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KHACHATURIAN: SPARTACUS
Deutsches Symphonie-Orchester Berlin · Michail Jurowski
nach der Fassung des BOLSCHOI THEATERS MOSKAU
Khachaturian’s music is strongly stamped by the tradition of his Caucasian homeland, and consequently feels as much at home in Azerbaijan as in Georgia. His music is conventional, so catchy that, for example, the BBC chose the Adagio from Act 3 of his ballet Spartacus as title-music for the soap opera series „The Onedin Line", broadcast worldwide. First sketches for the Spartacus subject were already written in 1940, but completion of the ballet Gayaneh and the world war delayed their continuation. Not until 1952 was work on Spartacus finished, and in
1956 the first performance took place by the Kirov Ballet in the Kirov Theatre in Leningrad, in the choreography by Leonid Banyaminovich Jakobson. It was Khachaturian's last great work. soon after the Leningrad première doubts were
expressed about the choreography. For Moscow, lgor Moiseyev then mounted a new production in 1956, which also, however, failed to convince. In 1968,
again for Moscow, the ballet was completely newly constructed according to plans by Yuri Grigorovich for the Bolshoi Theatre. In this version Spartacus had worldwide success; it also forms the basis for the present recording.
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DANIEL BEHLE - RICHARD STRAUSS
Daniel Behle, tenor · Oliver Schnyder, piano
Seen from the outside it may seem as if everything has gone pretty fast; four CDs of songs within two years, a Zauberflöten-recording under René Jacobs and in addition, continuous opera- and concert engagements. In reality, what may now seem as a »breakthrough« has been prepared by Daniel Behle over the long term. Also, the plan to record pieces by Richard Strauss after songs by Schubert, Schumann, Beethoven, Grieg, Brittan and Trojahn has developed over the years. Thus, the singer systematically broadened his repertoire on the stages of opera houses and concert halls as well as on recordings. »I am a lyrical Tenor and as such, one just gets introduced to the Schöne Müllerin, later to the Dichterliebe and eventually to the Winterreise (although I allow myself more time for that one) in the course of one’s studies. At the moment I am quite happy to have opened another page besides the lightly lyrical: to dip into the late romantic era and to discover the outgoing, active and hands-on aspects of the period.«
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FRITZ KREISLER
Budapest Strings · Béla Bánfalvi
For decades, Fritz Kreisler left the music world under the
misapprehension that he had found compositions by Cartier, Couperin, Dittersdorf,
Padre Martini, Porpora, Pugnani, Stamitz or Vivaldi in monasteries and castle archives and arranged these himself for violin and piano. He left questions as to the original sources unanswered. A number of friends knew all about how the public had been misled, but did not consider this to be deceitful or ruthless and had kept quiet: Efrem Zimbalist, Jascha Heifetz, Georges Enescu, and chiefly Kreisler's accompaniment on the piano, Franz Rupp, were some of these.. For they all knew the nature of this charming, almost casually relaxed violinist, who, for David Oistrach, was the "summit of violin art“. At sixty, he then publicly and freely admitted that he had played a superb joke around thirty years before: he had concealed most of his own works behind the names of masters of the 17th and 18th centuries (he had generously omitted to draw the royalties payable to the author). The piano-accompanied miniatures (arranged here for strings) which caused offence to many a duped critic sixty years ago are part of the relaxing "Encores" of every great violinist today.
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BACH: THE WELL-TEMPERED CLAVIER
Christine Schornsheim, harpsichord
Christine Schornsheim, one of the most eminent specialists for historic keyboard instruments, has finalised her recordings of Bach’s Wohltemperirtes Clavier on the Ruckers-Harpsichord at the Musée Unterlinden in Colmar this year. Only a few specimens by the celebrated harpsichord maker from 17th century Antwerp have survived and are still fully functional today.
“It is the most beautiful instrument I know, a nightingale: modest on the outside but its sound bedazzles. It is earthy, warm and singing, with a bright responsiveness; it has everything that is essential for Bach’s polyphonic music.”
Christine Schornsheim on the Ruckers-Harpsichord in Colmar
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CHRISTMAS MEDITATION
COMPACT DISC 1
J.S.BACH / CH.GOUNOD: Ave Maria · HÄNDEL: Pastorale
TRADITIONAL: Süßer die Glocken nie klingen · VIVALDI: Largo
COMPACT DISC 2
BACH: Air · PRAETORIUS: Kindelein zart · MANFREDINI: Christmas Concerto · HÄNDEL: Largo · TRADITIONAL: O Jesulein zart
COMPACT DISC 3
MOLTER: Concerto Pastorale · ALBINONI: Adagio · MOZART: Laudate Dominum VIVALDI: The Four Seasons (Winter) · CORELLI: Christmas Concerto
COMPACT DISC 4
PACHELBEL: Canon in D · BRUCKNER: Ave Maria · ADAM: Noel
GABRIELI: Symphoniae sacrae II · BACH: Christmas Oratorio (Aria)
COMPACT DISC 5
SCHUBERT: Heilig, heilig · REGER: Mariä Wiegenlied · RHEINBERGER: Ave Maria · BRUCH: Jubilate, Amen · GRUBER: Stille Nacht, heilige Nacht
WIENER SÄNGERKNABEN · JOCHEN KOWALSKI · CONCERTO KÖLN
REGENSBURGER DOMSPATZEN · REINHOLD FRIEDRICH
DRESDNER KREUZCHOR · ACADEMY OF LONDON · NEUES BERLINER
KAMMERORCHESTER · THOMANERCHOR LEIPZIG · CAPPELLA COLONIENSIS
