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CX 7454
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CX 7454
GEMMINGEN, E. von: Violin Concertos Nos. 1 and 2 / SPERGER, J.M.: Arrival Symphony (Lessing, Munich Radio Orchestra, Schirmer)

GEMMINGEN, E. von: Violin Concertos Nos. 1 and 2 / SPERGER, J.M.: Arrival Symphony (Lessing, Munich Radio Orchestra, Schirmer)

The Classical Shop
release date: July 2012

Originally recorded in 2012

Artists:

Munich Radio Orchestra


Schirmer, Ulf


Ulf Schirmer

Conductor

Ulf Schirmer

Soloist

Kolja Lessing

Soloist

Record Label
CPO

Genre:

Orchestral & Concertos


Classical

Total Time - 62:37
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GEMMINGEN, E. von: Violin Concertos Nos. 1 and 2 / SPERGER, J.M.: Arrival Symphony (Lessing, Munich Radio Orchestra, Schirmer)

     
Select Complete Single Disc for
     
 

ERNST VON GEMMINGEN

 

Violin Concerto No. 1 in A major

 
1 I. Allegro (Cadenza by Lessing) 15:06
 Ulf Schirmer Soloist
     
2 II. Adagio 6:08
 Ulf Schirmer Soloist
     
3 III. Rondo 6:32
 Kolja Lessing Soloist
     
 

Violin Concerto No. 2 in C major

 
4 I. Allegro moderato (Cadenza by Lessing) 12:06
 Kolja Lessing Soloist
     
5 II. Andantino cantabile 4:44
 Kolja Lessing Soloist
     
6 III. Rondo 4:56
 Kolja Lessing Soloist
     
 

JOHANNES MATTHIAS SPERGER

 

Symphony in F major, "Ankunftssinfonie" (Arrival Symphony)

 
7 I. Andante 9:29
 Ulf Schirmer Conductor
     
8 II. Allegro molto 3:36
 Ulf Schirmer Conductor
 Schirmer, Ulf


In the last movement of Haydn’s Farewell Symphony, one musician after the other disappears, until only 2 violinists are left on the stage as a duo and bring the work to its close.  Sperger regarded Haydn’s idea as so original that he wrote a counterpart to it: the Arrival Symphony.  von Gemmingen was the scion of a Württemberg family of knights. During the years around 1800 he composed 4 violin concertos already pointing far ahead into the romantic era.
 

"...Very strongly recommended."

Jerry Dubins - Fanfare - September/October 2012





*****
This album is to be recommended. Part of the welcome process of rediscovery of classical and romantic period concertos and symphonies which fell into obscurity, it is a credit to CPO – well known for their continuous stream of such releases. These are simply delightful concertos which have been compared stylistically with those of Viotti, Mozart, Beethoven, Spohr and even Schubert. I was actually struck by the similarity of their jaunty Rondos to some of the piano concertos of John Field and of Hummel, so these are not to be regarded as minor, nor as lightweight releases. Lessing plays them with confidence, empathy and plain old fun! The cadenzas which contribute to the length of the first movements are skilful and appropriate. Schirmer and the Munich orchestra are in good form and give first rate accompaniment. The quality of the recording is fully up to CPO’s usual standard, with exceptional clarity, even to the point of hearing the intake of breath before certain entries by the soloist. I am not sure I like that and would think that the placing of microphones with current technology could surely get the instrument without the breath! I am not a fan of singalong Glenn Gould recordings either. However, it is a small quibble on a fine release. A more major quibble is the lack of accompanying documentation with the download from Classicalshop.net. It is good to see the increase in labels now presenting downloads and CPO is fairly new to the game, but with over half of classical music sales now in the form of downloads (if the industry magazines I read are correct) one should be able to expect a pdf of the excellent booklets which always accompany CPO physical releases, or even the text copied on to the notes tab. CSN please pass on the message. We downloaders are a major part of the market and deserve to be treated fairly. The filler from Sperger is an amusing little riposte to Haydn’s Farewell Symphony, only in this case it is an Arrival Symphony with the orchestra building up on stage from an initial duet. A pleasant thirteen minutes but not the point of this release. Ernst von Gemmingen (1759-1813) was a Wurttemberg nobleman, very interested in music. These concertos, and apparently another two (waiting patiently CPO) were discovered only in 1994 in autograph form among the family papers. So far, there is no news of any other music of significance by him. We can but hope. It really is astonishing that such discoveries are still being made and that such beautiful music can still be freshly brought to the listening public. These would go down a treat in the concert hall to counter balance some more heavy weight content.
B Duffy