|“||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.||”|
|“||“A glittering account of the most perfect of all operettas, with an incredibly starry cast, all in peak condition. Karl Böhm's conducting is relaxed but sparkling.” (BBC Music Magazine)||”|
|“||On the tenth CD I would like to give you the opportunity of becoming familiar with the styles of interpretation of Bethoven employed by the earlier Gewandhaus-Quartett line-ups.|
One of the oldest recordings in existence of this ensemble dates from the year 1916. The Gewandhasu-Quartett of that time performed Beethoven's String Quartet in C sharp major, op. 131 in the line-up of Edgar Wallgandt and Karl Wolschke (violins), Carl Herrmann (viola) and the unforgotten Julius Klengel (violoncello).
|“||The discography of Strauss’s last opera is not exactly crowded, but the two existing accounts provide formidable competition for any newcomer. First there was Sawallisch, conducting the Philharmonia for EMI in 1957 (unfortunately in mono) and a cast led by Schwarzkopf, Ludwig and Fischer-Dieskau. Then, in 1971, came that other supreme Straussian, Karl Böhm, with Janowitz, Troyanos and (again) Fischer-Dieskau, recorded in Munich for DG. The new Decca set brings together many of today’s leading exponents of Strauss’s roles, dominated, for me, by the unsurpassed Clairon of Brigitte Fassbaender, now alas, never to be heard on stage again following her retirement. Heilmann and Bär make an ardent pair of rival suitors, Hagegård an admirable Count and Halem a sonorous, characterful La Roche. (There is a delightful link with the past history of the opera in the person of Hans Hotter: he sang Olivier in the 1942 premiere, La Roche in the 1957 Sawallisch set, and here, at 84 when recorded in December 1993, a one-line cameo as a servant.) For many, though, the set’s desirability will rest on Te Kanawa’s Countess.||”|
Amadeus Webersinke (1 November 1920, Jägersdorf, Broumov, Czechoslovakia - 15 May 2005, Dresden) was a German pianist and organist.
He studied from 1938 to 1940 at the Institut für Kirchenmusik in Leipzig with Karl Straube, Johann Nepomuk David, and Otto Weinreich. He was a lecturer from 1946 and a professor from 1953 for piano at the Felix Mendelssohn College of Music and Theatre. Until 1953 he worked mainly as an organist, and then after only as a pianist.
Amadeus Webersinke was particularly devoted to Bach's organ and piano works and also gave concerts on the clavichord. He recorded Max Reger's Piano Concerto. 1966, he assumed a professorship at the Hochschule für Musik Carl Maria von Weber Dresden.
His grave is located in the Maria am Wasser cemetery in Dresden-Hosterwitz.
|“||Diese Zusammenstellung enthält die bekanntesten deutschen Märsche in einer hervorragenden Aufnahmequalität und sehr gut gespielt.|
German Military marches played by Bundeswehr and other brass orchestras, very high quality recording. A must for the fans of the "genre" :)