Druschetzky; Fischer Works for Multiple Timpani and Orchestra
View record and artist detailsRecord and Artist Details
Composer or Director: (Johann Ignaz) Ludwig Fischer, Georg Druschetzky
Genre:
Orchestral
Label: CRD
Magazine Review Date: 10/1989
Media Format: CD or Download
Media Runtime: 54
Mastering:
Stereo
DDD
Catalogue Number: CRD3449

Tracks:
Composition | Artist Credit |
---|---|
Symphony for 8 Timpani and Orchestra |
(Johann Ignaz) Ludwig Fischer, Composer
(Johann Ignaz) Ludwig Fischer, Composer Bournemouth Sinfonietta Harold Farberman, Conductor Jonathan Haas, Timpani |
Partita |
Georg Druschetzky, Composer
Bournemouth Sinfonietta Georg Druschetzky, Composer Harold Farberman, Conductor Jonathan Haas, Timpani |
Concerto for Oboe, 8 Timpani, Wind and Strings |
Georg Druschetzky, Composer
Bournemouth Sinfonietta Georg Druschetzky, Composer Gordon Hunt, Oboe Harold Farberman, Conductor Jonathan Haas, Timpani |
Composer or Director: (Johann Ignaz) Ludwig Fischer, Georg Druschetzky
Label: CRD
Magazine Review Date: 10/1989
Media Format: Cassette
Media Runtime: 0
Mastering:
Stereo
DDD
Catalogue Number: CRDC4149

Tracks:
Composition | Artist Credit |
---|---|
Symphony for 8 Timpani and Orchestra |
(Johann Ignaz) Ludwig Fischer, Composer
(Johann Ignaz) Ludwig Fischer, Composer Bournemouth Sinfonietta Harold Farberman, Conductor Jonathan Haas, Timpani |
Partita |
Georg Druschetzky, Composer
Bournemouth Sinfonietta Georg Druschetzky, Composer Harold Farberman, Conductor Jonathan Haas, Timpani |
Concerto for Oboe, 8 Timpani, Wind and Strings |
Georg Druschetzky, Composer
Bournemouth Sinfonietta Georg Druschetzky, Composer Gordon Hunt, Oboe Harold Farberman, Conductor Jonathan Haas, Timpani |
Author:
It would seem difficult to think that both composers might have wanted to have another go, to see if something more suited to the curious instrumentation might be managed, yet Druschetzky seems to have done so. He was, it is true, a first study timpanist, yet in the third piece (in recorded order), the Concerto for oboe and timpani, his music approaches the skill and beauty more regularly offered by Mozart. Extra colour is offered not only by the solo oboe part, most beautifully played by Gordon Hunt, but also by the extra supporting wind in the orchestra. As a result the timps themselves are less dominating, and are more often employed in a elaborated form of their normal 'proper' function. In one minor respect, however, I think that the note-writer, Professor Harrison Powley, and myself must be on this occasion hearing different drummers: he reports several cadenzas improvised by the performers, I report hearing two proper (and very good) cadenzas, neither of which could conceivably have been improvised by the performers in any real sense.
The Concerto remains, of course, a most enjoyable work, and indeed, the whole disc is of great interest. And, here and there, not only to timpanists!'
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