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Octet Op. 156, Nonet In F (Klocker, Consortium Classicum)

Franz Paul Lachner , Dieter Klöcker , Consortium Classicum Audio CD
4.0 out of 5 stars  See all reviews (1 customer review)
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Product details

  • Orchestra: Consortium Classicum
  • Conductor: Dieter Klöcker
  • Composer: Franz Paul Lachner
  • Audio CD (4 Feb 2002)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Cpo
  • ASIN: B00005UVU2
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 632,482 in Music (See Top 100 in Music)

Product Description

CPO 999803; CPO - CLASSIC PROD.OSNABRUCK - Germania;

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A prolific composer and one-time friend of Schubert, Franz Lachner had a long life and career that spanned virtually the whole of the nineteenth century; when he was born, Beethoven's mature masterpieces were yet to be written and when he died the music of Brahms and Bruckner had made its mark on musical life, not to mention that of Wagner and Liszt. Lachner's muse retained its loyalty to the Vienna of the composer's youth and his own symphonies (a genre he abandoned for around the last four decades of his life) and chamber works are very much written in the received tradition, an increasing harmonic sophistication notwithstanding. Of the three Lachner symphonies that have been recorded, the first* is a lively and promising Early Romantic piece, while the fifth and eighth (his last) suggest a sense of routine had set in and rely too much on clichéd gestures without the freshness of invention to rejuvenate them; all in all, if there is to be a significant Lachner renaissance - and there has been a minor one over the last decade or so - the music I have heard suggests he is at his best in the chamber genres.

These two ensemble pieces, to my ears at least, count among the most attractive of his chamber works and display a consistent level of melodic and harmonic resourcefulness throughout. As he had already displayed in his septet of 1824**, he is particularly talented at scoring what could have been rather unwieldy complements of instruments in less gifted hands and the instrumental parts are gratefully balanced and differentiated.
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