Christian Poltéra plays Othmar Schoeck


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Christian Poltéra plays Othmar Schoeck



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Release date:

30th April 2007




72 minutes


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Christian Poltéra plays Othmar Schoeck


Cello Concerto Op. 61

Sonata for Cello and Piano

Six Song transcriptions (for cello and piano)



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Othmar Schoeck: Cello Concerto, Op. 61

I. Allegro moderato

II. Andante tranquillo - Piu lento - Tempo I

III. Presto

IV. Lento - Molto allegro

Othmar Schoeck: Cello Sonata, Woo 47

I. Fliessend

II. Schnell

III. Andantino

Othmar Schoeck: 3 Lieder, Op. 7 (arr. C. Poltera)

3 Lieder, Op. 7: No. 3. In der Herberge (arr. C. Poltera)

No. 3. Winternacht

No. 7. Nachklang

No. 9. Nacht

5 Lieder, Op. 31: No. 5. Epigramm (arr. for cello and piano)

Das stille Leuchten, Op. 60: No. 19. Der Reisebecher (arr. for cello and piano)

Othmar Schoeck: 12 Eichendorff Lieder, Op. 30 (arr. C. Poltera)

No. 3. Winternacht

No. 7. Nachklang

No. 9. Nacht

Othmar Schoeck: 5 Lieder, Op. 31 (arr. C. Poltera)

5 Lieder, Op. 31: No. 5. Epigramm (arr. C. Poltera)

Othmar Schoeck: 28 Songs, Op. 60 (arr. C. Poltera)

28 Songs, Op. 60: No. 19. Der Reisebecher (arr. C. Poltera)

Bayerischer Rundfunk

“[Christian Poltéra] here proves himself to be a masterly ‘singer on the cello’ while simultaneously in command of a staggering virtuosity.”

Gramophone Classical Music Guide


“His output dominated by operas and Lieder, Othmar Schoeck (1886-1957) wrote few largescale orchestral and chamber works. Of his three concertos, that for cello (1947) is among his last pieces and exudes an autumnal spirit. Its opening Allegro is among the composer's most successful sonata movements, generating no mean rhythmic momentum in spite of its predilection for long-breathed melodic lines, and purposefully sustaining its considerable length. The slow movement is the emotional heart – a luminous threnody in which the interplay of cello and strings is particularly felicitous. A brief but animated Scherzo and a finale that recalls earlier themes, while maintaining impetus on the way to a decisive conclusion, complete a work that ought to find its way into the still-limited cello canon now the Schumann concerto has become firmly established.
Christian Poltéra taps its ruminative depths unerringly and receives sensitive support from the Malmö Symphony strings under the direction of Tuomas Ollila. Julius Drake is equally responsive in the remaining pieces. The Cello Sonata remained incomplete at Schoeck's death: if its first movement evinces a certain weariness, the pert Scherzo and songful Andantino suggest a work likely to become more than the sum of its parts. The song transcriptions (presumably by Poltéra) are idiomatically done; that of the winsome Nachklang deserves to be an encore in every cellist's repertoire. Warmly spacious sound and informative booklet-notes round out this desirable debut from a highly promising cellist.”

Penguin Guide

2011 edition

“Deeply satisfying music, impeccably played and equally impeccably recorded.”

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