Victor Herbert

Both the term symphonic poem and the form itself were invented by Franz Liszt, who in works such as Les Préludes (1848; after Alphonse de Lamartine’s Méditations poétiques) used thematic transformation to parallel the poetic emotions. That’s true again with Byron (Tasso, lamento e trionfo), Schiller (Die Ideale) and Victor Hugo (Mazeppa). A winning quartet!

This three SACD set contains Richard Strauss' opera "Der Rosenkavalier" performed by the Vienna Philharmonic Orchestra, conducted by Herbert von Karajan, and the Konzertvereinigung Wiener Staatsopernchor, led by Helmut Froschauer. Sung in German. This reissue series of classical music masterpieces by Esoteric has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound. This series marks the first hybrid SACD release of historical recording selections that have been mainstays of the catalog since their initial release.

The debut album of the string ensemble 'Metamorphoses Berlin' under the baton of its leader Wolfgang Emanuel Schmidt follows the basic idea of 'inspiration' - in this instance, inspiration as the explicitly mutual, creative interaction between Antonin Dvořák, Josef Suk, and Victor Herbert.

Herbert von Karajan was the most renowned conductor to emerge from Europe in the post-World War II era – and through fortuitous timing throughout his career, and in spite of controversy that dogged his early years, he was the most recorded conductor of the 20th century, and is likely to remain one of the most visible (and biggest-selling) conductors well into the 21st century. Born in Salzburg and descended from a family of Greek origin with deep roots in Austria – including scholars and physicians in Vienna and Salzburg – he was a music prodigy, playing the piano at three and playing his first recital a year later.

Herbert von Karajan was the most renowned conductor to emerge from Europe in the post-World War II era – and through fortuitous timing throughout his career, and in spite of controversy that dogged his early years, he was the most recorded conductor of the 20th century, and is likely to remain one of the most visible (and biggest-selling) conductors well into the 21st century. Born in Salzburg and descended from a family of Greek origin with deep roots in Austria – including scholars and physicians in Vienna and Salzburg – he was a music prodigy, playing the piano at three and playing his first recital a year later.

For the first time on HIGHRESAUDIO – of the Smithsonian Institution’s 1981 recording of Victor Herbert’s Naughty Marietta, starring Judith Blazer and Leslie Harrington and conducted by James R. Morris.

The third part of our series features the serenades of four Romantic composers. Every bar of Victor Herbert’s Serenade presents Herbert as a composer who is intimately familiar with the world of the musical stage. Elgar and Fuchs’s Serenades are youthful compositions: the former holds its place in the repertoire for the ensemble to this day, while Fuchs’s Serenade has the technical perfection typical of the composer. This recording closes with what is perhaps the most popular melody from Schubert’s last song cycle, Schwanengesang.Anima Musicae Chamber Orchestra was founded by Laszlo Horvath in 2010 with the students of the Liszt Ferenc Academy. Despite its short career the chamber orchestra accomplished a large number of concerts with growing success. From the very beginning, the orchestra has not only been inspired, but also mentored by János Rolla, the artistic director of the world renowned Liszt Ferenc Chamber Orchestra.

Born in Dublin, Victor Herbert began his career as a cellist in Germany, playing for Eduard Strauss, for Brahms and Liszt, and emigrated to the US as principal cellist of the Metropolitan Opera. It was in that capacity that he composed the second of two concertos, written for himself to play, which give him a tenuous foothold on the classical repertoire. They were first recorded as a pair by Lynn Harrell on this Decca album in 1986. 'Herbert was a virtuoso cellist,' says Harrell, 'and it shows in the music; he wrote so beautifully for the cello.' The fillers were character pieces as they are charming, originally for cello and piano, newly transcribed for the Academy of St. Martin in the Fields.