A study of Viennese-born composer Ernst Krenek's prodigious output is rather like a study of twentieth century music in microcosm. Krenek moved with ease through the various aesthetic and stylistic changes that marked that turbulent century, taking what he considered the best features of each and fusing them into a new language all his own. Born in August of 1900, Krenek began musical training at the age of 6, and later studied privately with Franz Schreker in Vienna before enrolling for formal training with the same at the Berlin Conservatory in 1920……
Krenek’s Karl V is the kind of opera that can be appreciated on several different levels. (…) Remarkably, it’s the earliest large-scale opera to use the 12-note system, though Krenek triumphantly refutes the notion that adherence to this technique inhibits creativity and emotional power. The composer’s widow has claimed that this performance, recorded in connection with the Beethoven Festival in Bonn last year, is by far the finest she has ever heard. With wonderful singing from David Pittman-Jennings as Karl and superb commitment from conductor Marc Soustrot and his fine orchestra, there is little reason to disagree with this verdict.
”… an outstanding project of landmark proportions…MDG has produced an excellent warm, intimate, life-sized recording. The composer provides his customarily thorough and enlightening notes … Highly recommended.” (Fanfare)
The Cello Concerto No.1 in C Major, Hob. VIIb/1, by Joseph Haydn was composed around 1761–1765 for longtime friend Joseph Weigl, then the principal cellist of Prince Nicolaus's Esterhazy Orchestra. The work was presumed lost until 1961, when musicologist Oldrich Pulkert discovered a copy of the score at the Prague National Museum. Though some doubts have been raised about the authenticity of the work, most experts believe that Haydn did compose this concerto.
No-one has done more for the cello than Mstislav Rostropovich, or Slava as he was widely known. As well as being arguably the greatest cellist of the twentieth century, he expanded and enriched the cello repertoire by the sheer force of his artistry and his personality and composers lined up to write works for him.