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Raymond Tuttle
Fanfare, July 2017

…I think this is one of the best discs in Walter’s series, because the Budapest Symphony Orchestra is better than the Slovak State Philharmonic Orchestra, the band that Walter conducts on all of his other Spohr discs. Walter and the Hungarians offer strong evidence that Louis Spohr was not a screwy bore! © 2017 Fanfare Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, April 2017

The complete Spohr (1784–1859) symphonies as recorded by the Budapest Symphony with Alfred Walter conducting turns out to be a fine thing, a revelation, the symphonic life’s work of a composer that has seen neglect and in the very least is worth reviving. He reflects a world where Beethoven’s star shines brightly and he does it his own way. © 2017 MusicWeb International Read complete review

Uwe Krusch
Pizzicato, February 2017

The Fourth Symphony and two opera overtures by Louis Spohr remind us of a nearly forgotten composer. The music has the character of a tone poem and can be heard in committed and accurate performances. © 2017 Pizzicato

David Denton
David's Review Corner, January 2017

The penultimate release in the nine symphonies of Louis Spohr, the German composer who in his lifetime many considered as being superior to Beethoven. Listening to his Fourth you could quite well understand their opinion, its structure and melodic invention being in the mould of the early symphonies by his contemporary, Franz Schubert. The opening movement is of the type that gives a ready satisfaction, its dramatic moments never exaggerated, but providing a contrast with the general mood of geniality. The two central movements could well have been entr’acts from opera, the third a theatrical march of the type Raff would later use in his symphonies, while the finale is uncommonly short for that period, its sombre opening giving way, quite late on, to a more happier Schubertian conclusion, the end as if going to sleep. His prolific output included ten operas that enjoyed considerable success, Jessonda being in the German opera house repertoire until it was banned by the Nazi party. His overtures were related in content and style to the opera that follows, Faust setting the now familiar story to music, while Jessonda is a story of conflict between West and Eastern cultures. We go back to 1987 when this disc was made for release on the Marco Polo label, the playing of the Budapest orchestra at that time being very fine, the performances, under the direction of Alfred Walter, obviously well prepared. © 2017 David’s Review Corner

Robert Benson, December 2016

…worthy of attention, and the performance is excellent, with fine stereo audio considering that it was recorded almost three decades ago… © 2016 Read complete review

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