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Steven Kruger
Fanfare, November 2016

Eschenbach’s may be the best Hindemith CD I have heard. …It’s almost shocking to hear these pieces shimmer with meaning, as if they were Bruckner. All the more astonishing, then, to find the deep emotions are real and textures gorgeous and sensuous. Eschenbach takes both symphonies’ inner movements slowly, with a brooding sense of tragedy and nostalgia. Halting strings, eerie high winds, growling basses and contrabassoons, led this way, give us a much more personal and human Hindemith. Brass chords are rounded and drawn out. Big moments get big ritards. Melodies are shaped and smoothed. It dawns on one that Hindemith actually wrote feeling music. © 2016 Fanfare Read complete review

Roger Hecht
American Record Guide, March 2016

…two important works played by a solid German orchestra and conductor recorded in concert on a label known for excellent sound. …One might expect such performances to be heavy and logy, but these sustain and move along fairly well, given their style. The overall ambiance is warm, …The sound is listenable and even soothing in its way… © 2016 American Record Guide Read complete review on American Record Guide

James H. North
Fanfare, March 2016

Any great symphony can stand—indeed, welcomes—alternate interpretations and a variety of performances. Eschenbach’s Hindemith E♭ is the most interesting alternative to Bernstein I have heard; as such, it is highly recommended. © 2016 Fanfare Read complete review

Steven Kruger
Fanfare, March 2016

This may be the best Hindemith CD I have heard.

Christoph Eschenbach can be an enervating conductor… But his sense of the musical canvas is more expansive and atmospheric than usual. And Hamburg’s NDR Orchestra, recorded with the usual Ondine perfection, seems to find the “inner German” in this music in the same manner French orchestras elicit depth from simple woodwind noodlings in Debussy or Ravel. This CD radiates authenticity. The Symphony in E♭, of course, is a brightly lit martial piece and remains so. © 2016 Fanfare Read complete review

Leslie Wright
MusicWeb International, November 2015

The final two movements are…more normal tempo-wise and…Eschenbach does all he can for this work. With his excellent orchestral performance and powerful recording, I will still listen to this new account from time to time. © 2015 MusicWeb International Read complete review

Tim Ashley
Gramophone, November 2015

Eschenbach’s trademark fondness for textural warmth and clarity is much to the fore in Mathis, where strings and woodwind are admirably numinous, the complex counterpoint in both the ‘Engelkonzert’ and the ‘Temptation’ beautifully detailed. The central ‘Grablegung’ is slow, rich-sounding and very introverted. The state-of-the-art recording, pristine and wide-ranging but with no sense of dynamic exaggeration, helps him at the big climaxes, which are imposing, at times even monumental, and there’s a beguiling elegance to the instrumental solos that thread their way through the textures. Abbado and the Berlin Philharmonic on DG have more dramatic bite but this is superbly done nevertheless. © 2015 Gramophone Read complete review on Gramophone

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