Respighi: Transcriptions of Bach & Rachmaninoff Orchestre Philharmonique Royal de Liège & John Neschling

• Ottorino Respighi (1879 - 1936): Prelude & Fugue in D Major, P. 158 (After J.S. Bach's BWV 532):
• 1 Respighi: Prelude & Fugue in D Major, P. 158 (After J.S. Bach's BWV 532): I. Prelude 04:37
• 2 Respighi: Prelude & Fugue in D Major, P. 158 (After J.S. Bach's BWV 532): II. Fugue 05:25
• Passacaglia in C Minor, P. 159 (After J.S. Bach's BWV 582):
• 3 Respighi: Passacaglia in C Minor, P. 159 (After J.S. Bach's BWV 582): Passacaglia 08:42
• 4 Respighi: Passacaglia in C Minor, P. 159 (After J.S. Bach's BWV 582): Fugue 06:31
• 3 Corali, P. 167:
• 5 Respighi: 3 Corali, P. 167: No. 1, Nun komm, der Heiden Heiland (After J.S. Bach's BWV 659) 03:59
• 6 Respighi: 3 Corali, P. 167: No. 2, Meine Seele erhebt den Herren (After J.S. Bach's BWV 648) 01:00
• 7 Respighi: 3 Corali, P. 167: No. 3, Wachet auf, ruft uns die Stimme (After J.S. Bach's BWV 645) 05:14
• 5 Etude-tableaux, P. 160:
• 8 Respighi: 5 Etude-tableaux, P. 160: No. 1, La mer et les mouttes (After Rachmaninoff's Op. 39 No. 2) 07:12
• 9 Respighi: 5 Etude-tableaux, P. 160: No. 2, La foire (After Rachmaninoff's Op. 33 No. 4) 01:58
• 10 Respighi: 5 Etude-tableaux, P. 160: No. 3, Marche funèbre (After Rachmaninoff's Op. 39 No. 7) 06:05
• 11 Respighi: 5 Etude-tableaux, P. 160: No. 4, Le chaperon rouge et le loup (After Rachmaninoff's Op. 39 No. 6) 03:07
• 12 Respighi: 5 Etude-tableaux, P. 160: No. 5, Marche (After Rachmaninoff's Op. 39 No. 9) 03:33
• Total Runtime 57:23

Info zu Respighi: Transcriptions of Bach & Rachmaninoff

A great orchestrator adds new colours to music by Bach and Rachmaninov.

Founded in 1960, the Liège Royal Philharmonic (OPRL), which has 97 musicians, is recognized for its strong identity in the European musical world, linked to its distinctive artistic and geographical position at the crossroads of the Germanic and Romance spheres, reflecting the age-old history of Liège: it combines the density of Germanic orchestras with the transparency of their French counterparts. Over more than half a century, the OPRL has shown its openness to different repertoires and has developed a reputation, in particular, for its performances of French music and of contemporary works. The OPRL has recorded more than 80 discs; most have been widely acclaimed by the international press. It tours regularly: since 1999 it has undertaken nine tours which have taken it to, for example, Spain, South America, the Musikverein in Vienna, the Théâtre des Champs-Élysées in Paris and the Concertgebouw in Amsterdam. The OPRL currently gives more than 80 concerts a year, of which half take place in Liège. Since 2000 it has also run the Salle Philharmonique in Liège and expanded the range of concerts there to include baroque music, world music, chamber music, and major recitals on piano and organ.

The Brazilian-born conductor John Neschling is a grand-nephew both of the composer Arnold Schoenberg and of the conductor Arthur Bodanzky. He studied in Vienna under Hans Swarowsky and attended classes with Leonard Bernstein and Bruno Maderna in Europe and in the USA. Orchestras he has conducted include the Vienna Symphony Orchestra, London Symphony Orchestra, Zürich Tonhalle Orchestra, Warsaw Philharmonic Orchestra, Pittsburgh Symphony Orchestra, the Orchestra of Santa Cecilia in Rome and the Residentie Orchestra in The Hague. As an opera conductor he has appeared all over the world with, for example, the Vienna State Opera, Deutsche Oper Berlin, Teatro San Carlo di Napoli, Arena di Verona, Opernhaus Zürich and Washington Opera.

Orchestre Philharmonique Royal de Liège
John Neschling, conductor

Orchestre Philharmonique Royal de Liège
Founded in 1960, the Liège Royal Philharmonic/Orchestre Philharmonique Royal de Liège (OPRL) (which numbers one hundred musicians) is recognised today as ‘the best orchestra of Belgium’. It has a powerful, recognisable identity in the Eu- ropean musical world, linked to its distinctive artistic and geographical position at the crossroads of the Germanic and French spheres, reflecting the age-old history of Liège: it combines the density of Germanic orchestras with the transparency of their French counterparts. It is known for its commitment, its curiosity about all kinds of repertoire, and its bold choices in relation to a wide range of audiences. Over more than half a century, the OPRL has shown its openness to different repertoires and has developed a reputation, in particular, for its performances of French music and of contemporary works (the orchestra has premiered more than ninety com- positions by Berio, Xenakis, Piazzolla, Takemitsu, Boesmans, Dusapin, and Manto- vani, among others). The OPRL has recorded more than seventy discs in fifty years; most have been widely acclaimed by the international press. It tours regularly: since 1999 it has undertaken seven tours, which have taken it to, for example, South America, the Musikverein in Vienna, the Théâtre des Champs-Elysées in Paris, and the Concertgebouw in Amsterdam. The OPRL currently gives more than eighty concerts a year, of which half take place in Liège. Since 2000 it has also run the Salle Philharmonique in Liège and expanded the range of concerts there to include Baroque music, world music, chamber music, and major recitals on piano and organ.

John Neschling
The Brazilian-born conductor John Neschling is a grand-nephew both of the composer Arnold Schoenberg and of the conductor Arthur Bodanzky. He studied in Vienna under Hans Swarowsky and attended classes with Leonard Bernstein and Bruno Maderna in Europe and in the USA. Orchestras he has conducted include the Vienna Symphony Orchestra, London Symphony Orchestra, Zürich Tonhalle Orchestra, Warsaw Philharmonic Orchestra, Pittsburgh Symphony Orchestra, the Orchestra of Santa Cecilia in Rome and the Residentie Orchestra in The Hague. As an opera con- ductor he has appeared all over the world with, for example, the Vienna State Opera, Deutsche Oper Berlin, Teatro San Carlo di Napoli, Arena di Verona, Opernhaus Zürich and Washington Opera.

He has been music director at the Teatro Nacional de São Carlos in Lisbon, the St Gallen Opera in Switzerland, the Teatro Massimo in Palermo and the Orchestre National Bordeaux-Aquitaine in France; in Brazil he has conducted the opera com- panies in Rio de Janeiro and São Paulo. In 1997 he became principal conductor of the São Paulo Symphony Orchestra, a position he retained until 2009. During these years he transformed the orchestra into the leading symphony orchestra of Latin America, touring the USA and Europe three times, and recording more than 30 acclaimed discs. Since 2011 he has conducted concerts and opera productions in Italy, France, Switzerland, Spain, Belgium and Poland, and in January 2013 he took over the artistic and musical direction of the Theatro Municipal in São Paulo.

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