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  • Pfitzner/ Schumann: Symphony In C Major/ Konzertstuck For Four Horns (Seattle Symphony; Gerard Schwarz) (Naxos: 8572770)
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Pfitzner/ Schumann: Symphony In C Major/ Konzertstuck For Four Horns (Seattle Symphony; Gerard Schwarz) (Naxos: 8572770)

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Product details

  • Conductor: Gerard Schwarz
  • Composer: Schumann, Pfitzner, Mendelssohn, Brahms, Webern
  • Audio CD (3 Sept. 2012)
  • Number of Discs: 1
  • Label: Naxos
  • ASIN: B008P76VBW
  • Other Editions: MP3 Download
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 173,836 in Music (See Top 100 in Music)

1. Symphony in C major, Op. 46 [Hans PFITZNER] - Various Performers
2. Konzertstück, Op. 86 [Robert SCHUMANN] - Various Performers
3. Die Heimkehr aus der Fremde [Felix MENDELSSOHN] - Various Performers
4. Liederspiel, Op. 89 - Overture [Felix MENDELSSOHN] - Seattle Symphony Orchestra
5. Two Etudes Symphoniques, Op. 13 (orch. Tchaikovsky) [Robert SCHUMANN] - Seattle Symphony Orchestra
6. Hungarian Dances Nos. 5, 6, 11 and 16 (orch. Albert Parlow) [Johannes BRAHMS] - Seattle Symphony Orchestra
7. Langsamer Satz (arr. Gerard Schwarz) [Anton WEBERN] - Seattle Symphony Orchestra

Product Description

The musical expression of German Romanticism is the theme of this disc. The trajectory of Schumanns Konzertstück, Op. 86, written for four horns and orchestra, goes from heroism to introspection. Two of his Symphonic Etudes, Op. 13, were orchestrated by no less a figure than Tchaikovsky, while Albert Parlow orchestrated four of Brahms most exciting Hungarian Dances. Mendelssohns Overture to his Ballad Opera Die Heimkehr aus der Fremde (Song and Stranger) embodies classical virtues. Anton Weberns Langsamer Satz for string quartet has been vibrantly orchestrated by Gerard Schwarz. Hans Pfitzner, one of the last representatives of the movement, is represented by his concise, melodic Symphony in C major.

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This disc is a useful collection of somewhat unusual music. The Schumann is a wondeful exuberant piece which should bubble and convey the joy of making music together,unfortunately this performance hangs fire and simply never gets off the ground.The Mendelssohn is not one of his best overtures and again it gets a reasonable run through but not one that makes the listener sit to attention. T Schumann Etudes are interesting but no more, goodnes knows what Tchaikovsky was thinking when he was compelled to pen this work! Likewise the Brahms dances are reasonably smart but are better served elsewhare, Talich, Kubelik and Ancerl to name but three..The Webern is a very useful addition to the catolouge a welcome addtion to better understanding of this composer. This writer knows Pfitzner mainly as a conductor of Beethoven and this present symphony makes a pleasant surprise! .It is hard to see this work becomming part of mainstream repitoire but it does encourage one to seek out more from thi s composer
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Amazon.com: 1 review
A stunning and unexpected discovery 7 Aug. 2014
By Fiddler - Published on Amazon.com
Format: Audio CD Verified Purchase
The major surprise of this anthology is not the rarities such as the Pfitzner (which is the reason I purchased this CD in the first place) nor the Mendelssohn overture, but Gerard Schwarz's stunning, revelatory arrangement and performance of the early Anton Webern work, "Langsamer Satz" ("Slow Moment") from his uncompleted string quartet of 1905.

Schwarz not only re-scored the work for string orchestra (including double basses), but he has slowed the tempo considerably compared to previous chamber performances. Much in the manner of Celibidache, Schwarz has created a new perspective on the piece, one so fundamentally different that it has begotten a wholly new object, a different experience of the same form. The combination of massed string sonorities (rendered magnificently by the Seattle Symphony) and a true Adagio tempo transforms this modest, intimate expression of love into something vast, rapturous and seraphic, connecting the work to the great late Romantic adagios of Mahler and Schoenberg's "Verklarte Nacht." Listening to Schwarz's conception, one feels like he has miraculously brought to life a lost masterpiece from fin-de-siecle Vienna.

There is a wonderful episode towards the end of the piece when the violins and celli call across to one another while the violas sing the work's chorale melody, and the fragmentary, elliptical dialogue between the sections plays like the tenderest, most intimate whispers of two lovers as they contemplate a night sky revolving ever so slowly on its axis. This may not necessarily be the expressionistic tableau, in the manner of "Verklarte Nacht," that Webern intended, but Schwarz sure makes you believe it was meant to be heard that way. I'm very happy to accept his terms.

This remarkable performance is also included on the Schwarz/Seattle anthology, "Transformations for Strings."
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