Zemlinsky Eschenbach

Jedes Jahr begeistert die traumhafte Kulisse des Sommernachtskonzertes im Park von Schloss Schönbrunn nicht nur die über 100.000 Besucher im Park, sondern auch die Fernsehzuschauer in aller Welt. Die Wiener Philharmoniker und der Dirigent Christoph Eschenbach präsentierten ein farbenprächtiges, stimmungsvolles Programm zum Thema "Märchen und Mythen": von Dvorák erklingt die Konzertouvertüre "Karneval", Stargast Renée Fleming singt eine Arie aus der Oper "Armida" und das berühmte Lied an den Mond aus "Rusalka"; dann folgen von Tschaikowsky Stücke aus der "Dornröschen-Suite" und von Rachmaninow die orchestrierten Lieder Sumerki (Twilight), Ne poy, krasavitsa, pri mne ((Sing not to me, beautiful maiden) und Vesenniye vodi (Spring waters), von Humperdinck das Vorspiel aus der Oper "Hänsel und Gretel".

'The dreamer! That double of our existence, that chiaroscuro of the thinking being', wrote Gaston Bachelard in 1961. 'The old is dying, the new cannot be born, and in that chiaroscuro, monsters appear', adds Antonio Gramsci. Sandrine Piau has chosen to use these two quotations as an epigraph to her new recording: 'My family and friends know about this obsession that never leaves me completely. The antagonism between light and darkness. The chiaroscuro, the space in between…'

This album is a journey on the shoulders of musical giants, both in the compositions and in the interpretations. Accompanied by the legendary conductor and pianist Christoph Eschenbach, Bohorquez delivers an extraordinary performance that is a treat for the ears and soul. With his exceptional skill and technique, he explores the depths of the cello's sound, bringing out the unique beauty and emotion of each piece. The album features Schumann's Adagio & Allegro op. 70, a powerful and expressive work that showcases Bohorquez's impeccable bowing and phrasing. The 2 Pieces for Cello and Piano by A. v. Webern are a masterclass in modernist composition, with Bohorquez and Eschenbach expertly navigating the intricate and complex melodies. Schubert's Sonata (Arpeggione) is a true gem of the cello repertoire and finally, O. Messiaen's Louange a l'Eternite de Jesus is a beautiful and moving work that showcases the cello's ability to convey deep spiritual emotions.

The three works by Pyotr Il'yich Tchaikovsky that Christoph Eschenbach and the Philadelphia Orchestra perform on this Ondine twofer are usually found as filler pieces on other albums, often coupled with one or another of the symphonies or concertos, so this combination is a bit out of the ordinary. The fantasy overture Romeo and Juliet and the symphonic fantasy Francesca da Rimini are often paired and work fairly well together because of the similarity of their stormy Romantic music and tragic subjects, even though Romeo and Juliet is plainly the superior piece of the two. But the Serenade for strings is possibly Tchaikovsky's most Classically balanced work, and it stands in stark contrast to the other selections for its cool beauty and elegance.

200 years ago, on May 26th 1821, today's Berlin Concert Hall was inaugurated as “Königliches Schauspielhaus”. Destroyed as “Preußisches Staatstheater” during World War II, the building, located in eastern Berlin, was rebuilt during GDR times and reopened as “Konzerthaus” in 1984. The premiere of Carl Maria von Weber's Der Freischütz on June 18th 1821 was a highlight of the opening year. The work became his most popular opera and one of the key works of the 19th century. A few days later, the composer (who died at the age of only 40 in 1826), had another piece premiered at the “Königliches Schauspielhaus”: his brilliant Concert Piece for Piano and Orchestra op.79.

This Albert Roussel disc couples the Second Symphony with one of the composer's most popular pieces, the complete ballet music for Bacchus et Ariane. It is the first in a cycle of three releases featuring the four symphonies and two ballets by the French composer, performed by the Orchestre de Paris and Christoph Eschenbach.

Christoph Eschenbach's superb live performance provides a refreshingly vital alternative to the prevailing trend toward stodgy Bruckner interpretation. Eschenbach shows himself a supremely assured Brucknerian, directing his excellent Houston Symphony players in a taut, flowing performance. The first movement has a fiery coda, the ebb and flow of the beautiful Adagio is expertly controlled, and the exultant finale has a drive and excitement rarely heard in modern Bruckner performances.