Christopher Breunig

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Christopher Breunig  |  Mar 12, 2019  |  0 comments
Winning a conducting prize at Tanglewood kick-started his career, and at Boston he dived into recording at the deep end. Christopher Breunig gives a resume

In some recitals with other kids all playing nice-sounding pieces, I'd come crashing in with Bartók, or some American composers I was already playing – Henry Cowell, for instance.' That was Michael Tilson Thomas, looking back to his pre-teens in an interview given in the June '87 issue of HFN when he was working and recording with the London Symphony Orchestra as its principal conductor (he's now the LSO's Conductor Laureate).

Christopher Breunig  |  Mar 06, 2019  |  0 comments
This month we review: Elgar, Bartók/Enescu, Haydn/Schoenberg & Rachmaninov
Christopher Breunig  |  Dec 01, 2018  |  0 comments
This month we review: Sibelius, JS Bach, Beethoven/Brahms/Mozart and The Rotterdam PO Collection
Christopher Breunig  |  Dec 01, 2018  |  0 comments
A child prodigy from Russia whose technical aplomb was miraculous, but whose persona many perceived as icy. Christopher Breunig names his favourite recordings

For the violinist Itzhak Perlman, and others of his generation, the subject of this month's Classical Companion was a deity – 'I can't believe it. I'm talking to God – to Heifetz' he said of first meeting him when he was 14. But as Jascha Heifetz died in 1987, perhaps he's just a name on a CD cover to today's aspiring young violinists.

Christopher Breunig  |  Nov 01, 2018  |  0 comments
This month we review: Schubert, Bruch, Ravel/Gershwin, and Mozart.
Christopher Breunig  |  Nov 01, 2018  |  0 comments
Perhaps the last great Russian Romantic symphony, it was premiered by the composer himself in 1908. Christopher Breunig has been listening to some modern recordings

'A six and a half foot scowl' was how Stravinsky defined his fellow compatriot composer (they both left Russia for the States). But there's plenty of historic film which shows this aperçu was wide of the mark. You can see him on the boat crossing the Atlantic, relaxing with family and friends in America, and standing with one of the big cars he enjoyed there [to the accompaniment of the slow movt of Symphony No 2 in the 1959 RCA/Sony Ormandy recording]. But we have no performance material, alas, either as pianist or conductor.

Christopher Breunig  |  Oct 01, 2018  |  0 comments
This month we review: Haydn, Dream Album, Mendelssohn/Fanny Mendelssohn, and R Strauss.
Christopher Breunig  |  Sep 01, 2018  |  0 comments
This month we review: Bruckner/Wagner, Handel, Mahler, and Scarlatti
Christopher Breunig  |  Dec 10, 2010  |  0 comments
Founded by Czech refugee musicians in 1946, the Bamberg Orchestra has been working with its English conductor for a decade now, and they are part-way through a Mahler cycle. More akin to Bruno Walter’s than Georg Solti’s, Jonathan Notts’ ‘Resurrection’ proves more than the sum of its parts and is fascinatingly detailed. Climaxes sound huge, although the recording perhaps exaggerates the rawness of brass and the tenor voices. Lioba Braun’s ‘Urlicht’ suffices, but that’s all.
Christopher Breunig  |  Dec 10, 2010  |  0 comments
Dorati’s extensive experience as a ballet conductor is set out in his Notes Of Seven Decades. He left a substantial Mercury catalogue – the late producer Wilma Cozart Fine had once been his secretary – with his complete LSO Firebird (Watford Hall, 1959) ever after an audiophile choice. One hopes Speakers Corner will issue it separately. The Minneapolis Le Sacre, excitingly fast, has an air of authority.

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