Hermann Seib Vst Host

Hermann Scherchen's performances of these Brandenburg Concerts avoids the normally expected exaltation of opening and closing movements conferred by most performances. Instead, he opts for a beautifully serene approach to the score, making it more reflective, thoughtful and expansive, hightlighting the lyrical flow that emanates from it.

Hermann Bischoff, a pupil of Richard Strauss, was a highly gifted composer and always reaped high praise from music critics and the press, but his compositional output remained relatively small. A mere two symphonies, two shorter orchestral pieces, one and a half operas, and a handful of songs were produced during his lifetime. This disc is the second in a two volume series and presents the recording premieres of Symphony No. 2 and Introduktion & Rondo.

For every musician connected with church music, Bach’s Christmas Oratorio is a highlight of the liturgical year, and it was at a performance of this very work that we first met. Playing together in the continuo unit requires a seventh sense for one’s fellow musicians and a heightened awareness of the musical breath of the soloists. In short, it requires non-verbal communication. The feeling of being able to rely on each other, and the perfect rapport in our musical understanding, kindled our desire to record a completely novel kind of music album.

"Denn er selbst, der Herr, wird mit einem Feldgeschrei und der Stimme des Erzengels und mit der Posaune Gottes hernieder kommen vom Himmel, und die Toten in Christo werden auferstehen zuerst". Dunkel und drohend lässt Telemann dazu den Donner grollen, den Zorn Gottes. Der Herr, der Richter naht. Es beginnt der Tag des Gerichts. Mit diesen Signalen hebt ein packendes musikalisches Geschehen an, das dem, der sich mit ihm auseinanderzusetzen gewillt ist, eine reiche, symbolgeladene Welt schönster, erfüllender, oft eigenwilliger künstlerischer Bewältigung von Wort und Ton eröffnet.

One composer damned to musty obscurity not too long ago was Eugen d'Albert; while regarded as one of history's legendary pianists, his composing activity – which spans an especially interesting period from the 1880s to the early '30s – was seen as a stick-in-the-mud retention of German post-romanticism and therefore an unnecessary pursuit. However, his 1903 operetta Tiefland never left the repertory of the German-speaking stage, and it is the Theater Osnabrück that is co-branding CPO's release Eugen d'Albert: Symphony Op. 4 – Seejungfrauen Op. 15, which features the in-house symphony, the Osnabrücker Symphonieorchester under the baton of general music director Hermann Bäumer. The Osnabrück Symphony is a notably compact band usually numbering around 45 pieces, but it has a big sound nonetheless, captured generously in this fine CPO recording.