mer” gaat terug tot 1882, toen de componist nog les volgde bij César Franck. Het werk werd pas voltooid in 1890, net als zijn Symfonie. Chausson vond de gepaste woorden in een jeugdverzameling gedichten van zijn vriend, Maurice Bouchor. De seringen komen in de beide gedichten die Chausson koos voor, net als andere beelden, de zee, de hemel, dode bladeren in de wind, de maan. De emoties zijn duidelijk de inhoud, maar zij worden zelden direct geuit. In plaats daarvan uit de gevoeligheid van de personages zich in gezichten, geluiden, en gewaarwordingen van de wereld om hen heen. Dit is symbolisme. Bij het creëren van een universum beladen met een zware, ongrijpbare betekenis, is de muziek, in het bijzonder de muziek van Chausson, drager van diepe, gevoels geladen herinneringen en verlangens.Wagner en César Franck zijn stilistisch zeker allebei aanwezig, maar de muziek van Chausson is ook muziek die onophoudelijk belast is met het herinneren aan zichzelf. Het is muziek die aan de hand van de cyclische techniek van Liszt en Franck, en d.m.v. thematische transformatie, de chromatische harmonie constant verplaatst. Het strelend thema en de bijbehorende harmonie die bij het begin van het eerste deel van dit werk worden geïntroduceerd, “La Fleur des eaux”, begeleiden de openingsverzen. Vervolgens komt de muziek in een meer onzekere atmosfeer, als een variante voor. Er wordt verwezen naar een andere persoon, maar wordt pas aan het eind van de het vers geïdentificeerd als “ma bien-aimée”. Het is op dit punt dat het orkest peilt wat voortaan de belangrijkste vorm van het thema zal zijn.
Aangezien het orkest verdergaat, zijn er schaduwen van “Parsifal”, waarvan Chausson de première in Bayreuth bijwoonde en waardoor hij aan zijn eigen “Poème” begon. De beschouwing van “belle enfant” in het derde vers, brengt een gevoelige terugtrekking, maar leidt uiteindelijk tot de herneming van de herinnering aan “toi”. Deze muziek schijnt tegelijk een beeld te zijn van de geliefde en van de poëtische gevoelens van het personage voor haar. De muziek blijft op de achtergrond terwijl de stem, die de agitatie van het personage weerspiegelt, de recitatiefstijl behoudt. Magnifiek!
Een interludium als vergroot openingsthema, begint met solospel van de fagot en de viool. Aan het begin van het tweede gedicht, is de stemming meteen meer open en is de diatonische harmonie vrijer. De donkere sleepboot keert in een orkestrale episode terug naar het bericht van de “volkomen bladeren,” waarna het personage, door overdrijving, probeert om de eenvoudige waarheid van “l’oubli” te vermijden. Bij dit woord brengt het orkest opnieuw het belangrijkste thema naar voor, eerst door de solo cello en dan voor het eerst, door de stem. De compositie eindigt in de typische, pessimistische fin-de-siècle-stemming. Hemels!De wereldberoemde, Engelse sopraan, Felicity Lott, werd in 1947 geboren in Cheltenham in Gloucestershire. Vanaf haar vroegste jaren was ze muzikaal en begon ze op 5-jarige leeftijd piano te studeren. Ze speelde ook viool en begon op 12-jarige leeftijd met zangles. Ze is een alumna van Royal Holloway, University of London, en behaalde in 1969 een BA in Frans en Latijn. Als onderdeel van haar vierjarige studie, van 1967-1968, volgde ze een jaar lang zangles aan het conservatorium in Grenoble. Ze studeerde af aan de Royal Academy of Music en won de Principal’s Prize. Ze debuteerde in 1975 als Pamina in Mozarts Zauberflöte bij de English National Opera, in 1976 verscheen ze in de première van Henze’s “Wir erreichen den Fluss” in het Royal Opera House Covent Garden, en ze begon een langdurige relatie met het Glyndebourne Festival.Ze werd ook bekend met haar interpretaties van werk van Richard Strauss, waaronder verschillende liederen, de “Vier letzte Lieder,” en de rollen van Octavian in “Der Rosenkavalier” en de gravin in “Capriccio”. Ze was ook te zien in operettes en zong de titelrol in Franz Lehárs “Lustige Witwe” in Glyndebourne, Rosalinde in “Die Fledermaus” en de titelrollen in Offenbachs “La belle Hélène” en “La Grande-Duchesse de Gérolstein”. Daarnaast had Felicity Lott een bijzondere voorliefde voor Franse “melodies”, Duitse “Lieder” en het Engelse liedrepertoire, in het bijzonder, de liederen van Benjamin Britten. Haar begeleider was al sinds haar studententijd, Graham Johnson, met wie ze een groot aantal recitals heeft gegeven.
Ze zong ook duetrecitals met de mezzosopraan Ann Murray, de bariton Thomas Allen en de Oostenrijkse mezzosopraan, Angelika Kirchschlager, en ze was ook te zien als soliste in een opname van Mozarts Requiem met het London Philharmonic Choir and Orchestra. Voor Hyperion Records nam Felicity Lott veel mélodies op van Chabrier, Fauré, Gounod, Hahn, en Poulenc, vaak met Graham Johnson, en voor Chandos Records, liederen van o.a. Schubert, Richard Strauss en Hugo Wolf.Armin Jordan (1932-2006), geboren in Luzern, stond bekend om zijn schitterende interpretaties van Franse muziek, Mozart en Wagner. Na het leiden van een aantal Zwitserse orkesten werd hij in 1985, chef-dirigent van het Orchestre de la Suisse Romande in Genève, een positie die hij bekleedde tot 1997. Armin Jordan dirigeerde vanaf 1985 ook in de Verenigde Staten, o.a. in Seattle en New York. Seattle plande hem voor Wagners “Ring” in 2000 en 2001, maar hij moest zich in 2000 terugtrekken wegens ziekte. Om dezelfde reden annuleerde hij in 2001 zijn debuut bij de Metropolitan Opera in New York. Hij zou er Mozarts “Così fan tutte” dirigeren. Zijn zoon, de dirigent Philippe Jordan, maakte in 2002 zijn eigen debuut in de Met. Armin Jordan overleed in Zürich, vijf dagen nadat hij in het operahuis van Basel, ineenstortte tijdens het dirigeren van Prokofjevs opera “L’Amour des trois oranges”.
Op deze magnifieke cd, opgenomen in het Kunsthaus in Zürich, in 1988 en 1994, staan “Poème de l’amour et de la mer”, op. 19 van Chausson, “Six Epigraphes antiques” en “Prélude à l’après-midi d’un faune” van Debussy, en “Bacchus et Ariane”, op. 43, Suite nr. 2 van Albert Roussel.Aan het begin van zijn carrière werd de jonge Debussy omschreven als een impressionist, als het muzikaal equivalent van het impressionisme in de figuratieve (schilder)kunst. Dit was begrijpelijk, maar vanwege zijn connecties met Mallarmé en Maeterlinck, paste het niet helemaal, in die mate dat hij later, terecht eerder als symbolistisch kunstenaar zou worden gedefinieerd. Over het algemeen is het zelfs de symbolistische beweging die de kunst van Debussy het beste beschrijft.Pierre Boulez stelde dat “moderne muziek werd gewekt” door Debussy’s reactie op Mallarmé’s gedicht “L’après-midi d’un faune”. Het meesterwerk, met zijn weelderig sensuele opening voor fluit solo, heeft de geloofsbrieven van de componist gevestigd en is terecht een hoeksteen van het orkestrepertoire geworden. “C’est avec la flûte du faune que commence une respiration nouvelle de l’art musical […], on peut dire que la musique moderne commence avec L’après-midi d’un faune.” (Pierre Boulez). De wulpse fluitopening van Debussy’s “Prélude à l’après-midi d’un faune” roept onmiddellijk een wereld van luxueuze fantasie op, die moeiteloos en spontaan door de wisselende scènes van de muziek geweven worden. Elk instrument voegt iets uniek toe, en het hele werk lijkt vrij van vorm en conventie.
“Bacchus et Ariane” is een ballet van Albert Roussel (1869-1937), naar een tekst van Abel Hermant (1862-1950). De première in 1931, was in een choreografie van Serge Lifar met decor en kostuums, ontworpen door Giorgio de Chirico. Sterdansers waren Serge Lifar als Bacchus en Olga Spessivtseva als Ariane. Het thema van het ballet is de ontvoering van Ariadne door de god Bacchus en hun liefdesperikelen. Roussel componeerde tussen juni en december 1930, muziek voor een 60 minuten durende voorstelling. De eerste uitvoering van het ballet vond plaats in mei 1931, door het orkest van Opéra Garnier in Parijs o.l.v. de fluitist, Philippe Gaubert (1879-1941). Roussel distilleerde uit het ballet later, speciaal voor het Orchestre symphonique de Paris, twee suites. De eerste suite (“Prélude”, “Jeux des éphèbes et des vierges” en “Danse du labyrinthe”) was af in 1933. Charles Munch dirigeerde het Orchestre symphonique de Paris in de eerste uitvoering in april 1933. De hier opgenomen, meer uitgebreide, tweede suite, volgde een jaar later. Toen was het Pierre Monteux die hetzelfde orkest dirigeerde op de première in februari 1934. De delen van de 2de Suite zijn “Prélude. Le sommeil d’Ariane”, “Réveil d’Ariane”, “Le baiser”, “L’enchantement dionysiaque”, “Le thiase défile”, “Danse d’Ariane”, “Danse d’Ariane et Bacchus”, “Bacchanale” en “Le couronnement d’Ariane”.“Six Épigraphes antiques” van Claude Debussy zijn zes stukken voor piano voor vier handen gecomponeerd in 1914. Er bestaat ook een arrangement voor piano solo van de hand van Debussy, dat het jaar daarop verscheen. De “Épigraphes” gingen in première in november 1916 in het Casino Saint-Pierre in Genève, door Marie Panthès en Roger Steinmetz. Debussy dacht er aanvankelijk aan om van deze oeroude opschriften een suite voor orkest te maken. De pianistische schriftuur roept daarom achtereenvolgens de klank van de fluit, de harp en de crotales of cymbales antiques op, een instrumentatie die ook terug te vinden was in zijn “Prélude à l’après-midi d’un faune”.De wens van de componist om instrumentale kleur, werd in 1932 ingewilligd door Ernest Ansermet (die een hier opgenomen, arrangement maakte symfonieorkest), en later door Jean-François Paillard, die een arrangement maakte voor kamerorkest. De delen zijn “Pour invoquer Pan, dieu du vent d’été”, “Pour un tombeau sans nom”, “Pour que la nuit soit propice”, “Pour la danseuse aux crotales”, “Pour l’Égyptienne”, en “Pour remercier la pluie du matin”.
Ernest Chausson (1855-1899) was in de Franse muziek gepositioneerd op het kruispunt, waar de romantiek van Berlioz en César Franck, de taal van Wagner en het symbolisme van de jonge Debussy, elkaar ontmoetten. Zijn uniek “Poème de l’amour et de la mer” was tegelijkertijd een profane cantate, een monoloog en een liedcyclus, gecomponeerd tussen 1882 en 1892.“Poème de l’amour et de la mer” op. 19, is een liedcyclus voor zang en orkest (eigenlijk een “Poème symphonique avec voix”). Het werd gecomponeerd tussen 1882 en 1892 en opgedragen aan Henri Duparc (1848-1933), die op zijn beurt, zijn Mélodie “Phidilé” op tekst van Leconte de Lisle, aan Chausson had opgedragen. De compositie van Chausson werd overigens beïnvloed door het symfonisch gedicht “Lénore” uit 1875 van Henri Duparc. Chausson componeerde nog een gelijkaardig werk, nl. in 1898, het “Chanson perpétuelle” op tekst van Charles Cros.
“Poème de l’amour et de la mer” bestaat uit twee delen, gescheiden door een instrumentaal interludium. De compositie is gebaseerd op de mystieke gedichten, “La fleur des eaux” en “La mort de l’amour” uit 1875, van Chaussons vriend, Maurice Bouchor (1855-1929). Bouchor was ook de dichter van 15 mélodies van Chausson. “Le temps des lilas”, koos Chausson als einde van het tweede deel van zijn “Poème”. Chausson koos voor zijn “Chant symphonique” slechts 6 van de 94 gedichten van Bouchor. De compositie bestaat dus eigenlijk uit zes melodieën naar zes gedichten. Het eerste deel bestaat uit drie melodieën, een prélude, twee interludes en een postludium. In het tweede deel, na de tweede Interlude, krijgen we nog eens drie melodieën, gescheiden door korte orkestpassages. “Poème de l’amour et de la mer” is het Frans equivalent van de grote Mahler-liedcycli, van “Vom Ewigen Leben” van Franz Schreker of van “Penthésilée” van Alfred Bruneau.Bij de première in februari 1893, in Brussel, speelde Chausson zelf de piano als begeleider van de Belgische tenor, Désiré Demest (1864-1932). De orkestversie werd voor het eerst uitgevoerd in april van hetzelfde jaar, met de sopraan Eléonore Blanc en het Orchestre de La Société Nationale de Musique, o.l.v. Gabriel Marie (1852-1928).Het begin van “Poème de l’amour et de La mer” gaat terug tot 1882, toen de componist nog les volgde bij César Franck. Het werk werd pas voltooid in 1890, net als zijn Symfonie. Chausson vond de gepaste woorden in een jeugdverzameling gedichten van zijn vriend, Maurice Bouchor. De seringen komen in de beide gedichten die Chausson koos voor, net als andere beelden, de zee, de hemel, dode bladeren in de wind, de maan. De emoties zijn duidelijk de inhoud, maar zij worden zelden direct geuit. In plaats daarvan uit de gevoeligheid van de personages zich in gezichten, geluiden, en gewaarwordingen van de wereld om hen heen. Dit is symbolisme. Bij het creëren van een universum beladen met een zware, ongrijpbare betekenis, is de muziek, in het bijzonder de muziek van Chausson, drager van diepe, gevoels geladen herinneringen en verlangens.Wagner en César Franck zijn stilistisch zeker allebei aanwezig, maar de muziek van Chausson is ook muziek die onophoudelijk belast is met het herinneren aan zichzelf. Het is muziek die aan de hand van de cyclische techniek van Liszt en Franck, en d.m.v. thematische transformatie, de chromatische harmonie constant verplaatst. Het strelend thema en de bijbehorende harmonie die bij het begin van het eerste deel van dit werk worden geïntroduceerd, “La Fleur des eaux”, begeleiden de openingsverzen. Vervolgens komt de muziek in een meer onzekere atmosfeer, als een variante voor. Er wordt verwezen naar een andere persoon, maar wordt pas aan het eind van de het vers geïdentificeerd als “ma bien-aimée”. Het is op dit punt dat het orkest peilt wat voortaan de belangrijkste vorm van het thema zal zijn.
Aangezien het orkest verdergaat, zijn er schaduwen van “Parsifal”, waarvan Chausson de première in Bayreuth bijwoonde en waardoor hij aan zijn eigen “Poème” begon. De beschouwing van “belle enfant” in het derde vers, brengt een gevoelige terugtrekking, maar leidt uiteindelijk tot de herneming van de herinnering aan “toi”. Deze muziek schijnt tegelijk een beeld te zijn van de geliefde en van de poëtische gevoelens van het personage voor haar. De muziek blijft op de achtergrond terwijl de stem, die de agitatie van het personage weerspiegelt, de recitatiefstijl behoudt. Magnifiek!
Een interludium als vergroot openingsthema, begint met solospel van de fagot en de viool. Aan het begin van het tweede gedicht, is de stemming meteen meer open en is de diatonische harmonie vrijer. De donkere sleepboot keert in een orkestrale episode terug naar het bericht van de “volkomen bladeren,” waarna het personage, door overdrijving, probeert om de eenvoudige waarheid van “l’oubli” te vermijden. Bij dit woord brengt het orkest opnieuw het belangrijkste thema naar voor, eerst door de solo cello en dan voor het eerst, door de stem. De compositie eindigt in de typische, pessimistische fin-de-siècle-stemming. Hemels!De wereldberoemde, Engelse sopraan, Felicity Lott, werd in 1947 geboren in Cheltenham in Gloucestershire. Vanaf haar vroegste jaren was ze muzikaal en begon ze op 5-jarige leeftijd piano te studeren. Ze speelde ook viool en begon op 12-jarige leeftijd met zangles. Ze is een alumna van Royal Holloway, University of London, en behaalde in 1969 een BA in Frans en Latijn. Als onderdeel van haar vierjarige studie, van 1967-1968, volgde ze een jaar lang zangles aan het conservatorium in Grenoble. Ze studeerde af aan de Royal Academy of Music en won de Principal’s Prize. Ze debuteerde in 1975 als Pamina in Mozarts Zauberflöte bij de English National Opera, in 1976 verscheen ze in de première van Henze’s “Wir erreichen den Fluss” in het Royal Opera House Covent Garden, en ze begon een langdurige relatie met het Glyndebourne Festival.Ze werd ook bekend met haar interpretaties van werk van Richard Strauss, waaronder verschillende liederen, de “Vier letzte Lieder,” en de rollen van Octavian in “Der Rosenkavalier” en de gravin in “Capriccio”. Ze was ook te zien in operettes en zong de titelrol in Franz Lehárs “Lustige Witwe” in Glyndebourne, Rosalinde in “Die Fledermaus” en de titelrollen in Offenbachs “La belle Hélène” en “La Grande-Duchesse de Gérolstein”. Daarnaast had Felicity Lott een bijzondere voorliefde voor Franse “melodies”, Duitse “Lieder” en het Engelse liedrepertoire, in het bijzonder, de liederen van Benjamin Britten. Haar begeleider was al sinds haar studententijd, Graham Johnson, met wie ze een groot aantal recitals heeft gegeven.
Ze zong ook duetrecitals met de mezzosopraan Ann Murray, de bariton Thomas Allen en de Oostenrijkse mezzosopraan, Angelika Kirchschlager, en ze was ook te zien als soliste in een opname van Mozarts Requiem met het London Philharmonic Choir and Orchestra. Voor Hyperion Records nam Felicity Lott veel mélodies op van Chabrier, Fauré, Gounod, Hahn, en Poulenc, vaak met Graham Johnson, en voor Chandos Records, liederen van o.a. Schubert, Richard Strauss en Hugo Wolf.Armin Jordan (1932-2006), geboren in Luzern, stond bekend om zijn schitterende interpretaties van Franse muziek, Mozart en Wagner. Na het leiden van een aantal Zwitserse orkesten werd hij in 1985, chef-dirigent van het Orchestre de la Suisse Romande in Genève, een positie die hij bekleedde tot 1997. Armin Jordan dirigeerde vanaf 1985 ook in de Verenigde Staten, o.a. in Seattle en New York. Seattle plande hem voor Wagners “Ring” in 2000 en 2001, maar hij moest zich in 2000 terugtrekken wegens ziekte. Om dezelfde reden annuleerde hij in 2001 zijn debuut bij de Metropolitan Opera in New York. Hij zou er Mozarts “Così fan tutte” dirigeren. Zijn zoon, de dirigent Philippe Jordan, maakte in 2002 zijn eigen debuut in de Met. Armin Jordan overleed in Zürich, vijf dagen nadat hij in het operahuis van Basel, ineenstortte tijdens het dirigeren van Prokofjevs opera “L’Amour des trois oranges”.
De uitvoeringen van de Zwitserse dirigent Armin Jordan kenmerkten zich door een zachte, soepele en rijk kleurrijke orkestklank, flexibiliteit en
Der neue Merker
| 11.09.2020 | Alexander Walther | 11. September 2020 | Quelle: https://onlineme...
Betörende Empfindung der Sinne
Französische Orchestermusik: Orchestre de la Suisse Romande unter Armin Jordan bei audite erschienen
[...] die rauschhaft-ekstatischen Momente dieser innerlich glühenden Musik lässt Armin Jordan mit dem Orchestre de la Suisse Romande hier regelrecht aufblühen. [...] Leidenschaftliche Steigerungen reißen den Zuhörer dabei in wahrhaft unmittelbarer Weise mit. Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[...] die rauschhaft-ekstatischen Momente dieser innerlich glühenden Musik lässt Armin Jordan mit dem Orchestre de la Suisse Romande hier regelrecht aufblühen. [...] Leidenschaftliche Steigerungen reißen den Zuhörer dabei in wahrhaft unmittelbarer Weise mit.
www.amazon.co.uk | 4 September 2020 | 4. September 2020 | Quelle: https://www.amaz... Milstein is the master of violin
The recording is mono, but it is very good and there is no noise and applause. Listen as if you are devising even a little change, such as subtlyMehr lesen
The recording is mono, but it is very good and there is no noise and applause. Listen as if you are devising even a little change, such as subtly attaching a small portamento, it is enough to feel the room that completely entered the hand. Markevitch and Ansermet are fine, too. Dvořák is better than Mendelssohn. I think it's a valuable record of performance.
The recording is mono, but it is very good and there is no noise and applause. Listen as if you are devising even a little change, such as subtly
www.pizzicato.lu | 03/09/2020 | Remy Franck | 3. September 2020 | Quelle: https://www.pizz... Armin Jordan und Felicity Lott brillieren in französischem Programm
Nach einem sehr schönen, evokativen und lyrisch-sensuellen Prélude à l’après-midi d’un faune, begeistert Armin Jordan auf dieser Audite-CD mitMehr lesen
Nach einem sehr schönen, evokativen und lyrisch-sensuellen Prélude à l’après-midi d’un faune, begeistert Armin Jordan auf dieser Audite-CD mit einer extrem dynamischen, packenden und farbigen Interpretation der 2. Suite aus Roussels Ballett Bacchus et Ariane. Jordan gelingt es, in dem opulenten Spiel des Orchestre de la Suisse Romande ein ideales Gleichgewicht zwischen orchestraler Virtuosität, scharfen Rhythmen und subtilen Harmonien herzustellen.
Debussys Epigraphes Antiques erklingen in der Orchestrierung von Ernest Ansermet. Armin und sein Orchester entwickeln ein gutes Gespür für die leichten, atmosphärischen Klangwerte und die Nuancen der Musik.
Von Ernest Chaussons Poème de l’amour et de la mer gibt es mehr schlechte als gute Aufnahmen. Diese hier ist eine gute. Ernest Chausson war ein Bewunderer Richard Wagners, und wenn anderen Dirigenten den Poème wagnerisiert haben, so hütet sich Armin Jordan davor, Ähnliches zu tun. Er schafft einen stimmungsvollen und sehr feinen orchestralen Rahmen für seine Solistin Felicity Lott. Die Sängerin versteht es, eine starke Emotion zu erzeugen, sowohl in den süßesten und sanftesten Momenten als auch in den dramatischeren Teilen. Überall sorgt sie für eine gefühlvolle Lyrik, in jeder Melodie versteht sie es, eine wirkungsvolle Dramaturgie zu konstruieren, die sie auf bezaubernde Weise, aber auch mit perfektem Geschmack die Höhepunkte erreichen lässt.
After a very beautiful and evocative, lyrical-sensual Prélude à l’après-midi d’un faune, Armin Jordan inspires on this Audite-CD with an extremely dynamic, gripping and colourful interpretation of the 2nd Suite from Roussels ballet Bacchus et Ariane. In the opulent playing of the Orchestre de la Suisse Romande, Jordan succeeds in achieving an ideal balance between orchestral virtuosity, sharp rhythms and subtle harmonies.
Debussy’s Epigraphes Antiques can be heard in the orchestration by Ernest Ansermet. Armin and his orchestra develop a good feeling for the light, atmospheric tonal values and nuances of the music.
There are more bad than good recordings of Ernest Chausson’s Poème de l’amour et de la mer. This one is a good one. Ernest Chausson was an admirer of Richard Wagner, and while other conductors took this in account for their performance of the Poème, Armin Jordan is careful not to do the same. He creates an atmospheric and very fine orchestral setting for his soloist Felicity Lott. The singer knows how to create a strong emotion, both in the sweetest and gentlest moments and in the more dramatic parts. Everywhere she creates a soulful lyricism, in every melody she knows how to construct an effective dramaturgy, which allows her to reach the climaxes in an enchanting way, but also with perfect taste.
Debussys Epigraphes Antiques erklingen in der Orchestrierung von Ernest Ansermet. Armin und sein Orchester entwickeln ein gutes Gespür für die leichten, atmosphärischen Klangwerte und die Nuancen der Musik.
Von Ernest Chaussons Poème de l’amour et de la mer gibt es mehr schlechte als gute Aufnahmen. Diese hier ist eine gute. Ernest Chausson war ein Bewunderer Richard Wagners, und wenn anderen Dirigenten den Poème wagnerisiert haben, so hütet sich Armin Jordan davor, Ähnliches zu tun. Er schafft einen stimmungsvollen und sehr feinen orchestralen Rahmen für seine Solistin Felicity Lott. Die Sängerin versteht es, eine starke Emotion zu erzeugen, sowohl in den süßesten und sanftesten Momenten als auch in den dramatischeren Teilen. Überall sorgt sie für eine gefühlvolle Lyrik, in jeder Melodie versteht sie es, eine wirkungsvolle Dramaturgie zu konstruieren, die sie auf bezaubernde Weise, aber auch mit perfektem Geschmack die Höhepunkte erreichen lässt.
After a very beautiful and evocative, lyrical-sensual Prélude à l’après-midi d’un faune, Armin Jordan inspires on this Audite-CD with an extremely dynamic, gripping and colourful interpretation of the 2nd Suite from Roussels ballet Bacchus et Ariane. In the opulent playing of the Orchestre de la Suisse Romande, Jordan succeeds in achieving an ideal balance between orchestral virtuosity, sharp rhythms and subtle harmonies.
Debussy’s Epigraphes Antiques can be heard in the orchestration by Ernest Ansermet. Armin and his orchestra develop a good feeling for the light, atmospheric tonal values and nuances of the music.
There are more bad than good recordings of Ernest Chausson’s Poème de l’amour et de la mer. This one is a good one. Ernest Chausson was an admirer of Richard Wagner, and while other conductors took this in account for their performance of the Poème, Armin Jordan is careful not to do the same. He creates an atmospheric and very fine orchestral setting for his soloist Felicity Lott. The singer knows how to create a strong emotion, both in the sweetest and gentlest moments and in the more dramatic parts. Everywhere she creates a soulful lyricism, in every melody she knows how to construct an effective dramaturgy, which allows her to reach the climaxes in an enchanting way, but also with perfect taste.
Nach einem sehr schönen, evokativen und lyrisch-sensuellen Prélude à l’après-midi d’un faune, begeistert Armin Jordan auf dieser Audite-CD mit
Crescendo Magazine | 2 septembre 2020 | Pierre Jean Tribot | 2. September 2020 | Quelle: https://www.cres...
JOKER DE CRESCENDO - PATRIMOINE
Armin Jordan au Festival de Lucerne
Cela va sans dire, cette archive est essentielle et elle ravira les nombreux nostalgiques de cet immense maestro tout en séduisant les amoureux de la musique française.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Cela va sans dire, cette archive est essentielle et elle ravira les nombreux nostalgiques de cet immense maestro tout en séduisant les amoureux de la musique française.
Frankfurter Allgemeine Zeitung | Montag, 10. August 2020, Nr. 184 | Jan Brachmann | 10. August 2020
Man hört den Glanz des Meeres in der Mittagssonne, und die Wellenkämme sind aus Girlanden von Blüten gewirkt. Was dem Dirigenten Armin Jordan hier am 20. August 1994 im Luzerner Kunsthaus gelang, ist kostbar und delikatMehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Man hört den Glanz des Meeres in der Mittagssonne, und die Wellenkämme sind aus Girlanden von Blüten gewirkt. Was dem Dirigenten Armin Jordan hier am 20. August 1994 im Luzerner Kunsthaus gelang, ist kostbar und delikat
https://hdmusic.me | APRIL 14, 2020 | John Quinn | 14. April 2020 | Quelle: https://hdmusic....
I enjoyed this disc enormously. Neither orchestra is technically flawless but both play extremely well for Szell and the minor blemishes, such as they are, are more than offset by the sense of spirit in both performances. As for Szell, he’s on excellent form here, conducting two excellent and charismatic performances.<br /> <br /> I’m delighted that these two performances have been made available on CD. Since the presentation standards are up to Audite’s usual high standards, which enhances the appeal of this release, this disc is a very enticing proposition.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
I enjoyed this disc enormously. Neither orchestra is technically flawless but both play extremely well for Szell and the minor blemishes, such as they are, are more than offset by the sense of spirit in both performances. As for Szell, he’s on excellent form here, conducting two excellent and charismatic performances.
I’m delighted that these two performances have been made available on CD. Since the presentation standards are up to Audite’s usual high standards, which enhances the appeal of this release, this disc is a very enticing proposition.
I’m delighted that these two performances have been made available on CD. Since the presentation standards are up to Audite’s usual high standards, which enhances the appeal of this release, this disc is a very enticing proposition.
Fanfare | March 2020 | Raymond Beegle | 1. März 2020
Swiss-born Edith Mathis enjoyed a long and distinguished career singing lyric operatic roles, and there are a few recordings of Mozart and HaydnMehr lesen
Swiss-born Edith Mathis enjoyed a long and distinguished career singing lyric operatic roles, and there are a few recordings of Mozart and Haydn operas to prove her excellence. Her greatest successes however were in the world of oratorio. One understands why conductors loved her, as throughout her career, one finds unwavering perfection of pitch, tone, and rhythm, whether in the recording studio, or on stage. She is reliable.
As the dramatic scope of the art song is wider and more varied than the oratorio, and as there is no conductor to be the temperamental catalyst, Edith Mathis’s artistic power fades somewhat when matters are left in her own hands, and the hands of her accompanist, in this case, the Swiss born Karl Engel. Pitch, tone, and rhythm all dutifully appear in their proper places, in their proper roles, but they seem to have fulfilled their duties at this point without delivering a compelling attitude or atmosphere to enchant the listener. This is a particularly significant drawback as the repertoire, aside from Bartók’s jangling set of folksongs, is common fare, and one recalls too easily a host of great artists who have sung Das Veilchen, or Widmung, and made deeper impressions on the mind and heart than these pristine and proper readings given at Lucerne in 1975.
As the dramatic scope of the art song is wider and more varied than the oratorio, and as there is no conductor to be the temperamental catalyst, Edith Mathis’s artistic power fades somewhat when matters are left in her own hands, and the hands of her accompanist, in this case, the Swiss born Karl Engel. Pitch, tone, and rhythm all dutifully appear in their proper places, in their proper roles, but they seem to have fulfilled their duties at this point without delivering a compelling attitude or atmosphere to enchant the listener. This is a particularly significant drawback as the repertoire, aside from Bartók’s jangling set of folksongs, is common fare, and one recalls too easily a host of great artists who have sung Das Veilchen, or Widmung, and made deeper impressions on the mind and heart than these pristine and proper readings given at Lucerne in 1975.
Swiss-born Edith Mathis enjoyed a long and distinguished career singing lyric operatic roles, and there are a few recordings of Mozart and Haydn
Preis der Deutschen Schallplattenkritik | Bestenliste 1-2020 | Stephan Mösch | 14. Februar 2020 | Quelle: https://www.scha... Klassisches Lied und Vokalrecital
Anmut – dieser Begriff kommt einem sofort in den Sinn, wenn man den historischen Live-Mitschnitt eines Liederabends von Edith Mathis hört. AnmutMehr lesen
Anmut – dieser Begriff kommt einem sofort in den Sinn, wenn man den historischen Live-Mitschnitt eines Liederabends von Edith Mathis hört. Anmut hat mit Poesie zu tun, mit Natürlichkeit und einer kunstvollen Schlichtheit. Anmut kann aber auch pragmatische Aspekte beinhalten: Edith Mathis, damals, 1975, im Zenit ihres Könnens, hatte sich stets an die Möglichkeiten ihrer Stimme gehalten. Sie ist sich selbst treu geblieben, um als Interpretin vielseitig sein zu können. So trifft sie Schumanns lyrische Innerlichkeit ebenso wie die Drastik der „Dorfszenen“ von Bartók, die schwärmerische Gefasstheit von Mozarts „Abendempfindung“ ebenso wie die Pointen bei Richard Strauss. Man spürt die Konzentration der Zuhörer. Und teilt ihre Begeisterung.
Anmut – dieser Begriff kommt einem sofort in den Sinn, wenn man den historischen Live-Mitschnitt eines Liederabends von Edith Mathis hört. Anmut
Classica – le meilleur de la musique classique & de la hi-fi | Numéro 219 - Février 2020 | Olivier Brunei | 1. Februar 2020
Beau témoignage d'une artiste peut-être sous-évaluée par l'abondance de la concurrence, mais·dont on peut mesurer a posteriori les grandes qualités.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Beau témoignage d'une artiste peut-être sous-évaluée par l'abondance de la concurrence, mais·dont on peut mesurer a posteriori les grandes qualités.
www.musicweb-international.com | February 2020 | Göran Forsling | 1. Februar 2020 | Quelle: http://www.music...
Swiss lyric soprano Edith Mathis was for several decades one of the foremost in her Fach and was granted so long a career thanks to her intelligentMehr lesen
Swiss lyric soprano Edith Mathis was for several decades one of the foremost in her Fach and was granted so long a career thanks to her intelligent husbanding of her voice. She didn’t retire from the stage until 2001 when she was 63 and even returned to the stage in Lucerne, her birthplace, in 2018, shortly after her eightieth birthday for a recital with her student Rafael Fingerlos, where she recited Heine’s verses between the songs. The secret with her longevity was that she, as Jürgen Kesting points out in his liner notes, followed Léopold Simoneau’s advice: “Always sing with the voice you have, and not with the voice that you would like to have”. In other words, she never strayed beyond the roles that were natural for her. Bach and Mozart became her bread and butter in the opera houses and the concert platforms and in the recital rooms the central German Lied repertoire – Schubert, Schumann, Brahms, Richard Strauss and Hugo Wolf – was honed to perfection. The present disc, recorded live in 1975 at the first in her long series of recitals at the Lucerne Festival, can stand as a splendid example of a typical Edith Mathis performance. Readers who want to delve deeper in her recording career will find their fill in a 7 CD DG box issued in connection with her eightieth birthday.
Recorded live implies that there are occasional distractions in the shape of audience noises, but those are limited to some murmuring between the songs and enthusiastic applause between the sections. Yes, one exception from the general rule of audience behaviour occurs after the first of the five Richard Strauss songs, Schlechtes Wetter, where there is an extra brief round of applause, at a guess to apostrophize Karl Engel’s elegant final flourish of the postlude. Otherwise the recording is well-balanced and clean and no-one should avoid this issue for the sake of the sound – it is fully comparable to studio efforts of the same period.
Well versed in the Mozart repertoire she has the ideal voice also for his songs, and even before she has started singing we are lured into the Mozartean world through Karl Engel’s delicate piano introduction to Das Veilchen. All Ms Mathis’s hallmarks are here: the beautiful youthful tone, fresh as dew, the lightness of touch, the self-evident building of the phrases and the unfussy interpretations – there is no exaggerated word-painting or over-emphasis. Her legato is seamless and there is no lack of temperament – just listen to Dans un bois solitaire and Der Zauberer. A handful of Mozart songs is a perfect concert opener which immediately sets an agreeable atmosphere.
Bartok’s Dorfszenen, built on Slovak folksongs, is certainly not the avant-garde composer, but rather the musicologist, who spent so much time in his youth to collect and record the music of the people in his native Hungary as well as the surrounding regions. There are some harmonic twists and rhythmically there are challenges, not least in the concluding Burschentanz, wild and burlesque. On the other hand Wiegenlied is so sensitive and delicious, and the whole suite is a gem that should be heard more frequently. Bartok may not be home-ground for Edith Mathis but she certainly has the measure for his music.
Brahms’s charming 42 Deutsche Volkslieder are natural companions to Bartok and the songs are just as light and fresh as the singing. She had recorded all 42 with Peter Schreier and, as here, Karl Engel at the piano, so was well inside these pearls.
After the interval she returned with no less than nine Schumann songs. Schumann seems to have been a great favourite for her, and the DG-box mentioned above contains a lot of his songs. The well-known Widmung and Der Nussbaum are deliciously nuanced, but the whole section is wonderfully interpreted, up to the concluding Hauptmanns Weib, not one of the most performed of Schumann’s songs but the racy text, built on a poem by Robert Burns, is sung here with great intensity. The quintet of Strauss songs is also memorably interpreted and is rounded off with a delicious Hat gesagt – bleibt’s nicht dabei.
The well-deserved applause is rewarded with Hugo Wolf’s endearing Auch kleine Dinge können uns entzücken from Italienisches Liederbuch, a perfect encore which presents Edith Mathis at her very best.
From the above, readers must in all likelihood draw the conclusion that I liked the disc. That’s correct. And I don’t begrudge anyone to get the same experience.
Recorded live implies that there are occasional distractions in the shape of audience noises, but those are limited to some murmuring between the songs and enthusiastic applause between the sections. Yes, one exception from the general rule of audience behaviour occurs after the first of the five Richard Strauss songs, Schlechtes Wetter, where there is an extra brief round of applause, at a guess to apostrophize Karl Engel’s elegant final flourish of the postlude. Otherwise the recording is well-balanced and clean and no-one should avoid this issue for the sake of the sound – it is fully comparable to studio efforts of the same period.
Well versed in the Mozart repertoire she has the ideal voice also for his songs, and even before she has started singing we are lured into the Mozartean world through Karl Engel’s delicate piano introduction to Das Veilchen. All Ms Mathis’s hallmarks are here: the beautiful youthful tone, fresh as dew, the lightness of touch, the self-evident building of the phrases and the unfussy interpretations – there is no exaggerated word-painting or over-emphasis. Her legato is seamless and there is no lack of temperament – just listen to Dans un bois solitaire and Der Zauberer. A handful of Mozart songs is a perfect concert opener which immediately sets an agreeable atmosphere.
Bartok’s Dorfszenen, built on Slovak folksongs, is certainly not the avant-garde composer, but rather the musicologist, who spent so much time in his youth to collect and record the music of the people in his native Hungary as well as the surrounding regions. There are some harmonic twists and rhythmically there are challenges, not least in the concluding Burschentanz, wild and burlesque. On the other hand Wiegenlied is so sensitive and delicious, and the whole suite is a gem that should be heard more frequently. Bartok may not be home-ground for Edith Mathis but she certainly has the measure for his music.
Brahms’s charming 42 Deutsche Volkslieder are natural companions to Bartok and the songs are just as light and fresh as the singing. She had recorded all 42 with Peter Schreier and, as here, Karl Engel at the piano, so was well inside these pearls.
After the interval she returned with no less than nine Schumann songs. Schumann seems to have been a great favourite for her, and the DG-box mentioned above contains a lot of his songs. The well-known Widmung and Der Nussbaum are deliciously nuanced, but the whole section is wonderfully interpreted, up to the concluding Hauptmanns Weib, not one of the most performed of Schumann’s songs but the racy text, built on a poem by Robert Burns, is sung here with great intensity. The quintet of Strauss songs is also memorably interpreted and is rounded off with a delicious Hat gesagt – bleibt’s nicht dabei.
The well-deserved applause is rewarded with Hugo Wolf’s endearing Auch kleine Dinge können uns entzücken from Italienisches Liederbuch, a perfect encore which presents Edith Mathis at her very best.
From the above, readers must in all likelihood draw the conclusion that I liked the disc. That’s correct. And I don’t begrudge anyone to get the same experience.
Swiss lyric soprano Edith Mathis was for several decades one of the foremost in her Fach and was granted so long a career thanks to her intelligent
Scherzo | 21.01.2020 | Rafael Banús Irusta | 21. Januar 2020
En suma, un admirable retrato de una cantante modélica.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
En suma, un admirable retrato de una cantante modélica.
American Record Guide | January / February 2020 | Krishan Oberoi | 1. Januar 2020
Swiss soprano Edith Mathis had such a natural, intuitive command of the lieder genre that her name deserves to be remembered with the same reverenceMehr lesen
Swiss soprano Edith Mathis had such a natural, intuitive command of the lieder genre that her name deserves to be remembered with the same reverence as Dietrich Fischer-Dieskau and Fritz Wunderlich. It may be owing to gender bias, or simply the fact that she stopped recording in her 40s, but Mathis never quite achieved that level of recognition. That’s unfortunate, given her extraordinary gifts. This previously unreleased recital program from the 1975 Lucerne Festival should go a long way in rectifying the neglect of Mathis’s contribution to lieder performance in the 20th Century.
The program includes Mozart, Bartok, Brahms, Schumann, Strauss, and Wolf. Mathis was perhaps most famous for her Mozart performances, and this recital demonstrates why. She brings uncommon nuance to Mozart’s German lieder and exquisite artistry to his French lieder. The rest of the program is just as effective. Her performances of Bartok’s songs are nothing short of revelatory; she approaches them with a clean, refined touch unlike so many modern performances, which tend to overdramatize them. And even the well worn Brahms and Schumann lieder are worth hearing again in her unique interpretation.
With historical performances, the quality of recorded sound is always a concern. While the ambient noise and hiss here are more pronounced than modern recordings, such concerns are immediately forgotten once the music begins. Mathis had a resonant instrument, and it is captured here in compelling detail. The voice is supple in the middle register, and bright but not strident in the upper register. She had a wonderful command of dynamics, and is able to sing softly (which she does often) without losing support. Quiet singing in the upper register is controlled but not restricted, and the vibrato is even all through. This is truly a voice worth preserving and worth hearing in its prime. Karl Engel accompanies, and the full range of the piano is well balanced, without the airy quality that so often characterizes historic piano recordings.
Mathis, who is still alive in Switzerland, seems to have turned her attention primarily to teaching in the 1980s. One certainly hopes that she can impart some of her profound knowledge of lieder performance to her students.
The program includes Mozart, Bartok, Brahms, Schumann, Strauss, and Wolf. Mathis was perhaps most famous for her Mozart performances, and this recital demonstrates why. She brings uncommon nuance to Mozart’s German lieder and exquisite artistry to his French lieder. The rest of the program is just as effective. Her performances of Bartok’s songs are nothing short of revelatory; she approaches them with a clean, refined touch unlike so many modern performances, which tend to overdramatize them. And even the well worn Brahms and Schumann lieder are worth hearing again in her unique interpretation.
With historical performances, the quality of recorded sound is always a concern. While the ambient noise and hiss here are more pronounced than modern recordings, such concerns are immediately forgotten once the music begins. Mathis had a resonant instrument, and it is captured here in compelling detail. The voice is supple in the middle register, and bright but not strident in the upper register. She had a wonderful command of dynamics, and is able to sing softly (which she does often) without losing support. Quiet singing in the upper register is controlled but not restricted, and the vibrato is even all through. This is truly a voice worth preserving and worth hearing in its prime. Karl Engel accompanies, and the full range of the piano is well balanced, without the airy quality that so often characterizes historic piano recordings.
Mathis, who is still alive in Switzerland, seems to have turned her attention primarily to teaching in the 1980s. One certainly hopes that she can impart some of her profound knowledge of lieder performance to her students.
Swiss soprano Edith Mathis had such a natural, intuitive command of the lieder genre that her name deserves to be remembered with the same reverence
Diapason | N° 686 - Janvier 2020 | Jean-Philippe Grosperrin | 1. Januar 2020 La rigueur et la grâce
Témoignage inespéré, cette captation d'un concert de 1975 fait entendre une Edith Mathis et un Karl Engel au sommet de leur art, et invite àMehr lesen
Témoignage inespéré, cette captation d'un concert de 1975 fait entendre une Edith Mathis et un Karl Engel au sommet de leur art, et invite à réévaluer leur legs dans le lied
Aubaine que la publication, d'après les bandes radio, d'un récital du 3 septembre 1975 à Lucerne, dans ces années où Edith Mathis gravait pour DG d'éminents albums de lieder (Mozart, Wolf) et l'intégrale inégalée des Volkslieder de Brahms (1974) avec Peter Schreier et déjà Karl Engel au piano. La voix est alors exceptionnelle, qui possède à la fois la fraîcheur, l'éclat différencié et cette fermeté charnelle dans le médium et le bas du registre – elle avait chanté pour Böhm aussi bien Chérubin que Sophie du Rosenkavalier. Mais la merveille, c'est ce phrasé d'une netteté rare, maître absolu de l'intonation, de la dynamique du son (très sensible en live), mais dont la pureté stylistique, se refusant à monter en épingle l'intention expressive, s'accompagne d'un à-propos parfait de la caractérisation. Mozart et Strauss en sont l'exemple. Abendempfindung ose sans fléchir la simplicité d'un sourire grave. Das Veilchen, coloré, diversifié, pensé, garde intacte l'émotion naïve du personnage de Goethe. Dans un bois solitaire est d'un tact dramaturgique qui ne surjoue pas le rococo, tandis que l’esprit qui anime Der Zauberer, pétillant mais non moins subtil, n'a pas d'équivalent ailleurs.
Variés, les Strauss sont autant de remèdes à la tentation du seul hédonisme. Die Nacht n'est pas exhalaison planante, mais parcours, exactement, avec ses zones, ses ombres. Le comique de Hat gesagt est d'une pointe fantastique quand Schlechtes Wetter, en plein dans les équivoques de Heine, subjugue aussi par·sa plasticité (le dernier vers !).
Délectation toujours avec l'assortiment des Myrthen de Schumann. L'union de la candeur et de l'érotisme·s‘opère dans un Nussbaum supérieurement conduit, révé, mais plus généralement une qualité charnelle de mêlancolie magnifie Suleika, les lieder virginaux (les deux Lied der Braut, encore plus beaux qu'en studio avec Christophe Eschenbach) ou la conduite de Was will die einsame Träne. Et quel ascendant dans Jemand ou lm Westen !
De Brahms à Bartok
Régal aussi, de bout en bout, les doigts et l'imagination d'un Karl Engel dépouillé, impérieux, ironique, allusif, dans l'élan comme dan, la stase. Son concours est décisif dans la performance des Scènes villageoises de Bartok, qui valent à elles seules l'acquisition du disque. Comme dans les cinq Volkslieder de Brahms, aussi décantés (In stiller Nacht !) que vivants, Edith Mathis sait que le ton populaire est aussi fait d'enigme, à bonne distance du lyrisme romantique : la Berceuse de Bartok n'est pas maternelle comme avec lrmgard Seefried mais déploie un mystère insondable dans un chant d'une précision implacable (l'euphorie du chant nuptial, la danse finale). Le bis de Wolf (Auch kleine Dinge) célèbre le délice que recèlent les « petites choses », mais voilà bien un tout grand témoignage de cette artiste modeste et immense, qui souriait à bon escient, et dont on n'a pas fini de mesurer la valeur du legs.
Aubaine que la publication, d'après les bandes radio, d'un récital du 3 septembre 1975 à Lucerne, dans ces années où Edith Mathis gravait pour DG d'éminents albums de lieder (Mozart, Wolf) et l'intégrale inégalée des Volkslieder de Brahms (1974) avec Peter Schreier et déjà Karl Engel au piano. La voix est alors exceptionnelle, qui possède à la fois la fraîcheur, l'éclat différencié et cette fermeté charnelle dans le médium et le bas du registre – elle avait chanté pour Böhm aussi bien Chérubin que Sophie du Rosenkavalier. Mais la merveille, c'est ce phrasé d'une netteté rare, maître absolu de l'intonation, de la dynamique du son (très sensible en live), mais dont la pureté stylistique, se refusant à monter en épingle l'intention expressive, s'accompagne d'un à-propos parfait de la caractérisation. Mozart et Strauss en sont l'exemple. Abendempfindung ose sans fléchir la simplicité d'un sourire grave. Das Veilchen, coloré, diversifié, pensé, garde intacte l'émotion naïve du personnage de Goethe. Dans un bois solitaire est d'un tact dramaturgique qui ne surjoue pas le rococo, tandis que l’esprit qui anime Der Zauberer, pétillant mais non moins subtil, n'a pas d'équivalent ailleurs.
Variés, les Strauss sont autant de remèdes à la tentation du seul hédonisme. Die Nacht n'est pas exhalaison planante, mais parcours, exactement, avec ses zones, ses ombres. Le comique de Hat gesagt est d'une pointe fantastique quand Schlechtes Wetter, en plein dans les équivoques de Heine, subjugue aussi par·sa plasticité (le dernier vers !).
Délectation toujours avec l'assortiment des Myrthen de Schumann. L'union de la candeur et de l'érotisme·s‘opère dans un Nussbaum supérieurement conduit, révé, mais plus généralement une qualité charnelle de mêlancolie magnifie Suleika, les lieder virginaux (les deux Lied der Braut, encore plus beaux qu'en studio avec Christophe Eschenbach) ou la conduite de Was will die einsame Träne. Et quel ascendant dans Jemand ou lm Westen !
De Brahms à Bartok
Régal aussi, de bout en bout, les doigts et l'imagination d'un Karl Engel dépouillé, impérieux, ironique, allusif, dans l'élan comme dan, la stase. Son concours est décisif dans la performance des Scènes villageoises de Bartok, qui valent à elles seules l'acquisition du disque. Comme dans les cinq Volkslieder de Brahms, aussi décantés (In stiller Nacht !) que vivants, Edith Mathis sait que le ton populaire est aussi fait d'enigme, à bonne distance du lyrisme romantique : la Berceuse de Bartok n'est pas maternelle comme avec lrmgard Seefried mais déploie un mystère insondable dans un chant d'une précision implacable (l'euphorie du chant nuptial, la danse finale). Le bis de Wolf (Auch kleine Dinge) célèbre le délice que recèlent les « petites choses », mais voilà bien un tout grand témoignage de cette artiste modeste et immense, qui souriait à bon escient, et dont on n'a pas fini de mesurer la valeur du legs.
Témoignage inespéré, cette captation d'un concert de 1975 fait entendre une Edith Mathis et un Karl Engel au sommet de leur art, et invite à
Luzerner Zeitung
| 12.12.2019 | Fritz Schaub | 12. Dezember 2019 | Quelle: https://www.luze...
Neue historische Aufnahme bewahrt die Gesangskunst von Edith Mathis für die Zukunft
Historische Aufnahmen lassen den Gesang des Luzerner Opernstars Edith Mathis wieder aufleben
Nach der gross angelegten Anthologie mit Aufnahmen des internationalMehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Nach der gross angelegten Anthologie mit Aufnahmen des international
Scherzo | 01.12.2019 | Enrique Pérez Adrián | 1. Dezember 2019
Procedentes de dos conciertos públicos dados en el Festival de Lucerna enMehr lesen
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Procedentes de dos conciertos públicos dados en el Festival de Lucerna en
Opernwelt | Dezember 2019 | Uwe Schweikert | 1. Dezember 2019
Anmut und Innerlichkeit
Mozart, Bartók, Brahms, Schumann, Strauss, Wolf: Der Mitschnitt eines Luzerner Liederabends aus dem Jahr 1975 präsentiert Edith Mathis im Zenit ihrer Kunst
Der erste Eindruck, der sich einstellt, ist Staunen – Staunen über den Glanz der Stimme wie über die Perfektion des Singens. [...] exzellent begleitet von Karl Engel, der diesem Liederabend am Klavier seinen Stempel aufzuprägen weiß. Ein Juwel!Mehr lesen
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Der erste Eindruck, der sich einstellt, ist Staunen – Staunen über den Glanz der Stimme wie über die Perfektion des Singens. [...] exzellent begleitet von Karl Engel, der diesem Liederabend am Klavier seinen Stempel aufzuprägen weiß. Ein Juwel!
www.ResMusica.com | Le 7 novembre 2019 | Pierre Degott | 7. November 2019 | Quelle: https://www.resm... Edith Mathis à Lucerne, simple et naturelle
Dans un programme taillé sur mesure, la soprano suisse impose sa personnalité. Sans fard et sans artifice, Edith Mathis fait triompher le naturel et de la simplicité.Mehr lesen
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Dans un programme taillé sur mesure, la soprano suisse impose sa personnalité. Sans fard et sans artifice, Edith Mathis fait triompher le naturel et de la simplicité.
www.artalinna.com | 3 NOVEMBER 2019 | Jean-Charles Hoffelé | 3. November 2019 | Quelle: http://www.artal... La voix pure
Cette voix fraîche comme une source aimait la veine populaire, il faut entendre comme elle fait danser ou rêver les sauvages Scènes de village de Bartók et quel petit orchestre de campagne lui invente Karl Engel. Les Brahms sont délicieux tout comme les neuf Lieder tirés des Myrthen de Schumann, musiques de paysages et d’émotions où elle modèle les sentiments d’une inflexion, comme si elle avait un regard dans la voix.[...] Quelle artiste !Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Cette voix fraîche comme une source aimait la veine populaire, il faut entendre comme elle fait danser ou rêver les sauvages Scènes de village de Bartók et quel petit orchestre de campagne lui invente Karl Engel. Les Brahms sont délicieux tout comme les neuf Lieder tirés des Myrthen de Schumann, musiques de paysages et d’émotions où elle modèle les sentiments d’une inflexion, comme si elle avait un regard dans la voix.[...] Quelle artiste !
forumopera.com - Le magazine du monde lyrique | 03 Octobre 2019 | Laurent Bury | 3. Oktober 2019 | Quelle: https://www.foru... Selected Lieder
Concluons avec ce qui ouvrait le récital, et où Edith Mathis reste une référence intemporelle : les lieder de Mozart, qui lui vont comme un gant et qui semblent avoir été écrits pour elle.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Concluons avec ce qui ouvrait le récital, et où Edith Mathis reste une référence intemporelle : les lieder de Mozart, qui lui vont comme un gant et qui semblent avoir été écrits pour elle.
Audiophile Audition | Oct 2, 2019 | Gary Lemco | 2. Oktober 2019 | Quelle: https://www.auda... Edith Mathis at the Lucerne Festival – Audite
Mathis possesses a strong and vibrant vocal instrument, ideal for the Austrian and German repertory, though Mathis has ventured into the French world of Berlioz and Faure. The present Lucerne lieder recital (3 September 1975) enjoys the piano accompaniment of Swiss veteran pianist Karl Engel.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Mathis possesses a strong and vibrant vocal instrument, ideal for the Austrian and German repertory, though Mathis has ventured into the French world of Berlioz and Faure. The present Lucerne lieder recital (3 September 1975) enjoys the piano accompaniment of Swiss veteran pianist Karl Engel.
www.opusklassiek.nl | oktober 2019 | Aart van der Wal | 1. Oktober 2019 | Quelle: https://www.opus...
Maar de hoofdzaak is natuurlijk dat Mathis ook op het gebied van de liedkunst voor absolute juwelen zorgt. Ze heeft er niet alleen de ideale stem voor, maar ook brengt ze haar verbeeldingskracht mee die deze liederen het vereiste expressieve cachet meegeven. Met Karl Engel, een van de meest vooraanstaande pianisten in het liedrepertoire, had ze het niet beter kunnen treffen.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Maar de hoofdzaak is natuurlijk dat Mathis ook op het gebied van de liedkunst voor absolute juwelen zorgt. Ze heeft er niet alleen de ideale stem voor, maar ook brengt ze haar verbeeldingskracht mee die deze liederen het vereiste expressieve cachet meegeven. Met Karl Engel, een van de meest vooraanstaande pianisten in het liedrepertoire, had ze het niet beter kunnen treffen.
Crescendo | Jg. 22 Nr. 6_2019 (Oktober-November 2019) | CK | 1. Oktober 2019 Silberglänzende Stimme: Edith Mathis
Begleitet von dem Pianisten Karl Engel, interpretiert sie mit silbriger Zartheit Werke von Mozart bis Strauss und Bartók. [...] Ungekünstelt, farbenreich und ausdrucksvoll interpretiertMehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Begleitet von dem Pianisten Karl Engel, interpretiert sie mit silbriger Zartheit Werke von Mozart bis Strauss und Bartók. [...] Ungekünstelt, farbenreich und ausdrucksvoll interpretiert
http://operalounge.de
| 01.10.2019 | Ingrid Wanja | 1. Oktober 2019 | Quelle: http://operaloun...
Edith Mathis mit einem Live-Liederabend bei audite
Maßstäbe setzen
In ihrer Geburtsstadt Luzern beim renommierten Musik Festival gab Edith Mathis im Jahr 1975 einen Liederabend mit Werken von Mozart, Bartok, Brahms,Mehr lesen
In ihrer Geburtsstadt Luzern beim renommierten Musik Festival gab Edith Mathis im Jahr 1975 einen Liederabend mit Werken von Mozart, Bartok, Brahms, Schumann und Strauss, der jetzt bei audite veröffentlicht wurde und immer noch als Maßstab für perfekten Liedgesang gelten kann. Die Zugabe war Wolfs „Auch kleine Dinge können uns entzücken“, und wie das Einstiegslied „Das Veilchen“ passen sie wunderbar zu der Schweizer Sängerin, deren besonders hervorstechender Charakterzug die Bescheidenheit war, die nie sich selbst, sondern immer das zu interpretierende Werk in den Vordergrund stellte, die die anrührendste Pamina war, die man erleben konnte.
Zu den Mozart-Liedern passen der silbrige Schimmer des Soprans, die leichte Emission der Stimme, der mädchenhafte Gestus des Singens und natürlich zum Liedgesang generell die gute Diktion. Die feine Melancholie in der Stimme, die Reinheit und Klarheit sprechen in „Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte“ direkt zum Herzen des Hörers, und bei „Abendempfindung“ entzückt die Schwerelosigkeit des Gesangs. Aber auch Humor kann in dem wandlungsfähigen Sopran sich ausdrücken, wie „Der Zauberer“ beweist.
Bei den derberen Bartok-Liedern wird die Balance zwischen Kunst- und Volkslied gewahrt, ist das Wiegenlied von wunderschöner Innigkeit, beweist die Sängerin in „Burschentanz“ aber auch, dass sie vokal beherzt zupacken kann.
Besonders gefallen können die Deutschen Volkslieder von Brahms, mit einem schönen Aufblühen des Soprans in „In stiller Nacht“, feinen Pianissimi und der Gewissheit des Hörers, dass die Sängerin empfindet, was sie singt. Von raffinierter Schlichtheit ist „Da drunten im Tale“ mit im Untergrund loderndem Feuer, am Schluss nachdenklich dunkel. Der Stimmungswechsel in „Feinsliebchen“ ist von bezwingender Unmittelbarkeit.
Aus „Mythen“ von Schumann stammt „Widmung“, der Mathis einen schönen Jubelton, wechselnd mit Innigkeit verleiht, zartes Naturerleben lässt sie den Hörer in „Der Nussbaum“ nachempfinden, eine selbstbewusste Braut spricht aus dem ersten Brautlied, tränenverhangen und in einem schönen Pianissimo verhauchend zeigt sich „Was will die einsame Träne“. „Hauptmanns Weib“ beweist, dass die Mathis auch Forte singen konnte, die Stimme bei aller lyrischen Anlage viel Substanz besaß.
Das gilt auch für Strauss‘ „Schlechtes Wetter“, ehe der Sopran in „Die Nacht“ ein duftiges Gebilde zaubert, schillernde Farbigkeit für „Ach, Lieb“ hat und schließlich ganz eins ist mit Wolfs Kleinen Dingen. Karl Engel ist der ideale Begleiter, der die Sängerin auf akustischen Händen trägt (audite 95.647).
Zu den Mozart-Liedern passen der silbrige Schimmer des Soprans, die leichte Emission der Stimme, der mädchenhafte Gestus des Singens und natürlich zum Liedgesang generell die gute Diktion. Die feine Melancholie in der Stimme, die Reinheit und Klarheit sprechen in „Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte“ direkt zum Herzen des Hörers, und bei „Abendempfindung“ entzückt die Schwerelosigkeit des Gesangs. Aber auch Humor kann in dem wandlungsfähigen Sopran sich ausdrücken, wie „Der Zauberer“ beweist.
Bei den derberen Bartok-Liedern wird die Balance zwischen Kunst- und Volkslied gewahrt, ist das Wiegenlied von wunderschöner Innigkeit, beweist die Sängerin in „Burschentanz“ aber auch, dass sie vokal beherzt zupacken kann.
Besonders gefallen können die Deutschen Volkslieder von Brahms, mit einem schönen Aufblühen des Soprans in „In stiller Nacht“, feinen Pianissimi und der Gewissheit des Hörers, dass die Sängerin empfindet, was sie singt. Von raffinierter Schlichtheit ist „Da drunten im Tale“ mit im Untergrund loderndem Feuer, am Schluss nachdenklich dunkel. Der Stimmungswechsel in „Feinsliebchen“ ist von bezwingender Unmittelbarkeit.
Aus „Mythen“ von Schumann stammt „Widmung“, der Mathis einen schönen Jubelton, wechselnd mit Innigkeit verleiht, zartes Naturerleben lässt sie den Hörer in „Der Nussbaum“ nachempfinden, eine selbstbewusste Braut spricht aus dem ersten Brautlied, tränenverhangen und in einem schönen Pianissimo verhauchend zeigt sich „Was will die einsame Träne“. „Hauptmanns Weib“ beweist, dass die Mathis auch Forte singen konnte, die Stimme bei aller lyrischen Anlage viel Substanz besaß.
Das gilt auch für Strauss‘ „Schlechtes Wetter“, ehe der Sopran in „Die Nacht“ ein duftiges Gebilde zaubert, schillernde Farbigkeit für „Ach, Lieb“ hat und schließlich ganz eins ist mit Wolfs Kleinen Dingen. Karl Engel ist der ideale Begleiter, der die Sängerin auf akustischen Händen trägt (audite 95.647).
In ihrer Geburtsstadt Luzern beim renommierten Musik Festival gab Edith Mathis im Jahr 1975 einen Liederabend mit Werken von Mozart, Bartok, Brahms,
Frankfurter Allgemeine Zeitung | Montag, 30. September 2019 | Nr. 227 | jbm | 30. September 2019
Silberglanz der Höhe, Grazie, leichteste Beweglichkeit – an all dasMehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Silberglanz der Höhe, Grazie, leichteste Beweglichkeit – an all das
De Gelderlander | 25-09-19 | Maarten-Jan Dongelmans | 25. September 2019 | Quelle: https://www.geld... Zelfs de kuchjes van Edith Mathis zijn nog om door een ringetje te halen
Inderdaad, ‘ook kleine dingen kunnen ons bekoren’, zeker wanneer Edith Mathis dergelijke parels uit de liedkunst voordraagt. Een aanrader!Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Inderdaad, ‘ook kleine dingen kunnen ons bekoren’, zeker wanneer Edith Mathis dergelijke parels uit de liedkunst voordraagt. Een aanrader!
www.pizzicato.lu
| 15/09/2019 | Uwe Krusch | 15. September 2019 | Quelle: https://www.pizz...
Notizbuch eines Rezensenten – CD-Kurzrezensionen von Uwe Krusch (Folge 244)
Stile auslotender Liederabend
Ihr Repertoire entwickelte die schweizerisch solide studierte, zuverlässige, divenfreie Edith Mathis von den lyrischen Partien Mozarts bisMehr lesen
Ihr Repertoire entwickelte die schweizerisch solide studierte, zuverlässige, divenfreie Edith Mathis von den lyrischen Partien Mozarts bis gereifteren Fach der Mozart-Gräfin. Auch feinsinnig in Lied und Oratorien machte sie sich einen Namen, weil sie durch Akkuratesse, musikalische Ausdruckskraft und mädchenhaft zarte Schönheit überzeugte. Das kann auch aus dem Mitschnitt eines Konzerts in Luzern 1975 erhört werden, der jetzt vorliegt. Ihr Repertoire reichte an diesem Abend von Mozart, Schumann, Wolf, Brahms, Strauss bis Bartok. Dabei fand sie nicht nur für jeden Komponisten, sondern auch für jedes Lied einen eigenen Ton, bei dem sie von Karl Engel am Klavier aufmerksam und selbstbewusst begleitend unterstützt wurde.
Ihr Repertoire entwickelte die schweizerisch solide studierte, zuverlässige, divenfreie Edith Mathis von den lyrischen Partien Mozarts bis
Diapason | N° 682 - Septembre 2019 | Nicolas Derny | 1. September 2019
Alors que nous pensions tout connaitre des concertos de Mendelssohn et de Dvorak par Nathan Milstein, Audite exhume deux live inédits du Festival deMehr lesen
Alors que nous pensions tout connaitre des concertos de Mendelssohn et de Dvorak par Nathan Milstein, Audite exhume deux live inédits du Festival de Lucerne. Addendum indispensable aux multiples gravures de studio ? Voire. La faute aux aléas du direct, et à des partenaires pas véritablement à la hauteur.
Fort de son autorité altière mais un rien moins enlevé et infaillible qu'à l‘accoutumée,le violoniste parvient plus d'une fois à faire plier Markevitch dans Mendelssohn. Autrement, ce dernier regarderait droit devant, sans se préoccuper de grand-chose (Allegro molto appassionato). La noble éloquence du chant touche au coeur dans l'Andante, ici pris comme un Adagio, mais l'archet ne recrée pas l'ivresse virtuose entendue avec Bruno Walter dans le crépitant finale (Diapason d'or, cf. n° 502). Probablement parce que le chef confond cet Opus 64 avec le concerto de Brahms.
Quatre ans après la rencontre légendaire avec Dorati (Diapason d'or, cf. n° 509), Milstein n'a strictement rien changé à sa vision de l'Opus 53 de Dvorak. Menton haut et archet franc, il épate toujours autant dans le premier mouvement. Même loin de leur zone de confort, les troupes d'Ansermet ne se contentent pas de figuration. Cordes et bois amènent vie et couleurs. Le soliste déploie encore ses talents de conteur dans l'Adagio ma non troppo, mais la bande défaille : le son du violon tourne au vinaigre dans les premières mesures, et il a fallu piocher dans l'enregistrement réalisé avec Steinberg en 1956 pour combler quelques laçunes – collages trés audible de 7' 14" à 7' 57" et de 7' 27" à 7' 29". La nervosité gagne tout le monde au milieu du finale, où Milstein n'atteint ni la perfection ni le charme qu'on lui connait dans ses autres témoignages.
Fort de son autorité altière mais un rien moins enlevé et infaillible qu'à l‘accoutumée,le violoniste parvient plus d'une fois à faire plier Markevitch dans Mendelssohn. Autrement, ce dernier regarderait droit devant, sans se préoccuper de grand-chose (Allegro molto appassionato). La noble éloquence du chant touche au coeur dans l'Andante, ici pris comme un Adagio, mais l'archet ne recrée pas l'ivresse virtuose entendue avec Bruno Walter dans le crépitant finale (Diapason d'or, cf. n° 502). Probablement parce que le chef confond cet Opus 64 avec le concerto de Brahms.
Quatre ans après la rencontre légendaire avec Dorati (Diapason d'or, cf. n° 509), Milstein n'a strictement rien changé à sa vision de l'Opus 53 de Dvorak. Menton haut et archet franc, il épate toujours autant dans le premier mouvement. Même loin de leur zone de confort, les troupes d'Ansermet ne se contentent pas de figuration. Cordes et bois amènent vie et couleurs. Le soliste déploie encore ses talents de conteur dans l'Adagio ma non troppo, mais la bande défaille : le son du violon tourne au vinaigre dans les premières mesures, et il a fallu piocher dans l'enregistrement réalisé avec Steinberg en 1956 pour combler quelques laçunes – collages trés audible de 7' 14" à 7' 57" et de 7' 27" à 7' 29". La nervosité gagne tout le monde au milieu du finale, où Milstein n'atteint ni la perfection ni le charme qu'on lui connait dans ses autres témoignages.
Alors que nous pensions tout connaitre des concertos de Mendelssohn et de Dvorak par Nathan Milstein, Audite exhume deux live inédits du Festival de
Preis der Deutschen Schallplattenkritik
| 15. Februar 2019 | Stephan Bultmann | 15. Februar 2019 | Quelle: https://www.scha...
Bestenliste 1-2019
Historische Aufnahmen
Diese in der Edition „Luzerner Festspiele“ glanzvoll tönenden Violinkonzerte stehen in besonderer Verknüpfung mit dem Solisten Nathan Milstein.Mehr lesen
Diese in der Edition „Luzerner Festspiele“ glanzvoll tönenden Violinkonzerte stehen in besonderer Verknüpfung mit dem Solisten Nathan Milstein. Dvořák starb 1904, das Jahr, in dem Milstein geboren wurde. Für ihn und seine Zeitgenossen Adolf Busch und Vasa Prihoda war der Einsatz für das Werk noch Pionierarbeit. Das gleiche gilt freilich auch für Milsteins Aufführungen des Mendelssohn Konzertes (ein frühes Zeugnis ist eine Liveaufnahme mit Toscanini; dieser dirigierte auch das Gründungskonzert der Luzerner Festspiele, dem Milstein als Hörer beiwohnte). Hier spielt Milstein beide Violinkonzerte mit der unergründlichen Leichtigkeit eines Virtuosen, der sich in den technisch anspruchsvollen Passagen nicht austobt, sondern souverän dem Hörer einen Blick auf die Musik erlaubt. (Für die Jury: Stephan Bultmann)
Diese in der Edition „Luzerner Festspiele“ glanzvoll tönenden Violinkonzerte stehen in besonderer Verknüpfung mit dem Solisten Nathan Milstein.
Fanfare | February 2019 | Huntley Dent | 1. Februar 2019
The ongoing series of historical recordings from the Lucerne Festival has been unusually well selected by Audite. The label’s access to originalMehr lesen
The ongoing series of historical recordings from the Lucerne Festival has been unusually well selected by Audite. The label’s access to original radio tapes has also been a key factor, and as a result, these releases are on a par with Orfeo’s issues from the Bayreuth Festival. The illustrious Russian violinist Nathan Milstein is probably undervalued today. Born in 1904, he appeared at the Lucerne Festival starting in 1949, in contrast with postwar Germany, where in response to the crimes against the Jews, he refused to perform until 1966. The Mendelssohn and Dvořák Violin Concertos were staples of Milstein’s repertoire, so these performances from the 1953 and 1955 festivals are duplications. The notes inform us, however, that the works are new to the discographies of the two conductors, Igor Markevitch and Ernest Ansermet.
Markevitch and Milstein manage to make the Mendelssohn Violin Concerto an event, no easy thing. Straightforward and no-nonsense aren’t terms of praise from me, which is why Milstein, who often displayed both qualities, hasn’t been a favorite over the years. It was a surprise, then, to hear how much inflection he brings to the Mendelssohn, combining freshness with authority. The soloist is placed far forward but not so much so that the orchestra becomes sonic wallpaper. The mono sound is good enough to bring out the color in Milstein’s tone. I like old-fashioned readings of this concerto, which places Isaac Stern’s live account with Leonard Bernstein and the Israel Philharmonic (Sony) high on my list for its warmth and big heart. (The performance appears on an album titled Isaac Stern: Keeping the Doors Open, released to commemorate his successful efforts in the 1960s to keep Carnegie Hall from being demolished.) Milstein-Markevitch are just as impressive.
My mental stereotype was shattered completely in the Dvořák Violin Concerto, where Milstein gives the utmost in expression, feeling, and intensity. It’s remarkable that Ernest Ansermet, not known for Romantic warmth and by no means famous for his Dvořák, should play an equal role. But together they deliver a reading so full of energy and conviction that I haven’t heard its like before. The finale, which can sound squeaky and insubstantial, comes to life with earthy robustness here. Played as if it is a masterpiece, the Dvořák Violin Concerto becomes one. The recorded sound is essentially the same from 1955 as two years previously, but Milstein is placed farther back and, perhaps from deterioration in the tapes, his tone becomes a little gritty. The ear quickly adjusts, however, and the rest is pure pleasure.
As nice as it is to be surprised by two excellent performances that haven’t been released before, even better was to have Milstein rise in my esteem. By all means this CD deserves serious consideration from general listeners and collectors alike.
Markevitch and Milstein manage to make the Mendelssohn Violin Concerto an event, no easy thing. Straightforward and no-nonsense aren’t terms of praise from me, which is why Milstein, who often displayed both qualities, hasn’t been a favorite over the years. It was a surprise, then, to hear how much inflection he brings to the Mendelssohn, combining freshness with authority. The soloist is placed far forward but not so much so that the orchestra becomes sonic wallpaper. The mono sound is good enough to bring out the color in Milstein’s tone. I like old-fashioned readings of this concerto, which places Isaac Stern’s live account with Leonard Bernstein and the Israel Philharmonic (Sony) high on my list for its warmth and big heart. (The performance appears on an album titled Isaac Stern: Keeping the Doors Open, released to commemorate his successful efforts in the 1960s to keep Carnegie Hall from being demolished.) Milstein-Markevitch are just as impressive.
My mental stereotype was shattered completely in the Dvořák Violin Concerto, where Milstein gives the utmost in expression, feeling, and intensity. It’s remarkable that Ernest Ansermet, not known for Romantic warmth and by no means famous for his Dvořák, should play an equal role. But together they deliver a reading so full of energy and conviction that I haven’t heard its like before. The finale, which can sound squeaky and insubstantial, comes to life with earthy robustness here. Played as if it is a masterpiece, the Dvořák Violin Concerto becomes one. The recorded sound is essentially the same from 1955 as two years previously, but Milstein is placed farther back and, perhaps from deterioration in the tapes, his tone becomes a little gritty. The ear quickly adjusts, however, and the rest is pure pleasure.
As nice as it is to be surprised by two excellent performances that haven’t been released before, even better was to have Milstein rise in my esteem. By all means this CD deserves serious consideration from general listeners and collectors alike.
The ongoing series of historical recordings from the Lucerne Festival has been unusually well selected by Audite. The label’s access to original
Diapason | N° 675 Janvier 2019 | Patrick Szersnovicz | 1. Januar 2019
Schumann - Ouverture de Manfred
Le cas Furtwängler
[...] Abrupt et péremptoire à Leipzig, Abendroth mérite d’être connu pour le climat intense qu’il ménage sans interruption (Tahra, 1944).Mehr lesen
[...] Abrupt et péremptoire à Leipzig, Abendroth mérite d’être connu pour le climat intense qu’il ménage sans interruption (Tahra, 1944). Aussi fébrile mais plus désordonné, Schuricht ne manque pas non plus de qualité avec le LPO (Decca, 1948). Mais les sommets de cette décennie viennent avec Wilhelm Furtwängler. Surplombant ses trois témoignages, la version live du 18 décembre 1949 avec les Berliner Philharmoniker (DG) demeure unique par ses incroyables contrastes entre tragique intime et révolte déchirante. Sa maîtrise absolument unique du temps musical se retrouve dans la version studio (24 janvier 1951) avec le Philharmonique de Vienne (Warner), plus subtil et discipliné, comme dans le live du 26 août 1953 au Festival de Lucerne (Audite). […]
[...] Abrupt et péremptoire à Leipzig, Abendroth mérite d’être connu pour le climat intense qu’il ménage sans interruption (Tahra, 1944).
Fanfare | December 2018 | Jerry Dubins | 1. Dezember 2018
This is Volume 8 in Audite’s Lucerne Festival Collection and it documents appearances by Nathan Milstein in 1953 and again in 1955 at the SwissMehr lesen
This is Volume 8 in Audite’s Lucerne Festival Collection and it documents appearances by Nathan Milstein in 1953 and again in 1955 at the Swiss festival, performing the Mendelssohn Concerto with Igor Markevitch and the Dvořák Concerto with Ernest Ansermet, both conductors leading the Swiss Festival Orchestra. This is not the first time that this Milstein/Mendelssohn has been released on CD. In 33:6, Robert Maxham reviewed an Archipel album containing this performance, but it was coupled with a Milstein performance of the Brahms Concerto with the New York Philharmonic, led by Victor de Sabata. The 1955 Milstein/Dvořák with Ansermet on this Audite release, however, may be another story. I can’t swear that it has never been available on CD before, but this is the only version of it I’ve found. In 21:1, Maxham reviewed a four-disc Music & Arts set that contained a Milstein/Dvořák, but that one was from a year later, 1956, with Paul Kletzki conducting the Cologne Gürzenich Orchestra.
No violinist I’m aware of was more closely associated with the Dvořák Concerto than Milstein. It was a staple of his repertoire, and he was recorded playing it, in concert and in studio, a total of six of times that I’ve been able to document. Here they are:
October 26, 1947 Leopold Stokowski New York Philharmonic
March 4, 1951 Antal Doráti Minneapolis Symphony Orchestra
August 6, 1955 Ernest Ansermet Swiss Festival Orchestra
September 14, 1956 Paul Kletzki Cologne Gürzenich Orchestra
April 16–17, 1957 William Steinberg Pittsburg Symphony Orchestra
June 9–11, 1966 Frühbeck de Burgos New Philharmonia
Some of these may be harder to track down than others, but they have all been issued on CD, including the earliest, with Stokowski and the NY Philharmonic, which was remastered by Pristine and reviewed in three consecutive issues 41:1, 41:2, and 41:3.
The last two listed, with Steinberg and Frühbeck de Burgos, are both studio efforts and the most widely circulated and readily available among the lot. The one with Steinberg, in the opinion of some, including me, may be Milstein’s definitive recording of the piece, though I haven’t heard all of them, and this is my first time hearing the Ansermet version, which may be the first time anyone has heard it, since, as noted above, I haven’t been able to find a previous release of it.
The first thing that struck me about this performance was how little it differs interpretively from the Steinberg of 20 months later. Milstein’s readings of a given work had a tendency to speed up with time instead of slowing down, and that can be observed here with Ansermet in 1955, when he took 10:20 to navigate the first movement. By four months short of two years later, with Steinberg, Milstein had sped up, admittedly almost imperceptibly, but by 15 seconds to 10:05. Nine years later, with Frühbeck de Burgos, the speedup is shocking: 8:59. The thing is, though, that Milstein was an obsessive technical perfectionist who seldom, if ever, used his consummate technique to project a flashy, virtuosic personality. As a result—his last Dvořák recording, with Frühbeck de Burgos, being an example—Milstein could convey an impression of a player who was aloof and even almost indifferent.
That is not the impression I get from either his performance with Steinberg or this one with Ansermet. Both give fully characterful representations of the music’s Czech core, but in ways that are nuanced and refined. Dvořák’s peasants live for the moment as princes. Frankly, the main difference I find between the Steinberg and this Ansermet performance is in the orchestral playing. The Ansermet was taped “live,” and the Swiss Festival players are not quite as disciplined as are the Pittsburgh players for Steinberg under studio conditions. The “live” Swiss recording is also a bit blowsy and congested sounding in heavily dynamic passages.
Milstein’s readings of the Dvořák Concerto may be more interpretively divergent in his earlier recordings with Stokowski and Doráti; I can’t say since I haven’t heard them. But interpretively and performance-wise, this Ansermet version is so close to the Steinberg that I would stick with the latter, especially since the orchestral playing and recording are superior. On the other hand, if you’re a Milstein devotee, you will probably want all of his above-listed recordings of the Dvořák so you can compare their differences, subtle or otherwise, to your heart’s content.
If six Milstein versions of the Dvořák Concerto are a bit much for you, the violinist’s recordings of the Mendelssohn Concerto are of a dizzying number to make your head spin. From March 20, 1936, there are fragments from the second and third movements captured on record with Milstein and the New York Philharmonic under Toscanini, the only time, we’re told, that the violinist and conductor ever collaborated. From there, we move on to no fewer than seven recordings of the complete concerto, if you don’t count a couple of questionable ones noted below.
According to Youngrok Lee’s discography (lee.classite.com/music/Milstein/discography-milstein.htm#Mendelssohn), there is a recording from the 1940s with Ormandy and the Philadelphia Orchestra, transferred from 78s to a Pearl CD. He even lists a Pearl catalog number of GEMM 9259, but I have searched high and low and everywhere in between, and I cannot find a Pearl CD with that number or any other reference to a Milstein/Ormandy/Philadelphia recording, so I’m not counting that one in the total number, or the next one he lists either, which he dates from February 22, 1942, with the Cleveland Orchestra. He names no conductor, however, and indicates that Columbia never released the recording.
So, now, we get into the documentable versions that do exist and several of which have been previously covered here, including this one on the aforementioned Archipel disc, reviewed by Maxham.
March 16, 1945 Bruno Walter New York Philharmonic
August 12, 1953 Igor Markevitch Swiss Festival Orchestra
November 28, 1953 William Steinberg Pittsburgh Symphony Orchestra
August 9, 1957 George Szell Berlin Philharmonic
October 1–3, 1959 Leon Barzin Philharmonia Orchestra
March 4, 1962 Walter Hendl Chicago Symphony Orchestra
March 12–13, 1973 Claudio Abbado Vienna Philharmonic Live performance at the Salzburg Festival Released only on DVD, as far as I know
Nearly a 30-year span is covered by these seven recordings, all of which have been transferred to and released on digital media. Before becoming acquainted with this Markevitch performance, I was familiar with all but the Szell/Berlin and Hendl/Chicago versions. I was able, however, to view and listen to the Hendl recording on YouTube, so that left only the Szell that I haven’t heard. The amazing thing to me about the Hendl video is being able to watch Milstein up close and personal. He is one cool cucumber, his unchanging expression totally impassive. Yet, close your eyes and listen, and you don’t get the impression that his playing is emotionally cold or distant.
How does this “live” Markevitch performance compare to the others I was previously familiar with? I think I can pretty much say the same thing about it I said about the Dvořák on this release with Ansermet. Milstein’s execution, as always, is impeccably clean and precise, his silvery tone glinting brightly off the orchestra. Interpretively, I’m stuck by how consistent the violinist’s readings of a given work remain over time. It’s as if once he has settled on the way he wants to do it, subsequent performances vary by only minor degrees based on his adapting to the conductors and orchestras he’s playing with. I know I’ll get flack for saying, “If you’ve heard one, you’ve heard them all,” but in the case of these Milstein Mendelssohns, I’d say that they’re really close enough to each other that one could base one’s choice on the orchestral contribution and quality of the recording rather than on the violinist.
Some swear by the 1945 recording with Walter and the New York Philharmonic, but my personal choice would be for the Abbado with the Vienna Philharmonic. It’s the most recent and best-sounding recording, the Vienna Philharmonic is well, the Vienna Philharmonic, and Abbado and Milstein seem to have a real rapport with each other. I’m not saying that Milstein is my preferred violinist in the Mendelssohn Concerto—he’s not. I find all his readings of the piece too fast and facile. I’m just saying that of his several recordings of the Mendelssohn, the one with Abbado would be my first choice.
No violinist I’m aware of was more closely associated with the Dvořák Concerto than Milstein. It was a staple of his repertoire, and he was recorded playing it, in concert and in studio, a total of six of times that I’ve been able to document. Here they are:
October 26, 1947 Leopold Stokowski New York Philharmonic
March 4, 1951 Antal Doráti Minneapolis Symphony Orchestra
August 6, 1955 Ernest Ansermet Swiss Festival Orchestra
September 14, 1956 Paul Kletzki Cologne Gürzenich Orchestra
April 16–17, 1957 William Steinberg Pittsburg Symphony Orchestra
June 9–11, 1966 Frühbeck de Burgos New Philharmonia
Some of these may be harder to track down than others, but they have all been issued on CD, including the earliest, with Stokowski and the NY Philharmonic, which was remastered by Pristine and reviewed in three consecutive issues 41:1, 41:2, and 41:3.
The last two listed, with Steinberg and Frühbeck de Burgos, are both studio efforts and the most widely circulated and readily available among the lot. The one with Steinberg, in the opinion of some, including me, may be Milstein’s definitive recording of the piece, though I haven’t heard all of them, and this is my first time hearing the Ansermet version, which may be the first time anyone has heard it, since, as noted above, I haven’t been able to find a previous release of it.
The first thing that struck me about this performance was how little it differs interpretively from the Steinberg of 20 months later. Milstein’s readings of a given work had a tendency to speed up with time instead of slowing down, and that can be observed here with Ansermet in 1955, when he took 10:20 to navigate the first movement. By four months short of two years later, with Steinberg, Milstein had sped up, admittedly almost imperceptibly, but by 15 seconds to 10:05. Nine years later, with Frühbeck de Burgos, the speedup is shocking: 8:59. The thing is, though, that Milstein was an obsessive technical perfectionist who seldom, if ever, used his consummate technique to project a flashy, virtuosic personality. As a result—his last Dvořák recording, with Frühbeck de Burgos, being an example—Milstein could convey an impression of a player who was aloof and even almost indifferent.
That is not the impression I get from either his performance with Steinberg or this one with Ansermet. Both give fully characterful representations of the music’s Czech core, but in ways that are nuanced and refined. Dvořák’s peasants live for the moment as princes. Frankly, the main difference I find between the Steinberg and this Ansermet performance is in the orchestral playing. The Ansermet was taped “live,” and the Swiss Festival players are not quite as disciplined as are the Pittsburgh players for Steinberg under studio conditions. The “live” Swiss recording is also a bit blowsy and congested sounding in heavily dynamic passages.
Milstein’s readings of the Dvořák Concerto may be more interpretively divergent in his earlier recordings with Stokowski and Doráti; I can’t say since I haven’t heard them. But interpretively and performance-wise, this Ansermet version is so close to the Steinberg that I would stick with the latter, especially since the orchestral playing and recording are superior. On the other hand, if you’re a Milstein devotee, you will probably want all of his above-listed recordings of the Dvořák so you can compare their differences, subtle or otherwise, to your heart’s content.
If six Milstein versions of the Dvořák Concerto are a bit much for you, the violinist’s recordings of the Mendelssohn Concerto are of a dizzying number to make your head spin. From March 20, 1936, there are fragments from the second and third movements captured on record with Milstein and the New York Philharmonic under Toscanini, the only time, we’re told, that the violinist and conductor ever collaborated. From there, we move on to no fewer than seven recordings of the complete concerto, if you don’t count a couple of questionable ones noted below.
According to Youngrok Lee’s discography (lee.classite.com/music/Milstein/discography-milstein.htm#Mendelssohn), there is a recording from the 1940s with Ormandy and the Philadelphia Orchestra, transferred from 78s to a Pearl CD. He even lists a Pearl catalog number of GEMM 9259, but I have searched high and low and everywhere in between, and I cannot find a Pearl CD with that number or any other reference to a Milstein/Ormandy/Philadelphia recording, so I’m not counting that one in the total number, or the next one he lists either, which he dates from February 22, 1942, with the Cleveland Orchestra. He names no conductor, however, and indicates that Columbia never released the recording.
So, now, we get into the documentable versions that do exist and several of which have been previously covered here, including this one on the aforementioned Archipel disc, reviewed by Maxham.
March 16, 1945 Bruno Walter New York Philharmonic
August 12, 1953 Igor Markevitch Swiss Festival Orchestra
November 28, 1953 William Steinberg Pittsburgh Symphony Orchestra
August 9, 1957 George Szell Berlin Philharmonic
October 1–3, 1959 Leon Barzin Philharmonia Orchestra
March 4, 1962 Walter Hendl Chicago Symphony Orchestra
March 12–13, 1973 Claudio Abbado Vienna Philharmonic Live performance at the Salzburg Festival Released only on DVD, as far as I know
Nearly a 30-year span is covered by these seven recordings, all of which have been transferred to and released on digital media. Before becoming acquainted with this Markevitch performance, I was familiar with all but the Szell/Berlin and Hendl/Chicago versions. I was able, however, to view and listen to the Hendl recording on YouTube, so that left only the Szell that I haven’t heard. The amazing thing to me about the Hendl video is being able to watch Milstein up close and personal. He is one cool cucumber, his unchanging expression totally impassive. Yet, close your eyes and listen, and you don’t get the impression that his playing is emotionally cold or distant.
How does this “live” Markevitch performance compare to the others I was previously familiar with? I think I can pretty much say the same thing about it I said about the Dvořák on this release with Ansermet. Milstein’s execution, as always, is impeccably clean and precise, his silvery tone glinting brightly off the orchestra. Interpretively, I’m stuck by how consistent the violinist’s readings of a given work remain over time. It’s as if once he has settled on the way he wants to do it, subsequent performances vary by only minor degrees based on his adapting to the conductors and orchestras he’s playing with. I know I’ll get flack for saying, “If you’ve heard one, you’ve heard them all,” but in the case of these Milstein Mendelssohns, I’d say that they’re really close enough to each other that one could base one’s choice on the orchestral contribution and quality of the recording rather than on the violinist.
Some swear by the 1945 recording with Walter and the New York Philharmonic, but my personal choice would be for the Abbado with the Vienna Philharmonic. It’s the most recent and best-sounding recording, the Vienna Philharmonic is well, the Vienna Philharmonic, and Abbado and Milstein seem to have a real rapport with each other. I’m not saying that Milstein is my preferred violinist in the Mendelssohn Concerto—he’s not. I find all his readings of the piece too fast and facile. I’m just saying that of his several recordings of the Mendelssohn, the one with Abbado would be my first choice.
This is Volume 8 in Audite’s Lucerne Festival Collection and it documents appearances by Nathan Milstein in 1953 and again in 1955 at the Swiss
Audio | 11/2018 | Andreas Fritz | 1. November 2018
Geradlinig, kraftvoll, virtuos, makellos und intensiv – so wurde das Spiel des russischen Geigers Nathan Milstein oft beschrieben. Wie treffendMehr lesen
Geradlinig, kraftvoll, virtuos, makellos und intensiv – so wurde das Spiel des russischen Geigers Nathan Milstein oft beschrieben. Wie treffend diese Attribute sind, beweisen die hier erstmals veröffentlichten Aufnahmen vom Lucerne Festival der Jahre 1953 und 1955. Milstein spielt die beiden Repertoire-Konzerte mit souveräner Phrasierung, makelloser Intonation und überlegener Bogen- und Grifftechnik. Das Orchester unter Leitung der Dirigenten-Legenden Markevitch und Ansermet begleitet ihn dabei aufmerksam. Sorgfältig restauriert, überzeugt auch der Klang dieser CD. Eine sehr gelungene Fortsetzung der audite-Serie "Lucerne Festival Historie Performances".
Geradlinig, kraftvoll, virtuos, makellos und intensiv – so wurde das Spiel des russischen Geigers Nathan Milstein oft beschrieben. Wie treffend
ClicMag | N° 65 Novembre 2018 | Jean-Charles Hoffelé | 1. November 2018 Nathan Milstein joue ...
Quelle interprétation magique ! [...] Milstein, il chante, éloquent mais stylé, archet tenu, phrasés parfaits, geste un rien hautain. Mehr lesen
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Quelle interprétation magique ! [...] Milstein, il chante, éloquent mais stylé, archet tenu, phrasés parfaits, geste un rien hautain.
www.artalinna.com | 31 October 2018 | Jean-Charles Hoffelé | 31. Oktober 2018 | Quelle: http://www.artal... Le Concerto de Milstein
Quelle interprétation magique ! [...] Milstein, il chante, éloquent mais stylé, archet tenu, phrasés parfaits, geste un rien hautain. Mehr lesen
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Quelle interprétation magique ! [...] Milstein, il chante, éloquent mais stylé, archet tenu, phrasés parfaits, geste un rien hautain.
Audiophile Audition | Oct 17, 2018 | Gary Lemco | 17. Oktober 2018 | Quelle: https://www.auda...
Odessa-born Nathan Milstein (1904-1992) made his debut at the LucerneMehr lesen
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Odessa-born Nathan Milstein (1904-1992) made his debut at the Lucerne
Mitteldeutscher Rundfunk | MDR KLASSIK | 11. Oktober 2018 | 10:37 Uhr | 11. Oktober 2018 | Quelle: https://www.mdr....
CD-Empfehlung: Nathan Milstein beim Lucerne Festival
Ein Violinen-Virtuose am Werk
Das Label hat die Mitschnitte aus den fünfziger Jahren von originalen Rundfunk-Tonbändern akribisch restauriert, um die gesamte Klangtiefe und Virtuosität des Geigers zur Entfaltung zu bringen.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Das Label hat die Mitschnitte aus den fünfziger Jahren von originalen Rundfunk-Tonbändern akribisch restauriert, um die gesamte Klangtiefe und Virtuosität des Geigers zur Entfaltung zu bringen.
Crescendo Magazine | Le 2 octobre 2018 | Patrice Lieberman | 2. Oktober 2018 | Quelle: http://www.cresc... Nathan Milstein souverain au Festival de Lucerne
Voici un excellent enregistrement qui nous montre un maître du violon au sommet de ses moyens et ce dans un son mono excellent.Mehr lesen
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Voici un excellent enregistrement qui nous montre un maître du violon au sommet de ses moyens et ce dans un son mono excellent.
www.pizzicato.lu | 02/10/2018 | Uwe Krusch | 2. Oktober 2018 | Quelle: https://www.pizz... Milstein, mal drahtig schlank, mal obsessiv
Im Umfeld von Jascha Heifetz, Fritz Kreisler und Mischa Elman sowie Adolf Busch, Bronislaw Huberman und Joseph Szigeti sowie dem Wunderkind YehudiMehr lesen
Im Umfeld von Jascha Heifetz, Fritz Kreisler und Mischa Elman sowie Adolf Busch, Bronislaw Huberman und Joseph Szigeti sowie dem Wunderkind Yehudi Menuhin war es für Nathan Milstein nicht ganz einfach, einen Platz zu finden. Zunächst vor allem als Kammermusiker mit Vladimir Horowitz und Gregor Piatigorsky fand er auch den Weg zu den großen Solokonzerten. Von seinen Auftritten in der Schweiz, so etwas wie seiner zweiten Heimat, können wir nun zwei Werke hören, die sozusagen Teil seines Kernrepertoires waren.
Sein Spiel unterschied sich von dem der anderen dadurch, dass es schlank war und nicht dem sogenannten Stil der russischen Violinschule entsprach. Vielmehr zeichnet sich der zuerst eingespielte Mendelssohn durch flotte Tempi und eine wie durchtrainiert fettfreie wirkende Interpretation aus. Das Konzert von Dvorak war eines seiner oft aufgeführten Paradestücke, dem er anders als viele Kollegen große Aufmerksamkeit widmete. Auch hier kann man vom ersten Ton an seine große Intensität und Präsenz spüren, die seine Auftritte auszeichnete. Seine Version des Dvorak ist eine aufsässige, die das Feuer schürt.
Eine Besonderheit dieser Veröffentlichung ist auch, dass es jeweils die einzige Aufnahme dieser Werke der beiden Dirigenten ist. Während sein ukrainischer Landsmann Igor Markevitch beim Mendelssohn den gleichen musikalischen Ansatz vertritt und damit beide das Werk befördern, mag das nicht unbedingt ein Vorteil bei Dvorak sein. Denn Ernest Ansermet war ein Spezialist für französische Musik, und die slawische war ihm eher fremd. Auch das Orchester spielt unterschiedlich gut.
Two recordings from the Lucerne Festival show a vivid, slender and charming Mendelssohn Concerto as well as highly energetic Dvorak Concerto. As for the conductors it’s for both of them their only recording of these works. Markevitch is at ease with the Mendelssohn, while one has the impression that Dvorak was rather alien to Ansermet.
Sein Spiel unterschied sich von dem der anderen dadurch, dass es schlank war und nicht dem sogenannten Stil der russischen Violinschule entsprach. Vielmehr zeichnet sich der zuerst eingespielte Mendelssohn durch flotte Tempi und eine wie durchtrainiert fettfreie wirkende Interpretation aus. Das Konzert von Dvorak war eines seiner oft aufgeführten Paradestücke, dem er anders als viele Kollegen große Aufmerksamkeit widmete. Auch hier kann man vom ersten Ton an seine große Intensität und Präsenz spüren, die seine Auftritte auszeichnete. Seine Version des Dvorak ist eine aufsässige, die das Feuer schürt.
Eine Besonderheit dieser Veröffentlichung ist auch, dass es jeweils die einzige Aufnahme dieser Werke der beiden Dirigenten ist. Während sein ukrainischer Landsmann Igor Markevitch beim Mendelssohn den gleichen musikalischen Ansatz vertritt und damit beide das Werk befördern, mag das nicht unbedingt ein Vorteil bei Dvorak sein. Denn Ernest Ansermet war ein Spezialist für französische Musik, und die slawische war ihm eher fremd. Auch das Orchester spielt unterschiedlich gut.
Two recordings from the Lucerne Festival show a vivid, slender and charming Mendelssohn Concerto as well as highly energetic Dvorak Concerto. As for the conductors it’s for both of them their only recording of these works. Markevitch is at ease with the Mendelssohn, while one has the impression that Dvorak was rather alien to Ansermet.
Im Umfeld von Jascha Heifetz, Fritz Kreisler und Mischa Elman sowie Adolf Busch, Bronislaw Huberman und Joseph Szigeti sowie dem Wunderkind Yehudi
Luzerner Zeitung | 02.10.2018 | Fritz Schaub | 2. Oktober 2018 | Quelle: https://www.luze... Er war ein Wunderkind bis ins hohe Alter
Auf dem jetzt erschienenen Tonträger kann man feststellen, mit welch vulkanischem Temperament und glühendem Ton er schon beim ersten Einsatz Präsenz markiert, begleitet von einem auffallend kompakt wirkenden Schweizerischen Festspielorchester unter Ernest Ansermet [...] Die entschlackte, sehnige und messerscharf akzentuierte Wiedergabe wirkt noch heute erstaunlich modern.Mehr lesen
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Auf dem jetzt erschienenen Tonträger kann man feststellen, mit welch vulkanischem Temperament und glühendem Ton er schon beim ersten Einsatz Präsenz markiert, begleitet von einem auffallend kompakt wirkenden Schweizerischen Festspielorchester unter Ernest Ansermet [...] Die entschlackte, sehnige und messerscharf akzentuierte Wiedergabe wirkt noch heute erstaunlich modern.
Tagblatt Online | 02.10.2018 | Fritz Schaub | 2. Oktober 2018 | Quelle: https://www.tagb... Er war ein Wunderkind bis ins hohe Alter
Auf dem jetzt erschienenen Tonträger kann man feststellen, mit welch vulkanischem Temperament und glühendem Ton er schon beim ersten Einsatz Präsenz markiert, begleitet von einem auffallend kompakt wirkenden Schweizerischen Festspielorchester unter Ernest Ansermet [...] Die entschlackte, sehnige und messerscharf akzentuierte Wiedergabe wirkt noch heute erstaunlich modern.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Auf dem jetzt erschienenen Tonträger kann man feststellen, mit welch vulkanischem Temperament und glühendem Ton er schon beim ersten Einsatz Präsenz markiert, begleitet von einem auffallend kompakt wirkenden Schweizerischen Festspielorchester unter Ernest Ansermet [...] Die entschlackte, sehnige und messerscharf akzentuierte Wiedergabe wirkt noch heute erstaunlich modern.
www.klassikerleben.de
| #58 Herbst 2018 | 1. September 2018
Nathan Milstein
Erstveröffentlichungen von
Der Ton des 1992 verstorbenen Geigers Nathan Milstein war so charakteristisch und eigenwillig, dass man ihn beim reinen Hören sofort diesem Ausnahmesolisten zuordnen konnte. [...] Er fesselte seine Zuhörer mit feurigen Steigerungen und unsentimentalem, geradlinigem Spiel und riss sie förmlich mit. [...] In der schon mehrere CDs umfassenden "Lucerne Festival'"-Reihe erscheinen nun bei Audite die zum ersten Mal veröffentlichten Aufnahmen des Violinkonzerts op. 64 von Felix Mendelsohn Bartholdy und des Violinkonzerts op. 53 von Antonin Dvorak mit "Nathan dem Großen"Mehr lesen
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Der Ton des 1992 verstorbenen Geigers Nathan Milstein war so charakteristisch und eigenwillig, dass man ihn beim reinen Hören sofort diesem Ausnahmesolisten zuordnen konnte. [...] Er fesselte seine Zuhörer mit feurigen Steigerungen und unsentimentalem, geradlinigem Spiel und riss sie förmlich mit. [...] In der schon mehrere CDs umfassenden "Lucerne Festival'"-Reihe erscheinen nun bei Audite die zum ersten Mal veröffentlichten Aufnahmen des Violinkonzerts op. 64 von Felix Mendelsohn Bartholdy und des Violinkonzerts op. 53 von Antonin Dvorak mit "Nathan dem Großen"
Gramophone | June 2018 | Rob Cowan | 1. Juni 2018
[…] Another first release featuring a fêted maestro arrives via Audite as part of its Lucerne Festival series: Wilhelm Furtwängler conducts theMehr lesen
[…] Another first release featuring a fêted maestro arrives via Audite as part of its Lucerne Festival series: Wilhelm Furtwängler conducts the Swiss Festival Orchestra in Schumann’s Manfred Overture—a dark, malleable performance that rages or relaxes according to the dictates of the moment. Schumann’s Symphony No 4 was also on this August 26, 1953, concert programme, and it’s fascinating to compare it with Furtwängler’s famous Berlin Philharmonic recording (DG) from a few weeks earlier. The overall timing is more or less identical, as is the interpretative approach, but the contrast between ‘studio’ and ‘live’ is at its most marked in the transition to the finale, where the Swiss performance—though comparatively raw in tone—generates more tension. The third work is Beethoven’s Eroica Symphony, and here there are many Furtwängler-led alternatives, some darker-hued than this one, though few (if any) achieve such an overwhelming sense of release at the close of the first movement (from 14’13”). The transfers are superb.
[…] Another first release featuring a fêted maestro arrives via Audite as part of its Lucerne Festival series: Wilhelm Furtwängler conducts the
Fono Forum | Juni 2018 | Christoph Vratz | 1. Juni 2018
Unerlöst durch Tür sieben
Zwischen Selbstaufgabe aus Liebe und Blick in den Abgrund – Bela Bartoks einzige Oper ist ein musikalischer Psycho-Thriller. Und hundert Jahre nach der Uraufführung längst ein Klassiker. Einige Aufnahmen im Vergleich.
[…] Dietrich Fischer-Dieskau hat den Blaubart noch zwei weitere Male festgehalten: 1962 bei einem Festival-Auftritt in Luzern mit Irmgard SeefriedMehr lesen
[…] Dietrich Fischer-Dieskau hat den Blaubart noch zwei weitere Male festgehalten: 1962 bei einem Festival-Auftritt in Luzern mit Irmgard Seefried unter Rafael Kubelik sowie 1979 an der Seite von Julia Varady, dem Bayerischen Staatsorchester und Wolfgang Sawallisch. Gerade der schweizerische Mitschnitt ist eine Empfehlung wert, zumal es Kubelik gelingt, das Bedrohliche mit dem Luftigen zu verbinden: hier das gellende Flimmern der Folterkammer, dort der klanglich opulent erblühende Zaubergarten. Fischer-Dieskaus Blaubart ist auch hier ein fürchterlicher Zeitgenosse: Wie konnte sich Judith jemals in ihn verlieben? Seine Aufforderung, die siebte Tür zu öffnen, scheint frei von aller zwischenmenschlichen Wärme.
[…] Dietrich Fischer-Dieskau hat den Blaubart noch zwei weitere Male festgehalten: 1962 bei einem Festival-Auftritt in Luzern mit Irmgard Seefried
Classica – le meilleur de la musique classique & de la hi-fi | Numéro 202 - Mai 2018 | Yannick Millon | 1. Mai 2018
Un inédit de Furtwangler, voilà qui ne tombe1pas du ciel tous les quatreMehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Un inédit de Furtwangler, voilà qui ne tombe1pas du ciel tous les quatre
Gramophone | May 2018 | 1. Mai 2018
Another first release featuring a fêted maestro arrives via Audite as part of its Lucerne Festival series: Wilhelm Furtwängler conducts the SwissMehr lesen
Another first release featuring a fêted maestro arrives via Audite as part of its Lucerne Festival series: Wilhelm Furtwängler conducts the Swiss Festival Orchestra in Schumann’s Manfred Overture – a dark, malleable performance that rages or relaxes according to the dictates of the moment. Schumann’s Symphony No 4 was also on this August 26, 1953, concert programme, and it’s fascinating to compare it with Furtwängler’s famous Berlin Philharmonic recording (DG) from a few weeks earlier. The overall timing is more or less identical, as is the interpretative approach, but the contrast between ‘studio’ and ‘live’ is at its most marked in the transition to the finale, where the Swiss performance – though comparatively raw in tone – generates more tension. The third work is Beethoven’s Eroica Symphony, and here there are many Furtwängler-led alternatives, some darkerhued than this one, though few (if any) achieve such an overwhelming sense of release at the close of the first movement (from 14'13"). The transfers are superb.
Another first release featuring a fêted maestro arrives via Audite as part of its Lucerne Festival series: Wilhelm Furtwängler conducts the Swiss
http://hi-res.pw | April 28, 2018 | 28. April 2018 | Quelle: http://hi-res.pw...
Despite their old age and the particular technical challenges presented by the remastering process, Kletzki’s impressive dynamics have been fully preserved. Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Despite their old age and the particular technical challenges presented by the remastering process, Kletzki’s impressive dynamics have been fully preserved.
hifi & records | 2/2018 | Uwe Steiner | 1. April 2018
Auch mit diesen SACDs bestätigt Audite seine Vorrangstellung bei der Wiederveröffentlichung historischer Aufnahmen: Erstmals wurden die bekannten Luzerner Mitschnitte von Beethovens Eroica und Schumanns Dritter auf der Basis der originalen Rundfunkbänder und damit in deutlich besserer, wenn auch immer noch eher dokumentarischer Tonqualität ediert.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Auch mit diesen SACDs bestätigt Audite seine Vorrangstellung bei der Wiederveröffentlichung historischer Aufnahmen: Erstmals wurden die bekannten Luzerner Mitschnitte von Beethovens Eroica und Schumanns Dritter auf der Basis der originalen Rundfunkbänder und damit in deutlich besserer, wenn auch immer noch eher dokumentarischer Tonqualität ediert.
BBC Music Magazine | 2/2018 | Erik Levi | 1. April 2018
Wilhelm Furtwängler's intellectually and emotionally penetrating Lucerne Festival Beethoven and Schumann performances (with the Swiss FestivalMehr lesen
Wilhelm Furtwängler's intellectually and emotionally penetrating Lucerne Festival Beethoven and Schumann performances (with the Swiss Festival Orchestra) include a compelling previously unreleased account of the Manfred Overture.
Wilhelm Furtwängler's intellectually and emotionally penetrating Lucerne Festival Beethoven and Schumann performances (with the Swiss Festival
Audiophile Audition | 21/03/2018 | Gary Lemco | 21. März 2018 | Quelle: http://www.audau...
What transcends the sum of the music’s collective parts lies in Furtwaengler’s capacity to evoke a sense of mysticism from the players, who generate a homogenous, intensely refined sound that the Audite personnel have captured with blazing authority.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
What transcends the sum of the music’s collective parts lies in Furtwaengler’s capacity to evoke a sense of mysticism from the players, who generate a homogenous, intensely refined sound that the Audite personnel have captured with blazing authority.
www.ClassicsToday.com | March 2018 | David Hurwitz | 20. März 2018 | Quelle: https://www.clas...
Furtwängler collectors will want this as a matter of course. Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Furtwängler collectors will want this as a matter of course.
www.musicweb-international.com | Tuesday February 20th | Jonathan Woolf | 20. Februar 2018 | Quelle: http://www.music...
I last reviewed Furtwangler’s 26 August 1953 concert in Lucerne back in 2005 when the matter was complicated by virtue of Tahra’s inclusion ofMehr lesen
I last reviewed Furtwangler’s 26 August 1953 concert in Lucerne back in 2005 when the matter was complicated by virtue of Tahra’s inclusion of Menuhin and Furtwängler’s 1949 studio recording of the Brahms Concerto, extra Beethoven items and a rehearsal extract. That stretched things to a twofer and Audite also runs to two discs though the second one, which contains the Schumann Symphony, lasts only30 minutes. However, there is significant news for collectors: this release includes the Manfred overture, long held to be lost, and never previously issued, and all the material derives from original broadcast tapes. The transfer on Tahra FURT1088-89, already cited, used a recording made off-air in a studio by an amateur enthusiast.
So, this Manfred sits alongside the live 1949 Berlin performance, and the 1951 Vienna studio inscription for EMI. It’s not wholly impeccable in terms of ensemble, even though the conductor had been coming to the Lucerne festival for almost a decade, first performing in 1944 and again in 1947 but it is powerful. Significantly he brought both symphonies on his first visit.
Furtwängler recorded Schumann’s Fourth Symphony commercially in Berlin in 1953. As for the Lucerne reading, there is again great power and direction and a sense of a huge organism running throughout. The buoyancy manifests itself in the Lebhaft and the sense of spiritual power that is evoked in the Langsam introduction of the finale is colossal. True there are numerous examples of tempo modifications and some will doubtless prefer greater weight of dynamics to the sense of elasticity Furtwängler indulges in. But the reasons for this level of metrical displacement are clear; this is a sometimes overwhelming reading that conjures up German Romanticism in all its tensile strength and fluid emotionalism.
There are numerous examples of his way with the Eroica. The wind chording is not always unanimous here but otherwise this is an impressive document. His way with the Funeral March is entirely characteristic; from a halting, almost reserved apologia to an overwhelming climax full of the bleakest foreboding.
There’s a good, succinct booklet with tape specifications and numerous photographs – including the orchestra, Furtwängler at play on the beach and at work with his orchestra. The uncredited man on the right-hand side on page 12 is surely Walter Legge.
The question is whether the advance in sound justifies purchase. If you don’t want to hear overloading and distortion, especially in the bass frequencies, and at shrill fff in both symphonies, you will welcome Audite’s work with its refinement and spatial depth. One can now appreciate the dynamic gradients in all their considerable glory and without peak distortion.
So, this Manfred sits alongside the live 1949 Berlin performance, and the 1951 Vienna studio inscription for EMI. It’s not wholly impeccable in terms of ensemble, even though the conductor had been coming to the Lucerne festival for almost a decade, first performing in 1944 and again in 1947 but it is powerful. Significantly he brought both symphonies on his first visit.
Furtwängler recorded Schumann’s Fourth Symphony commercially in Berlin in 1953. As for the Lucerne reading, there is again great power and direction and a sense of a huge organism running throughout. The buoyancy manifests itself in the Lebhaft and the sense of spiritual power that is evoked in the Langsam introduction of the finale is colossal. True there are numerous examples of tempo modifications and some will doubtless prefer greater weight of dynamics to the sense of elasticity Furtwängler indulges in. But the reasons for this level of metrical displacement are clear; this is a sometimes overwhelming reading that conjures up German Romanticism in all its tensile strength and fluid emotionalism.
There are numerous examples of his way with the Eroica. The wind chording is not always unanimous here but otherwise this is an impressive document. His way with the Funeral March is entirely characteristic; from a halting, almost reserved apologia to an overwhelming climax full of the bleakest foreboding.
There’s a good, succinct booklet with tape specifications and numerous photographs – including the orchestra, Furtwängler at play on the beach and at work with his orchestra. The uncredited man on the right-hand side on page 12 is surely Walter Legge.
The question is whether the advance in sound justifies purchase. If you don’t want to hear overloading and distortion, especially in the bass frequencies, and at shrill fff in both symphonies, you will welcome Audite’s work with its refinement and spatial depth. One can now appreciate the dynamic gradients in all their considerable glory and without peak distortion.
I last reviewed Furtwangler’s 26 August 1953 concert in Lucerne back in 2005 when the matter was complicated by virtue of Tahra’s inclusion of
Diapason | N° 665 fevrier 2018 | Hugues Mousseau | 1. Februar 2018
Voici publiée pour la première fois l’intégralité du concert que Furtwängler donna le 26 août 1953, dans le cadre des Semaines musicalesMehr lesen
Voici publiée pour la première fois l’intégralité du concert que Furtwängler donna le 26 août 1953, dans le cadre des Semaines musicales internationales de Lucerne. L’« Eroica » et la Symphonie n° 4 de Schumann étaient connues de longue date (mais dans un son bien inférieur, en termes de relief, de profondeur, de présence, à ce qu’Audite nous révèle ici, en transférant les bandes originales ré – cemment découvertes). Inédite à ce jour, l’Ouverture de Manfred – une des œuvres dans lesquelles l’art de Furtwängler trouvait le mieux à s’exprimer – apparaît moins noire, moins haletante en sa partie centrale (à partir de 5’59’’), moins convulsive aussi que dans l’affolant concert berlinois capté trois mois auparavant (DG). L’architecture y est également moins saillante, Furtwängler étirant les lignes à l’extrême, tandis que les deux ultimes mesures tenuto et pianissimo n’offrent plus tout à fait cette lueur tremblante et blafarde.
Le même constat s’impose pour la 4e de Schumann, d’un cantabile et d’une effusion certes irrésistibles, mais dans laquelle l’orchestre – em – mené par un Michel Schwalbé de trente-trois ans – ne semble pouvoir aller partout où Furtwängler aspire à l’entraîner. Manquent notamment ces imprévisibles et fatals coups de rein qu’y délivrait Berlin dans la version studio de 1951, où la transition conduisant au finale s’ouvrait tel un gouffre alors que nous demeurons ici tranquillement au bord du ravin. Par ailleurs, les scories instrumentales qui étaient à Berlin quantité négligeable passent ici moins bien.
Parmi les différentes « Eroica » de Furtwängler, celle de Lucerne n’est pas au nombre des plus indispensables. Les limites de l’orchestre suisse (le trio du Scherzo) concourent à mettre trop en avant le pathos qu’y insufflait le chef, à laisser même affleurer une lourdeur dont les versions viennoises de novembre 1952 et, surtout, décembre 1944 étaient exemptes.
Un détail convaincra certain(e)s d’acquérir à tout prix ce double album : dans le livret, deux clichés rarissimes montrent le maître en baignade, arborant, par un bel après-midi, le plus auguste et affriolant slip kangourou qui soit.
Le même constat s’impose pour la 4e de Schumann, d’un cantabile et d’une effusion certes irrésistibles, mais dans laquelle l’orchestre – em – mené par un Michel Schwalbé de trente-trois ans – ne semble pouvoir aller partout où Furtwängler aspire à l’entraîner. Manquent notamment ces imprévisibles et fatals coups de rein qu’y délivrait Berlin dans la version studio de 1951, où la transition conduisant au finale s’ouvrait tel un gouffre alors que nous demeurons ici tranquillement au bord du ravin. Par ailleurs, les scories instrumentales qui étaient à Berlin quantité négligeable passent ici moins bien.
Parmi les différentes « Eroica » de Furtwängler, celle de Lucerne n’est pas au nombre des plus indispensables. Les limites de l’orchestre suisse (le trio du Scherzo) concourent à mettre trop en avant le pathos qu’y insufflait le chef, à laisser même affleurer une lourdeur dont les versions viennoises de novembre 1952 et, surtout, décembre 1944 étaient exemptes.
Un détail convaincra certain(e)s d’acquérir à tout prix ce double album : dans le livret, deux clichés rarissimes montrent le maître en baignade, arborant, par un bel après-midi, le plus auguste et affriolant slip kangourou qui soit.
Voici publiée pour la première fois l’intégralité du concert que Furtwängler donna le 26 août 1953, dans le cadre des Semaines musicales
Crescendo | Februar-März 2018 | CK | 1. Februar 2018 Sensationsfund
Furtwängler näherte sich der Musik aus einer inneren Dringlichkeit heraus, die beim Anhören dieser Aufnahmen spürbar wird. Im Adagio-Satz der Schumann-Sinfonie beispielsweise brodeln Emotionen, die nie in übertriebenes Pathos münden. Ein empfehlenswertes Album, nicht nur für Furtwängler-Fans.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Furtwängler näherte sich der Musik aus einer inneren Dringlichkeit heraus, die beim Anhören dieser Aufnahmen spürbar wird. Im Adagio-Satz der Schumann-Sinfonie beispielsweise brodeln Emotionen, die nie in übertriebenes Pathos münden. Ein empfehlenswertes Album, nicht nur für Furtwängler-Fans.
Wilhelm-Furtwängler-Gesellschaft
| 01.02.2018 | 1. Februar 2018
Sensationeller Archivfund
Furtwängler dirigiert Schumann und Beethoven in Luzern (1953)
Es ist der ausgesprochene Wunsch vieler Furtwängler-Fans, die Atmosphäre sowie die Aura der Aufführungen auch in den Konzertmitschnitten maximal erleben zu können. Dem dient die SACD-Version mit zwei zusätzlichen Tracks [...] Die Auftrittsatmosphäre, der Applaus und die einkehrende Ruhe im Publikum zu Beginn der Werke lassen eine besondere Stimmung entstehen, die Anklänge an eine Live-Aufnahme hat.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Es ist der ausgesprochene Wunsch vieler Furtwängler-Fans, die Atmosphäre sowie die Aura der Aufführungen auch in den Konzertmitschnitten maximal erleben zu können. Dem dient die SACD-Version mit zwei zusätzlichen Tracks [...] Die Auftrittsatmosphäre, der Applaus und die einkehrende Ruhe im Publikum zu Beginn der Werke lassen eine besondere Stimmung entstehen, die Anklänge an eine Live-Aufnahme hat.
www.artalinna.com | 18 January 2018 | Jean-Charles Hoffelé | 18. Januar 2018 | Quelle: http://www.artal... L’Ouverture perdue
On croyait cette captation de l’Ouverture de Manfred perdue, la voiciMehr lesen
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On croyait cette captation de l’Ouverture de Manfred perdue, la voici
Audiophile Audition | January 6, 2018 | Steven Ritter | 6. Januar 2018 | Quelle: http://www.audau...
Best Classical of 2017
Recommendations by Steven Ritter
Grand music-making defines these two concerts led by veteran Carl Schuricht.<br /> Mehr lesen
Grand music-making defines these two concerts led by veteran Carl Schuricht.
Grand music-making defines these two concerts led by veteran Carl Schuricht.
F. F. dabei | Nr. 26/2017 vom 23. Dezember bis 5. Januar | 23. Dezember 2017 CD-Tipps
Unbedingte Werktreue und jugendlicher Elan bis ins hohe Alter: Carl Schuricht [...] setzte auf klare Strukturen statt auf romantisches Pathos oder persönliche Exzentrizität – zwei Live-Aufnahmen aus dem Kunsthaus LuzernMehr lesen
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Unbedingte Werktreue und jugendlicher Elan bis ins hohe Alter: Carl Schuricht [...] setzte auf klare Strukturen statt auf romantisches Pathos oder persönliche Exzentrizität – zwei Live-Aufnahmen aus dem Kunsthaus Luzern
www.opusklassiek.nl | december 2017 | Aart van der Wal | 1. Dezember 2017 | Quelle: https://opusklas...
Waar nog bijkomt dat de nieuwe remastering tot een aanmerkelijk beter klankresultaat heeft geleid.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Waar nog bijkomt dat de nieuwe remastering tot een aanmerkelijk beter klankresultaat heeft geleid.
www.opusklassiek.nl | december 2017 | Aart van der Wal | 1. Dezember 2017 | Quelle: https://www.opus...
De door het Duitse label Audite uitgebrachte originele radiobanden (tot dan waren er alleen slecht klinkende privébanden van in omloop) van het concert dat Wilhelm Furtwängler op 26 augustus 1953 in Luzern in het kader van de daar gehouden jaarlijkse Festspiele dirigeerde, zal - in ieder geval qua klank - voor menige verzamelaar een ware verrassing zijn.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
De door het Duitse label Audite uitgebrachte originele radiobanden (tot dan waren er alleen slecht klinkende privébanden van in omloop) van het concert dat Wilhelm Furtwängler op 26 augustus 1953 in Luzern in het kader van de daar gehouden jaarlijkse Festspiele dirigeerde, zal - in ieder geval qua klank - voor menige verzamelaar een ware verrassing zijn.
Facebook | 23. November 2017 | Wilhelm Furtwängler Journal | 23. November 2017
The Audite SACD/CD (91.441) featuring a recording of the Schumann Manfred overture previously thought to have been lost, has arrived. This doubleMehr lesen
The Audite SACD/CD (91.441) featuring a recording of the Schumann Manfred overture previously thought to have been lost, has arrived. This double SACD/CD is remastered from newly discovered tapes from the Swiss Radio, of the concert on 26 August 1953.
We are lucky to have this new addition to the discography of Furtwängler, as this Manfred overture is apparently finer than the other 2 extant recordings: the 18 Dec 1949 Berlin Iive and the 24 Jan 1952 Vienna studio. Here his rendition is more dramatic , with pulsating urgency intermingled with relaxing Iyricism.
The sound is good compared to previous releases of the Eroica and Schumann Symphony No. 4 in the same concert using a private amateur tape as the sound source, e.g. Tahra, Elaboration (thought to be pirate copies of the SWf CDs). It is full-bodied with a slight emphasis on the bass and quite prominent reverberations. The sound palette is quite different from that heard in the Tahra or Elaboration CDs. It is the interesting thing about historical recordings as the impressions on the music can be affected by the sound source, the remastering process and even the medium in which it is presented.
We are lucky to have this new addition to the discography of Furtwängler, as this Manfred overture is apparently finer than the other 2 extant recordings: the 18 Dec 1949 Berlin Iive and the 24 Jan 1952 Vienna studio. Here his rendition is more dramatic , with pulsating urgency intermingled with relaxing Iyricism.
The sound is good compared to previous releases of the Eroica and Schumann Symphony No. 4 in the same concert using a private amateur tape as the sound source, e.g. Tahra, Elaboration (thought to be pirate copies of the SWf CDs). It is full-bodied with a slight emphasis on the bass and quite prominent reverberations. The sound palette is quite different from that heard in the Tahra or Elaboration CDs. It is the interesting thing about historical recordings as the impressions on the music can be affected by the sound source, the remastering process and even the medium in which it is presented.
The Audite SACD/CD (91.441) featuring a recording of the Schumann Manfred overture previously thought to have been lost, has arrived. This double
www.pizzicato.lu | 18/11/2017 | Remy Franck | 18. November 2017 | Quelle: https://www.pizz... Furtwängler in Luzern, 1953
Wilhelm Furtwänglers diverse Einspielungen der ‘Eroica’ u.a. aus Wien und Berlin weisen für die Sätze 1, 3 und 4 relativ konstante Tempi aus.Mehr lesen
Wilhelm Furtwänglers diverse Einspielungen der ‘Eroica’ u.a. aus Wien und Berlin weisen für die Sätze 1, 3 und 4 relativ konstante Tempi aus. Abweichungen gibt es nur für den Trauermarsch, der zwischen sechzehneinhalb und neunzehn Minuten variiert.
1953 in Luzern war der Dirigent mit 16’31 am schnellsten im zweiten Satz. Überhaupt ist diese ‘Eroica’ für Furtwängler relativ frisch und zupackend in den Allegro-Sätzen. Aber welche Tiefe, welche zwingende intellektuell-emotionale Kraft erreicht er doch trotz nur 16’31 im Adagio assai…
Nicht weniger inspiriert und auch sehr dramatisch ist die Aufnahme der Vierten Symphonie von Robert Schumann.
Nun sind diese Aufnahmen zuvor schon bekannt gewesen, mit Ausnahme der ‘Manfred’-Ouvertüre, die lange als verloren galt und nun hier zum ersten Mal zu hören ist.
Die Tonqualität der von Audite bearbeiteten Aufnahmen ist allen anderen zuvor veröffentlichten Veröffentlichungen bei weitem überlegen. Tatsächlich wurden hierfür zum ersten Mal die Originalbänder des Schweizer Rundfunks benutzt, die anderen Verlegern nicht zur Verfügung standen. Der Klang hat dadurch viel mehr Relief und Korpus. Furtwängler-Sammler sollten diese neue Edition nicht verpassen.
Mostly well-known recordings with the Swiss Festival Orchester conducted by Wilhelm Furtwängler. The difference with former releases on other labels comes from the sound quality. Here, the original broadcast tapes have been used and remastered. The improvement is stunning…
1953 in Luzern war der Dirigent mit 16’31 am schnellsten im zweiten Satz. Überhaupt ist diese ‘Eroica’ für Furtwängler relativ frisch und zupackend in den Allegro-Sätzen. Aber welche Tiefe, welche zwingende intellektuell-emotionale Kraft erreicht er doch trotz nur 16’31 im Adagio assai…
Nicht weniger inspiriert und auch sehr dramatisch ist die Aufnahme der Vierten Symphonie von Robert Schumann.
Nun sind diese Aufnahmen zuvor schon bekannt gewesen, mit Ausnahme der ‘Manfred’-Ouvertüre, die lange als verloren galt und nun hier zum ersten Mal zu hören ist.
Die Tonqualität der von Audite bearbeiteten Aufnahmen ist allen anderen zuvor veröffentlichten Veröffentlichungen bei weitem überlegen. Tatsächlich wurden hierfür zum ersten Mal die Originalbänder des Schweizer Rundfunks benutzt, die anderen Verlegern nicht zur Verfügung standen. Der Klang hat dadurch viel mehr Relief und Korpus. Furtwängler-Sammler sollten diese neue Edition nicht verpassen.
Mostly well-known recordings with the Swiss Festival Orchester conducted by Wilhelm Furtwängler. The difference with former releases on other labels comes from the sound quality. Here, the original broadcast tapes have been used and remastered. The improvement is stunning…
Wilhelm Furtwänglers diverse Einspielungen der ‘Eroica’ u.a. aus Wien und Berlin weisen für die Sätze 1, 3 und 4 relativ konstante Tempi aus.
www.artalinna.com | 21 October 2017 | Jean-Charles Hoffelé | 21. Oktober 2017 | Quelle: http://www.artal... Magnificat
Ferdinand Leitner règle pour son soliste un orchestre abrupt ou aérien, d’une incroyable variété de timbres et d’atmosphères. Là encore, cette prise en concert me semble supérieure à celle réalisée en studio avec le compositeur. Portrait remarquable d’un violoniste qu’on oublie trop.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Ferdinand Leitner règle pour son soliste un orchestre abrupt ou aérien, d’une incroyable variété de timbres et d’atmosphères. Là encore, cette prise en concert me semble supérieure à celle réalisée en studio avec le compositeur. Portrait remarquable d’un violoniste qu’on oublie trop.
Fanfare | October 2017 | James A. Altena | 1. Oktober 2017 | Quelle: http://www.fanfa...
As readers of this magazine most likely already know from my previous reviews of two major collections of his recordings by SWR, I am an admirer ofMehr lesen
As readers of this magazine most likely already know from my previous reviews of two major collections of his recordings by SWR, I am an admirer of the art of Carl Schuricht (1889–1967), and so I requested this CD for review with anticipation. At the same time, from past experience I was aware of two things: Mozart was not always his strongest suit, and his Brahms interpretations were highly variable and unpredictable.
“Unpredictable” turned out to be a good descriptor for both performances, preserved in clear mono sound that is tilted somewhat toward the treble frequencies. The Mozart looks forward with almost uncanny prescience to certain aspects of recent HIP practices. While the booklet provides no information on this count, my ears tell me that the Swiss Festival Orchestra was (at least for this performance) a body of reduced size from a full-scale modern symphony orchestra. Textures are transparent and light as a soap bubble; articulation is crisp and pointed; tempos are sprightly though not rushed. Casadesus is at one with Schuricht; he uses virtually no pedal, and his fleet-fingered touch brings his modern instrument as close to the realm of the pianoforte as is possible to do. This is Mozart of great elegance, but (unlike Schuricht’s live concerto performances with Clara Haskil) chary of the weight and shadows of emotional depth. I tremendously admire the execution, without being entirely won over by the interpretation.
I was previously prepared for Schuricht’s potential idiosyncrasy in Brahms by a 1953 performance of the First Symphony with the Orchestre de la Suisse Romande (Archiphon, nla), which has the most eccentric rendition of the finale of that work I think I am ever likely to hear. For the Second Symphony, my previous exposure was his 1966 performance with his longtime base ensemble, the Stuttgart Radio Symphony, and his 1953 studio recording with the Vienna Philharmonic for Decca. The Stuttgart performance is one of great autumnal ripeness, with very relaxed tempos throughout. This 1962 outing with the Vienna Philharmonic, by contrast, is far more impulsive, belying the work’s reputation as Brahms’s “Pastoral.” Every movement is up to a minute faster; but even more striking is the sense of underlying tension and unsettled waywardness. (Although its studio predecessor is slightly faster yet, it is characterized instead by far greater equipoise and serenity.) String passages have a febrile edginess; brass chords are far more prominent and given an almost snarling edge. Portions of the first movement development section bristle with nervousness; the normally wistful second movement suddenly turns stormy and even menacing at the 4:00 mark; the scherzo is more jumpy than bucolic; the finale is almost defiantly punched out at points. The audience bursts into enthusiastic applause at the close; I am far less sure what to make of it all. I admire the responsiveness and razor-sharp execution of the Vienna Philharmonic, but this simply is not how I customarily hear this work.
The two easiest types of reviews for a critic to write are those for performances that are either truly great or truly awful. Much harder to compose are those for performances that are either solid but not outstanding, or are very good but still seem to have something essential missing. By far the hardest kind of review to write, though, is one for performances where the interpreters provide top-notch executions that are at odds with the critic’s preconceptions or preferences, in ways that he or she cannot readily resolve. That is the situation here. I remain intrigued but unsettled by what I hear—interpretations far too thoughtful and well played to set aside, but ones that lie outside of my usual ambit. I have sought to give objective accounts of these two performances, so that readers can make their own judgments. With a cautionary yellow flag, strongly recommended to those who believe they might find these approaches appealing.
“Unpredictable” turned out to be a good descriptor for both performances, preserved in clear mono sound that is tilted somewhat toward the treble frequencies. The Mozart looks forward with almost uncanny prescience to certain aspects of recent HIP practices. While the booklet provides no information on this count, my ears tell me that the Swiss Festival Orchestra was (at least for this performance) a body of reduced size from a full-scale modern symphony orchestra. Textures are transparent and light as a soap bubble; articulation is crisp and pointed; tempos are sprightly though not rushed. Casadesus is at one with Schuricht; he uses virtually no pedal, and his fleet-fingered touch brings his modern instrument as close to the realm of the pianoforte as is possible to do. This is Mozart of great elegance, but (unlike Schuricht’s live concerto performances with Clara Haskil) chary of the weight and shadows of emotional depth. I tremendously admire the execution, without being entirely won over by the interpretation.
I was previously prepared for Schuricht’s potential idiosyncrasy in Brahms by a 1953 performance of the First Symphony with the Orchestre de la Suisse Romande (Archiphon, nla), which has the most eccentric rendition of the finale of that work I think I am ever likely to hear. For the Second Symphony, my previous exposure was his 1966 performance with his longtime base ensemble, the Stuttgart Radio Symphony, and his 1953 studio recording with the Vienna Philharmonic for Decca. The Stuttgart performance is one of great autumnal ripeness, with very relaxed tempos throughout. This 1962 outing with the Vienna Philharmonic, by contrast, is far more impulsive, belying the work’s reputation as Brahms’s “Pastoral.” Every movement is up to a minute faster; but even more striking is the sense of underlying tension and unsettled waywardness. (Although its studio predecessor is slightly faster yet, it is characterized instead by far greater equipoise and serenity.) String passages have a febrile edginess; brass chords are far more prominent and given an almost snarling edge. Portions of the first movement development section bristle with nervousness; the normally wistful second movement suddenly turns stormy and even menacing at the 4:00 mark; the scherzo is more jumpy than bucolic; the finale is almost defiantly punched out at points. The audience bursts into enthusiastic applause at the close; I am far less sure what to make of it all. I admire the responsiveness and razor-sharp execution of the Vienna Philharmonic, but this simply is not how I customarily hear this work.
The two easiest types of reviews for a critic to write are those for performances that are either truly great or truly awful. Much harder to compose are those for performances that are either solid but not outstanding, or are very good but still seem to have something essential missing. By far the hardest kind of review to write, though, is one for performances where the interpreters provide top-notch executions that are at odds with the critic’s preconceptions or preferences, in ways that he or she cannot readily resolve. That is the situation here. I remain intrigued but unsettled by what I hear—interpretations far too thoughtful and well played to set aside, but ones that lie outside of my usual ambit. I have sought to give objective accounts of these two performances, so that readers can make their own judgments. With a cautionary yellow flag, strongly recommended to those who believe they might find these approaches appealing.
As readers of this magazine most likely already know from my previous reviews of two major collections of his recordings by SWR, I am an admirer of
Fanfare | October 2017 | Jerry Dubins | 1. Oktober 2017 | Quelle: http://www.fanfa...
Emanating from performances at two Lucerne Festivals on 8/19/1961 (the Mozart Concerto with Casadesus) and 9/8/1962 (the Brahms Symphony with theMehr lesen
Emanating from performances at two Lucerne Festivals on 8/19/1961 (the Mozart Concerto with Casadesus) and 9/8/1962 (the Brahms Symphony with the Vienna Philharmonic), these recordings have been released in commemoration of the 50th anniversary of the death of Carl Schuricht, who died in 1967. If Audite’s documentation and Bernard Jacobson’s headnote to a 24:5 review of another Casadesus/Schuricht performance of the same Mozart concerto are both right, then it appears that pianist and conductor bar-hopped from Lucerne to Salzburg, where just four days later, on 8/23/1961, they performed the same concerto at the Salzburg Festival with the Vienna Philharmonic. One wonders if they showed up at the Strasbourg Festival next, like fraternity bros going from one keg party to another.
Fifteen months after Casadesus made this appearance in Lucerne—and presumably the one in Salzburg, both with Schuricht—the pianist sat down in Cleveland’s Severance Hall in November 1962 to record Mozart’s final concerto with the Columbia Symphony Orchestra under the baton of George Szell; and as the reader is sure to know, that collaboration was not a one-off. Indeed, between 1959 and 1962, Casadesus teamed up with Szell to record all but a handful of Mozart’s piano concertos beginning with No. 12. Conspicuously missing from the later concertos are the Nos. 19 and 25. Some of concertos were recorded with members of the Cleveland Orchestra and others with the Columbia Symphony Orchestra; and back in the heyday of LP, I collected all of them. Casadesus and Szell, in fact, were my introduction to Mozart’s piano concertos, and I still have a fondness for those recordings.
The timings between this Casadesus/Schuricht and the Casadesus/Szell performances are remarkably close: 13:14, 8:07, 8:07 vs. 13:22, 8:49, 8:05. Only in the second movement do Casadesus and Szell adopt a more leisurely tempo. But aside from the timing similarities, I find that I actually prefer this Casadesus/Schuricht reading. Where Szell feels earthbound with a strict adherence to the beat, Schuricht seems to take wing with more flexible phrasing that lends a freer, more lyrical character to the music. The violins, in particular, sound like they’re floating, and this, in turn, prompts playing of pearl-like beauty from Casadesus. There’s a gentle joy in the third movement that I don’t hear in the not faster but harder-driven Szell version. Given the vintage and venue of the recording, the sound is excellent.
I’m not as happy with the Brahms Symphony. The main problem lies with the recording, which, though it comes from the same venue a year later, sounds bottom-heavy and murky. I’m guessing that the larger contingent of players in the Vienna Philharmonic, compared to the chamber-sized Swiss ensemble for the Mozart, posed challenges that the microphones and recording equipment weren’t entirely able to resolve.
Setting that aside, Schuricht’s performance of Brahms’s Second Symphony is quite interesting, which is not necessarily to say that I find it to my liking. For one thing, it stands in rather stark contrast to some recent versions in the matter of tempo. As I and others have noted, tempos in Brahms’s works, with exceptions, of course, have tended towards a gradual slowing over the past 40 or 50 years. Schuricht confirms that perception with a reading of the score that’s nothing if not bracing. But it’s not the conductor’s pacing per se that gives me pause. Rather, it’s his somewhat aggressive approach, which treats more rhythmically vigorous and dramatically heightened passages with explosive accents and notes cut short of their full metric values. In the past, I may have complained that some conductors are too keen on smoothing out the edges, especially in this score, which has often been called Brahms’s “Pastoral” Symphony. But Schuricht seems to err in the opposite direction and in so doing alters the complexion of the piece and its lyrical impulses.
A Carl Schuricht discography at carlschuricht.com/SchurichtCD.htm, so up to date that it includes the current release, lists a number of recordings of Brahms’s Second Symphony by the conductor with the Vienna Philharmonic on Decca (1953), the ORTF on Altus (1963), the Stuttgart RSO on Hänssler (1966), and a number of others. I reviewed the Stuttgart/Hänssler CD in 29:1, and said of it then that the performance, only a year before the conductor’s death, “does not dawdle.” “If anything,” I continued, “I would have preferred a slightly slower pace for the Adagio, which could have benefited from a bit more expansive phrasing and shaping.
If that performance was a bit too fast for my taste, consider this earlier one with the Vienna Philharmonic vs. the later one with the Stuttgart Radio:
VPO (1962): 15:15, 9:06, 5:07, 9:26 = 38:54
RSO (1966): 16:20, 9:22, 5:35, 10:12 = 41:29
Schuricht actually did slow down considerably in his last days, but even then I noted that the RSO reading felt a bit pressed and impatient to me. If you prefer your Brahms Second not to trot along too slowly, but you don’t want it to gallop either, I’d recommend Schuricht’s final RSO recording on Hänssler over this 1962 VPO version. Besides, it’s in stereo and the sound is much better. The Mozart with Schuricht and Casadesus, however, is a winner.
Fifteen months after Casadesus made this appearance in Lucerne—and presumably the one in Salzburg, both with Schuricht—the pianist sat down in Cleveland’s Severance Hall in November 1962 to record Mozart’s final concerto with the Columbia Symphony Orchestra under the baton of George Szell; and as the reader is sure to know, that collaboration was not a one-off. Indeed, between 1959 and 1962, Casadesus teamed up with Szell to record all but a handful of Mozart’s piano concertos beginning with No. 12. Conspicuously missing from the later concertos are the Nos. 19 and 25. Some of concertos were recorded with members of the Cleveland Orchestra and others with the Columbia Symphony Orchestra; and back in the heyday of LP, I collected all of them. Casadesus and Szell, in fact, were my introduction to Mozart’s piano concertos, and I still have a fondness for those recordings.
The timings between this Casadesus/Schuricht and the Casadesus/Szell performances are remarkably close: 13:14, 8:07, 8:07 vs. 13:22, 8:49, 8:05. Only in the second movement do Casadesus and Szell adopt a more leisurely tempo. But aside from the timing similarities, I find that I actually prefer this Casadesus/Schuricht reading. Where Szell feels earthbound with a strict adherence to the beat, Schuricht seems to take wing with more flexible phrasing that lends a freer, more lyrical character to the music. The violins, in particular, sound like they’re floating, and this, in turn, prompts playing of pearl-like beauty from Casadesus. There’s a gentle joy in the third movement that I don’t hear in the not faster but harder-driven Szell version. Given the vintage and venue of the recording, the sound is excellent.
I’m not as happy with the Brahms Symphony. The main problem lies with the recording, which, though it comes from the same venue a year later, sounds bottom-heavy and murky. I’m guessing that the larger contingent of players in the Vienna Philharmonic, compared to the chamber-sized Swiss ensemble for the Mozart, posed challenges that the microphones and recording equipment weren’t entirely able to resolve.
Setting that aside, Schuricht’s performance of Brahms’s Second Symphony is quite interesting, which is not necessarily to say that I find it to my liking. For one thing, it stands in rather stark contrast to some recent versions in the matter of tempo. As I and others have noted, tempos in Brahms’s works, with exceptions, of course, have tended towards a gradual slowing over the past 40 or 50 years. Schuricht confirms that perception with a reading of the score that’s nothing if not bracing. But it’s not the conductor’s pacing per se that gives me pause. Rather, it’s his somewhat aggressive approach, which treats more rhythmically vigorous and dramatically heightened passages with explosive accents and notes cut short of their full metric values. In the past, I may have complained that some conductors are too keen on smoothing out the edges, especially in this score, which has often been called Brahms’s “Pastoral” Symphony. But Schuricht seems to err in the opposite direction and in so doing alters the complexion of the piece and its lyrical impulses.
A Carl Schuricht discography at carlschuricht.com/SchurichtCD.htm, so up to date that it includes the current release, lists a number of recordings of Brahms’s Second Symphony by the conductor with the Vienna Philharmonic on Decca (1953), the ORTF on Altus (1963), the Stuttgart RSO on Hänssler (1966), and a number of others. I reviewed the Stuttgart/Hänssler CD in 29:1, and said of it then that the performance, only a year before the conductor’s death, “does not dawdle.” “If anything,” I continued, “I would have preferred a slightly slower pace for the Adagio, which could have benefited from a bit more expansive phrasing and shaping.
If that performance was a bit too fast for my taste, consider this earlier one with the Vienna Philharmonic vs. the later one with the Stuttgart Radio:
VPO (1962): 15:15, 9:06, 5:07, 9:26 = 38:54
RSO (1966): 16:20, 9:22, 5:35, 10:12 = 41:29
Schuricht actually did slow down considerably in his last days, but even then I noted that the RSO reading felt a bit pressed and impatient to me. If you prefer your Brahms Second not to trot along too slowly, but you don’t want it to gallop either, I’d recommend Schuricht’s final RSO recording on Hänssler over this 1962 VPO version. Besides, it’s in stereo and the sound is much better. The Mozart with Schuricht and Casadesus, however, is a winner.
Emanating from performances at two Lucerne Festivals on 8/19/1961 (the Mozart Concerto with Casadesus) and 9/8/1962 (the Brahms Symphony with the
Record Geijutsu | 2017.9 | 1. September 2017
Japanische Rezension siehe PDF!Mehr lesen
Japanische Rezension siehe PDF!
Japanische Rezension siehe PDF!
Gramophone | September 2017 | Rob Cowan | 1. September 2017 Schuricht and Casadesus at the Lucerne 'Festival
First to clarify: this is not the same K595 from Robert Casadesus and Carl Schuricht that appears on Orfeo (C536 001B), though the two are very alike,Mehr lesen
First to clarify: this is not the same K595 from Robert Casadesus and Carl Schuricht that appears on Orfeo (C536 001B), though the two are very alike, while the live VPO Brahms Second post-dates that recently reissued in 'Carl Schuricht: the Complete Decca Recordings' (7/17) by roughly nine years. This Mozart features the Swiss Festival Orchestra (the Orfeo, from Salzburg, is with the VPO) and finds Casadesus on top form, possibly out-classing his various other recordings – live and studio – of the same work. Schuricht directs fluid, well-paced accompaniment, stylishly shaped and beautifully played. Right from his first entry, Casadesus displays his signature clarity of finger work, building crescendos with impeccable judgement, switching between a sprightly staccato and warming legato. The Larghetto conjures up a mood of utter stillness: this truly is artistry of the highest order.
The Brahms is mellower than its predecessor, less volatile too. But there are moments that are unforgettable: the gently nudged strings beneath the solo horn at 12'23" into the first movement; the glowing blend of lower strings and brass for the second movement's second subject; and, most magical, the return of the outer section of the Allegretto grazioso (from 3' 15 "), so much more gentle than on the older version. Towards the close of the finale, from 7' 55 ", Schuricht gives precedence to the lower strings' motif, which greatly intensifies the build-up to the coda. The Decca version is similar but nowhere near as effective. Both works are captured in fine mono sound. And if you want to investigate a compelling follow-up, try Casadesus and Schuricht with the Orchestre National de la RTF in Brahms's Second Concerto (on INA) – not perfect by any means, but consistently gripping.
The Brahms is mellower than its predecessor, less volatile too. But there are moments that are unforgettable: the gently nudged strings beneath the solo horn at 12'23" into the first movement; the glowing blend of lower strings and brass for the second movement's second subject; and, most magical, the return of the outer section of the Allegretto grazioso (from 3' 15 "), so much more gentle than on the older version. Towards the close of the finale, from 7' 55 ", Schuricht gives precedence to the lower strings' motif, which greatly intensifies the build-up to the coda. The Decca version is similar but nowhere near as effective. Both works are captured in fine mono sound. And if you want to investigate a compelling follow-up, try Casadesus and Schuricht with the Orchestre National de la RTF in Brahms's Second Concerto (on INA) – not perfect by any means, but consistently gripping.
First to clarify: this is not the same K595 from Robert Casadesus and Carl Schuricht that appears on Orfeo (C536 001B), though the two are very alike,
www.concertonet.com | 08/21/2017 | Sébastien Gauthier | 21. August 2017 | Quelle: http://concerton...
Ces deux albums nous ramènent quelques décennies en arrière en nousMehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Ces deux albums nous ramènent quelques décennies en arrière en nous
www.artalinna.com | 2 August 2017 | Jean-Charles Hoffelé | 2. August 2017 | Quelle: http://www.artal... Miroir Mozart
Le ton si enjoué, la légèreté du geste de Carl Schuricht dans l’ultime Concerto de Mozart rencontre si pleinement le piano simplissime de Robert Casadesus, un tel soleil mélancolique s’infuse entre eux, les faisant respirer dans les mêmes vibrations de couleurs et de sons !Mehr lesen
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Le ton si enjoué, la légèreté du geste de Carl Schuricht dans l’ultime Concerto de Mozart rencontre si pleinement le piano simplissime de Robert Casadesus, un tel soleil mélancolique s’infuse entre eux, les faisant respirer dans les mêmes vibrations de couleurs et de sons !
Audio | 8/2017 | Otto Paul Burkhardt | 1. August 2017
"Zappelmeister" konnte er nicht leiden: Carl Schuricht (1880-1967) war ganz das Gegenbild exaltierter Selbstdarsteller am Pult. Ein Dirigent alterMehr lesen
"Zappelmeister" konnte er nicht leiden: Carl Schuricht (1880-1967) war ganz das Gegenbild exaltierter Selbstdarsteller am Pult. Ein Dirigent alter Schule, der mit strikter Sachlichkeit und knappen Gesten großen Zauber entfalten konnte. Davon zeugen auch die klanglich brillant aufgearbeiteten Mitschnitte vom Lucerne Festival 1961/62. Die kristalline Klarheit, mit der Schuricht und Robert Casadesus in Mozarts Klavierkonzert KV 595 jede Phrase auskosten, setzt noch heute Maßstäbe. Wunderbar auch die Zweite von Johannes Brahms mit den Wiener Philharmonikern, die enorm vielschichtig, raffiniert aufgefächert und schwärmerisch aufleuchtend klingt.
"Zappelmeister" konnte er nicht leiden: Carl Schuricht (1880-1967) war ganz das Gegenbild exaltierter Selbstdarsteller am Pult. Ein Dirigent alter
BBC Music Magazine | August 2017 | Erik Levi | 1. August 2017
Although brass overpower strings in some orchestral tuttis, Schuricht's Brahms is wonderfully fluid. Worth hearing for the Vienna Philharmonic'sMehr lesen
Although brass overpower strings in some orchestral tuttis, Schuricht's Brahms is wonderfully fluid. Worth hearing for the Vienna Philharmonic's glorious cellos in the second subject of the first movement.
Although brass overpower strings in some orchestral tuttis, Schuricht's Brahms is wonderfully fluid. Worth hearing for the Vienna Philharmonic's
De Gelderlander | 15-07-17 | Maarten-Jan Dongelmans | 15. Juli 2017 | Quelle: https://www.geld... Belangwekkende wereldpremière met het echtpaar Schneiderhan
De sopraan opent met declamatorische inzetten en trekt meteen alle aandacht. Wat een krachtige, expressieve stem. In de loop van het Magnificat biedt haar strijkende echtgenoot steeds meer tegenwicht. [...] Indrukwekkend stuk, deze 'lofzang van Maria' van de Zwitser Martin. Onbegrijpelijk dat we een halve eeuw op een geluidsdrager met de wereldpremière hebben moeten wachten.Mehr lesen
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De sopraan opent met declamatorische inzetten en trekt meteen alle aandacht. Wat een krachtige, expressieve stem. In de loop van het Magnificat biedt haar strijkende echtgenoot steeds meer tegenwicht. [...] Indrukwekkend stuk, deze 'lofzang van Maria' van de Zwitser Martin. Onbegrijpelijk dat we een halve eeuw op een geluidsdrager met de wereldpremière hebben moeten wachten.
Musik & Theater | 07/08 Juli/August 2017 | Andrea Meuli | 1. Juli 2017 Von großer Natürlichkeit
Mozarts letztes Klavierkonzert mit dem Pianisten Robert Casadesus: singend, klar, das Orchester, klassizistisch hingetupft der Klavierpart. Ruhig fließend auch der Brahms mit den Wienern, durchaus jedoch mit eigenwilligen Farbgebungen und Temporückungen.Mehr lesen
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Mozarts letztes Klavierkonzert mit dem Pianisten Robert Casadesus: singend, klar, das Orchester, klassizistisch hingetupft der Klavierpart. Ruhig fließend auch der Brahms mit den Wienern, durchaus jedoch mit eigenwilligen Farbgebungen und Temporückungen.
deropernfreund.de | Juli 2017 | Prof. Egon Bezold | 1. Juli 2017
In den Bläser-Chören, in fein ziselierten Überleitungen und den großen Steigerungen, erweis sich Schuricht als großer Brahms-Stratege. [...] Die Aufnahmetechnik (l961 und 1962) gibt den musikalischen Ereignissen (live eingespielt bei Internationalen Musikfestwochen Luzern) klares Profil.Mehr lesen
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In den Bläser-Chören, in fein ziselierten Überleitungen und den großen Steigerungen, erweis sich Schuricht als großer Brahms-Stratege. [...] Die Aufnahmetechnik (l961 und 1962) gibt den musikalischen Ereignissen (live eingespielt bei Internationalen Musikfestwochen Luzern) klares Profil.
www.pizzicato.lu | 27/06/2017 | Alain Steffen | 27. Juni 2017 | Quelle: https://www.pizz... Für Sammler und Liebhaber
Nicht jedes Tondokument ist auch historisch wertvoll. In den Archiven des Schweizer Radios schlummern sicher weitaus bessere und interessantereMehr lesen
Nicht jedes Tondokument ist auch historisch wertvoll. In den Archiven des Schweizer Radios schlummern sicher weitaus bessere und interessantere Aufnahmen als die hier veröffentlichten Mitschnitte des Mozart-Konzertes KV 596 und der 2. Symphonie von Brahms anlässlich der Internationalen Musikfestwochen Luzern 1961 (Mozart) und 1962 (Brahms).
Robert Casadesus spielt das Konzert sehr schön und wird von Carl Schuricht sehr präzise begleitet. Ein gutes Konzert, aber sicherlich kein Mitschnitt für die Ewigkeit. Auch die 2. Symphonie von Johannes Brahms mit den Wiener Philharmonikern wird die Diskographie nicht auf den Kopf stellen. Schurichts Dirigat ist recht traditionell, aber durchaus spannend und klangorientiert.
Von beiden Werken gibt es unzählige und auch technisch bessere Aufnahmen, so dass diese Luzerner Festival-CD wirklich nur etwas für Sammler und Liebhaber ist.
Carl Schuricht doesn’t present outstanding performances neither of the Mozart Concerto nor of the Brahms Symphony, so that this CD is a sound document which will bring some pleasure just to collectors and Lucerne Festival aficionados.
Robert Casadesus spielt das Konzert sehr schön und wird von Carl Schuricht sehr präzise begleitet. Ein gutes Konzert, aber sicherlich kein Mitschnitt für die Ewigkeit. Auch die 2. Symphonie von Johannes Brahms mit den Wiener Philharmonikern wird die Diskographie nicht auf den Kopf stellen. Schurichts Dirigat ist recht traditionell, aber durchaus spannend und klangorientiert.
Von beiden Werken gibt es unzählige und auch technisch bessere Aufnahmen, so dass diese Luzerner Festival-CD wirklich nur etwas für Sammler und Liebhaber ist.
Carl Schuricht doesn’t present outstanding performances neither of the Mozart Concerto nor of the Brahms Symphony, so that this CD is a sound document which will bring some pleasure just to collectors and Lucerne Festival aficionados.
Nicht jedes Tondokument ist auch historisch wertvoll. In den Archiven des Schweizer Radios schlummern sicher weitaus bessere und interessantere
Schwäbische Zeitung | Trossinger Zeitung 12 Jun 2017 | man | 12. Juni 2017 | Quelle: http://www.press... Erinnerung an Carl Schuricht
[...] die 2. Brahms-Sinfonie mit einem zauberhaften dritten Satz, sehr ausgehört, farbig und forsch [...]Mehr lesen
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[...] die 2. Brahms-Sinfonie mit einem zauberhaften dritten Satz, sehr ausgehört, farbig und forsch [...]
Audiophile Audition | June 8, 2017 | Gary Lemco | 8. Juni 2017 | Quelle: http://www.audau... Grand music-making defines these two concerts led by veteran Carl Schuricht
Casadesus could be startlingly brisk in Mozart concertos — as in his collaborations with George Szell — but here Casadesus chooses to provide animation informed by tender care for the ornaments, runs, and calculated filigree that suffuses this magnificent concerto.Mehr lesen
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Casadesus could be startlingly brisk in Mozart concertos — as in his collaborations with George Szell — but here Casadesus chooses to provide animation informed by tender care for the ornaments, runs, and calculated filigree that suffuses this magnificent concerto.
www.concertonet.com | 05/09/2017 | Sébastien Gauthier | 9. Mai 2017 | Quelle: http://concerton...
Schneiderhan fait montre de toute l’étendue de sa technique au fil des quatre mouvements de l’œuvre [...]Mehr lesen
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Schneiderhan fait montre de toute l’étendue de sa technique au fil des quatre mouvements de l’œuvre [...]
Record Geijutsu | May.2017 | 1. Mai 2017
Japanische Rezension siehe PDF!Mehr lesen
Japanische Rezension siehe PDF!
Japanische Rezension siehe PDF!
Crescendo Magazine | 28 avril 2017 | Pierre Jean Tribot | 28. April 2017 | Quelle: http://www.cresc... Paul Kletzki à Lucerne
L’orchestre montre parfois certaines fragilités (vents !), mais la tension imposée par le chef galvanise les musiciens. En conclusion, on tient un concert d’un grand intérêt au service de la mémoire d’un chef trop oublié. Le travail de remasterisation des bandes d’origine est exceptionnel en dépit des limites techniques inhérentes à l’âge de la captation.Mehr lesen
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L’orchestre montre parfois certaines fragilités (vents !), mais la tension imposée par le chef galvanise les musiciens. En conclusion, on tient un concert d’un grand intérêt au service de la mémoire d’un chef trop oublié. Le travail de remasterisation des bandes d’origine est exceptionnel en dépit des limites techniques inhérentes à l’âge de la captation.
Gramophone | March 2017 | Rob Cowan | 1. März 2017 | Quelle: https://reader.e...
Finding Luzzato’s stylistic polar opposite isn’t easy but Wolfgang Schneiderhan comes pretty close. Best known for his dignified interpretationsMehr lesen
Finding Luzzato’s stylistic polar opposite isn’t easy but Wolfgang Schneiderhan comes pretty close. Best known for his dignified interpretations of Beethoven, Schneiderhan prioritised purity and clarity of argument above the purely sensual or virtuoso aspects of violin playing. A recent Audité CD gathers together three radio recordings from the Lucerne Festival, opening with a rather febrile and heavily etched 1952 account of Mozart’s Fifth Concerto under Paul Hindemith, Schneiderhan’s sound unpalatably shrill, with an unvaried though insistent vibrato and very little in the way of tonal colouring. Schneiderhan’s conceptually similar DG stereo version from 1968 (with the Berlin Philharmonic—recently reissued in DG’s ‘The Violin: 111 Legendary Recordings’) is marginally subtler than this older broadcast effort. Hans Werner Henze’s First Violin Concerto of 1947, a concise and eventful work that the violinist subsequently recorded commercially under the composer’s direction (again for DG), receives a far more lively and responsive performance, both in terms of the actual violin playing and Ferdinand Leitner’s vivid conducting. Best of all is the 1968 world premiere of Frank Martin’s 11-minute Magnificat where Schneiderhan partners his wife the soprano Irmgard Seefried under the sensitive direction of Bernard Haitink, a beautiful piece that was dedicated to the couple and was later integrated into Martin’s Maria-Tryptichon. Variable mono sound more than passes muster throughout.
Finding Luzzato’s stylistic polar opposite isn’t easy but Wolfgang Schneiderhan comes pretty close. Best known for his dignified interpretations
www.musicweb-international.com | March 2017 | Jonathan Woolf | 1. März 2017 | Quelle: http://www.music...
Wolfgang Schneiderhan was a frequent performer at successive Lucerne festivals over the decades. The three works in this disc were recorded in theMehr lesen
Wolfgang Schneiderhan was a frequent performer at successive Lucerne festivals over the decades. The three works in this disc were recorded in the Kunsthaus in the period between 1952 and 1968 and reveal three differing aspects of his art; the Classicist, the purveyor of contemporary repertoire and the inspirer of new music.
I reviewed the earliest known example yet to have surfaced of Schneiderhan performing Mozart’s A Major concerto. That was a wartime inscription where the Orchestra of the German Opera House, Berlin was directed by Hans Schmidt-Isserstedt in 1943. The two men later collaborated on a studio performance, though the one conducted by Leitner and in particular self-directed by the violinist in 1967 are probably better known. Schneiderhan was renowned for his Mozart which was clean as a whistle and pure-toned, sparing with overt expressive devices, but suitably and sufficiently plangent in the slow movement. The playful wit he so suavely delivers in the finale can hardly have been hindered by the substitute conductor, one Paul Hindemith, who took the place of an indisposed Furtwängler. Admirers of the violinist will recall that he and Carl Seeman recorded Hindemith’s Third Violin Sonata.
Henze’s 1947 First Concerto is the work of a precocious twenty-one-year-old. It’s cast in four movements and is heard in this August 1964 traversal where the violinist is accompanied by Ferdinand Leitner, with whom Schneiderhan gave numerous concerto appearances and with whom he recorded in the studio. Though Henze parades a tone row the music is quite resolutely neo-classical in essence. With Leitner extracting a great deal of orchestral colour it’s a perfect vehicle for Schneiderhan’s stylistically apt musicianship. The scherzo is a sardonic march and the slow movement’s communing qualities, reaching a slow-moving threnody, are superbly and movingly realised here. The strong rhythmic charge of the finale, with a paragraph of erotic cantabile, is equally well projected.
Frank Martin had promised the violinist and his wife, soprano Irmgard Seefried, a joint work. Schneiderhan had recorded Martin’s Violin Concerto with Ernest Ansermet in 1952 so maintained a strong affinity for the composer’s music. After a long delay, there came the Magnificat, heard in this 1968 world premiere performance directed by Bernard Haitink. The stridently austere vocal part – no texts, unfortunately, in the booklet – suggests something of an anguished piece but gradually the music lightens in tone to embrace a kind of raptness of spirit, supported by Martin’s alert orchestral palette. Martin later incorporated this piece as the second movement of his Maria-Triptychon, a work the violinist was to perform in 1984 with Edith Mathis.
Hartmut Lück’s sleeve notes are excellent and the tapes, direct from the original masters, are in a particularly well-preserved state. This valuable triptych of performances shows Schneiderhan in the round in Lucerne.
I reviewed the earliest known example yet to have surfaced of Schneiderhan performing Mozart’s A Major concerto. That was a wartime inscription where the Orchestra of the German Opera House, Berlin was directed by Hans Schmidt-Isserstedt in 1943. The two men later collaborated on a studio performance, though the one conducted by Leitner and in particular self-directed by the violinist in 1967 are probably better known. Schneiderhan was renowned for his Mozart which was clean as a whistle and pure-toned, sparing with overt expressive devices, but suitably and sufficiently plangent in the slow movement. The playful wit he so suavely delivers in the finale can hardly have been hindered by the substitute conductor, one Paul Hindemith, who took the place of an indisposed Furtwängler. Admirers of the violinist will recall that he and Carl Seeman recorded Hindemith’s Third Violin Sonata.
Henze’s 1947 First Concerto is the work of a precocious twenty-one-year-old. It’s cast in four movements and is heard in this August 1964 traversal where the violinist is accompanied by Ferdinand Leitner, with whom Schneiderhan gave numerous concerto appearances and with whom he recorded in the studio. Though Henze parades a tone row the music is quite resolutely neo-classical in essence. With Leitner extracting a great deal of orchestral colour it’s a perfect vehicle for Schneiderhan’s stylistically apt musicianship. The scherzo is a sardonic march and the slow movement’s communing qualities, reaching a slow-moving threnody, are superbly and movingly realised here. The strong rhythmic charge of the finale, with a paragraph of erotic cantabile, is equally well projected.
Frank Martin had promised the violinist and his wife, soprano Irmgard Seefried, a joint work. Schneiderhan had recorded Martin’s Violin Concerto with Ernest Ansermet in 1952 so maintained a strong affinity for the composer’s music. After a long delay, there came the Magnificat, heard in this 1968 world premiere performance directed by Bernard Haitink. The stridently austere vocal part – no texts, unfortunately, in the booklet – suggests something of an anguished piece but gradually the music lightens in tone to embrace a kind of raptness of spirit, supported by Martin’s alert orchestral palette. Martin later incorporated this piece as the second movement of his Maria-Triptychon, a work the violinist was to perform in 1984 with Edith Mathis.
Hartmut Lück’s sleeve notes are excellent and the tapes, direct from the original masters, are in a particularly well-preserved state. This valuable triptych of performances shows Schneiderhan in the round in Lucerne.
Wolfgang Schneiderhan was a frequent performer at successive Lucerne festivals over the decades. The three works in this disc were recorded in the
Radio Stephansdom | 20.02.2017 | Michael Gmasz | 20. Februar 2017 | Quelle: https://radiokla...
BROADCAST CD der Woche
Wolfgang Schneiderhan in Luzern
Wolfgang Schneiderhan gehört unbestritten zu den bedeutendsten Geigern, die unser Land im vergangenen Jahrhundert hervorgebracht hat. KonzertmeisterMehr lesen
Wolfgang Schneiderhan gehört unbestritten zu den bedeutendsten Geigern, die unser Land im vergangenen Jahrhundert hervorgebracht hat. Konzertmeister sowohl der Wiener Symphoniker als auch der Wiener Philharmoniker, Solist und begehrter Kammermusiker und über Jahrzehnte Lehrer u.a. am Salzburger Mozarteum oder an der Wiener Musikakademie. Legendär sind seine Aufnahmen als Solist, vor allem mit dem Repertoire aus der Zeit der Klassik. Dass er aber auch gegenüber Zeitgenössischem aufgeschlossen war, beweist unsere CD der Woche, auf der neben Mozart auch Hans Werner Henze und Frank Martin zu hören sind.
Normalerweise sind es runde Jubiläen wie Geburtstage, Premieren oder auch Todestage, die Labels dazu veranlassen, bisher unveröffentlichtes Archivmaterial aus der Taufe zu heben. Bei audite und seinem Leiter Ludger Böckenhoff allerdings gehört es zur Unternehmensphilosophie, alten Aufnahmen neuen Glanz zu verleihen und somit bedeutende Künstler längst vergangener Tage wieder in Erinnerung zu rufen. Genauso geschehen ist das auch bei der jüngst veröffentlichten CD „Wolfgang Schneiderhan in Luzern“, mit Aufnahmen aus den Jahren 1952, 1964 und 1968. Drei Konzertmitschnitte, die natürlich nur ein kleines Schlaglicht auf die vielen Auftritte werfen können, die Schneiderhan in fast 40 Jahren am Vierwaldstättersee gespielt hat.
„Mit welcher tonlichen Noblesse und musikalischen Feinnervigkeit, mit welch unübertrefflichem Stilempfinden, technischer Brillanz und Eleganz wurde hier musiziert!“ So schwärmte 1952 ein Musikkritiker des Luzerner „Vaterlandes“ über Schneiderhans Mozart unter der Leitung von Paul Hindemith. Die CD lässt uns nun dieses Ereignis nacherleben, Mozart in bester Wiener Tradition, auf Manierismen verzichtend, stringent im Tempo und doch den nötigen Raum für kleine Rubati bietend. Dazu gibt es das erste von drei Violinkonzerten von Hans Werner Henze, entstanden 1947, und den Mitschnitt der Uraufführung von Frank Martins Magnificat, komponiert für Violine, Sopran und Orchester, also für Schneiderhan und seine Frau Irmgard Seefried. Sie ist natürlich auch in der Sopran-Solopartie zu erleben. Ein faszinierendes Tondokument, das die Qualität des legendären Geigers Wolfgang Schneiderhan in geeignetster Weise würdigt. Und wenn man, wie eingangs erwähnt, doch einen zeitlichen Grund zur Veröffentlichung dieser CD suchen wollte, sein Todestag jährt sich am 18. Mai zum 15. Mal.
Normalerweise sind es runde Jubiläen wie Geburtstage, Premieren oder auch Todestage, die Labels dazu veranlassen, bisher unveröffentlichtes Archivmaterial aus der Taufe zu heben. Bei audite und seinem Leiter Ludger Böckenhoff allerdings gehört es zur Unternehmensphilosophie, alten Aufnahmen neuen Glanz zu verleihen und somit bedeutende Künstler längst vergangener Tage wieder in Erinnerung zu rufen. Genauso geschehen ist das auch bei der jüngst veröffentlichten CD „Wolfgang Schneiderhan in Luzern“, mit Aufnahmen aus den Jahren 1952, 1964 und 1968. Drei Konzertmitschnitte, die natürlich nur ein kleines Schlaglicht auf die vielen Auftritte werfen können, die Schneiderhan in fast 40 Jahren am Vierwaldstättersee gespielt hat.
„Mit welcher tonlichen Noblesse und musikalischen Feinnervigkeit, mit welch unübertrefflichem Stilempfinden, technischer Brillanz und Eleganz wurde hier musiziert!“ So schwärmte 1952 ein Musikkritiker des Luzerner „Vaterlandes“ über Schneiderhans Mozart unter der Leitung von Paul Hindemith. Die CD lässt uns nun dieses Ereignis nacherleben, Mozart in bester Wiener Tradition, auf Manierismen verzichtend, stringent im Tempo und doch den nötigen Raum für kleine Rubati bietend. Dazu gibt es das erste von drei Violinkonzerten von Hans Werner Henze, entstanden 1947, und den Mitschnitt der Uraufführung von Frank Martins Magnificat, komponiert für Violine, Sopran und Orchester, also für Schneiderhan und seine Frau Irmgard Seefried. Sie ist natürlich auch in der Sopran-Solopartie zu erleben. Ein faszinierendes Tondokument, das die Qualität des legendären Geigers Wolfgang Schneiderhan in geeignetster Weise würdigt. Und wenn man, wie eingangs erwähnt, doch einen zeitlichen Grund zur Veröffentlichung dieser CD suchen wollte, sein Todestag jährt sich am 18. Mai zum 15. Mal.
Wolfgang Schneiderhan gehört unbestritten zu den bedeutendsten Geigern, die unser Land im vergangenen Jahrhundert hervorgebracht hat. Konzertmeister
hifi & records | 2/2017 | Uwe Steiner | 1. Februar 2017
Im lebhaften Mitschnitt musiziert er stürmisch expressiv. Das interessanteste Dokument gibt die von Bernard Haitink dirigierte Uraufführung von Frank Martins »Magnificat« wieder. Der Schweizer Komponist hatte das elfminütige Stück eigens für Schneiderhan und seine Frau, die große Irmgard Seefried, geschrieben. Eine Entdeckung!Mehr lesen
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Im lebhaften Mitschnitt musiziert er stürmisch expressiv. Das interessanteste Dokument gibt die von Bernard Haitink dirigierte Uraufführung von Frank Martins »Magnificat« wieder. Der Schweizer Komponist hatte das elfminütige Stück eigens für Schneiderhan und seine Frau, die große Irmgard Seefried, geschrieben. Eine Entdeckung!
www.musicweb-international.com | January 2017 | Stephen Greenbank | 30. Januar 2017 | Quelle: http://www.music...
In the spotlight of this latest volume in Audite's Lucerne Festival edition is the Austrian violinist Wolfgang Schneiderhan (1915-2002). He was one ofMehr lesen
In the spotlight of this latest volume in Audite's Lucerne Festival edition is the Austrian violinist Wolfgang Schneiderhan (1915-2002). He was one of several artists who made an outstanding contribution to the Festival over the years since its inauguration in 1938. He first appeared there in 1949, and went on to make annual visits most years until 1985. His trio, in which he was joined by the pianist Edwin Fischer and the cellist Enrico Mainardi, appeared there several times. Schneiderhan also gave master-classes at Lucerne. The attraction of the present release is that it features three recordings revealing the diversity of the violinist's work at the Festival. All are broadcast performances, culled from the archives of Schweizer Radio und Fernsehen (SRF).
Schneiderhan studied with Otakar Ševčík in Pisek and later with Julius Winkler in Vienna. He fulfilled the role of first Concertmaster of the Vienna Symphony Orchestra from 1933 to 1937, and then went on to lead the illustrious Vienna Philharmonic from 1937 to 1951. He later pursued a solo career, becoming one of the mainstays at Deutsche Grammophon. His repertoire focused on the Viennese classics, but he later developed an interest in contemporary music, and made commercial inscriptions of works by Martin, Henze and Stravinsky.
The Mozart A major Concerto is the earliest surviving example of Schneiderhan at Lucerne, dating from August 1952. At the helm of the Swiss Festival Orchestra is none other than Paul Hindemith, who had stepped in at short notice for an indisposed Wilhelm Furtwängler. I've long been familiar with Schneiderhan's DG recording of this work from February 1967, where he directs his own performance with the Berlin Philharmonic. In fact, on that occasion, he set down all five concertos, the Adagio in E and the two Rondos. The same poise, refinement and elegance informs this earlier live airing. Tempi feel comfortable, and phrasing natural and unforced. The slow movement is beautifully realized, with Schneiderhan eloquently shaping the phrases, and Hindemith providing sensitive support.
Hans Werner Henze wrote three violin concertos, and the first dates from 1947 when he was twenty-one. This live performance was taped in August 1964. The violinist later went on to record it for DG in May 1968 with the composer, himself, conducting. The work, with its echoes of Hindemith, Bartók and Stravinsky, is set in four movements, and covers a wide emotional range. It makes formidable technical demands on the soloist. Schneiderhan delivers a confident and assured performance. The opening movement is deftly scored with some colourful orchestration, which Ferdinand Leitner points up effectively. Schneiderhan brings energy and panache to the scherzo-like second movement. The slow movement which follows has a dream-like quality, and reminded me very much of the second movement of the Berg Concerto. The finale has a neo-classical flavour, and is here performed with verve and vigour. The success of the performance is confirmed by the enthusiastic applause at the end.
The live performance of Frank Martin's Magnificat for soprano and solo violin from 1968 happens to be the premiere. The vocalist is the distinguished German soprano Irmgard Seefried (1919-1988). Seefried was married to Schneiderhan and the work was written for and dedicated to the couple. The conductor on this occasion is Bernard Haitink. Schneiderhan had already performed the composer's Violin Concerto with Haitink at the Festival two years earlier. Martin originally set out to write a Stabat Mater, but changed course. Seefried adopts a declamatory tone in the opening pages, with the violin very much consigned to the background. Four minutes in, the mood becomes more settled, with the violin emerging from the shadows. After a while the music becomes more rhythmically charged and strident. I was surprised how well the violin and singer blend in the mix. Martin's orchestration is brilliantly scored and colourful. The work ends in an atmosphere of serenity and peace. It's regrettable that no text is provided.
Transferred from the original master tapes, the performances sound very fine. Audite are to be commended for restoring these archival treasures.
Schneiderhan studied with Otakar Ševčík in Pisek and later with Julius Winkler in Vienna. He fulfilled the role of first Concertmaster of the Vienna Symphony Orchestra from 1933 to 1937, and then went on to lead the illustrious Vienna Philharmonic from 1937 to 1951. He later pursued a solo career, becoming one of the mainstays at Deutsche Grammophon. His repertoire focused on the Viennese classics, but he later developed an interest in contemporary music, and made commercial inscriptions of works by Martin, Henze and Stravinsky.
The Mozart A major Concerto is the earliest surviving example of Schneiderhan at Lucerne, dating from August 1952. At the helm of the Swiss Festival Orchestra is none other than Paul Hindemith, who had stepped in at short notice for an indisposed Wilhelm Furtwängler. I've long been familiar with Schneiderhan's DG recording of this work from February 1967, where he directs his own performance with the Berlin Philharmonic. In fact, on that occasion, he set down all five concertos, the Adagio in E and the two Rondos. The same poise, refinement and elegance informs this earlier live airing. Tempi feel comfortable, and phrasing natural and unforced. The slow movement is beautifully realized, with Schneiderhan eloquently shaping the phrases, and Hindemith providing sensitive support.
Hans Werner Henze wrote three violin concertos, and the first dates from 1947 when he was twenty-one. This live performance was taped in August 1964. The violinist later went on to record it for DG in May 1968 with the composer, himself, conducting. The work, with its echoes of Hindemith, Bartók and Stravinsky, is set in four movements, and covers a wide emotional range. It makes formidable technical demands on the soloist. Schneiderhan delivers a confident and assured performance. The opening movement is deftly scored with some colourful orchestration, which Ferdinand Leitner points up effectively. Schneiderhan brings energy and panache to the scherzo-like second movement. The slow movement which follows has a dream-like quality, and reminded me very much of the second movement of the Berg Concerto. The finale has a neo-classical flavour, and is here performed with verve and vigour. The success of the performance is confirmed by the enthusiastic applause at the end.
The live performance of Frank Martin's Magnificat for soprano and solo violin from 1968 happens to be the premiere. The vocalist is the distinguished German soprano Irmgard Seefried (1919-1988). Seefried was married to Schneiderhan and the work was written for and dedicated to the couple. The conductor on this occasion is Bernard Haitink. Schneiderhan had already performed the composer's Violin Concerto with Haitink at the Festival two years earlier. Martin originally set out to write a Stabat Mater, but changed course. Seefried adopts a declamatory tone in the opening pages, with the violin very much consigned to the background. Four minutes in, the mood becomes more settled, with the violin emerging from the shadows. After a while the music becomes more rhythmically charged and strident. I was surprised how well the violin and singer blend in the mix. Martin's orchestration is brilliantly scored and colourful. The work ends in an atmosphere of serenity and peace. It's regrettable that no text is provided.
Transferred from the original master tapes, the performances sound very fine. Audite are to be commended for restoring these archival treasures.
In the spotlight of this latest volume in Audite's Lucerne Festival edition is the Austrian violinist Wolfgang Schneiderhan (1915-2002). He was one of
Opera Nederland | 25.01.2017 | Dr. Mark Duijnstee | 25. Januar 2017 | Quelle: http://operanede...
Het ‘Magnificat’ stuwt naar een intense gevoel van vreugde en overweldigende achting als Maria het één en ander doorziet en haar zending aanneemt. De terughoudende Schneiderhan en de expressieve Seefried geven een enorme zeggingskracht aan het stuk. Ieder woord en elke noot is duidelijk en krijgt de juiste lading.Mehr lesen
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Het ‘Magnificat’ stuwt naar een intense gevoel van vreugde en overweldigende achting als Maria het één en ander doorziet en haar zending aanneemt. De terughoudende Schneiderhan en de expressieve Seefried geven een enorme zeggingskracht aan het stuk. Ieder woord en elke noot is duidelijk en krijgt de juiste lading.
Zuger Zeitung
| 05. Januar 2017 | Fritz Schaub | 5. Januar 2017 | Quelle: http://www.zuger...
Ein Flüchtling wurde zur Schlüsselfigur
CD-DOKUMENT – Die erste Schallplatte eines Schweizer Orchesters für den internationalen Markt entstand am Lucerne Festival. Paul Kletzki wurde damals zu einer Schlüsselfigur des Schweizerischen Festspielorchesters
Schuberts Unvollendete und Beethovens dritte «Leonore-Ouvertüre», dokumentieren nicht weniger eindrücklich, auf welch hohem Niveau damals das Festspielorchester stand, auch wenn die Tonqualität deutlich historisch ist.Mehr lesen
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Schuberts Unvollendete und Beethovens dritte «Leonore-Ouvertüre», dokumentieren nicht weniger eindrücklich, auf welch hohem Niveau damals das Festspielorchester stand, auch wenn die Tonqualität deutlich historisch ist.
BBC Music Magazine | January 2017 | Julian Haylock | 1. Januar 2017
Live performances from the 1950s and '60s that mark out Schneiderhan as a first-rate Mozartian and a valued champion of contemporary music in aMehr lesen
Live performances from the 1950s and '60s that mark out Schneiderhan as a first-rate Mozartian and a valued champion of contemporary music in a fizzing account of the Henze Concerto.
Live performances from the 1950s and '60s that mark out Schneiderhan as a first-rate Mozartian and a valued champion of contemporary music in a
Musik & Theater | 01/02 Januar/Februar 2017 | Werner Pfister | 1. Januar 2017 Elf Minuten für die Ewigkeit
In Mozarts Violinkonzert Nr. 5 [...] exzelliert Schneiderhan in kantablen Geigenwonnen, und gleichzeitig musiziert er [...] seinen Mozart schlank und sehr agil. Solche Vorzüge bewähren sich auch im ersten Violinkonzert von Henze [...] das hier [...] eine rundum beeindruckende, stimmige Interpretation erfährt.Mehr lesen
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In Mozarts Violinkonzert Nr. 5 [...] exzelliert Schneiderhan in kantablen Geigenwonnen, und gleichzeitig musiziert er [...] seinen Mozart schlank und sehr agil. Solche Vorzüge bewähren sich auch im ersten Violinkonzert von Henze [...] das hier [...] eine rundum beeindruckende, stimmige Interpretation erfährt.
Luzerner Zeitung | 14. Dezember 2016 | Fritz Schaub | 14. Dezember 2016 | Quelle: http://www.luzer... Geiger Wolfgang Schneiderhan – Ungestüm über die Klassikgötter hinaus
«Mit welcher tonlichen Noblesse und musikalischen Feinnervigkeit, mit welchem unübertrefflichen Stilempfinden, technischer Brillanz und Eleganz wurde hier musiziert!»Mehr lesen
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«Mit welcher tonlichen Noblesse und musikalischen Feinnervigkeit, mit welchem unübertrefflichen Stilempfinden, technischer Brillanz und Eleganz wurde hier musiziert!»
Mitteldeutscher Rundfunk | KONZERT HISTORISCH | 13.12.2016 | 10:05-12:00 Uhr | 13. Dezember 2016 | Quelle: http://www.mdr.d...
BROADCAST
Gerühmt für sein natürliches Spiel – Wolfgang Schneiderhan
Herausragende Aufnahme mit Schneiderhan und Hindemith<br /> <br /> Mozarts A-Dur-Violinkonzert hören Sie in unserer Sendung "Konzert Historisch" in einem Mitschnitt vom 13. August 1952 aus dem Kunsthaus Luzern. Kein Geringerer als Paul Hindemith dirigierte dabei das Schweizer Festivalorchester. Als Solist ist Wolfgang Schneiderhan zu erleben.Mehr lesen
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Herausragende Aufnahme mit Schneiderhan und Hindemith
Mozarts A-Dur-Violinkonzert hören Sie in unserer Sendung "Konzert Historisch" in einem Mitschnitt vom 13. August 1952 aus dem Kunsthaus Luzern. Kein Geringerer als Paul Hindemith dirigierte dabei das Schweizer Festivalorchester. Als Solist ist Wolfgang Schneiderhan zu erleben.
Mozarts A-Dur-Violinkonzert hören Sie in unserer Sendung "Konzert Historisch" in einem Mitschnitt vom 13. August 1952 aus dem Kunsthaus Luzern. Kein Geringerer als Paul Hindemith dirigierte dabei das Schweizer Festivalorchester. Als Solist ist Wolfgang Schneiderhan zu erleben.
www.pizzicato.lu | 02/12/2016 | Remy Franck | 2. Dezember 2016 | Quelle: http://www.pizzi... Hommage an Wolfgang Schneiderhan
Der österreichische Geiger Wolfgang Schneiderhan war 38 Jahre alt, als er unter Paul Hindemiths Leitung in Luzern das 5. Violinkonzert von MozartMehr lesen
Der österreichische Geiger Wolfgang Schneiderhan war 38 Jahre alt, als er unter Paul Hindemiths Leitung in Luzern das 5. Violinkonzert von Mozart aufführte. Hindemith war 58. Aber beide manifestieren in dem Livemitschnitt, den Audite jetzt auf CD zugänglich macht, eine großartige jugendliche Frische mit manchmal überraschend spontan wirkenden Akzentuierungen in einem generell sehr lebendigen Musizieren, mit einem wohlartikulierten und legatobetonten Spiel des Geigers.
Danach ist Schneiderhan in dem ebenfalls erstmals veröffentlichten Luzerner Live-Mitschnitt mit Henzes Erstem Violinkonzert zu hören, in dem er die verspielten Passagen mit den harscheren Formulierungen und den lyrischen Passagen spannungsvoll verbindet.
Abschließend erklingt Frank Martins ‘Magnificat’ für Sopran, Solovioline und Orchester. Der Schweizer Komponist schuf dieses außergewöhnlich besetzte Werk, das er ein Jahr später zu seinem Marien-Triptychon erweiterte, eigens für Schneiderhan und dessen Ehefrau, die Sopranistin Irmgard Seefried. Der hier veröffentlichte Mitschnitt der Welturaufführung mit den beiden Widmungsträgern ist also ein besonders wichtiges Tondokument. Martin vertonte den Text der Lutherbibel (also nicht die Einheitsübersetzung). Der Text ist im Booklet nicht enthalten, kann aber hier abgerufen werden: https://de.wikipedia.org/wiki/Magnificat.
Das Werk hat nichts Freudiges, es ist eher eine fast fanatisch klingende Verehrung Gottes, und Irmgard Seefried zeichnet Maria, als sei sie in Transe.
With three very different works, this is a welcome homage to Austrian violinist Wolfgang Schneiderhan. His Mozart is extremely fresh and spontaneous, the high-contrast Henze Concerto well shaped. The Martin Magnificat, dedicated to the violinist and his wife Irmgard Seefried, is a truly special work, presented here in a very intense performance, recorded during the creation of the piece in Lucerne.
Danach ist Schneiderhan in dem ebenfalls erstmals veröffentlichten Luzerner Live-Mitschnitt mit Henzes Erstem Violinkonzert zu hören, in dem er die verspielten Passagen mit den harscheren Formulierungen und den lyrischen Passagen spannungsvoll verbindet.
Abschließend erklingt Frank Martins ‘Magnificat’ für Sopran, Solovioline und Orchester. Der Schweizer Komponist schuf dieses außergewöhnlich besetzte Werk, das er ein Jahr später zu seinem Marien-Triptychon erweiterte, eigens für Schneiderhan und dessen Ehefrau, die Sopranistin Irmgard Seefried. Der hier veröffentlichte Mitschnitt der Welturaufführung mit den beiden Widmungsträgern ist also ein besonders wichtiges Tondokument. Martin vertonte den Text der Lutherbibel (also nicht die Einheitsübersetzung). Der Text ist im Booklet nicht enthalten, kann aber hier abgerufen werden: https://de.wikipedia.org/wiki/Magnificat.
Das Werk hat nichts Freudiges, es ist eher eine fast fanatisch klingende Verehrung Gottes, und Irmgard Seefried zeichnet Maria, als sei sie in Transe.
With three very different works, this is a welcome homage to Austrian violinist Wolfgang Schneiderhan. His Mozart is extremely fresh and spontaneous, the high-contrast Henze Concerto well shaped. The Martin Magnificat, dedicated to the violinist and his wife Irmgard Seefried, is a truly special work, presented here in a very intense performance, recorded during the creation of the piece in Lucerne.
Der österreichische Geiger Wolfgang Schneiderhan war 38 Jahre alt, als er unter Paul Hindemiths Leitung in Luzern das 5. Violinkonzert von Mozart
www.opusklassiek.nl | december 2016 | Aart van der Wal | 1. Dezember 2016 | Quelle: https://www.opus...
Mozarts laatste Vioolconcert gedijt in de typische Weense Mozart-traditie van de jaren vijftig. Dat we het nu anders gewend zijn doet aan het gloedvolle maar ook intieme karakter van Schneiderhands interpretatie niets af. Dit is een uitgave om te koesteren! Mehr lesen
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Mozarts laatste Vioolconcert gedijt in de typische Weense Mozart-traditie van de jaren vijftig. Dat we het nu anders gewend zijn doet aan het gloedvolle maar ook intieme karakter van Schneiderhands interpretatie niets af. Dit is een uitgave om te koesteren!
Audiophile Audition | November 12, 2016 | Gary Lemco | 12. November 2016 | Quelle: http://www.audau...
[...] utilizing explosive brass, percussion and piano – Schneiderhan’s violin tone remains rounded and secure, lustrous even in the provocative syntax and daunting shifts of bow application the composer requires.Mehr lesen
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[...] utilizing explosive brass, percussion and piano – Schneiderhan’s violin tone remains rounded and secure, lustrous even in the provocative syntax and daunting shifts of bow application the composer requires.
American Record Guide | November 2016 | David Radcliffe | 1. November 2016
This is a particularly interesting broadcast concert, recorded 7 September 1946 with an ad hoc orchestra which the Vienna-bound Walter Legge had justMehr lesen
This is a particularly interesting broadcast concert, recorded 7 September 1946 with an ad hoc orchestra which the Vienna-bound Walter Legge had just been recording. Kletzki (1900–73) had spent the war years in Switzerland and must have got on well with the ensemble, for the musicians, if a little ragged sometimes, play their hearts out. His extreme interpretations sound remarkably unlike EMI productions—except perhaps their Furtwanglers. There is something to be said for provincial performances—one thinks of all the “bad” Homeric manuscripts from out of the way places now being diligently examined for traces of an earlier Homer than what came down through Athens. Kletzki and his Swiss musicians play in a manner which might be described not only as pre-war but pre-electric, with outrageously fluctuating tempos, rubato, massive dramatic contrasts, and eccentric phrasing.
This would be all for naught if the results were not musical, but I find these highly-charged performances persuasive, particularly the Brahms symphony. Subtle they are not, but if you enjoy unfiltered, late-romantic, expressionist modernism you will find it here, captured with a thrilling dynamic range not obtainable when this mode of performance was still in vogue. One thinks of over-the-top Russian 78s—it may be that the conductor, who had been in the Soviet Union before migrating to Switzerland, was inspired by Golovanov as well as by Furtwangler (who had once played his compositions in Berlin). It must have been a great release for Paul Kletzki to be able to travel in the West after all those difficult years, but this late outburst of Nikisch-Mahler sensibility is a worthy memorial of what he left behind. The production is first-rate.
This would be all for naught if the results were not musical, but I find these highly-charged performances persuasive, particularly the Brahms symphony. Subtle they are not, but if you enjoy unfiltered, late-romantic, expressionist modernism you will find it here, captured with a thrilling dynamic range not obtainable when this mode of performance was still in vogue. One thinks of over-the-top Russian 78s—it may be that the conductor, who had been in the Soviet Union before migrating to Switzerland, was inspired by Golovanov as well as by Furtwangler (who had once played his compositions in Berlin). It must have been a great release for Paul Kletzki to be able to travel in the West after all those difficult years, but this late outburst of Nikisch-Mahler sensibility is a worthy memorial of what he left behind. The production is first-rate.
This is a particularly interesting broadcast concert, recorded 7 September 1946 with an ad hoc orchestra which the Vienna-bound Walter Legge had just
Fanfare | October 2016 | James Miller | 1. Oktober 2016
Paul Kletzki was born in 1900 and died two weeks short of his 73rd birthday. A native of Poland, he moved to Germany in 1921 with the intention ofMehr lesen
Paul Kletzki was born in 1900 and died two weeks short of his 73rd birthday. A native of Poland, he moved to Germany in 1921 with the intention of being a composer and found some success there before departing in 1933 with the arrival of Nazism. Mussolini’s turn toward anti-Semitism drove him from Italy in 1936. After a few years in the Soviet Union, he departed for his final home, Switzerland, in 1939. Claiming that Nazism had destroyed his creativity, he gave up composing in 1942 and concentrated on conducting. Between 1958 and 1970, he served, at various times, as chief conductor of the Liverpool Philharmonic, the Dallas Symphony Orchestra, and L’Orchestre de la Suisse Romande. The performances listed above are taken from what is described as a charity concert … more on that later.
I wonder if the concert featured the pieces in the order in which they appear on the CD; it seems to me that Beethoven and Schubert followed by Brahms would have been the likely order. These are certainly high-quality, intelligent performances with subtle tempo changes and an intelligent use of dynamics for dramatic emphasis. Interestingly, in the Passacaglia of the Brahms Fourth, he doesn’t even pretend to keep a steady tempo, letting each variation “speak for itself” with considerable success. As imposing as it may be, this performance is like a major step on the way to his superior (and two-channel) studio recording for EMI. The Schubert “Unfinished” is, if anything, even better, with the same flexible tempos and dynamic contrasts helping the music to tell its story. After these two achievements, the strong performance of the Leonore No. 3 is almost anti-climactic.
Speaking of the dynamic contrasts that Kletzki uses to such good effect, they are sabotaged to some extent by an unexpected intrusion—anything below mf is accompanied by the annoying swish of a stylus traversing the grooves of what I take to be a transcription disc. Are the performances actually from a “charity concert”? Could be, but the audience is astonishingly healthy and polite—there’s no shuffling, no coughing, and no applause whatsoever. As it happens, Kletzki made English Columbia 78s of all three works—the Beethoven and Schubert with the Philharmonia Orchestra and the Brahms with the Lucerne Festival Orchestra (!). In addition, I perceived what seemed to be a side break in the Brahms Symphony. All of these coincidences (?) may be explicable but I thought I should mention them. My speculations do not diminish my respect for the performances themselves, but they do have me wondering.
I wonder if the concert featured the pieces in the order in which they appear on the CD; it seems to me that Beethoven and Schubert followed by Brahms would have been the likely order. These are certainly high-quality, intelligent performances with subtle tempo changes and an intelligent use of dynamics for dramatic emphasis. Interestingly, in the Passacaglia of the Brahms Fourth, he doesn’t even pretend to keep a steady tempo, letting each variation “speak for itself” with considerable success. As imposing as it may be, this performance is like a major step on the way to his superior (and two-channel) studio recording for EMI. The Schubert “Unfinished” is, if anything, even better, with the same flexible tempos and dynamic contrasts helping the music to tell its story. After these two achievements, the strong performance of the Leonore No. 3 is almost anti-climactic.
Speaking of the dynamic contrasts that Kletzki uses to such good effect, they are sabotaged to some extent by an unexpected intrusion—anything below mf is accompanied by the annoying swish of a stylus traversing the grooves of what I take to be a transcription disc. Are the performances actually from a “charity concert”? Could be, but the audience is astonishingly healthy and polite—there’s no shuffling, no coughing, and no applause whatsoever. As it happens, Kletzki made English Columbia 78s of all three works—the Beethoven and Schubert with the Philharmonia Orchestra and the Brahms with the Lucerne Festival Orchestra (!). In addition, I perceived what seemed to be a side break in the Brahms Symphony. All of these coincidences (?) may be explicable but I thought I should mention them. My speculations do not diminish my respect for the performances themselves, but they do have me wondering.
Paul Kletzki was born in 1900 and died two weeks short of his 73rd birthday. A native of Poland, he moved to Germany in 1921 with the intention of
Audio Video Club of Atlanta | September 2016 | Phil Muse | 1. September 2016 | Quelle: https://s3.amazo...
The hand of the master is equally evident in Brahms’ Fourth, where he shapes the contours of the music to perfection, emphasizing both the architectural strength and the expressive beauty of this work. Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
The hand of the master is equally evident in Brahms’ Fourth, where he shapes the contours of the music to perfection, emphasizing both the architectural strength and the expressive beauty of this work.
Stereoplay | 09|2016 | Lothar Brandt | 1. September 2016 HighClass in HiRes
Im Jubiläumsjahr 1988 dirigierte er [Claudio Abbado] das Chamber Orchestra of Europe mit Toscaninis Premieren-Programm. Und vom 25. August ist uns das meisterhaft in alle Subtilität ausgehorchte Wagner-Werk vom Schweizer Rundfunk erhalten.Mehr lesen
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Im Jubiläumsjahr 1988 dirigierte er [Claudio Abbado] das Chamber Orchestra of Europe mit Toscaninis Premieren-Programm. Und vom 25. August ist uns das meisterhaft in alle Subtilität ausgehorchte Wagner-Werk vom Schweizer Rundfunk erhalten.
www.musicweb-international.com | Wednesday August 24th | Jonathan Woolf | 24. August 2016 | Quelle: http://www.music...
After the end of the Second World War, at a time when EMI’s Walter Legge was re-establishing continental European contacts, Paul Kletzki became aMehr lesen
After the end of the Second World War, at a time when EMI’s Walter Legge was re-establishing continental European contacts, Paul Kletzki became a valued addition to the roster of the company’s artists. He directed a performance of Brahms’s Fourth Symphony with the Swiss Festival Orchestra – it’s better known today as the Lucerne Festival Orchestra – that was released on 78s and was something of a calling card for both orchestra, with which Legge was delighted, and, of course, conductor. The last day of that recording session, 7 September 1946, saw an additional event, namely an evening’s charity concert during when Kletzki and the orchestra reprised the Brahms they had just recorded and added two other pieces to form the release now issued by Audite.
His later Czech Philharmonic LP may be more familiar than the 78 but few Kletzki admirers would want to be without the ancillary pleasures of this live performance, notwithstanding its very close approximation to the 78 set. It’s a performance of architectural surety and expressive balance. Kletzki was not one for quirks or peculiarities and he invariably saw straight to the heart of things. Thus this reading is flexible but never rhythmically flabby, and whilst the string choirs don’t sing out, this may be as much to do with the rather constricted sound as anything else. The horns certainly sound on fine form – albeit there is a touch of distortion, especially noticeable in the second movement – and though the Lucerne winds can be a touch pinched tonally they are well balanced and generally personable-sounding. The Andante is nobly conceived, its narrative finely detailed, the scherzo propulsive. With a powerfully but musically convincing finale all that this really needs is slightly better engineering and a more open top, the better to capture the hall ambience. Otherwise, it reveals Kletzki, yet again, as a musician lacking grandiose pretentions but possessing the firmest architectural strengths.
Much the same goes for Schubert’s Unfinished Symphony which, whilst Kletzki jettisons the first movement repeat, is notably well-phrased and conceived in dramatic terms. There’s swish audible throughout but principally during the second movement where it becomes quite intrusive. I suspect that attempts to limit this have also taken some of the higher frequencies with it which accounts for the somewhat cramped sound. Nevertheless, the performance itself is deeply impressive, as is the intensity that Kletzki locates in the Leonore Overture No.3. There’s some chuffing here, too, and overload hints in forte outbursts.
These relatively minor distractions apart, Audite has done well to restore this concert. Documentation is first class.
His later Czech Philharmonic LP may be more familiar than the 78 but few Kletzki admirers would want to be without the ancillary pleasures of this live performance, notwithstanding its very close approximation to the 78 set. It’s a performance of architectural surety and expressive balance. Kletzki was not one for quirks or peculiarities and he invariably saw straight to the heart of things. Thus this reading is flexible but never rhythmically flabby, and whilst the string choirs don’t sing out, this may be as much to do with the rather constricted sound as anything else. The horns certainly sound on fine form – albeit there is a touch of distortion, especially noticeable in the second movement – and though the Lucerne winds can be a touch pinched tonally they are well balanced and generally personable-sounding. The Andante is nobly conceived, its narrative finely detailed, the scherzo propulsive. With a powerfully but musically convincing finale all that this really needs is slightly better engineering and a more open top, the better to capture the hall ambience. Otherwise, it reveals Kletzki, yet again, as a musician lacking grandiose pretentions but possessing the firmest architectural strengths.
Much the same goes for Schubert’s Unfinished Symphony which, whilst Kletzki jettisons the first movement repeat, is notably well-phrased and conceived in dramatic terms. There’s swish audible throughout but principally during the second movement where it becomes quite intrusive. I suspect that attempts to limit this have also taken some of the higher frequencies with it which accounts for the somewhat cramped sound. Nevertheless, the performance itself is deeply impressive, as is the intensity that Kletzki locates in the Leonore Overture No.3. There’s some chuffing here, too, and overload hints in forte outbursts.
These relatively minor distractions apart, Audite has done well to restore this concert. Documentation is first class.
After the end of the Second World War, at a time when EMI’s Walter Legge was re-establishing continental European contacts, Paul Kletzki became a
Gramophone | August 2016 | Rob Cowan | 1. August 2016 Kletzki in Lucerne
An interesting Paul Kletzki release from Audite reproduces a 1946 concert performance of an interpretation that may be familiar to some readers as aMehr lesen
An interesting Paul Kletzki release from Audite reproduces a 1946 concert performance of an interpretation that may be familiar to some readers as a set of five Columbia 78s, namely Brahms Fourth Symphony played by the Swiss Festival Orchestra (or Lucerne Festival Orchestra as we commonly know it nowadays). The actual recording sessions lasted until September 7, which was also the day of an additional concert – given in aid of charity – which is what is reproduced here. Kletzki's performance is refreshingly bright-textured, with careful though never cautious handling of the first movement's many dialogic episodes, a warm-hearted Andante moderato, a bracing scherzo and a finale that although indulgently appreciative of the flute solo keeps a firm grip on the passacaglia structure. I loved it, though the transfer engineers have been a little over-zealous in their efforts to reduce surface noise. The same concert included Schubert's Unfinished, played without its first-movement repeat but very sensitively interpreted, and a dramatic account of Beethoven's Overture Leonore No 3. I've not heard many Kletzki performances that leave as strong an impression as the Brahms. There is no applause.
An interesting Paul Kletzki release from Audite reproduces a 1946 concert performance of an interpretation that may be familiar to some readers as a
Stereoplay | 07|2016 | Attila Csampai | 1. Juli 2016 Brahms unter Strom
Es ist eine der spannendsten und zwingendsten Aufführungen der Vierten von Brahms, die ich je gehört habe, noch geballter und stringenter als die berühmten Referenzen von Klemperer und Toscanini. Vor allem in den beiden Ecksätzen kombiniert Kletzki strukturelle Dichte und emotionales Feuer zu gebündelten Energieschüben, die das späte Opus fast als Fanal jugendlicher Leidenschaft und so gar nicht als abgeklärtes Alterswerk erscheinen lassen.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Es ist eine der spannendsten und zwingendsten Aufführungen der Vierten von Brahms, die ich je gehört habe, noch geballter und stringenter als die berühmten Referenzen von Klemperer und Toscanini. Vor allem in den beiden Ecksätzen kombiniert Kletzki strukturelle Dichte und emotionales Feuer zu gebündelten Energieschüben, die das späte Opus fast als Fanal jugendlicher Leidenschaft und so gar nicht als abgeklärtes Alterswerk erscheinen lassen.
www.pizzicato.lu | 05/06/2016 | Remy Franck | 5. Juni 2016 Spontanes Dirigat von Paul Kletzki
Der Schweizer Dirigent Paul Kletzki (1900-1973), ehemaliger Chefdirigent in Liverpool, Dallas, Bern und beim ‘Orchestre de la Suisse Romande’,Mehr lesen
Der Schweizer Dirigent Paul Kletzki (1900-1973), ehemaliger Chefdirigent in Liverpool, Dallas, Bern und beim ‘Orchestre de la Suisse Romande’, dirigiert auf einer CD der Reihe ‘Lucerne Festival Historic Performances’ von Audite das ‘Swiss Festival Orchestra’. Da erklingt zunächst mit schlankem Klang, kontrastreich zwischen betonter Grübelei und drängender Aufbruchsstimmung die Vierte Symphonie von Johannes Brahms und danach eine hoch dramatische, groß-symphonisch angelegte ‘Unvollendete’ von Franz Schubert. Ebenfalls bemerkenswert ist die sehr expressive Ouvertüre ‘Leonore 3’ von Ludwig van Beethoven. Die Brahms- und Schubert –Symphonien gibt es auf anderen Labels in Studioeinspielungen, die kurz vor dem hier verwendeten, spontaneren, freieren Livemitschnitt entstanden (Audite 95.642).
Der Schweizer Dirigent Paul Kletzki (1900-1973), ehemaliger Chefdirigent in Liverpool, Dallas, Bern und beim ‘Orchestre de la Suisse Romande’,
www.concertonet.com | 05/15/2016 | Simon Corley | 15. Mai 2016 Chefs oubliés: Paul Kletzki et Antonio Pedrotti
De récentes publications remettent à l’honneur deux chefs nés auMehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
De récentes publications remettent à l’honneur deux chefs nés au
International Piano | May / June 2016 | Benjamin Ivry | 1. Mai 2016 No laughing matter
‘Playing’ the piano never seems quite the right way of describing Annie Fischer at the keyboard. Sober, serious and uncompromising are the heroicMehr lesen
‘Playing’ the piano never seems quite the right way of describing Annie Fischer at the keyboard. Sober, serious and uncompromising are the heroic qualities that she brought to her performances. Benjamin Ivry explores the life and career of an artist who looked tragedy unflinchingly in the eye, bringing a steely intensity to her music-making.
In a typically thrilling concert performance from late in her career, a septuagenarian Annie Fischer played Beethoven’s Third Piano Concerto with the NHK Symphony conducted by Miltiades Caridis. In the 1989 video, the granitic Hungarian grandma laid down the law with uncompromising grandeur. One thinks of Irene Worth, the American actress long resident in the UK, whose tough-as-nails, omniscient Grandma Kurnitz in Neil Simon’s film Lost in Yonkers moved audiences.
Beyond such matriarchal flamboyance and energy, Fischer’s performances were noted for their intense idiomatic understanding and devil-may-care absolutism, despite wrong notes. Her inspiration derived from the era of Artur Schnabel, during which the musical message was primordial, not the note-for-note perfection expected from studio recordings. There was something sublime in the sheer limpidity of her best solo work, as in a Brahms Sonata in F minor (on BBC Legends 4054-2), recorded at Edinburgh’s Usher Hall in 1961. Yet in Fischer’s renditions, especially from her later years, there can be a noteworthy absence of merriment or festivity in some of the more playful or witty passages, for example in Beethoven and Mozart. This unrelentingly tragic approach sometimes fails to express an inherent element in the music. Fischer laboured heroically at the keyboard; she did not ‘play’ the piano. Any mere ludic aspiration might be too trivial for an artist of such high seriousness.
On the other hand, she often conveys a take-no-prisoners attitude, as in a Schumann Kreisleriana from 1986 (BBC Legends 4141). Conquering this score seems akin to scaling an Alpine peak unaided. Sombre and sober, she boldly plumbed emotional depths of the most demanding Classical and Romantic scores. Her Mozart concertos, especially in the 1980s, could have tragic weight bordering on ponderousness. Yet this is vastly preferable to the superficial, fleetfingered gloss with which these works are sometimes dispatched.
After hearing her dense 1968 studio recording of Schubert’s Sonata in B-flat D960 (reissued on Hungaroton 41011) one might wish to call for ‘More light!’ (as Johann Wolfgang von Goethe reportedly did on the occasion of his last gasp). Even the gossamer and celebratory final two movements of Schubert’s D960, marked Scherzo allegro vivace con delicatezza and Allegro, ma non troppo, express disquiet and adamant feelings in Fischer’s weighty hands. This is even more evident in a somewhat lumbering traversal, marred by technical hiccups, of Schubert’s Sonata No 20 D959 from a 1984 Montreal recital (on Palexa CD-0514). Still, the overall integrity and cohesiveness of Fischer’s performances renders such quibbles relatively meaningless.
No such qualms impede our appreciation of her best recordings, such as a handful of versions of Beethoven Third Concerto. On one of these from 1957, with the Bavarian State Orchestra led by Ferenc Fricsay (available on Pristine Audio PASC400), the vivacity of soloist and accompanying orchestra are ideally matched, driving the performance along with vigorous momentum. In a live Mozart Piano Concerto No 22 K482 from 1956 with Otto Klemperer (Palexa 515), or No 23 K488 with the Philharmonia and Adrian Boult (Documents 299267), courtly accompanists fluent in the Mozartian idiom proved apt interlocutors.
Among many intriguing recordings of one of her warhorses – Schumann’s Piano Concerto in A minor – a high place must be granted to a live performance from Lucerne with the Philharmonia and Carlo Maria Giulini (on Audite 95643). Then there is a pellucid studio Bartók Third Concerto from 1955 with Igor Markevitch (Warner Classics 68733); atypically effervescent Mozart concertos from the 1950s with the Concertgebouw Orchestra and Otto Klemperer (Archiphon ARC-WU099-100); and a fizzy Beethoven Third Concerto from 1956, again with the Concertgebouw and Klemperer (Archiphon ARC-WU092-93). The impression of an endless treasure trove of artistically rewarding recordings is accurate: Annie Fischer’s discography really is that rich.
Fischer’s solo work is equally lively, in such mainstays as Beethoven’s Pathétique Sonata (an ideal 1958 studio version reissued on Warner Classics 634123). The scale and architectural scope of her conception of Beethoven sonatas makes even her later complete set, with its highs and lows (Hungaroton 41003) worthy of sustained attention. A 1960s video, about which less-than-precise information exists, features Fischer playing the Pathétique in Budapest’s Great Hall of the Franz Liszt Academy of Music. At times her tempi are so fast as to suggest she feared being hustled off the stage for not finishing promptly. A less enchanting experience are two-ton, sometimes lurching 1970s studio renditions of late Beethoven that sound ungainly. In their own way, even these flawed performances by Fischer are as daringly individual as Schnabel’s, though ultimately less convincing – at least to some listeners.
Fischer needed no Polonius to know how to be true to herself. It seems apt that she died while listening to a radio broadcast of Bach’s St John Passion. A large-scale, emotive reading of Bach’s Brandenburg Concerto No 5 with Otto Klemperer from 1950 (Guild GHCD 2360) is further evidence of her devotion to this composer, and collegial rapport with this tricky conductor.
Where did this acute artistry develop? Fischer studied at Budapest’s Franz Liszt Academy with the pianist and composer Ernő Dohnányi (1877–1960) and the pedagogue Arnold Székely (1874-1958). The latter also taught Andor Földes, Louis Kentner, Lívia Rév, and Georg Solti. In 1933, still in her teens, Fischer won the first Franz Liszt International Piano Competition, a contest in which Louis (born Lajos) Kentner was placed third and Andor Földes eighth. Relatively early in her career, she was performing and learning from such celebrated maestros as Ernest Ansermet, Adrian Boult, Fritz Busch and Willem Mengelberg. Starting in the 1950s, she made studio recordings with some excellent conductors, including Fricsay and Markevitch, but some of Fischer’s finest surviving performances with orchestra have yet to be transferred to CD. An online discography by Yuan Huang* includes enticing items such as a Bartók Third Concerto from 1955 led by the eminent Hungarian conductor László Somogyi. There also survives a 1963 Beethoven Emperor Concerto from Russia, led by the Latvian maestro Arvīds Jansons (father of Mariss Jansons); a 1970 Brahms Second Concerto with Christoph von Dohnányi; and a 1972 Beethoven Fourth Concerto conducted by Ernest Bour. If and when these performances become more widely available, a fuller impression of the range and scope of Fischer’s artistic achievement will become possible.
For now, the inner mysteries of Fischer’s profound artistry may be revealed in part by a surviving 1992 rehearsal fi lm of Mozart’s Concerto No 22 K482. Fischer wears a headscarf and, during the orchestral tuttis, puff s on a cigarette stashed in an ashtray inside the piano. The conductor Tamás Vásáry, himself a noted pianist, looks at her with justified veneration; indeed he saw her as a mentor, as did another veteran Hungarian keyboard master of today, Peter Frankl. When Fischer’s fingers are otherwise unengaged, she conducts with her left hand for a few instants, then remembers the smouldering cigarette conveniently stashed inside the piano. She reaches for it with her right hand and takes a drag, savouring what are clearly twin necessities in life: Mozart and nicotine. Then she conducts along a little with her right hand, using the cigarette as a tiny baton, inhaling repeatedly before replacing the ciggie in its ashtray just before the next keyboard passage.
The Romanian-French aphorist Emil Cioran, himself an ex-tobacco aficionado, once proclaimed that during his smoking days, he ‘could not even appreciate a landscape without a cigarette in his hand’. Likewise, Fischer was an artist whose life and work were intertwined with smoking. That said, to apply the joshing sobriquet ‘Ashtray Annie’ to Fischer, as London’s orchestral musicians reputedly did during her lifetime, trivialises the passion she invested in all her activities, whether for music or self-administering jolts of nicotine.
Tobacco deprivation in concert halls may possibly have resulted in the peremptory, nervy attack that mars some of Fischer’s live performances, especially of Beethoven. Life struggles also doubtless affected her world view. During the Second World War, Fischer fled her homeland to Sweden with her husband, the musicologist Aladár Tóth (1898-1968). She was born Jewish, and 70 percent of Hungary’s Jews (an estimated 450,000 of them) were murdered by the Nazis. Despite this carnage, Fischer returned to Budapest after the war, and stayed through successive Communist dictatorships. This wartime exile and impoverished life in the postwar Soviet bloc may explain a certain bleak outlook compatible with a tragic view of art and life.
With fanfare on her centenary in 2014, the Hungarian government issued a postal stamp in Fischer’s honour. This may seem ironic to some observers, given the re-emergence in Hungary of far-right politicians and their hateful antisemitic rhetoric. To the piano world, Hungary is now the place where Budapest-born András Schiff dares not return for a visit because if he does so, his compatriots have threatened to ‘cut off both of [his] hands,’ as Schiff told the BBC. Official state celebrations of Annie Fischer in Hungary have not mentioned her Judaism.
Genuine honour to Fischer comes from the world’s piano lovers. During her lifetime she received justified praise from critics such as Andrew Keener, who in the July 1983 Musical Times commended Fischer’s London recital for ‘musicmaking that radiated humanity, humour and an abundant sense of enjoyment. Rarely can momentary aberrations have mattered so little and never once was there any suspicion that faulty technique was responsible. Over and again, notably in the second and fourth movements of Beethoven’s Sonata Op 101, exuberantly characterised, Annie Fischer would follow a momentary sketchiness with something technically remarkable by any standards’. Keener’s inclusion of humour as a feature of her playing may indicate that on occasion the aforementioned caveat about uniform seriousness may be overstated.
Even Charles Rosen, the American pianist who could be hypercritical about colleagues, wrote aff ectionately in his Piano Notes: the World of the Pianist (2002) about sitting on the jury of the 1966 Leeds Competition with Fischer (other jurors included Gina Bachauer, Maria Curcio, Rudolf Firkušný, Nikita Magaloff and Lev Oborin). Rosen lauded Fischer as a ‘pianist for whom I (like almost everybody else) had the utmost admiration, who gave a good mark to the pianist I thought should get another chance; she was rather taken with a good-looking Korean contestant, so I voted for her candidate and she voted for mine. In the next round, I was sitting next to her while the Korean was playing, and she turned to me and said softly: “He isn’t very good, is he?” – “No,” I replied, trying to invest my reply with the proper melancholy.’
Just as some operatic divas and divos show their mettle best in live recordings, so Fischer seemed to exult in the drama and electricity of a performance in the presence of an audience, rather than an antiseptic, Apollonian recording studio. Even today, responding to the energetic physicality of her playing, some critics who are unaware of the evolution of gender politics refer to Fischer’s ‘masculine’ style. What they simply mean is that she was one of the mightiest pianists of her century.
In a typically thrilling concert performance from late in her career, a septuagenarian Annie Fischer played Beethoven’s Third Piano Concerto with the NHK Symphony conducted by Miltiades Caridis. In the 1989 video, the granitic Hungarian grandma laid down the law with uncompromising grandeur. One thinks of Irene Worth, the American actress long resident in the UK, whose tough-as-nails, omniscient Grandma Kurnitz in Neil Simon’s film Lost in Yonkers moved audiences.
Beyond such matriarchal flamboyance and energy, Fischer’s performances were noted for their intense idiomatic understanding and devil-may-care absolutism, despite wrong notes. Her inspiration derived from the era of Artur Schnabel, during which the musical message was primordial, not the note-for-note perfection expected from studio recordings. There was something sublime in the sheer limpidity of her best solo work, as in a Brahms Sonata in F minor (on BBC Legends 4054-2), recorded at Edinburgh’s Usher Hall in 1961. Yet in Fischer’s renditions, especially from her later years, there can be a noteworthy absence of merriment or festivity in some of the more playful or witty passages, for example in Beethoven and Mozart. This unrelentingly tragic approach sometimes fails to express an inherent element in the music. Fischer laboured heroically at the keyboard; she did not ‘play’ the piano. Any mere ludic aspiration might be too trivial for an artist of such high seriousness.
On the other hand, she often conveys a take-no-prisoners attitude, as in a Schumann Kreisleriana from 1986 (BBC Legends 4141). Conquering this score seems akin to scaling an Alpine peak unaided. Sombre and sober, she boldly plumbed emotional depths of the most demanding Classical and Romantic scores. Her Mozart concertos, especially in the 1980s, could have tragic weight bordering on ponderousness. Yet this is vastly preferable to the superficial, fleetfingered gloss with which these works are sometimes dispatched.
After hearing her dense 1968 studio recording of Schubert’s Sonata in B-flat D960 (reissued on Hungaroton 41011) one might wish to call for ‘More light!’ (as Johann Wolfgang von Goethe reportedly did on the occasion of his last gasp). Even the gossamer and celebratory final two movements of Schubert’s D960, marked Scherzo allegro vivace con delicatezza and Allegro, ma non troppo, express disquiet and adamant feelings in Fischer’s weighty hands. This is even more evident in a somewhat lumbering traversal, marred by technical hiccups, of Schubert’s Sonata No 20 D959 from a 1984 Montreal recital (on Palexa CD-0514). Still, the overall integrity and cohesiveness of Fischer’s performances renders such quibbles relatively meaningless.
No such qualms impede our appreciation of her best recordings, such as a handful of versions of Beethoven Third Concerto. On one of these from 1957, with the Bavarian State Orchestra led by Ferenc Fricsay (available on Pristine Audio PASC400), the vivacity of soloist and accompanying orchestra are ideally matched, driving the performance along with vigorous momentum. In a live Mozart Piano Concerto No 22 K482 from 1956 with Otto Klemperer (Palexa 515), or No 23 K488 with the Philharmonia and Adrian Boult (Documents 299267), courtly accompanists fluent in the Mozartian idiom proved apt interlocutors.
Among many intriguing recordings of one of her warhorses – Schumann’s Piano Concerto in A minor – a high place must be granted to a live performance from Lucerne with the Philharmonia and Carlo Maria Giulini (on Audite 95643). Then there is a pellucid studio Bartók Third Concerto from 1955 with Igor Markevitch (Warner Classics 68733); atypically effervescent Mozart concertos from the 1950s with the Concertgebouw Orchestra and Otto Klemperer (Archiphon ARC-WU099-100); and a fizzy Beethoven Third Concerto from 1956, again with the Concertgebouw and Klemperer (Archiphon ARC-WU092-93). The impression of an endless treasure trove of artistically rewarding recordings is accurate: Annie Fischer’s discography really is that rich.
Fischer’s solo work is equally lively, in such mainstays as Beethoven’s Pathétique Sonata (an ideal 1958 studio version reissued on Warner Classics 634123). The scale and architectural scope of her conception of Beethoven sonatas makes even her later complete set, with its highs and lows (Hungaroton 41003) worthy of sustained attention. A 1960s video, about which less-than-precise information exists, features Fischer playing the Pathétique in Budapest’s Great Hall of the Franz Liszt Academy of Music. At times her tempi are so fast as to suggest she feared being hustled off the stage for not finishing promptly. A less enchanting experience are two-ton, sometimes lurching 1970s studio renditions of late Beethoven that sound ungainly. In their own way, even these flawed performances by Fischer are as daringly individual as Schnabel’s, though ultimately less convincing – at least to some listeners.
Fischer needed no Polonius to know how to be true to herself. It seems apt that she died while listening to a radio broadcast of Bach’s St John Passion. A large-scale, emotive reading of Bach’s Brandenburg Concerto No 5 with Otto Klemperer from 1950 (Guild GHCD 2360) is further evidence of her devotion to this composer, and collegial rapport with this tricky conductor.
Where did this acute artistry develop? Fischer studied at Budapest’s Franz Liszt Academy with the pianist and composer Ernő Dohnányi (1877–1960) and the pedagogue Arnold Székely (1874-1958). The latter also taught Andor Földes, Louis Kentner, Lívia Rév, and Georg Solti. In 1933, still in her teens, Fischer won the first Franz Liszt International Piano Competition, a contest in which Louis (born Lajos) Kentner was placed third and Andor Földes eighth. Relatively early in her career, she was performing and learning from such celebrated maestros as Ernest Ansermet, Adrian Boult, Fritz Busch and Willem Mengelberg. Starting in the 1950s, she made studio recordings with some excellent conductors, including Fricsay and Markevitch, but some of Fischer’s finest surviving performances with orchestra have yet to be transferred to CD. An online discography by Yuan Huang* includes enticing items such as a Bartók Third Concerto from 1955 led by the eminent Hungarian conductor László Somogyi. There also survives a 1963 Beethoven Emperor Concerto from Russia, led by the Latvian maestro Arvīds Jansons (father of Mariss Jansons); a 1970 Brahms Second Concerto with Christoph von Dohnányi; and a 1972 Beethoven Fourth Concerto conducted by Ernest Bour. If and when these performances become more widely available, a fuller impression of the range and scope of Fischer’s artistic achievement will become possible.
For now, the inner mysteries of Fischer’s profound artistry may be revealed in part by a surviving 1992 rehearsal fi lm of Mozart’s Concerto No 22 K482. Fischer wears a headscarf and, during the orchestral tuttis, puff s on a cigarette stashed in an ashtray inside the piano. The conductor Tamás Vásáry, himself a noted pianist, looks at her with justified veneration; indeed he saw her as a mentor, as did another veteran Hungarian keyboard master of today, Peter Frankl. When Fischer’s fingers are otherwise unengaged, she conducts with her left hand for a few instants, then remembers the smouldering cigarette conveniently stashed inside the piano. She reaches for it with her right hand and takes a drag, savouring what are clearly twin necessities in life: Mozart and nicotine. Then she conducts along a little with her right hand, using the cigarette as a tiny baton, inhaling repeatedly before replacing the ciggie in its ashtray just before the next keyboard passage.
The Romanian-French aphorist Emil Cioran, himself an ex-tobacco aficionado, once proclaimed that during his smoking days, he ‘could not even appreciate a landscape without a cigarette in his hand’. Likewise, Fischer was an artist whose life and work were intertwined with smoking. That said, to apply the joshing sobriquet ‘Ashtray Annie’ to Fischer, as London’s orchestral musicians reputedly did during her lifetime, trivialises the passion she invested in all her activities, whether for music or self-administering jolts of nicotine.
Tobacco deprivation in concert halls may possibly have resulted in the peremptory, nervy attack that mars some of Fischer’s live performances, especially of Beethoven. Life struggles also doubtless affected her world view. During the Second World War, Fischer fled her homeland to Sweden with her husband, the musicologist Aladár Tóth (1898-1968). She was born Jewish, and 70 percent of Hungary’s Jews (an estimated 450,000 of them) were murdered by the Nazis. Despite this carnage, Fischer returned to Budapest after the war, and stayed through successive Communist dictatorships. This wartime exile and impoverished life in the postwar Soviet bloc may explain a certain bleak outlook compatible with a tragic view of art and life.
With fanfare on her centenary in 2014, the Hungarian government issued a postal stamp in Fischer’s honour. This may seem ironic to some observers, given the re-emergence in Hungary of far-right politicians and their hateful antisemitic rhetoric. To the piano world, Hungary is now the place where Budapest-born András Schiff dares not return for a visit because if he does so, his compatriots have threatened to ‘cut off both of [his] hands,’ as Schiff told the BBC. Official state celebrations of Annie Fischer in Hungary have not mentioned her Judaism.
Genuine honour to Fischer comes from the world’s piano lovers. During her lifetime she received justified praise from critics such as Andrew Keener, who in the July 1983 Musical Times commended Fischer’s London recital for ‘musicmaking that radiated humanity, humour and an abundant sense of enjoyment. Rarely can momentary aberrations have mattered so little and never once was there any suspicion that faulty technique was responsible. Over and again, notably in the second and fourth movements of Beethoven’s Sonata Op 101, exuberantly characterised, Annie Fischer would follow a momentary sketchiness with something technically remarkable by any standards’. Keener’s inclusion of humour as a feature of her playing may indicate that on occasion the aforementioned caveat about uniform seriousness may be overstated.
Even Charles Rosen, the American pianist who could be hypercritical about colleagues, wrote aff ectionately in his Piano Notes: the World of the Pianist (2002) about sitting on the jury of the 1966 Leeds Competition with Fischer (other jurors included Gina Bachauer, Maria Curcio, Rudolf Firkušný, Nikita Magaloff and Lev Oborin). Rosen lauded Fischer as a ‘pianist for whom I (like almost everybody else) had the utmost admiration, who gave a good mark to the pianist I thought should get another chance; she was rather taken with a good-looking Korean contestant, so I voted for her candidate and she voted for mine. In the next round, I was sitting next to her while the Korean was playing, and she turned to me and said softly: “He isn’t very good, is he?” – “No,” I replied, trying to invest my reply with the proper melancholy.’
Just as some operatic divas and divos show their mettle best in live recordings, so Fischer seemed to exult in the drama and electricity of a performance in the presence of an audience, rather than an antiseptic, Apollonian recording studio. Even today, responding to the energetic physicality of her playing, some critics who are unaware of the evolution of gender politics refer to Fischer’s ‘masculine’ style. What they simply mean is that she was one of the mightiest pianists of her century.
‘Playing’ the piano never seems quite the right way of describing Annie Fischer at the keyboard. Sober, serious and uncompromising are the heroic
American Record Guide | May / June 2016 | Alan Becker | 1. Mai 2016
Many will be familiar with Fischer’s 1960 studio recording of the Schumann with Klemperer. This one with Giulini dates from the same year and comesMehr lesen
Many will be familiar with Fischer’s 1960 studio recording of the Schumann with Klemperer. This one with Giulini dates from the same year and comes to us from the Lucerne Festival. The performances are similar, though few will be surprised that the sound (particularly the orchestra strings) is better on the studio recording. Still, both are more than acceptable, particularly if you like Fischer’s more aggressive way with the concerto.
Fleisher’s way with the Beethoven is already well known from the studio set with Szell and the Cleveland Orchestra. That set is one of the marvels of Beethoven performance and has a recording that leaves nothing to be desired. This Beethoven 2 is similar, though few could make claims for its supremacy as an orchestral recording. The ad hoc ensemble plays well for Szell, and the piano sound here is quite good.
Could I recommend purchase of this recording? Well, yes and no. It is certainly a must for admirers of these artists who must have every recording they ever made. No if you already have the studio recordings. Still, I was seduced once again by Fleisher’s marvelous playing.
Fleisher’s way with the Beethoven is already well known from the studio set with Szell and the Cleveland Orchestra. That set is one of the marvels of Beethoven performance and has a recording that leaves nothing to be desired. This Beethoven 2 is similar, though few could make claims for its supremacy as an orchestral recording. The ad hoc ensemble plays well for Szell, and the piano sound here is quite good.
Could I recommend purchase of this recording? Well, yes and no. It is certainly a must for admirers of these artists who must have every recording they ever made. No if you already have the studio recordings. Still, I was seduced once again by Fleisher’s marvelous playing.
Many will be familiar with Fischer’s 1960 studio recording of the Schumann with Klemperer. This one with Giulini dates from the same year and comes
www.concertonet.com | 04/16/2016 | Sébastien Gauthier | 16. April 2016
C’est une tornade musicale, tornade accrue par l’urgence du live sous la direction étincelante de Jean Martinon, chef avec lequel Fournier avait pourtant déjà gravé une fort belle version en 1960 à la tête de l’Orchestre Lamoureux pour les micros de Deutsche Grammophon. [...] Quelle prestation! Les compléments sont du même niveau, à commencer par ce Second Concerto de Dvorák avec l’accompagnement idoine de l’Orchestre du Festival de Lucerne dirigé par István Kertész, connaisseur ô combien avisé du compositeur tchèque. [...] Enfin, annoncé par Fournier lui-même à la «mémoire impérissable» de Pablo Casals, c’est Le Chant des oiseaux dans un arrangement pour violoncelle et orchestre à cordes écrit par Casals lui-même: superbe moment qui conclut de la plus belle manière un disque indispensable pour tout amoureux de Pierre Fournier.Mehr lesen
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C’est une tornade musicale, tornade accrue par l’urgence du live sous la direction étincelante de Jean Martinon, chef avec lequel Fournier avait pourtant déjà gravé une fort belle version en 1960 à la tête de l’Orchestre Lamoureux pour les micros de Deutsche Grammophon. [...] Quelle prestation! Les compléments sont du même niveau, à commencer par ce Second Concerto de Dvorák avec l’accompagnement idoine de l’Orchestre du Festival de Lucerne dirigé par István Kertész, connaisseur ô combien avisé du compositeur tchèque. [...] Enfin, annoncé par Fournier lui-même à la «mémoire impérissable» de Pablo Casals, c’est Le Chant des oiseaux dans un arrangement pour violoncelle et orchestre à cordes écrit par Casals lui-même: superbe moment qui conclut de la plus belle manière un disque indispensable pour tout amoureux de Pierre Fournier.
Fanfare | April 2016 | Huntley Dent | 1. April 2016
Two illustrious pianists with star-crossed careers are honored here, and acquit themselves with honor. The eminent Hungarian pianist Annie FischerMehr lesen
Two illustrious pianists with star-crossed careers are honored here, and acquit themselves with honor. The eminent Hungarian pianist Annie Fischer made her Swiss debut in Zurich when she was 14, but she was forced to spend the Nazi era in Sweden, as a Jewish artist in exile, and once she returned home in 1946, her touring outside Hungary was limited. This account of the Schumann Piano Concerto from 1960 was her only appearance at the Lucerne Festival; she had played the same work at her Zurich debut three decades previously. (Fischer appeared only once at the Salzburg Festival also, with the Bartók Piano Concerto No. 3 under Solti.)
Her playing is so adroit and natural—to the point of sounding effortless—that one easily believes Schumann was one of Fischer’s favorite composers. Her well-balanced interpretation flows in perfect accord with Giulini, who included among his talents the skills of a great accompanist. The Philharmonia, honed by Karajan since its founding, plays with a lovely, rounded tone. Perhaps the finale is a bit too relaxed and self-contained to fit Schumann’s marking of Allegro vivace, but this is a flawless reading in which cultivation and Romanticism are beautifully merged. Fischer is still undervalued outside Hungary, and this live performance is a major addition to her discography.
Leon Fleisher’s fate was to lose the use of the last two fingers of his right hand only months after this appearance at the Lucerne Festival in the summer of 1962 (the highly unreliable program notes attribute the onset of paralysis to a condition called “pianist’s neurosis”—let’s hope something was lost going from German to English). He was one of the brightest lights among post-war American pianists, and even though Fleisher was a pupil of Artur Schnabel’s, he approaches the Beethoven Second Piano Concerto with the cool, crystalline touch of Horowitz, who had a profound effect on that entire generation. The passagework is stunning, not just for clarity but also for the nuance Fleisher adds even when moving at top speed. His complete Beethoven concerto cycle with Szell has never left the catalog since the early 1960s, and on this occasion they remain aligned in preferring a fleet, Haydnesque approach, albeit with a fairly robust-sounding orchestra; there is minimal rubato and no slow down for second themes. The atmosphere of a live concert adds an extra touch of exuberance from both conductor and soloist.
Unlike Fischer, Fleisher returned several times to Lucerne, twice to play concertos for the left hand by Ravel and Prokofiev, then twice more, in 2008 and 2012, for solo recitals after he recovered the use of both hands. It’s worth nothing that on the second half of this 1962 concert Szell led a very fine reading of the Brahms First Symphony, previously released in Audite’s admirable series devoted to Swiss Radio broadcasts from the Lucerne Festival. Every installment to date has been warmly received by Fanfare critics.
Despite a few egregious passages, the program notes contain useful information. The recorded sound, which favors the piano considerably, is very good for a mono radio broadcast, affording a rich timbre to the instrument even if the orchestra is a bit thin and edgy, but only a bit. Artistically, the archives have yielded up two must-listen performances.
Her playing is so adroit and natural—to the point of sounding effortless—that one easily believes Schumann was one of Fischer’s favorite composers. Her well-balanced interpretation flows in perfect accord with Giulini, who included among his talents the skills of a great accompanist. The Philharmonia, honed by Karajan since its founding, plays with a lovely, rounded tone. Perhaps the finale is a bit too relaxed and self-contained to fit Schumann’s marking of Allegro vivace, but this is a flawless reading in which cultivation and Romanticism are beautifully merged. Fischer is still undervalued outside Hungary, and this live performance is a major addition to her discography.
Leon Fleisher’s fate was to lose the use of the last two fingers of his right hand only months after this appearance at the Lucerne Festival in the summer of 1962 (the highly unreliable program notes attribute the onset of paralysis to a condition called “pianist’s neurosis”—let’s hope something was lost going from German to English). He was one of the brightest lights among post-war American pianists, and even though Fleisher was a pupil of Artur Schnabel’s, he approaches the Beethoven Second Piano Concerto with the cool, crystalline touch of Horowitz, who had a profound effect on that entire generation. The passagework is stunning, not just for clarity but also for the nuance Fleisher adds even when moving at top speed. His complete Beethoven concerto cycle with Szell has never left the catalog since the early 1960s, and on this occasion they remain aligned in preferring a fleet, Haydnesque approach, albeit with a fairly robust-sounding orchestra; there is minimal rubato and no slow down for second themes. The atmosphere of a live concert adds an extra touch of exuberance from both conductor and soloist.
Unlike Fischer, Fleisher returned several times to Lucerne, twice to play concertos for the left hand by Ravel and Prokofiev, then twice more, in 2008 and 2012, for solo recitals after he recovered the use of both hands. It’s worth nothing that on the second half of this 1962 concert Szell led a very fine reading of the Brahms First Symphony, previously released in Audite’s admirable series devoted to Swiss Radio broadcasts from the Lucerne Festival. Every installment to date has been warmly received by Fanfare critics.
Despite a few egregious passages, the program notes contain useful information. The recorded sound, which favors the piano considerably, is very good for a mono radio broadcast, affording a rich timbre to the instrument even if the orchestra is a bit thin and edgy, but only a bit. Artistically, the archives have yielded up two must-listen performances.
Two illustrious pianists with star-crossed careers are honored here, and acquit themselves with honor. The eminent Hungarian pianist Annie Fischer
eve - ernährung | vitalität | erleben
| 2.2016 März/April | 1. März 2016
Für Klassikfreunde
Glasklare Töne
Annie Fischer mit einer kammermusikalisch hellhörigen und poetischen Deutung von Schumanns KlavierkonzertMehr lesen
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Annie Fischer mit einer kammermusikalisch hellhörigen und poetischen Deutung von Schumanns Klavierkonzert
Musik & Theater | 03/04 März/April 2016 | Werner Pfister | 1. März 2016 Zwei Seiten einer Medaille
[Fleisher] verzaubert mit einer feingliedrigen, leichthändigen Pianistik, als hätte er schon von den modernen Bemühungen um einen historisch authentischen, das heißt entschlackten und verschlankten Beethoven gehört. Herrlich sein jeu perle, seine luzide Artikulation und artikulatorische Wendigkeit. Dieser Beethoven war damals zweifellos ein Ereignis.Mehr lesen
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[Fleisher] verzaubert mit einer feingliedrigen, leichthändigen Pianistik, als hätte er schon von den modernen Bemühungen um einen historisch authentischen, das heißt entschlackten und verschlankten Beethoven gehört. Herrlich sein jeu perle, seine luzide Artikulation und artikulatorische Wendigkeit. Dieser Beethoven war damals zweifellos ein Ereignis.
Audio | 03/2016 | Andreas Lucewicz | 1. März 2016
Immer wieder bietet das Label Audite historische Trouvaillen, in diesem Fall zwei absolut hörenswerte Dokumente vom Lucerne Festival 1960: SchumannsMehr lesen
Immer wieder bietet das Label Audite historische Trouvaillen, in diesem Fall zwei absolut hörenswerte Dokumente vom Lucerne Festival 1960: Schumanns Klavierkonzert mit Annie Fischer und dem Philharmonia Orchestra unter Carlo Maria Giulini sowie das zweite Klavierkonzert von Beethoven mit Leon Fleisher und dem Swiss Festival Orchestra unter George Szell. Bei Annie Fischer faszinieren der "goldene Kern" im Ton und der zarte Lyrismus im Spiel, die Balance von machtvollem Schwung und Innigkeit. Fast antagonistisch wirkt Leon Fleishers Beethoven-Interpretation: wunderbar transparent und mit luftigem jeu perlé. Diese CD ist ein Glücksfall!
Immer wieder bietet das Label Audite historische Trouvaillen, in diesem Fall zwei absolut hörenswerte Dokumente vom Lucerne Festival 1960: Schumanns
BBC Music Magazine | February 2016 | Julian Haylock | 1. Februar 2016
Recorded live at the Lucerne Festival in remarkably fine sound, Fischer's golden tone recalls an already bygone age, while Fleisher's dazzling clarityMehr lesen
Recorded live at the Lucerne Festival in remarkably fine sound, Fischer's golden tone recalls an already bygone age, while Fleisher's dazzling clarity points to the future.
Recorded live at the Lucerne Festival in remarkably fine sound, Fischer's golden tone recalls an already bygone age, while Fleisher's dazzling clarity
Fono Forum | Februar 2016 | Götz Thieme | 1. Februar 2016 Kritiker-Umfrage 2015
Künstler für Kenner live in Luzern 1960 und 1962. Annie Fischer beispielsweise spielt mit sagenhafter Energie und Poesie.Mehr lesen
Künstler für Kenner live in Luzern 1960 und 1962. Annie Fischer beispielsweise spielt mit sagenhafter Energie und Poesie.
Künstler für Kenner live in Luzern 1960 und 1962. Annie Fischer beispielsweise spielt mit sagenhafter Energie und Poesie.
Record Geijutsu | FEB. 2016 | 1. Februar 2016
Japanische Rezension siehe PDF!Mehr lesen
Japanische Rezension siehe PDF!
Japanische Rezension siehe PDF!
Gramophone | February 2016 | Rob Cowan | 1. Februar 2016 Pianists live in Lucerne
I was delighted to encounter Audite's CD of a riveting Lucerne Festival performance of Schumann's Piano Concerto by Annie Fischer with theMehr lesen
I was delighted to encounter Audite's CD of a riveting Lucerne Festival performance of Schumann's Piano Concerto by Annie Fischer with the Philharmonia under Carlo Maria Giulini (more assertive than the commercial version she made with Klemperer). Forceful, cleanly articulated and with a poetically charged Intermezzo, it's a performance that shows Fischer to have been a notably strong, intellectual player. The coupling finds Leon Fleisher tackling Beethoven's Fourth Concerto with George Szell conducting the Swiss Festival Orchestra. A good pairing for Fischer's Schumann, this: both players are well equipped technically and musically compelling. Good, forwardly-balanced mono sound throughout.
I was delighted to encounter Audite's CD of a riveting Lucerne Festival performance of Schumann's Piano Concerto by Annie Fischer with the
SRF2 Kultur
| Donnerstag, 7.1.2016, 22.00 – 24.00, SRF2 Kultur | Nik Broda | 7. Januar 2016
Historic Performances: Furtwänglers letzte Neunte
Wilhelm Furtwängler am Lucerne Festival von 1954
Diese beiden Aufführungen sind zu einem elementaren Vermächtnis des Dirigenten geworden. Das Schweizer Radio war damals dabei und diese Aufnahme gibt es jetzt remastered als Coproduktion mit Radio srf2.kultur.Mehr lesen
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Diese beiden Aufführungen sind zu einem elementaren Vermächtnis des Dirigenten geworden. Das Schweizer Radio war damals dabei und diese Aufnahme gibt es jetzt remastered als Coproduktion mit Radio srf2.kultur.
Der Kurier | 23.12.2015 | Alexander Werner | 23. Dezember 2015 Pianistische Höhepunkte
Reizvoll, zwei solche Pianogrößen wie Annie Fischer und Leon Fleisher auf einer neuen CD von Audite in der Reihe mit Live-Mitschnitten vom Lucerne Festival zu hören. Beeindruckend, wie frisch, klar ausgeformt und mit Poesie die 1995 verstorbene Ungarin 1960 Robert Schumanns berühmtes Klavierkonzert spielte. [...] Fleisher und Szell ziehen hörbar an einem Strang, in einer pianistisch transparent strukturierten und expressiven Deutung und einem Orchester auf Augenhöhe, das unter straffer Stabführung zügig und klassizistisch auftrumpft.Mehr lesen
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Reizvoll, zwei solche Pianogrößen wie Annie Fischer und Leon Fleisher auf einer neuen CD von Audite in der Reihe mit Live-Mitschnitten vom Lucerne Festival zu hören. Beeindruckend, wie frisch, klar ausgeformt und mit Poesie die 1995 verstorbene Ungarin 1960 Robert Schumanns berühmtes Klavierkonzert spielte. [...] Fleisher und Szell ziehen hörbar an einem Strang, in einer pianistisch transparent strukturierten und expressiven Deutung und einem Orchester auf Augenhöhe, das unter straffer Stabführung zügig und klassizistisch auftrumpft.
Midwest Tape | 08.12.2015 | 8. Dezember 2015
Released for the first time in their entirety, these remastered live recordings document two piano icons in their Lucerne Festival debuts.Mehr lesen
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Released for the first time in their entirety, these remastered live recordings document two piano icons in their Lucerne Festival debuts.
klassik.com
| 29.11.2015 | Konstantin Parnian | 29. November 2015 | Quelle: http://magazin.k...
Großer Name, kleine Tat
Beethoven, Ludwig van - Symphonie Nr. 9 op. 125
Besonders die klangliche Balance zwischen Chor und Solisten ist beeindruckend gelungen.Mehr lesen
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Besonders die klangliche Balance zwischen Chor und Solisten ist beeindruckend gelungen.
www.pizzicato.lu | 13/11/2015 | Alain Steffen | 13. November 2015 Aufregendes aus Luzern
Auch diese rezente Veröffentlichung der ‘Lucerne Festival’-Reihe von Audite lässt den Hörer an zwei aufregenden Konzertmitschnitten teilhaben.Mehr lesen
Auch diese rezente Veröffentlichung der ‘Lucerne Festival’-Reihe von Audite lässt den Hörer an zwei aufregenden Konzertmitschnitten teilhaben. Das Klavierkonzert von Robert Schumann macht aber in erster Linie nicht durch das Spiel der Solistin Annie Fischer hellhörig, sondern es ist vielmehr die hervorragende und wohlüberlegte Orchesterarbeit Carlo Maria Giulinis, die dem Konzert ganz neue Aspekte abgewinnt. Fischer ist natürlich hochkarätig und ihre sehr individuelle, recht vitale, aber nie überzogene Interpretation für die damalige Zeit schon ein gewisses Wagnis. Aber erst zusammen mit Giulini wird sie unschlagbar, und beide, unterstützt von dem exzellenten Philharmonia Orchestra, schenken uns eine der schönsten, ernsthaftesten und ausgewogensten Interpretationen, die man von diesem Stück kennt.
Aber auch das 2. Klavierkonzert von Beethoven mit dem Solisten Leon Fleisher gewinnt erst durch Georg Szell am Pult seine Einmaligkeit. Fleisher spielt eher dezent, fügt sich aber mit sportlich-elegantem Stil in die von Szells schnellen Tempi bestimmte Interpretation. Leider bleibt das Spiel des ‘Swiss Festival Orchestra’, das wohl kaum Szells Anforderungen gerecht wird, nur ungefähr. Trotzdem, wegen den beiden Solisten und vor allem, wegen den beiden Dirigenten ein Must für den Sammler.
Here we have a real collector’s item, with excellent performances, remarkable above all for the congenial interpretations by two outstanding soloists and two exceptional conductors.
Aber auch das 2. Klavierkonzert von Beethoven mit dem Solisten Leon Fleisher gewinnt erst durch Georg Szell am Pult seine Einmaligkeit. Fleisher spielt eher dezent, fügt sich aber mit sportlich-elegantem Stil in die von Szells schnellen Tempi bestimmte Interpretation. Leider bleibt das Spiel des ‘Swiss Festival Orchestra’, das wohl kaum Szells Anforderungen gerecht wird, nur ungefähr. Trotzdem, wegen den beiden Solisten und vor allem, wegen den beiden Dirigenten ein Must für den Sammler.
Here we have a real collector’s item, with excellent performances, remarkable above all for the congenial interpretations by two outstanding soloists and two exceptional conductors.
Auch diese rezente Veröffentlichung der ‘Lucerne Festival’-Reihe von Audite lässt den Hörer an zwei aufregenden Konzertmitschnitten teilhaben.
Audiophile Audition | November 7, 2015 | Gary Lemco | 7. November 2015
Both Hungarian virtuoso Annie Fischer (1914-1995) and American pianist LeonMehr lesen
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Both Hungarian virtuoso Annie Fischer (1914-1995) and American pianist Leon
Gauchebdo
| 15 octobre 2015 | Myriam Tetaz-Gramegna | 15. Oktober 2015
Des concerts qui ont marqué leur époque
La 9ème de Beethoven par Furtwaengler et des concertos par Annie Fischer et Leon Fleischer s'ajoutent à l'Histoire sonore du festival de Lucerne chez Audite.
Ces deux disques ouvrent des perspectives parfois inattendues sur des oeuvres qu’on croit connaître.Mehr lesen
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Ces deux disques ouvrent des perspectives parfois inattendues sur des oeuvres qu’on croit connaître.
Gauchebdo
| 15 octobre 2015 | Myriam Tetaz-Gramegna | 15. Oktober 2015
Des concerts qui ont marqué leur époque
La 9ème de Beethoven par Furtwaengler et des concertos par Annie Fischer et Leon Fleischer s'ajoutent à l'Histoire sonore du festival de Lucerne chez Audite.
Ces deux disques ouvrent des perspectives parfois inattendues sur des oeuvres qu’on croit connaître.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Ces deux disques ouvrent des perspectives parfois inattendues sur des oeuvres qu’on croit connaître.
Crescendo Magazine | Le 12 octobre 2015 | Bernadette Beyne | 12. Oktober 2015 Deux nouvelles merveilles du Festival de Lucerne
Les tempi sont « puissants » dans le sens où ils véhiculent un grand souffle d’énergie soutenue par une pulsation rythmique en dynamique perpétuelle. Et puis, quelle sonorité ! Couleur, chatoiement, toujours expressive. Chaque moment est intensément vécu et conduit, tant musicalement qu’émotionnellement [...]Mehr lesen
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Les tempi sont « puissants » dans le sens où ils véhiculent un grand souffle d’énergie soutenue par une pulsation rythmique en dynamique perpétuelle. Et puis, quelle sonorité ! Couleur, chatoiement, toujours expressive. Chaque moment est intensément vécu et conduit, tant musicalement qu’émotionnellement [...]
Crescendo Magazine | Le 24 septembre 2015 | Bernard Postiau | 24. September 2015 Pierre Fournier au sommet de son art
En bref, un disque à consommer sans modération et qu’on écoute avec une émotion de tous les instants et une admiration sans bornes.Mehr lesen
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En bref, un disque à consommer sans modération et qu’on écoute avec une émotion de tous les instants et une admiration sans bornes.
American Record Guide | September 2015 | Donald R Vroon | 1. September 2015
The two concertos were recorded for DG a few years before these Lucerne Festival appearances. The Saint-Saens was recorded around 1960 for DG; thisMehr lesen
The two concertos were recorded for DG a few years before these Lucerne Festival appearances. The Saint-Saens was recorded around 1960 for DG; this recording is from 1962. The Dvorak on DG was from 1962; this one is from 1967. The Saint-Saens is exactly half the length of the Dvorak, which lasts 37 minutes here.
You would expect a concert recording like this to be less than ideal in sound but perhaps more spontaneous. But there’s no predicting. The Saint-Saens sounds simply wonderful, and Martinon’s conducting is simply great. But the Dvorak is clearly inferior in sound to the DG—both cello and orchestra. And Istvan Kertesz was a fine conductor, but I’m afraid he is completely outshone by George Szell on DG, who has incredible fire and precision, who makes every moment and every instrument shine. If you have the DG Dvorak you certainly don’t need this. You might think a performance before an audience would be more exciting, but I assure you that Szell conducting this puts everyone else in the shade—and it’s the Berlin Philharmonic, too! The sheer quality of the orchestra is unbeatable. After all, this recording is simply the festival orchestra—unlike the Saint-Saens, which has the superb French Radio Orchestra under a great French conductor.
A four-minute encore is added (introduced by Fournier, whose French is as elegant and refined as his playing): the Pablo Casals ‘Song of the Birds’.
You would expect a concert recording like this to be less than ideal in sound but perhaps more spontaneous. But there’s no predicting. The Saint-Saens sounds simply wonderful, and Martinon’s conducting is simply great. But the Dvorak is clearly inferior in sound to the DG—both cello and orchestra. And Istvan Kertesz was a fine conductor, but I’m afraid he is completely outshone by George Szell on DG, who has incredible fire and precision, who makes every moment and every instrument shine. If you have the DG Dvorak you certainly don’t need this. You might think a performance before an audience would be more exciting, but I assure you that Szell conducting this puts everyone else in the shade—and it’s the Berlin Philharmonic, too! The sheer quality of the orchestra is unbeatable. After all, this recording is simply the festival orchestra—unlike the Saint-Saens, which has the superb French Radio Orchestra under a great French conductor.
A four-minute encore is added (introduced by Fournier, whose French is as elegant and refined as his playing): the Pablo Casals ‘Song of the Birds’.
The two concertos were recorded for DG a few years before these Lucerne Festival appearances. The Saint-Saens was recorded around 1960 for DG; this
Neue Zürcher Zeitung | 28.08.2015 | tsr | 28. August 2015
Lucerne Festival Historic Performances – Furtwänglers Neunte
Der Luzerner Festwochenchor zeigt sich seiner Aufgabe bestens gewachsen und schleudert das «Seid umschlungen, Millionen» mit viel Pathos heraus
Der Luzerner Festwochenchor zeigt sich seiner Aufgabe bestens gewachsen und schleudert das «Seid umschlungen, Millionen» mit viel Pathos heraus. Das mit grossen Namen besetzte Solistenquartett kann sich im Strudel des Geschehens prächtig behaupten.Mehr lesen
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Der Luzerner Festwochenchor zeigt sich seiner Aufgabe bestens gewachsen und schleudert das «Seid umschlungen, Millionen» mit viel Pathos heraus. Das mit grossen Namen besetzte Solistenquartett kann sich im Strudel des Geschehens prächtig behaupten.
Schwäbische Zeitung | Samstag, 22. August 2015 | man | 22. August 2015 Luzern gestern und morgen
Die Luzerner Festspiele bringen eine Reihe mit Aufnahmen aus ihrerMehr lesen
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Die Luzerner Festspiele bringen eine Reihe mit Aufnahmen aus ihrer
Fanfare | 11.08.2015 | Jerry Dubins | 11. August 2015
Pierre Fournier (1906–1986) has been called the “aristocrat of the cello,” and these recordings, remastered from original archival tapes ofMehr lesen
Pierre Fournier (1906–1986) has been called the “aristocrat of the cello,” and these recordings, remastered from original archival tapes of in-concert performances at Lucerne Festivals between 1962 and 1976, offer some of the best evidence in support of that claim. While I was never personally privileged to see and hear Fournier perform live, I’ve heard enough of his commercial recordings to be able to corroborate that he played with elegance and taste that were as refined as his technique.
Fournier was recorded many times in Dvořák’s B-Minor Concerto; at least 14 according to his complete discography at fischer.hosting.paran.com/music/Fournier/fournier_discography.htm. Best known among them, however, has long been his 1962 version for Deutsche Grammophon with George Szell and the Berlin Philharmonic.
The liner note to the current Audite release points out that this archival recording of the Dvořák with Fournier and István Kertész is of additional historical interest, due to the fact that the conductor’s tragically early death prevented him from making a studio recording of the Concerto. I’m not sure exactly why that imparts special historical value to this release. Kertész was a splendid conductor—his Dvořák symphony cycle with the London Symphony Orchestra is still highly regarded—but if you check the above-cited Fournier discography, you’ll find that a majority of the cellist’s recordings of the Dvořák Concerto come from live performances and/or radio checks, and are with other well-known conductors who, as far as I know, never made studio recordings of the piece either, whether with Fournier or any other cellist. Besides, even if Kertész had made a studio recording of the Dvořák, either with Fournier or someone else, it’s hard to imagine it surpassing this one for febrile urgency.
It’s interesting to compare this performance with the familiar Deutsche Grammophon Szell recording. Fournier/Kertész: 14:39, 10:59, 11:30; Fournier/Szell: 14:49, 11:28, 12:28. In every movement, Fournier/Kertész are faster; not by much in the first movement, and by only a bit more in the slow movement, but look at the last movement—just two seconds shy of a full minute’s difference. It’s not just the tempos, though, that make this performance so exciting. It has about it a feeling of risk-taking and ardency that the cooler Szell lacks. Maybe that’s attributable to the presence of a live audience, but despite the electricity Kertész and Fournier generate, control is not compromised by conductor or soloist. Fournier sings forth with his ever bright, blue-blooded tone, poised technique, and nobility of expression; while Kertész whips up the Swiss Festival Orchestra’s players to a fevered pitch and then moves them to caress the solo cello in a lullaby of soft, sweet embraces.
In prior reviews of Dvořák Cello Concerto recordings, I admit that I’ve questioned its popularity, wondering if it really was that great a work, compared, for example, to Elgar’s Cello Concerto. All I can say is that, hearing this recording of the Dvořák with Fournier and Kertész, now I understand. If you never acquire another recording of the work, this is one you must hear and have; it’s breathtaking.
To be honest, the Saint-Saëns Concerto doesn’t rise to the same level. There are a couple of questionable moments in the intonation, and Fournier doesn’t sound quite as technically secure in this 1962 performance as he does in the Dvořák five years later. But the two main problems, I think, are the conductor and the recording. You’d think that Jean Martinon would be the ideal Gallic interpreter of Saint-Saëns’s French urbanity—his recordings of the composer’s symphonies attest to that—and you’d think that in concert with a French cellist, there would be a perfect meeting of minds and spirits. But I don’t sense much compatibility between conductor and soloist in this joint effort. Martinon seems to be holding Fournier back and dragging the proceedings down. The performance lacks a feeling of ebullience and élan. Perhaps the impression is due to the recording, which sounds bottom-heavy and muddy. In fact, on closer listening, I think the recording is the main culprit, for Fournier and Martinon joined forces with the Lamoureux Concerts Association Orchestra in 1960 for a much smarter Deutsche Grammophon recording of the Saint-Saëns Concerto, which in its original LP format was coupled with quite possibly the definitive performance of Lalo’s Cello Concerto and a Bruch Kol Nidrei for good measure. Transferred to CD, the disc now also includes a fine version of Bloch’s Schelomo.
Pablo Casals’s El Cant dels Ocells (Song of the Birds) is immediately preceded on the current release by a one-minute-long dedication announcement in which Fournier (speaking in French, of course) pays tribute both to Casals, whose cello version of the old Catalan Christmas carol was an obligatory constituent of his concerts and a secret hymn for all refugees and emigrants longing for home, and to cellist/composer Enrico Mainardi, who had died only a few months previously in April, 1976. This 1976 concert—billed as a memorial on the centenary of Casals’s birth year—would be Fournier’s last appearance at the Lucerne Festival. Fournier plays the piece with aching, heart-throbbing beauty.
For the Casals and especially the Dvořák, urgently recommended.
Fournier was recorded many times in Dvořák’s B-Minor Concerto; at least 14 according to his complete discography at fischer.hosting.paran.com/music/Fournier/fournier_discography.htm. Best known among them, however, has long been his 1962 version for Deutsche Grammophon with George Szell and the Berlin Philharmonic.
The liner note to the current Audite release points out that this archival recording of the Dvořák with Fournier and István Kertész is of additional historical interest, due to the fact that the conductor’s tragically early death prevented him from making a studio recording of the Concerto. I’m not sure exactly why that imparts special historical value to this release. Kertész was a splendid conductor—his Dvořák symphony cycle with the London Symphony Orchestra is still highly regarded—but if you check the above-cited Fournier discography, you’ll find that a majority of the cellist’s recordings of the Dvořák Concerto come from live performances and/or radio checks, and are with other well-known conductors who, as far as I know, never made studio recordings of the piece either, whether with Fournier or any other cellist. Besides, even if Kertész had made a studio recording of the Dvořák, either with Fournier or someone else, it’s hard to imagine it surpassing this one for febrile urgency.
It’s interesting to compare this performance with the familiar Deutsche Grammophon Szell recording. Fournier/Kertész: 14:39, 10:59, 11:30; Fournier/Szell: 14:49, 11:28, 12:28. In every movement, Fournier/Kertész are faster; not by much in the first movement, and by only a bit more in the slow movement, but look at the last movement—just two seconds shy of a full minute’s difference. It’s not just the tempos, though, that make this performance so exciting. It has about it a feeling of risk-taking and ardency that the cooler Szell lacks. Maybe that’s attributable to the presence of a live audience, but despite the electricity Kertész and Fournier generate, control is not compromised by conductor or soloist. Fournier sings forth with his ever bright, blue-blooded tone, poised technique, and nobility of expression; while Kertész whips up the Swiss Festival Orchestra’s players to a fevered pitch and then moves them to caress the solo cello in a lullaby of soft, sweet embraces.
In prior reviews of Dvořák Cello Concerto recordings, I admit that I’ve questioned its popularity, wondering if it really was that great a work, compared, for example, to Elgar’s Cello Concerto. All I can say is that, hearing this recording of the Dvořák with Fournier and Kertész, now I understand. If you never acquire another recording of the work, this is one you must hear and have; it’s breathtaking.
To be honest, the Saint-Saëns Concerto doesn’t rise to the same level. There are a couple of questionable moments in the intonation, and Fournier doesn’t sound quite as technically secure in this 1962 performance as he does in the Dvořák five years later. But the two main problems, I think, are the conductor and the recording. You’d think that Jean Martinon would be the ideal Gallic interpreter of Saint-Saëns’s French urbanity—his recordings of the composer’s symphonies attest to that—and you’d think that in concert with a French cellist, there would be a perfect meeting of minds and spirits. But I don’t sense much compatibility between conductor and soloist in this joint effort. Martinon seems to be holding Fournier back and dragging the proceedings down. The performance lacks a feeling of ebullience and élan. Perhaps the impression is due to the recording, which sounds bottom-heavy and muddy. In fact, on closer listening, I think the recording is the main culprit, for Fournier and Martinon joined forces with the Lamoureux Concerts Association Orchestra in 1960 for a much smarter Deutsche Grammophon recording of the Saint-Saëns Concerto, which in its original LP format was coupled with quite possibly the definitive performance of Lalo’s Cello Concerto and a Bruch Kol Nidrei for good measure. Transferred to CD, the disc now also includes a fine version of Bloch’s Schelomo.
Pablo Casals’s El Cant dels Ocells (Song of the Birds) is immediately preceded on the current release by a one-minute-long dedication announcement in which Fournier (speaking in French, of course) pays tribute both to Casals, whose cello version of the old Catalan Christmas carol was an obligatory constituent of his concerts and a secret hymn for all refugees and emigrants longing for home, and to cellist/composer Enrico Mainardi, who had died only a few months previously in April, 1976. This 1976 concert—billed as a memorial on the centenary of Casals’s birth year—would be Fournier’s last appearance at the Lucerne Festival. Fournier plays the piece with aching, heart-throbbing beauty.
For the Casals and especially the Dvořák, urgently recommended.
Pierre Fournier (1906–1986) has been called the “aristocrat of the cello,” and these recordings, remastered from original archival tapes of
Fanfare | 11.08.2015 | James A. Altena | 11. August 2015
This is, quite simply, an absolutely stunning disc, with a “wow” factor off the charts. While Pierre Fournier made landmark studio recordings ofMehr lesen
This is, quite simply, an absolutely stunning disc, with a “wow” factor off the charts. While Pierre Fournier made landmark studio recordings of both of the concertos featured here (two apiece, with Kubelík and Szell in the Dvořák, and Susskind and Martinon in the Saint-Saëns), and also has other live performances of the Dvořák available (conducted by Colin Davis and Szell), these renditions immediately assume very special places in the cellist’s distinguished discography, even with the occasional rough moments that studio recordings would correct.
The performance of the Dvořák B-Minor Concerto preserved here is utterly unique in that work’s discography. I make no secret of my absolute adoration of this work; the Fournier/Szell recording on DG is the one from which I learned and fell in love with it, and along with one of the great Rostropovich recordings (the ones with Talich, Khaikin, and Karajan) it has remained my benchmark for evaluating all other versions. What makes this one so remarkable is the conducting of István Kertész. As the booklet rightly notes, the conductor’s untimely death (he drowned while swimming off the coast of Israel) deprived the world of the studio recording of this concerto that rightly should have supplemented his still nonpareil cycle of the Czech master’s symphonies, and so this live performance fills a major discographic gap—and how! The score is susceptible to a number of interpretive approaches from the conductor as well as the soloist: youthfully ardent lyricism, soulful contemplation of nature, melancholic homesickness, and even (Rose/Ormandy) dark introspective brooding. But what I have never heard before now is the one Kertész provides here of full throttle, heaven-storming drama, full of fierce impetuosity and headlong impetus. From the very first fortissimo outburst, one knows that no prisoners will be taken and no quarter shown. The orchestral part is played on a positively Wagnerian scale, with thunderously roaring brass making epic declamations. (Did you ever before take note of the bass tuba part in this work? You will after hearing this performance!) That is not to say that rapturous songfulness is absent or slighted; instead, it too is heroic and larger than life in its ardor. At first, one would think that all the sound and fury (signifying a great deal more than nothing) would overwhelm Fournier, a performer known for the dapper elegance of his playing; but instead the soloist vs. the conductor and orchestra provide extraordinarily effective contrasts that heighten the dramatic climaxes all the more. A comparison that keeps coming to mind is to Wilhelm Furtwängler’s 1942 Berlin Philharmonic performance of the Beethoven Ninth Symphony; both performances are totally outsized, taking huge risks to interpretive extremes and pulling them off with stunning success. While neither one could be designated a desert-island choice—they are too unrepresentative of the norms for that—both rightly occupy unique niches in their respective discographies as renditions which absolutely must be heard.
Of Fournier’s two studio recordings of the Saint-Saëns, I much prefer his earlier monaural version with Walter Susskind over his stereo remake with Jean Martinon; the latter strikes me as overly cautious and restrained, almost tepid. But with Fournier and Martinon together in concert, matters are altogether different: from the opening orchestral chord and solo declamation, they are off to the races in an account of the score that is fleet of foot and dramatically taut, but also stylishly elegant. Soloist, conductor, and orchestra negotiate all the hairpin turns in the score with nimble alacrity, and in the process also put paid to the ill-judged dismissals of it in some quarters as superficial. This is a terrific interpretation.
Back in 38:1 I reviewed a debut disc by the young Spanish cellist Pablo Ferrández, which likewise featured the Dvořák Concerto and the Casals El Cant dels Ocells. While judging Ferrández to be not yet ready for prime time (fine technically but too green interpretively), I praised his rendition of the Casals as being “played with deep feeling.” But the heart-rending tenderness Fournier brings to this slight souvenir puts Ferrández completely in the shade. I could not possibly ask for a better illustration of the difference between a promising but inexperienced novice and a seasoned master than to play their respective recordings side by side. In a brief spoken introduction (in French; the booklet unfortunately provides no translation), Fournier dedicates his performance to the memory of his distinguished colleague and frequent predecessor at the Lucerne Festival, cellist Enrico Mainardi, who had died a few months before.
As usual, Audite provides a first-class remastering from first-generation archival radio broadcast tapes, and a fine trilingual (German-English-French) booklet with a lengthy essay and numerous historic photographs. My list of candidates for the 2015 Want List is already bursting at the seams, so I haven’t made my final cuts for that; but if this release doesn’t make it into that top five, it won’t be because it doesn’t deserve the recognition. This is truly extraordinary on every count; don’t let it get away from you! Highest possible recommendation.
The performance of the Dvořák B-Minor Concerto preserved here is utterly unique in that work’s discography. I make no secret of my absolute adoration of this work; the Fournier/Szell recording on DG is the one from which I learned and fell in love with it, and along with one of the great Rostropovich recordings (the ones with Talich, Khaikin, and Karajan) it has remained my benchmark for evaluating all other versions. What makes this one so remarkable is the conducting of István Kertész. As the booklet rightly notes, the conductor’s untimely death (he drowned while swimming off the coast of Israel) deprived the world of the studio recording of this concerto that rightly should have supplemented his still nonpareil cycle of the Czech master’s symphonies, and so this live performance fills a major discographic gap—and how! The score is susceptible to a number of interpretive approaches from the conductor as well as the soloist: youthfully ardent lyricism, soulful contemplation of nature, melancholic homesickness, and even (Rose/Ormandy) dark introspective brooding. But what I have never heard before now is the one Kertész provides here of full throttle, heaven-storming drama, full of fierce impetuosity and headlong impetus. From the very first fortissimo outburst, one knows that no prisoners will be taken and no quarter shown. The orchestral part is played on a positively Wagnerian scale, with thunderously roaring brass making epic declamations. (Did you ever before take note of the bass tuba part in this work? You will after hearing this performance!) That is not to say that rapturous songfulness is absent or slighted; instead, it too is heroic and larger than life in its ardor. At first, one would think that all the sound and fury (signifying a great deal more than nothing) would overwhelm Fournier, a performer known for the dapper elegance of his playing; but instead the soloist vs. the conductor and orchestra provide extraordinarily effective contrasts that heighten the dramatic climaxes all the more. A comparison that keeps coming to mind is to Wilhelm Furtwängler’s 1942 Berlin Philharmonic performance of the Beethoven Ninth Symphony; both performances are totally outsized, taking huge risks to interpretive extremes and pulling them off with stunning success. While neither one could be designated a desert-island choice—they are too unrepresentative of the norms for that—both rightly occupy unique niches in their respective discographies as renditions which absolutely must be heard.
Of Fournier’s two studio recordings of the Saint-Saëns, I much prefer his earlier monaural version with Walter Susskind over his stereo remake with Jean Martinon; the latter strikes me as overly cautious and restrained, almost tepid. But with Fournier and Martinon together in concert, matters are altogether different: from the opening orchestral chord and solo declamation, they are off to the races in an account of the score that is fleet of foot and dramatically taut, but also stylishly elegant. Soloist, conductor, and orchestra negotiate all the hairpin turns in the score with nimble alacrity, and in the process also put paid to the ill-judged dismissals of it in some quarters as superficial. This is a terrific interpretation.
Back in 38:1 I reviewed a debut disc by the young Spanish cellist Pablo Ferrández, which likewise featured the Dvořák Concerto and the Casals El Cant dels Ocells. While judging Ferrández to be not yet ready for prime time (fine technically but too green interpretively), I praised his rendition of the Casals as being “played with deep feeling.” But the heart-rending tenderness Fournier brings to this slight souvenir puts Ferrández completely in the shade. I could not possibly ask for a better illustration of the difference between a promising but inexperienced novice and a seasoned master than to play their respective recordings side by side. In a brief spoken introduction (in French; the booklet unfortunately provides no translation), Fournier dedicates his performance to the memory of his distinguished colleague and frequent predecessor at the Lucerne Festival, cellist Enrico Mainardi, who had died a few months before.
As usual, Audite provides a first-class remastering from first-generation archival radio broadcast tapes, and a fine trilingual (German-English-French) booklet with a lengthy essay and numerous historic photographs. My list of candidates for the 2015 Want List is already bursting at the seams, so I haven’t made my final cuts for that; but if this release doesn’t make it into that top five, it won’t be because it doesn’t deserve the recognition. This is truly extraordinary on every count; don’t let it get away from you! Highest possible recommendation.
This is, quite simply, an absolutely stunning disc, with a “wow” factor off the charts. While Pierre Fournier made landmark studio recordings of
hifi & records | 3/2015 | Uwe Steiner | 1. Juli 2015
Mit schlankem, gleichwohl leuchtenden Ton und wohldosierten Rubati musiziert er [Fournier] einen eher form- als sentimentbetonten Dvorak. Der vorliegende 1967er-Mitschnitt aus Luzern ist auch deshalb so bedeutend, weil Fourniers lyrisch gestimmte Interpretation in dem viel zu früh verstorbenen Istvan Kertesz einen kongenialen Partner findet. [...] Die Klangqualität fällt hier bemerkenswert gut aus. Optimal restauriertMehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Mit schlankem, gleichwohl leuchtenden Ton und wohldosierten Rubati musiziert er [Fournier] einen eher form- als sentimentbetonten Dvorak. Der vorliegende 1967er-Mitschnitt aus Luzern ist auch deshalb so bedeutend, weil Fourniers lyrisch gestimmte Interpretation in dem viel zu früh verstorbenen Istvan Kertesz einen kongenialen Partner findet. [...] Die Klangqualität fällt hier bemerkenswert gut aus. Optimal restauriert
Strings Magazine | July 2015 | Laurence Vittes | 1. Juli 2015
Three previously unreleased, live Lucerne Festival performances document the great French cellist Pierre Fournier (1906-1986) at the height of hisMehr lesen
Three previously unreleased, live Lucerne Festival performances document the great French cellist Pierre Fournier (1906-1986) at the height of his career before Rostropovich, Jacqueline du Pré, and Yo-Yo Ma took center stage. He was an elegant stylist with a fine, classic technique, an organic sense of portamento, and a wonderful ability to float a line.
He was, in many ways, an alter ego to his more spontaneous contemporary, Paul Tortelier. Since 1962, Fournier’s studio recording of Dvorak’s Concerto in B minor, Op. 104, with the Berlin Philharmonic conducted by George Szell, has remained an example of the music’s aristocratic splendor in which the orchestra sets up the cello. In this live performance from 1967, with the Lucerne Festival Orchestra conducted by István Kertész, the orchestra listens to the cello with more affectionately intimate, yet still exciting results. The big tune in the first movement has never been more exquisitely, more lyrically played, either by French horn or the soloist – Fournier is staggeringly in command of the big octave run with precision-cut separate notes leading to the glissando covered by the orchestra at the end. As an example of the role courage plays in making it to the top, Fournier ramps up his intensity, size, and sweep whenever he loses his way or misses his mark – especially in his 1962 performance of Saint-Saens’ Cello Concerto in A minor, Op. 33, with Jean Martinon conducting, which otherwise is similarly satisfying without the sheer illumination. The CD concludes with Fournier’s performance of Casal’s Cant dels ocells in 1976, accompanied by strings at a memorial concert of the centenary of the great cellist’s birthday – he brief announcement he made playing tribute to Casals and Enrico Mainardi who had died a few months before, is included.
He was, in many ways, an alter ego to his more spontaneous contemporary, Paul Tortelier. Since 1962, Fournier’s studio recording of Dvorak’s Concerto in B minor, Op. 104, with the Berlin Philharmonic conducted by George Szell, has remained an example of the music’s aristocratic splendor in which the orchestra sets up the cello. In this live performance from 1967, with the Lucerne Festival Orchestra conducted by István Kertész, the orchestra listens to the cello with more affectionately intimate, yet still exciting results. The big tune in the first movement has never been more exquisitely, more lyrically played, either by French horn or the soloist – Fournier is staggeringly in command of the big octave run with precision-cut separate notes leading to the glissando covered by the orchestra at the end. As an example of the role courage plays in making it to the top, Fournier ramps up his intensity, size, and sweep whenever he loses his way or misses his mark – especially in his 1962 performance of Saint-Saens’ Cello Concerto in A minor, Op. 33, with Jean Martinon conducting, which otherwise is similarly satisfying without the sheer illumination. The CD concludes with Fournier’s performance of Casal’s Cant dels ocells in 1976, accompanied by strings at a memorial concert of the centenary of the great cellist’s birthday – he brief announcement he made playing tribute to Casals and Enrico Mainardi who had died a few months before, is included.
Three previously unreleased, live Lucerne Festival performances document the great French cellist Pierre Fournier (1906-1986) at the height of his
De Gelderlander | Vrijdag 26 Juni 2015 | Maarten-Jan Dongelmans | 26. Juni 2015 Archiefmateriaal als prettige reddingsboei krimpende omzet
Schuberts Onvoltooide (1978) en Beethovens Tweede symfonie (1988) klinken gloedvol en expressief.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Schuberts Onvoltooide (1978) en Beethovens Tweede symfonie (1988) klinken gloedvol en expressief.
Stereo (Japan) | June 2015 | 1. Juni 2015
Japanische Rezension siehe PDF!Mehr lesen
Japanische Rezension siehe PDF!
Japanische Rezension siehe PDF!
Audiophile Audition | May 22, 2015 | Gary Lemco | 22. Mai 2015
The loving nobility of the conception permeates the entire performance [...] Too often described as an “understated” artist, Fournier rather remains adept at imparting his grand passion with aesthetic taste.Mehr lesen
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The loving nobility of the conception permeates the entire performance [...] Too often described as an “understated” artist, Fournier rather remains adept at imparting his grand passion with aesthetic taste.
St. Galler Tagblatt | Mittwoch, 20. Mai 2015 | Rolf App | 20. Mai 2015 Ein Meister des Cellos
[Fournier] kostet den Reichtum an Stimmungen und Melodien voll aus.Mehr lesen
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[Fournier] kostet den Reichtum an Stimmungen und Melodien voll aus.
Fanfare | Ma 2015 | Henry Fogel | 1. Mai 2015
This famed performance was Furtwängler’s last of the Ninth; he died a few months later. I have reviewed it many times in Fanfare: Music & ArtsMehr lesen
This famed performance was Furtwängler’s last of the Ninth; he died a few months later. I have reviewed it many times in Fanfare: Music & Arts releases in 17:4, 19:3, and 31:6, and a Tahra reissue in 32:4. I find no Fanfare review, from me or any other critic, of Pristine’s version. Now we have this “official” Lucerne Festival release, part of an important series of reissues of great Lucerne Festival performances on Audite taken directly from the Swiss Radio masters. (Tahra claimed that as the source too, and it wouldn’t surprise me given the fine quality of that release; Pristine did not indicate a source, but its version also has very good sound). This recording, in fact, boasts top quality monaural broadcast sound from that era—some of the finest sound quality given any Furtwängler performance.
Interested readers can look up those earlier reviews in the Fanfare Archive, and I will not go into great detail here about the performance, other than to say that over the years it has become my own favorite of the 12 that have survived (all are live; Furtwängler never made a studio recording of this work). Overall it can be said to combine the intensity and drama of his earlier versions with a certain nobility and restraint not always present in those. It is, of course, helped by the fine recorded sound. The slow movement in particular here is magical; one never feels a bar line, rather it is one long arch. Anyone interested in this music, no matter what your performance style preference might be, should hear this statement of immense musical grandeur and power.
For collectors, the important question will be how this compare to the Tahra and Pristine issues, both of which are of excellent quality. I would say that for most listeners, the differences will not be significant, and if you own either the Tahra or Pristine version this is not an essential purchase. (Tahra has folded, which eliminates one option for those who don’t own it.) I have spent the better part of a weekend comparing the three versions, and would say that I have a slight preference for this Audite version, so a collector who deeply cares about this performance and absolutely wants the most satisfying transfer might wish to explore it. I find the orchestral sound just a bit more natural and less congested, more fully open.
One issue is the equalization applied by the transfer engineers. Andrew Rose of Pristine felt that there was a bit too much mid-bass on the Tahra (I am paraphrasing), which made the timpani overly prominent. He suggested a point of comparison at about 10:00 into the first movement, and so I directly compared that spot (from about 9:55 to about 11:10) in all three versions, in addition to listening to the entire performance in all three transfers. Rose was right: The Tahra does seem a bit boomy, and his compensation was an improvement. But one could make the case that he went too far, and that this Audite release finds the proper middle ground. Both in that one-minute passage, and in hearing the entire performance, I found the Audite to be slightly more satisfying as a listening experience. But I will stress again that the differences are not major.
Also not major, but present, are the pitch/speed differences. Audite and Pristine are extremely close (for all practical purposes, identical); Tahra is transferred at a very slightly faster speed. The pitch difference is not consciously audible, but could be affecting one’s reaction to the overall sonority of the orchestra. Here are the timings of each movement, not as given in the booklet, but as measured from first note to end of last note of each movement:
Audite’s notes are excellent, though not always perfectly translated into idiomatic English. What is most gratifying is that this is another assurance that this historic performance will remain available to the public in the best possible form.
Interested readers can look up those earlier reviews in the Fanfare Archive, and I will not go into great detail here about the performance, other than to say that over the years it has become my own favorite of the 12 that have survived (all are live; Furtwängler never made a studio recording of this work). Overall it can be said to combine the intensity and drama of his earlier versions with a certain nobility and restraint not always present in those. It is, of course, helped by the fine recorded sound. The slow movement in particular here is magical; one never feels a bar line, rather it is one long arch. Anyone interested in this music, no matter what your performance style preference might be, should hear this statement of immense musical grandeur and power.
For collectors, the important question will be how this compare to the Tahra and Pristine issues, both of which are of excellent quality. I would say that for most listeners, the differences will not be significant, and if you own either the Tahra or Pristine version this is not an essential purchase. (Tahra has folded, which eliminates one option for those who don’t own it.) I have spent the better part of a weekend comparing the three versions, and would say that I have a slight preference for this Audite version, so a collector who deeply cares about this performance and absolutely wants the most satisfying transfer might wish to explore it. I find the orchestral sound just a bit more natural and less congested, more fully open.
One issue is the equalization applied by the transfer engineers. Andrew Rose of Pristine felt that there was a bit too much mid-bass on the Tahra (I am paraphrasing), which made the timpani overly prominent. He suggested a point of comparison at about 10:00 into the first movement, and so I directly compared that spot (from about 9:55 to about 11:10) in all three versions, in addition to listening to the entire performance in all three transfers. Rose was right: The Tahra does seem a bit boomy, and his compensation was an improvement. But one could make the case that he went too far, and that this Audite release finds the proper middle ground. Both in that one-minute passage, and in hearing the entire performance, I found the Audite to be slightly more satisfying as a listening experience. But I will stress again that the differences are not major.
Also not major, but present, are the pitch/speed differences. Audite and Pristine are extremely close (for all practical purposes, identical); Tahra is transferred at a very slightly faster speed. The pitch difference is not consciously audible, but could be affecting one’s reaction to the overall sonority of the orchestra. Here are the timings of each movement, not as given in the booklet, but as measured from first note to end of last note of each movement:
Audite’s notes are excellent, though not always perfectly translated into idiomatic English. What is most gratifying is that this is another assurance that this historic performance will remain available to the public in the best possible form.
This famed performance was Furtwängler’s last of the Ninth; he died a few months later. I have reviewed it many times in Fanfare: Music & Arts
www.musicweb-international.com | May 2015 | Jonathan Woolf | 1. Mai 2015
Pierre Fournier made a number of appearances at the Lucerne Festival and this release provides examples of three such visits given over a 14-yearMehr lesen
Pierre Fournier made a number of appearances at the Lucerne Festival and this release provides examples of three such visits given over a 14-year period between 1962 and 1976. There’s an excellently written booklet to go with it.
One of the works with which he was most associated was Dvořák’s Concerto. His recording with Szell in 1962 for DG is probably the most well-known example, but those sympathetic to more intimate and introspectively collaborative rapport will probably gravitate to the less well-recorded but beautiful 1948 recording with Rafael Kubelík conducting the Philharmonia. There’s compelling evidence that he habitually took the finale a notch or two faster in concerts than in the studio – for evidence turn to the Szell-directed Cologne broadcast of November 1962 (on MM028-2) or to the powerful reading with Georges Sebastian in Prague in 1959 with the Czech Philharmonic (Arlecchino 169). This Lucerne broadcast has the significant advantage of Istvan Kertesz directing one of the major works of the composer that he was never able to record in the studio. Fournier tended to establish tempi in the first movement, although Sebastian seemed to drive him fast in Prague – and whilst there was clearly some room for latitude elsewhere in the concerto, notably so with Szell in Cologne in the slow movement, this is a standard Fournier tempo. French cellists seldom fell into the trap of drawn-out sentimentality in this work; their approach was one of dignity, though never hauteur. No one was a more dignified exponent of this work than Fournier whose bowing remained supple and unshowy, and whose tonal resources were never placed at the altar of flamboyant display. Concentrated and focused, and warmly expressive there are a few metrical displacements that momentarily imperil co-ordination with Kertesz, but they are trivial in the context. The winds are forward, orchestral pizzicati register well and the sound-stage is excellently preserved. This isn’t as intimate a performance as the one he recorded in 1948 but it has huge virtues of its own, not least the way Fournier, the great chamber player, responds to the wind soliloquys in the slow movement and fines down his tone in response to them. The brass is at its best in this movement as well. The finale works splendidly, with Fournier making a characteristic small but telling slide at the most apposite moment. Kertesz directs here, and throughout, with flair and authority.
There are no surprises discographically, either, in the next work, the Saint-Saëns A minor Concerto, with Jean Martinon in 1962. He’d recorded this back in 1947 with Walter Susskind in London, and it’s one of the works to be found in retrospectives devoted to the cellist. The balance between solo cello and orchestra is a bit cruder here than in the Dvořák as it places the cello quite far forward. In the Dvořák it was more meshed with the orchestral sound, without ever being drowned. His tone, as a result, sounds just a bit more nasal than one is used to. Martinon directs the RTF well, though it sounds pretty much Fournier’s show, with the cellist leading fluently into the central Allegretto with great facility. There’s no sense of him coasting and a very few cello squeals in the finale attest to his spirit of adventure. Audience applause is retained.
It’s Fournier himself who introduces his Casals encore, given at the festival in September 1976. His playing is once again refined and avoids any hint of the overwrought. Fournier has the support of the Festival Strings Lucerne directed by Matthias Bamert.
Though these live performances are, in a sense, ancillary to his studio legacy they do represent some exceptionally fine performances. Additionally admirers of Kertesz will find he is as perceptive a Dvořákian in the concerto as he was in the symphonies and tone poems.
One of the works with which he was most associated was Dvořák’s Concerto. His recording with Szell in 1962 for DG is probably the most well-known example, but those sympathetic to more intimate and introspectively collaborative rapport will probably gravitate to the less well-recorded but beautiful 1948 recording with Rafael Kubelík conducting the Philharmonia. There’s compelling evidence that he habitually took the finale a notch or two faster in concerts than in the studio – for evidence turn to the Szell-directed Cologne broadcast of November 1962 (on MM028-2) or to the powerful reading with Georges Sebastian in Prague in 1959 with the Czech Philharmonic (Arlecchino 169). This Lucerne broadcast has the significant advantage of Istvan Kertesz directing one of the major works of the composer that he was never able to record in the studio. Fournier tended to establish tempi in the first movement, although Sebastian seemed to drive him fast in Prague – and whilst there was clearly some room for latitude elsewhere in the concerto, notably so with Szell in Cologne in the slow movement, this is a standard Fournier tempo. French cellists seldom fell into the trap of drawn-out sentimentality in this work; their approach was one of dignity, though never hauteur. No one was a more dignified exponent of this work than Fournier whose bowing remained supple and unshowy, and whose tonal resources were never placed at the altar of flamboyant display. Concentrated and focused, and warmly expressive there are a few metrical displacements that momentarily imperil co-ordination with Kertesz, but they are trivial in the context. The winds are forward, orchestral pizzicati register well and the sound-stage is excellently preserved. This isn’t as intimate a performance as the one he recorded in 1948 but it has huge virtues of its own, not least the way Fournier, the great chamber player, responds to the wind soliloquys in the slow movement and fines down his tone in response to them. The brass is at its best in this movement as well. The finale works splendidly, with Fournier making a characteristic small but telling slide at the most apposite moment. Kertesz directs here, and throughout, with flair and authority.
There are no surprises discographically, either, in the next work, the Saint-Saëns A minor Concerto, with Jean Martinon in 1962. He’d recorded this back in 1947 with Walter Susskind in London, and it’s one of the works to be found in retrospectives devoted to the cellist. The balance between solo cello and orchestra is a bit cruder here than in the Dvořák as it places the cello quite far forward. In the Dvořák it was more meshed with the orchestral sound, without ever being drowned. His tone, as a result, sounds just a bit more nasal than one is used to. Martinon directs the RTF well, though it sounds pretty much Fournier’s show, with the cellist leading fluently into the central Allegretto with great facility. There’s no sense of him coasting and a very few cello squeals in the finale attest to his spirit of adventure. Audience applause is retained.
It’s Fournier himself who introduces his Casals encore, given at the festival in September 1976. His playing is once again refined and avoids any hint of the overwrought. Fournier has the support of the Festival Strings Lucerne directed by Matthias Bamert.
Though these live performances are, in a sense, ancillary to his studio legacy they do represent some exceptionally fine performances. Additionally admirers of Kertesz will find he is as perceptive a Dvořákian in the concerto as he was in the symphonies and tone poems.
Pierre Fournier made a number of appearances at the Lucerne Festival and this release provides examples of three such visits given over a 14-year
www.classicalcdreview.com | May 2015 | Robert Benson | 1. Mai 2015
Audite's Fournier CD is a treasure, live performances by the legendary cellist. [...] All of these performances were recorded at the Lucerne Festival; audio quality is first-rate. An important release!Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Audite's Fournier CD is a treasure, live performances by the legendary cellist. [...] All of these performances were recorded at the Lucerne Festival; audio quality is first-rate. An important release!
American Record Guide | May 2015 | Paul L Althouse | 1. Mai 2015
Furtwängler conducted the Ninth more than 100 times, of which about a dozen were recorded; none of these was done in studio (which he disliked onMehr lesen
Furtwängler conducted the Ninth more than 100 times, of which about a dozen were recorded; none of these was done in studio (which he disliked on principle) and all were from concert performances. This was the last, recorded at the 1954 Lucerne Festival on August 22, 1954, about three months before he died. Of particular note here is the re-mastering of the original tapes (from Swiss Radio) by Ludger Böckenhoff. The recording is remarkably clear and without noise, though the sound is boxy and, of course, monaural.
This is, on the whole, a very fine performance and a good representation of Furtwängler’s approach to the work. The very beginning has some rough moments of ensemble, but the Philharmonia settles in and plays quite well. The first movement has the gravity and seriousness we expect from the conductor, and the slow movement includes many transcendent moments, particularly in the junctions between themes. The finale is expertly gauged. The main theme begins almost inaudibly, and the build to a frenetic ending is very convincing. Chorus and soloists are all in good shape.
Particularly with the fine sonics, this issue merits a recommendation, though I think I would prefer the similar 1951 Bayreuth performance, which is a little quicker and creates a better sense of occasion. Also in the running would be a white-hot war-time performance (Berlin, 1942), which probably shows Furtwängler at the height of his power and imagination.
This is, on the whole, a very fine performance and a good representation of Furtwängler’s approach to the work. The very beginning has some rough moments of ensemble, but the Philharmonia settles in and plays quite well. The first movement has the gravity and seriousness we expect from the conductor, and the slow movement includes many transcendent moments, particularly in the junctions between themes. The finale is expertly gauged. The main theme begins almost inaudibly, and the build to a frenetic ending is very convincing. Chorus and soloists are all in good shape.
Particularly with the fine sonics, this issue merits a recommendation, though I think I would prefer the similar 1951 Bayreuth performance, which is a little quicker and creates a better sense of occasion. Also in the running would be a white-hot war-time performance (Berlin, 1942), which probably shows Furtwängler at the height of his power and imagination.
Furtwängler conducted the Ninth more than 100 times, of which about a dozen were recorded; none of these was done in studio (which he disliked on
Das Orchester | 05/2015 | Arnold Werner-Jensen | 1. Mai 2015 | Quelle: http://www.dasor...
Wie wird man einer solchen über sechzig Jahre alten Liveaufnahme gerecht?Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Wie wird man einer solchen über sechzig Jahre alten Liveaufnahme gerecht?
Gramophone | May 2015 | 1. Mai 2015 Fournier in Lucerne
Let me deal with the encore first! A Casals commemoration from September 1976 finds Pierre Fournier and the Festival Strings Lucerne under MatthiasMehr lesen
Let me deal with the encore first! A Casals commemoration from September 1976 finds Pierre Fournier and the Festival Strings Lucerne under Matthias Bamert performing The Song of the Birds. It's utter perfection in every respect, a fair match for the master himself, whether for its rapt phrasing or warm-textured tonal projection. I played it again and again and cannot imagine anyone who connects with the soul of the cello not responding likewise.
The principal items are scarcely less engaging. Sadly Istvan Kertesz never got round to supplementing his LSO Dvorak symphony cycle for Decca with a commercial recording of the Cello Concerto, so it is especially fortuitous that Audite should have located this 1967 Lucerne tape with Fournier as the soloist and the Swiss Festival Orchestra under Kertesz's baton, a performance that combines great tenderness with the kind of outdoors-style exuberance that was so characteristic of Kertesz's Dvorak style. Climaxes blaze and Fournier's phrasing has a tenderness about it that recalls the best of his earlier recordings of the same work. Furthermore, the stereo sound is excellent (as it is in the Casals), whereas the 1962 relay of Saint-Saens's First Concerto with Jean Martinon conducting the RTF Philharmornic Orchestra enjoys a clear but relatively constricted mono sound frame, the performance similarly vital, with lyrically arched phrasing and a typically animated account of the orchestral score. Quite a find this, and much to be recommended.
The principal items are scarcely less engaging. Sadly Istvan Kertesz never got round to supplementing his LSO Dvorak symphony cycle for Decca with a commercial recording of the Cello Concerto, so it is especially fortuitous that Audite should have located this 1967 Lucerne tape with Fournier as the soloist and the Swiss Festival Orchestra under Kertesz's baton, a performance that combines great tenderness with the kind of outdoors-style exuberance that was so characteristic of Kertesz's Dvorak style. Climaxes blaze and Fournier's phrasing has a tenderness about it that recalls the best of his earlier recordings of the same work. Furthermore, the stereo sound is excellent (as it is in the Casals), whereas the 1962 relay of Saint-Saens's First Concerto with Jean Martinon conducting the RTF Philharmornic Orchestra enjoys a clear but relatively constricted mono sound frame, the performance similarly vital, with lyrically arched phrasing and a typically animated account of the orchestral score. Quite a find this, and much to be recommended.
Let me deal with the encore first! A Casals commemoration from September 1976 finds Pierre Fournier and the Festival Strings Lucerne under Matthias
Musik & Theater | 05/06 Mai/Juni 2015 | Werner Pfister | 1. Mai 2015 Lebendige Vergangenheit
Die Veröffentlichung historischer Tondokumente vom Lucerne Festival – damals Internationale Musikfestwochen Luzern – ist beim Label Audite in besten Händen. [...] Beethovens Neunte unter Furtwängler dürfte, obwohl bereits unzählige andere Mitschnitte vorliegen, ein Muss nicht nur für eingefleischte Furtwängler-Fans sein: Es handelt sich um seine letzte Aufführung des Werks; nur drei Monate später starb er. Der Mitschnitt ist beeindruckend – in den breiten Tempi, im ungemein souveränen musikalischen Fluss, in der typisch Furtwängler'schen Dramaturgie des Augenblicks sowie – last but not least – in der Leistung der Mitwirkenden. Bekanntlich hat der Maestro Beethovens Neunte nie im Studio eingespielt, und seine hier dokumentierte letzte Aufführung ist in jeder Hinsicht Massstab und Vermächtnis.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Die Veröffentlichung historischer Tondokumente vom Lucerne Festival – damals Internationale Musikfestwochen Luzern – ist beim Label Audite in besten Händen. [...] Beethovens Neunte unter Furtwängler dürfte, obwohl bereits unzählige andere Mitschnitte vorliegen, ein Muss nicht nur für eingefleischte Furtwängler-Fans sein: Es handelt sich um seine letzte Aufführung des Werks; nur drei Monate später starb er. Der Mitschnitt ist beeindruckend – in den breiten Tempi, im ungemein souveränen musikalischen Fluss, in der typisch Furtwängler'schen Dramaturgie des Augenblicks sowie – last but not least – in der Leistung der Mitwirkenden. Bekanntlich hat der Maestro Beethovens Neunte nie im Studio eingespielt, und seine hier dokumentierte letzte Aufführung ist in jeder Hinsicht Massstab und Vermächtnis.
Musik & Theater | 05/06 Mai/Juni 2015 | Werner Pfister | 1. Mai 2015 Lebendige Vergangenheit
Die Veröffentlichung historischer Tondokumente vom Lucerne Festival – damals Internationale Musikfestwochen Luzern – ist beim Label Audite in besten Händen.Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Die Veröffentlichung historischer Tondokumente vom Lucerne Festival – damals Internationale Musikfestwochen Luzern – ist beim Label Audite in besten Händen.
Le Journal de Montréal | Lundi, 20 avril 2015 | Christophe Rodriguez | 20. April 2015 Prince du violoncelle
Tout y est, grâce à une sonorité somptueuse et une certaine forme de charisme, indescriptible. Soyez heureux!Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Tout y est, grâce à une sonorité somptueuse et une certaine forme de charisme, indescriptible. Soyez heureux!
Märkische Oderzeitung | 08.04.2015 | Peter Philipps | 8. April 2015 Der Aristokrat unter den Cellisten
Allein dieser Live-Mitschnitt ist Grund genug, sich an dieser CD zu erfreuen. Dvoraks Cello-Konzert in h-moll (mit Istvan Kertesz) und Saint-Saens‘ Cello-Konzert Nr. 1 in a-moll (mit Jean Martinon) lassen darüber hinaus die ganze elegante Meisterschaft Fourniers erklingen Mehr lesen
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Allein dieser Live-Mitschnitt ist Grund genug, sich an dieser CD zu erfreuen. Dvoraks Cello-Konzert in h-moll (mit Istvan Kertesz) und Saint-Saens‘ Cello-Konzert Nr. 1 in a-moll (mit Jean Martinon) lassen darüber hinaus die ganze elegante Meisterschaft Fourniers erklingen
Fanfare | 26.03.2015 | Huntley Dent | 26. März 2015
This is a commemorative album of Abbado’s years at the Lucerne Festival, which spanned five decades. He became a major presence there from 2000Mehr lesen
This is a commemorative album of Abbado’s years at the Lucerne Festival, which spanned five decades. He became a major presence there from 2000 onward after he founded the latest incarnation of the Lucerne Festival Orchestra, its core being the Mahler Chamber Orchestra plus hand-picked players from the Berlin Philharmonic and other prestigious European orchestras. Their chief output has been on DVD, with a sprinkling of CD releases. Here, however, we get the Vienna Philharmonic in 1978 (Schubert) and the Chamber Orchestra of Europe in 1988 (Beethoven and Wagner), captured in good broadcast stereo, with the better sound given to the 1988 concert.
That’s also where the highlight of the CD occurs, in a dashing account of the Beethoven Second Symphony that surpasses what Abbado usually achieved with Beethoven on disc. I expected a polished, rather noncommittal reading, but this one is fully engaged (actually, the Second Symphony was notably successful in Abbado’s two Beethoven cycles for DG). It has pace in every movement and some jauntiness in the Larghetto. Using a chamber orchestra doesn’t shrink the sonorities by much, although you’d never think this was Karajan and the Berlin Philharmonic—that sort of massiveness became less to Abbado’s taste in his maturity. (With Berlin he performed even a middle-period symphony like the “Pastorale” with reduced strings, I believe.)
The Schubert “Unfinished” performance isn’t as alive or as convincing. Abbado delivers the kind of high-level subscription concert reading to be heard seven days a week in major music capitals. He seems to have no special affection for the score. To avoid complete impersonality, he makes the soft passages quite soft in contrast with the fortissimo outbursts in the first movement. But the big tune feels anemic as a result, and in the Andante second movement the melting woodwind solos are a touch businesslike. Couldn’t the radio archives yield up something more striking?
Conducting Wagner is inescapable if you are the chief conductor of the Berlin Philharmonic, but Abbado avoided his duty on disc, leaving only a single CD completely devoted to orchestral excerpts; everything else was with singers like Jonas Kaufmann and Bryn Terfel. The sole Wagner opera he recorded was Lohengrin in 1995 (it turned out so well one wonders why DG didn’t ask for more). This live Siegfried Idyll is a premiere recording in the Abbado discography so far as I can tell. It is gentle, civilized, and nicely balanced, but not very involved. Wagner presented the work as a present to Cosmia when she woke up on Christmas morning in 1870, not just before she went to bed. The villa where a small ensemble of musicians gathered on the stairs to play the piece was in present-day Lucerne, hence the connection. After a relaxed 15 minutes Abbado does stir up some energy at the climax, but that’s not quite good enough.
In all, this new release is half a loaf, serving mainly as a memento to a great conductor, not captured at his very best, unfortunately.
That’s also where the highlight of the CD occurs, in a dashing account of the Beethoven Second Symphony that surpasses what Abbado usually achieved with Beethoven on disc. I expected a polished, rather noncommittal reading, but this one is fully engaged (actually, the Second Symphony was notably successful in Abbado’s two Beethoven cycles for DG). It has pace in every movement and some jauntiness in the Larghetto. Using a chamber orchestra doesn’t shrink the sonorities by much, although you’d never think this was Karajan and the Berlin Philharmonic—that sort of massiveness became less to Abbado’s taste in his maturity. (With Berlin he performed even a middle-period symphony like the “Pastorale” with reduced strings, I believe.)
The Schubert “Unfinished” performance isn’t as alive or as convincing. Abbado delivers the kind of high-level subscription concert reading to be heard seven days a week in major music capitals. He seems to have no special affection for the score. To avoid complete impersonality, he makes the soft passages quite soft in contrast with the fortissimo outbursts in the first movement. But the big tune feels anemic as a result, and in the Andante second movement the melting woodwind solos are a touch businesslike. Couldn’t the radio archives yield up something more striking?
Conducting Wagner is inescapable if you are the chief conductor of the Berlin Philharmonic, but Abbado avoided his duty on disc, leaving only a single CD completely devoted to orchestral excerpts; everything else was with singers like Jonas Kaufmann and Bryn Terfel. The sole Wagner opera he recorded was Lohengrin in 1995 (it turned out so well one wonders why DG didn’t ask for more). This live Siegfried Idyll is a premiere recording in the Abbado discography so far as I can tell. It is gentle, civilized, and nicely balanced, but not very involved. Wagner presented the work as a present to Cosmia when she woke up on Christmas morning in 1870, not just before she went to bed. The villa where a small ensemble of musicians gathered on the stairs to play the piece was in present-day Lucerne, hence the connection. After a relaxed 15 minutes Abbado does stir up some energy at the climax, but that’s not quite good enough.
In all, this new release is half a loaf, serving mainly as a memento to a great conductor, not captured at his very best, unfortunately.
This is a commemorative album of Abbado’s years at the Lucerne Festival, which spanned five decades. He became a major presence there from 2000
Fanfare | 24.03.2015 | Henry Fogel | 24. März 2015
Szell recorded both of these works more than once, and those recordings are highly regarded. Indeed, collectors particularly value a ConcertgebouwMehr lesen
Szell recorded both of these works more than once, and those recordings are highly regarded. Indeed, collectors particularly value a Concertgebouw Dvořák Eighth Symphony of his. So why single out this disc for Classical Hall of Fame status? The evidence is in the listening: Szell in live concert was meaningfully more free and flexible than in the studio, particularly in Europe, and both of these works benefit from that.
The Dvořák is perhaps the stronger of the two performances, though both are gripping and memorable in their own ways. The familiarity of the Czech Philharmonic with this score, which it must know by heart, when added to Szell’s rigor, results in a performance that is one of the truly great renditions on disc. Even the brief ensemble mess in the coda of the third movement doesn’t detract from the impact of this performance. To the qualities we know of Szell’s Dvořák, which include clean and clear textures, carefully judged balances, taut rhythms, and a logical juxtaposition and flow of tempo relationships, this performance adds a feeling of spontaneity and improvisation not always present with Szell. The sweet string tone, the impeccable ensemble between and among players in different sections as well as the same section, the tasteful but definite application of portamento, the sense of ebullience from beginning to end—all of these add up to a special sense of occasion. The most obvious point at which to compare this to Szell’s studio recording is the final coda. In all his recorded performances he applies an accelerando and a touch of extra energy. But here those qualities are in extra supply, with a unique sense of abandon that brings the symphony to a particularly thrilling close. The monaural recording is well balanced, clear, and surprisingly transparent.
The Brahms is almost at that same level. One doesn’t have the sense of utter comfort with the music that the Czech players bring to the Dvořák, and one recognizes that this is an ad hoc orchestra that came together for the Lucerne Festival, and while its members play well enough they do not convey the utter unity of sound picture and phrasing as one hears in the Czech players (or, for that matter, in Szell’s Cleveland Orchestra). However, compensating for that is again an improvisatory spirit that is not present to the same degree in those studio recordings, a sense of conductor and orchestra seeming to discover the music as they play it. Szell is more flexible, with a greater range between his dynamic and tempo extremes, and there is a sense of digging in from the string players that brings an extra intensity to the music. This stands as one of the great Brahms Firsts on disc, with Szell’s usual care for structure, shape, and balance married again to a sense of urgency and theater that we do not always hear in his music-making. Again, the monaural sound is fine, though a bit drier than the Dvořák.
This new series from the Lucerne Festival Archives on Audite promises much to discerning collectors. This is a great start. Interesting and intelligent program notes accompany the disc.
The Dvořák is perhaps the stronger of the two performances, though both are gripping and memorable in their own ways. The familiarity of the Czech Philharmonic with this score, which it must know by heart, when added to Szell’s rigor, results in a performance that is one of the truly great renditions on disc. Even the brief ensemble mess in the coda of the third movement doesn’t detract from the impact of this performance. To the qualities we know of Szell’s Dvořák, which include clean and clear textures, carefully judged balances, taut rhythms, and a logical juxtaposition and flow of tempo relationships, this performance adds a feeling of spontaneity and improvisation not always present with Szell. The sweet string tone, the impeccable ensemble between and among players in different sections as well as the same section, the tasteful but definite application of portamento, the sense of ebullience from beginning to end—all of these add up to a special sense of occasion. The most obvious point at which to compare this to Szell’s studio recording is the final coda. In all his recorded performances he applies an accelerando and a touch of extra energy. But here those qualities are in extra supply, with a unique sense of abandon that brings the symphony to a particularly thrilling close. The monaural recording is well balanced, clear, and surprisingly transparent.
The Brahms is almost at that same level. One doesn’t have the sense of utter comfort with the music that the Czech players bring to the Dvořák, and one recognizes that this is an ad hoc orchestra that came together for the Lucerne Festival, and while its members play well enough they do not convey the utter unity of sound picture and phrasing as one hears in the Czech players (or, for that matter, in Szell’s Cleveland Orchestra). However, compensating for that is again an improvisatory spirit that is not present to the same degree in those studio recordings, a sense of conductor and orchestra seeming to discover the music as they play it. Szell is more flexible, with a greater range between his dynamic and tempo extremes, and there is a sense of digging in from the string players that brings an extra intensity to the music. This stands as one of the great Brahms Firsts on disc, with Szell’s usual care for structure, shape, and balance married again to a sense of urgency and theater that we do not always hear in his music-making. Again, the monaural sound is fine, though a bit drier than the Dvořák.
This new series from the Lucerne Festival Archives on Audite promises much to discerning collectors. This is a great start. Interesting and intelligent program notes accompany the disc.
Szell recorded both of these works more than once, and those recordings are highly regarded. Indeed, collectors particularly value a Concertgebouw
De Gelderlander | Vrijdag 20 Maart 2015 | Maarten-Jan Dongelmans | 20. März 2015
Voor de muzikale leiding tekenen kanjers als Jean Martinon en István Kertész. Ontroerend wordt het bij Fourniers aankondiging van het 'Lied van de vogels' van Casals. Hij vraagt het publiek uit eerbied voor de grote Spaanse cellist niet te klappen. Tijdens en na de magistrale vertolking is het muisstil. Adembenemend!Mehr lesen
Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Voor de muzikale leiding tekenen kanjers als Jean Martinon en István Kertész. Ontroerend wordt het bij Fourniers aankondiging van het 'Lied van de vogels' van Casals. Hij vraagt het publiek uit eerbied voor de grote Spaanse cellist niet te klappen. Tijdens en na de magistrale vertolking is het muisstil. Adembenemend!
www.artalinna.com | 18 mars 2015 | Jean-Charles Hoffelé | 18. März 2015 Le Concerto
Oui mais voilà, c’est István Kertész qui dirige une formation de circonstan