Faust is a grand opera in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré from Carré’s play Faust et Marguerite, in turn loosely based on Johann Wolfgang von Goethe’s Faust, Part 1. It debuted at the Théâtre Lyrique (Théâtre-Historique, Opèra-National, Boulevard du Temple) in Paris on March 19, 1859...
Goethe's Faust is one of the highest peaks of German Romantic poetry, and fascinated composers across Europe: Berlioz, Liszt and Gounod were just some of the many entranced by its visionary power. Schumann too set what he called "Scenes from Goethe's Faust, but he made a point of selecting excerpts rather than using a libretto, focusing more on Part 2 of the play. The result is a work of astonishing passion, which includes some of the most dramatic music Schumann ever wrote, and some of the most beautiful as well, embracing elements of oratorio, opera, song and orchestral poem. Antoni Wit's recording has been acclaimed for "tempos which flow with unforced naturalness and real excitement".
Aleksandr Lazarevich Lokshin was a Russian composer of classical music. He was born on September 19, 1920, in the town of Biysk, in the Altai Region, Western Siberia, and died in Moscow on June 11, 1987. An admirer of Mahler and Alban Berg, he created his own musical language; he wrote eleven symphonies plus symphonic works including "Les Fleurs du Mal" (1939, on Baudelaire's poems), "Three Scenes from Goethe's Faust" (1973, 1980), the cantata "Mater Dolorosa" (1977, on verses from Akhmatova's "Requiem"), etc. Only his Symphony No.4 is purely instrumental; all other symphonies include vocal parts.From Wikipedia
Few violinists can move between a modern instrument and a period one with such ease—not to mention with such an idiomatic approach to so many styles of music—as Isabelle Faust. Following her award-winning set of the Mozart violin concertos, the German is joined by the ever-stylish keyboard player Kristian Bezuidenhout for Bach’s sonatas for violin and harpsichord. Both instruments sound magnificent, and these two great players bring breathtaking invention and imagination to the six sonatas. The humanity and warmth of Bach’s music is extraordinary, especially when played with the passion and flair encountered here.
In response to a commission from Count Troyer, who wanted a work closely modelled on Beethoven’s famous Septet op.20, Schubert – despite his fervent admiration for the older composer – resolutely struck out on his own by delivering an . . . Octet. While the enlarged forces opened his path towards symphonic writing, examination of the form and expression reveals a much more accomplished and personal composition than has generally been recognised by commentators. Isabelle Faust and her partners, enthralled by what is an exceptional work in every respect, offer us a new interpretation of it on period instruments.
Decca's Ultimate Ballet: The Essential Masterpieces is a budget box set of five discs covering the major dance works in the classical repertoire; newcomers to the genre can quickly pick up the basics from this generous collection. One can argue that Tchaikovsky should have been allotted greater space and that at least one of his ballets should have been presented in its entirety, rather than all three represented as suites and squeezed together on disc 1 to make room for Delibes' complete Coppélia. The Nutcracker, for example, could have fit nicely on a single CD, or an extra disc could have been provided to accommodate either a complete Swan Lake or Sleeping Beauty.
This release has been sourced from the Richard Itter archive. The collection is very important for collectors because it has never been released before onto the market. Beecham caught 'live' often showed the mercurial side of his character and no performance was the same, either in the studio or in the concert hall. David Patmore confirms this in his booklet essay: 'What Beecham sought at all times was freshness, and his unpredictability was a way to achieve this'. So here we have different and valuable alternatives to the studio performances. All the performances included here are from Beecham's final years, between 1954 when he had fully established the Royal Philharmonic Orchestra and himself as central figures in England's musical life, to 1959 where he conducted extraordinarily memorable accounts of Haydn's Symphony No.101 and Brahms' Symphony No.2.
Here's a promising setup: start with the legendary, inimitable Krautrock outfit Faust and get the equally idiosyncratic Nurse With Wound to produce and mix. Faust was among the most adventurous and creative German bands of the 70s, and after disappearing for a decade and a half, they reunited in the 90s and made several startlingly good albums. Today, drummer Werner 'Zappi' Diermaier and bassist Jean-Hervé Peron are the only original members, joined by Amaury Cambuzat from the band Ulan Bator. Nurse With Wound, formed three decades ago, is the brainchild of Steven Stapleton, now augmented with Colin Potter; NWW recordings are notoriously varied, often sprawling, haunting, and strange, with a love of musique concrète and disquieting sounds…