cd
ERNST VON DOHNÁNIY (1877 - 1960)
SOFJA GÜLBADAMOVA, piano
COMPACT DISC 1
Winterreigen – Zehn Bagatellen / Ten Bagatelles op. 13 (1905)
Klavierstücke / Piano Pieces op. 2 (1896/1897)
Klavierstücke / Piano Pieces op. 41
COMPACT DISC 2
Albumblatt F-Dur / in F major (1900)
Gavotte & Musette H-Dur / in B major (1898)
Fünf Humoresken in Form einer Suite op. 17 (1907)
Five Humoresques in the form of a suite op. 17 (1907)
Vier Rhapsodien op. 11 / Four Rhapsodies op. 11 (1904)
Dohnányi’s piano works are representative of the late romantic era, with sets of character pieces reminiscent of Brahms' late piano works. Sofja Gülbadamova, a prize winner of many international competitions, has been hailed by the press for her poetic interpretations, profound musicality, and an astonishingly varied sound palette. For many years now, she has been a champion of the music of this unjustly neglected composer.
Weitere Bilder
PAUL ARMIN EDELMANN
Paul Armin Edelmann, baritone · Charles Spencer, piano
Bei dir allein, op. 95 Nr. 2, D 866 · Halt!, op. 25 Nr. 3, D 795 · Der Neugierige, op. 25 Nr. 6, D 795 · An mein Herz, D 860 · Im Frühling, op. 101 Nr. 1, D 882 · Auf der Bruck, op. 93 Nr. 2, D 853 · Die Sterne, op. 96 Nr. 1, D 939 · Der Strom, D 565 · Tiefes Leid, D 876 · Auflösung, D 807 · Am Fenster, op. 105 Nr. 3, D 878 · Über Wildemann, op. 108 Nr. 1, D 884 · Prometheus, D. 674 · Atys, D 585 · Rastlose Liebe, op. 5 Nr. 1, D 138 · Greisengesang, op. 60 Nr. 1, D 778
Der Leiermann, op. 89 Nr. 24, D 911
Baritone Paul Armin Edelmann, son of the celebrated bass-baritone Otto Edelmann, presents his personal selection of Schubert songs on this, his fourth album for Capriccio: "The title we had in mind was On Fierce Roads. Many things can be fierce, from storms to life battering you. It’s a broad field. But they are all agitated pieces, and not very melancholic." The international success he enjoys as a Lied interpreter can be appreciated once more with this new CD.
Weitere Bilder
WALTER BRAUNFELS
BARBARA BUNTROCK · PAUL ARMIN EDELMANN · DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ · GREGOR BÜHL
Walter Braunfels is a composer whose music died twice: Once when the Nazis declared his music “degenerate art”. Then again when post-war Germany had little use for the various schools of tonal music; when the arbiters of taste considered any form of romantic music – almost the whole pre-war aesthetic – to be tainted. This 5th release of Capriccio’s Braunfels Edition shows again his large range of colorful music. From his first success in 1908 (Carnival Overture), a still unknown virtuoso Viola Concerto (Scottish Fantasy) to a strictly structured Prelude and Fugue – Braunfels Music is worth be discovered in our days.
Weitere Bilder
BOHUSLAV MARTINŮ: THE SYMPHONIES
CORNELIUS MEISTER
COMPACT DISC 1
[1] – [4] Symphony No. 1, H. 289 (1942)
[5] – [8] Symphony No. 2, H. 295 (1943)
COMPACT DISC 2
[1] – [3] Symphony No. 3, H. 299 (1944)
[4] – [7] Symphony No. 4, H. 305 (1945)
COMPACT DISC 3
[1] – [3] Symphony No. 5, H. 310 (1946)
[4] – [6] Symphony No. 6 „Fantaisies symphoniques“, H. 343 (1954)
Martinu has suffered the fate of not enjoying the same popularity and wide appeal like Bedřich Smetana, Antonín Dvořák und Leoš Janáček on the podium. This often goes so far that his singular skill is referred to, but that the wealth of his oeuvre in all the salient genres is hardly familiar. For decades, Martinů had shied away from composing a symphony. The first one was finally to be written in the USA in 1942, followed by another one every year until 1946 (the sixth was only added to the work catalogue in 1953). For this reason, there is sometimes talk of the ‘American’ symphonies. The symphonies do mirror the events of the time, but at the same time long passages must be regarded as absolute music.
Youtube
Weitere Bilder
HARALD GENZMER (1909-2007): Piano Concerto no. 1 · Cello Concerto Trombone Concerto
Rundfunk-Sinfonieorchester Berlin · Ariane Matiakh
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.
