Poenitz: Harp Compositions
Laura Vinciguerra (harp), Paolo Franchesini (violin) & Roberto Petrocchi (clarinet)
Recorded live in 1970/71 when both Szeryng and Graffman were at the height of their considerable powers; rare technical finesse meets interpretative passion. The Schumann is out of this world.
Poenitz: Harp Compositions
Laura Vinciguerra (harp), Paolo Franchesini (violin) & Roberto Petrocchi (clarinet)
Purchase product
Recorded live in 1970/71 when both Szeryng and Graffman were at the height of their considerable powers; rare technical finesse meets interpretative passion. The Schumann is out of this world.
About
Franz Poenitz (1850-1912) was born Franz von Burkovitz, had a difficult childhood, fleeing from his father with his sister when he was very young. His mother had died in childbirth, and her sister took the children in. Her husband, the conductor Heinrich Poenitz, quickly recognised Franz’s talent: his father taught him violin, and he went on to become one of the most important composers for the harp.
In 1876 he became one of the ‘Bayreuth Seven’, the group of harpists at the new Festspielhaus built to accommodate the works of Wagner. He was a man of wide interests: skiing, hunting, angling and painting. He died in Berlin of complications following an appendectomy.
This CD contains several works receiving their premiere recordings as well as a touching tribute by Alfred Holy (1866-1948) one of his colleagues in the Royal Court Opera in Berlin – a company of which Poenitz had been a member for 50 years.
Rare repertoire of interest to all harpists.
Contents and tracklist
- Laura Vinciguerra (soloist)
- Laura Vinciguerra (soloist)
- Laura Vinciguerra (soloist)
- Laura Vinciguerra (soloist)
- Laura Vinciguerra (soloist), Paolo Franchesini (soloist)
- Laura Vinciguerra (soloist)
- Laura Vinciguerra (soloist)
- Laura Vinciguerra (soloist), Paolo Franchesini (soloist)
- Laura Vinciguerra (soloist)
- Laura Vinciguerra (soloist), Roberto Petrocchi (soloist)
Awards and reviews
April 2006
Recorded live in 1970/71 when both Szeryng and Graffman were at the height of their considerable powers; rare technical finesse meets interpretative passion. The Schumann is out of this world.