Of all the releases in Hänssler's Günter Wand-Edition, this may be the most significant. It's not that the other releases have been in negligible, but they have to a large extent duplicated repertoire Wand had recorded commercially. Not so this disc: of the five works here, only one had been previously recorded by Wand. Even more importantly, two of the five works here were pieces with which Wand was intimately familiar while the other three were works he knew and loved as well as he knew and loved the repertoire with which ...
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Of all the releases in Hänssler's Günter Wand-Edition, this may be the most significant. It's not that the other releases have been in negligible, but they have to a large extent duplicated repertoire Wand had recorded commercially. Not so this disc: of the five works here, only one had been previously recorded by Wand. Even more importantly, two of the five works here were pieces with which Wand was intimately familiar while the other three were works he knew and loved as well as he knew and loved the repertoire with which he is more often associated, the symphonies of Beethoven, Brahms, and Bruckner.Wand had given Olivier Messiaen's Trois petites liturgies de la Présence Divine its German premiere in 1951, and he continued to champion both the work and the composer for the rest of his life. Similarly, Wand had known Wolfgang Fortner well and premiered several of his major works, and although Fortner's Aulodie for oboe and orchestra was not among those premieres, Wand did subsequently perform the work...
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