Concerto for 7 wind instruments (timpani, percussion & string orchestra)
Danse de la Peur, for 2 pianos & small orchestra (from the ballet "Die blaue Blume")
As fine as MDG's standard-issue disc of Frank Martin's concertos is, this Hybrid SACD version is even better, not only for the much clearer, multidimensional sound quality, but also because of the improved focus on the orchestral details and the heightened presence of the soloists. Violinist Michael Erxleben is especially clear in the Violin Concerto (1950-1951), and this is an important qualitative improvement, since the less-than-flashy violin part is often so deeply integrated with the orchestral textures that good audio ...
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As fine as MDG's standard-issue disc of Frank Martin's concertos is, this Hybrid SACD version is even better, not only for the much clearer, multidimensional sound quality, but also because of the improved focus on the orchestral details and the heightened presence of the soloists. Violinist Michael Erxleben is especially clear in the Violin Concerto (1950-1951), and this is an important qualitative improvement, since the less-than-flashy violin part is often so deeply integrated with the orchestral textures that good audio separation is crucial. The mildly humorous Concerto for seven wind instruments, timbales, percussion, and string orchestra (1949) and the colorful, concerto-like ballet score Danse de la peur for two pianos and small orchestra (1936) offer vibrant orchestration and more accessible music than the twelve-tone Violin Concerto, but these pieces are less challenging, less emotionally involving, and ultimately less rewarding. The Orchester Musikkollegium Winterthur, under the leadership...
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