'Dimitrij' was presented in several different versions during the composer's lifetime. It was premiered in 1882, with cuts and revisions occuring in the 1886 piano reduction. The work was further revised in 1894 (this version premiered in Prague in that year), however the final performances in Dvořák's lifetime (in Plzeň in 1904) consisted of the first version combined with the third act in the second version.
Recordings of Bruckner’s last and greatest Mass are not exactly scarce but this most recent live performance from the celebrated Ebrach festival has claim to being regarded as special, not just for its own considerable merits, but also as it is presented by Profil in a double CD package in tandem with the barely known Psalm 146 and the further bonus of conductor-musicologist and performer Gerd Schaller playing six works on the Eisenbarth organ in the Abteikirche.
It's not as if recordings of the 62 Piano Sonatas of Franz Josef Haydn are thick on the ground. Among the relative big names, there's Jeno Jando on Naxos and John McCabe on Decca. Among the less well-known names, there's Walid Akl on Koch Discover, Roland Batik on Camerata, Ronald Brautigam on BIS, Walter Olbertz on Berlin Classics, and Christine Schornsheim on Capriccio. And for those listeners with record players and aging memories, there's also the venerable Hungaroton cycle, the first complete recorded cycle, that coupled relatively well-known Hungarians like Zoltán Kocsis and Dezsö Ránki with nearly unknown Hungarians like János Sebestyén and the inimitable Zsuzsa Pertis.
Rudolf Buchbinder is firmly established as one of the most important pianists on the international scene, he is a regular guest of such renowned orchestras as the Berlin Philharmonic, Vienna Philharmonic, New York Philharmonic, Orchestre National de France, London Philharmonic, National Symphony, and the Philadelphia Orchestra. He has collaborated with the world’s most distinguished conductors including Abbado, Dohnányi, Dudamel, Frühbeck de Burgos, Giulini, Harnoncourt, Maazel, Masur, Mehta, Saraste, Sawallisch and Thielemann and is a regular guest at the Salzburger Festspiele and other major festivals around the world.
For Anyone who finds the textual/musical idiom of Ein deutsches Requiem difficult to accommodate, this mixture of sacred and secular pieces could serve as a way into the choral music of a very great composer.- International Record Review