The successful duo of Raphaela Gromes and Julian Riem continues to enrich the Romantic
chamber music repertory with more and more new ideas and new arrangements, including
the three encores featured in the present release: two are compositions by the “Romantic
Titans” Schumann and Brahms, while the third is by the hugely talented Clara Wieck, who
later married Schumann and became a close friend of Brahms.
Neuheiten des Labels NAXOS im Juli 2013, darunter Flötenkonzerte von Johann Joachim Quantz, Lieder von Robert Schumann, die Oper "Semiramide" von Rossini, Britische Folksongs auf dem Album "Down by the sea", die Strathclyde-Konzerte Nr. 3 und 4 von Maxwell Davies, Orgelmusik von Heinrich Scheidemann uvm.
Neuheiten des Labels NAXOS und der Vertriebslabels von Naxos Deutschland zum Freitag, 29. April 2016! Mehr Infos auf www.naxos.de und www.naxosdirekt.de!
Neuheiten vom Label Naxos und der Vertriebslabels von NAXOS Deutschland zum Freitag, 09. Dezember 2016! Mehr Infos auf www.naxos.de und www.naxosdirekt.de!
Neuheiten des Labels NAXOS im Juli 2013, darunter Flötenkonzerte von Johann Joachim Quantz, Lieder von Robert Schumann, die Oper "Semiramide" von Rossini, Britische Folksongs auf dem Album "Down by the sea", die Strathclyde-Konzerte Nr. 3 und 4 von Maxwell Davies, Orgelmusik von Heinrich Scheidemann uvm.
Neuheiten des Labels NAXOS und der Vertriebslabels von Naxos Deutschland zum Freitag, 29. April 2016! Mehr Infos auf www.naxos.de und www.naxosdirekt.de!
Neuheiten vom Label Naxos und der Vertriebslabels von NAXOS Deutschland zum Freitag, 09. Dezember 2016! Mehr Infos auf www.naxos.de und www.naxosdirekt.de!
Fauré - Andreas Brantelid & Bengt ForsbergalfeuRIO
FAURÉ: COMPLETE WORKS FOR CELLO & PIANO (ANDREAS BRANTELID, BENGT FORSBERG)
It’s hard to argue there could be a better way to demonstrate Fauré’s unparalleled ability to express melody than through the combination of piano and cello. This new recording collects all of Fauré’s compositions for the two instruments, tracing them from his early ‘salon’ period through to his sparse later compositions, which he wrote when he was almost completely deaf. While his two major cello sonatas (1917 and 1921) feature, the majority of this disc highlights Fauré’s ability to perfect the miniature.
Cellist Andreas Brantelid and pianist Bengt Forsberg are perfect partners for these ‘songs without words’. Brantelid has a rich, claret tone. He perhaps takes a bit too much liberty in elongating phrases at times, but he has the consistency of sound to sustain the ear. Forsberg is an experienced chamber musician and plays with willing support, but sparkles through the texture at the appropriate moments. Nothing demonstrates this more than the famous Élégie. The two sonatas allow Forsberg to demonstrate more of his virtuosity, and he rises to the occasion admirably.
This album is a worthwhile portrayal of this master of chamber music. Fauré shied away from large orchestral colours, to instead busy himself with works of a smaller size, but by no means smaller meaning. These are perfect miniatures, and Brantelid and Forsberg do much to champion these delicacies.
https://www.limelightmagazine.com.au/reviews/faure-complete-works-for-cello-piano-andreas-brantelid-bengt-forsberg/
Video: https://vimeo.com/301042994
Neuheiten des Labels NAXOS im August 2013, darunter die Sinfonie Nr. 2 von Marcel Tyberg [8.572822], die Neuauflage der Compilation mit ALLEN Nationalhymnen der Welt [8.201001], Lieder von Peter Cornelius [8.572556], Werke für Violine und Klavier von George Enescu [8.572691], die Oper "Le Roi et le fermier" von Pierre-Alexandre Monsigny [8.660322] uvm.
Neuheiten des Labels NAXOS im Juni 2013, darunter "Rhapsody in Blue" von Gershwin, die 5-CD-Compilation "Orchesterwerke Mythos Wagner", "Suite für Viola und Orchester" von Ernest Bloch, die Oper "Le Siège de Corinthe" von Rossini, Orchesterwerke von Aaron Copland uvm.
AllMusic Review by James Manheim
Shostakovich's two piano concertos do not come from the mainstream of his career. The Concerto for piano, trumpet, and strings, Op. 35 (the trumpet's role is secondary), is an early work, and the Piano Concerto No. 2 in F major, Op. 102, was written for the composer's son, Maxim, and is one of the few real light works in his entire corpus. Shostakovich said that the second concerto was "without redeeming value," but perversely went on to perform it frequently, as did Maxim. Many performers have followed those two in taking the outer movements at breakneck speeds, but Russian pianist Anna Vinnitskaya is a bit closer to the moderate tempi of the best-selling Leonard Bernstein recording from which many older listeners learned the work. Composers do not have the last word on performances of their music, and the slower readings are preferable, bringing out the Bachian quality of the music. Vinnitskaya is a natural Shostakovich player throughout, getting the sardonic tone of the young Shostakovich perfectly in the first concerto, and there are a pair of fine duo-piano pieces (Ivan Rudin is the second pianist) to bring down the curtain. There are places where the piano needed to be a bit farther forward in the engineering mix, but this is an above-average Shostakovich recording. Vinnitskaya conducts the Kremerata Baltica and the Winds of the Staatskapelle Dresden in the first concerto.
https://www.allmusic.com/album/shostakovich-piano-concertos-mw0002847810
Meng Su - site
(...)
Meng Su’s performances and recordings have impressed the public with “an ability and artistry that exceeds her years.” (Baltimore Sun) Her debut duo CD “Maracaípe” received a Latin Grammy nomination for the titled piece, which was dedicated to the Duo by renowned guitarist/composer Sergio Assad. Their second CD, “Bach to Tan Dun,” a "must-listen" according to composer Tan Dun, has been widely noted for the world-premiere recording of his “Eight Memories in Watercolor.” A recording in trio, “China West,” with Maestro Barrueco and the Beijing Guitar Duo was released in May 2014 to critical acclaim. Meng Su’s debut solo recording “Meng,” released in 2016 was called “awe-inspiring” and “this year’s finest debut by far” by Classical Guitar Magazine. (...)
https://www.mengsu.com
Sebastião Tapajós – Visões Do Nordeste (1986).pdfalfeuRIO
SEBASTIÃO TAPAJÓS
Sebastião Tapajós é paraense de Santarém, onde, aos 9 anos, começou a tocar violão. Mas foi em Lisboa, em 1964, que se formou pelo Conservatório Nacional de Música. Também estudou em Madrid com Emílio Pujol e diplomou-se no Instituto de Cultura Hispânica.
Desde 1965 vem realizando concertos principalmente nos Estados Unidos, Argentina, Áustria, Dinamarca, Noruega, Itália, França, Espanha, Japão, Alemanha e Holanda, além de extensas tournées pelo Brasil. O público e a crítica o aplaudem e admiram por seu toque suave e preciso, por sua maneira personalíssima de externar as emoções contidas nas ricas manifestações populares e folclóricas de seu país, ao lado da delicadeza com que interpreta os clássicos do repertório internacional.
Com cerca de 30 discos gravados, Tapajós tem acumulado prémios, especialmente na Alemanha, onde se apresenta todos os anos. No Brasil, seu disco Romanza lançado pelo selo LArt — foi considerado um dos melhores instrumentais de 1984.
(Trecho do encarte)
Weitere ähnliche Inhalte
Ähnlich wie Klengel, Schumann - Romantic Cello Concertos (Encarte).pdf
Fauré - Andreas Brantelid & Bengt ForsbergalfeuRIO
FAURÉ: COMPLETE WORKS FOR CELLO & PIANO (ANDREAS BRANTELID, BENGT FORSBERG)
It’s hard to argue there could be a better way to demonstrate Fauré’s unparalleled ability to express melody than through the combination of piano and cello. This new recording collects all of Fauré’s compositions for the two instruments, tracing them from his early ‘salon’ period through to his sparse later compositions, which he wrote when he was almost completely deaf. While his two major cello sonatas (1917 and 1921) feature, the majority of this disc highlights Fauré’s ability to perfect the miniature.
Cellist Andreas Brantelid and pianist Bengt Forsberg are perfect partners for these ‘songs without words’. Brantelid has a rich, claret tone. He perhaps takes a bit too much liberty in elongating phrases at times, but he has the consistency of sound to sustain the ear. Forsberg is an experienced chamber musician and plays with willing support, but sparkles through the texture at the appropriate moments. Nothing demonstrates this more than the famous Élégie. The two sonatas allow Forsberg to demonstrate more of his virtuosity, and he rises to the occasion admirably.
This album is a worthwhile portrayal of this master of chamber music. Fauré shied away from large orchestral colours, to instead busy himself with works of a smaller size, but by no means smaller meaning. These are perfect miniatures, and Brantelid and Forsberg do much to champion these delicacies.
https://www.limelightmagazine.com.au/reviews/faure-complete-works-for-cello-piano-andreas-brantelid-bengt-forsberg/
Video: https://vimeo.com/301042994
Neuheiten des Labels NAXOS im August 2013, darunter die Sinfonie Nr. 2 von Marcel Tyberg [8.572822], die Neuauflage der Compilation mit ALLEN Nationalhymnen der Welt [8.201001], Lieder von Peter Cornelius [8.572556], Werke für Violine und Klavier von George Enescu [8.572691], die Oper "Le Roi et le fermier" von Pierre-Alexandre Monsigny [8.660322] uvm.
Neuheiten des Labels NAXOS im Juni 2013, darunter "Rhapsody in Blue" von Gershwin, die 5-CD-Compilation "Orchesterwerke Mythos Wagner", "Suite für Viola und Orchester" von Ernest Bloch, die Oper "Le Siège de Corinthe" von Rossini, Orchesterwerke von Aaron Copland uvm.
AllMusic Review by James Manheim
Shostakovich's two piano concertos do not come from the mainstream of his career. The Concerto for piano, trumpet, and strings, Op. 35 (the trumpet's role is secondary), is an early work, and the Piano Concerto No. 2 in F major, Op. 102, was written for the composer's son, Maxim, and is one of the few real light works in his entire corpus. Shostakovich said that the second concerto was "without redeeming value," but perversely went on to perform it frequently, as did Maxim. Many performers have followed those two in taking the outer movements at breakneck speeds, but Russian pianist Anna Vinnitskaya is a bit closer to the moderate tempi of the best-selling Leonard Bernstein recording from which many older listeners learned the work. Composers do not have the last word on performances of their music, and the slower readings are preferable, bringing out the Bachian quality of the music. Vinnitskaya is a natural Shostakovich player throughout, getting the sardonic tone of the young Shostakovich perfectly in the first concerto, and there are a pair of fine duo-piano pieces (Ivan Rudin is the second pianist) to bring down the curtain. There are places where the piano needed to be a bit farther forward in the engineering mix, but this is an above-average Shostakovich recording. Vinnitskaya conducts the Kremerata Baltica and the Winds of the Staatskapelle Dresden in the first concerto.
https://www.allmusic.com/album/shostakovich-piano-concertos-mw0002847810
Ähnlich wie Klengel, Schumann - Romantic Cello Concertos (Encarte).pdf (20)
Meng Su - site
(...)
Meng Su’s performances and recordings have impressed the public with “an ability and artistry that exceeds her years.” (Baltimore Sun) Her debut duo CD “Maracaípe” received a Latin Grammy nomination for the titled piece, which was dedicated to the Duo by renowned guitarist/composer Sergio Assad. Their second CD, “Bach to Tan Dun,” a "must-listen" according to composer Tan Dun, has been widely noted for the world-premiere recording of his “Eight Memories in Watercolor.” A recording in trio, “China West,” with Maestro Barrueco and the Beijing Guitar Duo was released in May 2014 to critical acclaim. Meng Su’s debut solo recording “Meng,” released in 2016 was called “awe-inspiring” and “this year’s finest debut by far” by Classical Guitar Magazine. (...)
https://www.mengsu.com
Sebastião Tapajós – Visões Do Nordeste (1986).pdfalfeuRIO
SEBASTIÃO TAPAJÓS
Sebastião Tapajós é paraense de Santarém, onde, aos 9 anos, começou a tocar violão. Mas foi em Lisboa, em 1964, que se formou pelo Conservatório Nacional de Música. Também estudou em Madrid com Emílio Pujol e diplomou-se no Instituto de Cultura Hispânica.
Desde 1965 vem realizando concertos principalmente nos Estados Unidos, Argentina, Áustria, Dinamarca, Noruega, Itália, França, Espanha, Japão, Alemanha e Holanda, além de extensas tournées pelo Brasil. O público e a crítica o aplaudem e admiram por seu toque suave e preciso, por sua maneira personalíssima de externar as emoções contidas nas ricas manifestações populares e folclóricas de seu país, ao lado da delicadeza com que interpreta os clássicos do repertório internacional.
Com cerca de 30 discos gravados, Tapajós tem acumulado prémios, especialmente na Alemanha, onde se apresenta todos os anos. No Brasil, seu disco Romanza lançado pelo selo LArt — foi considerado um dos melhores instrumentais de 1984.
(Trecho do encarte)
Brasil Guitar Duo - Zanzibar, A Música de Edu Lobo.pdfalfeuRIO
Mauro Ferreira , blog Notas Musicais
Quinta-feira, 18 de abril de 2013
Obra de Edu Lobo ganha tom camerístico no toque do Brasil Guitar Duo
Em texto reproduzido no encarte do segundo CD do Brasil Guitar Duo, Zanzibar - A música de Edu Lobo, ninguém menos do que Edu Lobo elogia a musicalidade e o virtuosismo da dupla de violonistas formada por Douglas Lora e João Luiz. Trata-se do aval mais importante que o Brasil Guitar Duo poderia receber, pois em Zanzibar - disco finalizado em 2012, cinco anos após a edição do antecessor Bom partido (2007) - os violonistas dão tratamento camerístico a 13 músicas do cancioneiro do compositor carioca. Sem trair o requinte harmônico original de temas como Frevo de Itamaracá (Edu Lobo, 1970) e Nego maluco (Edu Lobo e Chico Buarque, 1993), o Brasil Guitar Duo dá sua visão da obra de Lobo com arranjos de João Luiz, feitos sob a produção de Guilherme Oliveira. Editado pela Guanabara Records, o CD Zanzibar alinha no repertório músicas como Corrida de jangada (Edu Lobo e Capinam, 1967), Quase sempre (Edu Lobo e Cacaso, 1979) e Valsa brasileira (Edu Lobo e Chico Buarque, 1988). Biscoito muito fino!
http://www.blognotasmusicais.com.br/2013/04/obra-de-edu-lobo-ganha-tom-cameristico.html
Russian pianist Anna Vinnitskaya came to public attention with a couple of major prizes late in the 2000s decade and has since made several recordings of technically fearsome repertory from the early 20th century. If you're the type who likes to skip straight to the action scenes, sample the fireworks of "Scarbo," from the suite Gaspard de la nuit, where it becomes clear that Vinnitskaya has all the technical equipment that could be desired. But she has also developed interpretive charisma to go along with the technical mastery. Hear how artfully the pedal is used in the opening phrases of "Scarbo" to deepen the response of the low piano utterances to the difficult repeated-note figures. In Miroirs, composed several years earlier, Vinnitskaya never bogs down in technical detail and achieves a real sense of the mystery contemporary listeners must have heard in these pieces: the insistent tonal stasis of "Oiseaux tristes," the transfigured Spanish style of Alborada del gracioso, the slightly surreal La Vallée des cloches. Naïve's engineers, working at the Jesus Christus Kirche in Berlin, capture the full range of a recording with a remarkable dynamic spectrum, as compelling in its quiet moments as it is in the fireworks. Highly recommended.
JAMES MANHEIM, AllMucic
Saint-Saëns, Offenbach Review by James Manheim
The graphics for this Deutsche Grammophon release show the young Franco-Belgian cellist Camille Thomas having a good time (with cello) in various European locations, and they capture the feel of the whole. Thomas states as her goal "to create a disc that would be filled with joy, emotion, and youth," and she hits this on the mark with tuneful music from start to finish. Saint-Saëns is conventionally in the "classical" sphere and Offenbach in the "light," but here they seem to go together naturally, and Thomas finds some unusual works to boot. Saint-Saëns himself arranged his Suite for cello and piano, Op. 16, for orchestra, and it's a sparkling, tuneful work. And if all you know of Offenbach is the famed Can-Can, sample the Introduction, Prière, et Boléro for cello and orchestra, Op. 22, for more tunes that you'll be humming after the disc or hard drive has finished spinning. With some nice bonus pieces from guest artists, this is an album that inhabits a youthful spirit rather than trying to scale the heights out of the box. Played with conviction, and highly recommended.
https://www.allmusic.com/album/saint-saëns-offenbach-mw0003104200
Christian Scott a Tunde Adjuah - Stretch MusicalfeuRIO
Por TIAGO FERREIRA, Na Mira do Groove
É difícil traduzir o termo Stretch Music. A acepção tem a ver com ‘expansão musical’, som que se estende e ultrapassa limites. Mas, onde isso deve chegar quando se fala em termos artísticos?
Apesar de dar título ao seu disco mais recente, Christian Scott explicou o que realmente significa este termo há três anos, quando lançava o álbum duplo Christian aTunde Adjuah (2012), que marcava sua mudança de nome. Eis o que significa o termo ‘stretch music’, segundo o trompetista disse ao Village Voice:
“Se você olhar para o jazz da forma que foi criado, 100 anos atrás, foi a primeira fusão musical de todas as culturas. Harmonia e ritmos do oeste africano, então houve a mistura com a Diáspora, e todas essas outras influências. O que fazemos com ‘stretch music’ é essencialmente a mesma ideia; é apenas uma atualização, separada por um século”.
De uma coisa Scott está certo: fusão musical é algo tão antigo no jazz, que colocar isso como novidade soaria herege.
Como, então, isso se dá, em pleno século XXI? Partindo do pressuposto musical de que, em seu novo disco, a abertura musical e estilística é um amálgama.
Continua em... https://tinyurl.com/2p92hvem
Nelson Freire: Heitor Villa-Lobos / KlavierwerkealfeuRIO
"Uma das principais características da cultura latino-americana é o elemento "mestiço", a mistura da herança europeia e da tradição indígena (com a influência étnica da África desempenhando um papel adicional na área do Caribe). O compositor Heitor Villa-Lobos personifica esse aspecto "mestiço" desde as suas origens: nasceu em 1887, filho de um espanhol radicado no Brasil e de uma índia. Já começou a compor aos doze anos; ao mesmo tempo, tocava violoncelo em cafés e teatros suburbanos. A partir de 1905, ele começou a colecionar canções folclóricas de maneira metódica. Parecia tão natural para um brasileiro incorporar a música folclórica em seu próprio trabalho criativo quanto para os húngaros Bartók e Kódaly. Villa-Lobos, no entanto, também estudou avidamente os desenvolvimentos musicais europeus mais recentes. "
Brasileiro: Villa-Lobos & Friends, com Nelson FreirealfeuRIO
UMA VIAGEM AFETIVA: NELSON FREIRE INTERPRETA MÚSICA BRASILEIRA
Não foi por acaso que o Brasil entrou no século XX com uma constelação de pianistas notáveis - bastando mencionar Guiomar Novaes (1894-1979), Antonieta Rudge (1885-1974) e Magda lena Tagliaferro (1893-1986). Do último quartel do século XIX em diante, uma importante escola de piano desenvolveu-se no país, por um lado no Instituto Nacional de Música do Rio de Janeiro, e de uma forma especial em São Paulo, através de Luigi Chiaffarelli (1856-1923), considerado por Arthur Rubinstein um professor do calibre de lsidore Phillipp em Paris ou de Ferruccio Busoni em Berlim. Nelson Freire pode traçar uma descendência em linha direta dessas duas tradições, especialmente a de Chiaffarelli, por intermédio, na sua infância, de sua professora Lucia Branco, e pelo relacionamento e forte amizade que desenvolveu com Guiomar Novaes.
O repertório escolhido por Freire para este CD abrange música brasileira para piano, composta nos cerca de sessenta anos entre 1890 e o imediato Pós-Guerra. Esta seleção - em torno de obras compostas por Villa-Lobos entre 1919 e 1940 - apresenta composições de outros compositores importantes, desde a geração mais velha representada por Alexandre Levy, Henrique Oswald e Barrozo Netto, - passando pelos contemporâneos de Villa-Lobos, Lorenzo Fernández e Francisco Mignone -, até a geração mais nova de Camargo Guarnieri e Claudio Santoro. Este repertório, composto ao longo de três gerações de músicos preocupados com a consolidação de uma autêntica música brasileira, é em muitos aspectos comparável em qualidade, senso do colorido, originalidade rítmica e profundo conhecimento do instrumento, ao repertório para piano composto pela escola espanhola, entre as gerações de Isaac Albéniz e a de Federico Mompou.
Cartola entre amigos: os lindos sambas do Mestre da Mangueira lembrados aqui por Dona Neuma, Nelson Sargento, seu Aluísio Dias, Padeirinho, Nuno Veloso, Creusa, Cláudia Savaget, Nadinho da Ilha, Monarco, Doca da Portela, Paulo Marquês – vozes nem sempre mangueirenses, mas todas cantando como se estivessem reunidas no quintal da casa do Divino (como o apelidou Lúcio Rangel) e de sua querida Zica, ela com as trempes e panelas fumegando a carne-seca e o feijão preto incomparáveis, a Mangueira engalanada em verde-e-rosa para escutar “os lindos sambas do Cartola”. E todos – à exceção de Festa da Penha – absolutamente inéditos, o que dá a esta produção um caráter absolutamente original.
Produção Fonográfica Funarte/INM/Divisão de Música Popular
Assistente de Produção Artística: Marília T. Barboza da Silva
Produção Executiva: Júlia Peregrino
Pesquisa Musical: Marília T. Barboza da Silva e Arthur L. de Oliveira Filho
Arranjos: João de Aquino
Técnico de som e mixagem: Harley
Auxiliar de estúdio: Celso
Gravação e Montagem: 31 de outubro, 1, 3, 4 e 5 de novembro de 1983
Estúdio: Rancho Studio (Rio de Janeiro, Brasil)
Corte: Américo
Prensagem: Gravações Elétricas S/A
Ilustração: Lan
Projeto Gráfico: Paula Nogueira
Produção Gráfica: Departamento de Editoração da Funarte
Fonte: Funarte
Reunião de gravações do violonista japonês Shin-Ichi Fukuda feitas pelo selo chinês Poloarts. O repertório é basicamente de músicas espanholas onde encontramos os clássicos de Francisco Tárrega, Isaac Albeníz e de músicas tradicionais que já tem a assinatura de Miguel Llobet nos arranjos. Destaque para as composições do brasileiro João Pernambuco nas músicas "Sons de Carrilhões" e "Pó de Mico".
"La Catedral", clássico de Agustín Barrios é apresentado pelo violonista também japonês Kazuhito Yamashita.
• Recording debut of the 22-year-old virtuoso Chinese pianist Yuja Wang
• Since her professional debut in 2005 Yuja has given astonishing debuts in almost every major US city and continues with a substantial tour throughout 2009
• Yuja has stepped in for Radu Lapu and Martha Argerich in major concerto appearances, and wowed audiences and the press alike
• This album highlights not only her technical brilliance but also musical subtlety
"The arrival of Chinese-born pianist Yuja Wang on the musical scene is an exhilarating and unnerving development. To listen to her in action is to re-examine whatever assumptions you may have had about how well the piano can actually be played."
—— The San Francisco Chronicle
"Charmingly slight of build, Miss Yuja seated herself demurely at the piano, then proceeded to blow the roof off Strathmore’s Concert Hall with a massive yet insightful attack on the piece…Her speed and control were dazzling, her tone full and rich, her mastery of the composer’s wicked passage work nearly perfect. Not yet 21, she seems already destined to become one of this century’s major talents."
—— The Washington Times
"To hear Ms. Wang, an artist so extravagantly gifted on every front, is to realize how much compromise is usually involved in hearing even the most impressive virtuosos."
—— The San Francisco Chronicle
http://www.arkivmusic.com/classical/album.jsp?album_id=211571
Este álbum apresenta música instrumental brasileira de compositores como Jobim, Villa-Lobos, Gismonti e Pascoal. A variedade de estilos inclui choros, maxixes e outras formas musicais influenciadas pela música folclórica brasileira. Músicos renomados como Michala Petri, Daniel Murray e Marilyn Mazur interpretam arranjos criativos destas obras que combinam elementos da música erudita e popular do Brasil.
Concerto pra Piano e Orquestra em Formas Brasileira nº2
01. I. Modinha
02. II. Ponteio
03. III. Maracatu
André de Leão e o Demônio de Cabelo Encarnado
04. 1º quadro (Andante con motto)
05. 2º quadro (tempo di marcia)
06. 3º quadro (Scherzo)
07. 4º quadro (andante ma non troppo)
08. 5º quadro (andante sostenuto)
09. 6º quadro (finale in modo di romanza)
Pietro Maranca, piano
Orquestra Sinfônica do Estado de São Paulo
Eleazar de Carvalho, regente
São Paulo, 1982
Villa-Lobos, Ripper, Gomes - A Night of Classics from BrazilalfeuRIO
Villa-Lobos
Concerto para violão e pequena orquestra
01 I. Allegro preciso
02 II. Andantino e andante - Cadenza
III. Allegretto non troppo
Bachianas Brasileiras nº3, para piano e orquestra
03 I. Preludio (Ponteio)
04 II. Fantasia (Devaneio)
05 III. Ária (Rodinha)
06 IV. Toccata (Picapau)
João Guilherme Ripper
07 Rio São Francisco - Imagem Sinfônica
Carlos Gomes
08 'Ah! Se tu sei fra gli angeli' (Fosca)
09 'Quando nascesti tu' (Lo Schiavo)
10 The Love Duet (Il Guarani) Fabio Zanon, violão
Linda Bustani, piano
Claudia Ricitelli, soprano
David Curry, tenor
Young Musicians Symphony Orchestra
James Blair, regente
After Dreams, and the Bach Cello Suites, two recordings that enjoyed both critical and public acclaim, Ophélie Gaillard turns here to Robert Schumann’s Cello Concerto and the complete music for cello and piano of Franz Liszt. The result of this juxtaposition of two worlds, those of two composers of great sensitivity, is a programme captivatingly combining passion with an expression of the mysteries of life. Once again we see the eclecticism that Ophélie Gaillard has always shown. For the Schumann Concerto, this brilliant young cellist is accompanied by the National Radio Orchestra of Romania (which has played with the likes of Yehudi Menuhin, David Oistrakh, Martha Argerich and Mstislav Rostropovich), under the young conductor Tiberiu Soare (a favourite of the singer Angela Gheorghiu).
Schumann, who took up the cello at one time, attains an expressive maturity in his Concerto that enables him to bring out all the warmth and sensuality of the instrument, which he presents in an orchestral setting of admirable depth. For the second part of the programme, Ophélie Gaillard is joined by the fine pianist Delphine Bardin (winner of the coveted Clara Haskil Prize). These pieces show the soberness and bold language that characterise Liszt’s late works. He had tamed his virtuosity considerably by then and his harmony shows him breaking away more and more from tonality (Liszt declared to an astonished Vincent d’Indy that ‘he aspired to do away with tonality’). They also immerse us in surprising environments, sometimes haunting, sometimes very bleak – a world of subtle emotions just waiting to be discovered!
http://flac.st/ophelie-gaillard-schumann-liszt-201224bit-flac/
ficha técnica
direção musical: canindé guará
produção fonográfica e direção artística: cacau arcoverde
produção executiva: ilnete porpino
técnicos de gravação: paulinho marciano e jota marciano
mixagem: jota marciano, cacau arcoverde e canindé guará
estúdio: studium produções
músicos
voz: mestre severino
pau furado (zambê)/chama: mestre severino
coco de roda mestre severino: mestre severino, bel, ed, ilnete, lilian, mariana e paula
O jongo é uma forma de expressão afro-brasileira que integra percussão de tambores, dança coletiva e práticas de magia. No Brasil, o jongo consolidou-se entre os escravos que trabalhavam nas lavouras de café e cana-de-açúcar, no sudeste brasileiro, principalmente no vale do Rio Paraíba. Trata-se de uma forma de comunicação desenvolvida no contexto da escravidão e que serviu também como estratégia de sobrevivência e de circulação de informações codificadas sobre fatos acontecidos entre os antigos escravos por meio de pontos que os capatazes e senhores não conseguiam compreender.
O Jongo no Sudeste foi registrado como Patrimônio Cultural Brasileiro em 15 de dezembro de 2005. Além dos grupos de São Paulo – Jongo de Quilombolas (Guaratinguetá), Jongo de Piquete (Piquete), Jongo Mistura da Raça (São José dos Campos), Jongo Dito Ribeiro (Campinas) – abrange também grupos nos estados de Minas Gerais, Rio de Janeiro e Espírito Santo. O reconhecimento do Jongo como Patrimônio Nacional faz parte do Programa Nacional de Patrimônio Imaterial (PNPI).
ABOUT THE ARTISTS: Under the guidance of their mandolinist father, Sergio and Odair Assad discovered the world of Brazilian music while they were still children. Their exceptional gift of being able to play together appeared at an early age and the two brothers spent seven years with Monina Tavora, who educated them under the classical tradition of her master, Andres Segovia.
In 1973, the Assad Brothers won the competition for young soloists of the Brazilian Symphonic Orchestra and began a sparkling career of solo work the following year.
Their fame spread throughout South America, the United States, Europe, Asia, and Australia. Everywhere they went, the Assad Brothers garnered enthusiasm and admiration; composers like Radames Gnattali, Marlos Nobre, Francisco Mignone, Nikita Koshkin, and Astor Piazzolla dedicated pieces to them, measuring their talent and prodigious personality.
https://www.guitarsalon.com/store/p2127-live-in-brussels.html
3. The cello and Romanticism
The cello and Romanticism are so inextricably linked in people’s minds that the cello is even
regarded as the most Romantic of all musical instruments. This perception may stem from
the similarities between the warmth of the instrument’s timbre and the sound of the human
voice, a perception that in turn reflects the Romantics’ tendency to indulge in poetical
flights of fancy and cantabile expression. There is also the enormous diversity of the cello’s
sound world, which extends over a magnificent compass of almost five octaves, allowing
for full-bodied power in its lowest register, a rich palette of expressive tone colours in its
middle register and highly effective climaxes in its violin-like upper register. These aristo-
cratic advantages explain the instrument’s well-nigh incalculable presence in Romantic
chamber music. It is astonishing, conversely, that the cello was unable to play a leading
role as a concerto instrument in the nineteenth century, when the piano and the violin
remained its most popular rivals. As a result, even today, only a handful of cello concertos
cast their effulgent light over the century as a whole. Yet this state of affairs means that
a whole series of equally outstanding pieces have been unjustly neglected and in some
cases forgotten in their entirety. Raphaela Gromes has already rediscovered a number of
exciting pieces for her previous releases on the Sony Classical label, and we must now be
grateful to her for recording Julius Klengel’s Third Cello Concerto, a work published by
Boosey & Hawkes in 1895 and now appearing on this album for the very first time in the
form of a world premiere recording.
Julius Klengel:
Cello Concerto no. 3 in A Minor, op. 31
World premiere recording
The violoncellist and composer Julius Klengel (1859–1933) was a member of a large family
of German musicians and in his day one of the leading figures in the musical life of Leipzig.
He joined the Gewandhaus Orchestra at the age of only fifteen and by the following year
he was already performing concertos all over Germany as an acclaimed prodigy. At the
age of twenty-two, he became the orchestra’s principal cellist and a member of the famous
Gewandhaus Quartet. He remained with the Gewandhaus Orchestra until 1924, working
under three of its greatest conductors, Carl Reinecke, Arthur Nikisch and, for a number
of years, Wilhelm Furtwängler. Despite his extensive commitments as a travelling virtuoso
and as a well-respected teacher at the Leipzig Conservatory, where he was known as the
“European cellist-maker”, he also left a substantial body of works, most of them for the
cello. He additionally wrote pieces for several cellos designed to help his students with
their ensemble playing. His Hymn for twelve cellos remains popular to this day. Among his
larger works are four cello concertos, two double concertos for two cellos and two double
concertos for violin and cello as well as a serenade for strings.
For inexplicable reasons, Klengel’s Cello Concerto no. 3, op. 31 was neglected for a long
time until Raphaela Gromes recently woke it from its slumbers. It was first performed at
the Gewandhaus Orchestra’s thirteenth subscription concert on 21 January 1892, when
Klengel himself took the solo part and the conductor was Carl Reinecke. According to the
critic Gustav Schlemüller writing in the Leipziger Anzeiger, “the applause was tempestu-
ous in the extreme and was followed by several shouts of ‘hurrah’.” The piece, Schlemüller
went on, “may be regarded as a genuine enrichment of the repertory” since it “everywhere
avoids trivialities and is unique in terms of its cantilenas and its passage-work.” The Neue
Zeitschrift für Musik that Schumann had founded in 1834 likewise reviewed the new piece
in its edition of 27 January 1892: “The Cello Concerto is in three movements: an Allegro non
troppo, an Intermezzo-Allegretto and a Finale-Vivace. However, these movements are not
separate, self-contained entities, as is the case with most earlier concertos. Rather, they
are linked together organically and by means of modulatory procedures to create a single
unit. Their content, too, is developed along unconventional lines, with passages of great
technical difficulty alternating with sustained cantilenas. A handful of fanfares seemed to
invite us to a tournament or to go into battle, but everything ended peacefully, and the
virtuoso-cum-composer was rewarded at the end with plentiful applause and with calls
to return to the stage.”
Today this work represents a genuine enrichment of the Romantic cello repertory, its vir-
tuoso elegance revealing the characteristic mastery of an authoritative practitioner on his
instrument. Marked Allegro non troppo, the opening movement proceeds along altogether
exemplary lines, the orchestral cellos and bassoon introducing the motifs from the main
theme in the semi-darkness of their lower register. When the solo cello enters, it strikes an
improvisatory note before stating the beautiful songlike theme. This theme is virtuosically
spun out, leading in turn to a second and no less songlike subject that rises up to the spars-
est of accompaniments. A further virtuoso passage for the soloist is followed by a jubilant
gesture in the orchestra, bringing this section to an end. Much to the listener’s surprise it
is followed neither by a development section nor by a recapitulation. A relatively lyrical
commentary by the soloist creates the impression of a transition to the second move-
ment, which is marked Allegretto. This movement develops along the lines of a three-part
Scherzo–Intermezzo, in which the solo cello adds a cheerful commentary to the “trumpet
fanfares” mentioned by Johann Schucht in his review for the Neue Zeitschrift. The under-
lying triplet rhythm even hints at a graceful waltz before a large-scale cadenza picks up
the wistful motifs of the opening movement and brings this section to an end. The third
movement is an Allegro vivace whose lively central theme suggests possible Hungarian
influence. It is embellished by the soloist in a delightfully playful way. The orchestra too
presents a dancelike theme that is easily recognizable by its descending scalar motif. We
then hear a reminiscence of the opening movement’s second subject, after which a coda
concludes the work with a tutti restatement of the theme.
Richard Strauss:
Romanze in F Major, WoO 75 / TrV 118
The present Romanze is one of many pieces that Strauss wrote during his youth. Barely
nineteen years old at the time, he not only experimented as a composer with various genres
and instruments but also gave early proof of the hallmarks of his genius. Among these works
are a violin concerto, two symphonies, a wind serenade for thirteen instruments that has
4. entrusted him with the task of preparing the solo part from a technical point of view. But
the hope that he would be able to premiere the work in Düsseldorf with Bockmühl proved
misplaced as the cellist kept on finding new excuses to avoid performing the piece.
Schumann deliberately called the work a Concertstück since it does not conform to his
own formal view on “how the orchestra is to be combined” with the solo instrument. The
first two movements are dominated by the solo instrument, which is virtuosic throughout,
even denying the orchestra the chance of an exposition in the opening movement and
forcing it back into the role of a mere accompanist in the second movement. In spite of this
the work is not a typical virtuoso concerto, its element of virtuosity being subordinated to
an expressivity sustained by its flowing melodic lines, so that even today the work towers
above the rest of a repertory of more than manageable proportions. Formally speaking,
Schumann’s Cello Concerto has a three-part structure, yet thanks to its fluid transitions the
thematic material, which recurs in various guises in all three movements, and the integra-
tion provided by the development principle blend together to create a single movement.
From start to finish the work as a whole is lit by a sense of poetry. The opening move-
ment is marked Nicht zu schnell (Not too fast). At its start the solo cello enters after a brief
orchestral cadence and presents the elegiac main theme, which is almost thirty bars long.
Although the following orchestral tutti picks up segments of this theme, it also inaugurates
a process that recalls nothing so much as a development section and leaves its mark on the
movement as a whole, adopting an almost improvisatory approach to the plentiful motivic
material. The usual cadenza for the soloist is replaced – surprisingly – by a tender cello
cantilena that also provides a bridge to the second movement, marked Langsam – Etwas
lebhafter – Tempo I – Schneller (Slow – Somewhat livelier – Tempo I – Quicker). A heartfelt
theme is reworked in multiple ways, allowing it to reveal the whole of its emotional appeal
and providing a sense of calm and balance to offset the dynamic outer movements. The piz-
zicato accompaniment of the strings and the prominence of a second cello part alongside
the solo line serve to underscore the cantabile character of this intermezzo. The third move-
ment is headed Sehr lebhaft – Im Tempo – Schneller (Very lively – In tempo – quicker) and
follows on without a break, a passage for the solo cello providing a link between the two.
Formally speaking, it resembles a rondo and is characterized by its earthy head motif that
leaves its mark on the episode-like interludes as well. The solo instrument and the orchestra
are intertwined in this movement, each of them being invested with a very similar weight.
For the present recording with the Berlin Radio Symphony Orchestra, Raphaela Gromes
has worked with the young Australian conductor Nicholas Carter to produce a translucent,
chamber-like interpretation of the piece.
Encores
The successful duo of Raphaela Gromes and Julian Riem continues to enrich the Romantic
chamber music repertory with more and more new ideas and new arrangements, including
the three encores featured in the present release: two are compositions by the “Romantic
Titans” Schumann and Brahms, while the third is by the hugely talented Clara Wieck, who
later married Schumann and became a close friend of Brahms.
Raphaela Gromes
5. lost none of its popularity and his First Horn Concerto, which the then eighteen-year-old
composer wrote for his father’s sixtieth birthday. One of the most striking features of the
works of this period is their association with leading figures in their young composer’s life.
One such piece is his Romanze in F Major for cello and orchestra, which he completed on
17 June 1883. There is no doubt that his already astonishing stylistic assurance in his han-
dling of the cello was due in no small part to his close contact with the famous principal
cellist of the Royal Court Orchestra in Munich, Hanuš Wihan. Strauss had been only sixteen
when he dedicated his Cello Sonata, op. 6 TrV 115 to his “dear friend”. Its initial version of
1880–81 was thoroughly revised and published by Joseph Aibl in Vienna shortly before he
completed the present Romanze. Raphaela Gromes and Julian Riem presented the world
premiere recording of its initial version in early 2020. Hanuš Wihan introduced the Sonata
in Nuremberg on 8 December 1883, while also actively championing the Romanze as the
soloist in the cello part.
Headed Andante cantabile, this single-movement Romanze is one of the most mature
works from Strauss’s early years as a composer. The solo cello enters after barely two bars,
launching a disarmingly beautiful songlike line in whose lovely inwardness youthful emo-
tions find instant expression. The calm writing for the cello and the simplicity of the mel-
ody – still far removed from the refinements of the later composer – impress the listener
with their elemental accessibility. Not even the exuberant climaxes and virtuoso passages
can disrupt the cantabile tension of the arching melodic lines that place their distinctive
stamp on the piece. For long stretches of the work, the accompaniment is notable for its
chamber-like textures, ensuring that the cello part dominates the musical argument, and
yet its subtle harmonic and instrumental colours provide the Romanze with an extremely
interesting and highly effective framework.
Robert Schumann:
Cello Concerto in A Minor, op. 129
Robert Schumann’s Cello Concerto in A Minor, op. 129 is widely regarded as the first Roman-
tic cello concerto of overwhelming significance. Schumann wrote it in 1850 on taking up his
new post as municipal director of music in Düsseldorf. His initial concerts in the town were
enthusiastically received by local audiences, and this reception helped to inspire him as a
composer. That same year also witnessed the composition of his Third Symphony (“Rhen-
ish”) and, within barely two weeks in October, his Concertstück for cello and orchestra.
But the latter work does not appear to have been performed in the Rhineland at this time,
and it was not until 23 April 1860 that it received its first public performance in Oldenburg,
when the soloist was Ludwig Ebert and the Grand Ducal Court Orchestra was conducted
by its concertmaster Karl Franzen. There are a number of reasons for this delay. The first
point to note is that Schumann, who had learnt to play the cello in his youth, struck out in
this work in a direction little calculated to court popularity, ensuring that both publishers
and performers maintained a sceptical distance. In 1851, the violoncellist of the Düsseldorf
Orchestra, Christian Reimers, played through the solo part for Schumann, prompting him
to approach the famous Frankfurt-based violoncellist Robert Emil Bockmühl and ask him
for his expert guidance. He even invited Bockmühl to give the work’s first performance and
Rundfunk-Sinfonieorchester Berlin (RSB)
6. Robert Schumann:
“Widmung” from the song cycle Myrthen, op. 25
Schumann’s song cycle Myrthen contains twenty-six songs, the first of which is a setting
of Friedrich Rückert’s “Widmung” (Dedication) that inspired Liszt to write a dramatic and
virtuosic transcription for piano solo. The cycle as a whole was a wedding present for Clara.
Clara Wieck-Schumann:
Romanze from the Piano Concerto in A Minor, op. 7
This is Clara Wieck-Schumann’s only orchestral composition. She was still only fourteen
when she composed a single-movement Concertsatz that Schumann helped her to instru-
ment. Two further movements were added over the next two years, with the original con-
cert piece now being added as the final movement, with the result that Clara was able to
give the first performance of the finished work in the Leipzig Gewandhaus on 9 November
1835. The conductor was Felix Mendelssohn. The middle movement, headed Romanze:
Andante non troppo con grazia, includes solo writing for piano and cello – a novelty in the
concert literature of the time. The duet between these two instruments resembles a con-
versation between two lovers.
Johannes Brahms:
Hungarian Dance no. 5
Brahms’s twenty-one Hungarian Dances were originally scored for piano four hands. The
fifth is arguably the most popular and liveliest of the whole set. Brahms himself orches-
trated only three of these dances, although it is in their orchestral versions that these
pieces are nowadays known all over the world. In keeping with the Romantic tradition of his
day, the famous Italian violoncellist Alfredo Piatti (1822–1901) arranged them for cello and
piano, transforming them into examples of thrilling virtuosity.
Dr. Wolfgang Horlbeck
Translation: texthouse
7. Violoncello und Romantik
Violoncello und Romantik werden heute in einem Atemzug genannt, das Cello gar als das
romantischste Instrument schlechthin. Dies mag die Nähe des warmen Celloklangs zur
menschlichen Stimme nahelegen, was in die Neigung der Romantik zu Poesie und kan-
tablem Ausdruck passt. Hinzu kommt eine enorme Klangvielfalt über einen prachtvollen
Tonumfang von nahezu fünf Oktaven, der in der Tiefe sonore Kraft, in der Mittellage eine
reiche Ausdruckspalette und in den Geigenhöhen effektvolle Steigerungen ermöglicht.
Diese edlen Vorzüge erklären eine kaum überschaubare Präsenz des Violoncellos in der
romantischen Kammermusik. Erstaunlich ist, dass es dem Violoncello nicht gelang, sich im
19. Jh. als Konzertinstrument in den Vordergrund zu spielen – Klavier und Violine behaup-
teten sich an der Spitze der Popularität. So sind es bis ins heutige Musikleben hinein nur
wenige Cellokonzerte, die das 19. Jh. überstrahlen. Zu Unrecht jedoch sind eine ganze
Reihe ebenbürtiger Werke unbeachtet geblieben und fast in Vergessenheit geraten. Es
ist dem Engagement von Raphaela Gromes zu verdanken, die bereits auf ihren bisher bei
Sony Classical erschienenen Alben spannende Neuentdeckungen präsentierte, so auch
das dritte Violoncellokonzert von Julius Klengel, das bei Boosey & Hawkes herausgegeben
wurde und nun auf diesem Album als Weltersteinspielung vorliegt.
Julius Klengel:
Violoncellokonzert Nr. 3 a-Moll op. 31
Weltersteinspielung
Der Cellist und Komponist Julius Klengel (1859–1933), einer weit verzweigten Musikerfami-
lie entstammend, war in seiner Zeit eine bedeutende Persönlichkeit des Leipziger Musik-
lebens. Mit 15 Jahren spielte er bereits im Gewandhausorchester, ab 16 konzertierte er
als gefeierter Wundercellist in Deutschland, mit 22 Jahren wurde er 1. Ensemblecellist
und Mitglied im berühmten Gewandhausquartett. Bis 1924 gehörte er dem Gewandhaus-
orchester an und erlebte das Wirken der großen Kapellmeister Carl Reinecke, Arthur Nikisch
und für einige Jahre auch Wilhelm Furtwängler. Trotz seiner umfangreichen Verpflichtun-
gen als Virtuose und geachteter Professor am Leipziger Konservatorium – gerühmt als
„europäischer Cellistenmacher“ – hinterließ er auch ein beachtliches kompositorisches
Œuvre, das sich vornehmlich auf Werke für Violoncello erstreckte. Für das Ensemblespiel
seiner Studenten schrieb er einige Stücke für mehrere Celli, darunter den bis heute belieb-
ten Hymnus für zwölf Celli. An größeren Werken komponierte Klengel vier Cellokonzerte,
Doppelkonzerte für zwei Celli und für Violine und Cello sowie eine Serenade für Streich-
orchester.
Das 3. Violoncellokonzert op. 31 blieb lange Zeit unerklärlicherweise unbeachtet, bis
es Raphaela Gromes vor kurzem aus seinem Dornröschenschlaf erweckte. Ursprüng-
lich gelangte dieses Werk im 13. Abonnementkonzert des Gewandhausorchesters am
21. Januar 1892 zur Uraufführung. Julius Klengel spielte unter der Leitung von Gewand-
hausdirigent Carl Reinecke den Solopart selbst. „Der Beifall war ein äußerst stürmischer,
dem mehrere Hurrarufe folgten“, berichtete damals Rezensent G. Schlemüller im Leipziger
Anzeiger. Weiter schrieb er, dass „die Composition […] als eine wirkliche Bereicherung der
einschlägigen Literatur zu betrachten“ sei, weil sie sich „überall von Trivialitäten fernhält
und in der Cantilene sowohl im Passagenwerk eigenartig ist“. Auch in der von Robert Schu-
mann 1834 gegründeten „Neuen Zeitschrift für Musik“ Nr. 4 vom 27. Januar 1892 erschien
eine Kritik: „Das Cello-Konzert gliedert sich in drei Sätze: Allegro non troppo, Intermezzo-
Allegretto und Finale-Vivace. Dieselben stehen aber nicht vereinzelt da, schließen nicht
für sich ab, wie es bei den meisten früheren Concerten geschieht, sondern sind modu-
latorisch, organisch miteinander zu einem Ganzen verbunden. Auch der Inhalt ist nicht
nach gewöhnlicher Schablone gearbeitet. Schwierige Passagen wechseln mit getragenen
Cantilenen ab. Einige Trompetenfanfaren schienen zum Turnier oder Kampf aufzufordern.
Jedoch endigte Alles friedlich und der Virtuose und Componist in einer Person wurde mit
reichlichem Beifall und Hervorruf geehrt.“
Heute ist dieses Werk – seine virtuose Eleganz verrät die Handschrift des berufenen Cello-
Praktikers – eine echte Bereicherung der romantischen Celloliteratur. Der 1. Satz Allegro
non troppo beginnt nahezu modellhaft: In einer Einleitung stellen Celli und Fagott im Halb-
dunkel der tiefen Lage die Motive des Hauptthemas vor. Das Solocello setzt präludierend
ein, ehe es das schöne liedhafte Thema exponiert. Die virtuose Fortspinnung führt zum
nun aufwärts führenden, ebenso sanglichen, nur sparsam begleiteten Seitenthema. Nach
wiederum virtuosem Solo beschließt das Orchester mit großer jubelnder Geste diesen Teil,
dem sich überraschend weder Durchführung noch Reprise anschließen. Ein eher lyrischer
Kommentar des Cellos wirkt wie eine Hinführung zum 2. Satz Allegretto. Dieser Satz ent-
faltet sich als dreiteiliges Scherzo-Intermezzo, die von Schucht erwähnten „Trompeten-
fanfaren“ werden vom Cellopart fröhlich kommentiert. Der triolische Grundrhythmus lässt
gar das Flair eines graziösen Walzers aufkommen, ehe eine große Kadenz, die wehmütige
Motivik des Kopfsatzes aufgreifend, zum Abschluss führt. Der 3. Satz Allegro vivace lässt
sogleich ein temperamentvolles, ungarisch anmutendes Thema in den Mittelpunkt sprin-
gen, das vom Solo spielerisch-lustvoll ausgeziert wird. Auch das Orchester präsentiert
ein tänzerisches Thema, gut an dem abwärtsführenden Tonleitermotiv erkennbar. Nach
einer Reminiszenz an das Seitenthema des Kopfsatzes beschließt eine Coda mit dem Tutti-
Thema das Werk.
Richard Strauss:
Romanze F-Dur o. Op. 75 / TrV 118
Diese Romanze ist Teil des reichen Jugendwerks Richard Strauss‘, in dem sich der kaum
19-Jährige kompositorisch nicht nur in den verschiedenen Gattungen und Instrumenten
ausprobierte, sondern auch erste Markenzeichen seiner genialen Begabung setzte. Dazu
gehören sein Violinkonzert, zwei Sinfonien, bis heute ungemein populär die 13-stimmige
Bläserserenade und das erste Hornkonzert, das der 18-Jährige dem Vater zum 60. Geburts-
tag schenkte. In jener Zeit ist auffällig, dass viele Werke aus den Beziehungen des jungen
Strauss‘ mit wichtigen Persönlichkeiten aus seinem Umfeld heraus entstehen. Dazu zählt
auch seine am 17. Juni 1883 vollendete Romanze in F-Dur für Violoncello und Orchester.
Für die bereits erstaunliche Stilsicherheit im Umgang mit dem Violoncello trug wesentlich
der enge Kontakt zu dem berühmten Solocellisten des Kgl. Hoforchesters München, Hanuš
8. Wihan, bei. Ihm, dem „lieben Freunde“, hatte der 16-jährige Richard Strauss bereits die Cel-
losonate op. 6 (TrV 115) gewidmet, deren Urfassung aus den Jahren 1880/81 er gründlich
revidierte und kurz vor Vollendung seiner Cello-Romanze dem Druck beim Wiener Verlag
Josef Aibl zuführte. Raphaela Gromes und Julian Riem präsentierten die Urfassung in einer
Weltersteinspielung zu Beginn 2020. Hanuš Wihan brachte die Sonate Ende 1883 in Nürn-
berg zur Uraufführung und setzte sich auch – als Solist des Celloparts – nachdrücklich für
das Bekanntwerden der Romanze ein.
Das einsätzige Werk, versehen mit der Tempoangabe Andante cantabile, ist eines der
reifsten Werke jener Strauss’schen Jugendzeit. Das nach kaum zwei Takten einsetzende
Solocello beginnt mit einem entwaffnend schönen ‚Gesang‘, in dessen liebevoller Innigkeit
jugendliche Emotionen unvermittelt Ausdruck finden. Die ruhige Führung der Cellostimme
und die Schlichtheit der Melodie – noch weit entfernt von den Finessen des späteren Meis-
ters – beeindrucken durch ihren elementaren Zugang, selbst die temperamentvollen Stei-
gerungen und virtuosen Passagen durchbrechen nicht die kantable Spannung der großen
Melodiebögen, die dem Werk ihre Faktur geben. Die in weiten Teilen kammermusikalisch
wirkende Orchesterbegleitung weist dem Cellopart stets das Primat des musikalischen
Geschehens zu, gibt der Romanze dennoch mit ihrer feinen harmonischen und instrumen-
talen Koloristik einen überaus interessanten und wirkungsvollen Rahmen.
Robert Schumann:
Violoncellokonzert a-Moll op. 129
Das Violoncellokonzert a-Moll op. 129 von Robert Schumann gilt als das erste überragende
Cellokonzert der Romantik. Schumann komponierte es im Jahre 1850, als er sein Amt als
Städtischer Musikdirektor in Düsseldorf antrat. Die ersten Konzerte Robert Schumanns
wurden von den Rheinländern begeistert aufgenommen, was ihn auch in seiner kompo-
sitorischen Arbeit beflügelte. Es entstehen noch in diesem Jahr seine 3. Sinfonie „Rheini-
sche“ und innerhalb von kaum zwei Oktoberwochen sein „Concertstück für Violoncello mit
Begleitung des Orchesters“. Eine Uraufführung kam im Rheinland offenbar nicht zustande.
Seine erste öffentliche Präsentation ist erst am 23. April 1860 in Oldenburg durch die Groß-
herzogliche Hofkapelle unter Leitung ihres Konzertmeisters Karl Franzen und dem Solisten
Ludwig Ebert belegt. Es gibt einige Gründe für diese Verzögerung. Zunächst ist zu würdi-
gen, dass sich Schumann – er hatte in früher Jugend das Cellospiel erlernt – mit diesem
Konzert in damals noch wenig populäre kompositorische Welten wagte, was Verleger wie
Interpreten auf skeptischer Distanz hielten. Nachdem ihm 1851 der Cellist des Düsseldor-
fer Orchesters, Christian Reimers, den Cellopart probeweise vorspielte, ersuchte er den in
Frankfurt bekannten Cellisten Robert Emil Bockmühl um fachliche Unterstützung, bot ihm
die Uraufführung des Konzertes an und betraute ihn mit der spieltechnischen Ausfertigung
der Stimme. Die Hoffnung, mit ihm eine Düsseldorfer Aufführung bestreiten zu können,
erfüllte sich nicht: Bockmühl fand immer neue Ausflüchte, um der Aufführung des Werkes
aus dem Weg zu gehen.
Mit Bedacht nannte Schumann sein Werk zunächst „Konzertstück“, denn dieses ‚Konzert’
entspricht seiner formalen Auffassung, „wie das Orchester [mit dem Soloinstrument] zu
Nicholas Carter
9. verbinden sei“, eigentlich nicht: In den ersten beiden Sätzen agiert das Violoncello als
Soloinstrument dominant, ist durch und durch virtuos, verweigert dem Kopfsatz gar eine
Orchesterexposition, drängt das Orchester im 2. Satz auf eine sparsame Begleitung zurück.
Und dennoch ist dieses Werk keines der üblichen Virtuosenkonzerte – da es das virtuose
Moment dem vom Melodiefluss getragenen Ausdruck unterordnet, sodass es auf seine Art
noch heute aus dem überschaubaren Repertoire der Cellokonzerte weit herausragt. Der
Form nach hat das Cellokonzert eine dreisätzige Struktur, verschmilzt jedoch durch flie-
ßende Übergänge das in allen Sätzen vielfältig genutzte thematische Material und das inte-
grierende Durchführungsprinzip zur Einsätzigkeit. Die poetische Atmosphäre überstrahlt
das Gesamtwerk wie ein Bogen. Zu Beginn des 1. Satzes Nicht zu schnell übernimmt das
Violoncello nach einer kurzen Orchesterkadenz die Präsentation des elegischen, fast 30
Takte langen Hauptthemas. Das nachfolgende Orchestertutti greift wohl Segmente dieses
Themas auf, eröffnet hier aber bereits einen permanenten durchführungsartigen Prozess,
der sich mit dem reichen motivischen Material nahezu improvisatorisch auseinandersetzt.
Anstelle der üblichen Solokadenz überrascht im Abschluss dieses Satzes eine zärtliche
Cellokantilene, die zugleich in den 2. Satz Langsam – Etwas lebhafter – Tempo I – Schnel-
ler überleitet. Ein inniges Thema entfaltet in vielfältiger Verarbeitung seinen ganzen emo-
tionalen Reiz, den dynamischen Ecksätzen Ruhe und Ausgewogenheit entgegenstellend.
Die Pizzicato-Begleitung der Streicher, auch das Hinzutreten einer zweiten Cellostimme
zum Solopart, unterstreicht den kantablen Charakter dieses Intermezzos. Der sich mit
einer Solopassage anschließende 3. Satz Sehr lebhaft – Im Tempo – Schneller hat eine
rondoartige Struktur, geprägt durch ein kerniges Kopfmotiv, das selbst den episodenhaf-
ten Zwischenspielen Gestalt gibt. Solo und Orchester sind in diesem Satz gleichgewichtig
miteinander verflochten.
Bei der vorliegenden Aufnahme mit dem Rundfunk-Sinfonieorchester Berlin setzt sich
Raphaela Gromes gemeinsam mit dem jungen australischen Dirigenten Nicholas Carter
für eine transparente und kammermusikalische Interpretation des Werkes ein.
Zugaben
Das Erfolgsduo Raphaela Gromes und Julian Riem bereichert gegenwärtig den Fundus
der romantischen Kammermusik mit immer neuen Ideen und Arrangements, wie es die
Zugaben auf diesem Album anklingen lassen: Kompositionen der „romantischen Titanen“
Schumann und Brahms sowie der hochbegabten Clara Wieck, der späteren Ehefrau von
Robert Schumann und engen Freundin von Johannes Brahms.
Robert Schumann:
„Widmung“ aus dem Liederzyklus Myrthen op. 25
Das Auftaktlied „Widmung“ (Friedrich Rückert) zu Schumanns 26-teiligem Liederzyklus
„Myrthen“ – das Hochzeitsgeschenk für Clara Wieck – riss bereits Franz Liszt zu einer dra-
matisch-virtuosen Klavierbearbeitung hin.
Raphaela Gromes & Julian Riem
10. Clara Wieck-Schumann:
Romanze aus dem Klavierkonzert a-Moll op. 7
Dieses Werk ist Clara Wieck-Schumanns einzige Komposition für Orchester. Mit 14 bereits
hatte sie ein einsätziges Konzertstück fertiggestellt, das ihr Robert Schumann instrumen-
tieren half. In den folgenden zwei Jahren kamen zwei weitere Sätze hinzu, sodass sie am
9. November 1835 ihre nun komplette Arbeit – das ursprüngliche Konzertstück wurde zum
Finalsatz – im Leipziger Gewandhaus unter der Leitung von Felix Mendelssohn Bartholdy
zur Uraufführung bringen konnte. Der Mittelsatz Romanze: Andante non troppo con grazia
ist – ein Novum in der Konzertliteratur – zwei Solopartien an Klavier und Violoncello vorbe-
halten. Das Duett dieser beiden Instrumente gleicht einem liebevollen Zwiegespräch.
Johannes Brahms:
Ungarischer Tanz Nr. 5
Der fünfte der 21 „Ungarischen Tänze“ – Johannes Brahms schrieb sie im Original für Klavier
vierhändig – ist wohl der beliebteste Temperamentsbolzen des gesamten Zyklus. Nur drei
der Tänze – sie sind heute weltweit in ihren Orchesterfassungen bekannt – hat Brahms
selbst instrumentiert. Der berühmte italienische Cellist Alfredo Piatti (1822–1901) arran-
gierte die Ungarischen Tänze – der romantischen Tradition folgend – zu hinreißenden Vir-
tuosenstücken für Cello und Klavier.
Dr. Wolfgang Horlbeck