C0180. HANS PFITZNER Cond. Berlin Staatsoper Orch.: Symphony #2 in C; HANS PFITZNER Cond. Berlin S.O.: Symphony #4 in d (both Schumann). Koch Legacy 7039, recorded 1928/'26, resp. Long out-of-print, Final Copy! - 099923703921
Hans Pfitzner, remembered today primarily as a composer, was also a conductor of lively imagination and high technical standards. In both modes, he had an affinity for Robert Schumann. His recording of Schumann's Symphonies No. 2 and 4, made in Berlin in the 1920s (Koch Legacy 3-7039-2 H1), is a remarkable tribute from one creative spirit to another, with a few personal touches (some would say eccentricities) in the phrasing but a strong sense of symphonic music as a larger form of song."
- Joseph McLellan, THE WASHINGTON POST, 11 Aug., 1991
“Pfitzner was one of most successful composers of the Nazi years, and performed frequently throughout Germany. Although he did not attain the success he desired, he survived the post-war years better than might have been expected. During his denazification trial, along with Furtwängler, Egk and Strauss, he was found not guilty. Pfitzner died in Salzburg in May 1949.”
- Music and the Holocaust
“Pfitzner tried to compete with Strauss, who ruled the orchestral scene of the eighteen-nineties. Pfitzner's reactionary ideas helped advance his career during the First World War. Pfitzner, on his way to oblivion, produced one great work....With PALESTRINA, in 1917, he gained a distinguished ally in Thomas Mann....It is a monument to the kind of artist Pfitzner was not: one who suffers and survives, who draws on hidden resources, who astonishes a skeptical and strife-torn world at the moment he is ready to be forgotten. The strangest irony in PALESTRINA is one that would undoubtedly make Pfitzner scream in eternal pain. The artist it described perfectly is Richard Strauss.”
- Alex Ross, THE NEW YORKER, 21 July, 1977