Marke: Scottish Chamber Orchestra
Variante: Audio-CD
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PRODUKTBESCHREIBUNGEN KURZBESCHREIBUNG Schumann:The Symphonies sees Robin Ticciati and the Scottish Chamber Orchestra embark upon their first Symphonic cycle together in a programme that they performed in concerts across Scotland.This is music that is very close to Robin Ticciati's heart;he describes Schumann as one of his favourite composers and has often spoken about how important poetry,colour and story are to Schumann's music.Symphony No. 1 'Spring', blazes and sparkles with joy,Symphony No.2 finds its way carefully through to the safe haven of its final movement,the much-loved Symphony No.3 Rhenish moves with huge ease and assurance to a resonant and joyful conclusion.Symphony No.4 is radical in the way each movement attacks the start of the next movement with barely a pause,and in its minute-and-a-half-long,shimmering and horn-call-filled transition to the finale.Under Ticciati and the SCO it is magnificent,the radical,soaring,disturbing and exhilarating symphony Schumann intended.The SCO's smaller forces bring a lightness of touch and a clarity to the counterpoint;under Ticciati they achieve a sense of movement that no previous recording has. REZENSION Robin Ticciati's Schumann cycle is the third complete set to appear in the last six months, following Yannick Nézet-Séguin's version with the Chamber Orchestra of Europe for Deutsche Grammophon and Simon Rattle's with the Berlin Philharmoniker on the orchestra's own label. It's also by a considerable margin the best of them, in fact the finest set on disc since David Zinman's on Arte Nova a decade ago, and perhaps the most impressive thing that Ticciati has done on disc so far.Every bar in these urgent performances with the Scottish Chamber Orchestra seems alive and full of interest. Ticciati uses an orchestra with 32 strings, almost exactly the same size as those used for the first performances, and while none of the climaxes is ever lacking in weight or grandeur the opening of the Third Symphony, the Rhenish, has a terrific sweep to it the textures are joyously buoyant. The conductor and his orchestra toured all four works in concert before recording them in the Perth Concert Hall, and in each symphony there is the sense of careful consideration and total absorption in the music so that not a detail of Schumann's scoring goes missing.Everything flows with total naturalness, yet tiny contrapuntal phrases that are often hardly noticeable are allowed to make their points here without a trace of mannered emphasis.Ticciati opts for the usual 1851 score of the D Minor Symphony rather than the original version of 10 years earlier that Rattle made a point of performing, and demonstrates conclusively that Schumann's supposedly heavy-handed revisions to the score need seem nothing of the sort. Though one might question a few of his tempi the trio of the Fourth's scherzo is dangerously slow, for instance such moments are rare; hearing these symphonies in such superbly played, convincingly Schumannesque performances is irresistible. It is clear from this set, and also from his Berlioz recordings with the SCO, that Ticciati has a real affinity with early romantic composers; some more Schumann and perhaps Mendelssohn too ought to follow. --The Guardian -Andrew Clements In the world's eyes,2014 has been Robin Ticciati's Glyndebourne year:since January, this flaming young conductor has been the opera festival's music director. But north of the border they view Ticciati differently:he's the conductor of the Scottish Chamber Orchestra. The music-making on this splendid album gives abundant evidence of a happy marriage: you don't get playing this focused and vigorous if everyone's in a bad mood.The repertoire suits them,too. After two successful albums of Berlioz,they have turned to the four symphonies of Schumann the 19th century's other leading tortured romantic composer, with a tortured personal life to suit.He also shared Berlioz's gift of writing music capable of working critics into a lather.Disorder,an affectation of originality,harmonies . . . obtrusively crude:those were some of their first descriptions.We listen now with different ears, helped in part by the orchestra's modest size in these live recordings from Perth Concert Hall. At the orchestra's fullest, in the revised version of Symphony No 4, we hear 54 musicians beavering away with clarity and bounce the perfect complement to restless music never content with the accepted patterns of symphonic thought.Listening to this release, no one could cling to another ancient complaint about Schumann:that he orchestrated badly. Muddy textures? Difficulties of balance? Not in these lithe accounts, dancing with subtly changing colours, from the antiphonal comments of winds and strings to those horns that rise over Schumann's musings like morning sun breaking through mist.Punchy rhythms,too: a particular legacy of the historically aware performing movement developed over the past 40 years.Fortunately,Ticciati never drives his players quite as hard as John Eliot Gardiner did in hi --The Sunday Times In a competitive year, Ticciati's lithe, youthful accounts of the great works produced the trump card. --Sunday Times 100 Best Records of the Year BIOGRAPHIE DER MITWIRKENDEN Robin Ticciati's recordings have received many accolades:Critics'Choice 'Sound of 2012'(The Independent),'Classical CD of the Week'(Sunday Times),'Disc of the Week'(BBC Radio 3 'CD Review'),No.3 in The Sunday Times Best Classical Albums of 2012 list and Recording of the Month(Gramophone).In October 2014 Robin Ticciati will enter his sixth season as Principal Conductor of the Scottish Chamber Orchestra.He began his tenure as Music Director of Glyndebourne Festival Opera in May 2014.Gramophone named Robin one of the top ten young conductors on the verge of greatness and one of 'Tomorrow's Icons' by Gramophone.2014 is the Scottish Chamber Orchestra's fortieth anniversary year and Schumann:The Symphonies its twenty second recording with Linn. 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