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New 2012
BERLIN - DIE SINFONIE DER GROßSTADT
ORIGINAL MOTION PICTURE SCORE · Music: Edmund Meisel
Rundfunk-Sinfonieorchester Berlin · Frank Strobel
C5067 PC: 21 UPC: 845221050676
ORIGINAL MOTION PICTURE SCORE (World Premiere Recording)
first complete new recording of the original score
Erste vollständige Neu-Aufnahme der Originalpartitur
After the successful release of the Original Motion Picture Score „Metropolis“ (Capriccio CD C5066) another Masterpiece of the „Stummfilm-Era“ will be realeased. Again in Co-Operation with the German Television ZDF and ARTE this movie is now completely renewed as movie and as well with a completely new recorded soundtrack after the original score by the composer Edmund Meisel (1894-1930). Film Music Expert and conductor Frank Strobel delivers a full range and deep impressive soundtrack with the Radio-Sinfonieorchester Berlin for the new TV-, Cinema-, and CD-Version.
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CONCERTO KÖLN - ITALIAN CONCERTOS
Francesco Durante · Antonio Vivaldi · Leonardo Leo · Giovanni Battista Pergolesi
2CD-Set: C5132 PC: 21 UPC: 845221051321
"The genius of the musician subjects the whole universe to his art … So if you
wish to know if any spark of this consuming fire burns in you, then fly in haste to Naples and hear the masterpieces of Leo, Durante, Jomelli and Pergolesi.“ (Jean-Jacques Rosseau, 1767).
Beside some matserpieces of Antonio Vivaldi, these 2CD-Set includes rarities of neapolitanian composers, like Francesco Durante or Leonardo Leo. Compositions rediscovered and recorded by the musicians of CONCERTO KÖLN with worldwide appreciation and honour.
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HARRIET KRIJGH - The French Album
Harriet Krijgh, cello · Kamilla Isanbaeva, piano
Franck · Debussy · Fauré · Offenbach
C5131 PC: 21 UPC: 845221051314
César Franck (1822–1890): Sonata for piano and violin (cello) in A Major Op.14
Claude Debussy (1862–1918): Sonata for cello and piano in d minor
Gabriel Fauré (1845–1924): Sicilienne Op. 78 · Èlègie Op.24 · Après un rêve
Jacques Offenbach (1819–1880): Les larmes de Jacqueline Op.76 No.2
HARRIET KRIJGH, Violoncello / cello
KAMILLA ISANBAEVA, Klavier / piano
The Debut Album of a young and exciting artist:
Harriet Krijgh was born in the Netherlands in 1991. She received her first cello lessons at the age of five. In 2000 she was admitted to the class of young talents at the Utrecht School of Arts, where she was taught by Lenian Benjamins. In 2004 Harriet moved the centre of her life to Austria to study cello performance with Lilia Schulz-Bayrova and Jontscho Bayrov at the Konservatorium Wien University.
Between 2008 and 2010 Harriet participated in several competitions. Among others, she received a first prize and the audience award at the Dutch Prinses Christina Concours, a first prize with excellence at the Austrian national competition Prima la Musica, a first prize and the Nicole Janigro Prize at the international Antonio Janigro Cello Competition in Croatia, as well as a first prize at the Fidelio competition in Vienna. As soloist artist Harriet is a member of the Live Music Now Foundation, which was established by Yehudi Menuhin.
Harriet Krijgh performs on a cello built by Hendrik Jacobs in Amsterdam in 1690,
which was placed at her disposal by the Dutch Nationaal Muziekinstrumentenfonds in
2011.
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JOHANN ERNST BACH (1722-1777)
Passionsoratorium / Passion Oratorio (1764)
Rheinische Kantorei · Das Kleine Konzert · Hermann Max
2CD-Set: C5122 PC: 21 UPC: 845221051222
Passionsoratorium (1764)
für Sopran, Alt, Tenor, Bass, Chor, 2 Flöten, 2 Oboen, 2 Fagotte,
2 Hörner, Streicher und Basso continuo
Passion Oratorio (1764)
for soprano, alto, tenor, bass, chorus, 2 flutes, 2 oboes, 2 bassoons,
2 horns, strings and continuo
Das Vertrauen der Christen auf Gott
Eine Ode auf den 77. Psalm für Tenor, Chor und Orchester
An Ode on the 77th Psalm for tenor, chorus and orchestra
Meine Seele erhebt den Herrn
Motette für Soli, vierstimmigen Chor, Streicher und Basso continuo
Motet for solo voices, four-part chorus, strings and continuo
BARBARA SCHLICK, MARTINA LINS, Sopran / soprano · SILKE WEISHEIT, Alt / contralto · DAVID CORDIER, Countertenor · CHRISTOPH PRÉGARDIEN, MARTIN SCHMITZ, Tenor
STEPHEN VARCOE, HANS-GEORG WIMMER, Bass
RHEINISCHE KANTOREI · DAS KLEINE KONZERT
HERMANN MAX, Dirigent / conductor
One of the peculiarities of today's concert world is that from the rich tradition provided by the former genre of the Passion of Christ set to music, only two works have been able to establish temselves permanently – the two monumental Passions by Johann Sebastian Bach. The Passion Oratorio by Johann Ernst Bach, the nephew, godson and pupil of Johann Sebastian, is one of the lesser-known works. To this day, J.E. Bach's own vocal works have not been documented, indeed, they have not even been completely catalogued. It is possible with some difficulty to trace about 20 compositions. In order to be able to correctly assess his musical achievement, reference must also be made to the other music of Johann Ernst Bach's day and age. Despite his isolation in Eisenach in Thuringia, he was in no way cut off from the contemporary musical developments taking place in the large musical centres of Berlin, Dresden and Hamburg. With his explicit commitment to sacred music, Johann Ernst Bach occupies an extremely isolated position among the Protestant German composers of the second half of the 18th century. For Carl Philipp Emanuel and Wilhelm Friedemann Bach, for example, the production of sunday cantatas was
one of the more tiresome duties associated with their professional existence. On this point, Johann Ernst Bach took a very different view. Although the religious works of both Telemann and J. S. Bach were, in his opinion, "admirable masterpieces", he strongly criticised the decay of sacred music during his own generation and demanded that this be counteracted by "artistic and regular styles of composition".
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STABAT MATER SALVE REGINA · ORFEO
Giovanni Battista Pergolesi
Klepper · Borst · Bamberger Streichquartett
C5130 PC: 01 UPC: 845221051307
Stabat Mater
für Sopran, Mezzosopran, Streicher und Orgel (1736)
for soprano, mezzo-soprano, strings and organ
Salve Regina
für Mezzosopran, Streicher und Basso continuo (1736)
for mezzo-soprano, strings and continuo
Orfeo
Kantate für Sopran, Streicher und Basso continuo
Cantata for soprano, strings and continuo
REGINA KLEPPER, Sopran / soprano
MARTINA BORST, Mezzosopran / mezzo-soprano
BAMBERGER STREICHQUARTETT
STEFAN ADELMANN, Kontrabass / double-bass
BERTHOLD HÖPS, Cembalo & Orgel / harpsichord and organ
GIOVANNI BATTISTA PERGOLESI is one of those extraordinary musical figures who must be credited both with being outstanding creative geniuses and dying an untimely death. In his life-story, as in his epoch-making work, he has much in common with Mozart and Richard Wagner even spoke of him as a "génie supérieur". What is more, only five years in all were granted him for creative composition before he succumbed at an early age to an insidious tuberculosis. Scarcely anyone, perhaps, has described Pergolesi’s vocal works more splendidly and with more understanding than the philosopher and pedagogue Jean-Jacques Rousseau, author of the Dictionnaire de musique that was extremely widespread in the 19th century, when he wrote: "Here everything contributes to deepening the effect of the text: the harmony serves only to shape it more forcefully, the accompaniment embellishes it without distorting it. in a word, the whole work of art simultaneously communicates one melody to the ear and only one idea to the mind.“ This CD offers 3 Masterpieces recorded by the long time Duo REGINA KLEPPER and MARTINA BORST, accompanied by the BAMBERG STRING QUARTET.
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ALESSANDRO SCARLATTI: LA COLPA, IL PENTIMENTO, LA GRAZIA
Oratorium / Oratorio (1708)
La Stagione · Michael Schneider
2CD-Set: C5126 PC: 21 UPC: 845221051260
SCHULD, REUE UND GNADE · SIN, REPENTANCE AND GRACE
Oratorio per la Passione di Nostro Signore Gesù Cristo
Text von / Libretto by: Kardinal Pietro Ottoboni (1667-1740)
In 1708 the celebration of Easter and the Passion in Rome was dominated by two
outstanding musical events: Here, within an interval of four days (from the Wednesday to the Easter Sunday) were performed two oratorios in which a remarkable amount of the most elaborate effort had been invested and which reflected sequentially the Passion and the Resurrection: the Passion oratorio composed by the Italian "doyen" Alessandro Scarlatti was followed by the "Resurrezione" by G.F. Handel, the young, talented 23-year-old Saxonian genius. Whereas the "Resurrezione" has found some new acclaim following the Handel renaissance, Scarlatti's oratorios, like all his vocal works (apart from a few uncharacteristic exeptions), has fallen into oblivion. This full-length work is among Scarlatti's most mature compositions and is certainly the most representative example of the type of passion music cultivated in Italy.
This genre is based on a totally different conception to that of Bach's passion music. His stylistical language was typical and had a determining influence on the period between the early baroque style of Monteverdi, Cesti and Cavalli and the development of the "galant" style of his pupil J.A. Hasse which leads directly into the classical period.
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JOHANN ADOLF HASSE
MESSE IN D · MISERERE
Rheinische Kantorei · Das Kleine Konzert · Hermann Max
C5125 PC: 21 UPC: 845221051253
Hasse's lifespan covers a period "between the epochs": he was almost a generation younger then Bach and Handel, who were born in 1685, but on the other hand a generation older than Haydn (b. 1732) and even two generations older than Wolfgang Amadeus Mozart (b.1756).
Hasse's music, however, from the outset was influenced by the new. Among his
contemporaries he was famous beyond all others. Hasse was not just any musician: he was one of the formative composers of his time, especially in the decades between 1730 and 1760. Hasse's Mass in D minor is a „number Mass" typical of its time, in which the five sections of the Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) are subdivided into fifteen smaller passages of text with their own musically independent movements. In style the Mass displays a trend similar to the Italian but also Hasse's personal style become clear: with virtuosity, elegant melodic lines coupled with the course of the voice parts, harmony „pre-classically" two-dimensional, at the same time as rich in chromaticism, chords of the seventh and bitter suspensions.
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KHACHATURIAN: SPARTACUS
Ballet in 3 Acts (Complete Recording)
Deutsches Symphonie-Orchester Berlin · Michail Jurowski
C5112 PC: 21 UPC: 845221051123
nach der Fassung des BOLSCHOI THEATERS MOSKAU
Khachaturian’s music is strongly stamped by the tradition of his Caucasian homeland, and consequently feels as much at home in Azerbaijan as in Georgia. His music is conventional, so catchy that, for example, the BBC chose the Adagio from Act 3 of his ballet Spartacus as title-music for the soap opera series „The Onedin Line", broadcast worldwide. First sketches for the Spartacus subject were already written in 1940, but completion of the ballet Gayaneh and the world war delayed their continuation. Not until 1952 was work on Spartacus finished, and in
1956 the first performance took place by the Kirov Ballet in the Kirov Theatre in Leningrad, in the choreography by Leonid Banyaminovich Jakobson. It was Khachaturian's last great work. soon after the Leningrad première doubts were
expressed about the choreography. For Moscow, lgor Moiseyev then mounted a new production in 1956, which also, however, failed to convince. In 1968,
again for Moscow, the ballet was completely newly constructed according to plans by Yuri Grigorovich for the Bolshoi Theatre. In this version Spartacus had worldwide success; it also forms the basis for the present recording.
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DANIEL BEHLE - RICHARD STRAUSS
Lieder
Daniel Behle, tenor · Oliver Schnyder, piano
C5110 PC: 21 UPC: 845221051109
Seen from the outside it may seem as if everything has gone pretty fast; four CDs of songs within two years, a Zauberflöten-recording under René Jacobs and in addition, continuous opera- and concert engagements. In reality, what may now seem as a »breakthrough« has been prepared by Daniel Behle over the long term. Also, the plan to record pieces by Richard Strauss after songs by Schubert, Schumann, Beethoven, Grieg, Brittan and Trojahn has developed over the years. Thus, the singer systematically broadened his repertoire on the stages of opera houses and concert halls as well as on recordings. »I am a lyrical Tenor and as such, one just gets introduced to the Schöne Müllerin, later to the Dichterliebe and eventually to the Winterreise (although I allow myself more time for that one) in the course of one’s studies. At the moment I am quite happy to have opened another page besides the lightly lyrical: to dip into the late romantic era and to discover the outgoing, active and hands-on aspects of the period.«
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FRITZ KREISLER
Liebesfreud - Liebesleid · Caprice Viennoise · Corelli Variations
Budapest Strings · Béla Bánfalvi
C5120 PC: 01 UPC: 845221051208
For decades, Fritz Kreisler left the music world under the
misapprehension that he had found compositions by Cartier, Couperin, Dittersdorf,
Padre Martini, Porpora, Pugnani, Stamitz or Vivaldi in monasteries and castle archives and arranged these himself for violin and piano. He left questions as to the original sources unanswered. A number of friends knew all about how the public had been misled, but did not consider this to be deceitful or ruthless and had kept quiet: Efrem Zimbalist, Jascha Heifetz, Georges Enescu, and chiefly Kreisler's accompaniment on the piano, Franz Rupp, were some of these.. For they all knew the nature of this charming, almost casually relaxed violinist, who, for David Oistrach, was the "summit of violin art“. At sixty, he then publicly and freely admitted that he had played a superb joke around thirty years before: he had concealed most of his own works behind the names of masters of the 17th and 18th centuries (he had generously omitted to draw the royalties payable to the author). The piano-accompanied miniatures (arranged here for strings) which caused offence to many a duped critic sixty years ago are part of the relaxing "Encores" of every great violinist today.
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BACH: THE WELL-TEMPERED CLAVIER
Books I & II / Complete Recording
Christine Schornsheim, harpsichord
4CD · C7115 PC: 22 UPC: 845221071152
Christine Schornsheim, one of the most eminent specialists for historic keyboard instruments, has finalised her recordings of Bach’s Wohltemperirtes Clavier on the Ruckers-Harpsichord at the Musée Unterlinden in Colmar this year. Only a few specimens by the celebrated harpsichord maker from 17th century Antwerp have survived and are still fully functional today.
“It is the most beautiful instrument I know, a nightingale: modest on the outside but its sound bedazzles. It is earthy, warm and singing, with a bright responsiveness; it has everything that is essential for Bach’s polyphonic music.”
Christine Schornsheim on the Ruckers-Harpsichord in Colmar
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SIGNUM QUARTETT - Quartet Movements
Schubert · Wolf · Puccini · Orff · Webern · Rihm · Ives
C5064 PC: 21 845221050645
SCHUBERT: Quartet Movement D 703 · WOLF: Italian Serenade
PUCCINI: Crisantemi · ORFF: Quartet Movement op.22 · WEBERN: Langsamer Satz · RIHM: Quartet Movement · IVES: Scherzo
In a single Phrase – Quartet Movements between Attempt and Perfection
Arnold Schönberg once remarked on his student Anton von Webern that he was able to “express an entire novel with a single gesture”. In doing so, the composer arrived at the maximal condensation of expression through small dimensioned designs.
Hugo Wolf composed his one-movement serenade for string quartet within three days and Giacomo Puccini wrote a melancholic quartet movement in C sharp minor in a single night as he claimed himself. With this interesting Edition of musical fragments and Quartet Movements which found their ways to the concert schedules worldwide, the young SIGNUM QUARTET presents his second album after the successful release of the recording of String Quartets by Ludwig Thuille (Capriccio C5049). Again with a wide range dynamic and fresh performance.
