Plea for Dresden Rarities – Christian Thielemann Conducts Works by Busoni, Pfitzner and Reger There are high expectations for Christian Thielemann’s arrival as the new principal conductor of the Sächsische Staatskapelle Dresden in the summer of 2012: Many music lovers are expecting exemplary performances of the works of Brahms and Bruckner as well as Dresden’s “pillar saints” Wagner and Strauss from this combination. Even before taking office, however, Thielemann made it clear in his Dresden programs that he would also like to conduct other repertoire here in the future – and surprised more than a few. In the New Year’s Eve concert, for example, he rediscovered his old soft spot for Franz Léhar’s operettas, and with equal passion he devoted himself for the first time to Bach’s “Christmas Oratorio” as well as works from the repertoire of the baroque Dresden court orchestra. He also paid special attention to forgotten works from the exciting period of upheaval before and after the First World War, which are closely associated with Dresden or were premiered by the former court orchestra and today’s Staatskapelle. Three of these rarities by Busoni, Pfitzner and Reger are united on this double CD.
Gramophone Magazine February 2014
“Thielemann clearly understands [the Busoni] subtle ebb and flow and secures a richly nuanced account from the Dresden Staatskapelle…Thielemann understands his Pfitzner, too, and is a long-standing champion of his music…He and Tzimon Barto make a good case for the Piano Concerto.
MusicWeb International 1st November 2013
“In penetrating and persuasive performances by the Staatskapelle Dresden this release on Profil contains three fascinating and rewarding early twentieth century works that deserve to be heard more often.
“Christian Thielemann and Tzimon Barto give the concerto [Piano Concerto, Pfitzner] the appropriate epic breadth in this live recording, retelling its stories meticulously and impressively. (…) The fact that Max Reger’s ‘Romantic Suite’ is also only marginal repertoire will only seem incomprehensible after Thielemann’s Dresden performance.thielemann succeeds in focusing the thoughts and hierarchizing the sound events, which lends transparency to the impressionistically tinged fabric. (…) As with Pfitzner, the great breath, the consistency to which Thielemann subjects the formal processes is fascinating. Ferruccio Busoni’s ‘Nocturne symphonique’ resounds in the same spirit.” (FONO FORUM, January 2014)