The current recital of piano works by Robert Schumann is titled For Clara and includes two of the composer’s largest works for solo piano dedicated to his beloved: the emotionally charged, almost Beethovenian F♯-Minor Piano Sonata, op. 11, a work which on “the title page of the first edition bears the addition of ‘Clara zugeeignet von Florestan und Eusebius’ [Dedicated to Clara by Florestan and Eusebius]”; and, though dedicated to Liszt on the title page, his equally monumental C-Major Fantasie, a work originally planned as a “Great Sonata for Beethoven,” the proceeds of which were to help erect a monument to the Bonn native in his birth city in 1839 (Mendelssohn’s D-Minor Variations sérieuses, op. 54 was his contribution to the monument). Though dedicated to Liszt in the preface, the work was truly (should we say emotionally?) written for Clara—his “secret listener.”

Both works are among the very greatest Schumann wrote in the solo-piano medium, and both have been well recorded in the last century. That does not mean that there is nothing new to say with this music. But for me, if one is going to choose to tackle these oft-played pieces, then one needs to have something unique to bring to them. There are also some essential qualities that a good Schumann player should have in my book: a lyrical sense, one that allows not just beautiful melodic playing, but also beautiful figurative-melodic shaping; a good rhythmic sense, one that allows the pianist to juxtapose the incredibly dense contrapuntal lines that appear throughout his music, along with Schumann’s incredibly difficult rhythmic quirks; and, importantly, a wild side—a Florestan to the calmer Eusebius, allowing one to let go, while still maintaining a sense of the whole. Oh-Havenith certainly has some of these qualities: a lovely warm sound perfect for the numerous moments of quiet reflection in this music—the enchanting opening melody in the second movement’s Aria in the Sonata or the lovely figurative broken-chord progression in the Fantasie’s Langsam getragen. Check on the first quality. She is equally adept at bringing out the numerous metrical shifts in the music. A beautiful example comes in her lovely second-movement Mäßig: Durchaus energisch in the Fantasie. Check number two. But what I miss in her playing is a bit more of that third quality—the unbridled passion that someone like Horowitz or Richter bring in their performances of the Viel bewegter section that ends the second movement of the Fantasie (the section with the jumps in opposite directions), or the intensity of sound and articulation that Gilels brings in the opening movement of the Sonata—not just in the faster, more scherzo-like sections, but even at the work’s very opening. I also miss the almost orchestrally conceived long lines that Schumann surely thought of in the Fantasie’s opening movement—something akin to the opening movement of Schubert’s B♭-Major Sonata, D 960. Just compare Oh-Havenith’s performance here with Edwin Fischer’s magical account—not only are the melodic lines longer in range, but there are also far more colors that he brings out in especially the quieter repeat of the opening melody.

Jimin Oh-Havenith is an excellent pianist with a quiet, almost understated way with this music that is, at times, compelling. Is she bringing out Clara, the “secret listener” here? Perhaps. Does this always work in my book? Not always, but often. That’s not to say that her approach won’t appeal you. If you like your Schumann more Eusebius-like most of the time, then Oh-Havenith may be your pianist: She brings out a plethora of details, has an attractive sound, and can handle the numerous metrical anomalies in this music. Does she have a wild side? Perhaps she does—just not quite enough to satisfy my needs in this repertoire.

[die] technisch sündhaft schwere Toccata C-Dur op. 7 [...] beschließt Murtfelds CD in einer emotionsreichen Hochgeschwindigkeitsinterpretation mit trennscharfen Doppelgriffläufen.

Die Achte Symphonie von Ludwig van Beethoven eröffnet die erste CD dieser Kollektion von Livemitschnitten aus Luzern. Aufgenommen wurde sie 1952 mit dem Swiss Festival Orchestra. Es ist die spannendste Aufnahme der Achten mit Karajan, die ich kenne. Der drängend pulsierende erste Satz ist der längste aller Karajan-Einspielungen, aber er ist kontrastreicher, transparenter als die anderen und voller Spannung. Nicht weniger gut gelungen ist das rhythmische Allegretto, während das Menuett schon eher an spätere Interpretationen erinnert und das Allegro vivace sehr tänzerisch und gleichzeitig zupackend gespielt wird, so dass der Satz sehr rhetorisch wird.
Mozarts Klavierkonzert KV 491 mit Robert Casadesus und Karajan zeichnet sich durch eine sehr spontan klingende, kontrastreiche und klangvolle Interpretation aus, die Mozart sehr dramatisch werden lässt.
Am Ende der ersten CD erklingt die einzige Aufnahme dieser Zusammenstellung, die schon vorher bei Audite auf CD veröffentlicht wurde, das Konzert für zwei Klaviere und Orchester BWV 1061 von Johann Sebastian Bach, aufgenommen 1955 unter der Leitung von Herbert von Karajan, mit Clara Haskil und Géza Anda. 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.
Die zweite CD enthält die Symphonien Nr. 6 von Beethoven und Nr. 4 von Brahms mit dem Philharmonia Orchestra London, aufgenommen im Jahre 1956.
Es ist viel darüber diskutiert worden, welcher Beethoven-Zyklus von Karajan der Beste ist. Es gibt viel Gründe, den Londoner Zyklus aus den Fünfzigerjahren zu bevorzugen, auch wenn ich, aufs Ganze gesehen, den aus Berlin von 1977 für den besten halte. Die Liveaufnahme aus Luzern entspricht weitgehend der Londoner Studioaufnahme.
Die Pastorale hat viel Frische und Spontaneität, und der zweite Satz ist in seiner unbekümmerten Art besonders liebenswert. Der Sturm ist hoch dramatisch und der letzte Satz sehr entspannt.
Die Vierte Symphonie von Brahms wechselt zwischen Drama, Melancholie und schwärmerischem Lyrismus.
Die dritte CD beginnt mit dem Brahms-Violinkonzert mit dem Swiss Festival Orchestra und Nathan Milstein. Dieser besticht durch seine mühelose Virtuosität und seinen glänzenden, singenden Ton. Karajan dirigiert aufmerksam und lässt das Orchester leidenschaftlich singen.
Karajan dirigierte Honeggers 3. Symphonien oft im Konzert und auf Schallplatten. Seine Interpretationen gehören zu den Besten dieser Komposition
Karajan wird den Gefühlen des Komponisten voll gerecht, der den « menschlichen Schwachsinn », den die Welt während des Zweiten Weltkriegs erlebt hatte, geißeln wollte.
Dreizehn Jahre nach dem Ende des Zweiten Weltkriegs gestaltete Karajan dieses Bekenntniswerk emphatisch und mit größter Energie. Das ergibt eine Interpretation von größter Wirkung!
Erwähnenswert ist, dass audite als Bonus die Aufnahme der h-Moll-Messe von Bach mit den Wiener Symphonikern und dem Wiener Singverein in einer Aufnahme von 1951 zum Download anbietet.
Exzellent ist das reich dokumentierte Textheft der Dreierbox, in dem auch viele bisher unveröffentlichte Fotos von Karajan zu sehen sind.


English Translation:

Ludwig van Beethoven’s Eighth Symphony opens the first CD of this collection of live recordings from Lucerne. It was recorded in 1952 with the Swiss Festival Orchestra. It is the most exciting recording of the Eighth with Karajan that I know. The urgently pulsating first movement is the longest of all Karajan recordings, but it is richer in contrast, more transparent than the others, and full of tension. The rhythmic Allegretto is no less well done, while the Minuet is already more reminiscent of later interpretations, and the Allegro vivace is played very dance-like and at the same time gripping, so that the movement becomes very rhetorical.
Mozart’s Piano Concerto K. 491 with Robert Casadesus and Karajan is distinguished by a very spontaneous-sounding interpretation, rich in contrasts and rich in sound, which allows Mozart to become very dramatic.
The end of the first disc features the only recording of this compilation previously released on CD by Audite, the Concerto for Two Pianos and Orchestra BWV 1061 by Johann Sebastian Bach, recorded in 1955 under the baton of Herbert von Karajan, with Clara Haskil and Géza Anda. 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.
The second disc contains Beethoven’s Symphony No. 6 and Brahms’ Symphony No. 4 with the Philharmonia Orchestra London, recorded in 1956.
There has been much debate about which of Karajan’s Beethoven cycles is the best. There is much reason to prefer the London cycle from the 1950s, although, taken as a whole, I think the one from Berlin in 1977 is the best. The live Lucerne recording is much the same as the London studio recording.
The Pastorale has much freshness and spontaneity, and the second movement is particularly endearing in its carefree manner. The Tempest is highly dramatic and the last movement very relaxed.
Brahms’ Fourth Symphony alternates between drama, melancholy and rapturous lyricism.
The third CD begins with the Brahms Violin Concerto with the Swiss Festival Orchestra and Nathan Milstein. The latter captivates with his effortless virtuosity and brilliant, singing tone. Karajan conducts attentively and makes the orchestra sing passionately.
Karajan conducted Honegger’s 3rd symphonies often in concert and on record. His interpretations are among the best of this composition
Karajan does full justice to the feelings of the composer, who wanted to castigate the « human imbecility » that the world had experienced during World War II.
Thirteen years after the end of World War II, Karajan shaped this confessional work emphatically and with the greatest energy. This makes for an interpretation of the greatest impact!
It is worth mentioning that Audite offers as a bonus download the recording of Bach’s Mass in B minor with the Vienna Symphony and the Vienna Singverein in a 1951 recording.
Excellent is the richly documented text booklet of the three-disc box set, which also includes many previously unpublished photos of Karajan.

Kaum einer kennt noch den Komponisten und Kasseler Hofmusiker David Pohle (1624-1695), dessen Zwölf Liedgesänge nach Texten von Paul Fleming hier zu hören sind. Dieses Werk ist aus mehreren Gründen interessant und fällt durch eine ungewöhnliche Besetzung auf. Alle Gesänge sind als Duette für zwei gleiche Gesangsstimmen und zwei obligate Violinstimmen angelegt. Eine detaillierte Analyse der Werke befindet sich im Booklet. (Rezension von Alain Steffen) – Alleine der Aufbau des Zyklus’ ist für die damalige Zeit ungewohnt, für uns heute ist es zudem hochinteressant, dass die beiden Gesangssolisten zwei Countertenöre sind. Was natürlich den Liedern eine besondere Note verleiht. Zu den beiden Violinen, die, wie schon gesagt, eine tragende Rolle spielen, gesellen sich abwechselnd noch ein Cello, eine Laute resp. Gitarre, eine Blockflöte und Schlagzeug, sowie Cembalo und Orgel. Diese Besetzung des Ensembles e.g.baroque lässt den Hörer dann auch an einem wirklich herausragenden Klang- und Musikerlebnis teilhaben.

Die Stimmen der beiden Countertenöre Benjamin Lyko und Alex Potter harmonisieren wunderbar miteinander, das Instrumentalensemble wird vom Cembalisten und Organisten Clemens Flick geleitet. Die Interpretation bleibt für historische Aufführungspraxis erstaunlich klassisch, was aber dem Hörvergnügen keineswegs schadet. Im Gegenteil, die Interpretation nimmt so den Hörer mit auf eine sichere Reise, bei der er dieses herrliche Werk ungestört entdecken und genießen kann.

In der Mitte des Zyklus‘ haben die Interpreten Johann Philipp Kriegers knapp sechsminutige Sonata Prima d-Moll op. 1/1 gesetzt, die ebenfalls mustergültig interpretiert wird. Eine in allen Punkten interessante, außergewöhnliche und schöne Barock-CD, die man unbedingt kennen muss.


English Translation:

Hardly anyone knows the composer and Kassel court musician David Pohle (1624-1695), whose Twelve Song Songs to texts by Paul Fleming are heard here. This work is interesting for several reasons and is notable for its unusual scoring. All the songs are arranged as duets for two equal voice parts and two obbligato violin parts. A detailed analysis of the works can be found in the booklet. The structure of the cycle alone is unusual for the time, and for us today it is also highly interesting that the two vocal soloists are two countertenors. Which of course gives the songs a special touch. In addition to the two violins, which, as already mentioned, play a leading role, there are alternately a cello, a lute or guitar, a recorder and percussion, as well as a harpsichord and organ. This instrumentation of the e.g.baroque ensemble allows the listener to participate in a truly outstanding sound and musical experience.

The voices of the two countertenors Benjamin Lyko and Alex Potter harmonize wonderfully with each other, the instrumental ensemble is led by harpsichordist and organist Clemens Flick. The interpretation remains surprisingly classical for historical performance practice, but this in no way detracts from the listening pleasure. On the contrary, the interpretation thus takes the listener on a safe journey, allowing him to discover and enjoy this magnificent work undisturbed.

In the middle of the cycle, the performers have placed Johann Philipp Krieger’s Sonata Prima in D minor op. 1/1, which lasts just under six minutes and is also interpreted in an exemplary manner. An interesting, extraordinary, and beautiful baroque CD in all points, which one must know.



(Rezension von Guy Engels) – Beim Thema Liebeslieder denkt man unverzüglich an das 19. Jahrhundert, an die großen Romantiker Schubert, Schumann oder Brahms. Geliebt und darüber geschrieben wurde allerdings zu jeder Zeit, so auch von Paul Fleming, dem bedeutenden Barocklyriker.

David Pohle, Hofkomponist in Kassel, hat zwölf autobiographische Liebesgedichte von Fleming vertont, die nun erstmals aufgezeichnet wurden.

Nichts ist so alt wie die Liebe, und so bleiben auch diese Texte modern, sprechen – wenn auch in einer heute fremden Bildsprache – die ewigen Themen an: Treue, Verrat, Freude, Trübsal, Verlust, Trauer. Die Sprache mag veraltet sein, der Vortrag ist es nicht. Die Authentizität, die Energie und Spannung mit der die beiden Solisten Benjamin Lyko und Alex Potter gemeinsam mit e.g.baroque die Texte gestalten, lässt uns an den unterschiedlichsten Emotionsstufen, die erwiderte und unerwiderte Liebe entwickelt, teilhaben. Die federnde Musikalität verleiht den Interpretationen die nötige Vitalität, ohne dabei die intimen Momente zu übertünchen. Sie wirken hingegen noch stärker als Kontrast.

Wer also einmal auf den romantischen Rosmarin verzichten möchte, dem können wir guten Gewissens z.B. David Pohles/Paul Flemings ‘Des kleinen Schützen heiße Bolzen…’ empfehlen.


English Translation:

When we think of love songs, we immediately think of the 19th century, of the great romantics Schubert, Schumann or Brahms. However, people have always loved and written about them, including Paul Fleming, the important baroque lyricist.

David Pohle, court composer in Kassel, has set twelve autobiographical love poems by Fleming to music, which have now been recorded for the first time.

Nothing is as old as love, and so these texts also remain modern, addressing – albeit in a figurative language foreign today – the eternal themes: Fidelity, betrayal, joy, gloom, loss, sorrow. The language may be outdated, the performance is not. The authenticity, energy and excitement with which soloists Benjamin Lyko and Alex Potter, together with e.g.baroque, create the texts allows us to participate in the various levels of emotion that reciprocated and unrequited love develops. The bouncy musicality gives the interpretations the necessary vitality without drowning out the intimate moments. On the contrary, they have an even stronger effect as a contrast.

So for those who would like to do without the romantic rosemary for once, we can recommend in good conscience, for example, David Pohles/Paul Fleming’s ‘Des kleinen Schützen heiße Bolzen…’.

[...] die bezaubernden Liebesgesänge von David Pohle nehmen den Hörer sogleich gefangen. Und die beiden Sänger Benjamin Lyko und Alex Potter gestalten mit verführerischer Raffinesse, farbig und ausdrucksvoll [...]

Showrunners Alex Potter and Benjamin Lyko let Schütz student David Pohle’s love songs sound with sophistication.
Equal-voiced duets are rather rare and have always had a certain exotic appeal. Love duets with two models are even rarer — and even more bizarre. But the enchanting love songs of David Buhle instantly captivate the listener. Singers Benjamin Lecco and Alex Potter create a seductive, colorful and expressive sophistication accompanied by an egbaroque ensemble (violins, violins, lutes, guitars, records, percussion, harpsichord, organ) under the direction of Clemens Flick. Born in 1624, Bohle was musically trained by Heinrich Schütz in Dresden and worked in Kassel, Schleswig, Weissenfels, Zietz, and finally in Merseburg, where he died in 1695. His sacred and secular vocal works are delivered only in manuscript form, many of which have been lost. So this CD is a real treasure!

Ein Album voll virtuoser und anrührender musikalischer Schätze der drei Antonios vom Canal Grande.

Following his earlier recordings of Liszt’s Sardanapalo (2/19) and A Dante Symphony (4/20) for Audite, Kirill Karabits now turns his attention to the composer’s A Faust Symphony. In his review of the recording of Sardanapalo, Tim Ashley wrote that ‘Karabits conducts with extraordinary passion’, and the same is true of this latest entry in the series. With a running time of 68 minutes, Karabits’s account is one of the swifter performances on record, alongside those of Chailly, Muti and Sinopoli. By contrast, Bernstein takes 77 minutes.

Nevertheless, it’s Bernstein’s vividly characterised and impassioned interpretation that I’m most reminded of when listening to this new recording. The performance of the work’s opening has a compelling sense of mystery and anticipation, and the movement’s subsequent episodes are stirring and dramatic. In the movement’s gentler passages, as in the subsequent ‘Gretchen’ movement, the playing of the viola, oboe and other solo instruments is marvellously poetic, and textures are beautifully balanced and marvellously luminous. Both Bernstein and Karabits offer enormously exciting accounts of the work’s final movement but ultimately Karabits has the edge with his thrilling interpretation of the concluding ‘Chorus mysticus’, which combines an ardent contribution by tenor Airam Hernández with choral singing of extraordinary heft and incandescence.

It’s a pity that the booklet doesn’t include the text of the choral section given that it would take so little space. The booklet essay similarly makes no mention of the rarely heard orchestration of the Mephisto Waltz No 3 included on the album other than giving joint credit for the arrangement to Liszt pupil Alfred Reisenauer and Kirill Karabits. As with the symphony, however, the performance has tremendous panache, and the recording is well balanced and transparent even in the loudest tuttis. Very highly recommended.

die neue CD On Byrd’s Wings [...] hat mich von den ersten Klängen an gefesselt und gepackt. [...] die beiden wunderbaren Sopranstimmen von Dorothee Mields und Magdalene Harer [...] laufen vor allem in den Duetten zu wahrer Hochform auf.

Das Flötenensemble zeigt eine Klangmagie, indem es virtuos zwischen Ausdruckswelten wechselt