Benjamin Schmid, Biréli Lagrène, Georg Breinschmid - From Fritz to Django (2016)
BAND/ARTIST: Benjamin Schmid, Biréli Lagrène, Georg Breinschmid
- Title: From Fritz to Django
- Year Of Release: 2016
- Label: Oehms Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 01:04:54
- Total Size: 308 mb
- WebSite: Album Preview
Tracklist
01. Viennese Rhapsodic Fantasietta
02. Gypsy Caprice
03. La Gitana
04. 2 Pieces, Op. 47: No. 1, Lotus Land (Arr. F. Kreisler for Violin & Piano)
05. La vida breve: Danse espagnole No. 1 (Arr. F. Kreisler for Violin & Piano)
06. Im Paradies (Arr. F. Kreisler for Violin & Piano)
07. Humoresques de concert, Op. 14: No. 1, Menuet célèbre (Arr. F. Kreisler for Violin & Piano)
08. Der Opernball, Op. 40: Geh'n wir ins Chambre séparée "Midnight Bells" (Arr. F. Kreisler for Violin & Piano)
09. Chanson Louis XIII & Pavane In The Style Of Couperin
10. Orfeo ed Euridice: Dance of the Blessed Spirits "Melodie" (Arr. F. Kreisler for Violin & Piano)
11. Prelude & Allegro in the Style of Pugnani (Arr. B. Schmid for Violin, Guitar & Double Bass)
12. Alt-Wiener Tanzweisen (Arr. B. Schmid for Violin, Guitar & Double Bass): No. 1, Liebesfreud
13. Alt-Wiener Tanzweisen (Arr. B. Schmid for Violin, Guitar & Double Bass): No. 2, Liebesleid
14. Alt-Wiener Tanzweisen (Arr. B. Schmid for Violin, Guitar & Double Bass): No. 3, Schön Rosmarin
15. The Old Refrain (Arr. B. Schmid for Violin, Guitar & Double Bass)
First on the CD come the performances of Kreisler pieces and arrangements, but not the very most famous ones. Those appear later, in the set of improvisations. The Viennese Rhapsodic Fantasietta, a late work from 1947 (Kreisler actually recorded it) recalls the early Caprice viennois, but enveloped in an atmospheric mist. Someone once described its harmonies as far advanced into the world of Schoenberg, but it’s more retrospective and incomparably more conservative than even the tamest passages in Verklärte Nacht. Schmid recalls the era it commemorates with a Schlag of whipped cream. Then, shifting gears, he plays the Gypsy Caprice with a piquant rhythmic zest that should remind listeners that Kreisler played his own music with fabled tangy springiness. Schmid’s and Skuta’s performance of La gitana displays a similar joyous freedom, while Kreisler’s arrangement of Cyril Scott’s Lotus Land indulges within the limits of its chant-like declamation a more impressionistic sensibility. With uncanny stylistic adaptability, Schmid’s breathless in Falla’s Spanish Dance, wistful in Krakauer’s Im Paradies, tantalizing in Paderewski’s familiar Menuett, tearful in Heuberger’s Midnight Bells, chaste then tart in Chanson Louis XIII et Pavane, and ardent in Gluck’s Melodie—none quite the same as the last or the next number in the program. To discern the character of each of these contrasting pieces required a sort of penetration that even some of the greatest violinists have lacked in this repertoire.
01. Viennese Rhapsodic Fantasietta
02. Gypsy Caprice
03. La Gitana
04. 2 Pieces, Op. 47: No. 1, Lotus Land (Arr. F. Kreisler for Violin & Piano)
05. La vida breve: Danse espagnole No. 1 (Arr. F. Kreisler for Violin & Piano)
06. Im Paradies (Arr. F. Kreisler for Violin & Piano)
07. Humoresques de concert, Op. 14: No. 1, Menuet célèbre (Arr. F. Kreisler for Violin & Piano)
08. Der Opernball, Op. 40: Geh'n wir ins Chambre séparée "Midnight Bells" (Arr. F. Kreisler for Violin & Piano)
09. Chanson Louis XIII & Pavane In The Style Of Couperin
10. Orfeo ed Euridice: Dance of the Blessed Spirits "Melodie" (Arr. F. Kreisler for Violin & Piano)
11. Prelude & Allegro in the Style of Pugnani (Arr. B. Schmid for Violin, Guitar & Double Bass)
12. Alt-Wiener Tanzweisen (Arr. B. Schmid for Violin, Guitar & Double Bass): No. 1, Liebesfreud
13. Alt-Wiener Tanzweisen (Arr. B. Schmid for Violin, Guitar & Double Bass): No. 2, Liebesleid
14. Alt-Wiener Tanzweisen (Arr. B. Schmid for Violin, Guitar & Double Bass): No. 3, Schön Rosmarin
15. The Old Refrain (Arr. B. Schmid for Violin, Guitar & Double Bass)
First on the CD come the performances of Kreisler pieces and arrangements, but not the very most famous ones. Those appear later, in the set of improvisations. The Viennese Rhapsodic Fantasietta, a late work from 1947 (Kreisler actually recorded it) recalls the early Caprice viennois, but enveloped in an atmospheric mist. Someone once described its harmonies as far advanced into the world of Schoenberg, but it’s more retrospective and incomparably more conservative than even the tamest passages in Verklärte Nacht. Schmid recalls the era it commemorates with a Schlag of whipped cream. Then, shifting gears, he plays the Gypsy Caprice with a piquant rhythmic zest that should remind listeners that Kreisler played his own music with fabled tangy springiness. Schmid’s and Skuta’s performance of La gitana displays a similar joyous freedom, while Kreisler’s arrangement of Cyril Scott’s Lotus Land indulges within the limits of its chant-like declamation a more impressionistic sensibility. With uncanny stylistic adaptability, Schmid’s breathless in Falla’s Spanish Dance, wistful in Krakauer’s Im Paradies, tantalizing in Paderewski’s familiar Menuett, tearful in Heuberger’s Midnight Bells, chaste then tart in Chanson Louis XIII et Pavane, and ardent in Gluck’s Melodie—none quite the same as the last or the next number in the program. To discern the character of each of these contrasting pieces required a sort of penetration that even some of the greatest violinists have lacked in this repertoire.
Year 2016 | Classical | FLAC / APE
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