Der ferne Klang’s central character is an ambitious young dramatist, Fritz, who pursues his creative ambitions and his search for Der ferne Klang (‘the distant sound’) at the expense of his love for Grete, whom he abandons and who turns to prostitution. Schreker scores with chamber-like delicacy and has a Puccini-like finesse in the handling of colour, and great imagination in his handling of colour, and great imagination in his handling of harmonic resource. And like Puccini, he was also aware of developments in French music. The skill with which he handles the orchestras in the pit and on the stage in the Venetian scene is impressive and obviously influenced Berg in Wozzeck. The scores is quite gripping, its sound world at times astringent in its harmonies, at others lush and intoxicating. Good soloists, though it is a pity that the voices are rather prominently balanced in this 1989 recording and the subtlety of Schreker’s lavish scoring is not always heard to best advantage. Strongly recommended.
'"Franz Schreker's 1909 Der Ferne Klang (The Faraway Sound) is a work of exquisite beauty for which he marshaled all the prodigious compositional skills at his disposal.. Michael Hal sz has clearly mastered the complex and multi-layered orchestral score, and the Hagen Philharmonic gives full realization to its beauties--all of this recorded in clear and vivid sound. This recording, originally issued on Marco Polo, is an irresistible bargain at the Naxos price. (Note: the libretto is in German only.) [9/4/2000]"