Giacomo Meyerbeer (1791-1864)
Geistliche Musik
Rheinische Kantorei
Leitung: Hermann Max

Cantantine "Hallelujah" für 4 Männerstimmen, Orgel, Chor ad libitum; Motette "Psalm 91" für Soli & 8-stimmigen Chor; Cantique für Bass, 6-stimmigen Chor, Orgel; Pater Noster für Chor a cappella; 7 Geistliche Gesänge für 4 Soli & Chor a cappella; An Mozart für 4 Männerstimmen a cappella

Bei JPC probehören / bestellen ...

Gottfried August Homilius (1714-1785)
Geistliche Motetten
Rheinische Kantorei
Leitung: Hermann Max
© 1984, Neuauflage 2015 MDG 602 0145-2

Vor mehr als 30 Jahren bereits hat Hermann Max mit der Rheinischen Kantorei einige Motetten des damals nahezu vollkommen vergessenen Gottfried August Homilius für MDG aufgenommen. Dass er mit dieser Pioniertat am Anfang einer regelrechten Renaissance des Bachschülers Homilius stand, konnte niemand ahnen. Die nur auf Vinyl veröffentlichte Produktion war lange vergriffen. Umso willkommener ist jetzt die sorgfältig aufbereitete CD-Neuauflage dieses schon historischen Schatzes aus dem MDG-Archiv.

Bei JPC probehören / bestellen ...

Ludwig Meinardus (1827-1896)
Luther in Worms (Oratorium)
Matthias Vieweg, Catalina Bertucci, Clemens Löschmann, Annette Gutjahr, Corby Welch, Markus Flaig u.a.
Rheinische Kantorei
Concerto Köln
Hermann Max
2 CDs cpo 777 540-2…

Bei JPC probehören / bestellen ...

Groß besetztes Oratorium „Luther in Worms“

Der Reformator Martin Luther wird im Rahmen der Lutherdekade bzw. im Vorfeld des Reformationsjubiläums 2017 in zahlreichen Veranstaltungen und Veröffentlichungen geehrt. Und auch cpo stellt diesen Monat das Oratorium „Luther in Worms“ von Ludwig Meinardus in einer Aufnahme vom 22. Festival Knechtsteden vor. Hermann Max präsentiert das üppig besetzte und opernhafte Hauptwerk von Meinardus mit dem renommierten Orchester Concerto Köln und einer erlesenen Sängerbesetzung. Ludwig Meinardus gehörte, nachdem er gegen Widerstände der Eltern das Musikerdasein durchsetzte und dabei durch Schumanns und Mendelssohns Beurteilungen hart ausgebremst wurde, einer pietistischen Erweckungsbewegung an. In ihr gingen Nationalismus und Protestantismus Hand in Hand. Dennoch ergeht sich Meinardus’ Hauptwerk nicht in hohlem Bombast und heroischer Attitüde, sondern wartet mit mancher musikalischer Raffinesse auf, die gerade auch die Figur Luthers charakterisiert. Er selbst nannte es ein "ideelles Drama", was konkret eine stark opernhafte Gestaltung unter Einbeziehung räumlicher Effekte (Türmerfanfaren, nahender Ritterzug, Rufe der Reichsherolde) meinte. Es gliedert sich in zwei Teile, der erste ist mit 'Die Fahrt nach Worms' überschrieben, der zweite mit 'Vor Kaiser und Reich'. Klassik.com schrieb nach der Aufführung: „Meinardus verlangt ein beträchtliches Aufgebot an Ausführenden. Neben einem großen Orchester sind dies sieben Solisten, ein gemischter Chor in verschiedenen Aufteilungen bis hin zum Doppelchor sowie (eigentlich) ein Knabenchor. „Die Rheinische Kantorei war sowohl in gemischter als auch in reiner Frauen- bzw. Männerbesetzung bis hin zum Tripelchor gefordert und führte damit einmal mehr vor Augen und Ohren, wie idealer Chorklang in Bezug auf Ausgewogenheit und Aussprache sein sollte. Hermann Max führte das stark erweiterte Concerto Köln mit frischen Tempi souverän durch alle Schwierigkeiten der Partitur.“

(Konzertkritik bei klassik.com 9 / 2013).

Alessandro Melani
Marienvesper
Solisten der Rheinischen Kantorei
Das Kleine Konzert
Hermann Max
cpo 777 936-2

Bei JPC probehören / bestellen ...

Georg Philipp Telemann
Oratorium für die Goldhochzeit Mutzenbecher
Herr Gott, dich loben wir und Serenata O erhabnes Glück der Ehe
Hannah Morrison, Margot Oitzinger, Markus Schäfer, Immo Schröder, Matthias Vieweg, Christos Pelekanos
Das Kleine Konzert, Hermann Max

cpo 3506399

Bei JPC probehören / bestellen ...

Johann Sebastian Bach (1685–1750)
Motetten BWV 225-230
Rheinische Kantorei, Hermann Max

cpo 3506398

Bei JPC probehören / bestellen ...

Bach-Motetten – Neue Interpretationswege

Sie sind die Meisterwerke des Chorgesangs schlechthin, die Motetten von Johann Sebastian Bach. Von den meisten wissen wir nicht genau, wann und zu welchem Anlass sie geschrieben wurden, aber sie alle haben Texte zur Grundlage, die sich mit den letzten Dingen des Lebens beschäftigen. Glück und Leid prägten die Menschen zur Zeit dieser Motetten heftiger als wir uns das heute vorstellen können und kein Komponist vermochte im 18. Jahrhundert Leid und die Sehnsucht nach Frieden und Glück so wie Bach mit einem realistischen Blick in die menschliche Psyche zu vertonen. Hermann Max beschreitet mit der Rheinischen Kantorei neue Wege zu einer Interpretation des Bachschen Motettenkosmos. Auf vorliegender CD ist auch die Motette BWV Anh. 159 aufgenommen worden, da die Bach-Forschung zur Überzeugung gekommen ist, dass diese Motette, die lange Johann Christoph Bach zugeschrieben wurde, doch J. S. Bach zuzuordnen ist, da sie eindeutig seine musikalische Handschrift trägt.

Ferdinand Ries (1784-1838)
Der Sieg des Glaubens, op.157
Oratorium in neuzeitlicher Erstaufführung Christiane Libor, Wiebke Lehmkuhl, Markus Schäfer, Markus Flaig, Rheinische Kantorei, Das Kleine Konzert, Hermann Max

Veronika Winter, Lena Susanne Norin,
Jan Kobow, Ekkehard Abele ,
Rheinische Kantorei, Das Kleine Konzert
Hermann Max

cpo 4916782

Bei JPC probehören / bestellen ...

Hermann Maxenjoys particular renown for landmark interpretations of 17th and 18th century repertoire with his Rheinische Kantorei and Kleine Konzert. Alongside the great “classic” masterworks, Max has maintained a keen interest in reviving forgotten works, enthusiastically collaborating with our producer, Burkhard Schmilgun: the Ferdinand Ries recordings are a convincing example. But the time was come to finally document Max’s interpretation of perhaps the most popular sacred work of the great cantor of St. Thomas.  Devoid of any fussiness, with sharp rhythmic precision and brisk tempi, here, in brilliant surround sound, is a Christmas Oratorio for the 21st century! 

“The sixteen voices of the Rheinische Kantorei and Das Kleine Konzert perform with their customary assurance, offering poised instrumental solos and a strong continuo group throughout...the acoustic of the Knechtsteden Basilica magnifies the splendor of their sound…for anyone in search of an excellent performance of the Christmas Oratorio, this interpretation offers an alternative to previous productions which is well worth considering.” (Bernd Heyder in Concerto, Dec. 2009/Jan. 2010)
“Heavenly sounds for Christmas…a performance that captivates the listener with lively yet grounded, sensitive music-making and fascinating text interpretation. The tempi are fresh throughout, but never rushed; the chorales lack any hint of heaviness; winds and strings play at the highest level, always at the service of the nimble, radiant choir as well as the soloists…The brilliant surround sound of the recording adds the final touch to this riveting listening experience.” (Heide Oehmen, Neuss-Grevenbroicher Zeitung, 3.12.09)
“What arose was a freely flowing performance, reminiscent of chamber music in style, more dance-like than stately, technically near perfect, resisting any pompous, sentimental tendencies…duplicating the relaxed virtuosity and lightness heard in the opening chorus of the fifth cantata with its pulsating fugue would be a challenge indeed.”
(Markus Schwering, Kölner Stadtanzeiger, 26.11.09)

In February of the year 1875, Max Bruch stumbled across an epic poem written by the young Westphalian gymnasium teacher J. Cüppers, reporting enthusiastically to his publisher, Simrock, “the verses are glorious, with a dithyrambic sweep; melodies spring from this beautiful rhythm all on their own.” So, at the same time that the Hermann monument was being dedicated in the Teutoburger Forest near Detmold, Max Bruch sat in the home of friends in the Bergisches Land and composed Arminius. The work, which is based on the historic Battle of the Teutoburger Forest, where the Roman army under Varus was defeated, has a wonderfully coherent dramatic structure: the elaboration of the struggle between oppression and liberation creates a tension which increases continuously through the four parts of the work. The final section, “The Battle,” represents the grandiose highpoint of the work, but avoids falling into embarrassing nationalistic pathos. The text of Bruch’s Arminius can only be understood in the context of the founding of the German Reich in 1871; musically the work reaches us today: a true masterpiece by this still underestimated contemporary of Brahms.

“Hermann Max breathes fiery new life into the newly unearthed work, leading a particularly committed choir of remarkable solidity. Despite the sometimes ungrateful recitatives which fall to them, the trio of soloists fulfill their tasks conscientiously, where Ursula Eittinger’s Priestess, to whom the score’s most beautiful arias are entrusted, deserves special mention.” (Jean-Claude Hulot, Diapason, 1/2010)

“Though few in number, the well-versed professionals of the Rheinische Kantorei brilliantly show the work’s masterful choral movements to best advantage…Conductor Hermann Max leads the Gottingen Symphony Orchestra at a remarkably high level, and attaches the greatest importance to revealing not only the elaborate scoring, but above all the intense atmosphere of the oratorio. Max scrupulously avoids pathos and overblown patriotism, and, with his cultivated, multifaceted interpretation, rehabilitates a work unjustly discredited and forgotten.” (Ernst Naredi-Rainer, Kleine Zeitung, Graz, 09.01.2010)

“…thoroughly excellent performance…”
(NDR, CD-Tipp, 04.07.09)

“…astonishingly good results…”
(www.opusklassiek.nl, August 2009)

Alongside 28 operas, the Prussian court musician C. H. Graun left behind a great number of sacred compositions. Among them, his very successful passion cantata Der Tod Jesu enjoyed wide popularity and was performed up until the end of the 19th century. However, Graun had previously written three other passions, including one written in Wolfenbüttel in 1730, Kommt her und schaut. The vast scope of this work, which contains 66 movements, led to the designation of “Grosse Passion.” Through the enormous variety of forms and instrumentation found in the many movements, as well as an intense inner dynamic, the work testifies to the astonishing maturity of the then about 25-year-old composer, and justifies ranking Kommt her und schaut as a masterpiece among North German passion cantatas.

There is hardly another work Mendelssohn turned to as often during his conducting career as Handel’s oratorio Israel in Egypt. As a great admirer of Handel and of “early music,” he finally successfully led a revival of the work at the Niederrheinisches Musikfest on 26 May 1833 in Düsseldorf – and further performances were planned. Mendelssohn had discovered a score of the work in London, and his critical study of the available editions compared to the original source defined his performance. Thus, it was at this concert in Düsseldorf that the phrase “based on the original score” was used for the first time. In addition, with the help of the London conductor George Smart, an old libretto, according to Mendelssohn “used under Handel,” was found. The uniformly positive newspaper critiques of Mendelssohn’s performances praised above all “the clear diction, which is so seldom given adequate consideration.”

Although Melani is surely among the most under-appreciated composers of the 17th century, he was the author of the best setting of the “Don Giovanni” story prior to Mozart’s, with his L’empio punito of 1669. The music of his mini-opera Europa is so fresh, so intelligent, and so theatrical, that it earns him a place among the ranks of such first-rate composers as Cavalli, Cesti and Scarlatti.

"Thanks to the exquisite and highly motivated interpreters, it is easy to understand why Benda was no less famous in his time as a church composer than as the creator of experimental musical theatre pieces.  With flashing eyes and real ambition in their voice, the choir blasts the "Du wagst es, du Lästerer, Gott zu versuchen?" (You dare to tempt God, you Blasphemer?) at its ‘atheistic listeners.  One is allowed to recover from such dismay during an equally rich and subtly decorated aria sung by the alto Hilke Henning with the nightingale timbre of Barbara Schlick." 
(Carsten Niemann in "Rondo", 5/2007)

"Max’ sensitive and differentiated interpretations, which he has been able to realise thanks to excellent soloists and a wonderfully harmonical ensemble, manage to do the ingenious composer complete and utter justice."(klassik.com 10/07)

Martin Hoffmann in „Concerto“ (10/11/2007): With excellent soloists – led by Jan Kobow as the banished evangelist, Max succeeds in the production of a recording which enables the listener to gain insights into Bach’s St John’s Passion from a new and unfamiliar historic perspective.“

Benjamin G. Cohrs in „Klassik heute“ (19/01/07): "Hermann Max has made a first-class discovery and succeeded in an exemplary interpretation."

W. Goertz in FonoForum 7/92: "Max’ enthusiastic elan, which swept away any sort of historic patina, is equally conveyed in this recording. […] The overall exquisite ensemble of soloists seemed well assembled, and the Rheinische Kantorei presents itself yet again as a gleaming, sleek choir. The star of the month!"

Matthias Hengelbrock in „Fono Forum“ (9/2006): "The manner in which Hermann Max led vocal and instrumental declaiming in 1981 continues to set an example today."

"These cantatas are primarily a feast for the voice and Händel exploits the vocal potential to the full. […] The female soloist delights with a stylistically apt, beautifully sounding and clearly intonated performance. She completes the coloraturas with admirable ease and also has a beautifully, lyrical legato. And as she sings her fourth up to ‘Excelsis’, it is as if the heavens open.", 25/01/07)

Andreas Friesenhagen in „Fono Forum“ (8/2006): "The homogenous and well balanced quintet of soloists present a particular stroke of luck. All of them are precise interpreters of text and follow Naumann and Metastasio deep into the finest complexities of their musical speech."

"Herman Max achieved the perfect equilibrium between the vocal and instrumental plane and created transparent a work of aural transparency. A recording for the reference section." (klassik.com 03/06)

Erwin Hösi in „Concerto“ (Dez./Jan. 2005/06): "Incomparable precision in the phrasing, pure intonation and completely transparent lines add up to an immaculate and most pleasurable listening experience."

Detmar Huchting in „Klassik heute“ (13.04.05): "The multi-coloured score, which is rich in dramatic effects, is being probed in a simultaneously sensitive and fiery manner."

Neuß-Grevenbroicher Zeitung (31/03/05): "Forgotten Beauties!"

“Supersonic Award“ 1/2004 der Zeitschrift „Pizzicato“: "As always really, the performance by the Kleine Konzert under Hermann Max’ leadership is no less than outstanding.  …  The magnificent choir also knew how to convince through similar presence and sovereignty."

Martin Mezger in „Stereoplay“, 6/03: "Hermann Max and his Rheinische Kantorei interpret this work with clarity, flexibility and appropriate, never exaggerated drama, combining the strict tone of Holy Week with musical explicitness to perfection. "

Detmar Huchting in „Klassik heute“, 2/2003: "Hermann Max and his artists do not short-change with their agility, and reveal scholarship and authenticity."

Matthias Hengelbrock in „Klassik heute“, 7/2002: "Building upon the pliable orchestral sound and the elegant articulation of the Kleine Konzert, Hermann Max creates soaring structures,whilst at the same time he manages to create moments of high tension through the use of frugal impulses."

Hans-Jürgen Becker in der FAZ, 28/06/02: "Hermann Max leads the Rheinische Kantorei, and the Kleine Konzert which plays on original instruments, displaying his usual sense for detail, rhythmical finesse and a preference for crystal-clear sound structures."

"A choir and orchestra in a brilliant mood!" (Fono Forum 6/2002)

Matthias Hengelbrock in „Klassik heute“, 1/2002: "As always, Hermann Max presents his rediscovery in a rounded, resilient and transparent overall sound, which allows the work’s elegance to unfold well.Matthias Hengelbrock in „Klassik heute“, 1/2002:  As always, Hermann Max presents his rediscovery in a rounded, resilient and transparent overall sound, which allows the work’s elegance to unfold well."

Susanne Benda in „Klassik heute“, 9/2001: "Hermann Max elicits scenes of great structural sharpness and dramatic power from his ensemble."

Frank Hilberg in “Die Zeit”, 8.3.01: "Zelenka’s original orchestral language, including his entire palette of symbolic affect and pictorial expression has been revealed under the leadership of Hermann Max in an exemplary fashion thanks to the Rheinische Kantorei and Das Kleine Konzert."

FonoForum 2/01:"a well-balanced ensemble of singers … an excellently disposed orchestra, …an epiphany of sound and richness of colour."
Fanfare 4/01: "I continue to be thrilled by the excellent Das Kleine Konzert, an orchestra that plays beautifully without sacrificing a drop of excitement."

Westfälische Nachrichten, 4/12/00: "A true discovery.  The music is slickly but powerfully composed, orchestrated with originality and may well be compared with that by the best of its time.  Max facilitates all of this in a rather exciting, almost passionate manner."

FonoForum 1/01: "A piece which demands strong concentration of the performers and their audience.  High standards which are evidently met by Norin and Max.
Early Music Magazine 2/01: A strikingly effective Italian cantata. A very desirable CD."
Fanfare 4/01: "A highly impressive interpretation"

Andreas Waczkat in Concerto 5/00: "The choir sounds slender and pliable as does the orchestra.  The soloists please with clear timbre and a strong overall clarity.  It is worthy of stressing that the artists are really committed to the notion of a musical drama."

Wolfgang Hirschmann in Concerto 11/00: "Perfect declamation and intonation are evident, the choir-sound full, yet lean and of an unobtrusive expressivity, which has become the trademark of Hermann Max’s interpretations."

Constanze Holze in Concerto 12/00: "This recording is yet again characterised by perfectly gliding crescendi and decrescendi, supple phrasings and a dashing almost sporty quality.  Dynamic flexibility is as evident as the supple elegance of the movements with melodic emphases."

Stefan Heßbrüggen in Rondo 3/99: "Hermann Max and Das Kleine Konzert present apt and accurate musicianship and are able to rely upon characteristically cast soloists led by the most excellent Wilfried Jochens as the Evangelist."

Andreas Friesenhagen in Concerto 6/99: "What is striking is the fine elegance, the captivating sound and the reliably subtle rhetorical gesture, all of which combine to turn these pieces into a highly pleasurable musical entertainment."
Gramophone 7/99: "Das Kleine Konzert is on fine form, rhythmically buoyant and disciplined throughout."
American Record Guide 8/99: "I loved this CD."

Thomas Gebhardt in Concerto 6/99: "Four soloists who are obviously completely at home with this kind of music. … Orchestra and the Rheinische Kantorei are equally sublimely disposed – tonal balance and precision are immaculate, the choir’s intonation captivating and the overall musicianship flawless."
Robert Strobl in Alte Musik Aktuell 6/99: "The combination of the four soloists alone was more than accidental! Alongside stands a choir, which under this leadership features amongst then very finest Early Music Ensembles. The orchestra’s playing is loose, light-footed, elegant and agile and thinks and feels ahead."

Ingeborg Allihn in Fono-Forum 10/98: "Hermann Max and his brilliant vocal soloists along with the precise choir and the meticulously disposed instrumentalists deserve praise for this allround convincing First Recording. The lively live recording leaves nothing else to be desired."

Christoph Braun in Rondo 3/98: "Alongside the delightfully pulsating instrumentalists of the Kleine Konzert with their resilient phrasing, Max has put a vocal quartet, which is equally delicate in its articulation and eagerness of expression."

Christoph Braun in Rondo 3/98: "Beatifully ballanced across all its voices, the Rheinische Kantorei finds the exactly apt sound for these works due to its usual unpretentious facility and intricate vocal lines."

M. Hengelbrock in FonoForum 5/97: "An impressive range, which not only reveals retrospectively the impressive stylistic development of Telemann, but also sheds new light on the extraordinary quality of his early works."
I. Dorfmüller in Concerto 11/97: "Ther are only few conductors who know Telemann’s music as intricately as Hermmann Max. Minute details are as important to him as an unmistakable sense for the overall proportions. And his musicians are 100% reliable."

Deutscher Schallplattenpreis "Echo Klassik"1996
(German LP Prize)
I. Allihn in FonoForum 3/96: "Hermann Max ensures the overarching structure of Zelenka’s dense polyphonic movement with a string sense for the stylistic technicalities, from the melting Belcanto of Hasse, Master of Opera, to the sensitive expression of Heinichen and Homilius. To achieve this, Max has brilliant soloists at his disposal, whose voices blend beautifully. Both choires articulate well and impress with their engaged musicality and a never drooping inner tension."

M. Enslein in Stereo 4/96: "Hermann Max holds a trump card in tenor Christoph Prégardien. Having said that, his other soloists are of equal quality. The choir presents his commentaries slender-voiced and reacts with exemplary clarity where artful interjections are required."

K.P. Richter in FonoForum 6/96: "Hermann Max uses his excellent ensemble to stress the dominant side of the music by producing a sensitive, highly transparent and three-dimensional chamber-music sound. The musicianship of the vocal soloists is equally clear, precise and excellent."

F.P. Messmer in FonoForum 7/95: "It is thanks to the commitment of Hermann Max and his musicians that justice is now also being done to the vocal music of Telemann, which presents itself in this recording as a surprisingly captivating, exciting text-based composition full of pictures and intense expression. Excellent soloists! Sound: opulent with a wide dynamic spectrum and good spatial effect."

F.P. Messmer in FonoForum 5/94: "The Rheinische Kantorei demonstrates agility, drama and tension in its singing and articulation.  Das Kleine Konzert presents a highly empathetic musical interpretation of the text.  A particular stroke of luck is the ensemble of soloists, which shows musical homogeneity in both voice and musical interpretation.  The bright and clear voice of Barbara Schlick, the warm alto of Claudia Schubert, who avoids the haziness of too much vibrato, the sensuality and softness of the Tenor, Wilfried Jochens, and the colourfull Bass of Stefan Schreckenberger turn this recording into an experience."

F.P. Messmer in FonoForum 5/94: "Hermann Max demonstrates the transcendent significance of Friedemann Bach through this exemplary and convincing recording."

M. Hengelbrock in FonoForum 6/93: "Fiery temperament and certain feeling for style, Hermann Max succeeds in presenting a very three-dimensional interpretation of Telemann’s loved vocal poem (Singgedicht)."

M. Hutzel in FonoForum 10/91: "With this recording Hermann Max has delivered another building block of his scientifically sound and musically convincing reclaiming of works originating from Johann Sebastian Bach’s contemporaries. … During the choir and choral sections, the Rheinische Kantorei convinces through faultless intonation and empathic interpretation of the text."

A. Beaujean in stereoplay 7/91: "An extraordinarily lively, dramatically tense rendition by a small, capable and hard-working ensemble. Good soloists amongst the choir and the orchestra."

FonoForum 7/91: "This pastoral cantata adds to the list of commendable Telemann recordings by Capriccio. All those involved, choir and orchestra, are utterly convincing."

F.P. Messmer in FonoForum 2/91: "With the aid of his magnificent ensemble of soloists, Max succees in the revivification of this music’s humour and beauty. And he does Telemann justice!"

F.P. Messmer in FonoForum 7/90: "Choir and orchestra play together in scrupulously rehearsed stylisic unity. … experiental playing and singing of every tone! And in respect of the vocal soloists, Max had an equally magic touch."

G. Schubert in Stereo 7/90: "Schein mediates uniquely between the Italian and the German musical culture. The meticulous interpretation does both aspects of the works justice in a rather unobtrusive manner and offers an historically accurate recording free from exaggerated energy."

V. Fischer in Stereo 10/90:  "Amongst three cantatas, ‘Die Amerikanerin’ (The American Woman’) set to the text by H.W.v.Gerstenberg is held in great esteem amongst musical connoisseurs.  In the course of his half-hour versions of 'Pygmalion' and 'Ino', the composer, who was friends with Herder, presents himself as a master of recitatives.  Top marks for interpretation and sound quality!"

Deutscher Schallplattenpreis 1988 (German LP Prize)
K. Breh in stereoplay 6/88:" … cantatas by CPE Bach so far unlisted in the Bielefelder Katalog and presented in excellent interpretations and with magnificent sound quality."

Deutscher Schallplattenpreis 1988 (German LP Prize)
K. Breh in stereoplay 6/88:" … cantatas by CPE Bach so far unlisted in the Bielefelder Katalog and presented in excellent interpretation and with magnificent sound quality."

Preis der Deutschen Schallplattenkritik (LP Critics’ Prize) Deutscher Schallplattenpreis 1988 (German LP Prize)