One of the most grown-up review sites around


Search MusicWeb Here

     
  
 

 

International mailing


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

Some items
to consider

Brahms Symphony 4 Dvorak Symphony 9
Peter Aronsky (piano) Les Délices du Piano"
IL Carnevale di Venezia Clarinet with orchestra

Sinfonie Concertanti for two flutes and orchestra

TUDOR RECORDS

TROUBADISC

A most rewarding CD
Renate Eggebrecht violin

NORTHERN FLOWERS

World Premiere
Weinberg’s Concertino (cello)!

AVIE

Irish-Appalachian Celebration

REFERENCE RECORDINGS

Nick Barnard review
Michael Cookson review



an inspirational performance


An indispensable acquisition


The finest we have had in years


bewitching sound


Simply amazing


A splendid addition


One of the most enjoyable


quite superb!


utterly essential


A wonderful introduction


An outstanding CD


cheer-raising


One of the finest versions


Support us financially by purchasing this from

Carl REINECKE (1824-1910)
Aschenbrödel Op. 150 (1878) [39:00]
Der Schweinehirt Op. 286 [32:06]
Rebecca Blanz (mezzo-soprano)
Gun Youg An (soprano)
Vokal-Ensemble
Martin Christian Vogel (speaker)
Cornelia Weiß (piano)
Peter Kreutz (piano)
rec. 2016, Konzerthaus der Hochschule für Musik, Detmold, Germany
CPO 555 084-2 [71:16]

Born in the then Danish city of Altona, the composer Carl Reinecke can in some ways be described as the German Saint-Saëns, both began composing at a tender age, in Reinecke’s case he was seven, and he gave his first public performance as a pianist at the age of twelve, Saint-Saëns was to give his at the even younger age of ten. He was also seen, like his French contemporary, as being too conservative, his music being too backward looking for the turn of the nineteenth century, this is especially true of his dramatic works with his operas and operettas soon being forgotten.

He studied with Felix Mendelssohn and went on to conduct his orchestra, the Gewandhaus Orchestra in Leipzig, for over thirty years, and Mendelssohn’s influence can be seen in Reinecker’s music. This clearly evident in the first work presented here, his melodrama Aschenbrödel, for soloists, women’s chorus, speaker and piano. This is an unusual work as melodramas go, as a lot of the melodies are carried by the chorus, with the piano mainly serving to support them. The story is based upon Grimm’s telling of the fairy tale Cinderella with a libretto by Heinrich Carsten. The music is highly romantic in nature with some of the choral writing reminding me of the female chorus from Mendelssohn’s Ein Sommernachtstraum. When the piano is given free reign, as in those narratives with music and the solo arias, it shows the influence of another of his teachers, Robert Schumann.

The second work on this disc, Der Schweinehirt or the Swineherd, is based upon another fairy tale, this time by Hans Christian Andersen, and could not be more different in that it is a more traditional melodrama, with the spoken being interspersed with musical pieces, although this time for piano four-hands. The music is attractive and illustrates well the text, with the composers use of the nursery tune in ‘Der singende Topf’ fitting well. It is however less dramatic than in the melodramas of his teachers Schumann especially Schön Hedwig and Liszt’s Lenore, and lacks the impact of Richard Strauss’ Enoch Arden, which looking at the opus numbers must be from the same period.

This is an interesting and nicely crafted disc, but not one for those who don’t like a lot of spoken text, though I personally like melodramas; nor is it a disc with which to begin a collection of Reinecke’s music. The performance is excellent with Martin Christian Vogel having an ideal voice for the spoken parts, he has a background in music, something I always find important in melodramas. The two soloists are in fine voice whilst the chorus, which seems to have been brought together especially for this recording by the chorus master Hagen Enke, sound as if they have been singing together for a long time; as with any melodrama the pianist is key, and I am glad to say that both Cornelia Weiß and Peter Kreutz make a significant impact on these works. The recorded sound is very good whilst the booklet notes give an introduction to both the composer and his music as well as full texts in both German and English.

Stuart Sillitoe

 

 




Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical


Nimbus Podcast


Obtain 10% discount


Special offer 50% off

Musicweb sells the following labels
Acte Préalable
(THE Polish label)
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
Senior Editor
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
   Vacant
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger