Schrecker: Overtures and Preludes
View record and artist detailsRecord and Artist Details
Composer or Director: Franz Schreker
Label: Marco Polo
Magazine Review Date: 8/1988
Media Format: CD or Download
Media Runtime: 52
Mastering:
DDD
Catalogue Number: 8 220392
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Tracks:
Composition | Artist Credit |
---|---|
Ekkehard |
Franz Schreker, Composer
Edgar Seipenbusch, Conductor Franz Schreker, Composer Slovak Philharmonic Orchestra |
Fantastic Overture |
Franz Schreker, Composer
Edgar Seipenbusch, Conductor Franz Schreker, Composer Slovak Philharmonic Orchestra |
(Der) Schatzgräber |
Franz Schreker, Composer
Franz Schreker, Composer |
(Die) Gezeichneten |
Franz Schreker, Composer
Franz Schreker, Composer |
(Das) Spielwerk |
Franz Schreker, Composer
Franz Schreker, Composer |
Composer or Director: Franz Schreker
Label: Marco Polo
Magazine Review Date: 8/1988
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 6 220392
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Tracks:
Composition | Artist Credit |
---|---|
Ekkehard |
Franz Schreker, Composer
Edgar Seipenbusch, Conductor Franz Schreker, Composer Slovak Philharmonic Orchestra |
Fantastic Overture |
Franz Schreker, Composer
Edgar Seipenbusch, Conductor Franz Schreker, Composer Slovak Philharmonic Orchestra |
(Der) Schatzgräber |
Franz Schreker, Composer
Franz Schreker, Composer |
(Die) Gezeichneten |
Franz Schreker, Composer
Franz Schreker, Composer |
(Das) Spielwerk |
Franz Schreker, Composer
Franz Schreker, Composer |
Author: Arnold Whittall
That claim is not particularly well advanced by this new recording of orchestral music. It's partly a matter of repertory: neither Der Serne Klang, Schreker's most remarkable and radical opera, nor his later more abrasive works of the 1920s are represented. Instead, we have the early, ponderous pomposities of the Ekkehard and Fantastic Overtures, and three orchestral extracts from middle-period operas notable mainly for their routine extravagancies and easy ecstasies. This is music of more Schmalz than Sehnsucht, of generally undistinguished ideas whipped up into a heavily-orchestrated confection that merely magnifies their initial deficiencies. The best music is probably to be found in the early stages of the Prelude to Die Gezeichneten, with its poised, longbreathed melody and shimmering accompaniment. But even here Schreker is in too much of a hurry to provide work for the cymbals player, and the faster music is not exciting enough, torn from its larger context.
The performances are nothing if not fullblooded, though the orchestral playing lacks refinement, and the recording gives edge to the higher registers while leaving the total sound-picture opaque. This is a disc best suited to the libraries of education institutions offering courses with titles like ''The Limitations of Late-Romanticism''. Meanwhile, Schreker awaits a fuller, fairer hearing.'
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