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Carl Schuricht conducts Mozart & Brahms

95645 - Carl Schuricht conducts Mozart & Brahms

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Absolute faithfulness to the musical text and youthful vigour right up to old age: Carl Schuricht (1880-1967), one of the last representatives of the generation of old German conductors during the post-war decades, focused on clear structures rather than romantic pathos or personal eccentricity. These two Lucerne live recordings demonstrate the compelling persuasiveness of his inspired objectivity, especially when performing alongside the celebrated Mozart interpreter Robert Casadesus, whose choice of tempi is particularly striking.more

"[...] this truly is artistry of the highest order." (Gramophone)

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Wolfgang Amadeus Mozart Piano Concerto in B-Flat Major, K. 595 (29:28) Robert Casadesus | Schweizerisches Festspielorchester | Carl Schuricht

Johannes Brahms Symphony No. 2 in D Major, Op. 73 (38:53) Wiener Philharmoniker | Carl Schuricht

I. Allegro non troppo (15:14)
II. Adagio non troppo – L’istesso tempo, ma grazioso (09:06)
III. Allegretto grazioso (Quasi Andantino) – Presto ma non assai (05:07)
IV. Allegro con spirito (09:26)

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Details

Carl Schuricht conducts Mozart & Brahms
LUCERNE FESTIVAL Historic Performances, Vol. XI
article number: 95.645
EAN barcode: 4022143956453
price group: BCB
release date: 19. May 2017
total time: 68 min.

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January 8th, 2017 marked the 50th anniversary of the death of Carl Schuricht. This release of two live recordings made in 1961 and 1962 pays tribute to a renowned conductor who was only to enjoy great international fame in his old age - as one of the last representatives of the generation of old German conductors, and as a master of the classical and romantic repertoire.

"Neither recreating a façade nor exposing feelings" was how Carl Schuricht once summarised his artistic credo. These two Lucerne live recordings document the compelling persuasiveness and the intensity that Schuricht's interpretational style - his tremendously inspired objectivity, entirely at the service of the music - could develop: in Mozart's final Piano Concerto, K595 in B flat major, Schuricht proves to be a sensitive accompanist. Together with the French pianist Robert Casadesus he manages to strike the distinctive tone of this concerto between simplicity and noblesse, innocence and wisdom, buffa and elegy. (A few days later, the two also performed the work at Salzburg; that live recording has been issued as part of the "Salzburg Festival Documents".) Another interesting comparison is afforded by Schuricht's Lucerne performance of Johannes Brahms' Second Symphony with the Vienna Philharmonic, with whom he had also made a studio recording of the same work nearly a decade earlier, in 1953, for Decca. Whilst he remains faithful to the musical text, Schuricht demonstrates a strikingly free approach to the music - in the dynamics and tempi, in the refinement of the instrumental blend - in his Lucerne interpretation: much subjectivity can be detected in his objectivity, and there is no hint of the conductor's old age.

The 32-page booklet in three languages provides extensive background information on Carl Schuricht and his relationship with the Internationale Musikfestwochen in Lucerne, and also features photos from the festival archive, published here for the first time.

In cooperation with audite, LUCERNE FESTIVAL presents the "Historic Performances" series featuring outstanding concert recordings of artists who have shaped the festival throughout its history. The aim of this CD edition is to rediscover treasures - most of which have not been released previously - from the first six decades of the festival, which was founded in 1938 with a special gala concert conducted by Arturo Toscanini. These recordings have been made available by the archives of SRF Swiss Radio and Television, which has broadcast the Lucerne concerts from the outset. Painstakingly re-mastered and supplemented with photos and materials from the LUCERNE FESTIVAL archive, they represent a sonic history of the festival.

Reviews

Audiophile Audition
Audiophile Audition | January 6, 2018 | Steven Ritter | January 6, 2018 | source: http://www.audau... Best Classical of 2017
Recommendations by Steven Ritter

Grand music-making defines these two concerts led by veteran Carl Schuricht.<br /> Mehr lesen

Grand music-making defines these two concerts led by veteran Carl Schuricht.
Grand music-making defines these two concerts led by veteran Carl Schuricht.

F. F. dabei
F. F. dabei | Nr. 26/2017 vom 23. Dezember bis 5. Januar | December 23, 2017 CD-Tipps

Unbedingte Werktreue und jugendlicher Elan bis ins hohe Alter: Carl Schuricht [...] setzte auf klare Strukturen statt auf romantisches Pathos oder persönliche Exzentrizität – zwei Live-Aufnahmen aus dem Kunsthaus LuzernMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Unbedingte Werktreue und jugendlicher Elan bis ins hohe Alter: Carl Schuricht [...] setzte auf klare Strukturen statt auf romantisches Pathos oder persönliche Exzentrizität – zwei Live-Aufnahmen aus dem Kunsthaus Luzern

Fanfare | October 2017 | James A. Altena | October 1, 2017 | source: http://www.fanfa...

As readers of this magazine most likely already know from my previous reviews of two major collections of his recordings by SWR, I am an admirer ofMehr lesen

As readers of this magazine most likely already know from my previous reviews of two major collections of his recordings by SWR, I am an admirer of the art of Carl Schuricht (1889–1967), and so I requested this CD for review with anticipation. At the same time, from past experience I was aware of two things: Mozart was not always his strongest suit, and his Brahms interpretations were highly variable and unpredictable.

“Unpredictable” turned out to be a good descriptor for both performances, preserved in clear mono sound that is tilted somewhat toward the treble frequencies. The Mozart looks forward with almost uncanny prescience to certain aspects of recent HIP practices. While the booklet provides no information on this count, my ears tell me that the Swiss Festival Orchestra was (at least for this performance) a body of reduced size from a full-scale modern symphony orchestra. Textures are transparent and light as a soap bubble; articulation is crisp and pointed; tempos are sprightly though not rushed. Casadesus is at one with Schuricht; he uses virtually no pedal, and his fleet-fingered touch brings his modern instrument as close to the realm of the pianoforte as is possible to do. This is Mozart of great elegance, but (unlike Schuricht’s live concerto performances with Clara Haskil) chary of the weight and shadows of emotional depth. I tremendously admire the execution, without being entirely won over by the interpretation.

I was previously prepared for Schuricht’s potential idiosyncrasy in Brahms by a 1953 performance of the First Symphony with the Orchestre de la Suisse Romande (Archiphon, nla), which has the most eccentric rendition of the finale of that work I think I am ever likely to hear. For the Second Symphony, my previous exposure was his 1966 performance with his longtime base ensemble, the Stuttgart Radio Symphony, and his 1953 studio recording with the Vienna Philharmonic for Decca. The Stuttgart performance is one of great autumnal ripeness, with very relaxed tempos throughout. This 1962 outing with the Vienna Philharmonic, by contrast, is far more impulsive, belying the work’s reputation as Brahms’s “Pastoral.” Every movement is up to a minute faster; but even more striking is the sense of underlying tension and unsettled waywardness. (Although its studio predecessor is slightly faster yet, it is characterized instead by far greater equipoise and serenity.) String passages have a febrile edginess; brass chords are far more prominent and given an almost snarling edge. Portions of the first movement development section bristle with nervousness; the normally wistful second movement suddenly turns stormy and even menacing at the 4:00 mark; the scherzo is more jumpy than bucolic; the finale is almost defiantly punched out at points. The audience bursts into enthusiastic applause at the close; I am far less sure what to make of it all. I admire the responsiveness and razor-sharp execution of the Vienna Philharmonic, but this simply is not how I customarily hear this work.

The two easiest types of reviews for a critic to write are those for performances that are either truly great or truly awful. Much harder to compose are those for performances that are either solid but not outstanding, or are very good but still seem to have something essential missing. By far the hardest kind of review to write, though, is one for performances where the interpreters provide top-notch executions that are at odds with the critic’s preconceptions or preferences, in ways that he or she cannot readily resolve. That is the situation here. I remain intrigued but unsettled by what I hear—interpretations far too thoughtful and well played to set aside, but ones that lie outside of my usual ambit. I have sought to give objective accounts of these two performances, so that readers can make their own judgments. With a cautionary yellow flag, strongly recommended to those who believe they might find these approaches appealing.
As readers of this magazine most likely already know from my previous reviews of two major collections of his recordings by SWR, I am an admirer of

Fanfare | October 2017 | Jerry Dubins | October 1, 2017 | source: http://www.fanfa...

Emanating from performances at two Lucerne Festivals on 8/19/1961 (the Mozart Concerto with Casadesus) and 9/8/1962 (the Brahms Symphony with theMehr lesen

Emanating from performances at two Lucerne Festivals on 8/19/1961 (the Mozart Concerto with Casadesus) and 9/8/1962 (the Brahms Symphony with the Vienna Philharmonic), these recordings have been released in commemoration of the 50th anniversary of the death of Carl Schuricht, who died in 1967. If Audite’s documentation and Bernard Jacobson’s headnote to a 24:5 review of another Casadesus/Schuricht performance of the same Mozart concerto are both right, then it appears that pianist and conductor bar-hopped from Lucerne to Salzburg, where just four days later, on 8/23/1961, they performed the same concerto at the Salzburg Festival with the Vienna Philharmonic. One wonders if they showed up at the Strasbourg Festival next, like fraternity bros going from one keg party to another.

Fifteen months after Casadesus made this appearance in Lucerne—and presumably the one in Salzburg, both with Schuricht—the pianist sat down in Cleveland’s Severance Hall in November 1962 to record Mozart’s final concerto with the Columbia Symphony Orchestra under the baton of George Szell; and as the reader is sure to know, that collaboration was not a one-off. Indeed, between 1959 and 1962, Casadesus teamed up with Szell to record all but a handful of Mozart’s piano concertos beginning with No. 12. Conspicuously missing from the later concertos are the Nos. 19 and 25. Some of concertos were recorded with members of the Cleveland Orchestra and others with the Columbia Symphony Orchestra; and back in the heyday of LP, I collected all of them. Casadesus and Szell, in fact, were my introduction to Mozart’s piano concertos, and I still have a fondness for those recordings.

The timings between this Casadesus/Schuricht and the Casadesus/Szell performances are remarkably close: 13:14, 8:07, 8:07 vs. 13:22, 8:49, 8:05. Only in the second movement do Casadesus and Szell adopt a more leisurely tempo. But aside from the timing similarities, I find that I actually prefer this Casadesus/Schuricht reading. Where Szell feels earthbound with a strict adherence to the beat, Schuricht seems to take wing with more flexible phrasing that lends a freer, more lyrical character to the music. The violins, in particular, sound like they’re floating, and this, in turn, prompts playing of pearl-like beauty from Casadesus. There’s a gentle joy in the third movement that I don’t hear in the not faster but harder-driven Szell version. Given the vintage and venue of the recording, the sound is excellent.

I’m not as happy with the Brahms Symphony. The main problem lies with the recording, which, though it comes from the same venue a year later, sounds bottom-heavy and murky. I’m guessing that the larger contingent of players in the Vienna Philharmonic, compared to the chamber-sized Swiss ensemble for the Mozart, posed challenges that the microphones and recording equipment weren’t entirely able to resolve.

Setting that aside, Schuricht’s performance of Brahms’s Second Symphony is quite interesting, which is not necessarily to say that I find it to my liking. For one thing, it stands in rather stark contrast to some recent versions in the matter of tempo. As I and others have noted, tempos in Brahms’s works, with exceptions, of course, have tended towards a gradual slowing over the past 40 or 50 years. Schuricht confirms that perception with a reading of the score that’s nothing if not bracing. But it’s not the conductor’s pacing per se that gives me pause. Rather, it’s his somewhat aggressive approach, which treats more rhythmically vigorous and dramatically heightened passages with explosive accents and notes cut short of their full metric values. In the past, I may have complained that some conductors are too keen on smoothing out the edges, especially in this score, which has often been called Brahms’s “Pastoral” Symphony. But Schuricht seems to err in the opposite direction and in so doing alters the complexion of the piece and its lyrical impulses.

A Carl Schuricht discography at carlschuricht.com/SchurichtCD.htm, so up to date that it includes the current release, lists a number of recordings of Brahms’s Second Symphony by the conductor with the Vienna Philharmonic on Decca (1953), the ORTF on Altus (1963), the Stuttgart RSO on Hänssler (1966), and a number of others. I reviewed the Stuttgart/Hänssler CD in 29:1, and said of it then that the performance, only a year before the conductor’s death, “does not dawdle.” “If anything,” I continued, “I would have preferred a slightly slower pace for the Adagio, which could have benefited from a bit more expansive phrasing and shaping.

If that performance was a bit too fast for my taste, consider this earlier one with the Vienna Philharmonic vs. the later one with the Stuttgart Radio:

VPO (1962): 15:15, 9:06, 5:07, 9:26 = 38:54
RSO (1966): 16:20, 9:22, 5:35, 10:12 = 41:29

Schuricht actually did slow down considerably in his last days, but even then I noted that the RSO reading felt a bit pressed and impatient to me. If you prefer your Brahms Second not to trot along too slowly, but you don’t want it to gallop either, I’d recommend Schuricht’s final RSO recording on Hänssler over this 1962 VPO version. Besides, it’s in stereo and the sound is much better. The Mozart with Schuricht and Casadesus, however, is a winner.
Emanating from performances at two Lucerne Festivals on 8/19/1961 (the Mozart Concerto with Casadesus) and 9/8/1962 (the Brahms Symphony with the

Record Geijutsu
Record Geijutsu | 2017.9 | September 1, 2017

Japanische Rezension siehe PDF!Mehr lesen

Japanische Rezension siehe PDF!
Japanische Rezension siehe PDF!

Gramophone
Gramophone | September 2017 | Rob Cowan | September 1, 2017 Schuricht and Casadesus at the Lucerne 'Festival

First to clarify: this is not the same K595 from Robert Casadesus and Carl Schuricht that appears on Orfeo (C536 001B), though the two are very alike,Mehr lesen

First to clarify: this is not the same K595 from Robert Casadesus and Carl Schuricht that appears on Orfeo (C536 001B), though the two are very alike, while the live VPO Brahms Second post-dates that recently reissued in 'Carl Schuricht: the Complete Decca Recordings' (7/17) by roughly nine years. This Mozart features the Swiss Festival Orchestra (the Orfeo, from Salzburg, is with the VPO) and finds Casadesus on top form, possibly out-classing his various other recordings – live and studio – of the same work. Schuricht directs fluid, well-paced accompaniment, stylishly shaped and beautifully played. Right from his first entry, Casadesus displays his signature clarity of finger work, building crescendos with impeccable judgement, switching between a sprightly staccato and warming legato. The Larghetto conjures up a mood of utter stillness: this truly is artistry of the highest order.

The Brahms is mellower than its predecessor, less volatile too. But there are moments that are unforgettable: the gently nudged strings beneath the solo horn at 12'23" into the first movement; the glowing blend of lower strings and brass for the second movement's second subject; and, most magical, the return of the outer section of the Allegretto grazioso (from 3' 15 "), so much more gentle than on the older version. Towards the close of the finale, from 7' 55 ", Schuricht gives precedence to the lower strings' motif, which greatly intensifies the build-up to the coda. The Decca version is similar but nowhere near as effective. Both works are captured in fine mono sound. And if you want to investigate a compelling follow-up, try Casadesus and Schuricht with the Orchestre National de la RTF in Brahms's Second Concerto (on INA) – not perfect by any means, but consistently gripping.
First to clarify: this is not the same K595 from Robert Casadesus and Carl Schuricht that appears on Orfeo (C536 001B), though the two are very alike,

www.concertonet.com
www.concertonet.com | 08/21/2017 | Sébastien Gauthier | August 21, 2017 | source: http://concerton...

Ces deux albums nous ramènent quelques décennies en arrière en nousMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Ces deux albums nous ramènent quelques décennies en arrière en nous

www.artalinna.com | 2 August 2017 | Jean-Charles Hoffelé | August 2, 2017 | source: http://www.artal... Miroir Mozart

Le ton si enjoué, la légèreté du geste de Carl Schuricht dans l’ultime Concerto de Mozart rencontre si pleinement le piano simplissime de Robert Casadesus, un tel soleil mélancolique s’infuse entre eux, les faisant respirer dans les mêmes vibrations de couleurs et de sons !Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Le ton si enjoué, la légèreté du geste de Carl Schuricht dans l’ultime Concerto de Mozart rencontre si pleinement le piano simplissime de Robert Casadesus, un tel soleil mélancolique s’infuse entre eux, les faisant respirer dans les mêmes vibrations de couleurs et de sons !

Audio
Audio | 8/2017 | Otto Paul Burkhardt | August 1, 2017

"Zappelmeister" konnte er nicht leiden: Carl Schuricht (1880-1967) war ganz das Gegenbild exaltierter Selbstdarsteller am Pult. Ein Dirigent alterMehr lesen

"Zappelmeister" konnte er nicht leiden: Carl Schuricht (1880-1967) war ganz das Gegenbild exaltierter Selbstdarsteller am Pult. Ein Dirigent alter Schule, der mit strikter Sachlichkeit und knappen Gesten großen Zauber entfalten konnte. Davon zeugen auch die klanglich brillant aufgearbeiteten Mitschnitte vom Lucerne Festival 1961/62. Die kristalline Klarheit, mit der Schuricht und Robert Casadesus in Mozarts Klavierkonzert KV 595 jede Phrase auskosten, setzt noch heute Maßstäbe. Wunderbar auch die Zweite von Johannes Brahms mit den Wiener Philharmonikern, die enorm vielschichtig, raffiniert aufgefächert und schwärmerisch aufleuchtend klingt.
"Zappelmeister" konnte er nicht leiden: Carl Schuricht (1880-1967) war ganz das Gegenbild exaltierter Selbstdarsteller am Pult. Ein Dirigent alter

BBC Music Magazine
BBC Music Magazine | August 2017 | Erik Levi | August 1, 2017

Although brass overpower strings in some orchestral tuttis, Schuricht's Brahms is wonderfully fluid. Worth hearing for the Vienna Philharmonic'sMehr lesen

Although brass overpower strings in some orchestral tuttis, Schuricht's Brahms is wonderfully fluid. Worth hearing for the Vienna Philharmonic's glorious cellos in the second subject of the first movement.
Although brass overpower strings in some orchestral tuttis, Schuricht's Brahms is wonderfully fluid. Worth hearing for the Vienna Philharmonic's

Musik & Theater | 07/08 Juli/August 2017 | Andrea Meuli | July 1, 2017 Von großer Natürlichkeit

Mozarts letztes Klavierkonzert mit dem Pianisten Robert Casadesus: singend, klar, das Orchester, klassizistisch hingetupft der Klavierpart. Ruhig fließend auch der Brahms mit den Wienern, durchaus jedoch mit eigenwilligen Farbgebungen und Temporückungen.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Mozarts letztes Klavierkonzert mit dem Pianisten Robert Casadesus: singend, klar, das Orchester, klassizistisch hingetupft der Klavierpart. Ruhig fließend auch der Brahms mit den Wienern, durchaus jedoch mit eigenwilligen Farbgebungen und Temporückungen.

deropernfreund.de | Juli 2017 | Prof. Egon Bezold | July 1, 2017

Beethoven und Bruckner waren seine Lieblinge. Die Klarheit des Musizierens pflegte er auch noch im hohen Alter, ebenso die Lebendigkeit mit der er dasMehr lesen

Beethoven und Bruckner waren seine Lieblinge. Die Klarheit des Musizierens pflegte er auch noch im hohen Alter, ebenso die Lebendigkeit mit der er das Geschehen mit ordnender Kraft durchpulste. Carl Schuricht stammt aus Danzig, wo er am 3.Juli 1880 das Licht der Welt erblickte. Er wuchs in einer Atmosphäre von Musik und Handwerk auf. Nach einer vom Elternhaus sorgfältig gesteuerten Ausbildung wirkte Schuricht nach Wanderjahren als Kapellmeister in Wiesbaden, später dort auch als Generalmusikdirektor. Das Musikleben entwickelte sich seinerzeit unter seiner Leitung zu beachtlichem Niveau. In großen Musikzentren agierte er als Leiter renommierter Orchester. Nach Beendigung des zweiten Weltkriegs wird Schuricht zu den ersten Nachkriegsfestspielen nach Salzburg berufen, eroberte die Podien in Frankreich und in England. Auch in Deutschland spielte er die Rolle eines gesuchten und beliebten Gastdirigenten. Gerne konzertierte er mit den Wiener Philharmonikern. Schuricht dirigierte auch Konzerte mit der London Philharmonic. Von einem jugendlichen Elan leben die sinfonischen Werke der Klassik, so die Sonnen durchlute zweite in D-Dur von Johanes Brahms. Bekanntlich spielen die Wiener Philharmoniker unter ihren Dirigenten auf differenzierte Weise. Bei Schuricht erscheint die Wiedergabe der 1962 im Kunsthaus eingespielten 2. Sinfonie ausgewogen. Kammermusikalisch ausgefeilt wirkt insbesondere das Intermezzi, während der Maestro im Jubelfinale keinesfalls mit schmetternden Effekten geizt. In den Bläser-Chören, in fein ziselierten Überleitungen und den großen Steigerungen, erweis sich Schuricht als großer Brahms-Stratege.

In Mozarts B-Dur Konzert KV 595, Mozarts letztem Werk der Gattung „Klavierkonzert“, liebäugelt der Pianist, der Franzose Robert Casadesus, keinesfalls mit der Rolle eines Schönklanganbeters, sondern korrespondiert mit dem Swiss Orchestra mit akzentuiertem, geschmackvoll artikuliertem Spiel als gleichgestimmter Partner mit den facettenreich leuchtenden Bläsern und akkurat agierenden Streichern des Orchesters. In dieser fein dosierten Mischung aus optimaler Haltung und wehmutsvoller Stimmung spielt der Pianist seine elegant getunten Klänge, gibt so dem harmonischen Schatten die ganze Farbigkeit. Auch werden die sprudelden Passagen keinesfalls einfach beiläufig etüdenhaft abgespult. Vielmehr die fein gerundeten Legati in atmende fließende Linien gefasst. In puncto Spielwitz und interpretatorischen Charme eine rhetorisch belebte, durchwegs pointierte Kommunikation zwischen dem Solisten und den wendig begleitenden Musikern des Schweizer Orchesters.

Die Aufnahmetechnik (l961 und 1962) gibt den musikalischen Ereignissen (live eingespielt bei Internationalen Musikfestwochen Luzern) klares Profil. Das instruktive Booklet stammt aus der Feder von Wolfgang Stähr.
Beethoven und Bruckner waren seine Lieblinge. Die Klarheit des Musizierens pflegte er auch noch im hohen Alter, ebenso die Lebendigkeit mit der er das

www.pizzicato.lu | 27/06/2017 | Alain Steffen | June 27, 2017 | source: https://www.pizz... Für Sammler und Liebhaber

Nicht jedes Tondokument ist auch historisch wertvoll. In den Archiven des Schweizer Radios schlummern sicher weitaus bessere und interessantereMehr lesen

Nicht jedes Tondokument ist auch historisch wertvoll. In den Archiven des Schweizer Radios schlummern sicher weitaus bessere und interessantere Aufnahmen als die hier veröffentlichten Mitschnitte des Mozart-Konzertes KV 596 und der 2. Symphonie von Brahms anlässlich der Internationalen Musikfestwochen Luzern 1961 (Mozart) und 1962 (Brahms).

Robert Casadesus spielt das Konzert sehr schön und wird von Carl Schuricht sehr präzise begleitet. Ein gutes Konzert, aber sicherlich kein Mitschnitt für die Ewigkeit. Auch die 2. Symphonie von Johannes Brahms mit den Wiener Philharmonikern wird die Diskographie nicht auf den Kopf stellen. Schurichts Dirigat ist recht traditionell, aber durchaus spannend und klangorientiert.

Von beiden Werken gibt es unzählige und auch technisch bessere Aufnahmen, so dass diese Luzerner Festival-CD wirklich nur etwas für Sammler und Liebhaber ist.

Carl Schuricht doesn’t present outstanding performances neither of the Mozart Concerto nor of the Brahms Symphony, so that this CD is a sound document which will bring some pleasure just to collectors and Lucerne Festival aficionados.
Nicht jedes Tondokument ist auch historisch wertvoll. In den Archiven des Schweizer Radios schlummern sicher weitaus bessere und interessantere

Schwäbische Zeitung
Schwäbische Zeitung | Trossinger Zeitung 12 Jun 2017 | man | June 12, 2017 | source: http://www.press... Erinnerung an Carl Schuricht

[...] die 2. Brahms-Sinfonie mit einem zauberhaften dritten Satz, sehr ausgehört, farbig und forsch [...]Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[...] die 2. Brahms-Sinfonie mit einem zauberhaften dritten Satz, sehr ausgehört, farbig und forsch [...]

Audiophile Audition
Audiophile Audition | June 8, 2017 | Gary Lemco | June 8, 2017 | source: http://www.audau... Grand music-making defines these two concerts led by veteran Carl Schuricht

Casadesus could be startlingly brisk in Mozart concertos — as in his collaborations with George Szell — but here Casadesus chooses to provide animation informed by tender care for the ornaments, runs, and calculated filigree that suffuses this magnificent concerto.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Casadesus could be startlingly brisk in Mozart concertos — as in his collaborations with George Szell — but here Casadesus chooses to provide animation informed by tender care for the ornaments, runs, and calculated filigree that suffuses this magnificent concerto.

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May 30, 2018
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Classical Tower Records - Best Seller 2017
Jun 12, 2018
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Sep 21, 2017
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Record Geijutsu
Japanische Rezension siehe PDF!...
Feb 20, 2018
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Audiophile Audition
Best Classical of 2017
Dec 18, 2017
class_Review

F. F. dabei
CD-Tipps
Nov 20, 2017
class_Review

Fanfare
As readers of this magazine most likely already know from my previous reviews of...
Nov 20, 2017
class_Review

Fanfare
Emanating from performances at two Lucerne Festivals on 8/19/1961 (the Mozart...
Sep 21, 2017
class_Review

www.concertonet.com
Ces deux albums nous ramènent quelques décennies en arrière en nous...
Sep 21, 2017
class_Review

www.artalinna.com
Miroir Mozart
Sep 13, 2017
class_Review

Gramophone
Schuricht and Casadesus at the Lucerne 'Festival
Jul 17, 2017
class_Review

BBC Music Magazine
Although brass overpower strings in some orchestral tuttis, Schuricht's Brahms...
Jul 17, 2017
class_Review

Musik & Theater
Von großer Natürlichkeit
Jul 13, 2017
class_Review

Audio
"Zappelmeister" konnte er nicht leiden: Carl Schuricht (1880-1967) war ganz das...
Jul 6, 2017
class_Review

deropernfreund.de
Beethoven und Bruckner waren seine Lieblinge. Die Klarheit des Musizierens...
Jun 28, 2017
class_Review

www.pizzicato.lu
Für Sammler und Liebhaber
Jun 14, 2017
class_Review

Schwäbische Zeitung
Erinnerung an Carl Schuricht
Jun 12, 2017
class_Review

Audiophile Audition
Grand music-making defines these two concerts led by veteran Carl Schuricht

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