Franz Lachner News
German composer and conductor (1803-1890)
- organ
- opera, symphony
- German Reich
- conductor, composer
Last update
2024-04-21
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2024-01-25 04:30:00
Recent Releases No. 69 (CD Reviews)
by Karl NehringMozart: Piano Concertos Nos. 19 and 25 (orchestra parts transcribed for string quartet and double bass by Ignaz Lachner). Alon Goldstein, piano; Fine Arts Quartet (Ralph Evans, violin I; Efim Boico, violin II; Gil Sharon, viola; Niklas Schmidt, cello); Lizzie Burns, double bass. Naxos 8.574477Pianist Alon Goldstein remarks of these two particular pieces that they are his personal favorites from among all of Mozart’s piano concertos, then goes on to explain about the arrangements in which they appear on this recording: “Rearrangement of music was very common in the 18th and 19th centuries. The composer and conductor Ignaz Lachner rearranged 19 Mozart concertos, including the two featured on this recording for piano and string quartet with double bass, most likely for the simple pleasure of domestic use m—having the opportunity to play these beloved works without the need of a full orchestra.” Surely the vast majority of those reading this review are […]
2021-09-04 12:00:00
Orchestral music by Franz Lachner, recommended by Gerald Fenech. '... memorable ... magical ... mesmerizing ...'
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Faces of classical music
2021-03-08 11:24:00
Franz Schubert: Octet in F major – Musicians of Greek Youth Symphony Orchestra – Megaron Athens Concert Hall, Dimitris Mitropoulos Hall, 11-13.03.2021 (Premiere: 11.03.2021, 20:30, Live streaming)
[…] on working, whereupon you leave". Schubert completed the score on 1 March, and the first performance took place at the home of a Viennese nobleman, Anton, Freiherr von Spielmann, later that month. Besides Troyer himself, the players included the renowned violinist Ignaz Schuppanzigh and several others who had given the premiere of Beethoven's Septet nearly a quarter of a century earlier. Although there was another private performance of the Octet at the home of Franz Lachner in 1826, its first public airing, with most of the original players, was not until April 1827, in the hall of the Vienna Gesellschaft der Musikfreunde. Some contemporary reports found it too long, though the Wiener Allgemeine Theaterzeitung called it "friendly, agreeable and interesting", and "worthy of the composers well-known talents" – a revealing counter to the old myth that Schubert worked in virtual obscurity, appreciated only by a circle of close friends. […]
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