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Ulster Orchestra, Takuo Yuasa "As an example of Naxos's daring these days, for only its second disc of Schoenberg, it has headed for the Second Chamber Symphony - a work begun in 1906 but not completed after 1939 - rather than the familiar First. Like the Gurrelieder, which was part-orchestrated after Schoenberg's style had moved on from his late-Romantic phase, so the Second Chamber Symphony bears the mark of those missing 33 years in its combination of chromaticism and more acerbic dynamism. The Ulster Orchestra gives a vibrant performance of the work."
- BBC Music Magazine (Matthew Rye), October 2000 | | | In stock - usually despatched within 1 working day. |
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Chamber Orchestra of Europe, Heinz Holliger | | | In stock - usually despatched within 1 working day. |
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| |  | Schoenberg - Verklärte Nacht
Phyllis Bryn-Julson Artemis Quartet, Birmingham Contemporary Music Group & English Chamber Orchestra, Jeffrey Tate & Sir Simon Rattle | 
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| |  | Schoenberg - Chamber Symphony No. 2
Schoenberg: | Chamber Symphony No. 2, Op. 38b The little-known Second Chamber Symphony ought to be the most popular of Schoenberg’s later masterpieces. Neither “atonal” nor “twelve-tone”, it contrasts a lush, melodious, dramatic first movement with a rapid and richly polyphonic second movement. Die glückliche Hand, Op. 18 Die glückliche Hand is a pantomime for two silent actors and one solo singer, “the Man”. The music is very compressed, and its two middle scenes, apart from the lines by the Man, are purely orchestral. Quintet for Flute, Oboe, Clarinet, Horn and Bassoon, Op. 26 Realising that a work of 38 minutes in atonal idiom for five winds might be less audience-friendly than any of his music heretofore, Schoenberg imparted his Wind Quintet with a display of instrumental virtuosity that surpassed anything even he had ever attempted. |
Mark Beesley (bass) Simon Joly Chorale, New York Woodwind Quintet & Philharmonia Orchestra, Robert Craft “Craft has been recording his way through Schoenberg’s oeuvre for Naxos, and this disc is a particularly enjoyable stage, though not all will agree. The quintet, Schoenberg’s first large-scale use of serialism, is often seen as just about his most refractory work. But, as Craft explains, this has much to do with the fact that the difficult score has tended to be taken disastrously slowly. Here, the relentless polyphony is crisp and dazzling. The experimental Die glückliche Hand drama is a sharp contrast to the quintet’s neoclassicism, and the two-movement symphony, with its beguiling rediscovery of tonality, different again.” Sunday Times, 29th June 2008 *** “All [works] are first-rate. Craft is at his most persuasive in the Chamber Symphony - a curious hangover from 1906, which Schoenberg only completed in 1939. By then, his music was utterly different, and if the weirdly symbolic Glückliche Hand ideally needs a more vividly analytical sound than here, it's a rarely recorded piece that is one of the masterpieces of his expressionist period. The Wind Quintet comes as the biggest surprise, though. In an unsympathetic performance, it can seem one of the driest of Schoenberg's 12-note pieces, but the New York Woodwind Quintet show that, with the proper treatment, it takes on a charm of its own.” The Guardian, 2nd May 2008 **** “Mark Beesley, the Simon Joly Chorale and the Philharmonic achieve a remarkable precision and bloom in this Abbey Road recording, while Robert Craft's direction… is more decisive and informed than ever.” BBC Music Magazine, September 2008 **** | | | Usually despatched in 2 - 3 working days. |
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