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#bruckner24 Symphony #6

(Complete Versions Edition)
Symphony No. 6 Bruckner Orchester Linz · Markus Poschner

C8080 PC: 21 UPC: 845221080802

Start of the most comprehensive Bruckner Symphonies Edition incl. all available 19 versions.
Bruckner burst out of the confines of the cathedral using that most secular of musical forms: the symphony. It is with reflexive reoccurrence in music history that supposed performance traditions burn themselves into a score as if they were a given… and the more so, the further we get from the work’s creation. So many clichés and truths about his person and his work are at last being questioned or, if they aren’t yet, are overdue some scrutiny. It is an essential aspect of this CD Edition to read and understand the text fresh and anew. Whence does Bruckner’s music come and whereunto does it point? With the Bruckner Orchestra Linz and the ORF Vienna Radio Symphony Orchestra Capriccio could engage two of the best Austrian orchestras for this in total 19 versions counting cycle. With about 1065 minutes of music this complete symphonic edition will be finished in 2024, when we will celebrate Bruckner’s 200th Birthday.

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Pancho Vladigerov: ORCHESTRAL SONGS

Bulgarian Folksongs · Six Lyric Songs · Lud Gidyia Op. 5 ·Song for the Beloved
Gerdjikov · Valcheva-Evrova · Ventsislavova · Stoitseva · Bulgarian National radio Symphony Orchestra · Alexander Vladigerov

2CD-Set C8070 PC: 21 UPC: 845221080703

The present fifth volume of the Pancho Vladigerov Edition turns to an aspect of the composer’s genre that many other composers have never or hardly touched: Orchestral songs. It is perfectly plausible that Vladigerov found himself exposed to this genre during his formative years in Berlin and Vienna, having enjoyed its heydays in those years he spent in those cities (Gustav Mahler, Richard Strauss, Hans Pfitzner, Joseph Marx and others). Notably, Vladigerov always worked off poems by Bulgarian writers, not only when dealing with Bulgarian folk songs. Like many other 20th century composers from a host of different countries and ethnicities, Vladigerov delved deeply into the folk songs and folk dances of his homeland. These are songs and dances – some are still popular today, others nearly forgotten – that various ethnic groups in the country have developed over centuries. In these arrangements, the composing side of Vladigerov finds the perfect synthesis with his pronouncedly Bulgarian side.

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ERNST VON DOHNÁNYI

Tante Simona · Suite in F sharp minor · American Rhapsody · Leo Weiner: Serenade
ORF Vienna Radio Symphony Orchestra · Roberto Patrnostro

C5380 PC: 21 UPC: 845221053806

Ernst von Dohnanyi was one of the most versatile and influential musicians of his time but his works are now seldom played. A gap which Capriccio want to fill now with this already fifth recording of his late romantical, sensual music, deeply rooted in the Austro-German 
classical tradition.  An appetizer is the overture of the one-act opera Tanta Simona, which has plenty of that Italian flair to show for that runs through the opera’s plot. After its premiere in 1910, the Suite in F-sharp minor Op.19 became one of the most performed Dohnányi’s works, whereas the American Rhapsody Op.47, which is full of quotations with american folk melodies, was his last orchestral work, first performed in 1954 at Ohio University. Finally his 8 years younger colleague Leó Weiner shows us in his early composition, the Serenade in F minor (1906) apart from the influence of the German and Austrian romantics, typical Hungarian colors and rhythms.

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Walter Braunfels

Don Gil - Prelude · Divertimento for Radio Orchestra · Ariel's Song · Serenade
ORF VIENNA RADIO SYMPHONY ORCHESTRA · GREGOR BÜHL

C5429 PC: 21 UPC: 845221054292

‘Slightly the audience remember that I’m – as a descendant of writing tonal music – still alive and continue composing’ Walter Braunfels, 1946
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 already 9th release of Capriccio’s Braunfels Edition shows us also an open minded composer who experimented with Jazz elements in his Divertimento for radio-orchestra in 1929.

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ERWIN SCHULHOFF

FLAMMEN
RAYMOND VERY · IRIS VERMILLION · STEPHANIE FRIEDE · ARNOLD SCHOENBERG CHOR · ORF VIENNA RADIO SYMPHONY ORCHESTRA · BERTRAND DE BILLY

2CD · C5382 PC: 22 UPC: 845221053820


Musical Tragicomedy in 2 Acts with 10 Scenes WV 93 (1928-32)
Libretto von / by: Max Brod · Nach / after: Karel Josef Beneš 
Don Juan RAYMOND VERY
La Morte IRIS VERMILLION
Eine Frau / Eine Nonne / Margarethe / Donna Anna STEPHANIE FRIEDE
1. Frauenschatten GABRIELA BONE
2. Frauenschatten NINA BERNSTEINER
3. Frauenschatten ANNA PESHES
4. Frauenschatten CHRISTA RATZENBÖCK
5. Frauenschatten HERMINE HASELBÖCK
 6. Frauenschatten ELISABETH WOLFBAUER
Der Komthur Salvador FERNÁNDEZ-CASTRO
Pulcinella KARL-MICHAEL EBNER
Pantalone ANDREAS JANKOWITSCH
Harlekin MARKUS RAAB
ARNOLD SCHOENBERG CHOR
(Einstudierung / Chorus Master: Erwin Ortner)
Jazzband: Mitglieder des Orchesters der Vereinigten Bühnen Wien

ORF VIENNA RADIO SYMPHONY ORCHESTRA · BERTRAND DE BILLY


In the 1920s and 1930s, there was a multi-faceted musical scene in culturally flourishing Czechoslovakia. When we take a look at the works by e.g. Pavel Haas, Gideon Klein, Hans Krása, Viktor Ullmann or Erwin Schulhoff, we can perceive a stylistically very similar course, conceivable against the given background as a ‘Prague School’ (as a counter-movement to the ‘Viennese School’). In Schulhoff’s early works, the features are a late Romantic approach influenced by Reger that later developed with an emphasis on rhythm in the direction of Expressionism and Neo-Classicism, also including jazz elements. The starting point is the ‘Don Juan’ story, but the underlying idea in Beneš’ and Schulhoff’s work is not to present the colourful seducer, but the fate of a man driven by his desires and needs who cannot even remotely find happiness and peace in constancy. In his opera, Schulhoff brilliantly manages to find a different dramaturgical approach, on the one hand, and at the same time to pay a kind of alienated homage to Mozart’s work, on the other.


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