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Langgaard: Symphonies Nos. 2 & 6 / Komsi, Oramo, Vienna Philharmonic
Rued Langgaard (1893ā1952) was a major Danish late-Romantic composer who did not gain recognition in his mother country. His greatest successes took place in Germany and Austria, where his Symphonies Nos. 2 and 6 were met with considerable acclaim. Back home, he never received that kind of backing and praise. He died a careworn and despairing individual. On this recording with one of the worldās leading orchestras, the tradition-conscious Vienna Philharmonic, one is therefore able to hear Langgaard's music 'return home' to a central European musical culture. At the same time things were going swimmingly for his colleague Jacob Gade (1879ā1963) whose āTango Jalousieā has become the absolutely most frequently played piece of Danish music for almost a century. The two pieces are juxtaposed here to create a delightful programme.
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REVIEW:
Oramo and the Vienna Philharmonic [take] on two contrasted works by Rued Langgaard that illuminate this composer in all his stylistic diversity and recklessness. Such an idiom should be in this orchestraās blood and the VPO do not disappoint ā whether in the lyrically effulgent initial movement, with its discreetly modified sonata form, or the lithe finale. A mandatory purchase for its interpretative insights, committed playing and tangibly realistic sound.
ā Gramophone
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Langgaard: Symphonies Nos. 2 & 6 / Komsi, Oramo, Vienna Philharmonic
Langgaard: Symphonies Nos. 2 & 6 / Komsi, Oramo, Vienna Philharmonic
Rued Langgaard (1893ā1952) was a major Danish late-Romantic composer who did not gain recognition in his mother country. His greatest successes took place in Germany and Austria, where his Symphonies Nos. 2 and 6 were met with considerable acclaim. Back home, he never received that kind of backing and praise. He died a careworn and despairing individual. On this recording with one of the worldās leading orchestras, the tradition-conscious Vienna Philharmonic, one is therefore able to hear Langgaard's music 'return home' to a central European musical culture. At the same time things were going swimmingly for his colleague Jacob Gade (1879ā1963) whose āTango Jalousieā has become the absolutely most frequently played piece of Danish music for almost a century. The two pieces are juxtaposed here to create a delightful programme.
-----
REVIEW:
Oramo and the Vienna Philharmonic [take] on two contrasted works by Rued Langgaard that illuminate this composer in all his stylistic diversity and recklessness. Such an idiom should be in this orchestraās blood and the VPO do not disappoint ā whether in the lyrically effulgent initial movement, with its discreetly modified sonata form, or the lithe finale. A mandatory purchase for its interpretative insights, committed playing and tangibly realistic sound.
ā Gramophone
$4.55
Original: $12.99
-65%Langgaard: Symphonies Nos. 2 & 6 / Komsi, Oramo, Vienna Philharmonicā
$12.99
$4.55Product Information
Product Information
Shipping & Returns
Shipping & Returns
Description
Rued Langgaard (1893ā1952) was a major Danish late-Romantic composer who did not gain recognition in his mother country. His greatest successes took place in Germany and Austria, where his Symphonies Nos. 2 and 6 were met with considerable acclaim. Back home, he never received that kind of backing and praise. He died a careworn and despairing individual. On this recording with one of the worldās leading orchestras, the tradition-conscious Vienna Philharmonic, one is therefore able to hear Langgaard's music 'return home' to a central European musical culture. At the same time things were going swimmingly for his colleague Jacob Gade (1879ā1963) whose āTango Jalousieā has become the absolutely most frequently played piece of Danish music for almost a century. The two pieces are juxtaposed here to create a delightful programme.
-----
REVIEW:
Oramo and the Vienna Philharmonic [take] on two contrasted works by Rued Langgaard that illuminate this composer in all his stylistic diversity and recklessness. Such an idiom should be in this orchestraās blood and the VPO do not disappoint ā whether in the lyrically effulgent initial movement, with its discreetly modified sonata form, or the lithe finale. A mandatory purchase for its interpretative insights, committed playing and tangibly realistic sound.
ā Gramophone
