Bruch: Symphonies Nos. 1-3 (2CD)

22,00
 
Formát:
CD
 
 
Dostupnosť:
na sklade / in stock
 
 
Katalógové číslo:
555252-2
 
 
EAN kód:
0761203525225
 
 
Autori:
Max Bruch
 
 
Interpreti:
Bamberger Symphoniker, Robert Trevino
 
 
Vydavateľ:
CPO
 
 
Zoznam skladieb
Bruch: Symphony No. 1 in E Flat, Op. 28
Work length 38:04

Bamberger Symphoniker
Robert Trevino

I. Allegro maestoso

II. Intermezzo. Andante con moto

III. Scherzo. Presto

IV. Quasi Fantasia. Grave

V. Finale. Allegro guerriero


Bruch: Symphony No. 2 in F minor, Op. 36
Work length 39:22

Bamberger Symphoniker
Robert Trevino

I. Allegro passionata, ma un poco maestoso

II. Adagio ma non troppo

III. Allegro molto tranquillo


Bruch: Hermione, Op. 40
Work length 17:58

Bamberger Symphoniker
Robert Trevino

Prelude

Funeral March

Entr'acte

Bruch: Die Loreley: Overture
Work length 5:00

Bamberger Symphoniker
Robert Trevino

 Excerpt,  Bruch: Odysseus, Op. 41: Prelude
Work lengt h9:54

Bamberger Symphoniker
Robert Trevino

Bruch: Symphony No. 3 in E major, Op. 51
Work length 38:36

Bamberger Symphoniker
Robert Trevino

I. Andante sostenuto

II. Adagio ma non troppo

III. Scherzo

IV. Finale

Popis
Max Bruch’s three symphonies, composed between 1868 and 1882, were originally intended as a series of works forming a trilogy. However, Max Bruch set aside the third part in order to focus on dramatic and choral symphonic projects. He first wanted to write his second opera, Hermione after The Winter’s Tale by William Shakespeare, and Odysseus, his first secular oratorio. As things turned out, the spectacular long-term success of these musical pictures from antiquity meant that his original symphonic project was relegated to the back burner. However, once we experience the three sister works in their originally planned context, as the present new production enables us to do, the tide turns in their favour. The revealing path from the heroic idea underlying the first symphony, which, by the way, we are presenting for the first time in its original five-movement version, over the tragic stance of the second symphony, to the "Rhine idyll" of the third symphony leads us to the realization that this triad deserves much more credit than its meagre performance figures would make us believe.