Mon, Fri 星期一、五 5:30pm
Monday and Friday: 5:30pm-6pm
A group of music critics guide you through some of the the most interesting new releases to keep you in touch with the latest fine music recordings.
Critic: David Gwilt
Anton Rubinstein was the equal of Liszt as a pianist and a technically gifted composer but, in his own words, he was perceived by his contemporaries as too German to be Russian and too Russian to be German, and his music was frequently disparaged. Although occasionally derivative, the first two sonatas are impressively bravura and passionate works which pianist Han Chen approaches as if reading a 19th-century Russian novel, digging down to the very essence of the human soul. It is perhaps an irony of the history of taste that Rubinstein’s very real achievements are beginning to be valued only some 125 years after his death.
Critic: Dennis Wu
Although "The Diary of One Who Disappeared" work is Janáček’s most important original song cycle, his keen interest in the folk songs and dances of his Moravian homeland resulted in a plethora of arrangements, making this music also accessible to the classical concert hall. These include the Six folksongs sung by Eva Gabel (Šest národních písní jež zpívala Gabel Eva) and the Songs from Detva (Písně detvanské). Quite unlike the songs of the ‘Diary’, which chiefly make reference to the Moravian dialect, the arrangements evince the typically ethnic-sounding music Janáček refined, so to speak, by adding to adaptations of the existing song lines a sophisticated piano part in the tradition of the great song compositions of the 19th century. Having explored songs by Mozart and Schubert on previous acclaimed albums, Slovak tenor Pavol Breslik on his 4th album with ORFEO now presents songs by Czech composer Leoš Janáček.
Critic: Dennis Wu
Hardly any other concert marks the city of Munich’s musical history as strikingly as the premiere of Gustav Mahler’s 8th symphony, the Symphony of a Thousand, which struck real waves of enthusiasm within the city’s cultural scene, and beyond. It marked a memorable triumph for the composer, whose works had regularly been performed in Munich since 1896. Mahler felt his art form was understood by the people of Munich.
Moreover, Gustav Mahler and the Münchner Philharmoniker share a very special connection. As a composer he sustainably linked the 19th century Austro-German tradition and the modernism of the early 20th century. The just discussed monumental world premiere of his Symphony No. 8 took place under his baton on 12 September 1910 in Munich with the present day Münchner Philharmoniker. His works have been a substantial part of the Münchner Philharmoniker’s core repertoire ever since and the orchestra has excelled on many occasions.
It therefore comes as no surprise that the Münchner Philharmoniker brought this very repertoire to performance on numerous occasions during their 2018/2019 125 years anniversary season, one of which marks this recording: a concert at the Philharmonie de Paris in February 2019.
In the symphony’s two highly contrasting parts in text as well as composition, Mahler brings the setting of the Latin 9th century Christian hymn for Pentecost “Veni, creator spiritus” in conjunction with the closing scene of Goethe’s “Faust II”: creating a syncretism of two different understandings of the world as it is, with the common theme of redemption through love.