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BOHUSLAV MARTINŮ: THE SYMPHONIES
CORNELIUS MEISTER
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
Rundfunk-Sinfonieorchester Berlin · Ariane Matiakh
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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WALTER BRAUNFELS
BARBARA BUNTROCK · PAUL ARMIN EDELMANN · DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ · GREGOR BÜHL
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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SCHÖNBERG: Kammersymphonie op. 9 · ZEMLINSKY: Maeterlinck-Gesänge op. 13 · BUSONI: Berceuse élégiaque op. 42
ZORYANA KUSHPLER · LINOS ENSEMBLE
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VICTOR BRUNS (1904-1996)
Mathias Baier · Alexander Voigt · Berthold Große · Sung Kwon You · Soloists of Rundfunk-Sinfonieorchester Berlin
CD 1:
5 Pieces for bassoon and piano op. 12 (World Premiere Recording) · Wind Quintet op. 16 · 6 Pieces for contrabassoon and piano op. 80 · Sonata for bassoon and piano op. 20
CD 2:
Little Suite no. 3 for 3 bassoons and contrabassoon op. 92 · Sonata for bassoon and piano no. 3 op. 86 · Quartet for woodwinds op. 18 · Sonata for bassoon and piano no. 2 op. 45 · 4 virtuoso pieces for bassoon solo op. 93
Victor Bruns, born 1904 in Ollila in today’s Finland, wrote over 20 solo concertos, 50 chamber pieces and several ballet works. Bruns discovered the bassoon as his true vocation and moved to the Leningrad Conservatory in 1924, until he became bassoonist at Leningrad State Opera in 1927. Bruns completed his studies in composition with Vladimir Shtsherbatshov beside his work in the orchestra and he continued his compositional studies in 1946 with Boris Blacher. He worked as bassoonist of the Staatskapelle Berlin from 1946 until his retirement in 1969 and became a frequently performed composer, popular among musicians and audience alike far beyond the borders of the German Democratic Republic, whose works continue to deserve our attention. In 1960, Victor Bruns was awarded the Art Prize of the German Democratic Republic. In 1971, he was appointed an honorary member of the Berlin State Orchestra, and 20 years later the International Double Reed Society in the USA made him an honorary member.
