Cheap Hermann Abendroth: Unreleased Broadcast 1939-1950 (Music) (Beethoven, Schumann, Brahms, Abendroth, Kempff) Price
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| ARTIST: | Beethoven, Schumann, Brahms, Abendroth, Kempff |
| CATEGORY: | Music |
| MANUFACTURER: | Music & Arts Program |
| TYPE: | Classical, Orchestral & Symphonic |
| MEDIA: | Audio CD |
| TRACKS: | Sym No.3 in E flat, Op.55: I. Allegro Con Brio, Sym No.3 in E flat, Op.55: II. Marcia Funebre. Adagio Assai, Sym No.3 in E flat, Op.55: III. Scherzo. Allegro Vivace, Sym No.3 in E flat, Op.55: IV. Finale. Allegro Molto, A Faust Ov, WWV59 - BPO/Hermann Aberdoth, Sym No.9 in d, Op.125: I. Allegro Ma Non Troppo, Un Poco Maestoso - Leipzig SO/Hermann Aberdroth, Sym No.9 in d, Op.125: II. Molto Vivace - Leipzig SO/Hermann Aberdroth, Sym No.9 in d, Op.125: III. Adagio Molto E Cantabile - Leipzig SO/Hermann Aberdroth, Sym No.9 in d, Op.125: IV. Presto/Allegro Assai/Rezitativo/Allegro Assai - Leipzig SO/Hermann Aberdroth, Sym No.4 in d, Op.120: I. Ziemlich Langsam, Sym No.4 in d, Op.120: II. Romanze. Ziemlich Langsam, Sym No.4 in d, Op.120: III. Scherzo. Lebhaft/Trio, Sym No.4 in d, Op.120: IV. Finale. Lebhaft, Sym No.4 in e, Op.98: I. Allegro Non Troppo, Sym No.4 in e, Op.98: II. Andante Moderato, Sym No.4 in e, Op.98: III. Allegro Giocoso, Sym No.4 in e, Op.98: IV. Allegro Energico E Passionato, Pno Con No.4 in G, Op.58: Announcer - WiIlhelm Kemphh, Pno Con No.4 in G, Op.58: I. Allegro Moderato - WiIlhelm Kemphh, Pno Con No.4 in G, Op.58: II. Andante Con Moto - WiIlhelm Kemphh, Pno Con No.4 in G, Op.58: III. Rondo. Vivace - WiIlhelm Kemphh, Pno Con No.4 in G, Op.58: IV. Presto - Lea Piltti/Charlotte Wof-Matthaus/Heinz Matthei/Josef Greindl/Gewandhauschor Leipzig |
| # OF MEDIA: | 4 |
| UPC: | 017685106521 |
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Customer Reviews of Hermann Abendroth: Unreleased Broadcast 1939-1950
"Old School" Conducting Hermann Abendroth (1883-1956) was, like Wilhelm Furtwangler, a pupil of Felix Mottl, who taught a highly "subjective" style of conducting, with flexible tempos and highly expressive phrasing. In contrast to Furtwangler's rather mystical spirituality, Abendroth's music making tends to be earthier - rather like a more animated version of Hans Knappertsbusch. Like Mengelberg, Abendroth was not hesitant to change tempo and alter dynamics where he deemed it necessary (Mengelberg carried those practices to greater extremes). These conductors are all what you would call "of the Old School" - and, by and large, their recordings make most of today's efforts sound rather tepid and unimaginative by comparison.
This superb 4-disc set from Music & Arts is probably the best single introduction to Abendroth's artistry. These are all broadcast performances 1939-1950 and, given their age, the sound is remarkably clear.
The 1949 "Eroica" is a scorching, highly dramatic account. It is now one of my very favorite readings, along with those by Furtwangler, Kna, Mengelberg, Busch, Weingartner, Schuricht, and Scherchen. This 1950 9th is likewise a real stunner - the best of the three Abendroth versions that I have heard (the 1939 finale also included here is less interesting). It belongs to a very select group of 9ths: a trio of Furtwanglers (1942, 1951 and 1954 - all "live"), the Weingartner, Busch, and Konwitschny.
This Brahms 4th is similar to his earlier studio acount (on a Biddulph CD), but it benefits from somewhat better sound and the excitement of a live performance. It is also quite similar in spirit to Furtwangler's, especially the tempo fluctuations in the last mvt. This is "romantic" Brahms at its best. I also treasure the somewhat more "classical" readings by Weingartner, Busch, and Schuricht.
My favorite Schumann 4th is the studio Furtwangler - but this Abendroth performance has a firm hold on second place.
Kempff is more dramatic with Abendroth in the Beethoven 4th Piano Concerto than he was in his later studio reading with Kempen (both are far preferable to Kempff's stereo account with Leitner). Kempff's own peculiar cadenzas are always something of a jolt - all in all, I still prefer the old Schnabel/Sargent to any other. And lastly, the Wagner Faust Overture is quite simply the best interpretation I have heard - it has completely displaced Horenstein's in my affections.
If you are seeking orchestral performances of great imagination, extraordinary virtuosity, and genuine depth of feeling, you have come to the right place. This set is essential!