Customer Reviews

Weber:Horn Concertino-Overtures Symphonies Nos. 1&2

5 star:		(3)
4 star:		(1)
3 star:		(0)
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1 star:		(0)

 

 

This disc served as my introduction to Weber's music OTHER than Der Freischutz (I already had the complete recording of Freischutz before I found this one). The Hanover Band sounds absolutely stunning, very resonant even on period instruments. It's really breathtaking to hear this music the way it would've sounded to Weber's ears in the 1820's. The brass tuttis are stellar...if you don't like bass trombone, you may become a little annoyed with this recording because it constantly has lots of prescence when it has any part at all. I don't mind this, as I love the instrument.

If you are a horn player, like me, and/or have any interest in handhorn, this recording is a must for the Concertino. I've never heard natural horn sound so good. The horn openings of the Oberon and Freischutz Overtures sound amazing on the period instruments. You'll be amazed how open the brass sound is on the chorale-style section in Ruler of the Spirits...it can make you wish the valve was never invented.

I didn't really care for the symphonies...if you like Schubert's symphonies, you will probably enjoy them. Weber's music had a huge impact on the musical world, almost pointing a straight arrow to Wagner. If you listen closely to the Overture to Oberon, you can hear the similarity to many parts of Mendelssohn's Midsummer Night's Dream. (same plot line, after all). In my opinion, this is great music played very capably by a great ensemble. For the quality of the Overtures and Concertino alone, this disc is a bargain.

The orchestral colours are excitingly recorded, especially the brass is pretty dramatic.

Thanks to the period instruments with Goodman as conductor one can hear the demonic power and richness of sonority of Weber's beautiful music.

I compared quite a lot of other recordings and must say that this one is my favourite.

Weber is normally first thought of as a great opera composer, specifically of "Der Freischuetz". Certainly it is a masterful work, but there is more to Weber than his operas. Outside of his overtures, we seldom get an opportunity to experience his orchestral or chamber music. This set is a welcome corrective.
Although I am normally not a fanatic about the "original instrument" craze, I must say that Goodman and his Hannover Band deliver stunning intense, sparkling and spirited performances here. My two favorite overtures, "Freischetz" and "Euryanthe", cam compare with the very best: Furtwaengler and Mengelberg. But the real interest lies in the Horn Concertino and especially the two Symphonies. I do not understand why these works are so neglected. Truthfully, I find Weber's symphonies more interesting and better examples of sonata form handling than in Schubert's early symphonies, in which he runs out of resources when he reaches the Development. When we remember that Weber died at only 39 years of age, we must consider all of his works "early" works; who knows how he might have developed had he lived longer? As it is, we have here some wonderful intrumental music by an acknowledged master of opera; let's hope that more of his works in absolute music gain greater exposure to the public.

There's Weber and then there's Weber played on the natural horn. And then, in a class of its own, is Tony Halstead's recording. For any lover of the horn repertoire this is a must have, right up there with the legendary Dennis Brain Mozart recordings. The story of how it came to be recorded is a bit of a folk legend among horn players, the piece being so fearsome that they say subterfuge was used to get Halstead into the studio, but the result speaks for itself: his incredibly rapid and fluid hand-stopping takes your breath away at times. This recording is one in a million, every horn player I have ever met considers it a masterpiece.