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Hindemith: Cardillac
Chor und Orchester der Wiener Staatsoper · Cornelius Meister
Paris is gripped by fear. A series of murders is leaving a bloody trail through the city. We are talking about E.T.A. Hoffmann's story "Das Fräulein von Scuderi," published in 1819 and often cited as one of the earliest German crime stories. And even though the story is set in the Paris of the time of Louis XIV, the work has a deeply romantic quality, driven by a fascination with genius, coupled with dark passions and terrible crimes. In 1925, Hindemith came into contact with the publicist and poet Ferdinand Lion. To Lion's libretto, influenced by New Objectivity, Paul Hindemith set music that, for all its modernity, consciously takes up historical forms and brings them into play in a neo-baroque manner. The highly acclaimed, star-studded series of performances by the Vienna State Opera is hereby released for the first time as a gripping live recording.
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HK GRUBER
Frank Dupree · ORF Vienna Radio Symphony Orchestra · HK Gruber
At over 80 years old, the ever agile and energetic HK Gruber has become an integral part of the
music scene – not only in Austria. As a composer, chansonnier and music educator with constructive depth and his distinctive, ironical jokes, he reliably amazes, moves, and evokes laughter in his audiences, far removed from the contrived, mathematical, contemporary musical art. His genre-spanning works are audible, vibrant journeys through the incredible diversity of music history, thus shaping his own, entirely unmistakable style. In Frank Dupree and the Vienna Radio Symphony Orchestra, he finds his ideal partners, who skillfully realize this distinctive musical language.
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Max Meyer-Olbersleben
Nina Karmon · Roland Glassl · Benedict Kloeckner · Oliver Triendl
Max Meyer-Olbersleben, born in 1850 in Olbersleben, Thuringia, studied at the Weimar Orchestral School under Franz Liszt, and later at the Royal Music School in Munich under Gabriel Josef Rheinberger and Peter Cornelius. He settled in Würzburg as a professor of counterpoint and composition and served as director of the Royal Conservatory of Music until his retirement in 1920. During his lifetime, 114 works were published, primarily smaller forms such as choral works, songs, and piano pieces. Through his studies in Weimar and Munich, Meyer-Olbersleben was familiar with both the traditionalist and the new German musical language of that era, and thus the chamber music gems recorded here for the first time bear witness to profound Romantic sensibility and the spirit of a new musical awakening.
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ENGELBERT HUMPERDINCK: The Miracle (1911)
Rundfunkchor Berlin · Kinderchor des Georg-Friedrich-Händel-Gymnasiums Berlin · Rundfunk-Sinfonieorchester Berlin · Steffen Tast
Pantomime in two Acts and an Interlude for choruses and orchestra
Libretto by Karl Gustav Vollmoeller
Engelbert Humperdinck's music for the pantomime of Karl Gustav Vollmoeller's arguably most important stage work impresses with its deeply Romantic sound and large-scale choral scenes and had so far led an unforgivable shadowy existence in the composer's oeuvre. Premiered in London in 1911, none other than Max Reinhardt adapted this work for film (1912) and staged numerous performances with hundreds of actors, singers, and dancers – finally also at the Salzburg Festival in 1925. This recording represents the first complete recording of this deeply Romantic masterpiece.
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HANS BRONSART VON SCHELLENDORF
Oliver Triendl · Nina Karmon · Wen-Sinn Yang Staatskapelle Weimar Eugene Tzigane
Until recently, Bronsart von Schellendorf's career as a composer has been almost completely overlooked. But Liszt was aware of Bronsart’s prowess, referring to his orchestral work Frühlings-Fantasie as “beautiful and invaluable” and later declaring, “I value him as a character and a musician.” Even a cursory listen to the Piano Concerto reveals a composer working in ambitious dimensions and an extrovert musical language. Rich in melodic and emotional content, Bronsart’s piano writing gives ample opportunity for virtuoso display while delivering Bronsart’s musical arguments with power and precision. Bronsart's good friend Hans von Bülow, another pupil of Liszt, had toured the work from 1870 onwards. He took the concerto abroad, giving a concert in Manchester under the baton of Charles Hallé in 1877, by which time the work had secured a temporary foothold in the repertory.
