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Premiere Portraits: Franziska Lee
Franziska Lee, piano
Henri Dutilleux (1916 – 2013): Sonate pour piano 1947-1948
»À Geneviève Joy«
Francis Poulenc (1899 – 1963)
Suite française pour piano d’après Claude Gervaise (XVIe siècle) FP 80b 1935 »À Edouard Bourdet«
Francis Poulenc (1899 – 1963): Mélancolie Très modéré FP 105
1940 »À Raymond Destouches«
Jean Françaix (1912 – 1997): Sonate pour piano 1960 »À Idil Biret«
Francis Poulenc (1899 – 1963) Napoli – Suite pour le piano FP 40
1922-1925 »À la mémoire de Juliette Meerovich«
Pierre Sancan (1916 – 2008): Toccata Vif 1943 »À mes chers Parents«
With “Première Portraits” CD-Edition Capriccio set an example for the support of young and talented artists and invite them to release their première CD for a worldwide audience.
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GERHARD FROMMEL (1906-1984)
Jena Philharmonic Orchestra · Jürgen Bruns
Music in the tempest of the times
If we seek to deal with Gerhard Frommel’s personality and music (a master pupil of Hans Pfitzner) in greater depth, as in the case of many other German composers of his generation, we cannot avoid going into the historical and political events and the underlying active and reactive behaviour of the individual. Concepts like opportunism or passive obedience come readily to mind, but they fall short of the truth, if we were not direct contemporary witnesses.
His position during the years 1933-45 becomes all the more salient as regards the works recorded here, both of which were written at that time. Many things sound familiar, Wagner, Bruckner and other elements from the past stand out trenchantly, ‘For me, the 1st Symphony is at the centre of my oeuvre.’ Frommel says. Many things sound familiar, Wagner, Bruckner and other elements from the past stand out trenchantly,The score reached Wilhelm Furtwängler, who then scheduled its premiere with the Vienna Philharmonic for the autumn of 1942.
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ZEMLINSKY
Heidi Brunner Wolfgang Koch Charles Reid · ORF VIENNA RADIO SYMPHONY ORCHESTRA · BERTRAND DE BILLY
Oscar Wilde’s A Florentine Tragedy was written in 1893, but remained a fragment when the author was arrested for ‘sodomy’. But the material was in the air, so to speak, and Alexander von Zemlinsky, who may have had Richard Strauss’ recourse to Wilde’s Salome in mind and hoped for a similar success with A Florentine Tragedy, finally converted the play into a one-act opera. Puccini had also been interested in the material, but the publisher Tito Ricordi advised him against it. Other potential takers also included Ferruccio Busoni who also found the ending too hackneyed. However, such alleged triviality did not deter his colleague Alexander von Zemlinsky, who celebrated success with his opera. Alban Berg admired the work so much that musical parallels to the Florentine Tragedy can be found in his Wozzeck, premiered eight years later.
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HERMANN REUTTER (1900-1985)
Lott · Speidel · Beinhauer & Beinhauer
Hermann Reutters compositional talents were already being recognised in 1923 when he became acquainted with musical modernity at the festivals in Baden-Baden and Donaueschingen, where he met Paul Hindemith. In 1956 he assumed the post of Rektor at the Hochschule für Musik und Darstellende Kunst in Stuttgart, which he retained until his retirement.
Reutter's early compositions reflect the stylistic influences of the romantic models of Anton Bruckner and Hans Pfitzner. However, the impressions made by Bartók, Stravinsky, and Hindemith resulted in a change in Reutter's musical language. In the context of a dialogue with the music of his own time, he learned to express his own ideas and develop his own individual style. The works of this recording, although stylistically and chronologically distant from one another, present an unmistakeable manifestation of a strong and deeply human musicality, which discovers an authentic and sincere voice beyond any stylistic or national borders.
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DORA DELIYSKA THE B-A-C-H PROJECT
Dora Deliyska, piano
Based on a thorough musical analysis, I have tried to make a selection of pieces that will not only respond musically to one another, but also represent part of an overarching concept, the structure of B-A-C-H. The core of my concept is based on the idea of how musical compositions, written in different centuries with different compositional styles, can find a connection between one another, giving rise to very new and unique reflections. This way, the three composers (Bach, Chopin, Shostakovich) ‘communicate’ with one another, mutually influencing their artistic ideas. Dora Deliyska
B
J. S. Bach: Prelude Nr.12, BWV 867, in B-flat minor · Schostakowitsch: Prelude Nr. 16, in B-flat minor · J. S. Bach: Fugue Nr.12, BWV 867, in in B-flat minor · Schostakowitsch: Prelude Nr. 21, in B-flat major · Fugue Nr. 21, in B-flat major
A
J. S. Bach: Prelude Nr. 20, BWV 889, in A-minor · Schostakowitsch: Prelude Nr.2 in A-minor – Fugue Nr.2, in A minor · Chopin: Etude Nr.4, op. 25, in A minor · Etude Nr.11, op. 25, in A minor
C
Schostakowitsch: Prelude Nr.1, in C major / Fugue Nr.1, in C-major
J. S. Bach: Prelude Nr.1, BWV 846, in C-major · Chopin: Etude Nr. 1, op.10, in C-major · F. Chopin: Etude Nr. 12, op.25, in C-minor
H
Schostakowitsch: Prelude Nr.6, in B-minor · J. S. Bach: Prelude Nr.24, BWV 869, in B-minor Prelude Nr.24, BWV 893, in B-minor · Chopin: Etude Nr. 10, op. 25, in B-minor
DORA DELIYSKA, Klavier / piano
