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ZEMLINSKY
Heidi Brunner Wolfgang Koch Charles Reid · ORF VIENNA RADIO SYMPHONY ORCHESTRA · BERTRAND DE BILLY
Oscar Wilde’s A Florentine Tragedy was written in 1893, but remained a fragment when the author was arrested for ‘sodomy’. But the material was in the air, so to speak, and Alexander von Zemlinsky, who may have had Richard Strauss’ recourse to Wilde’s Salome in mind and hoped for a similar success with A Florentine Tragedy, finally converted the play into a one-act opera. Puccini had also been interested in the material, but the publisher Tito Ricordi advised him against it. Other potential takers also included Ferruccio Busoni who also found the ending too hackneyed. However, such alleged triviality did not deter his colleague Alexander von Zemlinsky, who celebrated success with his opera. Alban Berg admired the work so much that musical parallels to the Florentine Tragedy can be found in his Wozzeck, premiered eight years later.
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HERMANN REUTTER (1900-1985)
Lott · Speidel · Beinhauer & Beinhauer
Hermann Reutters compositional talents were already being recognised in 1923 when he became acquainted with musical modernity at the festivals in Baden-Baden and Donaueschingen, where he met Paul Hindemith. In 1956 he assumed the post of Rektor at the Hochschule für Musik und Darstellende Kunst in Stuttgart, which he retained until his retirement.
Reutter's early compositions reflect the stylistic influences of the romantic models of Anton Bruckner and Hans Pfitzner. However, the impressions made by Bartók, Stravinsky, and Hindemith resulted in a change in Reutter's musical language. In the context of a dialogue with the music of his own time, he learned to express his own ideas and develop his own individual style. The works of this recording, although stylistically and chronologically distant from one another, present an unmistakeable manifestation of a strong and deeply human musicality, which discovers an authentic and sincere voice beyond any stylistic or national borders.
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DORA DELIYSKA THE B-A-C-H PROJECT
Dora Deliyska, piano
Based on a thorough musical analysis, I have tried to make a selection of pieces that will not only respond musically to one another, but also represent part of an overarching concept, the structure of B-A-C-H. The core of my concept is based on the idea of how musical compositions, written in different centuries with different compositional styles, can find a connection between one another, giving rise to very new and unique reflections. This way, the three composers (Bach, Chopin, Shostakovich) ‘communicate’ with one another, mutually influencing their artistic ideas. Dora Deliyska
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J. S. Bach: Prelude Nr.12, BWV 867, in B-flat minor · Schostakowitsch: Prelude Nr. 16, in B-flat minor · J. S. Bach: Fugue Nr.12, BWV 867, in in B-flat minor · Schostakowitsch: Prelude Nr. 21, in B-flat major · Fugue Nr. 21, in B-flat major
A
J. S. Bach: Prelude Nr. 20, BWV 889, in A-minor · Schostakowitsch: Prelude Nr.2 in A-minor – Fugue Nr.2, in A minor · Chopin: Etude Nr.4, op. 25, in A minor · Etude Nr.11, op. 25, in A minor
C
Schostakowitsch: Prelude Nr.1, in C major / Fugue Nr.1, in C-major
J. S. Bach: Prelude Nr.1, BWV 846, in C-major · Chopin: Etude Nr. 1, op.10, in C-major · F. Chopin: Etude Nr. 12, op.25, in C-minor
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Schostakowitsch: Prelude Nr.6, in B-minor · J. S. Bach: Prelude Nr.24, BWV 869, in B-minor Prelude Nr.24, BWV 893, in B-minor · Chopin: Etude Nr. 10, op. 25, in B-minor
DORA DELIYSKA, Klavier / piano
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NARTIN PALMERI: MISA A BUENOS AIRES
Dagmar Linde · Rocco Heinz · Bach-Chor Siegen · Tango-Orchester "El Arroyo" · Ulrich Stötzel
Many works by the Argentinian composer Martín Palmeri are completely inspired by the style of ‘Tango Nuevo’ in terms of form and harmony, as is also the case with the tango mass Misa a Buenos Aires, composed in 1996. In his Misatango the composer combines the text of the Latin mass with the traditional music of his homeland, making the classical Roman Catholic mass, such as it has been set to music for centuries, appear in new apparel.
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WEINBERG: Violin Concerto KABALEVSKY: Piano Fantasy · Cello Concerto
ORF VIENNA RADIO SYMPHONY ORCHESTRA · CORNELIUS MEISTER
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.
