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Radu A. Lelutiu
Fanfare, November 2012

Pianist Joseph Banowetz plays this imperfect music very well. While some of Weigl’s scores are deceptively simple, others clearly require a virtuoso technique. Banowetz handles this idiom without any difficulty, and his enthusiasm for this music is evident.

The quality of the recorded sound is very good. I assume that Banowetz is playing a concert-size instrument, but he manages to make it sound small and intimate, which I believe is appropriate for this music. © 2012 Fanfare Read complete review

Robert Schulslaper
Fanfare, November 2012

Josef Banowetz’s efforts on behalf of neglected music have not gone unnoticed by the recording industry. Banowetz is an excellent pianist whose warm tone and expressive manner are stylistically well matched with Weigl’s Viennese aesthetic. Banowetz’s thoughtful interpretations emphasize the varied character of the music, and his touch delineates every nuance from delicate clarity to full-bodied resonance. Incidentally, his pedaling beautifully complements his incisive technique, adding luminous or ominous colors as required. This is a welcome release, showcasing the works of a formerly unsung composer who merits the attention of the listening public. © 2012 Fanfare Read complete review

Alan Becker
American Record Guide, November 2012

Pictures and Tales…is a cycle of six pieces…They are charming, melodic…

The Six Fantasies…is a cycle of expressive mood pieces that remain true to the composer’s developed style. They are always entertaining…

The sound is very good, and the notes are most informative. © 2012 American Record Guide Read complete review on American Record Guide online

WRUV Reviews, July 2012

The pieces on this disc provide a view over time of the [Karl Weigl’s] styles and moods. Romantic with elements of impressionism. © 2012 WRUV Reviews Read complete review

David Denton
David's Review Corner, June 2012

Karl Weigl was enjoying a highly successful life in Vienna as a composer and performing musician when the Nazi annexation of Austria caused his departure. The booklet with the disc would indicate that he was ‘having difficulty establishing himself anew’ in his adopted country—he became an American citizen in 1943—but he did have a career teaching in three major music colleges, and was enjoying a post at the New England Conservatoire in Boston on his death in 1949 at the age of sixty-eight. He had been a composition pupil of Zemlinsky, his subsequent substantial symphonic output admired by Richard Strauss, Mahler and Schoenberg, the young Weigl having acted as Mahler’s rehearsal conductor at the Vienna Hofoper. With this backdrop you may be surprised to discover a composer of 19th century charm in the Six Fantasies dating from 1942. There are some unusual fresh harmonic structures, but it is music that denies the Second Viennese School ever existed. No record of a public performance exists, a fact equally true of the 1903 Toteninsel (Isle of the Dead), a score that comes from the late Liszt era but without the technical demands. Six years later Weigl is offering gratitude to the influences of Schumann’s Kinderszenen in his Bider und Geschichten (Pictures and Tales). In six sections the music has a child’s charming simplicity. He seemingly lost interest in Tanz der Erinnyen (Dance of the Furies) which he never performed, while the disc’s final work, Nachtphantasien (Night Fantasies) was probably inspired by Mahler’s Seventh Symphony. Few of the works offer an outgoing show of virtuosity, Joseph Banowetz taking us through four world premieres in pleasing sound quality. © 2012 David’s Review Corner

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