Beethoven / Furtwangler - Sym 9 / Wien 31.05.195 - COMPACT DISCS [CD]

(Sym.1) Incha good performance, with a strong feeling of chamber music to it and a remarkable attention to (occasionally exaggeration of) the quieter dynamic markings (Sym.3) Incha much better recorded account of the Third Symphony, is brilliantly played and very vividly characterized. I was particularly struck by Rozhdestvensky's use of solo instead of tutti strings in the slow section (with what justification I have no idea, but it is poignantly effective) and by his powerful dramatization of those huge orchestral recitatives that prepare for the choral finale they are massively and balefully eloquent, qualities that rivals miss by taking them very fast.Inch (Gramophone). Album Tracks 1. I. Allegretto - Allegro Non Troppo 2. II. Allegro 3. III. Lento 4. IV. Lento - Allegro Molto - Largo - Presto 5. I. Allegretto - Allegro 6. II. Andante 7. III. Largo 8. IV. Moderato 'V Pérvoye, Pérvoye Máya'

The at hand presents musical portraits of two influential composers of the Baroque era through a selection from their oeuvre for violin and harpsichord Heinrich Ignaz Franz Biber (1644 - 1709) and Georg Muffat (1653 - 1704). Their first meeting in Salzburg was unfortunately not documented. However, it is known that both talents arrived with differing previous musical experiences before spending years in the service of the Archdiocese of Salzburg. Thanks to economic growth and financial strength in this sovereign Catholic principality, all the arts, including music, enjoyed considerable support. Like in all other Baroque centers, music was an integral part of courtly representation, and in Salzburg, it also became an important channel of communication for the Counter-Reformation. A fabulous violinist, Biber preferred his favorite instrument in his compositions and wrote two sonata collections that belong to the basic repertoire of Baroque solo literature the InchRosenkranzInch or InchMysteryInch sonatas (c. 1674) and the Violin Sonatas (1681). Two pieces from each of these collections can be heard on the album at hand, rounded off with a passacaglia from Georg Muffat's collection InchApparatus Musico-OrganisticusInch, which holds as much significance for Baroque keyboard literature as Biber's collections for the violin mentioned above, and last but not least a unique piece Muffat's only surviving violin sonata. The instruments that meet in this recording come from two worlds Flóra Fábri performs on a harpsichord built in 2015 by Detmar Hungerberg according to Italian models; the violin played by Dóra Szilágyi was built in 1765 by Sebastian Klotz in Mittenwald.

Album Tracks 1. In C