cd
GEORGI CATOIRE
Oliver Triendl · Vogler Quartett · Rundfunk-Sinfonie-Orchester Berlin · Roland Kluttig
“Now I have come across someone who really has a great creative talent.” (Peter Tchaikovsky)
Although the originality of his musical language paved the way for Russian modernism, Catoire's work still followed the artistic ideals of Russia and not the new culture of the Soviet Republic. His work is highly expressive and of enormous polyphonic density, greatest expressiveness, fine colors, rhythmic and harmonious scope. Catoire's music was almost never performed and his name remained almost unknown also to expert circles. He left behind 36 works including some symphonic pieces, a piano concerto, chamber music, songs and piano cycles. This music was written in the “fin de siecle”, with its shine and nobility, but also with its fragility.
Hörprobe
Weitere Bilder
KARLSRUHER SCHULE
with: Reinhold Friedrich · Frank Dupree · Benedict Kloeckner · Sontraud Speidel · Martin Ostertag · Radiophilharmonie Saarbrücken
recreative phenomenon of this artistic freedom, extending far into a shared future. In the music of alumni taught by Wolfgang Rihm, ideals of musical freedom and openness continue to resound in concrete form. Jörg Widmann, Rebecca Saunders and Markus Hechtle, among others, contribute to the further development of the unique Karlsruhe School at their professional homes.
Booklet-Errata zur CD „Velte. Rihm. Karlsruher Schule“
(Capriccio C7367, UPC 845221073675)
• Die Quelle des biographischen Texts von Eugen Werner Velte auf dem Seiten 18-20 sowie der englischen Fassung auf den Seiten 50-51 ist
https://de.wikipedia.org/wiki/Eugen_Werner_Velte
(abgerufen am 18.12.2019)
• Der Wikipedia-Text wurde für das Booklet von Sontraud Speidel geringfügig ergänzt, sie ist jedoch nicht die Autorin des Artikels.
Errata in the booklet of the CD „Velte. Rihm. Karlsruher Schule“
(Capriccio C7367, UPC 845221073675)
• The source of the biographical text about Eugen Werner Velte on pages 18-20 (german version) and pages 50-51 (english version) is
https://de.wikipedia.org/wiki/Eugen_Werner_Velte
(accessed 2019-12-18)
• The wikipedia text was slightly expanded for the booklet by Sontraud Speidel. However, she is not the orginal author of the full text.
Weitere Bilder
BENNO AMMANN
BASLER MADRIGALISTEN · RAPHAEL IMMOOS
Benno Ammann’s oeuvre reveals influences from impressionism to free tonality, yet he belongs to no stylistic school. The Swiss composer wrote Missa Defensor Pacis (‘Defender of the Faith’) in 1946 for the official canonisation, at St Peter’s in Rome, of Nicholas of Flüe, patron saint of Switzerland. This prestigious commission, with its complex polyphony, countless variations, and use of the cantus firmus technique, is one of the most important and extensive Masses by a Swiss composer for a cappella choir.
Youtube
Weitere Bilder
HANS ROTT - Orchestral Works Vol. 2
GÜRZENICH ORCHESTER KÖLN · CHRISTOPHER WARD,
‘Yes, he is so related to my very self that he and I are like two fruits from the same tree, produced by the same soil and fed by the same air.’ (Gustav Mahler)
The premiere of the Symphony No. 1 in E major by Hans Rott, written more than 100 years earlier, in 1989 introduced the international music world to a composer who had been unknown or known only by name even to most pundits. His colleagues and friends included the one or two-year younger composers Gustav Mahler and Hugo Wolf. Besides Wagner, Bruckner was the most important model for Rott’s first symphonic work. The symphony is the summum opus the not quite twenty-year-old left behind. It is his first and final finished major work. It is the synthesis of what he had written to date and a proclamation of what might have come.
Youtube
Weitere Bilder
Grigori Frid
ELISAVETA BLUMINA · VOGLER QUARTETT
His monodrama The Diary of Anne Frank (1968) put Grigori Frid on the musical map, beyond the borders of Soviet Russia. Frid was born in the Petrograd (St. Petersburg) of 1915 and had to witness early on how his family fell victim to the seemingly indiscriminate (and in fact deliberately arbitrary) rounds of suppression, arrest, and deportation of the Stalin Regime. His music stands in the aesthetic realm of Dmitri Shostakovich on the one hand, and that of his younger contemporaries Edison Denisov, Sofia Gubaidulina, and Alfred Schnittke on the other. His works finds itself influenced by the great Russian tradition but yearning to find new, modern ways – more in line with international trends in music – of expressing itself.
