cd
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.
Weitere Bilder
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
Weitere Bilder
NARTIN PALMERI: MISA A BUENOS AIRES
Dagmar Linde · Rocco Heinz · Bach-Chor Siegen · Tango-Orchester "El Arroyo" · Ulrich Stötzel
Many works by the Argentinian composer Martín Palmeri are completely inspired by the style of ‘Tango Nuevo’ in terms of form and harmony, as is also the case with the tango mass Misa a Buenos Aires, composed in 1996. In his Misatango the composer combines the text of the Latin mass with the traditional music of his homeland, making the classical Roman Catholic mass, such as it has been set to music for centuries, appear in new apparel.
Youtube
Weitere Bilder
WEINBERG: Violin Concerto KABALEVSKY: Piano Fantasy · Cello Concerto
ORF VIENNA RADIO SYMPHONY ORCHESTRA · CORNELIUS MEISTER
MIECZYSŁAW WEINBERG (1919 – 1996)
Concerto for violin and orchestra, op. 67 (1959)
DMITRY KABALEVSKY (1904 – 1987)
Fantasy in F minor for piano and orchestra (after Schubert D 940)(1961)
Concerto for cello and orchestra no. 1 in G minor, op. 49
Dmitry Kabalevsky – despite the vague name recognition a widely unknown composer of socialist-realist music – has rightly been forgotten, if only because of his actively unsavory, toadying, opportunist politics that netted him three Stalin Prizes and four Orders of Lenin. He was chummy with the Russian Association of Proletarian Musicians when that seemed expedient and later a very active member of the Union of Soviet Composers. Weinberg is the exact opposite of Kabalevsky, politically and musically. He was a life-long victim of the Soviet Union and his music is – some genuine incidences of humor apart – a dense shot of genius that makes breathing difficult, not easy. With this Album Capriccio presents with a famous cast the music of two nearly forgotten Russian Masters their music and biography could not be more different.
Youtube
Weitere Bilder
FRANZ & CARL DOPPLER EDITION 6/10
Claudi Arimany · Shigenori Kudo · Maxence Larrieu · János Balint · Alan Branch · Michel Wagemans · Francesco Nicolosi · Barcino Horn Quartet · Orquesta Sinfónica Ciudad de Elche • Leonardo Martínez
“Valse di Bravura”, Op. 33 (F&C) for two flutes and piano · Chanson d´amour. Air Varié, Op. 20 (F) for flute and piano · “Das Waldvöglein” (L’oiseau des bois). Idylle, Op. 21 (F) for flute and four horns · Morceaux favoris sur “Der Freischütz” opéra de C.M. von Weber (F) (WPR) for solo flute with piano ad libitum · Potpourri sur “Bánk-Bán” opéra hongroise de F. Erkel © (WPR) for piano and flute · Duo sur “La Muette de Portici” opéra de D.F.E. Aubert (F) (WPR) for two solo flutes · Moderato (F) (WPR) for flute and piano · “Fantaisie sur des motifs hongrois” © (WPR) for two flute and orchestra (original1853 Doppler orchestral version)
C = Carl Doppler / F=Franz Doppler / WPR=World premiere recording
The Doppler brothers played a dominant role in the Imperial-Royal Monarchy’s musical life as composers, conductors, musicians and orchestral soloists. They were on good terms with acknowledged artists of the era, such as Ferenc Liszt and Ferenc Erkel, as well as Jozsef Bajza, director of the Budapest National Theatre.
This is the sixth release in a set of 10 CDs comprising the Dopplers' complete music for flute(s), including various arrangements. Flautist Claudi Arimany spent
decades researching this project, inspiring many famous musicians to become involved in its realisation.
