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#bruckner24 Symphony #4 (1888) 'Romantic'
ORF VIENNA RADIO SYMPHONY ORCHESTRA · MARKUS POSCHNER
Bruckner’s frantic revisions of his symphonies Nos. 3, 4, and 8 were borne out of his disappointment with Hermann Levi rejecting the original version of the 8th symphony. Helping in this large-scale revamping effort were former Bruckner-students Franz and Joseph Schalk, Ferdinand Löwe, Max von Oberleithner, and Cyrill Hynai, which resulted in these versions’ reputation – and especially that of the last version of the 4th – being varnished as something not quite Echt-Bruckner. It wasn’t until the discovery of photographs of the 1888 version’s manuscript score and the subsequent publication of Benjamin Korstvedt’s edition thereof that it became clear: This late edition really did reflect Bruckner’s intentions. To ears familiar with the still better-known 1881 version, the result might sound mystifying, even troubling, but it also surprises with many particularly exquisite passages!
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Nino Rota: Il cappello di paglia di Firenze
Buszewski · Miyus · Brull · Chor der Oper Graz · Grazer Philharmoniker · Daniele Squeo
“Look, when they tell me that in my music I am mainly concerned about bringing a bit of nostalgia and lots of good humor and optimism, well, I think that’s exactly how I’d like to be remembered: With a bit of nostalgia, lots of optimism, and good humor.” If only we listen to enough of his music (and not just his film music), Nino Rota’s wish should well come true. Not the least, if we lend our ears to his third (of ten) and most popular opera, the snappy Florentine Straw Hat (Il cappello di paglia di Firenze), which Rota wrote in Bari, after the War ended, and orchestrated a decade later for its premiere in Palermo.
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Kapustin: Piano Concerto No. 5
Frank Dupree · Adrian Brendle · Rundfunk-Sinfonieorchester Berlin · Dominik Beykirch
When the music of Nikolai Kapustin was discovered by a wider audience in the West, it was positively shocking: Who was this Soviet (!) composer, whose music sounded more like an Oscar Peterson improvisation than anything else – but who wrote detailed scores, black with notes?! As we discover more and more of his music (and there’s so much more yet to discover!), a very distinct, always wholly charming voice emerges, whether in a freewheeling outright-jazzy work like his Concerto for 2 Pianos and Percussion, the more symphonic Fifth Piano Concerto, or the frisky Sinfonietta which transports us into a smoky 1940s bar in Manhattan.
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Strauss: Complete Music for Wind Instruments
Members of Staatskapelle Berlin · Gregor Witt
As the Staatskapelle Berlin begins to look for its next music director (only the fourth since 1955!), this release finds the band’s own winds turning to Richard Strauss, who held the job some 110+ years ago. Together, they recorded their old chief conductors’ complete music for winds, including rarities like the Sonatinas “From an Invalid’s Workshop” and “The Happy Workshop” which Strauss dedicated to Mozart. Covering Strauss’ very early and very late creative output, the four pieces (plus the Eulenspiegel arrangement), give a fascinating insight into the development of Strauss, a horn player’s son.
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NINO ROTA
Peristerakis · Sobol · WDR Funkhausorchester Köln · FELIX BENDER, MICHAEL SEAL, conductor
When Toscanini encouraged Nino Rota to study at the Curtis Institute, where instructions by Fritz Reiner and a friendship with Aaron Copland awaited the precocious composer, it was already clear he would have a massive career. Only the direction wasn’t certain yet. It turned out to be classical music and film music, the former informing the latter. Notable when you listen to the delicious waltz Rota from War & Peace or the darkly humorous snippets from the very apropos Orchestra Rehearsal. And while the de-facto horn concertino Castel del Monte, inspired by King Frederick II’s famous medieval castle in southern Italy, isn’t technically film music, it very much sounds like music to a fantasy film of Rota’s imagining.
