Jan Vogler, Louis Lortie, Staatskapelle Dresden, Fabio Luisi - R. Strauss: Romanze-Don Quixote-Sonate in F-Dur op. 6 (2004)
BAND/ARTIST: Jan Vogler, Louis Lortie, Staatskapelle Dresden, Fabio Luisi
- Title: R. Strauss: Romanze-Don Quixote-Sonate in F-Dur op. 6
- Year Of Release: 2004
- Label: Sony Classical
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:13:34
- Total Size: 296 mb
- WebSite: Album Preview
Tracklist
01. Romance for Violoncello and Orchestra
02. Don Quixote, Op. 35, TrV 184: Introduction
03. Don Quixote, Op. 35, TrV 184: Theme
04. Don Quixote, Op. 35, TrV 184: Var. 1, Das Abenteuer mit den Windmühlen
05. Don Quixote, Op. 35, TrV 184: Var. 2, Der Kampf gegen die Hammelherde
06. Don Quixote, Op. 35, TrV 184: Var. 3, Gespräch zwischen Ritter und Knappe
07. Don Quixote, Op. 35, TrV 184: Var. 4, Das Abenteuer mit der Prozession von Büßern
08. Don Quixote, Op. 35, TrV 184: Var. 5, Don Quixotes Wacht in der Sommernacht
09. Don Quixote, Op. 35, TrV 184: Var. 6, Die verzauberte Dulzinea
10. Don Quixote, Op. 35, TrV 184: Var. 7, Der Ritt durch die Luft
11. Don Quixote, Op. 35, TrV 184: Var. 8, Die Fahrt auf dem verzauberten Nachen
12. Don Quixote, Op. 35, TrV 184: Var. 9, Der Kampf gegen die vermeintlichen Zauberer - Der Angriff auf die Mönche
13. Don Quixote, Op. 35, TrV 184: Var. 10, Zweikampf mit dem Ritter vom blanken Monde, Heimkehr des geschlagenen Don Quixote
14. Don Quixote, Op. 35, TrV 184: Finale. Don Quixotes Tod
15. Sonata for Violoncello and Piano in F major, Op. 6: I. Allegro con brio
16. Sonata for Violoncello and Piano in F major, Op. 6: II. Andante ma non troppo
17. Sonata for Violoncello and Piano in F major, Op. 6: III. Finale. Allegro vivo
Born in the German Democratic Republic, cellist Jan Vogler had a flourishing career with Berlin Classics in the '90s before making the leap to the international Sony label with this 2004 disc featuring Richard Strauss' cello works. It was a brilliantly planned major-label debut. The program is aptly chosen: the well-known tone poem Don Quixote for cello and orchestra, the less well-known Sonata for cello and piano, and the nearly unknown Romance for cello and orchestra. And the accompanists are wholly appropriate. The Staatskapelle Dresden is one of the great German orchestras with a long association with Strauss' music, and with the addition of sympathetic conductor Fabio Luisi and virtuoso pianist Louis Lortie, the stage is superbly set for the soloist's appearance. Vogler does not disappoint for the most part. With a beautiful tone, a supple bow, a graceful technique, and a winning way of phrasing, he makes Strauss' music come vividly to life in Don Quixote. At his best, Vogler's cello sounds almost like a baritone in its subtle expressivity, and the melting tenderness of his tone in the Finale is touching. However, for all its beauty Vogler's tone does not always project above his accompanists in loud passages. Though conductor Luisi draws restrained playing from the Dresden orchestra, it still swamps Vogler in tuttis and a less reserved Lortie nearly runs over Vogler in the sonata's outer movements. To a certain extent, this could be the fault of the engineers. But whatever the cause and no matter how exquisite most of the playing is here, the difficulty of making out the cello in fortes and climaxes diminishes the overall success of this disc.
01. Romance for Violoncello and Orchestra
02. Don Quixote, Op. 35, TrV 184: Introduction
03. Don Quixote, Op. 35, TrV 184: Theme
04. Don Quixote, Op. 35, TrV 184: Var. 1, Das Abenteuer mit den Windmühlen
05. Don Quixote, Op. 35, TrV 184: Var. 2, Der Kampf gegen die Hammelherde
06. Don Quixote, Op. 35, TrV 184: Var. 3, Gespräch zwischen Ritter und Knappe
07. Don Quixote, Op. 35, TrV 184: Var. 4, Das Abenteuer mit der Prozession von Büßern
08. Don Quixote, Op. 35, TrV 184: Var. 5, Don Quixotes Wacht in der Sommernacht
09. Don Quixote, Op. 35, TrV 184: Var. 6, Die verzauberte Dulzinea
10. Don Quixote, Op. 35, TrV 184: Var. 7, Der Ritt durch die Luft
11. Don Quixote, Op. 35, TrV 184: Var. 8, Die Fahrt auf dem verzauberten Nachen
12. Don Quixote, Op. 35, TrV 184: Var. 9, Der Kampf gegen die vermeintlichen Zauberer - Der Angriff auf die Mönche
13. Don Quixote, Op. 35, TrV 184: Var. 10, Zweikampf mit dem Ritter vom blanken Monde, Heimkehr des geschlagenen Don Quixote
14. Don Quixote, Op. 35, TrV 184: Finale. Don Quixotes Tod
15. Sonata for Violoncello and Piano in F major, Op. 6: I. Allegro con brio
16. Sonata for Violoncello and Piano in F major, Op. 6: II. Andante ma non troppo
17. Sonata for Violoncello and Piano in F major, Op. 6: III. Finale. Allegro vivo
Born in the German Democratic Republic, cellist Jan Vogler had a flourishing career with Berlin Classics in the '90s before making the leap to the international Sony label with this 2004 disc featuring Richard Strauss' cello works. It was a brilliantly planned major-label debut. The program is aptly chosen: the well-known tone poem Don Quixote for cello and orchestra, the less well-known Sonata for cello and piano, and the nearly unknown Romance for cello and orchestra. And the accompanists are wholly appropriate. The Staatskapelle Dresden is one of the great German orchestras with a long association with Strauss' music, and with the addition of sympathetic conductor Fabio Luisi and virtuoso pianist Louis Lortie, the stage is superbly set for the soloist's appearance. Vogler does not disappoint for the most part. With a beautiful tone, a supple bow, a graceful technique, and a winning way of phrasing, he makes Strauss' music come vividly to life in Don Quixote. At his best, Vogler's cello sounds almost like a baritone in its subtle expressivity, and the melting tenderness of his tone in the Finale is touching. However, for all its beauty Vogler's tone does not always project above his accompanists in loud passages. Though conductor Luisi draws restrained playing from the Dresden orchestra, it still swamps Vogler in tuttis and a less reserved Lortie nearly runs over Vogler in the sonata's outer movements. To a certain extent, this could be the fault of the engineers. But whatever the cause and no matter how exquisite most of the playing is here, the difficulty of making out the cello in fortes and climaxes diminishes the overall success of this disc.
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