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Schumann: In Search of Original Sound

Cello Concerto & Symphony No. 2

Jan Vogler (cello)

Dresden Festival Orchestra, Ivor Bolton

Schumann: In Search of Original Sound
Vogler – placed ideally against the orchestra, his sound growing naturally out of the tuttis – shows few signs of awkwardness in Schumann’s challenging writing…Ivor Bolton makes the most of...

Schumann: In Search of Original Sound

Cello Concerto & Symphony No. 2

Jan Vogler (cello)

Dresden Festival Orchestra, Ivor Bolton

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This release includes a digital booklet

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Vogler – placed ideally against the orchestra, his sound growing naturally out of the tuttis – shows few signs of awkwardness in Schumann’s challenging writing…Ivor Bolton makes the most of...

About

German cellist, Jan Vogler presents his 2nd recording of Schumann's Cello Concerto (1st recording on Edel, 2001) but this time with his own orchestra, the Dresden Festival Orchestra, (alongside Ivor Bolton), that consists of more than 50 members from Europe's most renowned early music ensembles. Exploring Schumann's "original sound", Jan Vogler plays on gut strings and the orchestra on period instruments. In addition to the cello concerto, the orchestra is playing Schumann's 2nd symphony. The repertoire connects the Dresden Music Festival and its orchestra to the productive Dresden period of Schumann's work (1844-50) since both works were composed during that time. The second Symphony was written between December 1845 and October 1846 in Dresden, the cello concerto immediately after he had left the city.

Contents and tracklist

I. Nicht zu schnell
Track length10:58
This track is only available as an album download.
II. Langsam
Track length3:55
III. Sehr lebhaft
Track length7:30
I. Sostenuto assai - Allegro ma non troppo
Track length12:00
This track is only available as an album download.
II. Scherzo. Allegro vivace
Track length6:54
III. Adagio espressivo
Track length9:00
IV. Allegro molto vivace
Track length8:27

Awards and reviews

February 2017

Vogler – placed ideally against the orchestra, his sound growing naturally out of the tuttis – shows few signs of awkwardness in Schumann’s challenging writing…Ivor Bolton makes the most of Schumann’s obsessive rhythms [in the Second Symphony] and shapes the insistent counterpoint of the finale so that the arrival of the near-quote from Beethoven’s An die ferne Geliebte seems to occur with divine inevitability
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