Das Klagende Lied
Symphony No. 10
Mahler initially had a hard time of it. A few compositional attempts
from his youth did not turn out to his liking and were destroyed.
When Das klagende Lied finally met with his own critical favor, he
stated, "My first work in which I have found myself as 'Mahler'!"
Here it is heard in colorful contrast to the fragment from his last
symphony and the "Blumine" andante originally intended for
the first symphony. The Beethoven Orchestra of Bonn under its resourceful
conductor Stefan Blunier is in top form on this fascinatingly detailed
look at Mahler's compositional workshop.
Brassin, Busoni, Stradal, Corbett, Kocsis
Liszt was the first, but pianists of later generations also journeyed
through the gigantic cosmos of the Wagnerian music drama with paraphrases
and transcriptions for the piano. Severin von Eckardstein has brought
together the best of these on his latest SACD. The result is a fascinating
look at the reception history of Wagner's music and a colossal, three-dimensional
listening experience to remember - thanks to 2+2+2 recording technique.
op. 18 & 87
Barbara Buntrock, viola
Boundless energy is the word! When the Leipzig String Quartet takes
on Mendelssohn's string quintets, the atmosphere is electrifying.
Nervous sixteenth repetitions, above them the animation and euphoria
of the theme in the first violin, propelled by accents in the lower
voices: this is music charged with energy, and it rushes forward on
its stormy path. And then we suddenly find ourselves in another world:
the greatest intimacy pervades the presentation of the second theme,
and with quiet legato motion it opposes an idyll's pastel hues to
the eruption initially staged by the forces of nature.
Works by Franz Liszt, Frederic Chopin, Carl Czerny, Sigismond Thalberg,
Henri Herz, Johann Peter Pixis, Leon Buche
Leon Buche, Carlos Goicoechea, Caroline Sorieux, Kanako Yoshikane,
Claudius Tanski, piano
It was billed as a battle of titans. Franz Liszt had invited the leading
pianists of his time to compose variations on Bellini's "March
of the Huguenots." The international keyboard stars Chopin, Thalberg,
Pixis, Czerny, and Herz had agreed to compete, but they never actually
performed together in Princess Beliojoso's Paris salon. Claudius Tanski
has now recreated this event with his master pupils. Unlike Liszt
175 years ago, he collaborates on equal terms with this circle of
brilliant young stars emulating their immortal models with sovereignty
in arrangements of 19th century
Reger, Guilmant, Landmann, Best
Sauer Organ, Bremer Dom
and Händel in arrangements by Max Reger, Alexandre Guilmant,
and Sigfrid Karg-Elert: these are the top names that we have brought
together for you on this fascinating CD meeting of baroque and romantic
musical minds. The orchestral splendor of the romantic organ was what
moved composers to arrange their favorite works of earlier times for
the majestic sound of this king of instruments. The genius of Bach
and Händel was to radiate in the new light of contemporary organ
design, and cathedrals would resound with baroque grandeur.