Deutsches Rechtswrterbuch Band Xiii Heft 910 Stadtkanzlerstegrecht

I am not an automatic fan of composer-led recordings, even when the composer is as great a conductor as Leonard Bernstein. However, after living with this newcomer for a while, I have to confess that it doesn’t quite match that classic version, even though it does a few things even better. On the plus side, there’s Kent Nagano’s swift and perky direction of some of the music-theater numbers, such as “God Said”, “World Without End”, and in general all of the music in and around the Gloria. But this can be a two-edged sword: The mechanized Credo has less impact than it could; a very quick tempo at the opening of the Agnus Dei prevents the chorus from ever sounding really angry and demanding; and the calamitous Dona Nobis Pacem simply lacks the bluesy sleaze that Bernstein himself wrings out of it. A slower tempo also would have allowed the music’s many layers to register with greater clarity.

Various Artists - Deutsches Jazz Festival, Frankfurt 1954-1955 (1990) {8CD Box Set Bear Family BCD 15430}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.58 Gb | MP3 @320 -> 1.21 Gb
Full Artwork @ 300 dpi (jpg) -> 121 Mb | 5% repair rar
© 1954-55, 1990 Brunswick / Bear Family Records | BCD 15430
Jazz / Traditional Jazz / Cool / Continental Jazz / Jump / Swing / Big Band / Third Stream

8-CD box (LP-size) with 47-page book, 137 tracks. Playing time approx. 725 mns. The third German Jazz Festival in 1955 was a four-day event that featured nearly 30 groups and soloists. It was recorded by Deutsche Grammophon for release on Brunswick, but only parts of it were released on long-deleted EPs. The complete tapes survived though. The 1954 festival was also recorded, but only the portion issued on an EP was saved. Now the surviving portion of the 1954 festival and the entire 1955 festival are issued complete by Bear Family on eight CDs.

Having won acclaim for his recent recordings of French repertoire, Robin Ticciati now turns to the music of Anton Bruckner. Ticciati is well suited to conducting Bruckner with an approach that is both "expansive and revelatory" (The Guardian). Having already performed this work with the Bergen Philharmonic and Vienna Symphony Orchestras, Ticciati returned to Berlin to continue his recording series with the Deutsches Symphonie-Orchester.

Never one to relegate particular instruments to merely supporting roles, Hindemith composed his String Trio No. 1 (1924) with an eye (and ear) toward complete equality among the parts. The Trio is written in an almost constantly contrapuntal texture that makes much use of canon and fugue techniques; virtually the only instances where a homophonic texture is evident are those that mark important structural divisions of the movements. Though much of the music has an atonal feel, Hindemith provides a sense of direction by establishing tonal centers as points of momentary resolution. Typical of Hindemith's music of the early 1920s, the Trio is marked by a bracing, energetic spirit. The String Trio No. 2 strongly contrasts with its predecessor, the String Trio No. 1 (1924), which is marked by a strong feeling of atonality. When Hindemith wrote the present work nearly a decade later, his style had evolved somewhat. The Trio No. 2 is built on standard Classical forms but incorporates Hindemith's personal sense of tonality, in which any note or chord may be related to a given tonal center; the music has a refreshing, non-Romantic sound.

Signum Records present an exciting new collaboration and a debut recording with Leeds International Piano Competition Winner (2015), Anna Tsybuleva, of music by Johannes Brahms together with the Deutsches Symphonie-Orchester Berlin, conducted by Ruth Reinhardt.