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WALTER BRAUNFELS

Carnival Overture op. 22 · Two Hölderlin Songs op. 27 · Scottish Fantasy op. 47 · Prelude and Fugue op. 36
BARBARA BUNTROCK · PAUL ARMIN EDELMANN · DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ · GREGOR BÜHL

C5308 PC: 21 845221053080

Walter Braunfels is a composer whose music died twice: Once when the Nazis declared his music “degenerate art”. Then again when post-war Germany had little use for the various schools of tonal music; when the arbiters of taste considered any form of romantic music – almost the whole pre-war aesthetic – to be tainted. This 5th release of Capriccio’s Braunfels Edition shows again his large range of colorful music. From his first success in 1908 (Carnival Overture), a still unknown virtuoso Viola Concerto (Scottish Fantasy) to a strictly structured Prelude and Fugue – Braunfels Music is worth be discovered in our days.

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WEINBERG: Violin Concerto KABALEVSKY: Piano Fantasy Cello Concerto

BENJAMIN SCHMID · CLAIRE HUANGCI · HARRIET KRIJGH
ORF VIENNA RADIO SYMPHONY ORCHESTRA · CORNELIUS MEISTER

C5310 PC: 21 UPC: 845221053103



MIECZYSŁAW WEINBERG (1919 – 1996)
Concerto for violin and orchestra, op. 67 (1959)
DMITRY KABALEVSKY (1904 – 1987)
Fantasy in F minor for piano and orchestra (after Schubert D 940)(1961)
Concerto for cello and orchestra no. 1 in G minor, op. 49
Dmitry Kabalevsky – despite the vague name recognition a widely unknown composer of socialist-realist music – has rightly been forgotten, if only because of his actively unsavory, toadying, opportunist politics that netted him three Stalin Prizes and four Orders of Lenin. He was chummy with the Russian Association of Proletarian Musicians when that seemed expedient and later a very active member of the Union of Soviet Composers. Weinberg is the exact opposite of Kabalevsky, politically and musically. He was a life-long victim of the Soviet Union and his music is – some genuine incidences of humor apart – a dense shot of genius that makes breathing difficult, not easy. With this Album Capriccio presents with a famous cast the music of two nearly forgotten Russian Masters their music and biography could not be more different.
 

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BOHUSLAV MARTINŮ: THE SYMPHONIES

ORF VIENNA RADIO SYMPHONY ORCHESTRA
CORNELIUS MEISTER

3CD-SET: C5320 PC: 22 UPC: 845221053202







COMPACT DISC 1
[1] – [4]   Symphony No. 1, H. 289 (1942)
[5] – [8]   Symphony No. 2, H. 295 (1943)
COMPACT DISC 2
[1] – [3]   Symphony No. 3, H. 299 (1944)
[4] – [7]   Symphony No. 4, H. 305 (1945)
COMPACT DISC 3
[1] – [3]   Symphony No. 5, H. 310 (1946)
[4] – [6]   Symphony No. 6 „Fantaisies symphoniques“, H. 343 (1954)


Martinu has suffered the fate of not enjoying the same popularity and wide appeal like Bedřich Smetana, Antonín Dvořák und Leoš Janáček on the podium. This often goes so far that his singular skill is referred to, but that the wealth of his oeuvre in all the salient genres is hardly familiar. For decades, Martinů had shied away from composing a symphony. The first one was finally to be written in the USA in 1942, followed by another one every year until 1946 (the sixth was only added to the work catalogue in 1953). For this reason, there is sometimes talk of the ‘American’ symphonies. The symphonies do mirror the events of the time, but at the same time long passages must be regarded as absolute music.

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HARALD GENZMER (1909-2007): Piano Concerto no. 1 · Cello Concerto Trombone Concerto

Oliver Triendl, piano Patrick Demenga, cello Jörgen van Rijen, trombone
Rundfunk-Sinfonieorchester Berlin · Ariane Matiakh

C5330 PC: 21 845221053301

Harald Genzmer was a composition pupil of Paul Hindemith in Berlin from 1928 to 1934. Whoever studies Genzmer’s enormous oeuvre in detail will recognize in the pupil’s music many Romantic gestures and a sensual imagination rarely occurring in the teacher’s works. What Genzmer adopted from his mentor was the masterly craftsmanship, an awareness of classicism and form and joy in performing in itself and in the colours of the most differing instruments.
The broadly educated scion of an academic family never regarded himself as a genius transcending boundaries, but as the servant of performers and the public: ‘Music should be zestful, artful and comprehensible. As practicable, it may win over the interpreter, and then the listener as graspable’. Musicians have always enjoyed performing Genzmer’s inspired music, which is affectionally adapted to the most varied instrumentations, and are now continuing to do so in increasing measure.

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SCHÖNBERG: Kammersymphonie op. 9 · ZEMLINSKY: Maeterlinck-Gesänge op. 13 · BUSONI: Berceuse élégiaque op. 42

ASSOCIATION FOR PRIVATE MUSICAL PERFORMANCES
ZORYANA KUSHPLER · LINOS ENSEMBLE

C5138 PC: 21 845221051383

Founded in November 1918 by Arnold Schoenberg (1874–1951) and a few of his confidants, the Association for Private Musical Performances constituted perhaps the most progressive and most intensive opportunity for a select Viennese musical circle to familiarize themselves with contemporary and the latest works of the international composers’ scene in the immediate aftermath of the First World War and hence at the time of a dearth of a cultural spirit of optimism and innovation. Schoenberg had a close personal tie with many of the composers performed at the association concerts and sometimes even an amical one, as in the case of Zemlinsky. The association became a nursery for the entire modern music from Richard Strauss and Debussy to Webern, as far as the instrumentation of the works allowed.

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