In this first complete survey of the Boccherini symphonies, Johannes Goritzki's achievement is remarkable. Himself a cellist, he shows a natural feeling for Boccherini's special combination of galant and classical styles, revealing the music's strengths rather than its weaknesses, making the most of its colour and revelling in its fecundity of invention and easy tunefulness. The playing - on modern instruments - of the German Chamber Academany Orchestra of Neuss is alert, polished and warmhearted, besides showing a nice feeling for Boccherini's delicate Andantinos, which are never sentimentalized. The recording is excellently balanced and has plenty of life and bloom (Penguin Guide To Compact Discs)
Heitor Villa-Lobos is without a doubt Brazil's most famous composer and one of the great creative personalities of the twentieth century. His oeuvre is gigantic in its dimensions and perhaps can be compared only to that of Darius Milhaud, who, by the way, was a close friend of his. In any case, Villa-Lobos was the first to introduce the music of Latin America to the world's concert halls, and influences from this music do indeed abound in his oeuvre. cpo is now presenting the first complete recording of his colossal symphonic work complex in a boxed set of seven CDs at a special low price! The SWR Radio Symphony Orchestra under the American star conductor Carl St. Clair has taken on this enormous task, and the result can only be described as a bravura achievement. You can look forward to an orchestral tour de force operating on the highest level!
Kurt Atterberg's richly romantic, colorful orchestral vistas require excellent recorded sound and a no-holds-barred performance to make their best effect, and both of these symphonies previously have been well served in this regard, the Third by Sixten Ehrling on Caprice, and the Sixth by Jun'Ichi Hirokami on BIS (earlier versions of this latter work by Beecham and Toscanini remain mere historical curiosities).
New Chamber Music by Louise Farrenc
Following the release of her symphonies, our ambitious Louis Farrenc Edition continues with more chamber music by this French composer. Shortly after her first symphony (1841) she composed her first piano trio and performed it herself as the pianist together with two fellow musicians in Paris.
With his symphonies the Danish composer Rued Langgaard offered 16 vastly different versions of what a symphony can be. His captivating, complex genius made room for all conceivable idioms and a wealth of styles ranging from the grandiosely Late Romantic to the purest Absurdism. This box is the first collected recording of Langgaard's 16 symphonies based on the critical edition of the scores; recordings which demonstrate, with spectacular sound quality, Langgaards masterly grasp of the orchestra and his ecstatic view of art.
Siegfried Wagner had the best musical pedigree that a composer could conceivably have: the son of Richard Wagner and the grandson of Franz Liszt (through Liszt's daughter Cosima). His ancestry proved to be a decidedly mixed blessing, however, as the younger Wagner – despite working in a different musical era – was never fully able to step outside of the long shadow cast by his father, even as he engendered the jealousy of musical rivals. (…) Following Siegfried Wagner's death, the family did its best to suppress performances of his music, casting its lot with the more popular and profitable works of Richard Wagner, and it was only with lapsing of various copyrights, and the formation of the Siegfried Wagner Society in 1972, that his music was made available again, first in concert editions and more recently in full performances.
On his latest cpo CD Korstick dedicates himself to the Argentine composer Alberto Ginastera with great passion and virtuosity. This CD, released on the hundredth anniversary of Ginastera’s birth comprises of the composer’s complete published piano oeuvre – apart from his Piano Sonata No. 2.
You will probably be as incredulous as I was to learn that the greatest cycle of Mahler symphonies comes not from any of the usual suspects - Abbado, Bernstein, Chially, Haitink, Kubelik, Rattle, Sinopoli, Solti, Tennstedt - but from the unsung Gary Bertini, who spent the better part of his career as music director of the Cologne Radio Symphony Orchestra. Unlike any of those more publicized sets, each of which includes a misfire or two, Bertini is consistently successful from first to last; his performance of each of these works can stand comparison with the very best available.
Major documents from Rudolf Kempe's later years at the head of the Munich Philharmonic. Beethoven's Fifth, that masterpiece of emotional tension, and his Sixth, all vivid depiction of nature, are both readings of maturity and perfection.