Following the release of Carl Reinecke's complete string quartets, we are now launching a new recording of his most important symphonic works. His Symphony No. 3 formed the rousing finale of his era as a conductor at the Gewandhaus in Leipzig. Reinecke never defended himself verbally against charges by his contemporaries that he was a »conventional composer«; instead, he shared the opinion of his critics, stating that he had »never had the audacity to regard himself as a trailblazing genius.« Musically, however, he puts an immediate end to all clichés. Without holding things up with a slow introduction, he has the first movement of his op. 227 storm ahead on it's path, full of élan, with defiant chordal beats, driven by syncopated rhythms, and for a time offering space for lyrical secondary ideas. And he offers an extremely rich arsenal of powerful orchestral parts. His Symphony No. 1 in A major was performed six times between 1858 and 1892, which means more than any other symphony by him at the Gewandhaus. It has a slow introduction leading seamlessly into the first allegro, an andante greeting Mendelssohn and Schumann, and a robust scherzo framed by a melancholy and delicate trio and in it's coda announcing the clarinet solo introducing the finale, and it was in revised form that Reinecke again included it on the Gewandhaus program on 22 October 1863. With his radiant and splendid Triumphal March op. 110 this master of large-scale symphonies and operas, virtuosic instrumental concertos, sophisticated piano and chamber music, and warm-hearted and playful compositions for children shows that he can also serve up pomp and showy brilliance in keeping with the genre and the occasion and ignite a four-minute
Following the release of Carl Reinecke's complete string quartets, we are now launching a new recording of his most important symphonic works. His Symphony No. 3 formed the rousing finale of his era as a conductor at the Gewandhaus in Leipzig. Reinecke never defended himself verbally against charges by his contemporaries that he was a »conventional composer«; instead, he shared the opinion of his critics, stating that he had »never had the audacity to regard himself as a trailblazing genius.« Musically, however, he puts an immediate end to all clichés. Without holding things up with a slow introduction, he has the first movement of his op. 227 storm ahead on it's path, full of élan, with defiant chordal beats, driven by syncopated rhythms, and for a time offering space for lyrical secondary ideas. And he offers an extremely rich arsenal of powerful orchestral parts. His Symphony No. 1 in A major was performed six times between 1858 and 1892, which means more than any other symphony by him at the Gewandhaus. It has a slow introduction leading seamlessly into the first allegro, an andante greeting Mendelssohn and Schumann, and a robust scherzo framed by a melancholy and delicate trio and in it's coda announcing the clarinet solo introducing the finale, and it was in revised form that Reinecke again included it on the Gewandhaus program on 22 October 1863. With his radiant and splendid Triumphal March op. 110 this master of large-scale symphonies and operas, virtuosic instrumental concertos, sophisticated piano and chamber music, and warm-hearted and playful compositions for children shows that he can also serve up pomp and showy brilliance in keeping with the genre and the occasion and ignite a four-minute
761203511426

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Format: CD
Label: CPO RECORDS
Rel. Date: 07/03/2020
UPC: 761203511426

Symphonies 1 & 3
Artist: Penderecki/Poulenc/Szymanows
Format: CD
New: Available 16.99
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Following the release of Carl Reinecke's complete string quartets, we are now launching a new recording of his most important symphonic works. His Symphony No. 3 formed the rousing finale of his era as a conductor at the Gewandhaus in Leipzig. Reinecke never defended himself verbally against charges by his contemporaries that he was a »conventional composer«; instead, he shared the opinion of his critics, stating that he had »never had the audacity to regard himself as a trailblazing genius.« Musically, however, he puts an immediate end to all clichés. Without holding things up with a slow introduction, he has the first movement of his op. 227 storm ahead on it's path, full of élan, with defiant chordal beats, driven by syncopated rhythms, and for a time offering space for lyrical secondary ideas. And he offers an extremely rich arsenal of powerful orchestral parts. His Symphony No. 1 in A major was performed six times between 1858 and 1892, which means more than any other symphony by him at the Gewandhaus. It has a slow introduction leading seamlessly into the first allegro, an andante greeting Mendelssohn and Schumann, and a robust scherzo framed by a melancholy and delicate trio and in it's coda announcing the clarinet solo introducing the finale, and it was in revised form that Reinecke again included it on the Gewandhaus program on 22 October 1863. With his radiant and splendid Triumphal March op. 110 this master of large-scale symphonies and operas, virtuosic instrumental concertos, sophisticated piano and chamber music, and warm-hearted and playful compositions for children shows that he can also serve up pomp and showy brilliance in keeping with the genre and the occasion and ignite a four-minute