Label: MUSICAPHON 52705
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SAMOAN SONGS – A Historical Collection
Tracks: Standing dance song (1910); Standing dance song (1967); War Song (1910); War song (c. 1940); Ula dance song (1910); Song of the 1918 epidemic (1966); Song of the 1918 epidemic (1968); Song of the spirit Te’e (1969); Song in honour of a marriage (1967); Song of the Mau rebellion (c. 1940); Song of political lament (c. 1940); Song of praise

Commentary: Richard M. Moyle, Photographs: Ad and Lucia Linkels

Label: MUSICAPHON 55706
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CONTEMPORARY GERMAN MUSIC: HAMBURG/CICHEWIECZ

Label: MUSICAPHON 55708
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GERHARD FROMMEL (1906 – 1984)
Sonata for Piano No. 3 in E major, Op. 15

Lars Jonsson, piano
Was erzählast du heut, allein geblieben from “Vier Gesänge”, Op. 16 No. 3
Pia caritatevole amorosissima

Adelheid Vogel, soprano; Eugen Wangler, piano
Sonata for Piano No. 4 in F major, Op. 21

Karl-Heinz Lautner, piano
Songs of Silence, Op. 4

Rainer Lutz, baritone; Gutlinde Sudau, piano
Sonata for violin and piano No. 2 in A minor, Op. 32

Daniel Sepec, violin; Rainer Hoffmann, piano

Label: MUSICAPHON 55709
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ULRICH LEYENDECKER (b. 1946)
Sonata for Two Pianos
7 Short Pieces
Piano Pieces I-IV
Ricercar
13 Bagatellen

Jimin Oh-Havenith & Raymund Havenith, pianos

Label: MUSICAPHON 55710
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FLUTES WITHOUT BORDERS; CARIN LEVINE, PICCOLO, FLUTE, ETC.

Label: MUSICAPHON 55711
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ROYAL WINTER MUSIC; TWO SONATAS; M. MANGOLD, GUITAR

Label: MUSICAPHON 55712
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THE FLUTE EXPERIENCE
LAURIE SCHAWARTZ: the tides (1991) for bassflute
GEORG HAJDU: Sleeplessness (1988/97) for piccolo, alto and contrabass, flute, obligato voice and live electronics
DIETER SCHNEBEL: Languido (1992/93) for bass flute and live electronics
GEORG BONN: Trees and Pipes (1998) for flute/bassflute, wood board, bass pump and feedbacks
HANNA KULENTY: a fifth circle (1994) for alto flute and delay

Carin Levine, flute and voice

Georg Hajdu, electronics

Dieter Schnebel, sampler and voice

Georg Bonn, electronics

Frauke Schulz, variables delay

Label: MUSICAPHON 55715
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ISABEL MUNDRY: “Komposition”; ANNETTE SCHLUNZ: La faulx de l’été for flute and percussion (1991); CHRISTOPH REISERER: Differenzen for bass flute & percussion (2004); BEAT FURRER: auf tönernen füssen; JOSEF ANTON RIEDL: “in sicht bekommen”; VALERIO SANNICANDRO: Epistolae III for bass flute, percussion and live-electronics (2004)

Carin Levine, flutes; Stefan Blum, percussion
After contemporary music for flute(s) alone (Musicaphon M 55710) and a collection of works for flute(s) and electronics (M 55712) now Carin Levine collected music for flute(s) and percussion – partly composed especially for her. She is supported by the Munich Stefan Blum, who since 2000 leads the percussion class of the Augsburg College of music and together with John van Boers the studio for New Music Augsburg. American born Carin Levine, formerly pupil of Aurèle Nicolet, is regularly lecturer at the Darmstadt holiday courses for New Music as well as editor of the series “Contemporary Music For Flute” published by Baerenreiter, Kassel. She is continuously guest at all renowned festivals in Germany but also worldwide. Her outstanding reputation as a specialist for New Music led to close cooperation with composers like Ferneyhough, Hosokawa, Kagel, Platz, Pagh-Paan, Scelsi and Schnebel.

Label: MUSICAPHON 55716
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10 Piéces de piano pour enfants, Op. 56b (1974/79/82); Sonatina pour Piano, Op. 56a (1975); Tastenspiele, petit album pour piano pour mon petit-fils, Op. 103d (2000); "Mimis Tastenspaß": Petite Fanfare, De bonne humeur, Petite marche de carnaval (2001/2002/1995); 3 valses pour piano à deux et quatre mains, Op. 95f (1994/2001/1998)

Markus Bellheim, piano
The present CD brings together pieces from the years 1975 to 2002. Almost all of them were composed for children, for the composer’s six sons (also for a daughter-in-law as a wedding present), for his wife Inken, as well as for a friend. In terms of their clarity and resoluteness, they are similar to Bartók’s piano cycles For Children and Mikrokosmos. Especially interesting is that the “acoustic scale” with the famous fourth step, derived by Bartók from the overtone series, runs through the pieces like a thread. It appears for the first time in the final movement of the Sonatine of 1975, manifests itself in the “Bimmelbahn” (“Small Train”) and in the “Marsch der Zinnsoldaten” (“March of the Tin Soldiers”) from the 10 Piano Pieces for Children and is to be found again in the “Präludium” (“Prelude”) and the “Kleine Melodie” (“Small Melody”) of the Tastenspiele. In spite of the greatest possible freedom and melodic breadth, the compositions never loose touch with tonality. As a pupil of Harald Genzmer and, once-removed, of Paul Hindemith, Bertold Hummel always felt the need to write for budding musicians. The title, Tastenspiele - A Small Piano Album for my Grandchildren, says it all. The idea is that children should become acquainted with the piano keys in a playful way. With an open mind, the composer includes the most diverse musical styles among his miniatures. Works for ensemble by Bertold Hummel are available on Musicaphon 55717.

Label: MUSICAPHON 55717
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BERTOLD HUMMEL: Kontraste for Strings, Op. 50; Concertino for Bassoon and Strings, Op. 27b; Adagio for strings, Op. 62; CORNELIUS HUMMEL: 8 Musiken für 9 Streicher; Adagio memore for Strings; STEFAN DAVID HUMMEL: Behind the Quietness for Flute, Clarinet and Strings Quartet

Sergio Azzolini, bassoon
Ensemble “il capriccio”/Freidemann Wezel
Three composers from one family meet on the threshold of the twentieth to the twenty-first century. At the center of this CD presentation are works by Bertold Hummel (1925-2002). Compositions by the composer's two sons, Cornelius Hummel (*1957) and Stefan David Hummel (*1968), form a counterpoint with direct or, as the case may be, indirect references to Bertold Hummel's musical language.

Label: MUSICAPHON 55718
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ERNST KRENEK (1900 – 1991): Sonata; KRYZSTOF PENDERECKI (*1933): Cadenza for Viola Solo; SAMUEL ADLER (*1928): Canto XVI for Viola Solo; ERNEST BLOCH (1880 – 1959): Suite for Viola Solo; JAN ZDENEK BARTOS (1908 – 1981): Fantasia per Viola Solo; VINCENT PERSICHETTI (1915 – 1987): Parable for Solo Viola; GIDEON KLEIN (1919 – 1945): Preludium für Solo Viola; BENJAMIN BRITTEN (1913 – 1976): Elegy for Unaccompanied Viola

Jürgen Weber, viola
EXCURSIONS – a journey of discovery to unknown areas of the literature for viola.... With these recordings for viola solo, I would like to show that, apart from the usual, often played viola literature, there exist unknown treasures waiting to be unearthed. These are works by composers who are either entirely unknown or nearly forgotten today, or whose works for viola stem from their early or late periods. Seldom performed today are, for example, Ernst Krenek, who in the 1920s numbered among the most widely performed European composers and who celebrated triumphs above all with his operas, and the Swiss composer Ernest Bloch, who was frequently performed during that same period and is known today practically only in the USA. Vincent Persichetti, who like the two aforementioned composers lived in the USA, is at best known by specialists. Gideon Klein was one of the most promising Czech composers until he was murdered by the Nazis at the age of thirty-three. His compatriot Jan Zdenek Bartos is completely forgotten today, whereas Samuel Adler numbers among the frequently performed composers in the USA. Only Kryzstof Penderecki and Benjamin Britten occupy significant positions in today’s musical life. Except for Penderecki’s Cadenza, none of the compositions presented on this CD belong to the standard repertoire for viola – several works are even recorded here for the first time. What all these short pieces have in common is that the characteristic qualities of the viola – the dark richness and the warm, cantabile sound of the instrument – are shown to best advantage. - Jürgen Weber

Label: MUSICAPHON 55719
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Adagio, Op. 62a2; Den letzten Sommer seines Lebens…; Fantasia, Op. 83,1; Fiebernd schmolz die kurze Sommernacht hinweg…; Sechs Lieder nach Gedichten von Hermann Hesse, Op. 71a (Im Nebel; Handwerksburschenpenne; Blauer Schmetterling; Nachtgefühl; Irgendwo; Manchmal); Hoch saßen sie in schwebender Schaukle überm Abgrund der Welt und Nacht…; Giocoso, Op. 83,2; Der letzte Tag des Juli war gekommen…; Kopfols – Liederzyklus nach skurrilen Gedichten von Hermann Hesse, Op. 108; Sostenuto, Op. 83,3

Martin Hummel, baritone/narrator; Markus Bellheim, piano
When my father died on 9 August 2002, he left behind a small song cycle titled Kopflos (Headless) as his last completed work. It had been composed for a festival in Calw, the town where Hesse was born, and was to be premiered there on 17 August 2002. At that time I did not know that Hermann Hesse had died exactly forty years to the day before my father. This curious coincidence prompted me to again read Hesse’s novels. Various passages from Klingsor’s Last Summer touched me deeply as I believed to have discovered parallels to the last weeks of my father’s life. I was also moved by the fact that the forty-year-old Hesse so vividly foresaw death in the “burning fever month of August.” Together with Markus Bellheim, I premiered the program recorded on the present CD on the first anniversary of my father’s death, on 9 August 2003, in Calw. In my opinion, the two piano compositions that Bertold Hummel wrote in memory of Benjamin Britten and Alban Berg join together seamlessly with Hermann Hesse’s worldly wise thoughts from Klingsor’s Last Summer, making this for me so personal document capable of fascinating a larger circle of listeners. – Martin Hummel

Label: MUSICAPHON 55720
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ULRICH LEYENDECKER (*1946)
Konzert für Gitarre und Orchester (2005)

Maximilian Mangold, guitar

Nordwestdeutsche Philharmonie/Romely Pfund
Evocazione (2006)

SWR Rundfunkorchester Kaiserslautern/Per Borin
Symphony No. 4

Radio-Sinfonieorchester Stuttgart des SWR/Johannes Kalitzke

Ulrich Leyendecker numbers among the most important German composers of his generation. He was born in 1946 in Wuppertal, and took composition lessons already as a youngster. From 1965–70 he studied piano with Günter Ludwig and composition with Rudolf Petzold at the Cologne College of Music. Rudolf Petzold imparted a strict contrapuntal training, but allowed Leyendecker to develop unhindered aesthetically. Like many other composers of his generation, Leyendecker took part in the Darmstadt Vacation Courses for New Music and occupied himself intensively with serial compositional techniques, without however lastingly identifying himself with the latter.
Leyendecker’s œuvre encompasses symphonies and solo concertos, chamber music for string quartet, piano trio, clarinet trio, piano duo, as well as for various other formations, and many works for solo instruments.
Leyendecker’s music is distinguished by suspense-packed vitality and tone-sensitive colorfulness. It preserves a “vestige of tonality,” and develops wide-sweeping formal processes out of short basic cells. At the beginning of his compositions, Leyendecker often takes a step back behind the already fixed basic cell of a musical idea and lets its development become audible. His always polyphonic music takes place in metamorphoses of these basic cells.
The transformational process is implemented in the form of a method that Leyendecker himself refers to as “superimposition,” which involves the overlapping of tonal fields as well as different tempos and meters.

Label: MUSICAPHON 56803
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GERMAN SONGS: ENSEMBLE GALLIARDA;FRITZ NAF,COND.

Label: MUSICAPHON 56804
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ROMANCES & BALLADS OF THE ROMANTIC MARBURGER BACH CHOIR/WEHNERT