Heitor Villa-Lobos' two numbered cello concerti come from the opposite ends of his output; the first Grande Concerto dates from 1915 and the second from 1953. In between there is another concertante work, the Fantasia for cello and orchestra, which is contemporaneous with the Bachianas Brasileiras No. 5 for soprano and eight cellos that remains Villa-Lobos' most popular work. In this MD&G issue, Heitor Villa-Lobos: Concertos for Violoncello and Orchestra, cellist Ulrich Schmid is heard with the Nordwestdeutsche Philharmonie under conductor Dominique Roggen in the numbered concertos only, although there easily would have been enough room on the 42-minute-long disc to accommodate the Fantasia as well.
Third release on Ondine by the Austrian star violinist Benjamin Schmid contains fresh arrangements of well-known piano pieces by Shostakovich and Prokofiev for violin and piano. Also included is a suite transcribed from Kurt Weill's iconic ‘The Threepenny Opera'. All the three original works by the composers were written during the 1910s and 1920s.
Marko is in his mid-thirties, has just published his first book, and has been living in Berlin since his university days - far enough away from his parents Gitte and Günter whose bourgeois lifestyle he could never quite get used to. He visits them once or twice a year, mainly to give them a chance to spend a few days with their grandson.
An epileptic girl suffers a breakdown during her first year at university, then decides to seek help from a priest in battling the troubles associated with her strict upbringing.
…Tanski’s talent makes the Variations de Concert an enjoyable closer. In this, the aria “Io son ricco e tu sei bella” from Donizetti’s Elisire d’Amore is given the usual 19th century virtuoso treatment by Henselt, but Tanski never gives in to flash. He evokes a broad range of emotions, always managing to keep things from becoming kitsch. By himself, Tanski is worthy of a warm recommendation…