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Korngold: Sinfonietta For Large Orchestra

Gast Steffen S.

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Gast Steffen S.

Hallo Leute,

kennt jemand die CD und kann dazu etwas (egal was, kleine Rezi) sagen?


Sinfonietta in B major, Op. 5

1. Fliesent, Mit Heiterem Schwunge

2. Scherzo: Molto Agitato, Rauch Und Feurig

3. Molto Andante (Traumerisch)

4. Finale: Patetico/Allegro Giocoso

Danke und Gruß,

Steffen S.

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  • 4 Wochen später...
Gast Thomas Müthing

Hier zwei Rezis aus Gramophone:

Sinfonietta,Op. 5.

Berlin Radio Symphony Orchestra/Gerd Albrecht

Varèse Sarabande CD priceiconF.gif VSD5311 (43 minutes : ADD)

From 704 200(06/1986)



Reviewed: Gramophone 10/1991, Lionel Salter

shim.gifshim.gifKorngold himself identified three phases of his career: as the teenage prodigy whose precocious brilliance amazed musicians such as Strauss, Mahler and Schnabel, and whose works the greatest conductors of the day vied to perform; as the composer of the opera Die tote Stadt, written in 1920 at the age of 23 and performed all over the world; and, from 1935, the reluctant film composer who established what is now thought of as Hollywood style. A further phase after the Second World War, when he attempted in vain to re-establish himself in the 'serious' musical world, failed not so much because of any stigma from writing film music (from which many musicians have suffered) as because, in the post-war world, he seemed outdated. ... The largescale Sinfonietta, written only a year later, shows him already fully mature and enormously accomplished: both the present performances of it are full-blooded, spirited and enjoyable. Gerd Albrecht takes the waltz theme in the cheerful first movement a little slower than his rival, and gains by a brighter recording quality (noticeably cleaner-cut in the scherzo, though the brass are a bit over-enthusiastic), by his tonal sensitivity in the slow movement, and by the far greater bite of his finale; but unfortunately the disc's overall duration of only 43 minutes is a factor that cannot be ignored. The invention-packed finale of the Sinfonietta contains much that can indeed be justly described as genius, regardless of its composer's age. ... shim.gifLionel Salter shim.gifshim.gifshim.gif

und zu einer anderen Einspielung:


shim.gifshim.gifSinfonietta,Op. 5 - Concerto for Violin and Orchestra,Op. 35

Ulrike-Anima Mathé vn Dallas Symphony Orchestra/Andrew Litton

Dorian priceiconF.gif DOR90216 (70 minutes : DDD)



Reviewed: Gramophone 2/1996, Michael Stewart

shim.gifshim.gifI think we can safely assume that Korngolds Sinfonietta has finally made its mark it is clearly a hit with conductors as this issue now brings the number of available recordings to no less than four. Still, who can blame anyone for wanting to record such a glowingly rapturous work as this?

I have to say the combination of Andrew Litton and the Dallas Symphony Orchestra was an enticing choice of performers for this work, but my immediate thought was that they would have to be exceptionally persuasive if they were to fight off Matthias Bamert and the BBC Philharmonic on Chandos, currently my primary recommendation for the Sinfonietta. Litton clearly has strong and well-defined feelings for this work and this is most evident, I feel, in the finale, where his bold and radiant reading can be counted among the most impressive on disc. The Scherzo, too, is delivered with fire and gusto, though admittedly the gorgeous trio subject has less warmth and passion than Bamert. Where I part company with Litton is with his interpretation of the first movement which I find too leisurely (overall he is almost one-and-a-half minutes longer than Bamert here), and his use of rubato is also a little excessive at times (I cite the passage 2'10'' to 2'30'' to make my point) which greatly hinders the flow and drive of this movement. A pity, as otherwise this is a strong and interesting reading.

The Violin Concerto receives an exceptionally warm and dedicated performance from Ulrike-Anima Mathe. The first movement is given a considerably more introverted and searching reading than any other on disc as well as being considerably slower than Heifetzs classic 1953 recording (9'43'' as opposed to Heifetzs 7'47''). Some listeners will find it too indulgent perhaps, but I was quite captivated by the breadth and intensity of it. I have not heard quite such a tender and lovingly played account of the beautiful slow movement either, and this, coupled with a suave and spirited account of the finale, leaves me wanting to hear more from this talented and thought-provoking violinist. Heifetz is essential listening, but Mathe, together with Gil Shahams recent recording on DG, is also well worth considering. The recorded sound is warm and atmospheric.'

shim.gifMichael Stewart

Es gibt noch andere Aufnahmen (Werner Andreas Albert auf cpo, Matthias Bamert auf Chandos). Von diesen ist die von Bamert die schönste, andererseits auch die teuerste, und enthält noch die Ouvertüre Sursum Corda, aus der später The Adventures of Robin Hood wurde.


Wer Korngolds Filmmusik mag, der wird auch die SInfonietta mögen.

Gruß, Thomas

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