Hermann GRÄDENER: Orchestral Music, Volume One
The German-born, Vienna-based Hermann Grädener (1844–1929) is yet another composer whose music, esteemed in its own time, has since slipped between the floorboards of history. Yet this first recording of his two violin concertos – substantial works both, downstream from Brahms, and with a hint of Sibelius – prove him to have been one of the more important Romantics, with a strong sense of drama, a sure hand for musical architecture and a natural flair for extended melody.
Karen Bentley Pollick, violin
National Symphony Orchestra of Ukraine
Gottfried Rabl, conductor
Listen To This Recording:
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Violin Concerto No. 1 in D major, Op. 22 (1890)
- I Allegro moderato
- II Larghetto
- III Finale: Allegro non tanto
- I Allegro non troppo
- II Andante
- III Finale: Rondo capriccioso
Violin Concerto No. 2 in D minor, Op. 41 (1905)
FIRST RECORDINGS
MusicWeb International :
‘With booklet notes and production standards flying high, you can judge for yourself which concerto you prefer in performances that are focused and communicative.’
—Jonathan Woolf, MusicWeb International
Sharps & Flat Irons :
‘This is a well played and well engineered recording of music that is available nowhere else. As such it is a worthy addition to any collection. […]
Pollick plays with an alluring sound and great confidence. Rabl and the Ukrainian orchestra provide a solid background. They never threaten to overwhelm the soloist. […]
These is no question that this is attractive music, skillfully woven together.’
—Peter Alexander, Sharps & Flat Irons
Fanfare :
‘Both Rabl and Pollick are best known for their work in more modern repertoire—Rabl, in particular, for his cycle of the Wellesz symphonies, Pollick for her support for what she calls “cutting edge” music. But they are certainly attuned to the late Romantic ethos here, and they get solid support from the orchestra. Good sound and, as I’ve suggested, exceptional notes. Recommended for the adventurous.’
—Peter J. Rabinowitz, Fanfare
Fanfare :
‘ I want to emphasize that [the second movement of the first violin concerto] is music of real beauty, once again rhapsodic and rapturous. […]
In Grädener’s music of Romantic rhapsodizing, violinist Pollick plays with rare purity and radiance of tone, and with deep concentration of emotional expression. […]
Grädener gives the orchestra much to do as well. His writing is not mere accompaniment; it has real symphonic weight and substance, which makes me curious to hear his symphonies. Gottfried Rabl and the Ukraine National Symphony Orchestra are a significant presence throughout these two scores.’
—Jerry Dubins, Fanfare
San Francisco Chronicle :
‘This release — the initial installment of a promised survey of Grädener’s orchestral music — includes his two violin concertos, written in 1890 and 1905, and they’re fine, even irresistible scores. Yes, the influence of Brahms is everywhere, but listen past it to the sense of spaciousness in the opening movement of the First Concerto, or the still-voiced eloquence of the slow movement of the Second. The performers’ advocacy seems entirely well-merited, and the playing backs it up.’
—Joshua Kosman, San Francisco Chronicle
Die Presse :
‘Alle Musikfreunde, die an einer Erweiterung des Repertoires interessiert sind und Musik der Brahms- und Richard-Strauss-Generation mögen, werden hier fündig. […]
Seine Musik, harmonisch reizvoll differenziert, aber nie über die romantischen Klangwelten hinaus forschend, kommt in der Einspielung durch die Geigerin Karen Bentley Pollick und das ukrainische Nationalorchester unter Gottfried Rabl wunderbar zur Geltung: melodisch, schwärmerisch, hie und da – etwa am dramatischen Beginn des Zweiten Konzerts – mit pathetischer Geste. […]
Beide langsamen Sätze (vor allem jener des d-Moll-Konzerts) erinnern in ihrer Schlichtheit sogar an die Frühromantik eines Mendelssohn. Wer also nicht immer das Brahms- oder Tschaikowsky-Konzert hören möchte, aber auf die Klangschwelgerei jener Ära nicht verzichten möchte, wird hier gut bedient. Und bekommt ein Beiheft mitgeliefert, das die Entstehung dieser Erstaufnahme in munterem Erzählton dokumentiert.’
English translation:
‘All music lovers interested in expanding their repertoire and who enjoy music from the Brahms and Richard Strauss generation will find something to their liking here. […]
His music, harmonically captivating and nuanced, yet never venturing beyond the realm of Romantic sound, is beautifully showcased in this recording by violinist Karen Bentley Pollick and the Ukrainian National Orchestra under Gottfried Rabl: melodic, rapturous, and here and there—for example, at the dramatic opening of the Second Concerto—with a touch of pathos. […]
Both slow movements (especially that of the D minor Concerto) even recall, in their simplicity, the early Romanticism of Mendelssohn. So, anyone who doesn’t always want to hear the Brahms or Tchaikovsky concertos, but doesn’t want to miss out on the sonic richness of that era, will be well served here. And a booklet is included that documents the making of this world premiere recording in a lively, narrative style.’
—Wilhelm Sinkovicz, Die Presse
WTJU :
‘Austrian music theorist Heinrich Schenker characterized one of Graedener’s works as “wholesale, huge richness.” That’s a fair assessment of these works, too. […]
Violinist Karen Bentley Pollick delivers some fine performances here. Her violin’s warm, clear tone added beauty to the lyrical passages — of which there are many. And she ably handled the technical challenges — especially those of the second concerto.’
—Ralph Graves, WTJU
RMTNEWS International :
‘Le label anglais se singularise par ses nombreuses découvertes d’œuvres injustement oubliées du répertoire. Cet enregistrement de deux concertos pour violon et orchestre superbes en est la parfaite illustration. […] Trois concerts à ne pas rater de joyaux oubliés ! […]
Dans la lignée de Brahms ou Raff, son œuvre singulière retient l’attention par un sens dramatique aigu et une maîtrise parfaite de l’orchestration. Hermann possède une véritable identité comme compositeur et une connaissance rare des instruments pour lesquels il écrit. […]
Les deux concertos pour violon et orchestre épousent un romantisme tardif et constituent un sommet de la littérature violonistique concertante. Ils rejoignent les concertos pour violon de Brahms, Schumann, Klughardt, Richard Strauss au panthéon de la littérature musicale allemande. […]. Le premier concerto écrit en 1890 est en Ré Majeur. Il retient l’attention par la richesse infinie de ses couleurs harmoniques et la douceur enivrante de ses mélodies. Cette œuvre s’illustre par une retenue émotionnelle consommée et un art indicible de la connaissance de l’instrument soliste. Le troisième mouvement s’impose par sa légèreté et sa pureté telle la source du Rhin. Le second concerto composé en 1905 est en ré mineur. Le premier mouvement surprend par ses dimensions imposantes et son intensité héroïque et dramatique rarement entendue. Le second mouvement semble être une méditation sur l’existence. Le troisième est d’une difficulté technique sans nom servant l’intensité dramatique et émotionnelle de l’œuvre. […] La jeune violoniste américaine Karen Bentley Pollick, ancienne élève de Nathan Milstein, Joseph Gingold,Yuval Yaron entre autres y est époustouflante. Elle domine avec aisance tous les défis techniques imposés par ses deux concertos. Le son est chaud et clair d’une grande justesse. Le violon chante dans ses deux pages d’un lyrisme intense. Son engagement est sans faille pour redonner vie à ses chefs d’œuvre oubliés.
Le chef d’orchestre autrichien Gottfried Rabl dirige avec précision les musiciens de l’orchestre national d’Ukraine. Il fait preuve de fougue et passion pour transcender ses pages de Hermann Grädener. Il ne fait qu’un avec sa soliste. On est conquis ! Un enregistrement indispensable pour bien commencer l’année 2026 !’
English transaltion:
‘The English label distinguishes itself through its numerous discoveries of unjustly forgotten works from the repertoire. This recording of two superb violin concertos is a perfect example. […] Three unmissable concerts of forgotten gems! […]
In the tradition of Brahms or Raff, his singular work captivates with its keen dramatic sense and perfect mastery of orchestration. Hermann possesses a true identity as a composer and a rare knowledge of the instruments for which he writes. […]
The two violin concertos embrace a late Romanticism and represent a pinnacle of concertante violin literature. They join the violin concertos of Brahms, Schumann, Klughardt, and Richard Strauss in the pantheon of German musical literature. […] The first concerto, written in 1890, is in D major. It captivates with the infinite richness of its harmonic colors and the intoxicating sweetness of its melodies. This work is distinguished by its consummate emotional restraint and an ineffable mastery of the solo instrument. The third movement is striking in its lightness and purity, like the source of the Rhine. The second concerto, composed in 1905, is in D minor. The first movement surprises with its imposing dimensions and its rarely heard heroic and dramatic intensity. The second movement seems to be a meditation on existence. The third is of unparalleled technical difficulty, serving the dramatic and emotional intensity of the work. […] The young American violinist Karen Bentley Pollick, a former student of Nathan Milstein, Joseph Gingold, and Yuval Yaron, among others, is breathtaking. She effortlessly masters all the technical challenges posed by these two concertos. The sound is warm and clear, with great precision. The violin sings with intense lyricism in both pieces. Her commitment to reviving these forgotten masterpieces is unwavering.
Austrian conductor Gottfried Rabl leads the musicians of the National Orchestra of Ukraine with precision. He displays fervor and passion in bringing out the full potential of Hermann Grädener’s music. He is perfectly in sync with his soloist. We are captivated! An essential recording to kick off 2026!’
—Serge Alexandre, RMTNEWS International