There is a transparency in the creative encounter between guitarist Norbert Scholly and pianist Rainer Böhm that shines through Juvenile, their Pirouet Records debut. Sophisticated and exciting, the music flows with a clarity, and natural spontaneity. Scholly and Böhm play jazz that scintillates with alluring melodies, brilliant harmonies, and a rhythmic concept that is in-the-pocket and in between the cracks - compositions that have the feel of the finest chamber music.
En 1903, un poète de vingt ans, Franz Xaver Kappus, alors étudiant à l'Académie militaire de Wiener-Neustadt, décide d'envoyer à Rainer- Maria Rilke, ses premiers essais poétiques accompagnés d'une lettre dans laquelle il lui avoue douter de sa vocation. Il ne pouvait espérer plus belle écoute et plus juste accueil à ses incertitudes. Pendant 5 ans, de 1903 à 1908 , avec une extrême délicatesse, Rilke répondra régulièrement à ce jeune homme qu'il ne rencontrera jamais Humble et magistral à la fois, Rilke aborde tous les grands sujets de l'existence : l'amour, la mort, Dieu, la solitude . Il dévoile également ses influences : l'écrivain danois Jacobsen, le sculpteur Rodin…
The rhythmic, textural and structural clarity of Karl Böhm’s recordings are much admired across the world. This new release includes Böhm’s celebrated recordings of Mozart Serenades and the great orchestral works of Richard Strauss, as well as equally notable performances of Beethoven and Brahms symphonies. This 17 CD box with booklet includes including new liner notes by Berliner Philharmoniker intimus Helge Grünewald and rare Böhm photographs.
This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. He's joined by his daughter Elena in the Double Piano Concerto in E flat, and their physical relationship is mirrored in the quality, and the mutual understanding of the playing: both works receive marvellous interpretations. We think Emil plays first, Elena second, but could be quite wrong. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work.