Verklärte Nacht Op. 4
Arnold Schönberg
Keywords
Reviews (9)
The guardian
d. 30. July 2015
By
By
Andrew Clements (musikanmelder)
d. 30. July 2015
""[Stenz is] equally at home in the romantic sweep of Pelleas as he is in the much more ambiguous world of the concerto, with its tensions between tradition and innovation, serialism and tonality, while never allowing the former to become too indulgent nor the latter to seem too dry and calculated".
Naxos.com
2008
By
2008
"The most innovative features of Erwartung, a "monodrama for soprano and large orchestra", are the continual variation of orchestral textures, and the constantly changing tempi. Not only are the instrumental combinations new, but the instruments themselves are required to produce new sounds".
Jyllands-posten
d. 2. Mar. 2012
By
By
Jens Povlsen
d. 2. Mar. 2012
"Boulez står igen klar med sit røntgensyn på denne fine liveindspilning ... Med en knivskarp Boulez på podiet arbejder de unge musikere i Gustav Mahler Jugendorchester sig overbevisende fra urbilledet på den passionerede kærlighed og videre gennem følelsesniveauerne op til Schönbergs rastløse spændinger. Der er ingen grund til at betænke sig".
Politiken
d. 24. Dec. 2000
By
d. 24. Dec. 2000
Diapason
2015 septembre
By
By
Patrick Szersnovicz
2015 septembre
The gramophone
2012 May
By
By
Arnold Whittall
2012 May
"Boulez brings out the best aspects of its formal flexibility and textural richness. In the final stages he even allows himself to broaden the tempo at a place not asked for by the composer without sounding contrived".
Kristeligt dagblad
d. 20. Nov. 2000
By
d. 20. Nov. 2000
BBC music magazine
2015 Christmas
By
By
Stephen Johnson (f. 1955)
2015 Christmas
"Markus Stentz and the Oehms team have done a lot of work picking out leading voices and balancing the riotously profuse counterpoint. The result has a compelling narrative cohesion ... At times everything seems magnificently, grippingly in focus".
Vurdering (Pelleas): 4/5.
Vurdering (Violin Concerto): 3/5.
The gramophone
2015 September
By
By
Peter Quantrill
2015 September
"Like Hilary Hahn, Kolja Blacher has clearly absorbed lessons from the work's early interpreters ... In not allowing the solo part to be tied up in soliloquising knots of contrapuntal introspection ... His relationship with the orchestra is strong ... and he makes a muscular but never ugly case for the finale in the virtuoso tradition".