Manze Ndr Radiophilharmonie - Symphonies 5 & 7 - SUPER-AUDIO CD [Super Audio CD (SACD)]

Various Artists - Pays Mikea [COMPACT DISCS] date 09/19/1997

The NDR Philharmonie and Andrew Manze continue their exploration of Mozart's late orchestral works with a recording of the composers 38th and 39th symphonies. Nicknamed after Prague, where it was first performed in 1787, the 38th shares with it's successor a solemn, InchRomanticInch slow introduction to the first movement, followed by lighter music that shares a kinship with the playful arias and ensembles of Le nozze di Figaro and Don Giovanni, composed in the same period. By playing all repeats, Manze underlines the ambitious, expansive character of these works, but the NDR Radiophilharmonie never drags, offering the same energy and sense of urgency as in their acclaimed interpretation of Mozart's 40th and 41st symphonies, released in 2019. In their collaboration, Andrew Manze brings his experience in the field of historically-informed performance to the polished symphonic sound of the NDR Radiophilharmonie, resulting in a prize-winning complete cycle of Mendelssohn symphonies (2017-2018), as well as highly-praised interpretations of Mozart's 40th and 41st symphonies (2019) and Beethoven's 5th and 7th symphonies (2020), all released on PENTATONE.

Emilie Mayer was one of the very few successful female composers of her time. The Mecklenburg-born composer was also referred to as the 'female Beethoven'. On our second symphony album, Emilie Mayer opens up a new facet of her compositional spectrum by exhibiting classicistic tendencies clear and transparent outlines, regular periods in the formation of themes, no formal experiments. The additional name InchMilitairInch refers to the use of piccolo, triangle, cymbals and bass drum in the final movement. All we know about her seventh symphony is that it was probably composed by 1856 it is fair to say that Emilie Mayer draws in this symphony the sum of her previous experience with the composition of symphonies large-scale tension-building, such as she practiced in the opening movement of her second symphony, with the classicistically clear formal language that her third symphony exhibits. At the same time, the motivic integration is so dense that the boundaries between thematic and non-thematic formal sections become blurred. More masterpieces by one of the most important female representatives of 19th century Central European music.