ClassicsOnline Home » SCHWARZ-SCHILLING, R.: Orchestral Works, Vol. 1 - Sinfonia diatonica / Symphony in C major / Introduction and Fugue (Serebrier) > Review List

SCHWARZ-SCHILLING, R.: Orchestral Works, Vol. 1 - Sinfonia diatonica / Symphony in C major / Introduction and Fugue (Serebrier)

Composer(s):Schwarz-Schilling, Reinhard
Artist(s) Serebrier, Jose, Conductor • Weimar Staatskapelle
Period(s) 20th Century
Genre Classical Music
Category Orchestral
Catalogue 8.570435
Label Naxos
Quality   320kbps

Inspired by the vast potential of the tonal foundation of music, at a time when many of his contemporaries were embracing the twelve tone ideology, the eminent German composer Reinhard Schwarz-Schilling produced a rich, varied and highly personal body of work. The 1956 Sinfonia diatonica for small orchestra, which here receives its world première recording, is characterized by filigree craftsmanship and a lithe classicism that are very refreshing in the context of the German post-war symphony. The 1963 Symphony in C, scored for a much larger orchestra, including triple woodwind and brass, is notable for its inventive structure, increased harmonic and tonal freedom, and a restless yet organic contrast of dynamism and lyricism.


Review By David Hurwitz,,December 2011

The Introduction and Fugue, arranged for string orchestra from an earlier string quartet, is an extremely beautiful piece that deserves to enter the repertoire of chamber orchestras worldwide. These are very enjoyable, distinctive works, and José Serebrier, as so often, proves the most dependable possible guide to this offbeat repertoire. Both the playing and the sonics are very fine. Definitely worth hearing. © Read complete review

Review By Robert R. Reilly,,October 2009

It would be a crime if I did not call to your attention, even this belatedly, the Naxos release from more than a year ago of Reinhard Schwarz-Schilling’s Introduction and Fugue, Sinfonia Diatonica, and the Symphony in C. One wonders how music this beautiful could have been written in Germany before and after World War II—simply because it was the heyday of the avant-garde and the apex of Arnold Schoenberg’s influence. Part of the answer came when I learned that he was a student of Walter Braunfels, who composed such gorgeous opera and chamber music and who suffered for having refused to write the Nazi anthem or to join the Nazi party.


Review By David Denton, Naxos,August 2008

Though having held the influential position as head of composition at the Berlin Musikhochschule following the Second World War, Reinhard Schwarz-Schilling is largely a forgotten name. Fearing that his wife’s Jewish origin should be revealed, he kept a low profile through the war at a time when he should have been enjoying the peak of his compositional career. He had studied as an organist, conductor, composer, the latter part with Heinrich Kaminski who instilled into the young man that tonality was not dead. It was as an extension to the late Romantic period that we find Schwarz-Schilling’s music, though his rejection of serialism and twelve tone ideology flew in the face of all that was happening around him. Though in his later years he left lush romanticism for a more



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