soulpope "Ever Since The World Ended, I Don`t Get Out As Much"
Registriert seit: 02.12.2013
Beiträge: 56,495
gypsy tail windein paar Funde aus dem Netz:
The Wergo set still sounds pretty spectacular with close-up miking and potent dynamics. Each of those radio tapes was an event and you can feel that. The Metzmacher versions are good and better but, swings and roundabouts allowing, the Wergo is more likely to deliver a memory-etched experience than the EMI. The Wergo is not as well documented as the EMI and of course you have to put up with good analogue FM sound. This means background hiss which many will want to avoid. For those who go for the Metzmacher they are unlikely to be disappointed. These EMI versions are likely to be the library standards for at least the next decade. On this basis I can happily recommend this set and would only propose the Wergo to those who want to hear the closest approach to the maker’s readings of these strangely chilly and chilling documents of tragedy and disillusion and for those who must also have the Gesangs-Szene. The EMI also has the advantages of economy as against the more opulently laid out full-price 4 CD Wergo set.
Quelle: http://www.musicweb-international.com/classrev/2003/Oct03/Hartmann_symphonies.htm#ixzz3wMO0YDJY
Recordings of the eight numbered symphonies have been released twice in complete editions. In 1980, a vinyl set was released on the Wergo label (the label associated with Hartmann’s publisher Schott) and transferred to CD in the early 1990s. It also includes Gesangaszene . No details are given of when the Wergo recordings were originally set down; probably during the 1970s but possibly even earlier. The composer’s friend and champion Rafael Kubelík conducts them all except the First (Fritz Rieger), Third (Ferdinand Leitner), and Seventh (Zden?k Mácal). Kubelík recorded the Fourth and Eighth symphonies with the Bavarian RSO for DG in 1967 (available in a marvelous DG box of his “Rare Recordings”); these may be the same performances as those in the Wergo set. Between 1993 and 1997, the German 20th-century music specialist Ingo Metzmacher recorded the symphonies for EMI with the Bamberg SO. These performances were reissued recently in the company’s cheap double-pack line, but the initial releases were more imaginatively coupled with works by other composers. For instance, the Fourth Symphony for strings was paired with Messiaen’s Et Exspecto Ressurectionem Mortuorum for winds and percussion; the First Symphony tellingly came with Martin??s Memorial to Lidice and Schoenberg’s A Survivor from Warsaw , and the Second and Fifth symphonies were coupled with Bernd Alois Zimmermann’s Symphony (1951–53) and Stravinsky’s Symphony in Three Movements. Since then, among others, we have had highly praised recordings of Hartmann’s Fourth Symphony from Christoph Poppen (ECM), the Second and Fourth from James Conlon (Capriccio), and the First and Sixth from Leon Botstein conducting the London Philharmonic (Telarc). Last but by no means least, back in 1955, when the Sixth Symphony was brand new, a gripping performance of the work was recorded by Ferenc Fricsay and the RIAS Symphonie-Orchester of Berlin for DG, in clear mono sound. (This was reissued in 2005.)
The new set from the Netherlands Radio Orchestra is by no means dwarfed by the competition. For all Kubelík’s authority, his recordings sound a little elderly these days––not to mention Fricsay’s––and some of Metzmacher’s versions (notably symphonies Nos. 1, 2 and 5) strike me as clinical and over-analytical, not helped by sound that is rather one-dimensional. (His Seventh and Eighth are the best recorded of his set.) The Netherlands orchestra is well balanced and closely miked as in a superior radio broadcast, and the performances gain in dramatic heft from being recorded live.
Quelle: http://www.arkivmusic.com/classical/album.jsp?album_id=1146461
Hier gibt es noch eine Besprechung des Wergo-Zyklus:
http://www.gramophone.co.uk/review/hartmann-symphonies
DANKE Dir für die kompilatorischen Mühe – schon stupend wie konträr gerade Interpretationen klassischer Musik empfunden bzw bewertet werden …. also alleine auf Basis dieser geäußerten Sichtweisen wüsste ich nicht welcher/-n Interpretation(en) hier der Vorzug zu geben wäre ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)