Krenek’s Karl V is the kind of opera that can be appreciated on several different levels. (…) Remarkably, it’s the earliest large-scale opera to use the 12-note system, though Krenek triumphantly refutes the notion that adherence to this technique inhibits creativity and emotional power. The composer’s widow has claimed that this performance, recorded in connection with the Beethoven Festival in Bonn last year, is by far the finest she has ever heard. With wonderful singing from David Pittman-Jennings as Karl and superb commitment from conductor Marc Soustrot and his fine orchestra, there is little reason to disagree with this verdict.
”… an outstanding project of landmark proportions…MDG has produced an excellent warm, intimate, life-sized recording. The composer provides his customarily thorough and enlightening notes … Highly recommended.” (Fanfare)
After their Gramophone Award-winning debut recital of songs by Beethoven, and a double album of Hugo Wolf’s ‘Mörike Lieder’ (with Joan Rodgers), Stephan Genz and Roger Vignoles return to Wolf for the much less well-known early songs to texts by Heinrich Heine and Nikolaus Lenau. It is likely that these little-known songs were recorded here for the first time.
Das Werk Ernst Cassirers gilt als eine der größten philosophischen Leistungen des 20. Jahrhunderts. Die im Fokus seines Lebenswerks stehende Philosophie der symbolischen Formen sowie die interdisziplinär betriebenen Forschungen zur Geschichte der Philosophie und zur Geistesgeschichte sind grundlegend sowohl für die Kulturphilosophie als auch für die Kulturwissenschaften.