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Z. NOSKOWSKI
DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ · ANTONI WIT
Although he had famous students (i.e. Szymanowski) and teachers (Moniuszko), few listeners know much, if anything, about Zygmunt Noskowski. And yet, for most of the 19th century, he was the primary exponent of modern symphonic music in Poland. His Third Symphony and his symphonic poem Steppe, Op. 66 blend sweeping Romanticism with Polish folk spirit. The symphony’s seasonal journey is lush and lyrical, starting with spring and ending with the optimistic outlook to the next. Steppe evokes Poland’s vast landscapes with Borodinesque colors. Under Antoni Wit, these overlooked gems shine anew and make for intriguing listening for lovers of melodic symphonic music.
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DMITRI SHOSTAKOVICH - Jazz Suites
Rundfunk-Sinfonieorchester Berlin · Steven Sloane · MDR Sinfonieorchester · Dmitrij Kitajenko
Dmitri Shostakovich is first and foremost known for his symphonies and string quartets – works that contain some humor, but even more darkness, brooding, and desolation. But there is the jaunty side of the great composer, too, and nowhere does it come to its cheerful fore than in these works, the Jazz Suites, the Tahiti Trot, and his Ballet Suites. This set, accompanying Capriccio’s boxes of Shostakovich’s Symphonies, Film Music, Orchestral Songs, and Chamber Music, is rounded out with two concertos. In the playful Piano Concerto, that humorous side comes through in the many quotations of songs, own works, and Beethoven. Only the grim Violin Concerto, held back, like the 4th Symphony, for fear of retribution, offers no smile.
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Charles Koechlin
Patricia Petibon Württembergische Philharmonie Reutlingen · Ariane Matiakh
It took almost 100 years for Charles Koechlin’s First Symphony to get a proper recording and over a year for Ariane Matiakh to prepare the material. After her highly praised recording of Koechlin’s Seven Stars Symphony (C5449), this is a much-appreciated further foray into the largely unexplored symphonic world of this fascinating composer, a French Chameleon of sorts, who felt comfortable anywhere between Bachian counterpoint and the heights of French impressionism. The earlier Au loin, Poème symphonique and 3 Mélodies (orchestrated posthumously) round out the scintillating picture.
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Miklós Rózsa
HARRIET KRIJGH · NIKITA BORISO-GLEBSKY DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ · GREGOR BÜHL
This release further explores the rarely performed or recorded concert music of Miklós Rózsa (of Ben Hur fame), coupling his Rhapsody for Cello in which the young composer truly found his style, his Notturno Ungherese (“a nostalgic night piece, harking back to the memories of my childhood in Hungary”), and the late Sinfonia concertante for violin and cello, a fiendishly difficult violin-cello double concerto that is among Rózsa’s finest, least film-music-like concert works – and one of his most underrated. Gregor Piatigorsky and Jascha Heifetz, who instigated its composition, never ended up playing it, but Harriet Krijgh and Nikita Boriso-Glebsky certainly do.
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Emil von Sauer / Conrad Ansorge
OLIVER TRIENDL, piano Rundfunk-Sinfonieorchester Berlin · ROLAND KLUTTIG
THE PUPILS OF FRANZ LISZT
Emil von Sauer and Conrad Ansorge had the privilege of studying under the legendary Franz Liszt. Liszt himself never claimed to be a teacher but rather an advisor. But anyway, for both of them, these lessons with the world-famous composer and pianist influenced and increased their style and extraordinary capabilities. With this recording Capriccio presents two outstanding and unjustly forgotten piano concertos which shows the deep understanding of musical forms and structures and versatility of the Pupils of Franz Liszt.
