Hamlet Overture
Suite in E Major
Julius Caesar (Prelude)
Orchestral Prelude in E Major
Suite in B-Flat Major (excerpts)
Pastorales Vorspiel (Pastoral Prelude) in F Major

Austrian composer and organist Hans Rott (1858-1884) studied organ with Anton Bruckner, and while he was studying at the Conservatory, one of his classmates happened to be Gustav Mahler, two years his junior. They admired each other's work, shared ideas, studied each other's scores, etc ... In fact, when the Suite in E Major which Rott had submitted for his final exam, was performed within the Conservatory walls, Mahler was sitting in the audience. Oddly enough, the first seven notes that make up the main subject of this Suite, bear an uncanny resemblance to the triumphant ending of the final movement of Mahler's Symphony No. 1. Some people claim that Mahler may even have copied Rott's motif, even though Mahler finished his Symphony ten years after hearing the Suite. Mind you, some passages from Rott's own First Symphony (not included in this Vol. 1) do get echoed in Mahler's, but I still believe that Handel's "And he shall live forever and ever" from the Messiah, was the motivation behind Mahler's bold brass theme.

Most of the other extant recordings of the music of Hans Rott are focused on his Symphony in E Major whose style anticipates Mahler, so this new recording from the people at Capriccio, which features most of his extraneous incidental music, is a welcome addition to the catalogue. All very fine orchestral works which make one wonder as to the future potential of this composer had he not died of tuberculosis at the tender age of 25, following a long struggle with mental illness. I agree that similarities between Rott and Mahler do lurk on the surface, so if you admire Mahler's music you will feel right at home listening to the music of Hans Rott. Although what I see when I picture both composers in my mind's eye, is both of them standing back to back, facing in opposite directions, with Rott still soaking in Wagner's influence, and Mahler boldly gazing into the future.

The Gürzenich Orchester Köln and conductor Christopher Ward do full justice to this music's lush orchestration and highly expressive gestures. I for one can't wait to hear their account in Volume 2, of the aforementioned Symphony in E, Rott's most impressive legacy.