Wilhelm Furtwängler (1886-1954) was born in Schöneberg, about 3 miles southwest of Berlin. His father was an archaelogist, his mother, a painter, and young Wilhelm spent most of his childhood in Munich, some 360 miles south-southwest of Berlin.

He was given a musical education from an early age, and apparently regarded himself foremost as a composer. Consequently, he began conducting in order to get his own works performed; however, they weren't that well received. This plus the financial insecurities associated with a career as a composer led to his concentrating on conducting.

Consequently, be became one of Germany's most outstanding symphonic-operatic conductors. Moreover, he was principal conductor for the Berlin Philharmonic (1922-46, 1952-54), the Leipzig Gewandhaus Orchestra (1922-28), as well as guest conductor of many others, which included the Vienna Philharmonic Orchestra (VPO).

Despite all his international success as a conductor, with the rise of Nazism, life became increasingly difficult in Germany. Suffice it to say that by early 1945, he fled to Switzerland. However, Wilhelm returned to Germany, where he died in the spa town of Baden-Baden, some 200 miles west-northwest of Munich.

Furtwängler left a relatively small oeuvre across a few genres, which include three numbered, completed symphonies. His 74-minute, four-movement Symphony No. 2 in E minor (1944-46; revised 1951) fills out this recent Chandos release. Its first one at almost 24-minutes [T-1] is a humongous, sonata-form creation.

This has a tuneful, somewhat bucolic introduction [00:03] followed by an exposition that begins with a couple of expansive ideas [01:50, 02:15]. They're succeeded by a forceful episode [05:48], and after a short pause [06:29], Wilhelm serves up some lovely afterthoughts [06:30].

The foregoing call up an extended development [07:46] with an arresting, lengthy, interim break [12:20-12:25]. Then there's a moving recapitulation [19:43] that wanes into a thrilling, extended coda [21:22]. And subsequently, the latter brings the movement to a nostalgic conclusion with a last, brief, dramatic outburst [23:24].

The slow one [T-2] is an "A-B-A" song for orchestra, whose first "A" section opens with a delicate, melody for the winds [00:00] and strings [00:06]. This wanes into more animated passages [02:18]. Then these flow into an increasingly joyous "B" episode [05:50] that suddenly stops [07:53]. But some subdued afterthoughts appear [07:55, 08:05], which are succeeded by a substantial silence [08:39-08:44]. However, tranquil memories of "A" return [08:45], thereby bringing the movement full circle.

A scherzo comes next [T-3], and starts with a subdued, rustic melody played by a couple of winds [00:00] plus some restless strings [00:30]. Then the foregoing is repeated [00:43], giving way to scurrying passages [01:07]. These are soon joined by the rest of the orchestra [01:54], and an infectious episode follows [03:45]. But quite unexpectedly, the latter just stops [04:27].

However, the music soon continues [04:29] and the pace quickens [05:11]. Then this ebbs into a comely, related trio section [07:43]. It has an amorous morsel [09:15-12:05], after which memories of the initial measures [13:58, 14:42] conjoin a kitschy coda [15:33] that ends things abruptly.

Its last movement [T-4] is a potent chaconne-like affair. It begins with a salient idea [00:04], which will be the lifeblood of numerous following treatments. The first ones range from amorous [00:41] to anxious [01:28] and regal [03:16]. Subsequently, there are extensive passages [06:44-21:50], with more of these machinations. Then the foregoing are succeeded by a forceful segment [21:51] that closes this onerous opus and disc in zealous fashion.

This performance is by the Tallinn-based, Estonian National Symphony Orchestra (Eesti Riiklik Sümfooniaorkester, or ERSO) under Estonian-American conductor Neeme Järvi (b. 1937). He's apparently its Honorary Artistic Director for Life, and serves up a remarkable performance of this lengthy symphony.

The recording was made 10 June 2024 at the Estonian Concert Hall located in Tallinn. It projects a generous sonic image in a superb venue that has just the right amount of reverberation. Incidentally, this was apparently a live performance.

However, good microphone placement, as well as skillful postproduction touch-ups and editing preclude any extraneous audience noise or applause. You'll find the overall instrumental timbre is characterized by good highs for a conventional CD, while the midrange and bass are quite acceptable.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250930)

Two of German composer Emilie Mayer's (1812-1883) eight symphonies appeared in these pages a couple of years ago (see 30 April 2023). Now CPO gives us two more.

We told you about her interesting background in that previously mentioned newsletter, and suffice it to say, she left a significant body of works across most genres. The world premiere recording of a reconstructed version of her Symphony No. 4 in B major of 1851 is featured here. This was realized during 2012 by German composer-arranger Andreas N. Tarkmann (b. 1956) from a Mayer, four-hand piano score, and adheres to her style of orchestration during the 1850s.

The "Allegro Appassionato (Fast and spirited)" first movement [T-1] begins with a combative theme [00:02], which bridges into a lovely, related second one [01:25]. Then both undergo a captivating development [02:42], in which the second thought is repeated [04:05]. After that, these ideas are respectively recapitulated [06:47 & 07:45], and power a thrilling coda [08:56] that brings things to a dramatic conclusion.

An "Adagio (Slow)" movement comes next [T-2]. It opens with the strings playing a tender, comely melody [00:02] that's soon joined by the French horns [00:59] and woodwinds [01:01]. Then there are ominous, ambulant passages [beginning at 02:06] with hints of the preceding movement's combative theme. The foregoing become quite martial [05:04], but wane into a subdued episode that ends this movement tranquilly.

It's succeeded by an "Allegro (Fast)", scherzo-like, through-composed one [T-3]. This starts with a spirited ditty [00:00] that's followed by respectively complacent [01:21], flighty [02:40], schäferpfeife-like [03:21, 04:47], vivacious [04:06] and complacent [05:02] segments. Then a tempestuous one [06:29] closes the movement with great aplomb.

The ""Presto (Very fast)" marked "Finale" [T-4] has a thrilling, Mannheim-Rocket-like introduction [00:00] that becomes increasingly frenzied, but subsequently bridges into a couple of comely, related themes [01:12, 01:43] Then all of the foregoing is food for a striking development [02:21]. And after that, memories of the opening ideas [03:46] end the work excitedly with a definitive, closing coda [06:19].

Mayer's four-movement Symphony No. 6 in E major of 1853 completes this release. The first [T-5] is in sonata form and has an "Adagio (Slow)", leisurely, lyrical introduction [00:02] that hints at what's soon to come. Subsequently, a highly energetic, romantic number [01:50] begins the "Allegro con spirito (Fast with spirit)" remainder of the movement as well as its exposition.

Here that first theme is explored, thereby bridging into a catchy countermelody [03:40]. And after that, each thought is revisited [04:48 & 06:40], thereby becoming the substance of a consummate, dramatic development [07:48], as well as a thrilling recapitulation [10:31]. And subsequently, both tunes power a courageous coda [12:47], which ends the movement in a blaze of glory.

But gladness turns to sadness in the next "Andante maestoso (Slow and majestic)" marked "Marcia funebre (Funeral march)" [T-6]. Here a tragic, initial, militant melody [00:02] waxes and wanes into a more tuneful version of itself [02:29]. Then the foregoing invokes, intermittently heuristic passages [02:29, 03:50, 04:39, 05:30, 07:19] that slowly fade away.

The "scherzo" [T-7] has a jumpy, jubilant, opening ditty [00:01] followed by a glib [00:56], as well as a more pragmatic thought [01:40]. These are bandied about, and sequentially repeated [03:14, 03:41 & 04:24]. Then that first one returns [05:52], thereby bringing the movement to a spirited conclusion.

This symphony's "Allegro (Fast)" marked "Finale" is a rondoesque, theme-and-variations-like romp [T-8]. It has an exciting preface (EP) [00:00], which heralds a related, delicate, romantic, main subject (MS) [00:15]. Then more instances of EP [00:45, 01:38, 02:53, 03:53 & 04:24] are interspersed with several variants of MS.

The latter range from flighty [01:07] to lullaby-like [02:25], tuneful [03:13] and bucolic [04:03]. Then an exultant EP-MS-based one [05:12] with a splendiferous coda [05:47] ends the work and disc euphorically.

This release features the NDR Radiophilharmonie (NDRP), which is based in Hanover, some 150 miles west of Berlin. Under versatile, Dutch-conductor-violinist Jan Willem de Vreind (b. 1963), they deliver superb performances of both works, thereby making a strong case for two more Mayer symphonies.

A coproduction of CPO and Norddeutscher Rundfunk (NDR), these recordings were made 13-17 February 2023 in Hanover at NDR's Large Broadcasting Hall (Große Sendesaal) They present a capacious sonic image in spacious surroundings, for which Emilie's music sounds all the richer. The orchestral timbre is characterized by lifelike highs, an excellent midrange and clean, transient bass.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250929)

Here's an enticing successor to that recent Naxos release with Nos. 1-3 of Italian composer Goffredo Petrassi's (1904-2003) eight Concertos for Orchestra (see 31 August 2025). This time around they give us Nos. 4-6. Since we told you about his background in that previously mentioned newsletter, we'll just concentrate on the musical highpoints of the selections presented here.

His Fourth Concerto for Orchestra of 1954 is scored for strings, and consists of six attacca movements, where each is given a separate track [T-1 thru 6]. It begins with a "Placidamente (Placidly)" marked first one [T-1] that has a winsome opening theme [00:02]. Then this undergoes an increasingly dramatic development [02:58].

However, the latter wanes [04:58] into a brief afterthought. It conjoins the "Allegro inquieto (Fast and lively)" marked second [T-2] and fourth [T-4] movements, which are on either side of a "Sereno (Serious)", conversant third [T-3].

However, the mood turns quite contemplative in the lengthy fifth [T-5], whose opening [00:00] is marked "Molto sostenuto (Very sustained)". It has a "Lentissimo {Very slow)" episode [04:29-08:44] with an emotional moment {05:33-05:51].

Then the foregoing bridges into a concluding "Allegro giusto (Fast and precise)" sixth [T-6], which starts [00:00] with scurrying memories of past thoughts. And subsequently, there are contemplative passages [04:52] that turn very feisty [06:31], thereby ending this work adamantly.

The Fifth Concerto of 1955 calls for a large orchestra. This was commissioned to mark the 75th anniversary of the Boston Symphony Orchestra (BSO), and dedicated to the memory of its Russian-American conductor, Serge Koussevitzky (1874-1951). It's in five attacca movements, each of which is again given a separate track [T-7 thru 11].

Things get underway with a "Molto moderato (Very moderate)" one [T-7]. This opens mysteriously with shimmering strings [00:00], periodic piano notes [00:07], and lurking brass [00:13]. Then the foregoing slowly builds to a wild, percussion-laced climax [04:38], which wanes into restless moments [06:12].

The latter elicit a "Presto (Very fast)" scherzoesque movement [T-8]. This is a quirky creation where a colorful variety of instruments cavort about. But the brass and percussion ultimately prevail, thereby invoking a quixotic, intermezzo-like, "Andantino tranquillo (Leisurely and tranquil)" third [T-9, 00:00].

However, the foregoing becomes increasingly animated and suddenly calls up a penultimate "Mosso, con vivacità (Lively, with vivacity)" movement [T-10]. It resembles a toccata and starts with a bizarre theme [00:00], which bustles around a hymnlike idea [01:48-02:36].

Then the music wanes with some acerbic cor anglais passagework [03:42]. This elicits the last, "Lento e grave (Slow and serious) movement [T-11, 00:00]. Here melancholy reminders of the first one [T-7] gradually intensify. But subsequently, they fade away as this work ends in what seems like the eerie, chilling vastness of outer space.

The Sixth Concerto of 1956-57 is scored for strings, brass and percussion. This is subtitled "Invenzione concertata (Concerted invention)", which is meant to indicate the importance of solo instruments. Like its predecessor, here we get five attacca movements, which are allotted separate tracks [T-12 thru 16].

An initial "Mosso inquieto (Lively and restless)" one [T-12] starts with queasy strings [00:00], tapping percussion [00:08] and lurking brass [00:23]. Then the foregoing adjoins an "Energico (Energetic)" second [T-13], where baleful brass [00:00] and pernicious percussion [00:04] conjoin more restrained string passages [01:17[. But remembrances of wilder moments [02:54] then wane into an "Adagio sostenuto (Slow and sustained)", pensive third [T-14, 00:00], which has a momentary brass outburst [03:35-03:38].

Here subdued memories of past thoughts conjoin an "Estatico (Rapturous)" fourth [T-15]. It gets off to a cogitative start [00:00], but becomes increasingly restless, thereby heralding a "Tempo liberamente (Freely timed)" closing movement [T-16]. This begins with the brass and strings playing an arresting episode [00:00].

Then the percussion section joins in [01:10], whereby the music becomes increasingly frenetic. However, there's a tension-building pause [05:07] succeeded by an explicit closing gesture [05:08], which brings the work and this release to an explicit ending.

These performances are by the Orchestra Sinfonica di Roma (OrSinfaR or RSO) under its artistic-musical director, Italian conductor Francesco La Vecchia (b. 1954). They deliver articulate, technically accomplished accounts of all three works.

The recordings were made 23-25 June 2012 [T-1 thru 6], and then 2-7 January [T-7 thru 11] as well as 27-30 March [T-12 thru 16] of 2013 at the OSR Studios in Rome. Despite the different dates, they present consistently, striking sonic images in an excellent venue. The overall orchestral timbre for these colorfully scored works is generally good with acceptable highs, a good midrange and clean bass.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250928)

Here's some symphonic music by Lepo Sumera (1950-2000), who was born in Tallinn. He became one of Estonia's most accomplished composers during the Soviet Union's occupation of the Baltic States (1940-91), and for almost ten years thereafter.

By way of background, Lepo took composition courses at the Tallinn Music High School (THMS) and later with fellow countryman Heino Eller (1887-1970; see 28 February 2020) at what's now known as the Estonian Academy of Music and Theatre. Then during 1979-1982, Sumera pursued postgraduate studies at the Moscow Conservatory.

From 1971 right up until his untimely death from heart failure at age 50 in Tallinn, he held a number of important Estonian music-related positions. Sumera would leave a significant oeuvre across all genres. It includes six symphonies, the first and last of which fill out this recent Ondine CD. By the way, both of them are each in two movements.

The Symphony No. 1 (1981) opens with a meditative first movement [T-1] having a robust, percussion-brass-dominated preface [00:01]. It harbors a tintinnabular, broken-triad motif. Then this bridges into a more lucid, celesta-tinged idea [02:56].

The latter is explored [04:21] and parents a series of variations [04:47], which become increasingly intense. However, these wane into pianissimo memories of past thoughts [13:01] that end things full circle.

Soft, skittering strings announce the second movement [T-2, 00:00]. They're joined by the lower ones [00:47] as well as some winds [02:03], and this music bridges into frenetic passages for all [03:58]. Then the latter are followed by a malevolent, percussion-laced, Dimitri Shostakovich (1906-1975) reminiscent episode [03:35]. It's scherzoesque and has a rather bizarre, circus-music-like segment [04:52-05:40].

The foregoing subsequently wanes into quiet memories of this work's main ideas [06:48], which peacefully drift about. They're succeeded by a subdued tick-tock-woodblock plus a barely audible, tolling chime. Then the latter slowly fade away, thereby bringing the work to an ethereal conclusion.

Sumera's Symphony No. 6 (2000) has an "Andante furioso (Slow and passionate)" first movement [T-3] that begins with fey, fitful moments having restive percussive effects [00:01]. But all this is soon followed by abrasive passages [02:14], which launch and fuel an irate chaconne-like section.

Then the latter ebbs into several, mysterious, apparitional manifestations [04:38, 06:39, 07:14, 08:43, 09:26] with some angry outbursts {05:39, 07:10, 09:54, 09:59, 10:07]. However, the foregoing gives way to a smattering of whimsical afterthoughts [10:20] that end the movement uneventfully.

The last one [T-4] has an "Andante (Flowing)" introduction [00:00], which establishes a contemplative mood. But the music then turns "Quasi adagio (Somewhat slow)" as well as increasingly intense [04:11], only to become quite pensive [05:59]. And after that, nostalgic passages [08:00] end the work and this CD in what could be a mental wonderland.

These performances are by the Estonian National Symphony Orchestra (Eesti Riiklik Sümfooniaorkester or ERSO) based in Tallinn, under its Chief Conductor and Artistic Director, Olari Elts (b. 1971). He's a fellow countryman of this composer, and along with these superb musicians, Maestro Elts delivers what will probably be definitive renditions of both symphonies for some time to come.

The recordings were made 22-25 August 2023 at the Estonian Concert Hall located in Tallinn. They project a manifold sonic image in a splendid venue with just the right amount of reverberation for this sporadically raucous music.

That said, the dynamic range is awesome! Consequently, those listening on headphones should be careful about their level settings. The overall instrumental timbre is characterized by highs that are acceptable for a conventional disc. As for the midrange and bass, they're quite agreeable.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250927)