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GEORGE ANTHEIL
Frank Dupree · Deutsche Staatsphilharmonie Rheinland-Pfalz · Karl-Heinz Steffens
Trade Mark ‘Bad Boy’ – After all the experimental episodes the audience has faced in the field of New Music in recent decades, today the oeuvre of George Antheil will be welcomed with a great deal of sympathy and many a friendly smile. The American knew full well not only how to meet the expectations of an audience ‘prepared to protest’, but also how even to challenge them more overtly. An excellent example is the Jazz Symphony, written in 1925, shortly after George Gershwin’s Rhapsody in Blue (1924), that bursting the limits of the customary listening experiences of the age in a similar way to e.g. Stravinsky’s Le sacre du printemps of 1913.
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VIKTOR ULLMANN
Moritz Ernst · Dortmunder Philharmoniker · Gabriel Feltz
With the biography of Viktor Ullmann, a prominent individual fate in musical history stands out drastically from the anonymity of the millions of victims the Nazi regime exacted in the course of its attempted obliteration of individual minorities and particularly the mass extermination of the Jewish population in its sphere of influence. It can be only roughly surmised what striking musical movement was thus practically completely destroyed and was hence unable to continue its thrilling development into the second half of the 20th century. It was during these consistently difficult periodes that the Piano Concerto and Piano Sonata No. 7 have been composed, which demonstrates how clearly Ullmann was able to separate external circumstances and his musical imagination.
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ERNST TOCH
Anna Magdalena Kokits
Burlesques op. 31 (1923)
Three Piano Pieces op. 32 (1925)
Capriccetti op. 36 (1925)
Ten Etudes for Beginners op. 59 (1931)
Ten Intermediate Etudes op. 57 (1931)
Echoes from a Small Town op. 49 (1929)
Piano Sonata op. 47 (1928)
All the works on this CD derive from the inter-war years, i.e. the period in which Toch completely de-romanticized his music by disregarding late Romantic harmonic conventions and restrictions. “What has always fascinated and impressed me from the outset – particularly in the works after 1918 – is their reduction to the essential and salient. Every note conveys the impression of being absolutely necessary, and not one is superfluous or replacable. Ernst Toch’s music is convincing, and his story moves me in such a special way that I feel a great need to make his music accessible to a broader public again and to contribute my share towards re-integrating the ‘most forgotten composer of the 20th century’, as he often called himself in the final years of his life, in musical life today.” Anna Magdalena Kokits
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FRANZ & CARL DOPPLER EDITION 3/10
Claudi Arimany, Shigenori Kudo, Christine Icart, Nabi Cabestany, Alan Branch, Michel Wagemans, John Steele Ritter, Pedro José Rodriguez, Orquesta Sinfónica Ciudad de Elche • Leonardo Martínez
[1] Duettino sur des motifs hongrois op. 36 for two flutes and piano (F)
[2] Morceaux favoris sur “Figaro” opéra de W.A.Mozart for solo flute with piano ad libitum (F) (WPR)
[3] “Az ujabb zene gyöngyei. A Legkedveltebb Csárdások”. Füzet 3
(The recent Hungarian music pearls. The most popular Csardas. Book 3
for solo flute with piano ad libitum ©
[4] Fantasia su motivi dell´Opera “Casilda” di Ernesto II
for flute and harp (Doppler & Zamara) (F)
[5] Potpourri sur “Martha” opéra de F.Flotow for piano and flute (F) (WPR)
[6] Duo sur “La Fille du Régiment” opéra de G.Donizetti for two solo flutes (F) (WPR)
[7] “Meditation von Bach” for two flutes, cello and piano (Bach-Gounod-Doppler) (F) (WPR)
[8] “Die Gebet einer Jungfrau” for flute and piano (Bádarzewska-Doppler) (F) (WPR)
[9] “Chanson d´amour” Air Varié for flute and orchestra (F) (WPR)
C = Carl Doppler / F=Franz Doppler / WPR=World premiere recording
The Doppler brothers played a dominant role in the K&K Monarchy’s musical life as composers, conductors, musicians and as orchestral soloists. They were on good terms with acknowledged artists of the era, such as Ferenc Liszt, Ferenc Erkel, or Jozsef Bajza.
This is the third 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.
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ANTONÍN DVOŘÁK THE SPECTRE’S BRIDE
ŠATUROVÁ · BRESLIK · PLACHETKA · WIENER SINGAKADEMIE · ORF VIENNA RADIO SYMPHONY ORCHESTRA · CORNELIUS MEISTER
CANTATA FOR SOLI, CHOIR AND ORCHESTRA OP. 69
after a poem by Karel Jaromir Erben (1811-1870)
'I just cannot tell you how much these British honour and like me! Everywhere, they are writing and talking about me, saying I am the lion of this year’s musical season in London. (…)’ Antonin Dvorak (1884)
Concerts in different British cities performed a large number of other works by Dvořák, so that it was inevitable that there was a call for works especially written for Great Britain. From May to November 1884 he wrote the cantata The Spectre’s Bride. 1885 the projected concert finally took place in Birmingham. Tradition has it that Dvořák himself conducted an about 400-voice choir and an orchestra consisting of 150 musicians. Many more performances within just one year in Great Britain and the USA contributed towards consolidating Dvořák’s prominence and popularity in the English-speaking world, which have never really waned since then.
