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KURT WEILL: PROPHETEN · WALT WHITMAN SONGS

A Biblical Cantata from The Eternal Road (1935)
Dohmen · Azesberger · Hampson (Songs) · Wiener Jeunesse-Chor · ORF Vienna Radio Symphony Orchestra · Dennis Russell Davies

C5500 PC: 21 UPC: 845221055008

PROPHETS
A Biblical Cantata from The Eternal Road (1935)
Text by Franz Werfel (1890-1945) and from scriptures / Devised by David Drew
JEREMIAS, DIE STIMME SALOMOS / The Voice of Salomon, Albert Dohmen · RABBI, Kurt Azesberger · JESAJAH, ERSTER WEISSER ENGEL / First White Angel, ENGEL DER ENDZEIT / Angel of the End of Time, Michael Papst · WIDERSPRECHER / The Adversary, Gottfried Hornik · CHANANJAH, Bernd Fröhlich · RAHEL, EINE FRAU / A women, Ursula Fiedler · ERZÄHLER / Narrator, Anselm Lipgens
Wiener Jeunesse-Chor · Wiener Motettenchor

FOUR WALT WHITMAN SONGS
für Stimme und Orchester / for voice and orchestra
Thomas Hampson, Bariton / baritone
ORF Vienna Radio Symphony Orchestra
Dennis Russell Davies Dirigent / conductor

The score of The Prophets, intended as the last act of The Eternal Road, was the last that Kurt Weill composed in Europe and his last extensive setting in German, before he personally and professionally adopted the language of his new home, America. Musically, he drew on all his previous great works, from Mahagonny and the Seven Deadly Sinsto his Second Symphony. At the same time, he foreshadowed some of his soon-to-be-written works for Broadway. In 1998 David Drew devised the concert adaptation of this act, of which this is the premiere’s recording. The Four Walt Whitman Songs, meanwhile, were a product of the war years and reveal Weill at his most touchingly American, fusing American theater song with the German Lied, Berlin with Brooklyn.


 

 

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PENDERECKI

String Quartets Clarinet Quartet · String Trio
Jan Jakub Bokun MECCORE STRING QUARTET

C5493 PC: 21 UPC: 845221054933

Krzysztof Penderecki’s works for (string) quartet neatly encapsulate the stylistic breadth and trace the development of Poland’s most important modern composer throughout his six-decade-long career. From the avantgarde rhythmical study that is Quartet No.1, via an ode to Webern, to the neo-romantic elder Penderecki’s Schubertian Clarinet Quartet, this collection covers all his chamber music for three and four strings, even the early neo-baroque outlier of his Three Pieces .adapted from his film music for the steamy 1964 movie, The Saragossa Manuscript.

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Georg Goltermann

Cello Concerto No. 1 · Symphony in A minor · Romance · Ballade
Jamal Aliyev,cello · ORF VIENNA RADIO SYMPHONY ORCHESTRA · HOWARD GRIFFITHS

C5469 PC: 21 UPC: 845221054698

If you know the cellist-professor-composer Georg Goltermann (1824-1898) and his eight (!) cello concertos, you’re either a cellist or married to one. In his lifetime and for a while thereafter, the instrumental virtuoso-cum-composer was popular and well-liked enough to have the Cantilena of his Cello Concerto recorded by Pablo Casals – but not much since. That’s a shame because that lyrical-melancholic, never gratuitously virtuosic op.10 is a picture-perfect, delightful romantic cello concert. The symphony, then well received and Goltermann’s pride, too, goes down nicely in a post-Brahms vain rather à la Bruch or Gernsheim, especially the exquisite, lively hunting Scherzo with its sweeping Trio.

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PANCHO VLADIGEROV: STAGE MUSIC

Scandinavian Suite · Caesar and Cleopatra · The Chalk Circle
BULGARIAN NATIONAL RADIO CHOIR · BULGARIAN NATIONAL RADIO SYMPHONY ORCHESTRA · ALEXANDER VLADIGEROV

2CD-Set · C8067 PC: 02 UPC: 845221080673

The more of Pancho Vladigerov’s work becomes widely accessible, the clearer it becomes that he is the most important Bulgarian composer – well beyond the 20th century. Revered in his lifetime, he was in a position to continue his work largely unaffected by the ideological demands of the Communist regime, although his musical diction, tonal and grounded in late Romantic tradition, wouldn’t likely have provoked any reprisals. In these works for the stage, meanwhile, Vladigerov shows a cosmopolitan side, easily slipping into the world of Strindberg for his Scandinavian Suite, chinoiserie for Klabund’s Chalk Circle, and exoticism for Shaw’s Cesar and Cleopatra.

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#bruckner24 Symphony #4 (1888) 'Romantic'

Symphony No. 4 in E flat major (1888) 'Romantic'
ORF VIENNA RADIO SYMPHONY ORCHESTRA · MARKUS POSCHNER

C8085 PC: 21 UPC: 845221080857

This Complete Versions Edition includes all versions published or to be published under the auspices of the Austrian National Library and the International Bruckner Society in the Neue Anton Bruckner Gesamtausgabe (The New Anton Bruckner Complete Edition)
Bruckner’s frantic revisions of his symphonies Nos. 3, 4, and 8 were borne out of his disappointment with Hermann Levi rejecting the original version of the 8th symphony. Helping in this large-scale revamping effort were former Bruckner-students Franz and Joseph Schalk, Ferdinand Löwe, Max von Oberleithner, and Cyrill Hynai, which resulted in these versions’ reputation – and especially that of the last version of the 4th – being varnished as something not quite Echt-Bruckner. It wasn’t until the discovery of photographs of the 1888 version’s manuscript score and the subsequent publication of Benjamin Korstvedt’s edition thereof that it became clear: This late edition really did reflect Bruckner’s intentions. To ears familiar with the still better-known 1881 version, the result might sound mystifying, even troubling, but it also surprises with many particularly exquisite passages!

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