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MAX REGER: ORCHESTRAL SONGS
Deutsche Staatsphilharmonie Rheinland-Pfalz · Gregor Bühl
Up to today, it has largely remained unnoticed that Max Reger, who enlarged his oeuvre work by work in literal ‘piece work’, again and again turned to arranging works by others in order ‘to recuperate’ from his own composition. Whereas Reger’s original works for voice and orchestra are mainly related to the genre of the orchestral song with a tradition cultivated in France, but also in England, the arrangements were largely composed following performance-technical considerations.
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CHRISTINE SCHORNSHEIM
Bach: Goldberg Variations
‘Like for many harpsichordists and pianists, for me, too, the Goldberg Variations rank among the most significant works of clavier literature. I listened to my first recording, produced 25 years ago, only to notice that over the course of the years I have remained true to myself in many respects. On the other hand a process of maturation has taken place, the outcome of which I now indeed wanted to document, simply because the variations are a part of my life. Linking the Goldberg Variations to La Capricciosa by Dietrich Buxtehude originated in an idea that had established itself in my mind for many years.’
Christine Schornsheim
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ALBERTO GINASTERA (1916 - 1983)
DEUTSCHES SYMPHONIE-ORCHESTER BERLIN · ARTURO TAMAYO
SOUND SAMPLE
https://soundcloud.com/user-592952001/alberto-ginastera-new-cd
After achieving independence from Spain an autonomous concert and opera life developed in Argentina, in many respects trained in European traditions: Astor Piazolla, the founder of the Tango Nuevo, should be mentioned here, as well as Mauricio Kagel, Carlos Gardel and finally the personality that has been considered for decades the great man of classical-style music in the South American country: Alberto Ginastera. Three of the works recorded here fall into this final period, the ‘Neo-Expressionist’ one. The Concerto per corde op. 33 (1965), held in the classical four movements, Estudios sinfonicos op. 35 (1967), one of Ginaster’s orchestral works experimenting furthest with sytlistic devices of the avant-garde and a special position within the works of the third period is taken by the Glosses sobra temes de Pau Casals op. 48 (1976/77), as it takes recourse to very traditional material – themes by the great Spanish cellist Pablo Casals – treating it in a kind of reflection in an avant-garde mirror.
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ARNOLD SCHÖNBERG
CLAUDIA BARAINSKY · KONRAD JARNOT · URS LISKA · ANDREAS GRAU· GÖTZ SCHUMACHER · IRMELA ROELCKE
COMPACT DISC 1
Gethsemane (Fragment) · Text: Richard Dehmel
Piano score by / Klavierauszug von Arnold Schönberg
Gurre-Lieder (Orchestral Parts / Orchesterstücke)
Arr.: Anton Webern (1883 – 1945)
for 2 pianos with 4 players / für zwei Klaviere mit 4 Spieler
Six Orchestral Songs / Sechs Orchesterlieder, op. 8
Piano score by / Klavierauszug von Anton Webern
Piano Piece op. 11, No. 2 / Klavierstück op. 11, Nr. 2
arr.: Ferruccio Busoni (1866 – 1924)
COMPACT DISC 2
Six Little Piano Pieces / Sechs kleine Klavierstücke, op. 19
String Quartet / Streichquartett Nr. 2, op. 10
Piano Score by / Klavierauszug von Alban Berg (1885 – 1935)
5 Pieces for orchestra, op. 16
arr.: Erwin Stein (1885 – 1958) / arr.: Anton Webern
Chamber Symphony / Kammersinfonie Nr. 2, op. 38b
arr.: Arnold Schönberg
for 2 pianos with 2 players / für zwei Klaviere mit 2 Spieler
CLAUDIA BARAINSKY, Sopran / soprano
KONRAD JARNOT, Bariton / baritone
Klavier / piano:
URS LISKA · ANDREAS GRAU · GÖTZ SCHUMACHER · IRMELA ROELCKE
After the great success of the complete recordings of the songs by Arnold Schoenberg (Capriccio 4CD-Set, C7120), the pianist Urs Liska and prominent colleagues once more deal with the father figure of Modernism on this double CD. Piano arrangements with up to four players, the majority of them world premiere recordings, show large-scale orchestral works such as the Gurre-Lieder or the Orchestral Pieces op. 16 in a new and transparent light.
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JOHANN MICHAEL HAYDN
Virtuosi Saxoniae · Ludwig Güttler
With CAPRICCIO Encore we re-release most famous recordings from the Backcatalogue in a remastered version, new design and for a special price. Legendary recordings of artsts like Sandor Végh, Ton Koopman, Sir Neville Marriner or the Vienna Boys’ Choir are also included as special repertoire highlights from the baroque to the contemporary era.
In July, 1763 Johann Michael Haydn (1737-1806) arrived in Salzburg and promptly gave a performance at the prince bishop's summertime residential palace. It is noted in the court register that the table music was 'furnished by an outside composer from Vienna by the name of Michael Heiden''. Within a year's time, he had been commissioned to write a serenade. In Salzburg one had high expectations of the composer and newly-named (second) concertmaster Haydn, for it was traditionally the most respected composers of the court who received commissions by the university students to write such serenades. It was a custom in Salzburg to pay respects to the prince bishop at the conclusion of exams, usually in August or early September, by playing a serenade, sometimes called a "Finalmusik".
