Berliner Philharmoniker

Klassik Aus Berlin

Price: € 23.95
Format: CD
Label: Phil.Harmonie
UPC: 4250317416384
Catnr: PHIL 06037
Release date: 20 May 2022
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Label
Phil.Harmonie
UPC
4250317416384
Catalogue number
PHIL 06037
Release date
20 May 2022
Album
Artist(s)
Composer(s)
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DE

About the album

PHIL. 06004 | ANDRAS ADORJAN / YUMIKO URABE / KLAUS STOLL / WALTER KÜSSNER / PHILHARMONISCHES STREICHSEXTETT BERLIN | ERWIN SCHULHOFF
Erwin Schulhoff was undoubtedly one of the most versatile and imaginative composers of the last century. That his career – and his life – came to an abrupt end in a National Socialist internment camp in 1942 represents one of the great tragedies of Europe‘s barbaric recent past. Nevertheless, during his brief life, Schulhoff (1894 - 1942) brilliantly absorbed, transformed, and expressed many of the most significant and progressive creative urges of his age. His catalogue of over 200 compositions includes some of the most fascinating, challenging, exciting, and moving music of the twentieth century. The three works on this disc were all written by Schulhoff in the 1920s, when his career was at its peak, and display the full range of the composer‘s colorful, expressive musical palette. Misha Aster

PHIL 06005 | KOLJA BLACHER / DOMINIQUE HORWITZ / SOLISTEN DER BERLINER PHILHARMONIKER |
IGOR STRAVINSKY 'DIE GESCHICHTE VOM SOLDATEN' - 'HISTOIRE DU SOLDAT
When Igor Strawinsky read 'The Soldier's Tale' in 1916 he was inspired to transform the fairy tale into a landmark of modern musical theater, together with the librettist Charles Ferdinand Ramuz. At the time Stravinsky was living in exile on Lake Geneva.
The effects of war could also be felt in Switzerland, and all the theaters were closed. The piece was therefore created with purely practical considerations in mind – a mobile stage, a minimal seven-piece orchestra, and a plot in which the scenes followed each other like a series of illustrations. The story is taken from a Russian folk tale, but there are parallels in other cultures, such as the puppet show version of Doctor Faustus. A soldier on the way back to his home village enters into a pact with the devil. He sells his violin for a book of magic, which will enable him to become rich. Although this comes to pass, the soldier’s wealth does not make him happy, because someone who has sold himself to the devil is not capable of love or devotion to another. The music is not set to the text, but instead emphasizes particular situations such as the soldier's time on the road or his encounter with the devil. The dominant elements are sometimes rhythmic and dance-like – making use of marches, tango, waltz, and ragtime – and sometimes folksy. This version has been developed and narrated by Dominique Horwitz from the G e r m a n a d a p t a t i o n b y H a n s R e i n h a r t .

PHIL 06012 | CHRISTOPH HARTMANN / PHILIPP BOHNEN / ANDREAS BUSCHATZ / ENSEMBLE BERLIN / MITGLIEDER DER
BERLINER PHILHARMONIE | CARL MARIA VON WEBER / ANTONIO PASCULLI / LUDWIG VAN BEETHOVEN
The ENSEMBLE BERLIN was founded in 2000 by an ensemble of musicians from the Berlin Philharmonic who had got together the previous year to play at the Landsberger Sommermusiken music festival. Since then they have played at the
festival, held in Landsberg am Lech in southern Bavaria, every July.

The ENSEMBLE BERLIN septet actually consists of eight people, for it includes the arranger Wolfgang Renz, who arranged Maurice Ravel’s 'Le Tombeau de Couperin' and Modest Mussorgskij’s 'Pictures at an Exhibition' for the first Berlin Philharmonic recording. On the present album 'Virtuoso' he has set about arranging music by Carl Maria von Weber. The Septet in E Minor for oboe, bassoon, two violins, viola, cello, and double bass is based on Weber’s late fourth piano sonata, op. 70, composed in 1822. Its underlying mood is lyrical and melancholic. Both the first and second subjects of the first movement are lyrical, and this prevailing mood is disturbed only during the development where the apparently melancholic idyll of what has gone before is suddenly called into question. The extroverted Scherzo that forms the second movement thus comes as something of a surprise.

In terms of dramatic effect this arrangement makes sense, with the second movement forming a contrast to the subdued atmosphere of the first. Despite the brilliant clarity of the Scherzo Weber calls for a 'murmurando' in the restless middle section, which produces a strangely diffuse effect. The slow movement is quintessential Weber: a simple movement with folk song-like melodies that is scored much more sparsely than either of the preceding two movements. The final Prestissimo is an inspired, spirited dance that makes us forget the elegiac, melancholy mood with which the piece began.
PHIL. 06004 | ANDRAS ADORJAN / YUMIKO URABE / KLAUS STOLL / WALTER KÜSSNER / PHILHARMONISCHES STREICHSEXTETT BERLIN | ERWIN SCHULHOFF
Erwin Schulhoff zählt zweifellos zu den vielseitigsten und fantasiereichsten Komponisten des vergangenen Jahrhunderts. Es ist eine der großen Tragödien der Barbarei in Europas jüngerer Geschichte, dass seine Karriere und sein Leben 1942 in einem Internierungslager der Nazis ein jähes Ende fanden. Nichtsdestoweniger hat Schulhoff während seines kurzen Lebens (1894–1942) auf brillante Weise zahlreiche der wichtigsten und fortschrittlichsten schöpferischen Strömungen seiner Zeit rezipiert, transformiert und expressiv verarbeitet. Etliche seiner insgesamt über 200 Werke zählen zu den faszinierendsten, schwierigsten, aufregendsten und bewegendsten Musikstücken des 20. Jahrhunderts. Die drei Werke auf dieser CD stammen alle aus den 1920er Jahren, als Schulhoff auf dem Höhepunkt seiner Laufbahn war, und veranschaulichen das gesamte Spektrum seiner bunten, ausdrucksstarken musikalischen Palette. Misha Aster

PHIL. 06005 | KOLJA BLACHER / DOMINIQUE HORWITZ / SOLISTEN DER BERLINER PHILHARMONIKER | IGOR STRAVINSKY 'DIE GESCHICHTE VOM SOLDATEN' - 'HISTOIRE DU SOLDAT
Mit großer Begeisterung liest Igor Strawinsky im Jahr 1916 'Die Geschichte vom Soldaten' und macht gemeinsam mit dem Librettisten Charles Ferdinand Ramuz den Märchenstoff zu einer Wegmarke des modernen Musiktheaters. Stravinsky lebte zu dieser Zeit im Exil am Genfer See. Die Auswirkungen des Krieges wurden auch in der Schweiz spürbar, die Theater blieben geschlossen. Der Konzeption des Stücks lagen deshalb durchaus praktische Überlegungen zugrunde: eine bewegliche Bühne, ein reduziertes Orchester mit sieben Instrumentalisten und eine Geschichte, in der sich die Episoden bilderbogenartig aneinanderreihen.
Der Stoff entstammt der russischen Volksdichtung, in anderen Kulturen existieren jedoch Entsprechungen, wie das Puppenspiel vom Doktor Faust. Ein Soldat auf dem Weg in sein Heimatdorf geht einen Handel mit dem Teufel ein. Er verkauft seine Geige für ein Zauberbuch, mit dessen Hilfe er reich werden soll. Dies gelingt, der Reichtum macht den Soldaten allerdings nicht glücklich. Denn wer sich dem Teufel verschrieben hat, kann nicht lieben und sich an niemand anderen binden. Die Musik vertont den Text nicht, sondern verdeutlicht Situationen wie die Wanderschaft oder die Begegnung mit dem Teufel. Es dominieren rhythmisch-tänzerische Elemente (Marsch, Tango, Walzer, Ragtime) sowie volkstümliche. Die gelesene Fassung in der Bearbeitung von Dominique Horwitz basiert auf der deutschen Nachdichtung von Hans Reinhart.

PHIL. 06012 | CHRISTOPH HARTMANN / PHILIPP BOHNEN / ANDREAS BUSCHATZ / ENSEMBLE BERLIN / MITGLIEDER DER BERLINER PHILHARMONIE | CARL MARIA VON WEBER / ANTONIO PASCULLI / LUDWIG VAN BEETHOVEN
Nach Ravel und Mussorgsky legt das Ensemble Berlin mit Virtuoso nun sein zweites auf Phil.harmonie vor. Im Jahr 1999 riefen befreundete Mitglieder der Berliner Philharmoniker die 'Landsberger Sommermusiken', ins Leben. Nach der erfolgreichen ersten Veranstaltung entschieden sich die Musiker, auch außerhalb ihres Festivals gemeinsam zu musizieren. Das Ensemble Berlin war geboren. Mittlerweile hat sich das Ensemble einen festen Platz im internationalen Konzertleben erspielt. Konzertreisen führten die Musiker nach Japan, China, Brasilien, USA, Italien, Österreich, Großbritannien, Island und Spanien.
Mit der Besetzung Oboe, Fagott und Streichquintett setzt das Ensemble auf eine interessante Mischung aus Blas- und Streichinstrumenten. Neben Originalkompositionen sind Bearbeitungen das zweite Standbein im Repertoire.
Aus der langjährigen Zusammenarbeit mit dem Oboisten und Arrangeur Wolfgang Renz sind bislang eine ganze Reihe musikalischer Kostbarkeiten entstanden. Auf der hier vorliegenden Aufnahme stammen zwei der drei Bearbeitungen aus seiner Hand. Neben dem Orchesterspiel sind weiterhin die 'Landsberger Sommermusiken' der musikalische Lebensquell des Ensemble Berlin. Hier können die Musiker Neues erproben und Bewährtes verfeinern. Wie viel Freude dabei im Spiel ist kann man in den Aufnahmen und Konzerten des Ensembles hören.

Artist(s)

PHIL. 06004 | ANDRAS ADORJAN / YUMIKO URABE / KLAUS STOLL / WALTER KÜSSNER / PHILHARMONISCHES STREICHSEXTETT BERLIN | ERWIN SCHULHOFF
Erwin Schulhoff was undoubtedly one of the most versatile and imaginative composers of the last century. That his career – and his life – came to an abrupt end in a National Socialist internment camp in 1942 represents one of the great tragedies of Europe‘s barbaric recent past. Nevertheless, during his brief life, Schulhoff (1894 - 1942) brilliantly absorbed, transformed, and expressed many of the most significant and progressive creative urges of his age. His catalogue of over 200 compositions includes some of the most fascinating, challenging, exciting, and moving music of the twentieth century. The three works on this disc were all written by Schulhoff in the 1920s, when his career was at its peak, and display the full range of the composer‘s colorful, expressive musical palette. Misha Aster

PHIL 06005 | KOLJA BLACHER / DOMINIQUE HORWITZ / SOLISTEN DER BERLINER PHILHARMONIKER |
IGOR STRAVINSKY 'DIE GESCHICHTE VOM SOLDATEN' - 'HISTOIRE DU SOLDAT
When Igor Strawinsky read 'The Soldier's Tale' in 1916 he was inspired to transform the fairy tale into a landmark of modern musical theater, together with the librettist Charles Ferdinand Ramuz. At the time Stravinsky was living in exile on Lake Geneva.
The effects of war could also be felt in Switzerland, and all the theaters were closed. The piece was therefore created with purely practical considerations in mind – a mobile stage, a minimal seven-piece orchestra, and a plot in which the scenes followed each other like a series of illustrations. The story is taken from a Russian folk tale, but there are parallels in other cultures, such as the puppet show version of Doctor Faustus. A soldier on the way back to his home village enters into a pact with the devil. He sells his violin for a book of magic, which will enable him to become rich. Although this comes to pass, the soldier’s wealth does not make him happy, because someone who has sold himself to the devil is not capable of love or devotion to another. The music is not set to the text, but instead emphasizes particular situations such as the soldier's time on the road or his encounter with the devil. The dominant elements are sometimes rhythmic and dance-like – making use of marches, tango, waltz, and ragtime – and sometimes folksy. This version has been developed and narrated by Dominique Horwitz from the G e r m a n a d a p t a t i o n b y H a n s R e i n h a r t .

PHIL 06012 | CHRISTOPH HARTMANN / PHILIPP BOHNEN / ANDREAS BUSCHATZ / ENSEMBLE BERLIN / MITGLIEDER DER
BERLINER PHILHARMONIE | CARL MARIA VON WEBER / ANTONIO PASCULLI / LUDWIG VAN BEETHOVEN
The ENSEMBLE BERLIN was founded in 2000 by an ensemble of musicians from the Berlin Philharmonic who had got together the previous year to play at the Landsberger Sommermusiken music festival. Since then they have played at the
festival, held in Landsberg am Lech in southern Bavaria, every July.

The ENSEMBLE BERLIN septet actually consists of eight people, for it includes the arranger Wolfgang Renz, who arranged Maurice Ravel’s 'Le Tombeau de Couperin' and Modest Mussorgskij’s 'Pictures at an Exhibition' for the first Berlin Philharmonic recording. On the present album 'Virtuoso' he has set about arranging music by Carl Maria von Weber. The Septet in E Minor for oboe, bassoon, two violins, viola, cello, and double bass is based on Weber’s late fourth piano sonata, op. 70, composed in 1822. Its underlying mood is lyrical and melancholic. Both the first and second subjects of the first movement are lyrical, and this prevailing mood is disturbed only during the development where the apparently melancholic idyll of what has gone before is suddenly called into question. The extroverted Scherzo that forms the second movement thus comes as something of a surprise.

In terms of dramatic effect this arrangement makes sense, with the second movement forming a contrast to the subdued atmosphere of the first. Despite the brilliant clarity of the Scherzo Weber calls for a 'murmurando' in the restless middle section, which produces a strangely diffuse effect. The slow movement is quintessential Weber: a simple movement with folk song-like melodies that is scored much more sparsely than either of the preceding two movements. The final Prestissimo is an inspired, spirited dance that makes us forget the elegiac, melancholy mood with which the piece began.

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