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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.
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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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Zara Levina
Lettberg · Revich · Adrion · Riemke · Tchemberdji
After the great success and Grammy nominated Album of The Piano Concertosby russian composer Zara Levina (Capriccio C5269), this recording focus now on different types of chamber Music compositions by the same composer. Again, the Riga-born pianist Maria Lettberg plays the leading part on this recording and shows the high creativity of the unjustified forgotten composer.
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GOTTFRIED VON EINEM
RUNDFUNK-SINFONIEORCHESTER BERLIN · JOHANNES KALITZKE
Gottfried von Einem 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. We owe Einem not least his rescue of the note material of many works by banned colleagues from destruction. Catchy thematic and melodic ideas, sharply accentuated rhythm, strong gestural and dance-like energy and a pronounced feeling for differentiated timbres determined Gottfried von Einem’s musical diction at an early age, features he retained throughout his life.
