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WALTER BRAUNFELS - JEANNE D'ARC
Juliane Banse · Johan Reuter · Pavol Breslik Norbert Ernst Salzburger Bachchor ORF Vienna Radio Symphony Orchestra MANFRED HONECK
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Premiere Portraits - IRÈNE DUVAL
IRÈNE DUVAL, violin ANGUS WEBSTER, piano
Praised for “her mastery of phrasing and of the dramatic dimension” (Diapason), “astonishing virtuosity” (Revelation Classiques) and “her infinite delicacy” (Le Populaire du centre), French violinist Irène Duval is establishing herself as a uniquely compelling performer with a strong interest in combining works central to the repertoire with little-known gems. Born in France to a French father and Korean mother, Irène Duval grew up in Japan, Indonesia, and Hong Kong before returning to France at the age of eleven. She studied with Suzanne Gessner and Jean-Jacques Kantorow, before entering the Conservatoire National Supérieur de Musique de Paris in 2008 in the class of Roland Daugareil; in 2014 she joined the Kronberg Academy in Germany, where she studied with Mihaela Martin for three years.
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#bruckner24 Symphony #9
Bruckner Orchester Linz · Markus Poschner
This final release of Capriccios Bruckner Symphonies - The Complete Versions Edition includes his very first and last Symphony. In March 1861, Anton Bruckner completed his counterpoint studies with the renowned teacher Simon Sechter who had also taught Schubert. His graduation signaled the end of an extended compositional hiatus. Bruckner’s F-Minor Symphony was conceived in the classical and early romantic tradition of Beethoven, Schubert, Mendelssohn and Schumann.
Bruckner’s Ninth: his best (as some say) symphony, certainly his most daring and, thanks to the missing finale, his most mysterious. It is where Bruckner meets Mahler and, while working on it, his maker. He wanted to write a finale, of course, but too much remains missing. What is left, is a heavenly Adagio, which quietly fades away with references in the brass to the two preceding symphonies. Thus ends Bruckner’s uncompleted life’s work.
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Beethoven - The Mahler Re-Orchestrations
Deutsche Staatsphilharmonie Rheinland-Pfalz Michael Francis
Whenever Gustav Mahler spoke of Beethoven, he did so with an air of reverence: "Among poets and composers of more recent times we can, perhaps, name but three: Shakespeare, Beethoven, and Wagner.” And yet, Mahler the conductor considered Beethoven’s scores primarily a challenge; material that needed adapting and adopting to the orchestras and concert halls of his time. Richard Wagner had already prepared Beethoven’s scores and written about it in great detail. The balance of sound of the classical orchestra was off, and a return to previous states was out of the question, given the increased size of the concert halls. People knew of their existence, but it was not until 1927 that Erwin Stein, the composer, pianist, and music journalist active in Schoenberg’s circles, was able to report that all of Mahler’s conductor’s scores, replete with his “Retuschen” (retouchings), had in fact survived.
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MARIA HERZ
Oliver Triendl Konstanze von Gutzeit RUNDFUNK-SINFONIEORCHESTER BERLIN · CHRISTIANE SILBER
Maria Herz, neé Bing, was born in 1878 in Cologne. By the 1920s, she became to be recognized as a dynamic element of the contemporary music scene. New music’s ‘chief theoretician’, Theodor W. Adorno, became interested in her works and their style, which was rooted in Late Romanticism and aimed at Modernism by way of Expressionism, New Objectivity, and Neo-Baroque, all while retaining its playful, charming air. She was close to a veritable Who’s-Who of contemporary musicians, including the Budapest String Quartett, Gregor Piatigorsky, Emanuel Feuermann, Hermann Abendroth, Otto Klemperer, and Hans Rosbaud.
In her lifetime, only five songs (1910) and a transcription of Bach’s Chaconne for string quartet (1927) were published, but all her 30 orchestral works, solo concertos, chamber music pieces, and art songs have survived in manuscripts. The Nazis seized her family’s assets and forced Maria Herz to emigrate, first to England, and, after the war, to the United States where she lived with her children and died in 1950, in New York.
