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


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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VICTOR BRUNS (1904-1996)

Chamber Music For Woodwinds
Mathias Baier · Alexander Voigt · Berthold Große · Sung Kwon You · Soloists of Rundfunk-Sinfonieorchester Berlin

2CD-Set · C5327 PC: 21 845221053271

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.

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Bo Skovhus, baritone
Stefan Vladar, piano

C5291 PC: 21 845221052915

20 years ago, at the beginning of his career, the young baritone Bo Skovhus made his first recording of Schubert’s “Schöne Müllerin”. Now, as a famous opera and Lied interpreter he presents a new production of all 3 Schubert Cycles: “I’m very thankful to do this again. As a young men you do not reflect so much what happen. Now, when I’m older, I understand much more about. Especially for this cycle it’s important to have another point of view.” (Bo Skovhus)
Stefan Vladar, the famous Viennese pianist and his partner on the piano, shows us the virtuosity of the piano part in a new different light.

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C5316 PC: 21 UPC: 845221053165

for Soloists, Choir and Orchestra (1878-1880 / rev. 1899)
Text: Gustav Mahler after Ludwig Bechsteins fairy tale „Das Klagende Lied“
and „Der singende Knochen“ (The Singing Bone) by the Brothers Grimm
[1]       Waldmärchen / Forest Legend (First Version 1880)
[2]       Der Spielmann / The Minstrel (Revised Version, 1899)
[3]       Hochzeitsstück / Wedding Piece (Revised Version, 1899)                                                               

The cantata Das klagende Lied even today constitutes a veritable rarity in concert programmes – in an age that without contradiction recognizes Mahler as one of the most eminent milestones in the music history, seeing him permanently embedded in the repertoire.
The salient significance of this large-scale, vocal symphonic work is to be seen in the fact that de facto it forms the beginning of Mahler’s familiar oeuvre, explaining and illustrating to the scholar and the exclusively listening music lover alike so many things that make up Mahler.
In the context of Das klagende Lied especially, it might justifiably be asserted that Mahler contains everything that was prior to him, but he also anticipates everything that came after him.

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