releases
Releases 2011
TCHAIKOVSKY
Piano Concerto no.1 Rococo Variations
TZIMON BARTO · DIMITRI MASLENNIKOV · Deutsches Symphonie-Orchester Berlin · CHRISTOPH ESCHENBACH
C5065 PC: 21 UPC: 845221050652
One of the most famous piano concertos is now released in a complete new production: World famous pianist TZIMON BARTO worked together with no less a person than his pianist colleague and conductor CHRISTOPH ESCHENBACH. Both of them show us a very new and exciting version of the score which we never listend before. After the final concert of this production at the Berliner Philharmonie the audience and the press reviews has been very enthusiastic.
The young Dimitri Maslennikov – one of Christoph Eschenbachs talent discovery –
finish this CD with the famous Rococo Variations by Peter Tchaikovsky.
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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.
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The Circle Of Robert Schumann - Vol.2
Robert & Clara Schumann · Johannes Brahms · Theodor Kirchner · Carl Reinecke
GUDRUN SCHAUMANN, violin · WOLFGANG BRUNNER, fortepiano
C5074 PC: 21 UPC: 845221050744
After the first release of works by Robert Schumann and his creative contemporaries, Gudrun Schaumann presents – after a lot of research – her second album with most interesting compositions from the environment of the famous composer.
The works by THEODOR KIRCHNER and CARL REINICKE are World Premiere Recordings and fascinating pieces like the Schumann Arrangements made by JOSEPH JOACHIM.
Gudrun Schaumann, Violine / violin (by Antonio Stradivari, Cremona 1731)
Wolfgang Brunner, Hammerflügel / fortepiano (by J.B. Streicher, 1836 etc.)
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DAS WEIB DES INTAPHERNES
FRANZ SCHREKER
Gerd Westphal · WDR Rundfunkorchester Köln · Peter Gülke u.a.
C7088 · 3CD PC: PC: 03 UPC: 845221070889
Der Geburstag der Infantin (Piano Suite) · Symphonie op.1 · Festwalzer und Walzerintermezzo · Ein Tanzspiel etc.
The present first recordings do not document the Schreker of „impressionistic" intoxication with colour and passionate Italianate cantilenas as in Die Gezeichneten. Here it is a matter of the „unknown Schreker" – the corner-points,
35 years apart, of his output, the whence and whither of a composer who already in his twenties saw himself branded as „begetter of musical narcotics" and whose name still evoked, for many people, „art nouveau of some kind".
Franz Schreker's last completed dramatic composition is the melodrama Das
Weib des Intaphernes, composed on a ballad by Eduard Stucken in 1932/33 in Estoril, near Lisbon, and in Berlin; Once more the sure hand of the dramatist in masterly control of his means is shown; with a few concise motives he creates cohesion of form, and can employ a simple triadic motive as certainly as an inscrutably rugged atonal fugato.
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lyric - ORCHESTRAL SONGS
Christine Schäfer Thomas Quasthoff Matthias Goerne Sophie Koch Christiane Oelze Franz Grundheber
Orchestral Songs by: Mahler · Wolf · Zemlinsky · Schreker
C5101 · 2CD PC: 21 UPC: 845221051017
Not only a celebration of distinguished voices: This 2CD-album of recordings taken from the legendary Capriccio-Archive joins some of the world’s leading singers together and simultaneously presents a broad repertoire of known and unknown songs for orchestra as well as some songs yet to be discovered.
Besides the Rückert-Lieder and the Lieder eines fahrenden Gesellen by GUSTAV MAHLER, also the Symphonischen Gesänge op.20 by ALEXANDER ZEMLINSKY, the 5 Gesänge für tiefe Stimme by FRANZ SCHRECKER and HUGO WOLF’s 5 Orchesterlieder are assembled on this recording, as are the hitherto little known musical versions of lyrics by EGON WELLESZ and ERNST BLOCH.
Renowned conductors such as CHRISTOPH ESCHENBACH, GERD ALBRECHT or GARY BERTINI guarantee the quality of the artistic realisation of these complex scores.
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DIE LUSTIGEN NIBELUNGEN · THE MERRY NIBELUNGS
OSCAR STRAUS
Gantner · Evangelatos · Nowak · WDR RUNDFUNKORCHESTER KÖLN · SIEGFRIED KÖHLER
C5088 · 1CD PC: 21 UPC: 845221050881
Burleske Operette in drei Akten / Burlesque operetta in three acts von / by Rideamus
„At last! The reform of operetta!", exulted the critics after the first performance
of the Merry Nibelungs on 12 November 1904 in the Carltheater, Vienna. Johann
Strauss had been dead for five years and had taken the golden era of operetta to
the grave with him. And then there appeared in Vienna one Oscar Straus, and renewed this most Viennese of all genres with a work aimed at parodying contemporary society, as in the old Paris works of Offenbach. There every punch-Iine was laughed at, every musical allusion understood. There was equal laughter at the alliterative persiflage and the musical quotations from Richard Wagner's solemnity, there was laughter at dragon's-blood sausage and the dachshund dressed as a dragon, and at the parody of the Nibelung verse metre. And Oscar Straus's overflowing melodic richness gave enjoyment. Yet what lay, barely concealed, behind it all was also accepted: an attack on military display and Germanic arrogance.
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DER TAPFERE SOLDAT · THE CHOCO- LATE SOLDIER
OSCAR STRAUS
Kränzle · Stein · Dickie · Berger · WDR RUNDFUNKORCHESTER KÖLN · SIEGFRIED KÖHLER
2CD-Set · C5089 PC: 21 UPC: 845221050898
Oscar Straus was indeed born in Vienna (on 6 March 1870) but was not related to the famous Straus dynasty. In 1907 bis Waltz Dream, with Lehar's two years older Merry Widow, launched a worldwide Viennese fashion, until even Broadway reeled to the waltz step; and with his Chocolate Soldier, after a comedy by G.B. Shaw, he not only conquered England and the USA but, with his dramaturgically new musical form, is considered there a pioneer of the musical. There are plenty of evergreens, from operetta, from movies, lots of chansons and songs! “It is true – he once said – I am writing popular tunes to be chanted in the streets, but only in the choicest of streets“.
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ARIANE ET BARBE-BLEUE
PAUL DUKAS
Opera Complete Recording
Marilyn Schmiege · Roderick Kennedy Jocelyn Taillon · Mitsuko Shirai Monique Baudoin · KÖLNER RUNDFUNKCHOR · KÖLNER RUNDFUNK-SINFONIE-ORCHESTER · GARY BERTINI, conductor
2CD-Set · C7112 PC: 22 UPC: 845221071121
OPÉRA EN TROIS ACTES
Oper in 3 Akten · Opera In 3 Acts
Text: Maurice Maeterlinck
Gesamtaufnahme · Complete Recording
Numerous authors have worked with this story in all possible ways – as fairy-tale, narrative, novel, drama, opera. Among the best-known works are the fairy-tale by Ludwig Bechstein, the puppet show by Georg Trakl, the narrative by Max Frisch as well as several pieces of music theatre. These include Jacques Offenbach’s operetta, the opera “Ariane et Barbe-Bleu” by Paul Dukas – as well as the probably most prominent work – the opera “Bluebeard’s Castle” by Béla Bartók.
The opinion on Bluebeard and his last wife – who is the culprit? who is the victim? – has changed over the centuries since Perrault published his fairy-tale in Paris 1697.
However, a very similar analysis of the “battle of the sexes” was already presented by Paul Dukas in 1907, ten years before the premiere of Béla Bartók’s work, in “Ariane et Barbe-Bleue”, his tree-act opera which was first performed at the Opera-comique in Paris. Thereby the composer set a text by the Belgian writer Maurice Maeterlinck to music.
The composer, who was known to be a slow worker, took seven years to set the libretto to music, at the same time altering it to represent his own vision. The result was greeted with great and ungrudging approval, especially by fellow composers and musicians. Vincent d’Indy thought that “Ariane” was the most important piece of music drama since Wagner; Karol Szymanowski, Ferruccio Busoni or Bruno Walter considered “Ariane et Barbe-Bleu” to be the most important French opera besides Debussy’s “Pelleas et Melisande”. Certainly, Dukas’ music for “Bluebeard” has way less exotic flair than Debussy’s “Pelléas”.
From the archives of Westdeutsche Rundfunk Köln this Studio Recording, produced in 1986, is now presented for the first time on CD. Former chief conductor Gary Bertini had a very good cast on his hand to do this interesting production.
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RUSSIAN ROMANCES
for solo voices and orchestra
DMITRI SHOSTAKOVICH
FOMINA · SINJAWSKAJA · KASATSCHUK · KOTSCHERGA
KÖLNER RUNDFUNK-SINFONIE-ORCHESTER
MICHAIL JUROWSKI, conductor
2CD-Set · C5095 PC: 21 UPC: 845221050959
DMITRI SHOSTAKOVICH
3 Romances on poems by Alexander Pushkin op.46a
for bass and small orchestra
From Jewish folk poetry op.79
Song cycle for soprano, alto, tenor and orchestra
Six Romances on Verses by English Poets opus 62 / 140
for bass and small orchestra
Suite on verses by Michelangelo Buonarroti op.145
for bass and orchestra
6 Romances on words by Japanese poets op.21 for tenor and orchestra
6 Poems by Marina Tsvetayeva op.143a for alto and small orchestra
For a composer of vocal music in a totalitarian state such as the former
Soviet Union, the very choice of poet was itself a declaration of commitment which – quite apart from the content – was linked to the life of the writer and above all his ideological evaluation by the Party. In his song-cycles, Shostakovich, a virtuoso in eloquent rhetoric behind the facade of beating the drum for Communism, made masterly use of the symbolic resonances of names such as Pushkin who hated the Tsars, or the Futurist Alexander Blok, or Shakespeare's timeless critique of power, or the Jewish culture that was so brutally suppressed after the War.
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DER TAG DES GERICHTS DIE DONNERODE
THE DAY OF JUDGMENT
GEORG PHILIPP TELEMANN
MONOYIOS · SCHLICK · KÖHLER · JOCHENS · SCHRECKENBERGER
RHEINISCHE KANTOREI · DAS KLEINE KONZERT
HERMANN MAX, conductor
2CD-Set · C5098 PC: 21 UPC: 845221050980
DER TAG DES GERICHTS · THE DAY OF JUDGMENT
Ein Singgedicht in vier Betrachtungen · A poem for singing in four reflections
DIE DONNERODE · THE THUNDER ODE
Kantate in 2 Teilen für 5 Solostimmen, Chor und Orchester
Cantata in 2 Parts for 5 solo voices, choir and orchestra
"For the Lord himself shall descend from heaven with a shout, with the voice of the archangel and with the trump of God, and the dead in Christ shall rise first“. In addition Telemann lets the thunder, the wrath of God, rumble darkly and menacingly. The Lord, the Judge, approaches. The Day of Judgment begins. With these signals a gripping musical event starts that opens a rich, symbol-laden world of the most beautiful, inspiring, often individual artistic accomplishments of word and music to anyone who is prepared to come to terms with it. The group begun in 1755 of Telemann works of his old age includes, several sacred oratorios in an absolutely logical sequence – Der Tod Jesu, Die Auferstehung, Die Auferstehung und Himmelfahrt Jesu, Der Tag des Gerichts - as well as the two-part Donner-Ode, a cantata on Psalm models on the occasion of the Lisbon earthquake. . In all these late works, always wrestling with a compositional design suitable to the subject and the text, Telemann in each case strikes a specific note inherent in the work; he employs his compositional means in a way that develops an unmistakably individual character for the work. In The Day of Judgment Telemann is also the master of colour, of superior use of instruments.
Thus it becomes clear that The Day of Judgment is not, for instance, only a monument in the history of the German oratorio, but introduces the theological discussions and eschatological thought of that time.
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VON DEUTSCHER SEELE
HANS PFITZNER
Romantic Cantata in 2 parts · Text: Joseph von Eichendorff
Solveig Kringelborn · Nathalie Stutzmann
Christopher Ventris · Robert Holl · Rundfunkchor Berlin
Deutsches Symphonie-Orchester · INGO METZMACHER
C5092 · 2CD PC: 21 UPC: 845221050928
The composer’s image – in his time, he was an avowed anti-Semite – repeatedly sparked fierce discussions in the feature pages of national and international newspapers. Art, music, and especially the musicians in National Socialist Germany became the direct focus of new analyses and current evaluations.
Although we may not forget and certainly should not suppress the political context, if we approach the actual work, a prosaic analysis reveals that the word “German” does not appear once in the entire opus, and that Pfitzner took the emotionally charged title of a folk song collection “Aus deutscher Seele” from the German-Jewish author Ludwig Jacobowski.
The Eichendorff cantata “Von deutscher Seele” was composed in 1921 and – this is also one of the contradictions – is not ideology set to music, but abstains from any kind of resentment. The work is subtitled “ a romantic cantata”. Pfitzner’s tonal language was certainly rooted in the 19th century, but it by all means branches out onto “new pathways”, to paraphrase Robert Schumann, whom Pfitzner greatly admired.
INGO METZMACHER had the support of a first-class ensemble of soloists for his Berlin performances. Despite all polemic and widely varying discourses: the aim of this CD release is to document the opus itself in its entirety, regardless of how discussions of it may continue.
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FONTANA D'ISRAEL THE FOUNTAIN OF ISRAEL
JOHANN HERMANN SCHEIN
RHEINISCHE KANTOREI HERMANN MAX
COMPLETE RECORDING
2CD-Set · C5069 PC: 21 UPC: 845221050690
By the time Johann Hermann Schein, cantor at St. Thomas, Leipzig, put his signature to the preface to his new collection of religious vocal compositions entitled FONTANA D’ISRAEL, (The Fountain of Israel, Selected Edifying Quotations from the Old and New Testaments) dedicated to the Council of Leipzig, he was already able to look back on a considerable and varied compositional œuvre. But it was the only one of Schein’s religious works to be reissued as long as twenty-two years after his death, and it is still regarded as an "exceptional" artistic achievement, placing Schein among the leading early-Baroque German composers, alongside Michael Praetorius and Heinrich Schütz.
The Israelsbrünnlein contains twenty-six vocal compositions, which, as Schein writes, „can be comfortably played on their own with lively voice and instruments, and also on the organ/harpsichord“ and to which he had added a figured bass, admittedly dispensible in most cases.
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JOHANN LUDWIG BACH
RHEINISCHE KANTOREI · DAS KLEINE KONZERT HERMANN MAX
CD 1: Trauermusik · Funeral Music
CD 2: Motetten · Motets
CD 3: Missa sopra · Cantatas
3CD-Set · C5080 PC: 22 UPC: 845221050805
The Meiningen Hofkapellmeister Johann Ludwig Bach is one of the members of the widely ramified family of musicians who did not pay much attention to secular fame and contented themselves with leading a secluded and industrious life, so that they quickly tended to sink into obscurity. That was perhaps why, as early as 1754, Carl Philipp Emanuel Bach pleaded that those relatives not be forgotten: "It would be impossible to understand why such good men are so little known beyond their fatherland unless one remembers that those honest Thuringians were so satisfied with their fatherland and their situation that they did not even want to venture far beyond the same to seek their fortune elsewhere. Very little of Johann Ludwig Bach’s presumably quite extensive musical oeuvre has survived – just under two dozen sacred cantatas, about a dozen motets, a mass, a large funeral composition, a secular homage and an instrumental work of doubtful authenticity. The cantatas in particular have drawn the attention of scholars, since no fewer than eighteen of them have come down to us via Johann Sebastian Bach, who performed them in 1726, his third year of office as Thomaskantor in Leipzig.
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A WEEK OF TELEMANN
SCHERZI MELODICHI & CANTATAS
Ensemble Delirio Agnes Scheibelreiter, soprano
1CD · C5057 PC: 21 UPC: 845221050577
The Scherzi melodichi of 1734 contain seven suites named after the days of the week. The programmatic idea, which is stated on the cover sheet and in the foreword, is to provide music for every-day to entertain the visitors of Bad Pyrmont (in today’s Lower Saxony), back then one of Europe’s most popular spas. The structure of the Fortsetzung des Harmonischen Gottesdienstes (1731/32) also follows a calendrical principle. The young Ensemble DELIRIO put a programme together, which features each day of the week in at least one of the compositions. The selection of the pieces is based on two cycles by Georg Philipp Telemann.
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DANIEL BEHLE
SCHUMANN: Dichterliebe
SCHUBERT: Lieder
DANIEL BEHLE, Tenor · SVEINUNG BJELLAND, Klavier · ANDY MILES, Klarinette · RIAS-KAMMERCHOR
1CD · C5086 PC: 21 UPC: 845221050867
Nach der viel gelobten Einspielung der „Schönen Müllerin“ präsentiert Daniel Behle mit der „Dichterliebe“ einen weiteren großen Liedzyklus der Romantik. Dass er sich den Vergleichen vieler Einspielungen nicht scheuen braucht beweißen die Kritiken seiner vorangegangenen CD-Produktionen. Neben Schumanns Liedzyklus sind auch Perlen an Schubert-Liedern zu hören, so „Der Hirt auf dem Felsen“ mit dem gefeierten Klarinettisten ANDY MILES und die „Nachthelle“ mit dem RIAS-KAMMERCHOR.
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KURT WEILL
DIE DREIGROSCHENOPER · O MOON OF ALABAMA
Historic Original Recordings (1928-1931)
LOTTE LENYA & KURT WEILL · KAPELLE DER STAATSOPER BERLIN · OTTO KLEMPERER · LEWIS RUTH BAND & THEO MACKEBEN ….
2CD-Set · C5061 PC: 21 UPC: 845221050614
Something valuable is presented here. Between 1928 and 1932 there appeared, on 20 different labels, altogether more than 40 black discs with Dreigroschenoper songs, vocal recordings as well as instrumental versions and dance arrangements. The present CD offers a representative selection from these. Recordings that appeared between December 1928 and December 1930, with various members of the original cast at the Schiffbauerdamm. Most of them are here reissued complete for the first time.The 2nd CD now gathers together shellac recordings from other Weill works of the years 1927-33. They are joined, as further rarities, by two American record productions by the Weill-Lenya pair of artists from the years 1943/44.
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HORN QUINTETS
NURY GUARNASCHELLI, horn · SIGNUM QUARTETT
MOZART · HAUFF · HOFFMEISTER · BEETHOVEN
C5059 · 1CD PC: 21 UPC: 845221050591
Born in Santa Fee (Argentinia) the young NURY GUARNASCHELLY is one of the most beloved french horn player of our times. She was 1st solo horn player at the Gustav Mahler Chamber Orchstra under the direction of Claudio Abbado and was asked afterwards to play in many different well known orchestras like the Berlin Philharmonic Orchestra, the Orchestra of the Deutsche Oper Berlin and many more. For more than 16 years she was engaged as 1st solo horn player at the Radio Symphony Orchestra in Vienna. With this CD she presents not only the famous chamber music for horn of the Mozart-Time but she also shows us her sensitive and virtuoso playing beside the big Horn Concertos of the 20th century, she once recorded at Phoenix Edition Label (PE131). For this recording she is accompagnied by the successful young talented SIGNUM QUARTET, one of the most interesting new String Quartets of the last years. Their Debut-Album with string quartets from Joseph Thuille (Capriccio CD C5049) was very enthusiastic critizised and was awarded with the „Pizziccato“ Music Prize for best recordings.
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METROPOLIS
FRITZ LANG / GOTTFRIED HUPPERTZ
ORIGINAL MOTION PICTURE SCORE
(World Premiere Recording)
C5066 · 1CD · PC: 21 UPC: 845221050669
In Zusammenarbeit mit ZDF und ARTE wurde das wohl berühmteste Meisterwerk der Stummfilm-Era komplett renoviert und rekonstruiert. So sind nicht nur 22 Minuten verschollen geglaubtes Filmmaterial wieder entdeckt worden, auch die Originalpartitur der Filmmusik von Gottfried Huppertz (1887-1937) konnte ergänzt und rekonstruiert werden. Der Filmmusikexperte und Dirigent Frank Strobel liefert hiermit einen neuen, beeindruckenden Soundtrack, eingespielt mit dem Radio-Sinfonieorchester Berlin. In Co-Operation with the German Television ZDF and ARTE this well known Masterpiece of the „Stummfilm“Era is now completely renewed as movie and as well with a completely new recorded soundtrack after the original score by the composer Gottfried Huppertz (1887-1937). 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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JOHANN ADOLF HASSE CLEOFIDE
Opera Complete Recording
4CD-Set · C7080 PC: 23 UPC: 845221070803
After many years of absence this famous World Premiere Recording of Hasses 1731 in Dresden performed opera is now back and available for international sale. With a well known cast like EMMA KIRKBY, AGNÈS MELLON, DEREK LEE RAGIN and the conductor WILLIAM CHRISTIE this recording is a „must“ for all Baroque Opera Lovers.
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JOHANN FRIEDRICH FASCH (1688-1758)
OUVERTÜREN & KONZERTE · OVERTURES & CONCERTI
C5073 · 1CD PC: 01 · UPC: 84522105073X
Schon an der Wende vom 19. zum 20. Jahrhundert erkannte die Musikwissenschaft die besondere Bedeutung derWerke von Johann Friedrich Fasch. Er ist ein “Neuerer, welcher die Instrumentalmusik ganz auf eigene Füße stellte”, eine zentrale Figur in der Übergangsphase zwischen Spätbarock und Klassik. Tatsächlich greift Fasch in seinen Kompositionen auf die Formensprache des Hochbarock zurück, füllt in jene “alten Schläuche” jedoch “neuen Wein” und entwickelt im Umgangmit melodischen Figuren und harmonischen Strukturen sowie in der Behandlung von Blas- und Streichinstrumentenein hohes Maß an Freiheit und Individualität.
At the turn of the 19th to the 20th century, musicology already recognised the special importance of works by Johann Friedrich Fasch. Fasch is an “innovator who set instrumental music on its ownfeet entirely”, a central character during the transition period between the late Baroque and Classicist eras. Indeed, Fasch falls back on the formal language of the high Baroque period but frequently fills “new wine“ into those “old skins” and develops a high measure of freedom and individuality in dealing with melodic figures and harmonic structures as well as in the treatment of wind and stringinstruments.
mit / with
REINHOLD FRIEDRICH, ALAIN DE RUDDER, Trompete / trumpet
GÜNTER HÖLLER, Traversflöte / transverse flute · HELMUT HUCKE, Oboe / oboe
CAPPELLA COLONIENSIS · HANS-MARTIN LINDE, Dirigent / conductor
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ANTONIO SALIERI (1750-1825)
LA VENEZIANA
C5087 · 1CD PC: 01 · UPC: 845221050874
Antonio Salieri ist ein Sonderfall der Musikgeschichte: Legenden, Vermutungen und Anekdoten, die bisheute durch nichts belegt werden konnten, haben Salieri immer wieder mit demangeblichen Giftmord an Wolfgang Amadeus Mozart in Verbindung gebracht. Seine Musik dagegen war sehr bald und sehr gründlich vergessen worden – zu Unrecht. Dabei war er zu seinen Lebzeiten über dreißig Jahre lang die zentrale Figur im Musikleben der Kaiserstadt Wien gewesen. Aus den beiden hier vorgestellten Konzerten und der Sinfonia “La Veneziana“spricht deutlich der Musikdramatiker Salieri.
Wie Salieri die konzertierenden Partnermiteinander “reden” lässt, verrät den geübten Opernkomponisten.
The composer Antonio Salieri is something of an ‘odd man out’ in the historyof music.
After his death in 1825, he lived on as a macabre figure in music-lovers’minds, whereas his music soon sank into total oblivion – a most undeserved fate.Although there is no evidence to support them, legends, anecdotes and conjecturehave repeatedly placed the responsibility for Mozart’s supposed murder (by poison)at Salieri’s door. But as regards Salieri the composer, we are no wiser than before. Yet Salieri dominated the musical life of the Imperial capital Vienna for some 30 years. The two concerti and the symphony “La Veneziana” on this disc bear witness toSalieri’s gift for opera. The way Salieri has the solo instruments ‘speak’ to one another betrays thehand of the practised opera composer.
Lajos Lencsés, Oboe / oboe · János Bálint, Flöte / flute
Béla Bánfalvi, Violine / violin · Károly Botvay, Violoncello / cello
BUDAPEST STRINGS
Béla Bánfalvi (Konzertmeister / Leader), Károly Botvay (Künstlerischer Leiter / Artistic Director)
GEISTLICHE MUSIK DER BACH FAMILIE
SACRED MUSIC OF THE BACH FAMILY
C7100 · 5CD-Set · PC: 04 UPC: 845221071008
In addition to Johann Sebastian Bach, regarded by many as the greatest composer of all times, other members of this widely ramified family took up the profession of the composer: first of all his sons Carl Philipp Emanuel Bach, Johann Christian and Wilhelm Friedemann. This set of 5CDs offers sacred music written by these and other members of one of the most productive families in music history.
KANTATEN · CANTATAS
WILHELM FRIEDEMANN BACH (1710 – 1784)
CD 1: Lasset uns ablegen die Werke der Finsternis / Let us cast off the works of darkness · Es ist eine Stimme eines Predigers in der Wüste / The voice of him that crieth in the wilderness
CD 2: Dies ist der Tag / This is the day · Erzittert und fallet / Tremble and fall
C5083 · 2CD-Set · PC: 21 (2CDs for the price of 1) UPC: 845221050836
Johann Sebastian Bach’s eldest son was organist and musical director in Halle from 1746-64. The music directorate in Halle was similar in many respects to J.S. Bach’s position in Leipzig. In signing the certificate of appointment in Halle, Friedemann Bach undertook to perform a cantata every three weeks and additionally on all festival Sundays. Apparently it was not expected that a composition from his own pen should be performed every time, for Bach’s predecessor Gottfried Kirchhoff had already availed himself mainly of the works of Telemann. Friedemann too seems to have made use of this practice, but evidently had the ambition to appear on festival Sunday with his own especially carefully prepared works. The technical difficulties that his cantatas demanded of singers and instrumentalists, at all events, lie far beyond the average.
CARL HEINRICH GRAUN
FRIEDRICH II „DER GROSSE“ MONTEZUMA
Opera Complete Recording
C7085 · 2CD-Set PC: 22 UPC: 845221070858
Together with Johann Adolf Hasse, Carl Heinrich Graun was the chief representative of Italian Opera in Germany in the 18th century. The story of „Montezuma“ accords with the historical fate of the last ruler of the Aztecs. The text is by King Frederick II, Graun had a close friendship to him and became chief of the circle of Berlin composers. „Montezuma“ can be seen as Frederick’s countersignature to his own fate, which made him into a martial war-prince. „Montezuma“ shows him in a field of tension: thus the artistically-minded idealistic prince became the royal practical politician: if justice is to be seen to be done to life’s reality, Montezuma must die. Montezuma is mor than just a Baroque opera. This opera can allude to the history of its own nation. It directs our ear to the destiny of America and the destiny of Prussia, to the German’s view, 200 years ago, of America, and American history as the mirror of its own.
JAN LADISLAV DUSSEK (1760-1812)
Piano Concerto in G minor op.49 · Piano Concerto in B flat major op.22
ANDREAS STAIER, fortepiano · CONCERTO KÖLN
C5072 · 1CD PC: 21 UPC: 845221050720
„...the most honest, politest and most excellent man among all composers …“
No less a person than the old Joseph Haydn praised with these words Jan Ladislav Dussek after having seen him in London in 1792, where Dussek worked as a composer and performer. At his concerts Dussek presented mostly compositions written by himself; among them often one of his nearly twenty piano concertos or one of his numerous piano sonatas. During his London time he struck up a friendship with the piano-builder John Broadwood. This association between the composer-pianist and the master-craftsman was a very fruitful one and Dussek convinced the renowned London piano maker to extend the key ambitus of his instruments by adding another octaves.
ANDREAS STAIER use for this recording such an instrument from 1806 and is
well accompanied by the famous Ensemble CONCERTO KÖLN.
FRANZ LISZT: ORCHESTRAL PIECES
„200 YEAR CELEBRATION“
4CD-Set · C7090 PC: 03 UPC: 845221070902
Inluding the famous Hungarian Rhapsodies Nos. 1-6 and „Les Préludes“ this 4CD-Set includes also some rarities of Franz Liszt compositions for orchestra like the Symphony to Dantes Divinia Commedia („Dante-Symphony“) or the Symphonic Poems „Tasso“ and „Mazeppa“. In those he reffered to Hector Berlioz, whose concept of an Idée fixe he appropriated like the technique of associative linking of themes. Liszt did not take a formal plan as the starting point for his compositions, but instead used a poetic-literary idea.
Weitere Bilder
FRANZ LISZT: THE PIANO CONCERTOS FANTASIES FOR PIANO AND ORCHESTRA
„200 YEAR CELEBRATION“
3CD-Set · C7095 PC: 02 UPC: 845221070957
In Liszt’s two Piano Concertos we see his both spheres united: the revolutionary new techniques of playing that Liszt had wrestled from the piano during his years as a virtuoso and the orchestra works written on the basis of poetic ideas. His „Fantasies for piano and orchestra“ – these paraphrase’s to other works – the composer rather aimed at brilliance and virtuosity here. Not often performed this 3CD-Set includes all Fantasies for piano and orchestra as well than the popular two piano concertos.
Weitere Bilder
THE ART OF BELCANTO
3CD-Set · C7035 PC: PC 21 UPC: 845221070353
Most famous Recordings of ALFREDO KRAUS, LUCIA ALIBERTI and RENATO BRUSON, with Arias by Bellini, Donizetti, Verdi , Mascagni etc. Also included rare Opera Scenes like Donizetti’s „Gemma di Vergy“, „Don Sebastiano“ or Bellinis „I Capuleti e i Montecchi“. A high recommended 3CD-Album for opera friends and fans of these 3 worldwide known „Belcanto“-Artists.
