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MAX REGER
Anke Vondung · Tobias Berndt · Chorus Musicus Köln · Das Neue Orchester · Christoph Spering
In celebration of the 150th Anniversary this Album focus on still less-known but exceptional sensitive and impressive Choral Symphonic and Orchestra songs by Max Reger. With these works, Reger entirely adhered to the trend of the time; the large-scale idea, which would have had no place in the operas of the period, is transferred to the concert hall, so to speak, and is as far removed from the "simple" orchestral song as some of Mahler's Rückert-Lieder. The Hebbel Requiem, Op. 144b includes audible parallels with Johannes Brahms‘s German Requiem and was Reger’s memorial for the German soldiers killed in the war.
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#bruckner24 Symphony #2 (1877)
BRUCKNER ORCHESTER LINZ · Markus Poschner
This Complete Versions Edition includes all versions published or to be published under the auspices of the Austrian National Library and the International Bruckner Society in the Neue Anton Bruckner Gesamtausgabe (The New Anton Bruckner Complete Edition)
"What nonsense”, grumbled Otto Dessoff after a read-through (to determine its repertoire-worthiness for the Vienna Philharmonic) of Bruckner’s Second Symphony. This doomed the work to a life of revision. The first version was written in 1871 when the Second was still the Third Symphony because the Zeroëth, then still the Second, hadn’t been annulled yet. Despite Bruckner managing a well-enough regarded premiere of this version, he set about to rework it during his period of revision in 1877 where he and his eager helpers set about to radically trim any perceived fat. The result, which we know as the second version, changed most in the Finale, where a full 193 bars were pruned. This version follows Bruckner’s cuts unflinchingly which cannot, however, alter the Symphony’s expansive proto-Brucknerian structure first heard here. And then that marvelous Adagio in this lyrical sister of the First Symphony!
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Z. NOSKOWSKI
DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ · ANTONI WIT
Although he had famous students (i.e. Szymanowski) and teachers (Moniuszko), few listeners know much, if anything, about Zygmunt Noskowski (1846–1909). And yet, for most of the 19th century, he was the primary exponent of modern symphonic music in Poland. As a conductor and concert organizer, he had himself championed the causes of forgotten Polish composers. Now it is Antoni Wit, Noskowski’s successor at the helm of the Warsaw Philharmonic at a distance of 94, who helps out his late-romantic colleague – just as he has already done with the music Zygmunt Stojowski on a previous Capriccio recording (C5464).
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KURT WEILL: PROPHETEN · WALT WHITMAN SONGS
Dohmen · Azesberger · Hampson (Songs) · Wiener Jeunesse-Chor · ORF Vienna Radio Symphony Orchestra · Dennis Russell Davies
PROPHETS
A Biblical Cantata from The Eternal Road (1935)
Text by Franz Werfel (1890-1945) and from scriptures / Devised by David Drew
JEREMIAS, DIE STIMME SALOMOS / The Voice of Salomon, Albert Dohmen · RABBI, Kurt Azesberger · JESAJAH, ERSTER WEISSER ENGEL / First White Angel, ENGEL DER ENDZEIT / Angel of the End of Time, Michael Papst · WIDERSPRECHER / The Adversary, Gottfried Hornik · CHANANJAH, Bernd Fröhlich · RAHEL, EINE FRAU / A women, Ursula Fiedler · ERZÄHLER / Narrator, Anselm Lipgens
Wiener Jeunesse-Chor · Wiener Motettenchor
FOUR WALT WHITMAN SONGS
für Stimme und Orchester / for voice and orchestra
Thomas Hampson, Bariton / baritone
ORF Vienna Radio Symphony Orchestra
Dennis Russell Davies Dirigent / conductor
The score of The Prophets, intended as the last act of The Eternal Road, was the last that Kurt Weill composed in Europe and his last extensive setting in German, before he personally and professionally adopted the language of his new home, America. Musically, he drew on all his previous great works, from Mahagonny and the Seven Deadly Sinsto his Second Symphony. At the same time, he foreshadowed some of his soon-to-be-written works for Broadway. In 1998 David Drew devised the concert adaptation of this act, of which this is the premiere’s recording. The Four Walt Whitman Songs, meanwhile, were a product of the war years and reveal Weill at his most touchingly American, fusing American theater song with the German Lied, Berlin with Brooklyn.
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PENDERECKI
Jan Jakub Bokun MECCORE STRING QUARTET
