
Felix Weingartner’s 1912 violin concerto is decidedly late-romantic in style, its violin writing ranging from Mendelssohnian to the kind of thing you would hear in
Contrary to Harold C. Schonberg’s patronizing remarks about Felix Weingartner’s creative output, recent releases from CPO prove that the noted conductor was a much better
Felix Weingartner’s symphonies go through all the motions: the allegros try to be purposefully developmental, the adagios strive for elevated tone. The finale of the
Beethoven’s “Eroica” teaches all subsequent generations of composers a critical lesson: the longer the work, the more clear-cut the large-scale form needs to be, and
I enjoyed the first volume in this series very much, and this next installment continues the favorable impression. Felix Weingartner was a symphonist in the
Only three years’ Mahler’s junior, Felix Weingartner (1863-1942) writes like a member of the older generation, but that’s not a bad thing at all given