One of the most grown-up review sites around

2019
51,000 reviews
and more.. and still writing ...

Search MusicWeb Here

     
  
 

 

International mailing


  Founder: Len Mullenger             Editor in Chief: John Quinn               Contact Seen and Heard here  

Some items
to consider

TROUBADISC

colourful imaginative harmony
Renate Eggebrecht violin

Brahms Symphony 3
Dvorak Symphony 8
Vivaldi
9 cello sonatas
Dussek
Piano Music

Clara Schumann
piano concerto

Asmik Grigorian

Breathtaking Performance
controversial staging
Review Westbrook
Review Hedley n/a
Every lover of Salome should see this recording
Mullenger interpretation

Vraiment magnifique!


Quite splendid


Winning performances


Mahler Symphony 8
a magnificent disc


a huge talent


A wonderful disc


Weinberg Symphonies 2 & 21
A handsome tribute!


Roth’s finest Mahler yet


Mahler 9 Blomstedt
Distinguished performance

 


Support us financially by purchasing this from

Albert LORTZING (1801-1851)
Overture Regina [6:20]
Overture Zar und Zimmerman [6:21]
Harmoniemusik Der Wildschütz [43:55]
Arranged for winds by Andreas N. Tarkmann
Stuttgart Winds
rec. 2017, Ludwig-Hofacher-Kirche, Marbach-Rielingshausen, Germany
CPO 555 045-2 [56:36]


Lortzing is now remembered for little else other than his two comic light operas, Zar und Zimmerman and Der Wildschütz, and even then, his fame and occasional performances are both largely confined to within German borders.

The “Harmoniemusik”, presented in the notes here by composer, author and university lecturer Andreas Tarkmann, is an arrangement and transcription by him for wind instruments of a compilation of Lortzing’s genial melodies from Der Wildschütz. The preponderance of German dialogue and emphasis upon verbal humour typical of “Spieloper” means that it makes sense to appeal to a wider audience by replacing the human voices with those of wind-players drawn from the SWR Symphonieorchester, creating dialogues and ensembles, colouring and ornamenting them appropriately.

The sonorities and textures Tarkmann engineers here are very satisfying, the sound and balance are ideal. Only ten instrumentalists often sound like a bigger band without losing clarity and their first-rate playing is warm and homogeneous.

Although the reverse cover shows the Wildschütz music as belonging only to track 3, in fact there are ten tracks listed in the booklet, each with a sub-title linking it to the action of the opera, such as no. 10, “Arie: Fünftausend Taler”, so there is a clear programmatic element for those interested, but there is no need to have any familiarity with the opera itself to appreciate the bubbling stream of tunes. This is charming, good-humoured music, nothing profound but very well crafted and judiciously arranged. Nor is it all “oompah” or “G & S auf Deutsch”; no. 7, for example, contains a soulful oboe lament lifted and transposed down a tone from the duet “Bleiben soll ich”, whose lovelorn tenor line is so wistfully sung by Fritz Wunderlich in the recording conducted by Robert Heger on EMI. My only complaint is that even with two supplementary overtures, running time is rather short at 56 minutes.

Ralph Moore



We are currently offering in excess of 51,000 reviews


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical


Nimbus Podcast


Obtain 10% discount



Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels

Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger