releases

2020 RELEASES

modernTIMES Edition

ZIMMERMANN · DALLAPICCOLA · DUTILLEUX · GINASTERA · SZYMANOWSKI · ANTHEIL · VAUGHAN WILLIAMS · KABALEVSKY · KRENEK · HINDEMITH
DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ · KARL-HEINZ STEFFENS

10CD+DVD C7337 PC: 07 UPC: 845221073378

CD 1:
BERND ALOIS ZIMMERMANN (1918-1970): Alagoana· Sinfonie in einem Satz · PhotoptosisStille und Umkehr
CD 2:
LUIGI DALLAPICCOLA (1904 – 1975)Partita per orchestra· Due Pezzi per orchestra· Piccola Musica Notturna·Variazioni per orchestra· Three Questions with Two Answers
CD 3:
HENRI DUTILLEUX (1916 – 2013): Symphony No. 1 · Deux sonnets de Jean Cassou · Métaboles
CD 4:
ALBERTO GINASTERA (1916-1983)· Obertura para el Fausto Criollo, op. 9 · Variaciones Concertantes, op. 23· Ollantay(A Symphonic Triptych) · Bomarzo op. 34  (1967) Opera Suite
CD 5:
KAROL SZYMANOWSKI (1882 – 1937): Concert Overture, op. 12· Slopiewnie, op. 46bis· Sinfonia Concertante op. 60· Nocturne and Tarantella, op. 28
CD 6:
GEORGE ANTHEIL (1900 – 1959) · A Jazz Symphony (Original Version, 1925)· Concerto for Piano and Orchestra No. 1· Capital of The World - Suite · Archipelago „Rhumba“                                                                  
CD 7:
VAUGHAN WILLIAMS (1872 – 1958) · The Poisoned Kiss · Fantasia on Sussex Folk Tunes ·      Bucolic Suite · In The Fen Country· Three Portraits from 'The England of Elizabeth'
CD 8:
DMITRY KABALEVSKY (1904 – 1987): Overture Pathétique, op. 6· Violin Concerto, op. 48
Rhapsody on the Theme of the Song 'School Years', op. 75 · Vesnaop. 65· Colas Breugnon- Suite, op. 24
CD 9:
ERNST KRENEKPotpourri op. 54· Seven Orchestra Pieces, op. 31· Symphonie "Pallas Athene" op. 137
Tricks and trifles, op. 101
CD 10:
PAUL HINDEMITHNeues vom Tage(Ouvertüre) · Drei Gesänge für Sopran und Orchesterop. 9· Philharmonisches Konzert · Das Nusch-Nuschi, Tanzsuite op. 20
Bonus-DVD:Making of · Interviews

MARISOL MONTALVOARANTZA EZENARRO, MARIA ISABEL SEGARA, VALDA WILSON Sopran / soprano
PAUL ARMIN EDELMANNBariton / baritone
YURY REVICHVioline / violin· MARTIN RUMMEL, Violoncello / cello
EWA KUPIECFRANK DUPREEMAGDA AMARA,Klavier / piano
DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ
KARL-HEINZ STEFFENS,Dirigent / conductor

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E. W. KORNGOLD

SURSUM CORDA FAIRYTALE PICTURES DER SCHNEEMANN DAS WUNDER DER HELIANE, Op. 20 DIE TOTE STADT, Op. 12 BABY SERENADE, Op. 24
KAREN ROBERTSON · STEPHEN GOULD · BRUCKNER ORCHESTER LINZ · CASPAR RICHTER

C7350 4CD-Box PC: 54 UPC: 845221073507


CD 1
SURSUM CORDASymphonic Overture, Op. 13 (1920)
RCHENBILDER / FAIRYTALE PICTURESOp. 3  (1910) · SCHAUSPIEL OUVERTÜRE, Op. 4 (1911)
DER SCHNEEMANN (1908-1909) · STRAUSSIANA (1953)· TALES OF STRAUSS, Op. 21(1927)
CD 2
DIE TOTE  STADT, Op. 12(1920) Prelude Act 2 · DAS WUNDER DER  HELIANE, Op. 20(1922-1927)
DER RING DES POLYKRATES Op. 7(1913) · DIE KATHRIN, Op. 28(1933-1937) · VIOLANTA Op.8  (1916)
DER STURM  (1913)  · CONCERTO FOR CELLO AND ORCHESTRA in C major, Op.37(1946)
CD 3
MUCH ADO ABOUT NOTHING, Op. 11  (1918/19) · BABY  SERENADE, Op. 24 (1928)
THEME AND VARIATIONS, Op. 42 (1953)
CD 4
TOMORROW, Op.  33  (1942) · EINFACHE LIEDER (SIMPLE SONGS), Op. 9(1911-16)  
PRAYER, Op. 32 (1941)· ABSCHIEDSLIEDER (SONGS OF FAREWELL),  Op. 14(1920/21)  
 
KAREN ROBERTSON, WENDY NIELSEN, Sopran / soprano
GIGI MITCHELL-VELASCO, Mezzosopran / mezzo-soprano · STEPHEN GOULD, Tenor / tenor
ZUILL BAILEY, Violoncello / cello · TIBOR PAZMANY, Orgel / organ · JOCHEM HOCHSTENBACH, Klavier / piano
KONZERTVEREINIGUNG LINZER THEATERCHOR · Georg Leopold (Einstudierung / Chorus Master)
FRAUENCHOR DES MOZARTCHORES LINZ· Wolfgang Mayrhofer (Einstudierung / Chorus Master)
BRUCKNER ORCHESTER LINZ  · CASPAR RICHTER(Dirigent / conductor)

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WALTER BRAUNFELS

Variations on an Old French Song for two pianos, Op. 46 · Little Pieces for piano four hands, Op. 24 · Bagatelles, Op. 5
Tatjana Blome · Holger Groschopp

C5361 PC: 21 UPC: 845221053615

The renaissance of Walter Braunfels’ music is well under way. Interest in his work is picking up. As part of that happy development, it only makes sense that once recordings of Braunfels’ most public works had come out, it is now the turn of the less conspicuous works to shine. Starting right here, for example, with Braunfels’ compositions for piano, piano four hands, and two pianos. Although his solo and quadrodexterous piano compositions do not take primacy in his œuvre, they are an important aspect of the composer Braunfels who came, after all, from the piano.

 

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NIKOLAI KAPUSTIN: SAXOPHONE CHAMBER MUSIC

Elisaveta Blumina · Peter Bruns
clair-obscur Saxophonquartett

C5369 PC: 21 UPC: 845221053691

Quintet for saxophone quartet and piano, Op. 89a
(authorized version of piano quintet op. 89 by Christoph Enzel)
Quartet for 4 saxophones, Op. 88a
(authorized version of string quartet op. 88)
Duo for alto saxophone and cello, Op. 99


At first glance, it might be surprising that a pianist born in the Soviet Republic of Ukraine, who went through the classical Russian school of pianists, should compose exclusively in the idiom of jazz. But jazz was more prevalent in the Soviet Union that might be supposed. Already in the 1930s, Oleg Ludstrem began appearing with his Big Band touring in the UDSSR. Later, Nikolai Kapustin worked for many years in this orchestra as a pianist and arranger. ‘What interests me most is the fusion between classical music and jazz, and between the classical form and the jazz idiom. Here, the classical portion has more weight for me. The jazz style is merely colour.’ (Nikolai Kapustin).


 

 

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LEONARD BERNSTEIN: MASS

Vojtěch Dyk · Wiener Singakademie · Opernschule der Wiener Staatsoper · Company of Music
ORF VIENNA RADIO SYMPHONY ORCHESTRA · DENNIS RUSSELL DAVIES

C5370 PC: PC 22 UPC: 845221053707

Few people had comparable charisma to him, few like him could blur the borders between ‘serious’ classical music and ‘entertaining’ popular music and few apart from him could find access to people of all generations like Bernstein. Living together and love instead of antagonism and hatred permeate his entire life’s work in words and notes. Many of the attributes mentioned apply to MASS, premiered in 1971. For the understanding of this unusual work, it is crucial to note that it is not really seen as a mass composition, but in keeping with Bernstein’s intentions as ‘a theatrical piece with the title ‘MASS’. So, it is perhaps the most audacious interpretation of the liturgical contents up to then and since then. The responses to the premiere were thoroughly ambivalent, as, apart from enthusiasm, there was also rejection on the part of conservativeminded circles. And the clearly conveyed message of peace was partly rejected since it could be understood not least as an unmistakable indictment of the Vietnam War still in progress.

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DOHNÁNYI: DER SCHLEIER DER PIERRETTE / THE VEIL OF PIERRETTE Op. 18

(First complete recording)
ORF VIENNA RADIO SYMPHONY ORCHESTRA · ARIANE MATIAKH

C5388 PC: 21 UPC: 845221053882

Who would assume today that after its premiere in 1910 Ernst von Dohnányi’s dance pantomime spread like a wildfire over the stages of the world. The ‘Wedding Waltz’ from Der Schleier der Pierrettecould regularly be heard on musical request programmes on the radio, enjoying similar popularity to the waltz sequence from Richard Strauss’ Der Rosenkavalier. Dohnanyi’s choice of the genre of pantomime was entirely in keeping with the spirit of the age that, following the large-scale, plot-laden ballets of late Romanticism, sought to find in pantomime a more intimate and more naturalistic form of expression. It may come as a surprise that the source for Dohnányi derived from none other than Arthur Schnitzler (1862–1931), one of the salient representatives of fin-de-siècle Austria. With this first complete recording again an important gap is closed in the knowledge of repertoire of this fascinating epochal time of musical history. 

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FERRUCCIO BUSONI: TURANDOT // ARLECCHINO

RENE PAPE · LINDA PLECH · JOSEPH PROTSCHKA · CELINA LINDSLEY
RADIO-SINFONIE-ORCHESTER BERLIN · GERD ALBECHT

C5398 PC: 21 UPC: 845221053981

Busoni never came closer to his dream of Italian music than with that night on May 11 1917 of double performance in Zurich, which he calls himself "La Nuova Commedia dell' Arte" I ("Turandot") and II ("Arlecchino"). In the unusually short time from December 1916 to March 1917 Busoni reworked the already existing material to the Incidental Music of Gozzis "Turandot" into an opera. This happen 4 years before Puccini started to work on the same contend. "Arleccino", though  in immediate neighbourhood to  "Dr.  Faust" looking almost like a secondary work, is perhaps the composer's actual key work. The speaking hero of his "theatralische Capriccio" represents  a role model,  which is at times more important to him than his aesthetic Faust, especially as the the World War increases.

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JOHANN JOSEPH ABERT: EKKEHARD

JONAS KAUFMANN · NYLA VAN INGEN · SUSANNE KELLING · CHRISTIAN GERHAHER
SWR RUNDFUNKORCHESTER KAISERSLAUTERN · PETER FALK

The fate of the lovesick monk Ekkehardunfolds against the historical background of the battle againstheathenismandtheHunnishinvasion -things which the broad and lavish grand-opera framework not only justifies but virtually demands.Abert set this very motley text to music in such a way that each of the various worlds and situations is given its appropriate expression, emulating "just about all the styles represented in opera today". However, his approach is not one of simple eclecticism; the entire work is set in the fully individual tonal language he had developed in his previous operas.The young tenor Jonas Kaufmann with his brilliant tembre had the best requirements to present the main-role in this nearly unknown opera. This production was one of the first recordings in general for him, now re-mastered and new released again. 

C5392 PC: 21 UPC: 845221053929

The fate of the lovesick monk Ekkehardunfolds against the historical background of the battle againstheathenismandtheHunnishinvasion -things which the broad and lavish grand-opera framework not only justifies but virtually demands.Abert set this very motley text to music in such a way that each of the various worlds and situations is given its appropriate expression, emulating "just about all the styles represented in opera today". However, his approach is not one of simple eclecticism; the entire work is set in the fully individual tonal language he had developed in his previous operas.The young tenor Jonas Kaufmann with his brilliant tembre had the best requirements to present the main-role in this nearly unknown opera. This production was one of the first recordings in general for him, now re-mastered and new released again. 

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ZEMLINSKY: DER TRAUMGÖRGE

JANIS MARTIN · JOSEF PROTSCHKA · PAMELA COBURN
RADIO-SINFONIE-ORCHESTER FRANKFURT · GERD ALBECHT

C5395 PC: 21 UPC: 845221053950

"He was too  modern for the  conservatives,  and he  did not manage to catch up with  the 'New
Music', despite his close personal relationship to Schönberg" – This brief characterization of Zemlinskys compositional style shows that the composer 'feil between two stools' even while he was alive. The opera was written at the  suggestion of Gustav Mahler between 1903  and 1906. In 1907 he was engaged by Mahler as director of music at the Court Opera;  at the same time, his third opera "Der Traumgörge" (Görge the Dreamer) was accepted for its first performance.  Following  Mahler's resignation,  however, the  opera was dropped  by Mahler's  successor, even  though it had  already been  rehearsed, and it stayed untouched till the 1970s when the scores and parts have been found in the archive of Vienna State Opera. It's time that this recording – who was the first complete recordings – as well as Zemlinsky's masterpiece turn back to the awareness of the musical life.

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