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WOLFGANG RIHM: DAS GEHEGE JEAN-PASCAL BEINTUS: LE PETIT PRINCE
DEUTSCHES SYMPHONIE-ORCHESTER BERLIN · KENT NAGANO
When Kent Nagano assumed the direction of the Bavarian State Opera in Munich in autumn 2006, he had intended a new production of Richard Strauss’ Salomeas one of the first premieres. He wanted to precede the challenging one-act opera after Oscar Wilde’s drama with a new music theatre work. He turned to Wolfgang Rihm. ‘I replied’, Rihm said in an interview with Die Zeit: ‘There’s only one thing: the final scene from Schlusschorby Botho Strauß.Nagano’s commission became the catalyst in transforming this desire into reality. This is the genesis of Das Gehege. A nocturnal scene for soprano and orchestra.
Kent Nagano and Jean-Pascal Beintus (* 1966) met in the orchestra pit of the Opéra de Lyon in 1988. After considering the first orchestral manuscripts, the maestro, known for his openness and great erudtion, encouraged the young man to expand his musical career. Several pictorial projects came to Nagano’s mind, which he entrusted to Beintus’ musical imagination: first, Wolf Tracks for recitator and orchestra (recorded with the speakers Bill Clinton and Michail Gorbachov), for which Beintus was awarded a Grammyin 2004, before in 2008 writing for the family concerts of the German Symphony Orchestra in Berlin a suite on Antoine de Saint-Exupéry’s omnipresent The Little Prince.
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LINOS ENSEMBLE
BRUCKNER · MAHLER · BERG · REGER · SCHÖNBERG · WEBERN · DEBUSSY · ZEMLINSKY · BUSONI · STRAUSS (Sohn)
CD 1 ANTON BRUCKNER: Symphony No. 7 (arr. Stein / Eisler / Rankl)
CD 2 GUSTAV MAHLER: Symphony No. 4 (arr. Stein)
Lieder eines fahrenden Gesellen (arr. Schönberg)
CD 3 GUSTAV MAHLER: Das Lied von der Erde (arr. Riehn)
CD 4 GUSTAV MAHLER: Kindertotenlieder (arr. Schönberg / Riehn)
ALBAN BERG: Violin Concerto (arr. Schönberg / Tarkmann)
Altenberg Lieder (arr. Schönberg / Wagenaar)
CD 5 MAX REGER: Violin Concerto op. 101 (arr. Kolisch)
CD 6 ARNOLD SCHÖNBERG: Chamber Symphony op. 9 (arr. Webern)
Six Songs for voice and orchestra, op. 8 (arr. Eisler / Stein / Schönberg)
ANTON WEBERN: Six Orchestral Pieces, op. 6 (arr. Webern)
CD 7 CLAUDE DEBUSSY: Prélude à l'après-midi d'un faune (arr. Sachs)
MAX REGER: Romantic Suite op. 125 (arr. Schönberg / Kolisch)
ALEXANDER ZEMLINSKY Six Songs, op. 13 "Maeterlinck-Lieder"
(arr. Stein / Tarkmann)
FERRUCCIO BUSONI: Berceuse élégiaque op. 42 (arr. Stein)
CD 8 JOHANN STRAUSS (Sohn): Waltz-Arrangements (arr. Schönberg / Berg / Webern)
OLAF BÄR · ALISON BROWNER · MARKUS SCHÄFER · MARION ECKSTEIN · SIMONE NOLD · IVONNE FUCHS· ZORYANA KUSHPLER · WINFRIED RADEMACHER
LINOS ENSEMBLE
Founded in November 1918 by Arnold Schoenberg(1874–1951) and a few of his confidants, the Association for Private Musical Performancesconstituted perhaps the most progressive and most intensive opportunity for a select Viennese musical circle to familiarize themselves with contemporary and the latest works of the international composers’ scene in the immediate aftermath of the First World War and hence at the time of a dearth of a cultural spirit of optimism and innovation. Schoenberg had a close personal tie with many of the composers performed at the association concerts and sometimes even an amical one, as in the case of Zemlinsky. The association became a nursery for the entire modern music from Richard Strauss and Debussy to Webern, as far as the instrumentation of the works allowed.
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BORIS BLACHER (1903-1975)
RUNDFUNK-SINFONIEORCHESTER BERLIN · JOHANNES KALITZKE
What Boris Blacher passed on to many of his students – like Gottfried von Einem, Aribert Reiman or Isang Yun - primarily also characterizes his own music: a pronounced gestic and dance-like energy, lyrical melodies, orchestral sparkle, but also very subtle and intimately instrumented moments. The Poemeis an excellent example of the fact that for Blacher, who wrote a large number of ‘genuine’ ballets, movement plays a central role even in works that are to be understood as absolute music. It sounds almost a little strange that such an individualist and musician open-minded to absolute innovation had no direct problems with the conditions imposed by Nazi cultural policy also on the whole field of music, but quite the opposite, was in a position at that time to compose some of his major works. . It was probably due to the disunity of the pundits in the Third Reich that Blacher was permitted to continue his very individual course, without being disciplined too severely.
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DMITRY KABALEVSKY (1904-1987)
YURY REVICH · MAGDA AMARA · DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ · KARL-HEINZ STEFFENS
Many of the today distinguished Soviet composers in the second half of the 20thcentury knew how to steer a middle course, enabling them to supply what was officially desirable and yet to remain faithful to themselves, writing the music they wanted to write. Kabalevsky was a Jack of all musical trades and, as a specialist for children’s music especially, cultivated a highly personal style, kept in easily comprehensible tonal aesthetics. His works are characterized by some of the features typical of Kabalesky’s overall oeuvre: a cornucopia of melodious imagination, dance rhythms, above all in the fast movements, expansive slow sections and a positive, often cheerful tone.
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EDUARD KÜNNEKE: HERZ ÜBER BORD
WDR FUNKHAUSORCHESTER KÖLN WAYNE MARSHALL
Driven by success, Künneke committed himself to the genre of the operetta in the 1920s and 1930s. The diversity of his many operettas reveals Künneke’s enormous adaptability to the stylistic currents of entertainment music at that time. He had most international success with Der Vetter aus Dingsda (1921), with which Künneke has almost exclusively been identified up to today. His successful operettas were even adapted for London and New York. Herz über Bordwas premiered in 1935, initially at the Zurich Opera and was performed almost 500 times between 1935 and 1937, including in Dresden, Stuttgart, Stockholm and Berlin. The Berliner Zeitungnoted: ‘Once again, we can listen to operetta music written by an artist, a man of taste. Every number has its own weight’.
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