Classical

Alban Berg & Karl Weigl - String Quartets (1990)

2011-07-29T08:38:20Z

Alban Berg & Karl Weigl - String Quartets (1990)

Karl Weigl: Streichquartett No. 3 A-Dur op. 4
01. Innig bewegt [0:08:51.33]
02. Kräftig bewegt [0:04:34.10]
03. Sehr langsam [0:10:54.10]
04. Stürmisch [0:08:01.07]
Alban Berg: Streichquartett op. 3
05. Langsam [0:09:19.33]
06. Mäßige Viertel [0:10:45.37]
Alban Berg: Lyrische Suite für Streichquartett
07. Allegretto gioviale [0:02:56.73]
08. Andante amoroso [0:05:54.00]
09. Allegro misterioso - Trio estatico [0:03:18.52]
10. Adagio appassionato [0:05:01.70]
11. Presto delirando [0:04:22.28]
12. Largo desolato [0:05:08.65]

Artis Quartett:
Peter Schuhmayer – 1. Violin
Johannes Meissl – 2. Violin
Herbert Kefer– Viola
Othmar Mueller – Cello

Alban Berg's String Quartet, Op. 3 (1910) was the last work the composer produced under the tutelage of Arnold Schoenberg. First perfomed in 1911 and published nine years later, the two-movement String Quartet was not well received at its premiere and received no further performances for more than a decade. Schoenberg, however, admired the piece, and the work may rightly be regarded as an appropriate valedictory for Berg's transition from apprenticeship to musical maturity. According to Berg's wife Helene, the inspiration for the Quartet was born of the frustration both she and Berg experienced when Helene's father forbade the two lovers from seeing one another. In this work, Berg takes a great step beyond the compositional idiom of his Piano Sonata, Op. 1 (1907 - 08) and the Four Songs, Op. 2 (1909 - 10). The Quartet's thematic craftsmanship bears a relationship to that of the earlier Piano Sonata, but the Quartet is far more complex. Whereas tonality had restricted Berg's language in the earlier work, the free atonal idiom of the Quartet allowed the composer to develop his material with unprecedented freedom and variety. In the first movement Berg establishes a web of motivic relationships within a sonata-form outline. The opening theme bears a striking resemblance to a theme from Schoenberg's Verklärte Nacht (1899) and is built on a slightly modified whole-tone scale that would reappear in the opera Wozzeck (1917- 22). A transformation of this theme becomes a fundamental figure in the second movement, which again contains material similar to that in the work of another composer: the love duet from Richard Wagner's Tristan und Isolde (1857 - 59). Scholars disagree on the formal design of this movement but tend to describe it as a type of rondo or sonata-rondo. Berg's use of motives and passages derived from cycles of intervals, his attention to detail and every detail's relationship to the whole, and his expert, idiomatic writing for the string quartet all point to the work of a composer assured in technique and possessed of a distinctive musical personality. --- classicalarchives.com

Lyric Suite composed in 1925-26, this work for string quartet is often said to be Berg's most beautiful work. It is his first large-scale work to employ the twelve-tone method of composition. Berg's love for Hanna Fuchs-Robettin was the inspiration for the Lyric Suite. The titles of the movements, containing the words gioviale (jovial), amoroso (amorous), estatico (ectatic, ecstacy), and so on hint strongly that the work is in some way about emotion. The construction of the work is quite complex, with elaborate row organization and extensive cross-referencing between the movements. The tempi of the movements alternate between increasing extremes of fast and slow. Shown below are the changes in speed. The left-hand movements increase in speed while the right hand ones decrease. (I) Allegretto gioviale (II) Andante amoroso (III) Allegro misterioso (IV) Adagio appasionato (V) Presto delirando (VI) Largo desolato ---d1f.com

In 1910, the String Quartet No.3 in A Major, Op.4 by Karl Weigl won the prestigious Beethoven Prize. This was no accident. His music was championed by the likes of Gustav Mahler, Richard Strauss, Bruno Walter and many others. Weigl, up until the Second World War, was recognized as one of the most important living composers. We believe this is one of the most significant and important string quartets of the 20th century. --- editionsilvertrust.com

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Alban Berg - Lulu Suite ∙ 3 Pieces for Orchestra, Op.6 [2008]

2011-07-27T08:47:11Z

Alban Berg - Lulu Suite ∙ 3 Pieces for Orchestra, Op.6 [2008]

3 Pieces for Orchestra (Drei Orchesterstuecke), Op.6
1. 1. Praeludium (Prelude)	
2. 2. Reigen (Round Dance)	
3. 3. Marsch (March)	

Lulu Suite
4. 1. Rondo
5. 2. Ostinato	
6. 3. Lulu's Song
7. 4. Variations
8. 5. Adagio
9. Applause

Anat Efraty - soprano
Royal Concertgebouw Orchestra
Daniele Gatti - conductor

Although most listeners would agree Alban Berg's music surpasses Arnold Schoenberg and Anton Webern's music in terms of beauty, his music, like their music, is still nearly universally disdained. This disc with Daniele Gatti leading the Royal Concertgebouw Orchestra in Berg's Drei Orchesterstücke and Symphonic Suite from his opera Lulu may not completely change that situation. The bone-crushing march that closes the Drei Orchesterstücke is still bone-crushing and the soul-killing dissonant chord at the climax of the Lulu Suite is still soul-killing. But like the great recordings of these pieces from the past -- Abbado's and Levine's come immediately to mind, though its hard to forget Dorati and Kleiber's -- Gatti and the Dutch musicians' approach emphasizes the music's deep lyricism and profound humanity. Here, themes in the opening Praeludium and central Reigen of the Drei Orchesterstücke are both beautiful and memorable while those of the Suite's Rondo and "Lied der Lulu" touch the heart like few others in the early twentieth century repertoire. Naturally, the Concertgebouw plays with the combination of polish and passion that is the earmark of a great orchestra while the blend of brilliant soloists within a cogent ensemble is their own unique signature. Gatti's leadership is confident and commanding and his interpretation is powerfully dramatic without being unduly histrionic. Captured in earth-shaking super audio surround sound, this may not be the only Berg orchestral disc one should hear -- there are, after all, those by Abbado, Levine, Dorati, and Kleiber -- but it would make a compelling first Berg orchestral disc. ---James Leonard, Rovi

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Alban Berg - Violin Concerto - Gidon Kremer (1984)

2009-12-11T12:34:57Z

Alban Berg - Violin Concerto - Gidon Kremer (1984)


1. Andante –Allegretto
2. Allegro – Adagio

Gidon Kremer - violin
BBC Symphony Orchestra
Sir Colin Davis - conductor

Berg composed his Violin Concerto, which also incorporates material by Bach, was composed during the summer of 1935 under a commission from the American violinist Louis Krasner, who gave the premiere at the ISCM Festival in Barcelona on April 19, 1936, with Hermann Scherchen conducting.

According to her mother, Berg was so moved that he “could not finish his opera Lulu . He composed the Violin Concerto and dedicated it to the memory of Manon.” Indeed, Berg spoke of the Concerto as a “Requiem for Manon”; it was to become his own requiem as well: it was the last work he completed, and its many-faceted involvement with death has been assumed to include an acknowledgement of the dissolution of the world in which both he and young Manon lived. It may be further noted, however, that the Concerto, like several of the other works Berg composed in the last ten years of his life, carried a “secret program.” While the elegiac character of the music and the gesture toward Manon can stand as sufficient background, the actual dedication, in Berg's mind, was a dual one: to Hanna Fuchs-Robettin, his love for whom inspired the numerological and musical references in his Lyric Suite for strings, and to a young servant girl who had borne him a child many years earlier. ---kennedy-center.org

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Alban Berg - Wozzeck (Abbado) [1990]

2009-10-21T18:38:38Z

Alban Berg - Wozzeck (Abbado) [1990]


1. Act 1 - Scene 1: The Captain’s room. “Langsam, Wozzeck, langsam!” Franz Grundheber 8:13
2. Act 1 - Scene 2: An open field outside the town. “Du, der Platz ist verflucht!” “Ach was!” Franz Grundheber 6:40
3. Act 1 - Scene 3: Marie’s room. “Tschin Bum, Tschin Bum, Bum, Bum, Bum! Hörst Bub? Da kommen sie!” Hildegard Behrens 8:14
4. Act 1 - Scene 4: The Doctor’s study. “Was erleb ich, Wozzeck?” Aage Haugland 7:32
5. Act 1 - Scene 5: Street before Marie’s door. “Geh einmal vor Dich hin!” Hildegard Behrens 3:00
6. Act 2 - Scene 1: Marie’s room. “Was die Steine glänzen?” Hildegard Behrens 5:37
7. Act 2 - Scene 2: Street in town. “Wohin so eilig” Heinz Zednik 8:53
8. Act 2 - Scene 3: Street before Marie’s door. “Guten Tag, Franz” Franz Grundheber 3:28
9. Act 2 - Scene 4: Tavern garden. “Ich hab’ ein Hemdlein an, das ist nicht mein” Alfred Šramek 10:26
10. Act 2 - Scene 5: Guardroom in the barracks. “Oh oh Andres! Andres! Ich kann nicht schlafen” Franz Grundheber 4:30
11. Act 3 - Scene 1: Marie’s room. “Und ist kein Betrug” Hildegard Behrens 3:05
12. Act 3 - Scene 1: “Und kniete hin zu seinen Fuessen” Hildegard Behrens 2:01
13. Act 3 - Scene 2: Forest path by a pool. “Dort links geht’s in die Stadt” Hildegard Behrens 5:00
14. Act 3 - Scene 3: A low tavern. “Tanzt Alle” Franz Grundheber 2:54
15. Act 3 - Scene 4: Forest path by a pool. “Das Messer? Wo ist das Messer?” Franz Grundheber 7:51
16. Act 3 - Scene 5: Street before Marie’s door. “Ringel, Ringel, Rosenkranz” Viktoria Lehner 1:44

Grundheber • Behrens • Raffeiner
Langridge • Zednik • Haugland
Šramek • Maly

Wiener Philharmoniker
Claudio Abbado

This 1988 Vienna State Opera production of Wozzeck is, to my ears, vastly superior to the 1979 performance by Christoph von Dohnányi with the same orchestra. The entire emotional and dynamic range of the music is here, projected in striking relief. The anxieties of the tale are unflinchingly portrayed, but so, too, are the many moments of tenderness and rapturous beauty. The cast--Franz Grundheber plays the title role and Hildegard Behrens portrays Marie--are skilled dramatists as well as voices, even on record. The disc commemorates one of the rare instances when a company has done justice to the dazzling splendor of Berg's conception. --Joshua Cody, amazon.com

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Alban Berg – Wozzeck (2014)

2014-04-06T16:22:24Z

Alban Berg – Wozzeck (2014)


1. Act I
2. Act II
3. Act III

Wozzeck  - Thomas Hampson
Drum Major - Simon O'Neill
Andres - RUSSELL THOMAS
Captain - PETER HOARE
Doctor - CLIVE BAYLEY
1st apprentice - RICHARD BERNSTEIN
2nd apprentice - MARK SCHOWALTER
Marie - DEBORAH VOIGT
Margret - TAMARA MUMFORD
Fool - PHILIPPE CASTAGNER
A soldier - DANIEL CLARK SMITH
Townsman - RAYMOND APARENTADO

The Metropolitan Opera Children's Chorus
The Metropolitan Opera Chorus
The Metropolitan Opera Orchestra
Donald Palumbo - choirmaster
James Levine – conductor

Metropolitan Opera, 22.3.2014

After missing the first two performances in the Metropolitan Opera’s revival of Berg’s “Wozzeck” because of bronchitis, the baritone Thomas Hampson sang on Thursday night, his debut in the title role. As he had made clear in interviews and in posts on his Facebook page, Mr. Hampson is excited to be taking on this “challenging genius opera,” as he called it.

On Thursday he won a deserved ovation for his anguished, haunted portrayal of Wozzeck, an oppressed soldier in a German garrison town who struggles to support Marie, his common-law wife, and their young son, slowly losing his grip on reality. Some patches of leathery sound in Mr. Hampson’s singing suggested that he is still grappling with the remnants of his illness. Still, Berg wrote the role to emphasize dramatic intensity; certain passages call for quasi-spoken delivery, a kind of Sprechstimme. In bouts of rage, Wozzeck shouts his outbursts.

Mr. Hampson probably did a little more shouting and barking than he wanted to, ideally. But in the wrenching moments when the role calls for burnished, lyrical singing, he drew upon the innate richness of his voice and shaped phrases poignantly, even if his sound lacked a little heft this night.

He has called “Wozzeck” the “opera Mahler never wrote.” At his best here, Mr. Hampson, a renowned Mahler singer, brought that composer’s expressiveness to his portrayal.

The baritone Matthias Goerne, who stepped into this gripping 1997 production by Mark Lamos on short notice for Mr. Hampson when this run opened on March 6, was a stocky, bedraggled, everyman Wozzeck. With his tall, distinguished physique, Mr. Hampson might seem the wrong body type for the role, but he used his imposing stature to dramatic effect. This Wozzeck, with hollowed eyes and hobbled gait, seemed to be sinking under the pressure of poverty and the manipulation of his sneering superiors. Still, now and then a gleam of dignity, even charisma, came through, underlining the character’s tragedy. If only this Wozzeck had been given a break or two, a decent job, his life might have turned out differently.

The rest of the strong cast was the same as on opening night. If anything, with Mr. Hampson back, everyone seemed more confident, especially the soprano Deborah Voigt, who has been singing Marie for the first time in this run at the Met; she gives a vulnerable, intense portrayal of a role that suits her well. James Levine, conducting an opera he reveres, again drew a shattering performance from the great Met Orchestra. ---Anthony Tommasini, nytimes.com

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Berg - Dallapiccola - Hartmann (Erich Kleiber)

2012-10-05T16:42:53Z

Berg - Dallapiccola - Hartmann (Erich Kleiber)

Berg : Wozzeck Op.7, Three fragments
1. Soldaten, Soldaten sind scho¦łne Burschen
2. Und ist kein Betrug in seinem Munde
3. Ringel Ringel Rosenkranz

Dallapiccola : Two pieces for Orchestra
4. I. Sarabanda
5. II. Fanfara e fuga

Karl Amadeus Hartmann Symphony No. 6
6. I. Adagio - Appassionato (Allegro moderato)
7. II. Toccata variata_ Presto - Allegro assai

Annelies Kupper – soprano
Bavarian Radio Symphony Orchestra
Erich Kleiber – conductor

27 May , 1955 ; live in Munich

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Berg, Shostakovich - Violin Concertos

2012-09-28T16:47:17Z

Berg, Shostakovich - Violin Concertos

Berg - Violin Concerto - Dem Andenken eines Engels
1. I. Andante – Allegretto
2. II. Allegro – Adagio

Shostakovich - Violin Concerto No. 1 in A minor, Op. 77 (published as Op. 99)
3. I. Nocturne. Moderato
4. II. Scherzo. Allegro
5. III. Passagalia. Andante
6. IV. Burlesque. Allegro con brio

Leonid Kogan – violin
USSR Radio & TV Symphony Orchestra
Gennady Rozhdestvensky – conductor
Evgeny Svetlanov – conductor

One of the twentieth century's greatest violinists, Leonid Kogan was less widely known than his somewhat older contemporary David Oistrakh, but no less a first-tier artist. More concentrated in tonal focus and with a quicker vibrato than Oistrakh and others of the Russian school, Kogan was avowedly a man of his time. His espousal of the four-octave scale for exercises assured the infallibility of his technique by strengthening his fingering hand in the upper positions. Although he died at age 58, he had amassed a discography that remains as a commanding legacy. Although his were not especially musical parents, Kogan conceived a fascination for the violin by age three. At six, he began lessons with Philip Yampolsky, a pupil of Leopold Auer. When Kogan's family moved to Moscow when he was ten, he began studies with Abram Yampolsky (no relation to Philip, but another Auer disciple). Kogan progressed through the Central School of Music, then the Moscow Conservatory, where he trained from 1943 to 1948. Postgraduate studies at the conservatory occupied him from 1948 until 1951. At age 12, Kogan was heard by violinist Jacques Thibaud, who predicted a great career for him. Although his parents resisted exploiting their son as a prodigy, Kogan made his debut at 17 and performed in many Soviet venues while still a student. Wider recognition came when Kogan shared first prize at the 1947 Prague World Youth Festival. In 1951, he won first prize at the Queen Elisabeth Competition in Brussels. Oistrakh, who was a member of the jury (along with Thibaud), thereafter came to regard Kogan as a colleague, while Kogan closely observed his elder associate during the latter's evening classes for other students. After teaching at the Moscow Conservatory and playing a busy schedule of concerts in the Soviet Union over the next few years, Kogan made his first appearances in Paris and London in 1955, following those with a tour of South America in 1956 and another of the United States in 1957. Less gregarious than Oistrakh, Kogan was not as aggressively promoted abroad by the Soviet government. After being named People's Artist in 1964, Kogan received the Lenin Prize in 1965. --- Erik Eriksson, Rovi

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