Marschner: Overtures & Stage Music, Vol. 1 / Salvi, Czech Chamber PO Pardubice
Heinrich Marschner, the leading German composer of Romantic opera between Weber and Wagner, was a progressive innovator, bringing to his music a new dimension – the supernatural anti-hero enmeshed in horror, such as the protagonist of Der Vampyr (1828). Before his psychological operas, however, Marschner composed a series of overtures and stage works exploring more conventional material. These have long been overlooked. In this first volume Schön Ella represents Marschner’s mastery of form, skillful orchestration and melodic gifts, while the excerpts from Ali Baba reveal his flair for theatrical concision and mood setting.
REVIEW:
With his call for a German national opera free of foreign influences, Heinrich August Marschner had a lasting influence on Richard Wagner. But Wagner’s success ultimately became Marschner’s undoing. Increasingly overshadowed by Wagner, he died largely unnoticed.
When it came to romantic expressiveness in the orchestra, melodrama and descriptions of situations, Marschner was in his element. With influences from Weber but also from Mendelssohn, his music is inventive and appealing.
Dario Salvi launches a complete recording of Marschner’s overtures and other pieces from his stage works. He does so very stylishly, with a stimulating alternation between relaxed and more dramatic music-making, and the Czech Chamber Philharmonic Orchestra Pardubice responds at a high technical level.
-- Pizzicato (Remy Franck)
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Marschner: Overtures & Stage Music, Vol. 1 / Salvi, Czech Chamber PO Pardubice
Marschner: Overtures & Stage Music, Vol. 1 / Salvi, Czech Chamber PO Pardubice
Heinrich Marschner, the leading German composer of Romantic opera between Weber and Wagner, was a progressive innovator, bringing to his music a new dimension – the supernatural anti-hero enmeshed in horror, such as the protagonist of Der Vampyr (1828). Before his psychological operas, however, Marschner composed a series of overtures and stage works exploring more conventional material. These have long been overlooked. In this first volume Schön Ella represents Marschner’s mastery of form, skillful orchestration and melodic gifts, while the excerpts from Ali Baba reveal his flair for theatrical concision and mood setting.
REVIEW:
With his call for a German national opera free of foreign influences, Heinrich August Marschner had a lasting influence on Richard Wagner. But Wagner’s success ultimately became Marschner’s undoing. Increasingly overshadowed by Wagner, he died largely unnoticed.
When it came to romantic expressiveness in the orchestra, melodrama and descriptions of situations, Marschner was in his element. With influences from Weber but also from Mendelssohn, his music is inventive and appealing.
Dario Salvi launches a complete recording of Marschner’s overtures and other pieces from his stage works. He does so very stylishly, with a stimulating alternation between relaxed and more dramatic music-making, and the Czech Chamber Philharmonic Orchestra Pardubice responds at a high technical level.
-- Pizzicato (Remy Franck)
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Description
Heinrich Marschner, the leading German composer of Romantic opera between Weber and Wagner, was a progressive innovator, bringing to his music a new dimension – the supernatural anti-hero enmeshed in horror, such as the protagonist of Der Vampyr (1828). Before his psychological operas, however, Marschner composed a series of overtures and stage works exploring more conventional material. These have long been overlooked. In this first volume Schön Ella represents Marschner’s mastery of form, skillful orchestration and melodic gifts, while the excerpts from Ali Baba reveal his flair for theatrical concision and mood setting.
REVIEW:
With his call for a German national opera free of foreign influences, Heinrich August Marschner had a lasting influence on Richard Wagner. But Wagner’s success ultimately became Marschner’s undoing. Increasingly overshadowed by Wagner, he died largely unnoticed.
When it came to romantic expressiveness in the orchestra, melodrama and descriptions of situations, Marschner was in his element. With influences from Weber but also from Mendelssohn, his music is inventive and appealing.
Dario Salvi launches a complete recording of Marschner’s overtures and other pieces from his stage works. He does so very stylishly, with a stimulating alternation between relaxed and more dramatic music-making, and the Czech Chamber Philharmonic Orchestra Pardubice responds at a high technical level.
-- Pizzicato (Remy Franck)
