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ROUND MIDNIGHT
BLECHBLÄSERQUINTETT des Deutschen Symphonie-Orchesters Berlin
HENRY PURCELL: The Fairy Queen (Overture) · ROBERT JOHNSON: The Satyr’s Dance · OSKAR BÖHME: Night Music Op. 44 · CAMILLE SAINT-SAENS: Danse macabre op. 40 · ROBERT BEASER: Brass Quintet · J. MARK SCEARSE: Enchanted Forest Suite · THELONIUS MONK & COOTIE WILLIAMS: Round Midnight · BURTON LANE: Old Devil Moon · GABRIEL FAURÉ: Requiem op. 48 (Pie Jesu)
BLECHBLÄSERQUINTETT
des Deutschen Symphonie-Orchesters Berlin
FALK MAERTENS & RAPHAEL MENTZEN, Trompete / trumpet
PAOLO MENDES, Horn / horn · ANDREAS KLEIN, Posaune / Trombone · JOHANNES LIPP, Tuba
When Round Midnight was published, Thelonius Monk was an outsider due to the extravagant harmony and the complexity of his music; he cultivated this image. With this elaborate polyphony, Monk ingeniously managed to translate the Romantic ‘midnight piece’ into the sphere of expression of jazz. Does the music of the night not really sound tender, seeming to come from afar or surfacing from the depths of dreams? Do brass instruments present a suitable medium for such subtle adjustments of the hearing sensitivity? On their instruments, today’s virtuosos even in an ensemble, attain an ease and agility that sweeps away any prejudices about the massive nature of their appearance. They show themselves to be versatile as virtuosos of mimicry, no less appropriate for fairy-like magic than for gloomy abysses and the cutting acrimony of the macabre and horrific.
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MAX REGER: Concerto for violin and orchestra in A major, Op. 101
WINFRIED RADEMACHER · LINOS ENSEMBLE
2. Because he is dead and we still do not have any clarity about him.
(I consider him a genius)’ Arnold Schönberg,1922
As little as it was perceived by the general public during its short existence, in accordance with its genesis, all the more remarkable were the effects and the aftereffects of the Society for Musical Private Performances, founded by Arnold Schoenberg in Mödling near Vienna in November 1918, especially as it was associated with the intention ‘to give Arnold Schoenberg the opportunity personally to carry out his intention of providing artists and art lovers with a veritable and precise knowledge of Modern Music’ (Alban Berg 1919). Special emphasis was placed on performing works by Mahler and Max Reger. The arrangement for the Association for Private Musical Performances was written by the violinist Rudolf Kolisch (1896–1978), a pupil of Schreker and a private student of Schoenberg after 1919, later also the latter’s brother-in-law.
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CHARLES IVES
Tzimon Barto, piano
From weird and idiosyncratic, slightly crazy up to absolute genius – the assessment of the composer Charles Ives is today at least just as diversified as that of his main work for piano, the Concord Sonata. The four movements are based on four American writers of the 19th century who were all closely connected to the little town of Concord in Massachusetts, forming a centre of so-called Transcendentalism there. In the music, Ives does not draw musical portraits of the writers, who would hardly have inspired him to this extent in terms of their biographies. He rather allows himself to be guided by the moods that came to his mind roughly 50 years later in associations with their texts and the philosophy they advocated. Beside the difficult technical terms (complete dispensal with bar lines for long passages, also the use of clusters etc.) Tzimon Barto’s interpretation is full of his well known sensitivity and shows us a new impressive access to this bombastic work of 20th century piano literature.
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HAYDN: OPERA GALA
SIMONE KERMES · CHEN REISS · RAINER TROST · THOMAS MICHAEL ALLEN · WOLFGANG HOLZMAIR PAUL ARMIN EDELMANN · JÜRGEN SACHER · IVAN PALEY WDR RUNDFUNKORCHESTER KÖLN MARKUS POSCHNER · MANUEL HERNANDEZ-SILVA
Haydn Opera Rarities with Top Stars!
Although Joseph Haydn is still regarded above all as a master of instrumental music, he was also a contemporary of the future as an opera composer. For a not unsubstantial length of his life, he chiefly devoted himself to this genre; as the opera director of Prince Esterházy, he headed over a thousand opera productions in Esterháza including the ‘hits’ of the time as well as stage works of his own. It is unusual and a pointer to the future that women take control in both operas presented here. In addition, these female protagonists are people of flesh and blood, strong and pragmatic; the spirit of the Enlightenment can be sensed.
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CARNEVAL ORIENTAL
PERA ENSEMBLE · l’arte del mondo · WERNER EHRHARDT
JEAN BAPTISTE LULLY: Passacaille (from the Opera “Armide”, 1686) · Canaries (from “Bourgeois gentilhomme”, 1670) ANDRÉ CAMPRA: Carnaval de Venise (Ballett-Oper / Ballet Opera, 1699 / Excerpts) · ANTONIO CESTI: Alma mia (from the Opera “L’Argia”) · ANTONIO SARTORIO: Quando voglio / Ogni bella (from the Opera “Giulio Cesare”) · LORENZO ALLEGRI: Canario, Il Primo Libro Delle Musiche · MARCO UCCELLINI: Aria Quinta: Sopra la Bergamasca · CLAUDIO MONTEVERDI: Lidia Spina del Mio Core · ARCANGELO CORELLI: La Follia · ANTONIO CESTI: Orontea · ALESSANDRO SCARLATTI: Se il mio dolor t’offende (from the Opera “Griselda”) · GEORG FRIEDRICH HÄNDEL: Se teco vive il cor (from the Opera “Radamisto”)
Francesca Lombardi Mazzulli, Sopran / soprano
Charlotte Quadt, Mezzosopran / mezzo-soprano
PERA ENSEMBLE
Mehmet C. Yeşilçay, Musikalische Leitung
l’arte del mondo
WERNER EHRHARDT, Dirigent / conductor
After the final siege of Vienna and the Turkish defeat, the Ottoman Empire had no longer been a threat. In private circles, pantaloons, caftans and turbans were now worn, the Turkish drink was appreciated and hookahs were smoked. The Alla Turca fashion found expression in Turkish operas. Il Seraglio by Mozart is probably the best-known work on this topic. However, since the early 17th century there have been dozens of operas, arias and instrumental compositions on the subject. The project Carneval Oriental receives its inspiration from this melting-pot of cultures, an exclusive blend of musical worlds. We celebrate carnival as it was probably held in the 16th and 17th centuries. The Pera Ensemble, which has been rediscovering these encounters between the Orient and the Occident as well as the turqueries and Alla Turca music for many years, meets up with the ensemble l’arte del mondo and offers Baroque music from France and Italy refined with oriental spices, arias and instrumental music in a new understanding of sound
