EMI brought out the Brahms Symphony in its Great Conductors of the Twentieth Century series where it joined some other famous Scherchen discs – notably Beethoven’s Eighth Symphony, Haydn’s No. 100 in G and Stravinsky’s Firebird review. Scherchen’s live recording of the Kalinnikov with the Czech Philharmonic has formed part of Tahra’s Scherchen sets. So neither of these performances constitutes terra incognita for admirers of this conductor, who will know, only too well, that when Archipel claim that these 24 bit 96 kHz (whatever that is) restorations derive "from the original sources" the truth is nothing of the kind.
The second installment in Sakari Oramo's superb hybrid SACD cycle of the symphonies of Carl Nielsen on BIS presents the Symphony No. 1 in G minor and the Symphony No. 3, "Sinfonia espansiva," two ruggedly independent works that reflect the composer's late Romantic style yet point to the modernism to come. While the Symphony No. 1 was influenced by Brahms and offers a rich harmonic language, propulsive rhythms, and a fairly homogenous orchestral palette, the Symphony No. 3 is striking for its reliance on unfolding counterpoint and long-breathed lines, and most notable for the use of wordless parts for soprano and baritone voices in the pastoral slow movement. These performances by Oramo and the Royal Stockholm Philharmonic Orchestra are exceptional for their stunning power and spacious feeling, though the crisp details and focused sound quality will be the biggest draw for audiophiles.
…In his late years, Wand restricted his repertoire almost exclusively to the symphonies of Anton Bruckner (which he had never conducted until he was over 60), Schubert, Brahms, Beethoven and Mozart. Wand regarded Bruckner as the "most important symphonist after Beethoven". Wand's biographer Wolfgang Seifert believes that "it is no exaggeration to say that Günter Wand has made an indispensable contribution toward the understanding of Bruckner in our time."
"Felix August Bernhard Draeseke was a composer of the "New German School" admiring Liszt and Richard Wagner. He wrote compositions in most forms including eight operas and stage works, four symphonies, and much vocal and chamber music.During his life, and the period shortly following his death, the music of Draeseke was held in high regard, even among his musical opponents. His compositions were performed frequently in Germany by the leading artists of the day, including Hans von Bülow, Arthur Nikisch, Fritz Reiner, and Karl Böhm. However, as von Bülow once remarked to him, he was a "harte Nuß" ("a hard nut to crack") and despite the quality of his works, he would "never be popular among the ordinary"." ~Wikipedia
…got this for the Brahms, which is at best a thoroughly decent performance, nothing more - but the highlight is the excellent Beethoven. The ratings reflect the dichotomy of the two performances and their sonics, an average of 4 for sound seems fair - but the Beethoven warrants a 5 for performance.
Few conductors have made a greater contribution to our present-day understanding of Bruckner than Günter Wand (1912-2002).
This first box includes Bruckner symphonies nos. 5, 6 and 8 in their original or restored versions as well as an elegant, but rarely performed Haydn Symphony and the "Unfinished" symphonies by Bruckner and Schubert. Later, TDK released the second box of 4 DVDs including the popular Bruckner Symphonies Nos. 4 and 7 and symphonic works by Brahms and Schubert.
Continuing his award-winning cycle of works by Felix Mendelssohn, Sir John Eliot Gardiner leads the LSO, his Monteverdi Choir and three talented young actors from the Guildhall in a landmark performance of 'A Midsummer Night’s Dream', which was performed as part of the 400th anniversary of Shakespeare’s death. To mark the celebrations, Gardiner produced a special version of the work featuring some cuts to the original movements that, in his words, "remove all of the music relating to the Mechanicals and thus focus on the world of the fairies and the human lovers". Mendelssohn, who adored Shakespeare’s writings, composed his concert overture based on 'A Midsummer Night’s Dream' in 1827 aged 17, after having read a German translation of the play. The overture was immediately acclaimed as a masterpiece and quickly became a popular favourite throughout Europe. Years later in 1843 he was asked by the King of Prussia to provide a score for an entire production: 14 short works based on themes and moods from the original overture, with a broadly romantic sound although classical in style and structure.