Gerhard Vielhaber - Maximilian Hornung: Cello - COMPACT DISCS [CD]

Bruckner's Fifth is eminently suited to an arrangement for performance on the organ above all because of it's musical texture. In no other Bruckner symphony, for example, does counterpoint play such an important part. I am thinking in particular of the great fugue in the final movement. It really does seem as if many passages of this magnificent work were composed as if with the organ in mind, even though the Fifth is not a piece for organ at all, being in the first place a symphonic work. And yet it lends itself admirably to the extraction of a compositional substrate with no loss of essential content. That cannot be said of all Bruckner's symphonies. Of all his symphonies, in my opinion, the Fifth, Eighth and Ninth are most amenable to an arrangement for organ. Building on the compositional core, it is the orchestral treatment above all that plays a key role. If this is lacking, an arrangement of the work can deprive the work of it's grandeur. That is again at risk if one attempts to copy the orchestra or to transpose certain orchestral effects one-to-one onto the organ. Such an approach is generally unsatisfactory, because organ writing is governed by different rules than those applying to orchestral scoring. It would be fatal to make the organ rival the orchestra. My aim from the start was to avoid imitating the orchestra and to create a work specifically for organ in the manner of an organ symphony. Gerd Schaller

Two historic recordings with famous conductor Karl Bohm and the Swiss/Hungarian pianist Geza Anda. The Mozart concerto dates from 1974 and marks the artist's last appearance with orchestra in Salzburg.

I solisti di Pavia was founded about twenty years ago and nowadays can be seen as a stable and affirmed ensemble in both the Italian and European music scenes. Along with their leader, Italian cellist Enrico Dindo, the group has become internationally renowned. This ensemble presents a Chamber repertoire which runs from the XVIII Century to present day giving to the audience an interpretation which joins accurate historical performance practice with a fresh and lively musicality. In this album Enrico Dindo and the ensemble Solisti di Pavia present some of the most famous works for cello from Max Bruch Kol Nidrei (opening the album) to Saint-Saëns Le Cygne. Album Tracks 1. Kol Nidrei, Op. 47 2. Rondo, Op. 94, B. 181 3. From the Bohemian Forest, Op. 68, B. 182, No.6, Klid 4. 4 Lieder, Op. 82, B. 157 No. 1, Lasst Mich Allein 5. Chant Du Ménestrel, Op. 71 6. Ave Maria 7. Oblivion 8. Requiem in F-Sharp minor, Op. 66 9. 14 Romances, Op. 34 No. 14, Vocalise 10. Le Carnaval Des Animaux, R. 125 XIII. Le Cygne