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World Premiere Recordings Berliner Gambenbuch

Suite G-Dur / in G major
Weihnachts-Suite I / Christmas Suite I               
Weihnachts-Suite II / Christmas Suite II:
Suite d-Moll / in D minor                                                    
Suite G-Dur / in G major (Skordatur)                                  
Passions-Suite g-Moll / in G minor (Skordatur)   
Oster-Suite / Easter Suite                                                   
Suite B-Dur / in B flat major (Skordatur)                            
                  
Ensemble  Art d'Echo:
Kai Roterberg, Gesang / Vocal · Ophira Zakai, Theorbe / theorbo
Klaus Eichhorn, Truhenorgel / organ
Juliane Laake
Viola da gamba – Leitung / Director
At the Bibliothèque Nationale in Paris there exists a very unusual 17^th century manuscript of music for solo viola da gamba (lyra viol), known only by its shelf number Réserve 1111. This tiny leather-bound book is elongated and has 270 pages. Compiled by at least eight different individual hands, the music is notated almost entirely in tablature and reflects a variety of scordatura tunings. It was acquired by the Berlin library in 1880 and is generally thought to originate from the Brandenburg region that is part of northern Germany. Near the end of the Thirty Years War, Brandenburg started to regain its prosperity and stability under the leadership of Frederick William, known as the “Great Elector” (reigned 1640-1688). Quite a number of the finest viola da gamba players of the day are known to have visited or spent time there. Frederick William himself played the treble viol. Rés. 1111 has never been published in a facsimile or modern edition. Not only were there a great number of pieces with which to come to grips, but Juliane Laake also had to find some way to organize them into a coherent and presentable narrative. What you hear now is a record of her exploration and sleuthing and discovery.

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WILHELM STENHAMMAR · JEAN SIBELIUS

With the pianistic talent of the young artist Cassandra Wyss the compilation of works by Wilhelm Stenhammar and Jean Sibelius on one CD emerges as a gateway into the world of Nordic sound gems. With her artistic courage to be stubborn – to be understood in the spirit of Hermann Hesse –, namely to select precisely those works that suit her as a pianist, Cassandra Wyss enables the careful listener to take a new and very personal view of the rich repertoire of Scandinavian music.

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BAROQUE CHRISTMAS - Cantatas & Motets

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Eschenbach - Barto

COMPACT DISC 1
Konzert für Klavier und Orchester Nr. 1 d-moll op. 15
Concerto for piano and orchestra no. 1 in D minor op. 15
Ballade op. 10 No. 1 d-moll / in D minor
Ballade op. 10 No. 2 D-Dur / in D major
 
COMPACT DISC 2
Konzert für Klavier und Orchester Nr. 2 B-Dur op. 83
Concerto for piano and orchestra no. 2 in B flat major op. 83
Ballade op. 10 No. 3 h-moll / in B minor
Ballade op. 10 No. 4 H-Dur / in B major

The american pianist Tzimon Barto and the world famous conductor Christoph Eschenbach have a very long and close friendship together. After their successful recording of Tchaikovsky’s B flat Minor Concerto (Capriccio C5065) they follow up now
with the Brahms Concertos and give us again a sample of their close and interesting work together. Brahms concertos had bad critics in the time of their first performance but today they are one of the most performed and beloved masterpieces of piano literature. Barto and Eschenbach shows their own very special interpretation which might be sometimes strange listening but gives a new focus on these masterpieces.

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Piano Trios

ALEXANDER VON ZEMLINSKY (1871-1942)    
Trio for Piano, Violin and Cello in D Minor, op. 3 
 
ERNEST BLOCH (1880-1959)                  
Three Nocturnes for Piano, Violin and Cello
 
ERICH WOLFGANG KORNGOLD (1897-1957)  
Trio for Piano, Violin and Cello in D Major, op. 1 
 
PACIFIC TRIO
Roger Wilkie, Violine / violin · John Walz, Violoncello / cello
Edith Orloff, Klavier / piano

Zemlinsky, Korngold and Bloch also shared the fate of so many other important musical voices of the early twentieth century when their music was banned, and their lives and careers upended, by the Nazi regime.  All three names can be found in the infamous Lexikon der Juden in der Musik, first published under the auspices of the Nazi Party in 1940. These policies, and others, created a rupture in the seamless heritage of German music, removing thousands of worthy works from performance, from publication and—for many— from posterity. It is the hope that musicians and music-lovers everywhere will hear these three works, and be intrigued to listen to—and to play—these and other chamber works by the many composers whose fortunes were curtailed by unfortunate timing on the stage of twentieth-century Europe. James Conlon

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