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Edvard Grieg: Complete Symphonic Works, Vol. IV

92670 - Edvard Grieg: Complete Symphonic Works, Vol. IV

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Edvard GriegComplete Symphonic Works, Vol. IV

Edvard Grieg’s most popular work in combination with his least known piece: whilst the Piano Concerto in A minor was the 25-year-old composer’s breakthrough to international fame, he had decided to withdraw his symphony, written only a few years previously. Yet every page of the score – despite overt influences of Schumann, Gade and Mendelssohn – convinces, thanks to Grieg’s youthful inspiration and superb invention.more

"Lively and stylish performances in a very natural sound." (Pizzicato)

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The fourth volume of audite's complete recording of Edvard Grieg's orchestral works with the WDR Sinfonieorchester Köln and the conductor Eivind Aadland combines the most popular work by the Norwegian national composer with his least known: the Piano Concerto in A minor, performed here by Herbert Schuch, represented the 25-year-old Grieg's breakthrough to international fame and is one of a handful of great piano concertos on which every pianist is judged. In the concerto, the influence of Schumann, his great model (Grieg had, after all, studied in Leipzig), is combined with that of Norwegian folk music - for the first time in a work by Grieg these national elements can be detected, which enthused not only his compatriots but also his wider European audience.

In his Symphony in C minor, completed in 1864, however, hardly any Norwegian inflections can be traced: apart from Schumann, Grieg emulated the Danish symphonic composer Niels Wilhelm Gade, who had pressed his young colleague to adopt the genre. Although it was a remarkable proof of the 21-year-old's talent, Grieg was not entirely satisfied with his symphony and forbade any further performance. The work was not revived until 1980, when it was performed under adventurous conditions in the Soviet Union, upon which it was immediately recognised as an important milestone in the Scandinavian orchestral culture of the nineteenth century. Despite overt influences of Schumann, Gade and Mendelssohn, the score convinces, thanks to Grieg's youthful inspiration and superb invention.

Reviews

ionarts.blogspot.com | Tuesday, August 30, 2016 | Jens F. Laurson | August 30, 2016 | source: http://ionarts.b... Dip your ears

[…] It’s almost eerily similar to another recent (also live) recording that combines the concerto with Lyric Pieces (although four of Ott’sMehr lesen

[…] It’s almost eerily similar to another recent (also live) recording that combines the concerto with Lyric Pieces (although four of Ott’s twelve chocies overlap), namely that of Javier Perianes on Harmonia Mundi with the BBC Symphony Orchestra under Sakari Oramo. If I had to choose between the two, Ott would win out; when she differs, however marginally, in tempos, she’s a touch fleeter, which I like… and the recorded sound (and orchestra’s wind section: no hiss with the Bavarians) is slightly better on DG, which becomes notable in the slow movement. Compared to Herbert Schuch’s recording on Audite (a very delicate, favorite performance, with the WDR SO Cologne and Eivind Aadland) the sound is more direct and almost (and only in comparison) brash.

In the Lyric Pieces Ott (and the acoustic) is a little drier, a little leaner, while Perianes indulges in a freer rubato. Incidentally that’s closer to Grieg, whose rubato was very free-wheeling, indeed. Another fine, slightly specialist release, of Grieg’s Piano Concerto and select Lyric Pieces (played on Grieg’s piano and trying to emulate Grieg’s own performances) shows this to be the case, namely that of Sigurd Slåttebrekk with the Oslo Philharmonic under Michail Jurowski on Simax (ionarts review here: Musical Journey Through Norway). Alice Sara Ott navigates her way through these pieces in similar manner as with the concerto. She won’t indulge, and while her butterfly is fast and sufficiently nervous, she doesn’t deliberately undercut the romantic cliché, either. Like that butterfly, the pieces flit by with great pleasantness and slight blandness.

If that sounds like a gentle bashing, it’s not intended that way. These qualities are no detriment to the music or recording. Actually, this disc could be considered an ideal Griegtroduction™: it does not overly color the canvas of the music and leaves the ears ready, thereafter, to open-mindedly receiving and considering any number of differing interpretations. The only snag: There is one similar recording already, which does all that, a little more of it, arguably a little more interestingly while doing it, and certainly no worse at it. That’s Leif Ove Andsnes’ first, super-stormy, recording of the concerto with the Bergen Philharmonic under Dmitri Kitayenko which, in a coupling on a Virgin twofer (now Erato, if only Warner only re-issued it at last, hopefully with the same Delacroix’ “Orphan girl seated in cemetery” on the cover), added many more lyric pieces and the Piano Sonata on two discs priced lower than the DG release. […]
[…] It’s almost eerily similar to another recent (also live) recording that combines the concerto with Lyric Pieces (although four of Ott’s

The New Listener | 09/04/2016 | Oliver Fraenzke | April 9, 2016 Perlen des Nordens

Eivind Aadland geht dem Orchesterwerk dieses grandiosen Komponisten auf den Grund, gemeinsam mit dem WDR-Sinfonieorchester Köln spielte er es auf fünf CDs für audite ein. Das Orchester spielt klar und durchhörbar, der Dirigent verzichtet auf alle unnötigen Romantizismen und überdehnte Tempi rubati. [...] Es entstehen vielfarbige Schattierungen und das Ganze wird nicht wie viel zu häufig zu hören in einem einzigen monochromen „Grieg-Klang“ verschmolzen.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Eivind Aadland geht dem Orchesterwerk dieses grandiosen Komponisten auf den Grund, gemeinsam mit dem WDR-Sinfonieorchester Köln spielte er es auf fünf CDs für audite ein. Das Orchester spielt klar und durchhörbar, der Dirigent verzichtet auf alle unnötigen Romantizismen und überdehnte Tempi rubati. [...] Es entstehen vielfarbige Schattierungen und das Ganze wird nicht wie viel zu häufig zu hören in einem einzigen monochromen „Grieg-Klang“ verschmolzen.

WDR 3
WDR 3 | 01.03.2016 | March 1, 2016 | source: http://www1.wdr.... BROADCAST

Sendebeleg siehe PDF!Mehr lesen

Sendebeleg siehe PDF!
Sendebeleg siehe PDF!

www.opusklassiek.nl | januari 2016 | Aart van der Wal | January 1, 2016

Het is duidelijk, Aadland en het orkest hebben dit repertoire zo goed in de vingers, er zoveel affiniteit mee dat dit project alleen daarom al als ijzersterk mag worden gekwalificeerd Daar komt dan nog bij dat het orkestspel van hoog gehalte is en dat de in de Keulse Philharmonie en de Bismarck-zaal gemaakte opnamen tot de beste mogen worden gerekend die ik tot nu toe uit die bron heb gehoord.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Het is duidelijk, Aadland en het orkest hebben dit repertoire zo goed in de vingers, er zoveel affiniteit mee dat dit project alleen daarom al als ijzersterk mag worden gekwalificeerd Daar komt dan nog bij dat het orkestspel van hoog gehalte is en dat de in de Keulse Philharmonie en de Bismarck-zaal gemaakte opnamen tot de beste mogen worden gerekend die ik tot nu toe uit die bron heb gehoord.

www.limelightmagazine.com.au | June 2015 | Greg Kune | June 1, 2015 A warhorse gets a good trot alongside a forgotten pony

I've raved about Eivind Aadland's recordings with the excellent West Deutsche Rundfunk Orchestra in his Grieg cycle and this vivid performance and lovely recording maintain the standard. [...] One review exclaimed "his shadings have shadings" - exactly! His tone is gorgeous and so is this CD.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
I've raved about Eivind Aadland's recordings with the excellent West Deutsche Rundfunk Orchestra in his Grieg cycle and this vivid performance and lovely recording maintain the standard. [...] One review exclaimed "his shadings have shadings" - exactly! His tone is gorgeous and so is this CD.

American Record Guide | 31.03.2015 | Paul L Althouse | March 31, 2015

Over his entire career Grieg wrote only two orchestral works in the traditional multimovement format: this symphony and concerto. Both are earlyMehr lesen

Over his entire career Grieg wrote only two orchestral works in the traditional multimovement format: this symphony and concerto. Both are early works. The symphony was completed in 1864, when the composer was 20; the concerto followed in 1868. The symphony had a curious fate because after some partial performances Grieg withdrew it, declaring it should not be performed. And so it wasn’t until 1980, and since then a few recordings have appeared. The work shows debt to Mendelssohn and Schumann but probably doesn’t have enough interest to enter the general repertory. It does have, though, catchy themes and lovely moments that show the remarkable skill and finesse of a young composer. The sweet romanticism we associate with Grieg is not yet part of his style—it really sounds more like Mendelssohn!—and it is clear that after these two early orchestral works he directed his career in other directions.

The symphony performance under Eivind Aadland has everything you would hope for: lots of energy and excitement, with a very fine, well-prepared orchestra. The music emerges with a sense of youth and enthusiasm, and rhythms are crisp. With the concerto, of course, we are on familiar ground. The catalog lists dozens of fine recordings, and a relative newcomer like Schuch (now in his mid-30s) won’t gain notice easily. But this is a fine performance. He throws himself into the piece with lots of excitement in the outer movements and plenty of virtuosic display, mainly in the big cadenza. He also gives us ample poetry in the slow movement and the finale (before the strange stop in the middle!) Schuch is ably backed by Aadland, who brings the same level of excitement here as in the symphony.

This is Volume IV of Audite’s complete edition of Grieg’s orchestral work in five volumes (see our index). It comes with fine, detailed notes, and the sound is first rate. A fine job all around!
Over his entire career Grieg wrote only two orchestral works in the traditional multimovement format: this symphony and concerto. Both are early

Fanfare | 26.03.2015 | Jim Svejda | March 26, 2015

For the fourth (and next-to-last) installment of its stunning series of the complete symphonic works of Edvard Grieg, Audite made the canny decisionMehr lesen

For the fourth (and next-to-last) installment of its stunning series of the complete symphonic works of Edvard Grieg, Audite made the canny decision to combine the composer’s least-known major work with the one performed with the most monotonous frequency. Incredibly enough, these two youthful half-hour works, written barely five years apart, hardly seem the work of the same composer.

Composed for Copenhagen at the suggestion of Niels Gade when Grieg was only 20, the Symphony in C Minor is an amiable, well-made stylistic hodge-podge that mixes Schumann, Mendelssohn and—for those with a very discerning ear—Gade himself. Finished in 1864, the symphony was not performed until 1980, when it was finally heard against the composer’s wishes and instructions. The premiere was given—wouldn’t you know it—in the Soviet Union, by the Russian conductor Vitali Katayev, who asked the Bergen city library for a photocopy for “research purposes only” and then performed it anyway. (One more reason not to lament the passing of The Evil Empire.)

The brilliant young Norwegian conductor Eivind Aadland treats the piece like the early work it is, wisely choosing never to overstate the case or try to turn it into the youthful masterpiece it clearly isn’t. Still, everything is done with such loving care and meticulous attention to detail—listen especially to the incredibly refined and sensitive phrasing in the lovely Adagio espressivo—that it’s difficult to imagine a stronger case ever being made for the piece.

The version of the piano concerto is as fresh-minted and spontaneous sounding as everything else in the series, with the WDR Symphony again playing in a way that suggests it’s coming to the music for the very first time (in the best possible sense). The Romanian-born Herbert Schuch is a probing and imaginative soloist, often acting like the first among equals in a fine chamber music recital. The playing itself is lithe and endearingly capricious, especially in the concerto’s cadenza, which for once sounds like cadenzas were meant to sound: as though someone were making it up on the spot. There’s also plenty of fire and muscle when the music requires it, most notably in a finale which steps off at a pace that manages to seem both cracking and completely comfortable. Again, the orchestra performs countless little expressive miracles along the way. Try sampling the flute solo about two and a half minutes in: You can actually smell the chilly morning air.

As in the previous installments in the series, the recorded sound is as warm and natural as the performances themselves. Alas, the concluding Volume Five must now be anticipated with equal amounts of eagerness and regret: as in, what a pity Grieg didn’t write more things for this bunch to record.
For the fourth (and next-to-last) installment of its stunning series of the complete symphonic works of Edvard Grieg, Audite made the canny decision

Scherzo
Scherzo | Número 305 - Marzo de 2015 | Juan Carlos Moreno | March 1, 2015

Mejor, como siempre, Eivind Aadland, quien vuelve a demostrar su empatía con Grieg en este poco agradecido programa.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Mejor, como siempre, Eivind Aadland, quien vuelve a demostrar su empatía con Grieg en este poco agradecido programa.

Record Geijutsu
Record Geijutsu | 2015.2 | February 1, 2015

japanische Rezension siehe PDF!Mehr lesen

japanische Rezension siehe PDF!
japanische Rezension siehe PDF!

Image Hifi
Image Hifi | 2/2015 | Heinz Gelking | February 1, 2015 Hörenswertes

In Köln entstand keine stürmische, sondern eine eher frische und kraftvolle, am Klavier brillant gespielte und trotzdem nicht vom Solisten dominierte, sondern auch durch ein prägnantes und transparentes Orchesterspiel getragene Version. [...] Lange habe ich keine Aufnahme mit Klavier plus Orchester gehört, in der Parameter wie Transparenz, Energie und Raum so gut unter Dach und Fach gebracht wurden.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
In Köln entstand keine stürmische, sondern eine eher frische und kraftvolle, am Klavier brillant gespielte und trotzdem nicht vom Solisten dominierte, sondern auch durch ein prägnantes und transparentes Orchesterspiel getragene Version. [...] Lange habe ich keine Aufnahme mit Klavier plus Orchester gehört, in der Parameter wie Transparenz, Energie und Raum so gut unter Dach und Fach gebracht wurden.

Das Orchester | 02/2015 | Susanne Rudolph | February 1, 2015 | source: http://www.dasor...

Da der norwegische Dirigent Eivind Aadland mit dem WDR Sinfonieorchester all diese Attribute mit liebevoller Detailgenauigkeit und sprühendem Elan ausspielt und weder kernige Klangwucht noch Empfindungstiefe scheut, dürfte es dem Zuhörer ähnlich gehen wie einst Rubinstein und Bernstein: Je öfter er die Sinfonie anhört, desto lieber wird sie ihm… Kurz: Diese bemerkenswerte Talentprobe des jungen Edvard Grieg, in der sein typisch nordisches Idiom schon aufscheint, ist eine bereichernde Entdeckung.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Da der norwegische Dirigent Eivind Aadland mit dem WDR Sinfonieorchester all diese Attribute mit liebevoller Detailgenauigkeit und sprühendem Elan ausspielt und weder kernige Klangwucht noch Empfindungstiefe scheut, dürfte es dem Zuhörer ähnlich gehen wie einst Rubinstein und Bernstein: Je öfter er die Sinfonie anhört, desto lieber wird sie ihm… Kurz: Diese bemerkenswerte Talentprobe des jungen Edvard Grieg, in der sein typisch nordisches Idiom schon aufscheint, ist eine bereichernde Entdeckung.

Vårt Land | Tirsdag 13. Januar 2015 | Olav Egil | January 13, 2015 Grieg med dyp pust
Blant uendeligheten av innspilte Grieg-toner føyer de nyeste seg inn blant dem som tar det store overblikket - uten tusser, tuer og norske kratt

Det er en forrykende tolkning. Aadlands utgave er, som alt i denne serien, preget av moden vurdering og sikker sans for at musikken bærer, om den bare får tid til å puste og ikke piskes opp. I Aadland hånd – opplever jeg – blir Griegs Symfoni for første gang virkelig interessant. Naturlig virtuositet (ved behov) avløses av klassisk, symfonisk refleksjon, kall det gjerne alvor, en lys form for alvor.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Det er en forrykende tolkning. Aadlands utgave er, som alt i denne serien, preget av moden vurdering og sikker sans for at musikken bærer, om den bare får tid til å puste og ikke piskes opp. I Aadland hånd – opplever jeg – blir Griegs Symfoni for første gang virkelig interessant. Naturlig virtuositet (ved behov) avløses av klassisk, symfonisk refleksjon, kall det gjerne alvor, en lys form for alvor.

hifi & records
hifi & records | 1/2015 | Uwe Steiner | January 1, 2015

Wie schon in den vorangegangenen drei Folgen seiner Einspielung sämtlicher Orchesterwerke Griegs macht Eivind Aadland auch diese Musik so stark wie irgend möglich, vor allem gönnt er ihrem poetischen Zauber die erforderliche Transparenz und die Vielfalt der Orchesterfarben. Auf vordergründige Effekte verzichtet zumal die Wiedergabe des Klavierkonzerts. Herbert Schuch musiziert ganz auf dieser Linie, indem er bei tadelloser Technik, niemals vordergründig den Virtuosen ausstellt, um stattdessen vielmehr die Schönheiten dieser Partitur lyrisch und sanglich zu entfalten. Eine Empfehlung!Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Wie schon in den vorangegangenen drei Folgen seiner Einspielung sämtlicher Orchesterwerke Griegs macht Eivind Aadland auch diese Musik so stark wie irgend möglich, vor allem gönnt er ihrem poetischen Zauber die erforderliche Transparenz und die Vielfalt der Orchesterfarben. Auf vordergründige Effekte verzichtet zumal die Wiedergabe des Klavierkonzerts. Herbert Schuch musiziert ganz auf dieser Linie, indem er bei tadelloser Technik, niemals vordergründig den Virtuosen ausstellt, um stattdessen vielmehr die Schönheiten dieser Partitur lyrisch und sanglich zu entfalten. Eine Empfehlung!

Diapason
Diapason | N° 631 Janvier 2015 | Nicolas Derny | January 1, 2015

«Rentre chez toi et écris une symphonie», conseille Niels Gade au jeune Grieg, qui s'était alors frotté qu'aux petites formes. L'apprentiMehr lesen

«Rentre chez toi et écris une symphonie», conseille Niels Gade au jeune Grieg, qui s'était alors frotté qu'aux petites formes. L'apprenti s'exécute. Mais note en 1867 «Ne doit jamais être jouée» sur le manuscrit de son unique tentative. Conventionnelle dans sa construction, la symphonie offre pourtant de beaux atouts mélodiques.

Depuis la levée de l'interdiction en... 1981 par la bibliothèque qui la détenait, les gravures ne manquent pas. La nouvelle, bien ancrée sur son large socle (mais pas empesée pour autant), doit beaucoup au geste nerveux d'Eivind Aadland. On peut rêver, dans l'ondoyant Adagio espressivo, de couleurs plus «boréales» que celle de l'orchestre de Cologne, mais l'élan populaire que le chef confère au scherzo et l'énergie trépidante du finale enthousiasment plus que de coutume. Un joli coup de frais.

Soliste et maestro travaillent ensuite à caractériser au mieux les différents épisodes du concerto pour piano. De la vigueur parfois un peu dure au lyrisme le plus chantant, Herbert Schuch montre l'étendue de sa palette expressive et veille à l'élégance du rubato. En outre, les compères semblent prendre un malin plaisir à accentuer ici l'influence de Chopin, à tirer là des fusées lisztiennes, ou à annoncer Rachmaninov. Personnel, bel et bon, mais trop contrôlé. Un peu d'abandon n'aurait pas nui.
«Rentre chez toi et écris une symphonie», conseille Niels Gade au jeune Grieg, qui s'était alors frotté qu'aux petites formes. L'apprenti

Piano News
Piano News | Januar/Februar (I/2015) | Carsten Dürer | January 1, 2015

Mit seiner Eigenschaft der nicht nur brillierenden, technischen Sicht auf diese Musik weiß Schuch dieses Konzert eindringlich zu gestalten, mit Lyrismus, mit Vehemenz, mit famoser Agogik und Phrasierung. Und er bildet mit dem Orchester eine derartig grandiose Einheit, dass man sich kaum erinnert, dieses Konzert jemals besser gehört zu haben . Eine Referenzeinspielung!Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Mit seiner Eigenschaft der nicht nur brillierenden, technischen Sicht auf diese Musik weiß Schuch dieses Konzert eindringlich zu gestalten, mit Lyrismus, mit Vehemenz, mit famoser Agogik und Phrasierung. Und er bildet mit dem Orchester eine derartig grandiose Einheit, dass man sich kaum erinnert, dieses Konzert jemals besser gehört zu haben . Eine Referenzeinspielung!

Classical CD Choice | December 13, 2014 | Barry Forshaw | December 13, 2014 | source: http://www.cdcho...

[...] the concerto is given a reading of great spirit and colour.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[...] the concerto is given a reading of great spirit and colour.

Der Tagesspiegel
Der Tagesspiegel | 07.12.2014 | Frederik Hanssen | December 7, 2014 Stille Nacht? Von wegen!
Tagesspiegel-Kritikerinnen und -Kritiker empfehlen: Die besten CDs zu Weihnachten

[...] leidenschaftliche Musik, handwerklich tadellos gearbeitet und genuin romantisch.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[...] leidenschaftliche Musik, handwerklich tadellos gearbeitet und genuin romantisch.

Gramophone
Gramophone | December 2014 | Rob Cowan | December 1, 2014

'Must never be performed' is an obvious red rag to any musical bull and although Grieg's youthful C minor Symphony reveals numerous influences, someMehr lesen

'Must never be performed' is an obvious red rag to any musical bull and although Grieg's youthful C minor Symphony reveals numerous influences, some more obvious than others, it's confidently built, thematically appealing and mildly memorable in a way that recalls similarly derivative early symphonic works by Dvorak and Glazunov. Its first recording, by the Bergen Symphony Orchestra under Karsten Andersen, is now out on Decca Eloquence (appropriately coupled with Goldmark's equally engaging Rustic Wedding Symphony), and shares the market with worthy versions under Ari Rasilainen, Okko Kamu, Terje Mikkelsen and Neeme Järvi. Up until now I would probably have rated the latter as top contender but this newcomer from Eivind Aadland and the Cologne WDR Symphony Orchestra, which is captured in admirably natural sound and appears in the context of Grieg's 'Complete Symphonic Works, Vol 4', is a fresh, lightly sprung performance that avoids any inappropriate feelings of portentousness and highlights the mazurka-style third movement as the most characteristic in terms of its thematic material.

A good idea to couple Grieg's least familiar orchestral work with its totally familiar near contemporary, the A minor Piano Concerto, in a not insubstantial reading by the excellent Herbert Schuch, who sounds-as if he's worked over every semiquaver with infinite care. Not that the performance lacks spontaneity, more that inner voices, crisp rhythms and a sculpted brand of poetry suggest a truly 'settled' interpretation, one that happily compares with (but hardly replaces) the best available. Again Aadland and his Cologne players provide an excellent account of the orchestral score, supportive of Schuch and distinctive on its own terms, and the recorded balance is excellent.
'Must never be performed' is an obvious red rag to any musical bull and although Grieg's youthful C minor Symphony reveals numerous influences, some

International Record Review
International Record Review | December 2014 | Colin Anderson | December 1, 2014

Edvard Grieg would prefer that we did not know his Symphony in C minor. But his cover was broken in the late days of the LP when Decca issued aMehr lesen

Edvard Grieg would prefer that we did not know his Symphony in C minor. But his cover was broken in the late days of the LP when Decca issued a digital recording by Karsten Andersen and the Bergen Philharmonic. The work has not been hidden since, although it is hardly a staple of the repertoire, and is unlikely ever to be. One may well understand the composer's reluctance to have the music played, yet there are some attractive ideas in a symphony that is concise, confident and lyrical, and certainly with numerous trademarks of the Norwegian's style. It's a warm-hearted score, and not a little evocative in places, cast in the traditional four movements and playing for just over half an hour. So it doesn't outstay its welcome; and, anyway, Grieg wasn't about putting on a big show. Rather he invented some pleasing melodies, developed and orchestrated them well if modestly, and his dynamic palette is wide, which Eivind Aadland ensures we appreciate; furthermore, when needed, the composer invests moments of drama to keep the listener engaged and the music on a clear-cut journey.

There is something of a chivalrous fee l to the first movement. If the slow one is a relative disappointment, it's because the very opening is quite lovely but then the music doesn't quite bloom as the initial promise suggests it might. It's tenderly played here, though, as part of a sympathetic and well-prepared reading that continues with a robust, dancing scherzo, itself contrasted with a pastoral trio. The finale drives along with a sense of purpose and direction and also with a sense of emotional urgency, and lightly trips, too, in a very attractive way. The cited stylistic likenesses that are made in Audite's annotation to composers such as Niels Gade, Mendelssohn and Schumann are justified, if applicable more to the former than the two Germans. Yet, ultimately, Grieg is characteristically Grieg in this work, not quite fully formed, doubting himself, but Ieaving us a work that can be much enjoyed.

The excellent music-making and recorded sound is carried into a piece at the polar extreme of Grieg's popularity, the Piano Concerto. Eric Morecambe may have made hay with it more than 40 years ago, with André Previn his willing and brilliant accomplice. Herbert Schuch, with the full support of the orchestra and conductor, gives a fresh and flowing, feisty even, account of music easy to take for granted. There is much that is gentle and tender, too, and the slow movement is especially soulful, beautifully brought off, and the finale has an invigorating impetuousness as well as idyllic romance and final triumph. Throughout, a positive collaboration informs this honest outing for such a familiar concerto. (The earlier volumes in this series were reviewed in July / August 2011 and September 2013).
Edvard Grieg would prefer that we did not know his Symphony in C minor. But his cover was broken in the late days of the LP when Decca issued a

Infodad.com | November 13, 2014 | November 13, 2014 The extent of the symphony

His Piano Concerto, however, is of crucial importance, and it shares the SACD with the symphony and gets a grand, sweeping and altogether winning performance from Herbert Schuch.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
His Piano Concerto, however, is of crucial importance, and it shares the SACD with the symphony and gets a grand, sweeping and altogether winning performance from Herbert Schuch.

Mitteldeutscher Rundfunk
Mitteldeutscher Rundfunk | MDR FIGARO | Take 5 | 03.11.2014 | 18:05-19:00 Uhr | Andre Sittner | November 3, 2014 | source: http://www.mdr.d... BROADCAST CD-Empfehlung

Alles in allem also sehr gelungen und eine würdige Fortsetzung der zu Recht vielgelobten Grieg-Reihe bei Audite.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Alles in allem also sehr gelungen und eine würdige Fortsetzung der zu Recht vielgelobten Grieg-Reihe bei Audite.

Muzyka21
Muzyka21 | listopad 2014 | Stanisław Lubliński | November 1, 2014

Płyta urzekła mnie po pierwszych dźwiękach. Poziom orkiestry jest znakomity pod względem sprawności technicznej i precyzji, nienagannej intonacji, spójności barwowej i elegancji odpowiedniej dla muzyki Norwega. [...] Herberta Schucha prawdziwym mistrzem klawiatury. Jego niezwykła elastyczności w podejściu do koncertu Griega zachwyca.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Płyta urzekła mnie po pierwszych dźwiękach. Poziom orkiestry jest znakomity pod względem sprawności technicznej i precyzji, nienagannej intonacji, spójności barwowej i elegancji odpowiedniej dla muzyki Norwega. [...] Herberta Schucha prawdziwym mistrzem klawiatury. Jego niezwykła elastyczności w podejściu do koncertu Griega zachwyca.

BBC Music Magazine
BBC Music Magazine | November 2014 | MSR | November 1, 2014

Grieg's most popular piece alongside his most forgotten, the amlable Symphony he withdrew soon after it was written. The Concerto performance lacksMehr lesen

Grieg's most popular piece alongside his most forgotten, the amlable Symphony he withdrew soon after it was written. The Concerto performance lacks fire, but it's an agreeable combination.
Grieg's most popular piece alongside his most forgotten, the amlable Symphony he withdrew soon after it was written. The Concerto performance lacks

Musik & Theater | 11/12 November/Dezember 2014 | Reinmar Wagner | November 1, 2014 Verbotene Sinfonie

Beschwingt, akzentuiert klingt das, mit Elan und einer Portion eher jugendlichem als romantischem Pathos, Herbert Schuch ist der tadellose Solist im Klavierkonzert.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Beschwingt, akzentuiert klingt das, mit Elan und einer Portion eher jugendlichem als romantischem Pathos, Herbert Schuch ist der tadellose Solist im Klavierkonzert.

www.pizzicato.lu | 29/10/2014 | Remy Franck | October 29, 2014 Lebendige Grieg-Interpretationen

In seiner Gesamtaufnahme von Edward Griegs symphonischem Werk kommt Eivind Aadland nicht an der viel und nicht zuletzt vom Komponisten selberMehr lesen

In seiner Gesamtaufnahme von Edward Griegs symphonischem Werk kommt Eivind Aadland nicht an der viel und nicht zuletzt vom Komponisten selber geschmähten Symphonie vorbei. Aadlands motiviertes Dirigieren kann die uncharakteristische Musik nicht ins Positive wenden: Das Werk zieht vorbei und hinterlässt kaum Spuren.

Im Klavierkonzert geht der Dirigent recht sachlich mit der Musik um und arbeitet zusammen mit Herbert Schuch ein Maximum an Nuancen und Kontrasten im Grieg-Konzert heraus. Das führt zu einer lebendigen Darstellung, in der kraftvolle Bravour und poetische Lyrik mit klarem Kopf platziert und dosiert werden.

Lively and stylish performances in a very natural sound. However, even in such a good interpretation, Grieg’s Symphony remains a rather uncharacteristic and unsatisfying work.
In seiner Gesamtaufnahme von Edward Griegs symphonischem Werk kommt Eivind Aadland nicht an der viel und nicht zuletzt vom Komponisten selber

http://theclassicalreviewer.blogspot.de | Sunday, 19 October 2014 | Bruce Reader | October 19, 2014 Audite’s fourth volume in their edition of The Complete Symphonic Works of Edvard Grieg is another fine release that leaves this series set to become a real winner

Altogether this is another fine addition to Audite’s ongoing complete symphonic cycle. The recording from Köln Philharmonie is excellent and there are informative booklet notes. This series is set to become a real winner.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Altogether this is another fine addition to Audite’s ongoing complete symphonic cycle. The recording from Köln Philharmonie is excellent and there are informative booklet notes. This series is set to become a real winner.

Bayerischer Rundfunk
Bayerischer Rundfunk | BR-Klassik, CD-Tipp vom 06.10.2014 | October 6, 2014 BROADCAST
CD-TIPP

Sendebeleg siehe PDF!Mehr lesen

Sendebeleg siehe PDF!
Sendebeleg siehe PDF!

Klassisk Musikkmagasin | Nummer 4/2014 | Martin Anderson | October 1, 2014

Schuch’s very first entry is made with such precision and power that you sit up in surprise – you know that something special is ahead of you, and so it proves, in one of the best accounts of this constantly recycled concerto that I’ve heard. [...]Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Schuch’s very first entry is made with such precision and power that you sit up in surprise – you know that something special is ahead of you, and so it proves, in one of the best accounts of this constantly recycled concerto that I’ve heard. [...]

Neue Musikzeitung
Neue Musikzeitung | 10/14 Oktober 2014 | Hanspeter Krellmann | October 1, 2014 Unüberhörbar

[...] vier zur Serie gebundenen CDs in einer durchgehend resolut angegangenen wie sensibel nachempfundenen Darstellung.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[...] vier zur Serie gebundenen CDs in einer durchgehend resolut angegangenen wie sensibel nachempfundenen Darstellung.

Merchant Infos

Edvard Grieg: Complete Symphonic Works, Vol. IV
article number: 92.670
EAN barcode: 4022143926708
price group: ACX
release date: 19. September 2014
total time: 62 min.

News

date /
Typ
title
Rating
Jul 1, 2015
Award

4 de Diapason - Edvard Grieg: Complete Symphonic Works, Vol. IV
Mar 11, 2014
Award

4/5 Noten - Edvard Grieg: Complete Symphonic Works, Vol. IV
Oct 27, 2014
Award

5/5 Sternen - Edvard Grieg: Complete Symphonic Works, Vol. IV
May 22, 2017
Review

Mitteldeutscher Rundfunk
BROADCAST CD-Empfehlung
Nov 5, 2017
Review

Das Orchester
Fehlurteile sind in der Rezeptionsgeschichte eines Werks nichts Ungewöhnliches....
Nov 1, 2017
Review

Classical CD Choice
With Volume 4, this commendable Audite series finally gets around to Grieg’s...
Sep 22, 2016
Review

ionarts.blogspot.com
Dip your ears
May 25, 2016
Review

The New Listener
Perlen des Nordens
Feb 3, 2016
Review

WDR 3
BROADCAST
Jan 3, 2016
Review

Bayerischer Rundfunk
BROADCAST
Jul 1, 2016
Review

www.opusklassiek.nl
De Noorse dirigent Eivind Aadland (1956) is in Bergen, niet ver van Griegs...
May 27, 2015
Review

Record Geijutsu
japanische Rezension siehe PDF!...
May 27, 2015
Review

www.limelightmagazine.com.au
A warhorse gets a good trot alongside a forgotten pony
Apr 15, 2015
Review

Scherzo
La integral de la producción sinfónica de Edvard Grieg en el sello Audite...
Apr 13, 2015
Review

American Record Guide
Over his entire career Grieg wrote only two orchestral works in the traditional...
Apr 13, 2015
Review

Fanfare
For the fourth (and next-to-last) installment of its stunning series of the...
Feb 3, 2015
Review

Vårt Land
Grieg med dyp pust
Feb 23, 2015
Review

Image Hifi
Hörenswertes
Jul 1, 2015
Review

Diapason
«Rentre chez toi et écris une symphonie», conseille Niels Gade au jeune...
Jul 1, 2015
Review

Piano News
Es ist bereits die vierte Folge sämtlicher sinfonischer Werke von Edvard Grieg...
Dec 17, 2014
Review

Infodad.com
The extent of the symphony
Dec 15, 2014
Review

Gramophone
'Must never be performed' is an obvious red rag to any musical bull and although...
Dec 15, 2014
Review

hifi & records
Es ist ein kluger Zug, eines der bestbekannten Orchesterwerke Griegs, das...
Nov 12, 2014
Review

Der Tagesspiegel
Stille Nacht? Von wegen!
Nov 27, 2014
Review

Klassisk Musikkmagasin
Eivind Aadlands gjennomgang av Griegs orkestermusikk går inn i sin fjerde...
Nov 26, 2014
Review

International Record Review
Edvard Grieg would prefer that we did not know his Symphony in C minor. But his...
Nov 18, 2014
Review

Musik & Theater
Verbotene Sinfonie
Mar 11, 2014
Review

www.pizzicato.lu
Lebendige Grieg-Interpretationen
Oct 27, 2014
Review

Muzyka21
Kolejny, już czarty wolumin poświęcony muzyce symfonicznej Edvarda Griega...
Oct 22, 2014
Review

Neue Musikzeitung
Unüberhörbar
Oct 21, 2014
Review

http://theclassicalreviewer.blogspot.de
Audite’s fourth volume in their edition of The Complete Symphonic Works of Edvard Grieg is another fine release that leaves this series set to become a real winner
Feb 10, 2014
Review

BBC Music Magazine
Grieg's most popular piece alongside his most forgotten, the amlable Symphony he...

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