Christian Tetzlaff’s effortless virtuosity, purity of intonation, and slight emotional reticence perfectly suits Sibelius, making this the finest available collection of the Finnish composer’s music for violin and orchestra. In the concerto, Tetzlaff’s relative coolness makes the music sound more like Sibelius and less like a violin concerto, which is all to the good. That doesn’t mean he lacks anything in sheer technique: indeed, his first-movement cadenza impresses as one of the most impressively concentrated and musically satisfying on disc. Tetzlaff’s slow movement sings but avoids panting and heaving, while the finale realizes the music’s gentle melancholy as well as its more thrusting elements. He’s nicely accompanied by Thomas Dausgaard, whose gentle support perfectly suits the overall interpretation.
In the realm of music criticism and scholarship, Bach’s music is often hailed as the epitome of functional musical logic. Every note has its place, every chord has its function, and all musical elements are combined in a masterful display of contrapuntal craft with few recognised rivals. But despite the intellectual reverence to which Bach’s music is subjected, musicians are still able to find themselves intimately and affectively involved with his compositions.
Dietrich Buxtehude's organ works are today in the standard repertoire for organists all over the world, but this is the first time an organist has engaged so intimately with Buxtehude by using the very instrument on which the works were composed. Dacapo Records' new Buxtehude series will consist of a total of six CDs, and besides the St. Mary's Church in Elsinore they will be recorded in the other two churches where the composer was employed, the S:ta Maria Church in Helsingborg and the Marienkirche in Lübeck.
…Writing of the chamber music of Friedrich Kiel, the famous scholar and critic Wilhelm Altmann notes that it was Kiel’s extreme modesty which kept him and his exceptional works from receiving the consideration they deserved. After mentioning Johannes Brahms and others, Altmann writes, “He produced a number of chamber works, which . . . need fear no comparison.”…
This is the first volume of Hänssler CLASSIC’s complete recording of Schumann’s piano works, a project that has not been accomplished before. Each CD will feature at least one world premiere recording. Here we have the premiere of Presto possible in F minor. Florian Uhlig is one of the most distinguished young pianists and his interpretations are based on the new critical edition of Schumann’s piano works.
Rudolf Buchbinder is firmly established as one of the most important pianists on the international scene, he is a regular guest of such renowned orchestras as the Berlin Philharmonic, Vienna Philharmonic, New York Philharmonic, Orchestre National de France, London Philharmonic, National Symphony, and the Philadelphia Orchestra. He has collaborated with the world’s most distinguished conductors including Abbado, Dohnányi, Dudamel, Frühbeck de Burgos, Giulini, Harnoncourt, Maazel, Masur, Mehta, Saraste, Sawallisch and Thielemann and is a regular guest at the Salzburger Festspiele and other major festivals around the world.
…Writing of the chamber music of Friedrich Kiel, the famous scholar and critic Wilhelm Altmann notes that it was Kiel’s extreme modesty which kept him and his exceptional works from receiving the consideration they deserved. After mentioning Johannes Brahms and others, Altmann writes, “He produced a number of chamber works, which . . . need fear no comparison.”…
Born in Tashkent, Uzbekistan, Elena Kats-Chernin studied music in Moscow, Sydney and Hanover. She has created works across nearly every genre, from rags to operas and works for robotic instruments to a full scale choral symphony. Her music featured at the opening ceremonies of the 2000 Sydney Olympic Games and the 2003 Rugby World Cup. She has received several awards including the Sounds Australian, Green Room and Helpmann Awards. In September 2012 her adaptation of 3 Monteverdi operas, a collaboration …….