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PIETRO TORRI (ca. 1650 – 1737) – “LA BAVIERA” MUSICAL HOMAGE TO THE WITTELSBACH PRINCE KARL ALBRECHT
Label: ARS PRODUKTION SACD 38001 Our Price: $24.25 Quantity in Basket: none La Baviera, Festserenata (1726) La Publica Felicità, Componimento poetico per musica per introdurre et accompagnare un Carosello Zur Hochzeit von Karl Albrecht mit Maria Amalia (1722) Egloga Pastorale, Serenata per Musica in Applauso del Glorioso Nome dell´ Altezza Serenissima Elettorale di Carlo Alberto (1726) “Pomp and Ceremony” was the title of an exhibition of the Bavarian Department for State Palaces during 2002. The exhibition was accompanied by a thematically related concert series highlighting works of Bavarian court composers active during the 17th and 18th centuries. Many works performed in this series were heard for the first time since their premieres several hundred years ago. The opening concert took place on September 7, 2002 in the Kaiser Hall of the Munich Residence, featuring works paying homage to Elector Karl Albrecht. This CD is a live recording of that concert. The allegorical serenade La Baviera by Pietro Torri praises the skill of the new Elector Karl Albrecht and his future fame through the baroque figures Fama, the Isar river, and the personification of Bavaria: Viva Carlo. La pubica felicità had already been written as tournament music in 1722 for the wedding of Karl Albrecht and Maria Amalia, daughter of the Kaiser in Vienna. Torri had composed an opera for this festive occasion as well. The attribution of Egloga pastorale from 1726 is not entirely certain; its handwriting makes it likely to be a work of kapellmeister Bernabei which was commissioned by Princess Maria Amalia for Karl Albrecht’s name day. These works have also been edited and performed using autographs from the Bavarian State Library. |
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Label: ARS PRODUKTION SACD 38005 Our Price: $24.25 Quantity in Basket: none GIOVANNI PIERLUIGI DA PALESTRINA (1525 – 1594): O Rex gloriae, Chorsatz für stimmig gemischten Chor FRANZ LISZT (1811 – 1866): Salve Regina, Motet EDVARD GRIEG (1843 – 1907): Ave, maris stella, Motet FRANCESCO PAOLO NEGLIA (1874 – 1932): Ave Maria, Motette für 4-8 stimmig gemischten Chor ANTONIN DVORAK (1841 – 1904): Mass in D major for Choir and Organ, Op. 86 OSKAR GOTTLIEB BLARR (*1926): Der Aaronitsche Segen für 4-5 stimmig gemischtne chor |
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Label: BAYER SACD 100380 Our Price: $19.00 Quantity in Basket: none “Souvenir de Florence” for 2 Violins, 2 Violas & 2 Cellos, Op. 70; Serenade for String Orchestra in C major, Op. 48 Tchaikovsky’s Souvenir de Florence stands out by virtue of its voice leading, which treats all six voices as equal and independent. How difficult and new this course of action seemed to the composer himself was expressed in a letter to his brother Modest: “I’m writing under unusual pressure. I am having difficulties not because of a lack of ideas, but rather as a result of a form that is new to me. I need six independent and simultaneously similar voices. That is unbelievably difficult.” Nevertheless, he was able to announce in July 1890, after a few weeks: “What a sextet – and what a fugue at the end – it’s a pleasure! Terrible, how satisfied I am with myself... I’m becoming more and more captivated by it…” In getting this new Sextet into full swing, the lead conductor of the “Württemberg Chamber Orchestra Heilbronn”, Ruben Gazarian, deliberately renounced using the contrabass (the contrabass would double the 2nd cello and unnaturally strengthen this voice), in order to more closely approximate the composer’s intention of creating an internal balance between the six voices, and to allow the subtle interaction of individual voices. Tchaikovsky himself treasured his Serenade for String orchestra a lot, “Because this child is my youngest child, and because in truth, it’s not bad, and anyway, I have fallen terribly in love with the serenade and can hardly wait for its world premiere.” The St. Petersburg Russian Music Society performed the work on October 30, 880. Tchaikovsky himself conducted this work on his numerous international concert tours. |
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Label: COVIELLO SACD 20907 Our Price: $24.25 Quantity in Basket: none THE GUARD ON THE BATTLEMENT MICHAEL PRAETORIUS (1571 – 1621): Jubilate Deo prima pars; Jubilate Deo secunda pars; Laudate Dominum; Nun bitten wir den Heiligen Geist à 2 (6 versions); Benedicamus Domino; Fundamenta tenet mundi prima pars; Fundamenta tenet mundi secunda pars; Passamezzo; Gagliarda; Exsultemus adiutori nostro; Salve Regina; Salve Rex noster; Peccavi; Wachet auf, ruft uns die Stimme Choral; Wachet auf, ruft uns die stimme à 7 SAMUEL SCHEIDT (1587 – 1654): Canzon Est-ce Mars que je vois; Gagliarda la Battaglia In the early 17th century the Guard of the Battlement was not only the watchman but more and more the Town Piper. He had to communicate with his fellow guardians by acoustic signals. Sooner or later the town council discovered that these talents could be used for prestige purposes. This boosted the reputation of the town pipers, and consequently even the most prominent musicians such as Michael Praetorius and Samuel Scheidt, who both worked at the court of Markgrave Christian Wilhelm of Brandenburg in Halle.. Their spectacular sound effects revealed the expertise of the musicians. The way the ensemble Capella della Torre revives this exciting music on period instruments makes it more than understandable that they received many awards. |
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Label: CYBELE SACD 160404 Our Price: $19.00 Quantity in Basket: none NIKOLAY OBUKHOV (1892 – 1954): Invocation (1916); Deux pièces (1915): Les astrales parlent & Reflet sinister; Conversion (1915); Icône (1915); Création de l´Or (1916); Aimons-nous les uns les autres (1942); La paix pour les réconciliés – vers la source avec le calice (1948); Le Temple est mesuré, l´Esprit est incarné (1952); Adorons Christ – Fragment du troisième et dernier Testament (1945) IVAN VYSHNEGRADSKY (1893 – 1979): Deux Préludes pour Piano, Op. 2 (1916); Etude sur le Carré Magique Sonore, Op. 40 (1957) SERGEY PROTOPOPOV (1893 – 1954): Sonata No. 2, Op. 5 (1924) Thomas Günther, piano Alexander Scriabin was the most important source of inspiration for the experiments of the young Russian generation of composers, to which the three composers of this SACD release - Nikolay Obukhov (1892–1954), Ivan Vyshnegradsky (1893–1979), and Sergey Protopopov (1893–1954) - can be counted. They belong to the generation of young, avant-garde artists who emerged from the turbulent time which accompanied the revolutionary upheaval of the 1910s in Russia. This period of relative artistic freedom ended abruptly in 1929, when the severe criticism of “revolutionary” composers began. A few artists had left Russia earlier, in the immediate aftermath of the 1917 revolution, and their exile in the West led them not to recognition, but rather to isolation and obscurity, despite support from some prominent sources! The catastrophe that was World War II only helped to keep their music in oblivion. Those composers who remained in Russia awaited a different, but no less tragic, fate: the “need to survive”, i.e. complying with the aesthetic ideal of the Stalinist age. Unpopular people were completely removed from the public consciousness and any trace of them expunged from libraries and reference works. Thus finding scores is an extremely difficult process. In the case of Nikolay Obukhov, for instance, only three pieces were ever published: three piano pieces were issued by Durand, no doubt with the help of Maurice Ravel. The rest of his catalogue languishes in manuscript form in various archives. This SACD release with pianist Prof. Thomas Günther (Folkwang-Hochschule Essen), who is specialized since several years in this kind of repertoire, is the start of a whole SACD series in which important Piano Works during and after Russian Futurism are rediscovered and released for the first time on multiple SACDs. REVIEW - AUDIOPHILE AUDITION These three avantgarde composers emerged at about the time of the Russian Revolution and following the death of Scriabin in 1912. There was really no Scriabin School to continue the mystical Symbolist musical theories and practices of the first modernist Russian composer, so each of these revolutionaries went their own way in trying to create new paths for composition that would be appropriate to the struggles of the progressive new Soviet state. Their work became part of the Futurist-Constructivist approach to composition. Of course when the Stalinist regime got established, a new dictum of “socialist realism” became the model and these composers had to leave Russia. They have since been mostly forgotten. Obuchov created his own 12-tone manner of composition totally unrelated to Schoenberg’s. He conceived of a vast oratorio, evidently stimulated by Scriabin’s unfinished “Mysterium.” In his piano pieces he may have even exceeded the ecstatic expression of Scriabin’s works. He also invented an electronic instrument not unlike Ondes Martenot. His unusual little piano pieces here are divided into those of around 1915 and later ones penned in the 1940s. In his eight-minute piano piece subtitled “Fragment of the Third and Last Testament,” Obuchov appears to again emulate Scriabin’s “cosmic thinking” in suggesting he has a musical sequel to the Old and New Testaments! Wychnegradsky is best known for his quarter-tone music and the quarter-tone piano he built in Paris in the 1920s on which to perform it. However, his more standard piano pieces here still delve into what he called “ultrachromaticism.” Wychnegradsky was an influence on Messiaen and other young composers in Paris at the time. I found the most interest work on this program to be the Sonata Op. 5 of Protopopov. (Talk about an appropriate name…) Little is known about him except that he restricted his activities to musicology, theory and pedagogy. He relied on Scriabin’s model but had a more futuristic notion of sound - perhaps best translated as a sort of “theory of gravitation.” His three piano sonatas may be the most cryptic of all works in piano literature. His Op. 5 Sonata employs a “static note complex” using austere chordal textures which give the piece a menacing quality, yet not completely driven into atonality. As it intensifies towards the conclusion there is a manical barrage of these chords bringing the work to a ferocious climax. The album has lengthy notes on all three composers and the selections in the program. Cybele’s multichannel sound gives the piano a very natural and realistic position and size on the soundstage. - John Sunie |
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Label: NEOS SACD 10822/3 Our Price: $38.00 Quantity in Basket: none 2 CD SetPETER RUZICKA (*1948) – COMPLETE WORKS FOR STRING QUARTETIntrospezione, String Quartet No. 1 - Dokumentation für Streichquartett (1969/1970) …Fragment…, String Quartet No. 2 - Fünf Epigramme für Streichquartett (1970) Paul Celan: 12 poems from “Zeitgehöft” (Wanderstaude; Alle die Schlafgestalten; Zwei Sehwülste; Du wirfst mir; Mandelnde; Die Glut; Wir, die wie der Strandhafer wahren; Das Leuchten; Die Pole; Im Glockigen; Was bitter; Nach dem Lichtverzicht) Klangschatten for string quartet (1991) …Über ein Verschwinden, String Quartet No. 3 (1992) “…Sich Verlieredn”, String Quartet No. 4 for string quartet and speaker (1996)* Sturz, String Quartet no. 5 (2004) Erinnerung und Vergessen, String Quartet No. 6 for string quartet and soprano (2008) Literary fixed stars spur Peter Ruzicka continue on to make new musical observations. He reflects in his quartets the verbal scepticism of Celan, Hofmannsthal and Hölderlin, which allows the composer to examine his own thinking and feelings. He remains acute too, and is therefore able to risk a glimpse into the depths of the human spirit. Heavy emotional outbursts are tempered by an ethos of reasoning, of reflection, and a certain urbanity if one will. In his later works Ruzicka allows ‘the word’ to rest on a firm foundation, one no longer mute, but explicit…what emerges are sensitive speech and music pregnant with meaning. (2 CDs) |
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Label: TALENT SACD 106 Our Price: $22.00 Quantity in Basket: none JULES MASSENET (1842 – 1912): Scènes Alsaciennes GUSTAVE CHARPENTIER (1860 – 1956): Impressions d’Italie CAMILLE SAINT-SAENS (1835 – 1921): Suite Algérienne |
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