Scores from the dawn and inestimable maturity of a master of the orchestra and German opera, from Salome to Rosenkavalier. In his youth (1881-86),
he left chamber music worthy of a young prodigy and, in 1940, bequeathed a final page of magic and deadly charm : the Sextet-overture to Capriccio.
Their juxtaposition illustrates the art of a post-romantic composer initially listening to Beethovern, Schumann, Brahms before becoming the untiring
bard of feminity, agressive with Salome, then of infinite subtlety in the ‘conversations in music’ of his last operas.
PRD/DSD 250 275