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WALTER BRAUNFELS
DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ · GREGOR BÜHL
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 7threlease of Capriccio’s Braunfels Edition shows again his large range of colorful music and focus this time on his early great Orchestral work Fantastical Apparitions Of a Theme by Hector Berlioz, Op. 25 (1914-1917) – the first complete recording of this amazing composition, compiled with his last orchestral work, the Sinfonia brevis op. 69(1948).
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STRAVINSKY: CHANT FUNÈBRE · THE FIREBIRD / SHOSTAKOVICH: SYMPHONY NO. 12 ‘THE YEAR OF 1917’
CORNELIUS MEISTER
The both hailed from Russia, and they were contemporaries. But their biographies could hardly have been more different: Igor Stravinsky and Dmitri Shostakovich. The one was an urbane dandy, and the other an introverted melancholic. Both were deeply rooted in the music of their homeland, Stravinsky in the wealth of myths and folk customs of past centuries, and Shostakovich directly in the historical events that shook Russia to its very core and frequently gave rise to existential fears. Cornelius Meister, just awarded as "Conductor of the year" by the german classical music award Opus, knows again how to handle these different colours of sounds and shows them in an most transparent way. The ORF Vienna Radio Symphony Orchestra has been his best disposed partner for these recordings.
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ASTOR PIAZZOLLA - MARIA DE BUENOS AIRES
Lothar Hensel · BEETHOVEN ORCHESTER BONN · CHRISTOPHER SPRENGER
‘María de Buenos Aires brought me inner peace, a partial serenity that has changed my way of approaching music. I reached the zenith of my musical life at the time. (Astor Piazzolla)
Piazzolla himself equated María to the tango and its historical ups and downs; and this is probably also the primary aid to understanding the reception of the contents of the piece. Next to that, there is also a musical diction that is entirely unique in the second half of the 20thcentury, indeed in the New Music scene as a whole. ‘I learnt something: to be patient, to be self-critical, to co-ordinate reflection with passion. Now I am told: ‘That is a different Piazzolla’, but that is not the case. I am the same man, but I have reached a synthesis’. (Astor Piazzolla)
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Franz Schreker
VALDA WILSON · DEUTSCHE STAATSPHILHARMONIE REIHNLAND-PFALZ · CHRISTOPHER WARD
After the ban the Nazi rabble-rousers had imposed on him, it took a long time for Schreker’s oeuvre to be re-discovered, excavated from the archives, subjected to a re-appraisal and acknowledged as an indispensable element in one of the most fascinating periods of musical history. Although being taken for granted may bear the risk of renewed negligence, Franz Schreker’s status should no longer be challenged today. This makes it possible, apart from dealing with all of his main works also to consider what he himself perhaps did not deem his most ground-breaking works, ones permitting interesting insight into a musician’s workshop and displaying cross-references to his other works like you can hear on this recording.
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WALTER BRAUNFELS
TATJANA BLOME, piano DEUTSCHE STAATSPHILHARMONIE REIHNLAND-PFALZ · GREGOR BÜHL
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 6threlease of Capriccio’s Braunfels Edition shows again his large range of colorful music and focus this time on his works for piano and orchestra from 3 different periods of his life: his first complete orchestral work, the Witches Sabbath, op. 8 (1906), the Concert piece for piano and orchestra op. 64 (1946) and one of his last compositions the Hebridian Dances op. 70(1950/51).
