Eugen Muntz

When d’Albert appeared in 1881 at one of Hans Richter’s concerts in London he played his own Piano Concerto in A, but the work was never published and has not survived. However, from a review in The Musical Times of November 1881 we can reasonably deduce that the Concerto had the traditional three movements. The reviewer stated that it was ‘uncompromising in its pretensions to rank with the chief of its kind; largely developed, ambitious in style and character, and rigidly observant of classical form, while redundant in matter’.

With "Bucharest 1994", IN+OUT Records presents a very special live event by Eugen Cicero, who has created something unique in his mediation between classical music and jazz standards. This is the first concert with exceptional bassist Decebal Badila, which layed under lock and key for 28 years. The album contains both entertaining, technically demanding and documentarily indispensable material.

Eugen Jochum conducts the Amsterdam Concertgebouw in Bruckner's Symphony No.5, a gigantic musical cathedral and a masterpiece of counterpoint. Everything is prayer, everything is contemplation, everything is a state of grace. With this concert performance on May 30, 1964, Jochum set the bar for this ''Katholische Sinfonie." The recoding also includes his reading of the composer's Te Deum, leading the Berlin Philharmonic.

Eindringliche, außerordentlich dynamische Differenzierungskunst.​ Die beiden Chöre, die Solisten und das Orchester bilden jeweils eine glückliche Einheit.​ Ein wichtiges Vermächtnis.​ (FonoForum)

Bruckner dedicated his final symphony to God. Bruckner died over the final movement, so recordings consist of three movements at just over one hour length. The solemn Adagio stands at the end, the culmination point of this symphony. Another movement would be unimaginable after this deep meditation. From here to Mahler it is only a stone's throw away. The Adagio of Mahler's No.9, who also placed the slow movement of his last symphony at the end, is clearly related to this one.

Scots-born composer Eugen d'Albert established his career in Germany, considered himself a German composer, and his 21 operas (written in German) are saturated with the musical language of Germanic post-Romanticism. Der Golem (1926) came from late in his career, and while its Frankfurt premiere was considered a success, it has not held the stage. This MDG recording comes from a first-rate production at Theater Bonn in 2010. The opera is skillfully written, but the recording confirms the judgment of history: Der Golem is just not an especially compelling piece, either musically or dramatically.

This album by gifted Romanian pianist Eugen Cicero was recorded during Hungary's Debrecen Jazz Days in September 1978, but the tapes remained in the archives until 2004 when a Slovenian collector discovered them…