Mark Andre's music is introverted and fragile, but it speaks to the listener with a shy intensity: hij! This is the title given by the German-French composer to a pair of pieces recorded for this album by the cr�me de la cr�me of avant-garde music ensembles: the WDR Symphony Orchestra Cologne conducted by Mariano Chiacchiarini as well as the SWR Vocal Ensemble and Experimental Studio with conductor Marcus Creed and sound director Joachim Haas. The music on this album is characterized by the unique nature of it's sounds. It sensitizes our ears to the tiniest nuances and creates mesmerizing fields of tension on the borders between sound and silence. Intricate and subtly transformed contrapuntal structures weave their way through hij 1 (for orchestra) like bewitching sound shadows searching for resonance, a resonance which becomes the point of departure for hij 2 (for vocal ensemble and electronics). This music is absolutely contemporary, yet it embraces the inherited musical tradition in a completely authentic and unpretentious manner. It slips stealthily into our consciousness and vanishes just as mysteriously.

“Halleluja – Oratorium balbulum" is a portrait of the times in which we live, says Peter Eotvos. It is a sarcastic work with postmodern medley passages across music history. The plot takes place on several levels: among the performers as well as with the audience in the concert situation. The language is frighteningly clear, as is the rest of the situation we encounter: We experience Eotvos’s polyglot vision not so much in the language as in the music. There are numerous more or less recognizable quotations from Gregorian chant, Monteverdi and Schein; from Bach and Handel, as well as from Mussorgsky and Gospel music. Alle vittime senza nome [To the Nameless Victims], a purely instrumental work, makes no use of language and nevertheless succeeds in conveying the images and experiences of our time. In three movements, the journey of those seeking protection is illustrated by music in a free narrative style, with delicate solo passages as well as broad waves of sound in the orchestra. “Alle vittime senza nome is meant to remind us of the many Arab and African people who have climbed into overcrowded boats with dreams of reaching a better life only to drown in the waters of the Mediterranean off the coast of Italy.” Eotvos wants to create an awareness of the people that goes beyond the conventional images in the media.

Nina Polaschegg writes: "Improvisation and composition as forcefield. The conundrum remains: how can one combine these two approaches to musical forming without one or the other being compromised or diluted? Christopher Fox has decided to have the best of both worlds. The soloists and the orchestral musicians are assigned roles that enable them to play to their strengths. The conductor mediates. The forcefield is maintained. Just as the improvisers are told not to study the orchestra music, to avoid coming to a fixed idea of that soundworld, so too are the orchestra and conductor confronted with the sonic, dynamic and gestural unpredictabilty of the soloists. Improvisation and interpretation meet head to head."

She was a great musical talent and a sensitive soul, the child of a socially aspiring family who forbid their daughter to marry the love of her life; instead she was forced into a utilitarian marriage with a respectable husband, but later had an affair with her first sweetheart after all - the stuff of a sentimental novel. Yet Mel Bonis (1858-1937) was no fictional character. She was one of the strongest composers of her time with a focus on piano, chamber music and art songs. She also enriched the repertoire of impressionism with numerous original gems and arrangements for orchestra. Her particularly modern Ophelia, her purring melodie of an enamoured tomcat on a roof at night, her Spanish gypsy waltz and her dances for orchestra are just some of the enchanting discoveries you will find here. Our recording pays a well-deserved tribute to this noble woman.

Despite his young age, Emmanuel Tjeknavorian is already one of the great artists of his generation. The Austrian, born in 1995, inspires audiences and critics with his depth, his technical brilliance and his great versatility. He has made a name for himself both as a violinist and as a conductor – he is simply "an exceptional talent," as the Tagesspiegel attested. Radio Klassik Stephansdom recognized Tjeknavorian's strengths as an eloquent music communicator early on; since 2017, he has been hosting his own show there, "Der Klassik-Tjek." Tjeknavorian's musical family heritage is also of note: as the son of composer and conductor Loris Tjeknavorian, Emmanuel has been making music from an early age and combines musical as well as cultural worlds in his art. On this release, he presents a program of works by Brahms.

This eagerly-awaited new release sees Simon Trpceski reunite with conductor Cristian Măcelaru to record Brahms Piano Concertos. Their unrivalled chemistry, paramount in Brahms’s chamber-like concertos, is on full display in these new performances which puts the two artists’ musical affinity in the spotlight. These two contrasting concertos, one beginning in darkness, the other in light, mark Brahms’s major contribution to the genre. With Trpceski’s flawless technique and sensitive playing, pianophiles are in for a treat. Macelaru’s orchestra, WDR Sinfonieorchester, joins the pair to complete the line-up; a perfect companion to their previous album, Shostakovich Piano Concertos, which garnered numerous accolades (BBC Music Magazine Concerto Choice, Le Choix de France Musique, among others).

Following their first album for Linn (Dvorák: Legends Op. 59, Czech Suite Op. 39), the WDR Sinfonieorchester and Cristian Măcelaru pursue the same folk vein with two orchestral works by Béla Bartók. Based on a rather childish tale (prince, princess, fairies, and of course a happy ending!), the music of the ballet The Wooden Prince – recorded in full here – has all the ingredients of a masterpiece: masterful scoring for large forces, use of musical themes, an effortless amalgam of folk and late-Romantic elements.

Composed in 1923 to celebrate the 50th anniversary of the merging of the towns of Buda and Pest – alongside commissions by Ernö Dohnányi and Zoltán Kodály – the century-old Dance Suite is a six-movement work that has become one of Bartók’s best known compositions. Born in Timișoara, a short distance from Hungary, Măcelaru can boast an unparalleled understanding of Bartók, as evident here.

REVIEW:

For overall quality Măcelaru rivals Mälkki, and comparing the two readings episode by episode, one is as likely as the other to convey a little more mood and color. But neither really has the freshness of discovery and excitement heard in Boulez’s first account on Sony, and neither of the two orchestras, the WDR Symphony and Helsinki Philharmonic, approaches Boulez’s spectacular results with the New York Philharmonic.

Măcelaru is up against it again in the Dance Suite, which has had outstanding recordings from Fricsay, Boulez, Solti, and Iván Fischer, among others. Less raw than Solti, Măcelaru shows himself a master of the score in a reading that crackles with aliveness and presence. He gets animated playing from the Cologne musicians, and you quickly forget that they are not on a par with eminent ensembles in this music.

I was captivated from start to finish, and more importantly, I got a bead on Măcelaru beyond my only other exposure to him, in the Shostakovich piano concertos. There’s no reason not to give this release the same enthusiastic praise that has become the norm for Măcelaru. The recorded sound is full, vivid, and lifelike.

-- Fanfare

After the invention of the saxophone about 180 years ago, it has been hugely successful in certain musical styles, but never really established itself in the symphony orchestra. It’s still seen as a newcomer, and relatively few solo works have been written for it – at least until recently. Marcus Weiss, one of the most successful classical saxophonists, chose four very characteristic concertante pieces from recent decades that demonstrate a wide range of possibilities for the instrument. All four pieces were premiered by him and three of them are dedicated to him. The compositions represent various directions within New Music with very distinct individual characters each.

“The pieces also show that we saxophone soloists always play the full range of instruments, from the lowest to the highest, from baritone to soprano. Every instrument is able to show its particular qualities in these works.” (Marcus Weiss) When Adolphe Sax applied for patents for his new instrument in Paris in 1846, he submitted drawings of the baritone saxophone. Georg Friedrich Haas’s work is therefore the centerpiece of this recording – the baritone with its physical power, with multiphonics that are juxtaposed with the orchestra, but also with a singing parlando. The youngest piece of this album, Peter Eötvös’s very virtuosic “Focus”, and the work by Johannes Maria Staud use both tenor and alto sax, while the soprano is exactly the right choice for Vykintas Baltakas’ crystalline music.

[The] new three-CD set titled “Zimmermann: Recomposed,” on the German Wergo label, is among the standout releases of 2022. -- The New York Times

Bernd Alois Zimmermann (1918–1970) was one of the most distinctive composers in the musical avant-garde after the Second World War. While Karlheinz Stockhausen served as a kind of ‘generator’ in Cologne during the 1950s and 60s, inventing completely new sounds and techniques, Zimmermann was in many ways his opposite, a ‘transformer’ who redefined previously existing material by placing it in new contexts and collage-like structures, anticipating the ideas of the Postmodernists. Zimmermann created these new contexts on many levels.

Especially in his younger years, he arranged and orchestrated songs and piano pieces using brash and daring instrumental colors. These arrangements then found their way into his works that are now recognized as modern masterpieces: “Alagoana”, “Konzert”, “Sinfonie in einem Satz”, “Stille und Umkehr”, etc. His self-composed works employing numerous quotations as well as his arrangements ‘recomposing’ previously existing music are juxtaposed in the excellent recordings presented by WERGO in this collection. It contains more than three hours of music as well as an extensive booklet with a wealth of information and an interview with Heinz Holliger, the guiding spirit behind this production.

Holliger conducted all of the recordings and has worked for years to ensure that Zimmermann’s long-forgotten arrangements were rescued, published, performed, and recorded. The performances and recordings took place as part of the celebrations organized by the WDR in Cologne in honor of Zimmermann’s 100th birthday. This new release from WERGO presents a fresh perspective on the composer Bernd Alois Zimmermann, whose tragic suicide shortly after the completion of “Stille und Umkehr” shocked the musical world. His fascinating instrumental effects and his embrace of popular and traditional music make his works feel much more at home in our contemporary world than they did in the cultural atmosphere of his time, with its faith with technology and progress.

This third release marks the end of the recording of all the orchestral works written by Polish composer Grazyna Bacewicz over the course of her not exactly long life. And once again, the WDR Symphony Orchestra under Lukasz Borowicz unfolds a representative range that extends from the phenomenal artist's early neoclassical works to her late phase, in which tonal innovations were at the forefront of her creative work, without losing the indispensable communication with the audience. As a world premiere recording, this album contains the composer's first symphony, while the early Polish Overture and the late In una parte, with which Grazyna Bacewicz created a final "sonoristic" marvel in 1967, two years before her death, can also be heard as concert hall rarities.

Beethoven und Schulhoff in Dialogue
Schuch:"Indeed, it’s quite exciting to look at what was going on exactly 100 years ago – perhaps because 1923 doesn’t seem all that distant to us.
Certain events and circumstances seem to mirror one another a century apart. From a musical point of view, Erwin Schulhoff’s piano concerto is a truly interesting work that has not attained the recognition it deserves…
In terms of style, the piano concerto, composed between 11 June and 10 July 1923, is one of those works where Schulhoff radically deals with the dance types of jazz, which had crossed the Atlantic at the end of the First World War and spread out from Paris until taking all of Europe by storm…
No other pair of composers could be more different – on paper – than these two.
Schulhoff always took a decisive stance against traditionalism. Indeed, he may have been something of an iconoclast, but he was also a talented and well-trained pianist – a pianist who wanted to earn success in that very role. Of course, Schulhoff studied the Beethoven concertos, performed them, and ultimately also took the opportunity (like many other composers before him) to put his stamp on these works by writing his own cadenzas…
…It was also in Berlin – in February 1923, to be exact – that Schulhoff conceived and worked out the cadenzas for the first four Beethoven piano concertos…" (Excerpts from the booklets notes)

The recording breathes the playful spirit of Mozart's time - Goebel's expertise in the repertoire of this period combined with the technical refinement of the ensemble guarantee a musical finest hour. "By means of lucid sound design, coherent phrasing and a style-conscious use of ornamentation, Goebel succeeds in giving the altogether rather lightweight works back their dignity, so to speak." concerti

The symphonic oeuvre of the Polish composer Grazyna Bacewicz has never before been recorded in its entirety "from one source", so that the series beginning here represents a pioneering act. The Third Symphony for large symphony orchestra was written in early 1952 and the monumental and pathetic music shows a hitherto unknown face of the composer. One of its characteristics is the use of large instrumental blocks, although fragments also appear that hint at the lighter expressivity of the neoclassical tradition. It is a masterfully constructed work and the overt formal schemes of the Classical period are complemented by the subtle use of elements that were characteristic of music between the wars - in particular the timbres of the French tradition. Nevertheless, this work is not about setting new accents. The same applies to the Fourth Symphony. The orchestra of this work from 1953 is larger than in the previous symphony - among other things, English horn, E-flat and bass clarinet, contrabassoon and harp are now also called for. In both works, the composer achieved an excellent balance between the music of the past (form referring to tradition) and new sources of inspiration (folklore) as well as a new approach to traditional elements (rhythm). As a result, she managed to reconcile the autonomous, artistic qualities of her music with the expectations of the cultural policy of the time. We are very happy to have found congenial interpreters for this project, which sets new standards in the WDR Symphony Orchestra and the Polish conductor Lukasz Borowicz.

Hans Abrahamsen is one of the most important contemporary composers. Numerous productions have already been published by Winter & Winter and have attracted great attention from the public and the press. "Let me tell you" is one of the greatest worldwide successes in contemporary music. With the WDR production "Left, alone" Winter & Winter continues its canon with Hans Abrahamsen. Ten Sinfonias, Left, alone and Two Pieces in Slow Time can be heard on this album. Ten Sinfonias, recorded under the direction of Peter Rundel, Left, alone under Mariano Chiacchiarini with Tamara Stefanovich on piano and Two Pieces in Slow Time with soloists from the WDR Symphony Orchestra, form an exciting and multi-layered album with important key works by Hans Abrahamsen. A production with the WDR Symphony Orchestra.

Winner of the 2009 ARD International Music Competition, violinist Hyeyoon Park has made a name for herself as a soloist and chamber musician, performing with the likes of Symphonieorchester des Bayerischen Rundfunks, London Philharmonic Orchestra, NHK Symphony Orchestra, Kian Soltani, Timothy Ridout and Benjamin Grosvenor. On her first album for Linn, Silenced, she partners Gergely Madaras and WDR Sinfonieorchester in a beautiful programme that showcases two composers who were at odds with the system in place. Shostakovich's First Violin Concerto was banned for it's 'formalist distortions' and only premiered in 1955 after Stalin's death. Refusing to join the Nazi-aligned Kultuurkamer, Dutch composer Henriette Bosmans' work was banned. Her Concert Piece for Violin and Orchestra, composed in grief, is introspective and bitter in tone. A youthful academic exercise, Shostakovich's Variations Op. 3 brings the album to a rumbustious end.

Cellist Edgar Moreau, with the WDR Sinfonieorchester and conductor Andris Poga, performs two concertante works from the mid-20th century: Mieczyslaw Weinberg's Concerto in C minor (1956), and Henri Dutilleux's Tout un monde lointain... (1970). Both were premiered by the great Mstislav Rostropovich, which creates a special link with Moreau: in 2014 in Paris, he won the Young Soloist Prize in the Rostropovich Cello Competition. In recent years, interest has grown in the music of the Polish-born Jewish composer Mieczyslaw Weinberg, who was mentored by Shostakovich. The title Tout un monde lointain... evokes a distant world, and Dutilleux's five-movement work does indeed take us to a very different place from Weinberg's, drawing inspiration from the sensuous poems of Charles Baudelaire. Praising Edgar Moreau's last Erato album, Transmission, Gramophone wrote: "His tone is beautiful, his phrasing rapt, and the intensity of his delivery is magnified in the immediacy of his presence in the sound picture."