Horn Concertos
View record and artist detailsRecord and Artist Details
Composer or Director: Oscar Franz, Francesco Barsanti, Heinrich Hübler, A. Haensel, George Frideric Handel, Robert Schumann
Label: Masters
Magazine Review Date: 2/1992
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: MCC31
Tracks:
Composition | Artist Credit |
---|---|
Concerto |
George Frideric Handel, Composer
George Frideric Handel, Composer Israel Philharmonic Orchestra Meir Rimon, Horn |
Concerto grosso |
Francesco Barsanti, Composer
Francesco Barsanti, Composer Israel Philharmonic Orchestra Meir Rimon, Horn |
Concerto for 2 Horns and String Orchestra |
A. Haensel, Composer
A. Haensel, Composer Israel Philharmonic Orchestra Meir Rimon, Horn |
Konzertstück |
Oscar Franz, Composer
Israel Philharmonic Orchestra Meir Rimon, Horn Oscar Franz, Composer |
Concerto for 4 Horns and Orchestra |
Heinrich Hübler, Composer
Heinrich Hübler, Composer Israel Philharmonic Orchestra Meir Rimon, Horn |
Composer or Director: Oscar Franz, Francesco Barsanti, Heinrich Hübler, A. Haensel, George Frideric Handel, Robert Schumann
Label: Masters
Magazine Review Date: 2/1992
Media Format: CD or Download
Media Runtime: 67
Mastering:
DDD
Catalogue Number: MCD31
Tracks:
Composition | Artist Credit |
---|---|
Concerto |
George Frideric Handel, Composer
George Frideric Handel, Composer Israel Philharmonic Orchestra Meir Rimon, Horn |
Concerto grosso |
Francesco Barsanti, Composer
Francesco Barsanti, Composer Israel Philharmonic Orchestra Meir Rimon, Horn |
Concerto for 2 Horns and String Orchestra |
A. Haensel, Composer
A. Haensel, Composer Israel Philharmonic Orchestra Meir Rimon, Horn |
Konzertstück |
Oscar Franz, Composer
Israel Philharmonic Orchestra Meir Rimon, Horn Oscar Franz, Composer |
Concerto for 4 Horns and Orchestra |
Heinrich Hübler, Composer
Heinrich Hübler, Composer Israel Philharmonic Orchestra Meir Rimon, Horn |
Author: Ivan March
The invention in Haensel's Concerto is frankly somewhat corny; the writing for the two horns—mostly playing together in thirds—is highly romantic and at times ramshackle, but in its obvious way the music is certainly tuneful, and Rimon and his alter ego enter its world with a genial enthusiasm. The Concert piece by Oscar Franz is subtitled ''In a happy mood'' and the post-Weberian operetta melodic style is infectious. But the real discovery here is the Concerto for four horns by Heinrich Hubler. It opens with the horns distanced, and is written with great romantic confidence. The slow movement uses the growling lower horn register with the facility that could only come from a composer who was himself a virtuoso on the instrument. The swingingly fruity 6/8 finale obviously follows on after Schumann's Konzertstuck (written four years earlier) and is delightfully infectious. It is splendidly played, as is the Schumann, which is very difficult and much more awkwardly written. But its dense texture, high tessitura and leaps hold no fears for Meir Rimon, and his performance combines bravura with invigorating spontaneity. There is no better version in the catalogue, and I include earlier analogue LP versions in that assessment.
The recording was made in the Mann Auditorium, but has none of the dryness one associates with this venue; indeed the horns spread richly in the resonance without losing definition, and the orchestra is appropriately ample in the romantic works, yet the smaller scale of the eighteenth-century music is nicely achieved. At mid-price this is not to be missed by any lover of fine horn playing.'
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