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DOHNÁNYI: DER SCHLEIER DER PIERRETTE / THE VEIL OF PIERRETTE Op. 18

(First complete recording)
ORF VIENNA RADIO SYMPHONY ORCHESTRA · ARIANE MATIAKH

C5388 PC: 21 UPC: 845221053882

Who would assume today that after its premiere in 1910 Ernst von Dohnányi’s dance pantomime spread like a wildfire over the stages of the world. The ‘Wedding Waltz’ from Der Schleier der Pierrettecould regularly be heard on musical request programmes on the radio, enjoying similar popularity to the waltz sequence from Richard Strauss’ Der Rosenkavalier. Dohnanyi’s choice of the genre of pantomime was entirely in keeping with the spirit of the age that, following the large-scale, plot-laden ballets of late Romanticism, sought to find in pantomime a more intimate and more naturalistic form of expression. It may come as a surprise that the source for Dohnányi derived from none other than Arthur Schnitzler (1862–1931), one of the salient representatives of fin-de-siècle Austria. With this first complete recording again an important gap is closed in the knowledge of repertoire of this fascinating epochal time of musical history. 

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WALTER BRAUNFELS

Variations on an Old French Song for two pianos, Op. 46 · Little Pieces for piano four hands, Op. 24 · Bagatelles, Op. 5
Tatjana Blome · Holger Groschopp

C5361 PC: 21 UPC: 845221053615

The renaissance of Walter Braunfels’ music is well under way. Interest in his work is picking up. As part of that happy development, it only makes sense that once recordings of Braunfels’ most public works had come out, it is now the turn of the less conspicuous works to shine. Starting right here, for example, with Braunfels’ compositions for piano, piano four hands, and two pianos. Although his solo and quadrodexterous piano compositions do not take primacy in his œuvre, they are an important aspect of the composer Braunfels who came, after all, from the piano.

 

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NIKOLAI KAPUSTIN: SAXOPHONE CHAMBER MUSIC

Elisaveta Blumina · Peter Bruns
clair-obscur Saxophonquartett

C5369 PC: 21 UPC: 845221053691

Quintet for saxophone quartet and piano, Op. 89a
(authorized version of piano quintet op. 89 by Christoph Enzel)
Quartet for 4 saxophones, Op. 88a
(authorized version of string quartet op. 88)
Duo for alto saxophone and cello, Op. 99


At first glance, it might be surprising that a pianist born in the Soviet Republic of Ukraine, who went through the classical Russian school of pianists, should compose exclusively in the idiom of jazz. But jazz was more prevalent in the Soviet Union that might be supposed. Already in the 1930s, Oleg Ludstrem began appearing with his Big Band touring in the UDSSR. Later, Nikolai Kapustin worked for many years in this orchestra as a pianist and arranger. ‘What interests me most is the fusion between classical music and jazz, and between the classical form and the jazz idiom. Here, the classical portion has more weight for me. The jazz style is merely colour.’ (Nikolai Kapustin).


 

 

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FERRUCCIO BUSONI: TURANDOT // ARLECCHINO

RENE PAPE · LINDA PLECH · JOSEPH PROTSCHKA · CELINA LINDSLEY
RADIO-SINFONIE-ORCHESTER BERLIN · GERD ALBECHT

C5398 PC: 21 UPC: 845221053981

Busoni never came closer to his dream of Italian music than with that night on May 11 1917 of double performance in Zurich, which he calls himself "La Nuova Commedia dell' Arte" I ("Turandot") and II ("Arlecchino"). In the unusually short time from December 1916 to March 1917 Busoni reworked the already existing material to the Incidental Music of Gozzis "Turandot" into an opera. This happen 4 years before Puccini started to work on the same contend. "Arleccino", though  in immediate neighbourhood to  "Dr.  Faust" looking almost like a secondary work, is perhaps the composer's actual key work. The speaking hero of his "theatralische Capriccio" represents  a role model,  which is at times more important to him than his aesthetic Faust, especially as the the World War increases.

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JOHANN JOSEPH ABERT: EKKEHARD

JONAS KAUFMANN · NYLA VAN INGEN · SUSANNE KELLING · CHRISTIAN GERHAHER
SWR RUNDFUNKORCHESTER KAISERSLAUTERN · PETER FALK

C5392 PC: 21 UPC: 845221053929

The fate of the lovesick monk Ekkehardunfolds against the historical background of the battle againstheathenismandtheHunnishinvasion -things which the broad and lavish grand-opera framework not only justifies but virtually demands.Abert set this very motley text to music in such a way that each of the various worlds and situations is given its appropriate expression, emulating "just about all the styles represented in opera today". However, his approach is not one of simple eclecticism; the entire work is set in the fully individual tonal language he had developed in his previous operas.The young tenor Jonas Kaufmann with his brilliant tembre had the best requirements to present the main-role in this nearly unknown opera. This production was one of the first recordings in general for him, now re-mastered and new released again. 

The fate of the lovesick monk Ekkehardunfolds against the historical background of the battle againstheathenismandtheHunnishinvasion -things which the broad and lavish grand-opera framework not only justifies but virtually demands.Abert set this very motley text to music in such a way that each of the various worlds and situations is given its appropriate expression, emulating "just about all the styles represented in opera today". However, his approach is not one of simple eclecticism; the entire work is set in the fully individual tonal language he had developed in his previous operas.The young tenor Jonas Kaufmann with his brilliant tembre had the best requirements to present the main-role in this nearly unknown opera. This production was one of the first recordings in general for him, now re-mastered and new released again. 

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