Absolute faithfulness to the musical text and youthful vigour right up to old age: Carl Schuricht (1880-1967), one of the last representatives of the generation of old German conductors during the post-war decades, focused on clear structures rather than romantic pathos or personal eccentricity. These two Lucerne live recordings demonstrate the compelling persuasiveness of his inspired objectivity, especially when performing alongside the celebrated Mozart interpreter Robert Casadesus, whose choice of tempi is particularly striking.more
"[...] this truly is artistry of the highest order." (Gramophone)
Carl Schuricht conducts Mozart & Brahms
LUCERNE FESTIVAL Historic Performances, Vol. XI
|release date:||19. May 2017|
|total time:||68 min.|
January 8th, 2017 marked the 50th anniversary of the death of Carl Schuricht. This release of two live recordings made in 1961 and 1962 pays tribute to a renowned conductor who was only to enjoy great international fame in his old age - as one of the last representatives of the generation of old German conductors, and as a master of the classical and romantic repertoire.
"Neither recreating a façade nor exposing feelings" was how Carl Schuricht once summarised his artistic credo. These two Lucerne live recordings document the compelling persuasiveness and the intensity that Schuricht's interpretational style - his tremendously inspired objectivity, entirely at the service of the music - could develop: in Mozart's final Piano Concerto, K595 in B flat major, Schuricht proves to be a sensitive accompanist. Together with the French pianist Robert Casadesus he manages to strike the distinctive tone of this concerto between simplicity and noblesse, innocence and wisdom, buffa and elegy. (A few days later, the two also performed the work at Salzburg; that live recording has been issued as part of the "Salzburg Festival Documents".) Another interesting comparison is afforded by Schuricht's Lucerne performance of Johannes Brahms' Second Symphony with the Vienna Philharmonic, with whom he had also made a studio recording of the same work nearly a decade earlier, in 1953, for Decca. Whilst he remains faithful to the musical text, Schuricht demonstrates a strikingly free approach to the music - in the dynamics and tempi, in the refinement of the instrumental blend - in his Lucerne interpretation: much subjectivity can be detected in his objectivity, and there is no hint of the conductor's old age.
The 32-page booklet in three languages provides extensive background information on Carl Schuricht and his relationship with the Internationale Musikfestwochen in Lucerne, and also features photos from the festival archive, published here for the first time.In cooperation with audite, LUCERNE FESTIVAL presents the "Historic Performances" series featuring outstanding concert recordings of artists who have shaped the festival throughout its history. The aim of this CD edition is to rediscover treasures - most of which have not been released previously - from the first six decades of the festival, which was founded in 1938 with a special gala concert conducted by Arturo Toscanini. These recordings have been made available by the archives of SRF Swiss Radio and Television, which has broadcast the Lucerne concerts from the outset. Painstakingly re-mastered and supplemented with photos and materials from the LUCERNE FESTIVAL archive, they represent a sonic history of the festival.
Grand music-making defines these two concerts led by veteran Carl Schuricht.<br /> Mehr lesen
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
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
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
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
Ces deux albums nous ramènent quelques décennies en arrière en nousMehr lesen
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
"Zappelmeister" konnte er nicht leiden: Carl Schuricht (1880-1967) war ganz das Gegenbild exaltierter Selbstdarsteller am Pult. Ein Dirigent alterMehr lesen
Although brass overpower strings in some orchestral tuttis, Schuricht's Brahms is wonderfully fluid. Worth hearing for the Vienna Philharmonic'sMehr lesen
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
Beethoven und Bruckner waren seine Lieblinge. Die Klarheit des Musizierens pflegte er auch noch im hohen Alter, ebenso die Lebendigkeit mit der er dasMehr lesen
Nicht jedes Tondokument ist auch historisch wertvoll. In den Archiven des Schweizer Radios schlummern sicher weitaus bessere und interessantereMehr lesen
[...] die 2. Brahms-Sinfonie mit einem zauberhaften dritten Satz, sehr ausgehört, farbig und forsch [...]Mehr lesen
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