do.gma chamber orchestra - Shostakovich: Dogma No. 3 the Shostakov - SUPER-AUDIO CD [Super Audio CD (SACD)]

Details 1. Rounds, for String Orchestra Allegro, Molto Vivace 2. Rounds, for String Orchestra Adagio 3. Rounds, for String Orchestra Allegro Vigoroso 4. Suite for String Orchestra in E Major, Op. 63 Praeludium. Allegro Comodo 5. Suite for String Orchestra in E Major, Op. 63 Pizzicato Und Adagietto. Capriccioso. Allegretto 6. Suite for String Orchestra in E Major, Op. 63 Fuge. Allegro Giusto 7. Serenade, for String Quartet or String Orchestra, Op. 1 Un Poco Adagio 8. Serenade, for String Quartet or String Orchestra, Op. 1 Andante Con Moto 9. Serenade, for String Quartet or String Orchestra, Op. 1 Dance. Allegro Giocoso 10. Symphony No. 5 ('Symphony for Strings') Molto Agitato Ed Energico 11. Symphony No. 5 ('Symphony for Strings') Larghissimo 12. Symphony No. 5 ('Symphony for Strings') Presto 13. Adagio for Strings (Or String Quartet; Arr. from 2nd MVT. of String Quartet), Op. 11

The second installment of the dogma chamber orchestra's ambitious Mendelssohn project this time the program includes a special triad with Symphonies Nos. 4 to 6, plus the Violin Concerto in D minor with the wonderfully versatile Viviane Hagner as soloist. With this entertaining program, one can listen to a great genius growing, for the 6th symphony at the latest fires the young Felix from the baroque models right up to the height of his time. But even the beginning is ambitious the 12-year-old prodigy opens his C minor symphony with a Grave introduction based on the old French model; deep contrapuntal seriousness pervades the first movement, which is followed by an almost ethereal Andante that evaporates at the end. The unclouded finale, which - as in all three symphonies - follows attacca, is all the more powerful. In the E-flat Major Symphony, the young Mendelssohn takes an enormous step forward. The baroque gesture recedes in favor of a genuinely classical tonal language; the two trios in the minuet middle movement provide solo tasks for basses and violas, and the rapid guttural finale in prestissimo leaves audience and players breathless. Mendelssohn learned to play the violin from the only slightly older Eduard Rietz. Rietz's influence is clearly audible in the D minor Violin Concerto, especially in the echoes of contemporary French virtuoso literature. Viviane Hagner celebrates the typical variety of strokes with relish and audible pleasure, which reaches it's exuberant climax in the lively Rondo. Details 1. Sinfonia IV C minor~Allegro 2. Sinfonia IV C minor~Andante 3. Sinfonia IV C minor~Allegro Vivace 4. Sinfonia V B flat major~Allegro Vivace 5. Sinfonia V B flat major~Andante 6. Sinfonia V B flat major~Presto 7. Sinfonia VI E flat major~Allegro 8. Sinfonia VI E flat major~Menuetto 9. Sinfonia VI E flat major~Presto 10. Concerto for V

Felix Mendelssohn Bartholdy composed twelve symphonies for string orchestra - he was just at confirmation age. The dogma chamber orchestra is now presenting this youthfully fresh music for the first time in it's entirety, along with the five solo concertos with string accompaniment which were written at the same time. The symphonies one to three mark the beginning, as well as the virtuoso Piano Concerto in A minor with Herbert Schuch on the piano. Possibly the symphonies were written as InchhomeworkInch for the lessons with Carl Friedrich Zelter. He must have been very satisfied, because he proudly presented his pupil to his friend Goethe, who in turn put the boy on a par with Mozart. In fact, however, it was probably more likely that Carl Philipp Emanuel Bach was the godfather with his Inchsensitive styleInch, as can be heard in the expressive voice leading and the almost romantic expression in the slow movements. Even though the first three symphonies are short in duration throughout, it seems as if an irrepressible will to explore the expressive potential of the music is trying to break through. The much larger piano concerto, on the other hand, is based on the contemporary virtuoso literature, including a breathtaking stretta in the final rondo. Herbert Schuch is the ideal instrumentation for this work, whose sonically beautiful middle movement contains many a dreamy episode. The agile dogma chamber orchestra, led by Mikhail Gurewitsch from the concertmaster's desk, is in top form here far more than just accompanying, the ensemble let's the carefree nature of the music run it's course, both concertante and symphonic. A Mendelssohn experience that one does not want to wait too long to continue. Details 1. Sinfonia I C major~Allegro 2. Sinfonia I C major~Andante 3. Sinfonia I C major~Allegro 4. Sinfonia II D major~Allegro 5. Sinfonia II D major~Andant