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JOSEF LABOR (1842-1924)
NINA KARMON · PAULINE SACHSE · JUSTUS GRIMM · NIEK DE GROOT · OLIVER TRIENDL
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[1] – [4]
Quintett für Klavier, Violine, Viola, Violoncello und Kontrabass e-Moll, op. 3
Quintet for piano, violin, viola, cello and double-bass in E minor, Op. 3
[5] – [8]
Quartett für Klavier, Violine, Viola und Violoncello C-Dur, op. 6
Quartet for piano, violin, viola and cello in C major, Op. 6
NINA KARMON, Violine/violin· PAULINE SACHSE, Viola· JUSTUS GRIMM, Violoncello/cello
NIEK DE GROOT, Kontrabass/Double-bass· OLIVER TRIENDL, Klavier/piano
During his lifetime, Josef Labor was a pianist and organist recognized throughout Europe and a celebrity of the Viennese music scene. At the age of three, he lost his sight due to smallpox.
Up to now, Josef Labor has been little researched in musicology. Labor was not an expressive
musician along the lines of late Romanticism, who made his own life into the starting point of his art. Nor was he a musical innovator, nor simply a conservative. The linking principle is
classicist aesthetics, setting great store by clear formal structure and balanced proportions. In this adherence to the ideals of Viennese Classicism, he shows himself to be unimpressed by the vehement conflicts of the time between New Germans and supporters of Brahms. During his lifetime and in his generation Labor was an outsider as a composer, a kind of musical solitary, who positioned himself in a very special way, independent of the spirit of the age.
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CARL MARIA VON WEBER: PETER SCHMOLL UND SEINE NACHBARN
ORF VIENNA RADIO SYMPHONY ORCHESTRA · ROBERTO PATERNOSTRO
CARL MARIA VON WEBER(1786 – 1826)
PETER SCHMOLL UND SEINE NACHBARN
PETER SCHMOLL AND HIS NEIGHBOURS
Komische Oper in 2 Akten (1802) / Comic Opera in Two Acts
Libretto nach dem Roman von / Libretto after the novel by Carl Gottlob Cramer
Gesangstexte von / Song texts by Willy Werner Göttig
Peter Schmoll, ein reicher Bankier - PAUL ARMIN EDELMANN
Martin Schmoll, sein Bruder und Teilhaber – THORSTEN GRÜMBEL
Minette, Martins Tochter – ILONA REVOLSKAYA
Karl Pirkner – SEBASTIAN KOHLHEPP
Hans Bast, Peters Faktotum – CHRISTOPH SEIDL
Niklas, ein Bauer - JOHANNES BAMBERGER
ORF VIENNA RADIO SYMPHONY ORCHESTRA
ROBERTO PATERNOSTRO, Dirigent / conductor
‘Yesterday, with genuine pleasure I attended a kind rehearsal of the opera ‘Peter Schmoll und seine Nachbarn’ by my pupil Mr. Carl Maria von Weber, and I cannot help attesting with truth, […] that I consider it only right and proper that I recommend this, my favourite pupil, be welcomed by the entire musical and sensitive world’.Johann Michael Haydn, 1802
After the artful overture, which may make an absolute claim to autonomy, Peter Schmollshows a colourful succession of a total of 20 numbers, as was customary in the musical comedies composed in this manner for about three decades. In Peter Schmoll, we see glimpses of the ‘typical’ Weber, based primarily on the melodic idea, such as we know him today from Der Freischütz, written in 1817.
Hörprobe
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Karl Weigl: Symphony No. 1 · Pictures and Tales
JÜRGEN BRUNS (conductor)
KARL WEIGL (1881 – 1949)
[1] – [4] Symphonie Nr. 1 E-Dur, op. 5 (1908)
Symphony no. 1 in E major, Op. 5 (1908)
[5] – [10] Bilder und Geschichten Suite für kleines Orchester, op. 2 (1922)
Pictures and Tales Suite for small orchestra, Op. 2 (1922)
DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ
JÜRGEN BRUNS (Dirigent / conductor)
‘I have always viewed Dr. Weigl as one of the best composers of the old generation; one of those continuing the illustrious Viennese tradition.' - Arnold Schönberg
In terms of style, with his works linked to basic tonalities Weigl drew on the sound realm of late Romanticism, from whose aesthetics he never departed in favour of more progressive contemporary trends. The Symphony No. 1 in E major op. 5, written in 1908, is also far removed from any avant-garde experiments in the Romantic tradition, as epitomized among the Austrian composers of that time in the field of the symphony by e.g. Alexander von Zemlinsky, Emil Nikolaus von Reznicek or Franz Schmidt. In the autumn of 1938 Weigl emigrated from Vienna via France and Great Britain to the USA, where he initially had to accept musical odd jobs, gave private lessons and was finally able to work as a teacher at different musical institutes such as the Boston Conservatory and the Philadelphia Academy of Music.
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Christine Schornsheim
Christoph Ernst Friedrich Weyse
[1] – [3] Sonata per il Clavicembalo solo (1778) E-Dur / in E flat major, op. 2
[4] – [9] Six diverses pièces pour le clavecin ou le piano forte, op. 1
[10] Theme and Variations /Thema und Variationen
CHRISTINE SCHORNSHEIM
Hammerflügel / fortepiano (Melchior Guante, Münster / Westfalen, ca. 1800)
Christine Schornsheim has enthralled an enthusiastic audience for many years with an almost inexhaustible variety of sounds by different period keyboard instruments with which she feels at ease and with sheer unending musical imagination. Her passion an her intuition for rare repertoire presents us also on this album two composers which mostly worked and lifed in Danmark: The german composer Johann Abraham Peter Schulz, who worked for many years in Kopenhagen and became almost famous with his Folk Songs, and his danish born pupil Christoph Ernst Friedrich Weyse. Virtuos piano compositions in the style, tradition and continuation of Carl Philipp Emanuel Bach.
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Gottfried von Einem DER PROZESS THE TRIAL
Laurenz Schmeckenbecher Schneider · Woldt · Eerens · ORF Vienna Radio Symphony Orchestra · HK Gruber
The Austrian composer Gottfried von Einem got to know the mechanism of this process himself, and it was ultimately thanks to some good fortune that he did not become one of the countless victims of the Nazi system of injustice.
He was one of those great composer personalities that played a major role in rebuilding the waste of the Austrian music scene after 1945, following the devasting cultural policies of Austrofascism, which were above all hostile to modern trends, and even more so those of the Nazis. Catchy thematic and melodic ideas, sharply accentuated rhythm, strong gestural and dance-like vigour and a pronounced feeling for differentiated timbre characterized von Einem’s highly personal musical diction, which can also be discerned in the opera Der Prozess. Einem-pupil, composer and conductor HK Gruber made an amazing, by audience and press enthusiastic celebtrated concertant performance during the Salzburg Festival 2018 which is documented on this recording.
