One of the most grown-up review sites around

51,000 reviews
and more.. and still writing ...

Search MusicWeb Here



International mailing

  Founder: Len Mullenger             Senior Editor: John Quinn               Contact Seen and Heard here  

Some items
to consider


colourful imaginative harmony
Renate Eggebrecht violin

Leticia Gómez-Tagle
Chopin, Liszt, Scarlatti

Guillaume LEKEU

Book 1 Book 2 Book3
Mota The Triptych: -Website

Acte Prealable returns
with New Releases

Superior performance

Shostakovich 6&7 Nelsons

Verdi Requiem Thielemann

Marianna Henriksson
An outstanding recital

Arnold Bax
Be converted

this terrific disc

John Buckley
one of my major discoveries

François-Xavier Roth
A game-changing Mahler 3


Bryden Thomson


Vaughan Williams Concertos

RVW Orchestral


Support us financially by purchasing this from

Joseph MARX (1882-1964)
Eine Herbstsymphonie (1922) [67:00]
Grazer Philharmoniker/Johannes Wildner
rec. 2018, Oper Graz, Austria
CPO 555 262-2 [67:00]

Long imagined, desired, mulled over and aspired to as a dream, CPO have now allowed the world to hear Marx’s mighty Herbstsymphonie. This is the work’s first commercial recording and is without cuts.

There are giddier symphonic constructs but at 67 minutes Marx’s Eine Herbstsymphonie is one of the most extravagant of works in duration and instrumentation. The composer’s invention is lush and leans towards impressionism: think Debussy and La Mer clasped in communion with Korngold’s Symphony. The music might even remind you of Scriabin or early Miaskovsky or Cuclin, or of Bax in his Spring Fire or Nympholept. Surging, sobbing and sighing waves and veils of sound interleave in one massively-breathed ecstasy.

You might be forgiven for thinking on occasion during the first movement (Ein Herbstgesang) that you have been caught up in a vortex of Klimt-like Hollywood stardust: perhaps Waxman and Friedhofer enmeshed in rhapsodic melt-down. There are no wintry or Nordic gales to dispel the sultriness that carries over from the shortest movement (the first) to the Tanz der Mittagsgeister. I mentioned La Mer earlier as a comparator but here the lulling kinship is with La Valse. Next comes the sun-drenched and long-sustained high noon that is Herbstgedanken. This is about the same duration as the Tanz.

The Tanz der Mittagsgeister and Herbstgedanken together take about the same time as the finale, Ein Herbstpoem. This is a 26-minute, lavishly indulgent summation; less farewell and more of a joyous welcoming embrace than a valediction. Here, the composer looks back to the activity of the first movement but redoubles the work’s brassy confidence and vitality. Marx is not going to reject his natural inclinations towards lambency and sultry suggestion; far from it - try the trumpet at 6:26 and 8:45. The trumpet is a recurring frontline presence in this movement. As in the first movement, the music also suggests oceanic surge, excitement and victory. Add to this a leisurely-swung dance element and the return of what we later came to associate with silver-screen lush.

Eine Herbstsymphonie was premiered in Grambach on 5 February 1922 when the Vienna Philharmonic was conducted by Felix Weingartner. Its premiere in Graz followed with Clemens Kraus at the wheel on 28 September 1922. Its complexity and extremes no doubt account for it having been left in cold-store after 1927 until Marx’s death in 1964. This despite Marx introducing optional cuts in the second and fourth movements which I think was the form in which it was given by Vladimir Jurowski at the Royal Festival Hall in 2017 and much earlier by the American Symphony conducted by Leon Botstein (download). The revival of the full version came in 2005 from Graz with the conductor Michel Swierczewski. In the 1940s the composer rethought the finale of the Symphony as a freestanding work under the title of Feste im Herbst. This last was played by the BBC Philharmonic conducted by Simone Young in Manchester in 2017 and before that was recorded by CPO in 2007 with the Radio-Symphonieorchester Wien, again under Wildner (review).

The disc is very properly and enjoyably documented by lifelong Marx advocates Berkant Haydin and Peter Rastl, both of the Joseph Marx Gesellschaft.

This recording was made over four days so is no study-fatigued dull run-through. Rather than seeming stilted, the music basks at length in its own sunshine. It’s often more of summer and less of the chilly autumn which the title could imply. Do not look to this work as an exemplar of spring vigour. On the other hand, its super-glowing autumnal radiance never misses a glorious beat.

Rob Barnett



We are currently offering in excess of 51,000 reviews

Advertising on

Donate and keep us afloat


New Releases

Naxos Classical

Nimbus Podcast

Obtain 10% discount

Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels
Acte Préalable
(THE Polish label)
Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Senior Editor
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger

脉动棋牌官方网站 天津十一选五胆杀号 上海天天彩选四开啥号 贵州十一选五APP下载 18024足彩半全场开奖结果 重庆快乐10分开奖号码 乐透游戏官方下载 东莞平安女业务赚钱 上证指数每日收盘数据2019 双色球投注大奖(组图)