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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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R. STRAUSS: Aus Italien · WOLF-FERRARI: Suite Veneziana
Ariane Matiakh
‘Never have I really believed in inspiration by the beauty of nature; I was put right by the ruins of Rome. There my ideas just flew to me.’ Richard Strauss
"Aus Italien"was the first major symphonic poem mirroring diverse moods to be composed by Richard Strauss and that was to be followed by later masterpieces such as Don Juan, Tod und Verklärung, Ein Heldenleben or Eine Alpensinfonie. The Venetian Suite was written in 1935 by then almost 60-year-old Ermanno Wolf-Ferrari. It is the music of an opera composer, accustomed to illustrating events with his music, and yet in his concert works handing over many things to the imagination of the listeners, not wanting to give all the answers in advance.
