These first complete recordings of the string quartets of Schoenberg, Berg, Webern and Zemlinsky have won numerous international awards and been hailed as landmarks in the discography of 20th-century music. Impeccable ensemble, superbly blended timbre and pure intonation ….This set [Schoenberg, Berg, Webern] is indeed a wonderful achievement (MusicWeb International). Febrile intensity and faultless proportioning of each formal structure [Zemlinsky] (Guardian).
Fierrabras is a three-act German opera with spoken dialogue written by the composer Franz Schubert in 1823, to a libretto by Josef Kupelwieser, the general manager of the Theater am Kärntnertor (Vienna's Court Opera Theatre). Along with the earlier Alfonso und Estrella, composed in 1822, it marks Schubert's attempt to compose grand Romantic opera in German, departing from the Singspiel tradition.
Beethoven called Mozart's Requiem "wild and terrible", and that's what we get in Harnoncourt's new recording. Ominous dread hangs from every note of the dark opening measures, the Rex tremendae and Confutatis are driven with terrifying strength, and the supplications of the Lacrimosa, with their weeping stabbings of the orchestra, are freighted with emotional power. The Tuba mirum duet of bass soloist and trombone has a beauty almost never achieved in other readings. Nor does Harnoncourt overstep the stylistic boundaries of this classical-era work; rather, the intensity is heightened for being in the idiom of its time.
Dutch violinist Janine Jansen presents a new album coupling two of the most heart-felt masterpieces of the Viennese romantic repertoire. Schubert’s last and greatest chamber work, the sublime String Quintet in C major, is contrasted with the young Schoenberg’s earliest masterpiece, Verklärte Nacht (Transfigured Night).
Mitsuko Uchida has been a committed exponent of Schoenberg's Piano Concerto for over a decade now. It is a work which remains controversial in its adaptation of the serial method to an almost Brahmsian harmonic palette, wedded to a formal approach that takes up the integrated design, and textural richness, of Schoenberg's pre-atonal works. Certainly in terms of the balance between soloist and orchestra, this recording clarifies the often capricious interplay to a degree previously unheard on disc (and most likely in the concert hall too).Interpretatively, it combines Pollini's dynamism, without the hectoring touch that creeps into the Adagio's climactic passages, and Brendel's lucidity, avoiding the deadpan feeling that pervades his final Giocoso.
This 11-disc set is essential for anyone interested in the music of Arnold Schoenberg. It is the complete Sony "Boulez Conducts Schoenberg" series in a Brilliant-style box without jewel cases. Whether you are just investigating Schoenberg, or looking to complete the series, this is a most welcome release.
A new critical foreword by Walter Frisch, H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University, expands this centennial edition. Frisch puts Schoenberg's masterpiece into historical and ideological context, delineating the connections between music, theory, art, science, and architecture in turn-of-the century Austro-German culture.
…The recording allows the performance to glow, and as atmospheric and airy as it is in stereo, listening in surround from the SACD layer immerses you in the ambience in the most satisfying way. If to you Zemlinsky is famous more for his pupils' achievements than his own, then this will be a revelatory experience, and I know already that it's one of my discs of the year.
Excellent addition to any prog rock music collection.
Although admittedly a posthumous release, I was very surprised at the rather dismissive tenor of many of the reviews of this album to date. Hopefully this record will be reappraised soon as being a release worthy of anyone's consideration as I feel it does enhance an already rich legacy left behind by this very fine and innovative band. (So what if Charisma wanted to ride the slipstream of the lucrative ELP juggernaut?)