Colin Balzer Hans Pfitzner Complete Lieder Vol 2

This second volume of Pfitzner’s Complete Lieder covers the period between 1884 and 1916 and shows why he was considered such a key figure among composers of his generation. A central theme of the songs is the archetypical Romantic focus on the portrayal of nature as a reflection of human feelings. The youthful and enduringly popular Ist der Himmel darum im Lenz so blau (Is the sky so blue in the spring) reflects his greatest qualities as a song composer- a memorable tune and rich, flowing harmonies. Favoring the bold use of color, Pfitner’s songs are characterized by a lively, pulsing rhythm and sweeping, ecstatic melodies.
Tenor Colin Balzer has sung acclaimed recitals in London, New York, and Philadelphia, and concerts with the Portland, New Jersey, Toronto, Quebec, Atlanta, Montreal, and Indianapolis Symphony Orchestras as well as other notable ensembles across North America. Most notably in his career, Balzer earned the Gold Medal at the Robert Schumann Competition in Zwickau with the highest score in 25 years.

Hans Pfitzner was one of the most important composers of Lieder in the Romantic period. Many of the songs on this album address subjects associated with withdrawal and introversion: the recollection of the happiness of past love, melancholic images of nature, and an awareness of the finite nature of human existence. Included is the world premiere recording of Weihnachtslied, his only setting inspired by a genuine folk song. But at this collection’s heart are the two remarkable cycles, Opp. 35 and 40, that are full of harmonic sophistication, impassioned expression, technical daring, and profoundly human understanding.

The 1989 premiere of Hans Rott's Symphony No. 1 in E major (it was written more than 100 years earlier) introduced the international music world to a composer who had remained unknown, or known by name only, even among experts. His colleagues and friends included the younger composers Gustav Mahler and Hugo Wolf. Besides Wagner, Bruckner was the most important model for Rott’s first symphonic work. Written when he was barely twenty years old, the work stands as his magnum opus, his only completed major work, a synthesis of what he had written to date, and a proclamation of what might have been yet to come.

In the autumn of 1713, Bach was invited to apply for the post of organist and music director at the Marktkirche in Halle in succession to Handel's teacher, Friedrich Wilhelm Zachow. Bach was honoured to accept the invitation and in doing so made it clear that he was keen to extend his activities. Under Zachow, who had created a respectable repertory of sacred works of the most varied genres, including a large number of church cantatas, music in Halle had flourished and reached a level that offered Bach an area of responsibility that he evidently found attractive.

Following the iconic series of the complete songs of Schubert and Schumann, Graham Johnson’s latest enterprise traverses the complete songs of Brahms. He is joined here on Volume 2 by the wonderful Christine Schäfer, whose contribution to the Schumann song series won a prestigious Gramophone Award.

Hyperion's Romantic Cello Concerto series continues to bring new works to light, expanding a repertoire that has long focused on a select group of composers. Here, Alban Gerhardt performs the three concertos by Hans Pfitzner. Pfitzner's early Cello Concerto in a minor was scorned by his teachers (although liked by the composer himself). His Cello Concerto Op.42 is a beautifully constructed work that derives it's material from a lyrical cello solo heard at the very start of the work. The Cello Concerto Op.52 is dedicated to Ludwig Hoelscher, a pupil of two giants of German cello-playing: Hugo Becker and Julius Klengel. As a bonus, the recording also includes Pfitzner's Duo for violin, cello and small orchestra.

In his notes Graham Johnson says that what we have always lacked is a convincing way of performing late Schumann songs, often spare in texture and elusive in style. Well, he and Keenlyside seem to have found one here in their wholly admirable versions of the very different Opp 98a and 117. The Op 98a settings of the Harper's outpourings from Wilhelm Meister have always stood in the shade of those by Schubert and Wolf. This pair show incontrovertibly that there's much to be said for Schumann's versions, capturing the essence of the old man's sad musings, as set by the composer in an imaginative, free way, alert to every nuance in the texts.