"…All three works are superbly played here by the brilliantly nimble Stefan Schilli, and Mariss Jansons and the Bavarian orchestra give him vivid support. I cannot think of a more enticing triptych of modern oboe concertos from any other source." ~Grammophone
The 6th Symphony of Anton Bruckner was recorded live for SACD in December 2013 at two concerts in the Hamburg Laeiszhalle. Here, too, critics were unanimous in their enthusiasm, as could be read in the Hamburger Abendblatt of 16 December 2013.
Mahler’s Resurrection has been much recorded in recent years, so much so that new versions prompt one to groan inwardly and mutter: ‘Not another one’. Such ubiquity has its price, for any newcomer has to be something out of the ordinary if it’s to have any impact. Of recent releases David Zinman (Sony-BMG), Jonathan Nott (Tudor) and James Levine (Orfeo) definitely belong in this category; Vladimir Jurowski (LPO) and Markus Stenz (Oehms) manifestly don’t. And now Oehms are taking another bite out of the cherry, with the Hamburg orchestra led by their chief conductor Simone Young. Curiously, this was recorded at around the same time as the Stenz Mahler 2, which seems extravagant in this already overstocked field.
Two particularly spectacular personalities of the Baroque period, which was not short of exciting figures: Antonio Veracini, violin virtuoso, teacher and composer in Florence. Although he was a highly respected musician and teacher in his own time, only few of his works have survived. His nephew Francesco Maria, to whom he taught violin and composition, was a completely different type.
The world premieres of Iolanta and The Nutcracker took place on 18 December 1892 at St. Petersburg’s Mariinsky Theatre. “The execution of both,” wrote the composer to his brother Anatoly the next day, “was magnificent, and that of the ballet perhaps too magnificent – its brilliance made one’s eyes tired.” Gustav Mahler conducted the first performance of the one-act opera outside Russia on 3 January 1893 in Hamburg and also directed the Viennese premiere of Iolanta on 22 March 1900.
Michaela Schuster, the wonderful singer, explores the beauty of the romantic Lied literature on this programme wiuth sensitivity and enthusiasm, together with the empathetic Markus Sclemmer. This recording was made in the dreamlike atmosphere of the Eppan Lied Summer Festival, in which it is not difficult to sense the inspiration from this location and atmosphere.