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Klassiek - Verschenen op 6 november 2015 | CapriccioNR

Hi-Res Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 7 oktober 2014 | CapriccioNR

Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 9 december 2016 | CapriccioNR

Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 3 mei 2019 | CapriccioNR

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Klassiek - Verschenen op 4 oktober 2019 | CapriccioNR

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The Symphony No. 1 in D minor Op. 9 belongs to Dohnányi’s early years of success. Among all the influences of the late Romantic tradition, that by Brahms’ music can be discerned here once more. From it, Dohnányi forms a kind of early Neo-Romanticism that can be viewed as a continuation of the 19th century while avoiding the Expressionist, sprawling violence of the beginnings of Modernism in the 20th century. Reminiscent of Mahler and Strauss is the sovereign treatment of the large orchestra, in which many details stand out, making a major contribution towards the quality of the work. The Symphonic Minutes Op. 36 was written in 1933 in the context to compose a Hungarian dance game. With this album, Capriccio starts a new Edition with recordings of these still less known but powerful music from the hungarian Composer Ernst von Dohnanyi. © Capriccio
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Klassiek - Verschenen op 7 februari 2020 | CapriccioNR

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Klassiek - Verschenen op 6 september 2019 | CPO

Booklet
Right from the overture, the tone is set and the décor chosen: the chiselled writing mixes joyful folk themes in an able counterpoint, all with a very original orchestration. In a few steps, Jaromír Weinberger shows his consummate mastery of the composer's vocation. And his talent is fully confirmed in what follows! If you don't know it, you should stop whatever you're doing and listen to this music by a man who started his apprenticeship very young (piano at 5, composition at 10 and entry to the Prague Conservatory at 14), before pursuing his career in Leipzig under Max Reger. His opera, Švanda Dudák (Schwanda the bagpiper), first performed in 1927, is hailed as an international success. This thoroughly dark work glories in enchanting and brilliantly-orchestrated folk themes. The Staatsphilharmonie of Rhineland-Pfalz chose to record the orchestral suite and the result is very fine (thanks to the CPO label which also brought out the opera Wallenstein in 2018). We are reminded here of the Stravinsky of Petrushka, the Bartók of Kossuth (for the mastery of counterpoint in particular). Then there are the Bohemian Songs which evoke a more Germanic memory of the Violin Concerto by Brahms when they fully exploit the violin's expressive palette (a melancholic rhapsody and double strings in cadenza style), especially so in the version orchestrated here. These pieces shine a spotlight on the scintillating sounds of the Staatsphilharmonie in the divisions of the strings and the precision of the subtle variations in intensity and character. The album closes with a more picturesque score, The Beloved Voice, which shows Weinberger in a piercing light. Max Brod, friend and confidant of one Franz Kafka: didn't he translate these operas? Such elective affinities say much about the corrosive side of Weinberger's colourful character. © Elsa Siffert/Qobuz
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Klassiek - Verschenen op 12 augustus 2016 | CapriccioNR

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Klassiek - Verschenen op 1 juni 2015 | SWR Mediaservices GmbH

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Klassiek - Verschenen op 1 november 2019 | CapriccioNR

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From the outset, Ernst Krenek stood between the sometimes antagonistic musical worlds of his mentor Franz Schreker, on the one hand, who wrote in the world of late Romanticism, and Arnold Schoenberg, on the other, who broke new ground. So, his own development towards becoming a unique personality in modern music history progressed correspondingly slowly. In his subsequent travelling years, as a composer he was on a quest for new means of expression, finally culminating in two such contrasting works as the jazz opera Jonny spielt auf and the technically strictly twelve-tone opera Karl V. Afterwards, he occasionally resorted to these earlier stylistic devices like we can hear on this recording as example of the 1927 composed Potpourrie and years later written Tricks and triffles (1945). © Capriccio
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Klassiek - Verschenen op 23 maart 2018 | CPO

Booklet
Born in 1770 – and so a contemporary of Mozart's – Johann Evangelist Brandl lived until 1837 and spent almost his entire career as Kapellmeister, cellist and composer in the court of Karlsruhe. His oeuvre covers almost all genres apart from, curiously, the clavier, which he almost never touched. The two symphonies presented here date from the early 19th century, 1800 and 1803; the listener will detect the influence of Haydn of course – in particular in the way the work cultivates surprises and pranks – but the first tremors of romanticism can already be felt here, in particular in the stunning contrasts between sombre and errant moments, and other much more furious ones. It is to the composer's credit that these orchestral works were played by, amongst others, the Leipzig Gewandhaus Orchestra, a clear recognition. Would Mendelssohn have heard these notes? Because certain passages of the Symphony Op. 25 could well have been written by him – although in 1803 the young Felix hadn't even yet been born... Brandl is a composer worthy of rediscovery. © SM/Qobuz
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Klassiek - Verschenen op 8 maart 1994 | Naxos

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Klassiek - Verschenen op 1 juni 2015 | SWR Mediaservices GmbH

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Klassiek - Verschenen op 1 januari 2006 | CPO

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Klassiek - Verschenen op 1 januari 2000 | Naxos

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Klassiek - Verschenen op 7 juni 2019 | Skarbo

Hi-Res Booklet
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Klassiek - Verschenen op 1 november 2019 | CapriccioNR

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In terms of style, with his works linked to basic tonalities Weigl drew on the sound realm of late Romanticism, from whose aesthetics he never departed in favour of more progressive contemporary trends. Whereas Weigl’s Symphony No. 1, written in 1908, associatively evokes the mood of a composer thinking of new territory and inquiring into the future, the dissimilar pair of his Symphonies No. 4 and No. 6 shows the musician’s intellect at historically distinctive periods, allowing an assessment to be made as to whether what could be expected, intended and hoped for at the time of his early works was achieved or whether it developed in an entirely different manner. The background to Symphony No. 4 in 1936 was the emergence of dictatorial Austro-Fascism. Symphony No. 6 of 1947 is in a certain sense a continuation and a conclusion following the end of the Nazi terror and a war that did not remain without profound changes and far-reaching effects for almost all the countries in the world. © Capriccio
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Symfonische muziek - Verschenen op 1 januari 2009 | CPO