Epstein Secrets

m%2Fcatalog%2Fproduct%2Fview%2Fid%2F489697%3Futmsource%3DiContact%=6utmmediu m%3Demail%26utm_campaign%3D%21HDtracks%20Newsletters%26utm_conte=t%3D> Mahler: Symphony No. 7 New York Philharmonic <http://click.icptrack.com/icp/relay.php?r=7226101=&msgid=1106946&act=P6FG&c=361177&destination=https%3A%2

2Fcatalog%2Fproduct%2Fview%2F id%2F499029%3Futm_source%3DiContact%=6utm_mediu m%3Demail%Mutm_campaign%3D%21HDtracks%20Newsletters%26utm_conte=t%3D> Brahms: The Piano Trios Yo-Yo Ma, Emanuel Ax, Leonidas Kavakos4=pan> <http://click.icptrack.com/icp/relay.php?r=7226101=&msgid=1106946&act=P6FG&c=361177

hematic contexts. The latest concert in Avery Fisher Hall was typical: Robert Fuchs's Symphony No. 3, Alexander Zemlinsky's Symplzonische Gesiinge, Mahler's Ruckert Lieder; and Franz Schreker's "Nachtstiick" interlude from his opera Der Ferne Kiang -- rare works, the Mahler songs excepted, that few aud

t may make fascinating discussion topics but contain precious little musical interest. The Fuchs symphony is a case in point, a pallid imitation of Brahms, already ten years in his grave when this dreary exercise was written in 1907; if such works are still worth hearing at all, they should surely be s

legacy, Schmidt's creative years overlapped with an impressive array of brilliant composers including Bruckner and Brahms early on, and then later, Mahler, Reger, Pfitzner, Schreker, Zemlinsky, Strauss, and many others. With such stiff competition from the nationalist and modernist musical movements,

more of an obstacle to a lasting legacy, Schmidt's creative years overlapped with an impressive array of brilliant composers including Bruckner and Brahms early on, and then later, Mahler, Reger, Pfitzner, Schreker, Zemlinsky, Strauss, and many others. With such stiff competition from the nationalist