Catalog

Von Müttern und Töchtern

VON MÜTTERN UND TÖCHTERN

Dorothe Ingenfeld, Mezzosopran
Anita Keller, Klavier
Katrin Dasch, Klavier

catalog number: 21103

"How did I come to make a CD just with songs about mothers and daughters? My daughter was away for three weeks during the summer holidays and I wanted to use the creatively to record a CD. I looked at my favourite songs and discovered that three of them had this thematic connection. The obvious thing to do was to take this as a theme, so I sat down with both of my pianists and we looked for other such songs. We found over thirty of them, from which we chose the most beautiful songs and those we thought the most fitting. It was to be the most poetic summer of my life! I devoured books on the subject, watched films and talked to mothers and daughters about this most enthralling of all relationships. It was a source of infinite joy for me to slip into the roles of all these mothers and daughters and I wish you just as much joy while listening!" Dorothe Ingenfeld

 

Anatolijus Šenderovas.  Music for StringsAnatolijus Šenderovas.
Music for Strings

Art Vio | FortVio
Ingrida Rupaitė-Petrikienė | Kristijonas Venslovas
Tomas Petrikis | Povilas Jacunskas 
Indrė Baikštytė 

Catalog number: 21102

The CD Music for Strings of Anatolijus Šenderovas, one of the most prominent Lithuanian composers, the laureate of the Lithuanian National Prize for Culture and Art, embraces fifteen years (2000-2015) of his chamber oeuvre and reveals the most typical features of his music, i.e. profound emotionalism, temperate modernism and intense dramaturgy.
The recording offers the possibility to hear one of the most significant pieces of Lithuanian music of the recent years – the String Quartet No.3 by Šenderovas – and reflects the creative friendship of the composer with the noted ensembles established firmly in the Lithuanian music elite – the piano trio FortVio and string quartet Art Vio.
The CD also includes the versions of the two pieces dedicated to world-famous Lithuanian German cellist David Geringas to mark the extraordinary friendship and long-standing cooperation of these two artists.

 
Savka i Griska

East Drive & Tamara Lukasheva
Savka i Griška 
A Journey to an Eastern European Childhood

Catalog number: 21101

Childhood is place of myths. A place full of miracles, fairy tales and adventures. The heritage of Eastern European childrens´ songs provides a sheer inexhaustible source of graceful, imaginative, mystical and humorous stories, of which East Drive collected the most beautiful ones to present in a new way on Savka i Griška, featuring the outstanding Ucrainian singer Tamara Lukasheva.

 
Sergej Rachmaninow Sinfonie Nr. 1 in d-moll

Sergej Rachmaninow
Sinfonie Nr. 1 in d-moll

Dortmunder Philharmoniker
Gabriel Feltz

Catalog number: 21100

Right up to the present day Sergei Rachmaninoff’s works are all too easily characterised as being “romantic salon music”. Especially just after the Second World War Rachmaninoff’s long melodic phrases and the voluptuous sound of his compositions were often regarded as being somewhat dubious. Even today many critics hold his music to be sentimental and ornate. These judgements and characterisations are, however, often made taking only a very small part of Rachmaninoff’s complete oeuvre into account. A large part of this is, even today, scarcely known in Germany. The First Symphony, which he composed at the age of 22, is one of these works. It gives us a completely new perspective on this supposedly well-known composer.

 
Bruchstücke Eine Annäherung an den Komponisten Friedhelm Döhl

Bruchstücke
Eine Annäherung an den Komponisten Friedhelm Döhl

A film by 
Günter Wallbrecht, Hugo Germán Gaido und Michael Dreyer

Catalog number: 21098

This is not a film biography - more an empathetic portrait of the restlessly productive, prolific composer and cultural initiator Friedhelm Döhl, embedded in the history of the German New Music movement over the past decades. Filmmaker Günter Wallbrecht and the two longtime producers, Michael Dreyer and Hugo Germán Gaido let not just companions of the composer from the worlds of music and politics have their say, but, above all, the composer himself. 

 
Peter Gahn Meinten Sie : RED

Peter Gahn
Meinten Sie: RED

ensemble reflexion K
Conducted by Gerald Eckert

catalog number: 21097

The multi-perspective art of cubism and Bernd Alois Zimmermann’s “pluralistic” compositional style were some of Peter Gahn’s earliest impressions. That he was also receptive for inspiration from other art forms is still a characteristic of his music today: Many of his works open themselves to visual arts, to architecture, literature, dance, theatre and film, which are often directly integrated into the performance. However, Peter Gahn also practices these changes of context and perspective within the internal musical structures: Within a work or in
groups of works whose individual parts can be simultaneously performed in differing constellations.

A co-production with Deutschlandfunk 

 
Geringas The Sound of Lithuania

David Geringas
The Sound of Lithuania 

David Geringas, cello
Indrė Baikštytė | Justas Dvarionas
Petras Geniušas | Jurgis Karnavičius
Birutė Vainiūnaitė | Rokas Zubovas, piano

Works for Cello & Piano by
K. Banaitis - V. Bartulis - B. Budriūnas - M.K. Čiurlionis
B. Dvarionas - B. Gilin - V. Jakubėnas - J. Karnavičius
J. Karosas - B. Kutavičius - F. Latėnas - A. Šenderovas
E. Balsys - S. Vainiūnas

Catalog number: 21099 

Lithuania is my home country. I was born and raised in Vilnius. But what does Lithuania sound like? This double CD is a recollection of the country and the sentiments of its people. Lithuania does not only sound in Lithuania, but everywhere where people remember Lithuania.
David Geringas

 

Eternal Love Şimdi Ensemble Michel Godard

Eternal Love
Şimdi Ensemble
Michel Godard 

catalog number:21095

Şimdi reflects this approach by embracing the traditional repertoire of Sufi music as well as the music composed by band members. Whether composed hymns, songs or instrumental works. Amazing French tuba and serpent player Michel Godard is joing this Simdi ensemble on its first recording.
 
"Recording with Simdi Ensemble was nothing less than a whirl of pleasure." M. Godard

 
Dortmunder Philharmoniker

Sergej Rachmaninow
Sinfonie Nr. 2 e moll

Dortmunder Philharmoniker
Gabriel Feltz

Catalog number: 21090

Rachmaninow at its finest!
With this brilliant recording of the 2nd Symphony the Dortmund Philharmonic, under its conductor Gabiel Feltz, has started off its recording cycle of all Rachmaninow’s symphonies.
In Gabriel Feltz, winner of the “Prix Rachmanonow”, the orchestra has a recognized authority on Rachamaninow’s music. The orchestra has put in a magnificent performance and the recording team from Tritonus has done fantastic work. A wonderful start, captured on SACD. Mr. Feltz's extensive discography continues to show him as one of the outstanding conductors of his generation.

 

Qetiq. Rock 'n Ürümchi

Qetiq. Rock 'n Ürümchi
The Discovery of Perhat Khaliq

A Film by Mukaddas Mijit

Catalog number: 21093

Ürümchi - capital city of Xinjiang Uyghur Autonomous Region in China and home to the Turkic people, the Uyghurs, is the departure point for this film. The city, which is marked by the ambivalence between its Uyghur tradition and global modernity, is home to the musician Perhat, who like many other musicians from the region had no ideas about ever leaving the city.
Since his appearance in 'China the Voice‘ in 2014 Perhat Khaliq is a famous rock star in China and the first Uyghhur rock star touring big theaters in the country.
A film about music that, just like the city, is caught up in the tension between tradition and modernity, about friendship that needs no words and about boundless optimism, which made not just one dream come true.
Perhat is receiving the Prince Claus Award in the Royal Palace in Amsterdam in December 2015.
"His rich voice and poetic lyrics are making minority culture accessible to millions, while also conserving and expanding a unique cultural heritage.“ (Prince Claus Award)

 
EOS TRIO

EOS TRIO
Streichtrios v
on
Gideon Klein | Józef Koffler | Ernst Naumann

Elena Tsaur: Violin
Elen Guloyan: Viola
Verena Sennekamp: Violoncello

Catalog number: 21091

The Moravian-born Jewish composer Gideon Klein (1919-45) composed his final work, the String Trio (1944) while interned in Theresienstadt. Quite a few of his works written there are based on Czech folksongs; his string trio falls into this category. Jewish composer Josef Koffler (1896-1944) suffered a similarly tragic fate as Klein. His Trio, op. 10 (1928) was written, however, when he was Prof. of Harmony and Atonal Composition in Lviv (Lemberg). The Trio in D Major by Ernst Neumann (1832-1910) is a work from 1883. The Eos Trio Frankfurt is keen to bring forgotten or unknown works back to audiences.

 
Barbara Höfling

Des Todes Tod
Song cycles of Mahler, Mussorgskij, Hindemith

Barbara Höfling 
Helian Quartett
Sophie Lücke
Amanda Anderson

Catalog number: 21092


"This CD is the most personal I have ever made.
Mahler's Kindertotenlieder have always been dear to my heart and I wanted to show how near the different composers are to each other while approaching the same subject from totally different angles. Death is always terrible and brutal, but at the same time releasing, comforting and even human. For me, by reducing these versions to chamber music, the songs obtain intimacy, which creates these very personal, fragile and moving moments." Barbara Höfling

 

Ludwig van Beethoven
Sinfonie Nr. 3 „Eroica“ | Sinfonie Nr. 5
Stuttgarter Philharmoniker | Gabriel Feltz

catalog number: 21088

The Third and Fifth symphonies do not each include the discursive spirit so typical for Beethoven, moreover they seem, in some way, to communicate with one another. In the “Eroica” the four movements are all independent and very different, whereas the individual movements of the Fifth are connected by the ‘knocking motif’ which appears in differing form, but is always clear and meaningful. Looked at in this way both works represent two differing answers by Beethoven to the question which is posed in each musical epoch as to what actually constitutes a symphony.

 
Treffen in Telgte

Das Treffen in Telgte
A musically-literary program

Helene Grass, Günter Grass – recitation
RIAS Kammerchor, Capella de la Torre (Katharina Bäuml)
conducted by Risto Joost

Catalog number: 21089

In his story “Das Treffen in Telgte” [“The meeting in Telgte”] Günter Grass has created a fable in which he describes the situation of literature from the point of view of a critical observer and commentator of the historical events. The story about an encounter between authors in 1647, which was initiated by the poet Simon Dach from Königsberg, takes place in a mill in Telgte, Westphalia, not far from Münster, where the Treaty ending the Thirty Year War was signed one year later.

After almost 30 years of war the plea for peace in the middle of the 17th century was the one which dominated all others. Whether in poetry or in music, it was omnipresent. (Bernhard Heß/ RIAS Kammerchor)
The author and his daughter, the actress Helene Grass, read from the story “Das Treffen in Telgte”. Poems and instrumental and vocal works by the 17th century poets and composers named in the text, such as Claudio Monteverdi, Heinrich Schütz, Michael Praetorius, Johann Crüger and Heinrich Albert, can also be heard.

“What we have heard today is a wonderful collaboration between words and music.” 
Günter Grass

A co-production of Deutschlandradio Kultur and Dreyer Gaido Musikproduktionen

 
Sherine

SHERINE
Ibrahim Keivo & NDR Bigband

Arranged and conducted by Wolf Kerschek
featuring Kinan Azmeh, Moslem Rahal, Rony Barrak
Live recorded and mixed by Walter Quintus 

Catalog number 21087

A Co-production with NDR

Ibrahim Keivo, What a musician! Mesmerized by his magic I hung on Ibrahim´s every note and could not turn away. He made us remember the reason why we all started playing music in the first place, and why we devoted a lot of time and eventually dedicated our whole lives to this calling. Wolf Kerschek

 
Markus Becker Kiev Chicago

MARKUS BECKER 
KIEV CHICAGO
PICTURES AT AN EXHIBITION &
JAZZ IMPROVISATIONS
Markus Becker: Piano

Catalog number: 21085

This is not a crossover album! Two musical worlds are juxtaposed to shed new lights upon one other: 'Kiev' stands for the Russian Romanticism of the late 19th century, 'Chicago' for the cosmos of Jazz. How do these two vastly different worlds relate? When I was considering the concept for this album I found two aspects of the relationship between these worlds very interesting: one ‘external’, such as the 'groove' in some of the 'Pictures at an Exhibition' or the somewhat jazzy harmonies in the Scriabin Préludes. I was especially interested in the ‘internal’ connections between 'Kiev' and 'Chicago': it is the compositional or improvisational freedom, colours, generosity, temperament, potential for surprise and sensuality, which is the bridge between both parts of the programme.

 
Morgenland All Star Band
Morgenland All Star Band 
DASTAN

Catalog Number: 21086

The Morgenland All Star Band unites several of the most outstanding musical personalities from the Near Orient with Jazz greats such as Frederik Köster or Bodek Janke. Traditional Kurdic music meets Uighur Funk-Rock from north-west China and jazz from Azerbaijan. Special guest is the jazz trumpeter Amir ElSaffar, who combines his musical biographical roots - Iraqi Maqam and American jazz: a global sound web full of tension, juxtapositions and surprises.
Live from the NDR Concert Hall in Hanover

featuring
Amir ElSaffar, trumpet (Iraq/USA)
Dima Orsho, voice (Syria)
Perhat Khaliq, voice & guitar (Xinjiang/ China)
Ibrahim Keivo, voice (Syria)
Ziya Gückan, violin (Turkey)
Moslem Rahal, ney (Syria)
Frederik Köster, trumpet (Germany)
Kinan Azmeh, clarinet (Syria)
Salman Gambarov, piano (Azerbaijan)
Andreas Müller, bass (Germany)
Rony Barrak, percussion (Lebanon)
Bodek Janke, drums & percussion (Germany)

Recorded by Walter Quintus. A co-production with NDR
 

Gustav Mahler 
Symphony  Nr. 1 - Gabriel FeltzGustav Mahler 
Symphony  Nr. 1
Stuttgart Philharmonic Orchestra
Gabriel Feltz

Catalog number: 21082 

Gabriel Feltz began recording all of Gustav Mahler's symphonies with the Stuttgart Philharmonic in 2007. The edition so far includes the Symphonies 1, 3, 4, 5, 6 and 7 and will be completed in 2016. The recordings have been internationally acclaimed. The internet critic “infodad.com“ called it the “most unusual and controversial cycle of the last few years.“

 
Beethoven in Stalingrad

Beethoven in Stalingrad. A Concert Tour
A film by Claudia and Günter Wallbrecht

Tabea Zimmermann, Viola
Lina Liu, Soprano | Almerija Delic, Alto
Sergej Grankwist, Tenor | Michael Kansanzew, Bariton
Choir of the Kalmückien Republic
Philharmonic Choir Volgograd
Boys’ Choir Volgograd
Osnabrück Symphony Orchestra
Wolgograder Akademisches Sinfonieorchester
Conducted by: Andreas Hotz / Edward Serov

Dreyer Gaido DVD 21083

In January 2013 the Osnabrück Symphony Orchestra started off on a very special journey: to Volgograd, the former Stalingrad – the city which, because of the events of the winter of 1942/43, has become a symbol of the horrors of war.
70 years after the end of the Battle of Stalingrad Russian and German musicians want to perform a joint memorial concert. Will the very different cultures of remembrance come together in “Alle Menschen werden Brüder”? With great sensitivity the filmmakers Claudia and Günter Wallbrecht accompany the musicians of both orchestras on their fascinating path towards a common goal.

 
Balthasar Hens

Balthasar Hens: Piecen for bass clarinet

Works by Owen Elton, Eugène Bozza, Keith Ramon Cole, David Bennet,
Werner Heider, Edwin York Bowen

Balthasar Hens, bass clarinet
Hsiao-Yen Chen, piano
Liliencron-Quartet

Catalog number 21084

This recording collects pieces for the bass clarinet from the 20th century, which range in their diversity from the late romantic sound­ideal via the Broadway sound of the 1930’s, right up to contemporary, enthralling sound spectrums. Especially those pieces, which have become unjustly forgotten or which are unknown, have been tracked down here.

 
Respighi Belkis

Ottorino Respighi. Belkis, Queen of Sheba

Julia Jentsch: narratress
Stella Doufexis, mezzosopran
Metodi Morartzaliev, tenor
Czech Philharmonic Choir Brno
Gabriel Feltz

Catalog number: 21079 (DVD) / 21081 (BluRay Disc)

In June 2012 Ottorino Respighi’s ballet music “Belkis, Queen of Sheba” was given its German premiere in Stuttgart – this was only the second performance of the work ever, almost 80 years after its first performance at La Scala in Milan. It was one of Respighi’s last great works and the ballet was considered difficult to produce at the time it was written. Some 600 participants let one realize why the work had to wait more than half a century for a second chance. The Stuttgart Philharmonic helped bring the long-silent masterpiece to a triumphal come-back in a concert performance with Julia Jentsch as narratress, the mezzo-soprano Stella Doufexis and the Czech Philharmonic Choir, Brno. This is a unique music film, which goes way beyond the scope of the normal concert recording and tells the mythical story of the legendary Queen of Sheba. She undertook an arduous journey of many years through the desert and wastes to follows the call of King Solomon – a fairy-tale from a thousand and one nights, about beauty, power and wealth.

 
Yu Jung Yoon plays Alexander Scriabin

Yu Jung Yoon
plays Alexander Scriabin

24 Préludes Op.11
Sonate Nr.2 Op.19 ('Sonate-Fantaisie')
Sonate Nr.5 Op.53

Catalog number: 21080


Yu Jung Yoon was celebrated in her childhood as a child prodigy and won numerous competitions in her home country Korea. When aged 15 she became one of the youngest students ever at the renowned Conservatory in St. Petersburg. After seven years in St. Petersburg she moved – after a short intermezzo in Germany – to Paris. Her playing combines virtuosity with a deep natural musicality. On her debut CD she performs works by Alexander Scriabin whose music she describes as being her ‘musical home’, ever since she was in her teens.

 
Scot_Weir_Volker_Niehusmann_Letters

Letters
Songs for Voice and Guitar

catalog number: 21078

Scot Weir, Tenor
Volker Niehusmann, Guitar

This production of two of Benjamin Britten's most important song cycles for guitar and voice, as well as his Folksong Arrangements and the Songs from the Chinese, is being released on the occasion of his 100th birthday. Britten wrote all these works for his long-time partner, Peter Pears, and the exceptionally talented guitarist Julian Bream. The works are amongst the most important compositions of the 20th Century for the combination voice/guitar and can be heard here in a superb interpretation on this recording.
The programme is completed with Letters from Composers by the American composer Dominick Argento and John W. Duarte's Five Quiet Songs.

 
Qetiq. Rock from Taklamakan Desert

Obertongesang trifft auf Country; uralte Wüstengesänge auf Rock


Katalognummer: 21077
 

Dreyer.Gaido entdeckte die uigurische Band im Frühjahr 2010 in einer Bar in Urumqi, der Hauptstadt der Autonomen Uigurischen Provinz Xinjiang in Nordwest-China. Xinjiang, drei mal so groß wie Frankreich, ist die Heimat des Turkvolkes der Uiguren. Diese ethnische und religiöse Minderheit in China ist im Westen nahezu unbekannt.
Mit viel diplomatischen Geschick gelang es im Sommer 2010, die Band nach Deutschland zu Konzerten im Museum für Islamische Kunst Berlin (Pergamon-Museum) und zum Morgenland Festival Osnabrück einzuladen.
Bandleader der Band ist der Sänger Perhat Khaliq, der als Solist auch mit der NDR Bigband und dem Osnabrücker Symphonieorchester konzertierte.
Qetiqs Songs sind Eigenkompositionen und Bearbeitungen traditioneller kasachischer und uigurischer Musik, wie Dolan Muqam, eine jahrhundertealte Wüstenmusik Xinjiangs (Teil der Region ist die Wüste Taklamakan, nach der Sahara die zweitgrößte Sandwüste der Welt).
Die Aufnahmen zum ersten Studioalbum der Band entstanden in Osnabrück und Urumqi.
Entstanden ist eine äußerst abewechslungreiche Rockmusik-Produktion, die einen seltenen Einblick in die Musikwelt Xinjiangs erlaubt.

 

Friedhelm Döhl Edition Volume 17
Music for Violin and Cello

Carlos Johnson, Violin
Hans-Christian Schwarz, Violincello

catalog number: 21076

Since 2003 Dreyer.Gaido has been working on the Friedhelm Döhl Edition.

The result ist the maybe largest edition of recordings of a living German composer. The internationally great response proves the interest in Döhl’s oeuvre.

Performances and supporting documentation are admirable (Cambridge University Press)
Une voix des profondeurs dans le désert du présent (ClassiqueInfo-Disque)
Edition des Jahres 2009 (Tilman Urbach in Fono Forum)

Volume 17 is dedicated to Döhl’s works for violin and cello. Next to the solo sonatas you find duos that were composed for Carlos Johnson und Hans-Christian Schwarz: Bruchstücke zur Winterreise, Bagatellen and Sinfonia a due.

 

Capella della Torre - Renaissance goes JazzRenaissance goes Jazz
Live recording

Capella de la Torre
Markus Becker - piano
Michel Godard - serpent, tuba, electric bass
musical direction: Katharina Bäuml

Catalog number 21075

Renaissance ensemble Capella de la Torre on the one side, tuba player and composer Michel Godard and pianist Markus Becker on the other, combine jazz with the alien distance of the renaissance instruments by letting the past and the present meet and collide. They give worlds of differing memories a new form and let the heterogeneous become something new and homogenous. A co-production with NDR 1

"With the Renaissance ensemble Capella de la Torre on one side, and tuba player/composer Michel Godard and pianist Markus Becker on the other, jazz collides with an alien universe of renaissance instruments. The result in this live recording is entirely unexpected and brilliant, capturing the flavor and zest of the Renaissance's addictive mix of old and ancient instruments, providing an elusive, ingenious musical experience that refuses to be generalized."
Huffington Post

 

Luigi Nono - Intolleranza 1960Luigi Nono
Intolleranza 1960

One-act opera in two parts
German translation by Alfred Andersch

Libretto with texts of Angelo Maria Rippelino, Julius Fucik, Jean-Paul Sartre, Paul Eluard, Wladimir Majakowskij, Henri Alleg and Bertolt Brecht

Wolfgang Neumann
Maria Kowollik
Judy Berry
Ina Schlingensiepen
Armin Kolarczyk
Bartholomeus Driessen

Bremen Philharmonic Orchestra
Bremen Theatre Choir
Conducted by Gabriel Feltz

Intolleranza 1960 was Luigi Nono's first work for the opera stage and is a flaming protest against intolerance and oppression and the violation of human dignity. The year in the title refers to the time of the work's origin. It was commissioned for the 1969 Venice Biennale by its director Mario Labroca. The first performance was conducted by Bruno Maderna on 13 April 1961 at the Teatro La Fenice in Venice. The premiere was disrupted by neo-fascists, who shouted "Viva la polizia" during the torture scene. Nono's opponents accused him of poisoning Italian music.
A co-production with
Radio Bremen.

Diapason_dOR

 

"Diapason d'Or" 

 

Ahmed Adnan Saygun
Yunus Emre

Osnabrueck Symphony Orchstra
Osnabrueck Youth Choir
Choir directors: Johannes Rahe, Clemens Breitschaft
Birgül Su Ariç, soprano
Aylin Ateş, mezzo-soprano
Aydın Uştuk, tenor
Tevfik Rodos, bass
Conducted by Naci Özgüç

Catalog number: 21074

In Turkish original language

The Oratory consists of three main and one intermediate part, amounting to a collage, however, with a coherent meaning. The first part consists of five sections, in which Yunus Emre discovers the love for life, yet falls into thinking about death, starts wondering about the afterlife, and finally recoils from his fate and suffers. The second part, again with five sections, depicts his rebellion against god, followed by Emre seeking refuge with god. In the intermediate part, his love for god takes contours. In the final part, made of two sections, Emre enters a union with god and finds eternal peace. Death becomes the beginning of being with god. In his Oratory, Saygun created an oeuvre to reflect his own ideas through the poems of Yunus Emre. By slightly adapting, shortening or repositioning the poems, he created a libretto of sorts. And indeed, Saygun wrote himself and his life experience into most of his works. There is no doubt that from the view of his personal advancement as composer, the Yunus Emre Oratory constitutesda major turning point. After years of introspection, his engagement with Yunus Emre and the Oratory led to a rediscovery of his music both in Turkey and abroad. In this discovery, his ideas and spiritual world took center-stage. His ode to humanity was noticed. After this, Saygun impregnated his following works with fervor and enthusiasm, characteristics, which he had held back due to his initial humility and dark days during World War II. Despite setbacks and personal attacks, he kept his peace and patience. No clearer is this than in his last recorded statement, which shows the deep influence of his engagement with Yunus Emre: “I have always worked without expecting a reward. Most of my compositions have not seen the day of light until now. Yet, that’s fine, as long as my health permits, I will work with devotion, until I can no more. It would suffice for me to know that one day, I can be an example for someone who has dedicated himself to Contemporary Turkish music”.

 
Hewar Letters to a homeland

Hewar
Letters to a homeland
 

featuring: Jivan Gasparyan (Duduk), Rony Barrak (Darbouka), Morgenland Chamber Orchestra

Catalog number: 21073 

The Syrian trio Hewar combines traditional Arabic music with jazz, scat and classical music, breaks open traditional genre borders and unifies elements of different musical cultures into a unique and distinctive sound. Hewar is the Arabian word for dialogue and for years now these three musicians have practised this, not just among themselves, but also with varying guests.

At the Morgenland Festival Osnabrück 2011 they performed together with the legendary Armenian Duduk player Jivan Gasparyan, the Lebanese Darbouka virtuoso Rony Barrak and the Morgenland Chamber Orchestra. Andreas Müller joined the ensemble as guest on the Double Bass. The concert was one of those rare musical highlights (Ludolf Bauke). It is now available on this recording.

Letters to a homeland – this is the title the musicians gave their CD.

The recording is dedicated to those people who have lost their lives in Syria in the past year.

"No one was able to express better my anger and sadness than the voice of Dima Orsho and the oud of Issam Rafea on that October day." Kinan Azmeh

Hewar:

Kinan Azmeh - clarinet
Issam Rafea - oud & vocals 
Dima Orsho - vocals 

guest: Andreas Müller - double bass

"phenomenal" (Ludolf Baucke)

 

Gustav Mahler
Symphony Nr.4

Stuttgart Philharmonic Orchestra
Jeannette Wernecke, Soprano
Gabriel Feltz

Catalog number 21072

“… What I was attempting here was exceedingly difficult to realize. Imagine the uniform blue of the skies, which is more difficult to paint than all changing and contrasting shades. This is the fundamental mood of the whole. Only sometimes it darkens and becomes ghostly, gruesome. But heaven itself is not darkened; it shines on in an eternal blue. Only to us it suddenly seems gruesome, just as on the most beautiful day in the woods, flooded with light, we are often gripped by a panic and fear. The Scherzo is mystical, confused and eerie so that your hair will stand on end. But in the following Adagio you will soon see that things were not so bad - everything is resolved.”

(Gustav Mahler in a letter to his friend Natalie Bauer-Lechner, 1900)

 

Sofia Gubaidulina
Galgenlieder à 5

Catalog number 21071

Barbara Höfling, mezzosopran
Elsbeth Moser, bajan
Gergely Bodoky, flute
Cornelia Monske, percussion
Martin Heinze, double bass


Dreyer Gaido Musikproduktion congratulates Sofia Gubaidulina on her 80th birthday with a recording of her “Galgenlieder à 5” (Gallows Songs à 5). The ensemble with the singer Barbara Höfling rehearsed the work in close conjunction with the composer and recorded it in 2011 at the studios of NDR Hanover.
“This recording is wonderful. The multitude of emotions in this 14-part compilation … is as astonishing as it is enjoyable.
And that Gubaidulina takes Morgenstern so seriously is a further plus for this music, which should even delight those classic lovers not well versed in New Music.”
Aachener Zeitung

"The fact is that in Galgenlieder Gubaidulina is clearly playing games of her own. ... one probably needs a substantial amount of background knowledge to appreciate those games. (One might almost suggest that she has done for music what James Joyce did for literature.) On the other hand one can abandon that quest for knowledge and simply take Galgenlieder ... as an irresistible journey through the rhetorical powers of sonority that is almost independent of any semantic level being expressed through the rhetoric."
Stephen Smoliar. examiner.com

 

Shourouk
NDR Bigband & Osnabrück Symphony Orchestra
live at Morgenland Festival Osnabrück

Catalog number 21070

Works by Daniel Schnyder and Nader Mashayekhi &
arrangements of Wolf Kerschek
featuring
Kinan Azmeh (clarinet)
Ibrahim Keivo (voice)
Moslem Rahal (ney)
Perhat Khaliq (voice)
Frederik Köster (trumpet)
special guest: Rony Barrak (darbouka)
conducted by: Hermann Bäumer & Wolf Kerschek

The Morgenland Festival Osnabrück has dedicated itself since 2005 to the fascinating music of the Near East. It regards itself as a co-working space for musicians from various cultures. In 2010 a very special summit meeting took place: The NDR Bigband from Hamburg and the Osnabrück Symphony Orchestra met amazing soloists from Syria, Lebanon and the autonomous region of Xinjiang in northwest China. It was also the first time that this legendary Bigband had worked together with a symphony orchestra. Daniel Schnyder arranged some of his works especially for this event. Wolf Kerschek transcribed two songs from the repertoire of Ibrahim Keivo, an exceptional singer from the region Al Jazira in northeaster Syria.
Nader Mashayeki’s 'moulAnA' for Orchestra and improvising soloists was originally written for a traditional Persian singer and orchestra. Here the role of the singer was taken on by the young jazz trumpeter Frederik Köster. 'moulAnA' ends this recording as a ‘postlude’.

A Co-production of Dreyer.Gaido Musikproduktionen and Norddeutscher Rundfunk

 

Eastern_Voices_CDEASTERN VOICES

Alim & Fargana Qasimov, Yulduz Turdieva
Ibrahim Keivo, Ayshemgul Memet, Salar Aghili

catalog number 21069


"A listening experience unlike any you have had before." (Fanfare magazine, US)


In 2010 Dreyer.Gaido Musikproduktionen started the new series EASTERN VOICES. The series is featuring outstanding musicians from the Middle East and Central Asia. Recordings with Alim Qasimov, Yulduz Turdieva and Ibrahim Keivo received an outstanding echo between the US and Australia. The compilation "Eastern Voices" presents highlights of the first productions. A vocal culture that is "spellbinding" (FRoots), also for lovers of classical music.

 

Friedhelm Döhl Edition, Volume 16
Music for and with flute

Catalog number 21068

Along with his symphonic, chamber music, vocal and scenic works Döhl also wrote many works for solo instruments (www.friedhelm-doehl.de), especially for piano, string instruments and the flute.
During his years as a student Döhl had numerous encounters with flautists, many of whom also performed his flute compositions for the first time, such as Gustav Scheck, Dorothy Hubbard, Severino Gazzeloni, Eberhard Blum, Gerhard Braun, Hartmut Gerhold, Charles-Joseph Bopp, Hans-Martin Linde, Susanne Gärtner. It was a stroke of luck that Angela Firkins (internationally renowned soloist and chamber musician and professor at the Muiskhochschule in Lübeck) became interested in Döhl’s flute compositions and performed a representative cross-section on 12th October 2010 in Lübeck . The pieces, performed in chronological order, met with great acclaim and also featured Christian Ruvolo (piano), Janna Ruck (soprano) and Troels Svane (cello). The live recording of the Lübeck concert forms the basis for this CD.

Angela Firkins, flute
Christian Ruvolo, piano
Janna Ruck, soprano
Troels Svane, violoncello

 

Gustav Mahler
Symphony Nr.3

Stuttgart Philharmonic Orchestra
Gabriel Feltz

Catalog number 21065

"A highly exciting performance in which Feltz, from the first bar to the last, succeeded in transposing the ever-changing, almost mountainously craggy and often hard-cut material into a pulsing flow of sound. The Philharmoniker were at their very best: Wonderful, the range of dynamics, from a whispering quadruple pianissimo right up to a raging thunder. Magnificent, the realisation of the abruptly contrasting characters. Divine, the transparent melodiousness of the strings in the profound and thoughtfully-flowing finale." 
Verena Großkreutz, Esslinger Zeitung

 

Johannes Brahms
Symphonies 3 & 4

Bremen Philharmonic
Markus Poschner

Catalog number 21064

“… As with the Third Symphony, audiences for the most part greeted the Fourth “with exceptional applause”. Whether this was due to or in spite of the high degree of artificiality is a matter for conjecture. Brahms’ achievement of realizing the ideals of chamber music-like structure in the monumental framework of the genre symphony was something which was upheld by future composers. When asked what had been able to learn from Brahms, the composer Arnold Schoenberg answered: “Economy, and yet richness”.
Alexander Butz

Live recording
A co-production with Radio Bremen

 

Ayshemgul Memet
The female voice of Uyghur muqam and folk songs

Catalog number 21067

Being one of the oldest cultures of Central Asia, Uyghur music has its special place among the Turkic nations of the mysterious Silk Road. Muqams, folksongs, religious songs are transmitted orally from generation to generation and have influenced (as well having been influenced by) different cultures around the area.
The Uyghurs are a Turkic ethnic group who live in North-Western China, in the region of Xinjiang which means New Territory in Chinese. The Uyghurs are Muslims (Sunnites) but Shamanism, Buddhism and Manichaeism has had a marked influence on their culture. Belonging to Central Asia (although always forgotten to be mentioned as a part of Central Asia), Uyghurs share similar linguistic and cultural heritages with other Turkic nations such as Uzbeks, Kazakh and Kyrgyz.
Xinjiang is a mountainous and barren area with oases full of life. The old Silk Road attracted thousands of adventurers and tradesmen. Many traditional songs have swayed along the endless sandy tracks on journeys.
Music is an important part of Uyghur culture and Uyghur identity. From very early times Uyghur music has been mentioned in Chinese historical sources as a highly developed art. Uyghur music from the far west was considered by Chinese royal ensembles to be the most inspiring. Some musical instruments even traveled to the Tang dynasty and have been adopted in Chinese music. After its islamization, Uyghur music adopted the great tradition of Muqam (Maqâm, Mugham) and created a powerful musical heritage.


I was 13 years old when I heard a Muqam for the first time. It was a short fragment from muqam Panjigah. The beauty of this music magnetized me. I knew that muqam was my destiny.” Ayshemgul Memet

Ayshemgul Memet, vocals
Shohrat Tursun, tambur
Ilyar Ayup, percussion

 

TWO. Works for accordeon and electronics

 

Margit Kern, accordeon

Catalog number 21055


TWO, strangeness and oneness, togetherness and alone again. Accordion alone and together with ‘live electronic’ are the playing situations in TWO. The inner tension of the CD is to be found in the alternation between the pair. The solo works have a direct relationship to shadow, thus broach- ing the issue of “two” on a completely different level, since the shadow always needs that some- thing which throws the shadow. Loneliness, togetherness - symbiosis - alienation, oneness - this is the intellectual space of this sound constellation, the gravitational point for the tonal diversity which is opened up by both sit- uations. The solo works by Samir Odeh-Tamimi and Edison Denisov are dualistic because of their theme, shadows. “Tslalim” is an Arabian term. It means shadows. The word only exists in the plu- ral, it always means lots. “Des ténèbres à la lumière” - from the shadows to the light - is the grand compositional theme to which Denisov dedicated himself in his last works.
Margit Kern

Edison Denisov                 
Des ténèbres  à la lumières (1995)
premier recording

Ali Gorji                                
Flatterflügel (2006)
premier recording

Joachim Heintz                  
Schlagschatten (2006)
premier recording

Samir Odeh-Tamimi          
Tslalim (2007)

premier recording 

Charlotte Seither                
Inventaire de départ (2006)
premier recording

A Co-production with Deutschlandfunk, Cologne

 
Bakustic_Jazz

Salman Gambaraov & Bakustic Jazz
Live at Morgenland Festival Osnabrück

Catalog number 21063

Salman Gambarov, piano

Emil Hasanov, bass

Vagif Aliyev, drums

Mirjavad Jafarov, oud & tar

Baku, the capital of Azerbaijan, is a fascinating musical metropolis: traditional mugham, symphonic music (the first conservatory in the Soviet Republic was built here) and a lively jazz scene have made the city a musical epicentre in the Caucasus. One of the most important exponents on the jazz scene is the pianist Salman Gambarow. Together with the ensemble Bakustic Jazz, which he founded in 1996, he gave a highly acclaimed concert in 2009 at the Morgenland Festival Osnabrück which is now available on this fantastic CD.
“… Gambarow, Hasanov and Aliyev celebrate the high art of trio playing with the aesthetics of a Keith Jarrett. However, the third piece makes it clear that these musicians are not from the USA, but from Baku: a fourth person joins them on stage, Mirjavad Jafarov, who adds the oriental colours of the string instruments Tar and Oud to the jazz idiom. What is sometimes tried out as a spontaneous ‘musical happening’ is something which is here part and parcel of the band’s structure and is therefore taken totally for granted. And so something really special happens: two completely different musical worlds merge. … high-energy jazz at its best.”
Martina Binnig in Neue Osnabrücker Zeitung

 

Friedhelm Döhl Edition, Volume 15
MEDEA. Opera in three acts

Brenda Roberts (Medea)
Mario Taghadossi
Roar Wik
Attila Kovács
Margaret Russel
Hans Georg Ahrens
Helen Centner
Philharmonic Orchestra and choirs, Kiel
Conducted by Klauspeter Seibel

Catalog number 21062

Unfortunately there is no professional studio recording of Döhl’s ‘Medea’. This CD documentation is based on an in-house live recording of the premiere - which fortunately still exists - with all the acoustic disadvantages which this brings with it - such as audience coughs and noises from the stage, which result from the somewhat unmusical stage direction. On the other hand the live recording reflects some of the musical freshness and directness of the premiere, as Klauspeter Seibel, the conductor of the premiere - whom Döhl asked for his opinion (some 20 years later) - explicitly confirmed. This approbation by the conductor was important for the composer as it was one of his central works, or better, the central work; the culmination of much that had preceded it, and from which much of what followed was developed. The live recording which documents the world premiere on 17th June 1990 can therefore, despite all the mentioned acoustic shortcomings, not be left out of the ‘Edition Friedhelm Döhl’.
Today I finally had the chance to listen to the whole of ‘Medea’. I have just finished listening to it, and to say that I am intensely impressed by the piece, as well as the performance, is an understatement… Most of all I am astounded by the orchestra, because there is so much to be heard on the recording: colouring, atmosphere, dynamics, bravura etc. A lot of it sounds really good and I think we understood the music quite well at the time. It was very pleasing for me to be able to listen to it once again. I am very happy to give my permission for its publication. As you have mentioned, one has to emphasize that it is a live recording; but that is somehow also part of the live atmosphere.
Klauspeter Seibel in a letter to Friedhelm Döhl

 

Yulduz Turdieva
The rising star of the East

Catalog number 21061

This CD presents several distinct facets of the professional music of Inner Asia: the Uzbek tradition (in its two aspects, classical and popular) and the learned Persian and Azerbaijan tradition. However, far from being merely a patchwork of brilliant performances, this program is providing a unity by an outstanding singer, a unique case in modern times of an artist who, despite her young age, masters several musical idioms and classical styles, which are commonly considered so difficult that it would take half a lifetime to master them.
Although there are many brilliant singers in Uzbekistan, Yulduz stands out because of her exceptional musical qualities and her adaptability to diverse classical genres. Her communicative passion, her natural joy of singing have enabled her to free herself of the academic structures within which other Uzbek stars - who have also gained fame on the international scene - are stubbornly confined. Her artistic instinct, her radiating presence, her charm and human qualities all combine to designate her as a diva predestined for worldwide stardom.
Jean During

Yulduz Turdieva, vocals
Ulugbek Temirov, doyra
Qahramon Boltaev, tar & rubob
Abduvohid Mirza-Ahmedov, gijjak & violon

 
Alim_Qasimov_Intimate_Dialog

Alim & Fargana Qasimov Ensemble
Intimate dialogue

Catalog number 21060

German Record Critics’ Award 4/2010

“One of the greatest voices in the world” - Le Monde

“Qasimov is simply one of the greatest singers alive” - New York Times

“One of the greatest voices of the century: If you want to make a real discovery, listen to Alim Qasimov’s voice.” - FolkRoots

Press releases and audiences reactions are enthusiastic when talking about Alim Qasimov, the singer from Azerbaijan. This was also the case with the concert which this extraordinary musician gave at the Morgenland Festival Osnabrück, now available on this recording.
riental music between the Levant and northwest China is based on modes called maqam, shashmaqam, muqam or mugham according to the region.
There is no music more complicated and or requiring more virtuosity than the mugam of Azerbaijan. These mugam have also spread into jazz, opera and symphonic music, something quite unique.
Alim Qasimov is the most outstanding exponent of traditional mugham. For several years now he has been performing together with his daughter Fargana, who was also his pupil. Concerts with the Kronos Quartet and the cooperation with Yo Yo Ma on his Silk Road Project have brought Qasimov an increasing audience in the west.
Very occasionally, very very occasionally, a recording arrives that so transfixes that work stopps and pleasure, enlightenment and education take over. Intimate dialogue is one of those.  ... If there is any finer vocal duo performing art music anywhere on the planet right now, please send the details to the usual address. Intimate dialogue is the sort of stuff to send shivers down your spine.“
Ken Hunt in FRoots

“ ... and the results are spellbinding. ... what I heard on this CD really turned my head. Qasimov and his daughter perform with what devotees of flamenco often refer to as duende . (The English word “soul” approaches the meaning, but does not come close enough.) Both of these performers have remarkable voices - remarkable both in terms of range, flexibility, and expression - and when they get on a roll, it sounds as if their souls are being rent in two. Qasimov, a tenor by operatic standards, has an especially remarkable set of vocal cords. The highly melismatic vocal style might take some getting used to, but stick with it, and I think you will have a listening experience unlike any you have had before. ... The booklet notes tell you everything you need to know, and the English translations of the lyrics are blessedly provided. The live recording is atmospheric, and will involve you even more deeply in the performances.“
Raymond Tuttle in Fanfarre Magazine
 

 
Johannes Brahms Symphonies 1 & 2

Johannes Brahms
Symphonies No. 1 & 2

Bremen Philharmonic
Markus Poschner

Catalog number: 21056

Brahms and Bremen

Brahms and Bremen, Bremen and Brahms: born in Hamburg in 1833 and later a Viennese by choice, he had a special affinity to the Hansa city on the river Weser. The Bremer Philharmonic’s Brahms Project is thus a continuation of a special tradition. One of the composer’s landmarks as a composer has a direct connection to the Hansa city. At the age of 35 he made nothing less than his breakthrough as an internationally renowned composer in Bremen’s Dom (Cathedral) with the premiere of his German Requiem. On that Good Friday in 1868 Robert Schumann’s prophecy for the young composer came true: “If he [Brahms] lowers his magic wand where the might of the masses, a chorus and orchestra, empower him, then we are in for some wonderful insights into the spiritual world”, said Schumann in his famous article on Brahms Neue Bahnen (New Paths). It had however taken thirteen years for Brahms, who until then had mainly composed piano and chamber music, to lower his own “magic wand” in the direction of a work for chorus and orchestra.
It was, significantly, Clara Schumann who remembered the article by her husband at the world premiere in Bremen conducted by Brahms himself: “As I watched Johannes [in Bremen Cathedral] standing with the baton in his hand, I remembered my dear Robert’s prophecy - which today was realized. The baton really did become a magic wand and bewitched everyone, even his most bitter enemies.”

Wolfgang Sandberger

A co-production with Radio Bremen

 

Friedhelm Döhl Edition Vol.14
Organ Mass

Szigmond Száthmary, organ
Kai Wessel, altus & baritone
Dominik Susteck, second organ

I        Kyrie eleison
II       Gloria
III      Offertorium (for organ four-handed)
IV      Agnus dei / Torso in 4 Bruchstücken (for organ and voice)
V       Ite missa est

Catalog number 21057

Friedhelm Döhl’s Organ Mass was composed from 1980 - 2005. It reflects the different stages of its conception, as well as the common ground. Right from the start the composer was aware that the liturgical stations of an Organ Mass can only be comprehended as ‘fragments’ in the labyrinth of our worldly existence, as he wrote in the programme notes for the Donaueschingen Music Festival 1980:

“When viewed under the magnifying glass of compositional solutions, the fragment becomes a labyrinth. The labyrinth of our existence is only comprehensible as a fragment…”
"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'


About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“

Fred Audin/ ClassiqueInfo-Disque, 2/2009

 
Ibrahim_Keivo_The_Ancient_Voice_of_Syria

Ibrahim Keivo
The voice of ancient Syria

Catalog number 21059

1          Dadi dadi / Ati wet ghazalet (Assyrian folklore)
2          Bi hobo (Syriac folklore, composed by Ibrahim Keivo)
3          Lawk (Epic mawal from Kurdish tradition)
4          Az Khalfem (Epic mawal from Kurdish tradition)
5          Kayef / Semsem (Mardalli tradition)
6          Chanci / Halimayeh (Mardalli tradition)
7          Sharfadinah (Yezidi religious tradition)
8          Dhalal Darwish Abdi (Yezidi epic song)
9          Dabkeh (Dances from Al Jazeera)
10       Akhkik Akhtchik / Iskeshir (Folcloric song from Armenian tradition)
11       Halak shalou / Kul el hala (Beduine tradition of northern Syria)
12       Massa’ el kheir (written & composed by Ibrahim Keivo)       

Ibrahim Keivo: vocals, baglama, buzok, oud, saz, al junbosh


Ibrahim Keivo - The beholder of the ancient Syrian musical heritage
Ibrahim Keivo was born in 1966 in a small village in the region of Hassakeh, in Northern Syria. Son of an Armenian family who survived the genocide, he was raised in the land where ancient Syrian (Al-Jezireh, meaning ''the island''), Mesopotamian and Western Asian cultures meet and create one of the richest and most diverse societies in the region, in term of practiced religions, spoken languages and dialects, and verbal heritage.

 

Since his early age, Keivo's mother introduced him to the Armenian hymns she carried with her from her motherland. She has also played a major role in familiarizing him with the Turkish, Kurdish and Mardalli (the Arabic dialect of Mardin) singing traditions of the region of Mardin – Southeastern Turkey – where many Armenians have stopped before finding shelter in other places all around the world.
Landing in Northern Syria brought other cultures to the family; in addition to the Bedouin tradition, Keivo found great inspiration in the ancient civilizations and religions that remained alive in this region: the Assyrian which main language is the Aramaic, the Syriac language and Christianity, and the Yezidism, an ancient Kurdish religion which most important holy place is Lalish temple in Mosul (old Nineveh in Iraq).
Jumana Al-Yasiri

 

Página Esquecida – Portuguese music for cello and piano

Bruno Borralhinho, cello
Luísa Tender, piano

Catalog number 21054

This recording is entirely dedicated to Portuguese music for solo cello and cello/piano duet. We aim to make this repertoire better known in Portugal and abroad, as it includes some of the most significant Portuguese works of the past and current centuries. By recording this music, we wish to counteract the tendency for Portuguese cello repertoire to be dismissed as a “forgotten page” (Página Esquecida), abroad and even in Portugal. As we continue to honor these and other composers in our live performances, so we also hope our project stimulates the interpretation of Portuguese music by even more musicians.
Bruno Borralhinho & Luísa Tender


“Cellist Bruno Borralhinho and pianist Luísa Tender give utterly persuasive and authoritative readings of uniformly valuable yet virtually unknown music.“
Michael Cameron in fanfare magazine

Program:


Fernando Lopes-Graça (1906-1994)
Três Canções Populares Portuguesas
Página Esquecida
Três Inflorescências


António Vitorino d'Almeida (1940)
Três Bagatelas

Armando José Fernandes
Sonata for violoncello und piano

Frederico de Freitas (1902-1980)
Nocturno

Joly Braga Santos (1924-1988)
Ária I & II

Luís de Freitas Branco (1890-1955)
Sonata for violoncello and piano

Jorge Peixinho (1940-1995)
Récit for violoncello solo

Luiz Costa (1879-1960)
Sonata for violoncello and Klavier, op. 11

Cláudio Carneyro (1895-1963)
Sonatina for violoncello and piano

 

Friedhelm Döhl Edition Vol. 13
Music à 1- 8 players

Catalog number 21053

The CD contains works from four decades for various ensembles from 1-8 players and once again shows Döhl’s variety of expression and  instrumental fantasy: from the solo sonatas for Violin and Cello, in which lyricism and virtuosity encounter one another, from the so intimate and colourful duos for Cello/Harp and Violin/Guitar - to the ensemble works (which by far exceed the boundaries of chamber music) such as ‘Graduale’ for 8 Trombones (with Bass Drum) and ‘Conductus’ for 4 Percussionists  - both examples of Döhl’s musical-spatial concept - and finally ‘Ballet mécanique’ for Chamber Orchestra, to the film of the same name by Fernand Léger.

GESANG DER FRÜHE / Violin sonata
TAPPETO / Impressions for violincello and harp
GRADUALE for 8 trombones (and gran cassa)
CONDUCTUS for 4 drummers
BALLET MÉCANIQUE for chamber orchestra
PAS DE DEUX for violine and guitar
CELLO SONATA

Christiane Edinger

Klaus and Helga Storck

Posaunen-Ensemble Ehrhard Wetz

Kroumata Ensemble Stockholm
Ensemble Bernhard Wulff

Walter Klasinc und Marga Bäuml

Ulf Tischbirek




"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'

About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“

Fred Audin/ ClassiqueInfo-Disque, 2/2009

 

Ensemble Mediterrain
Isaac Albéniz: Suite Española / Ludwig van Beethoven: Septett in E flat major

Catalog number 21051

The 2009 world premiere of this chamber music version of the famous Suite Española op. 47 by the Spanish composer Isaac Albéniz, arranged for septet by Bruno Borralhinho, was dedicated by the Ensemble Mediterrain to the composer himself who had died 100 years earlier. The programme was rounded off with a “classic”, Ludwig van Beethoven’s Septet for Wind and Strings in E-flat major.


Laura Ruiz Ferreres, clarinet
Dmitry Babanov, french horn
Eduardo Calzada, bassoon
Daniela Jung, violin
Ori Kam, viola
Bruno Borralhinho, violoncello
Hiroaki Aoe, double bass


A coproduction with DeutschlandradioKultur

 

Laura Ruiz Ferreres
Works for solo clarinet

Catalog number 21049

As differing as the works on this CD at first appear, which, after all span a period from 1940 to 1987, almost 50 years, there are certain “threads” which can be spun between some of them, which endow them with loose connections: Berio and Stockhausen’s idea of polyphonic listening, Denisov and Donatoni’s extremely contrasting movements within the framework of a two movement work, Messiaen and Donatoni’s renunciation of a classical dramaturgy and perception of time, and Penderecki’s doing just the opposite, demonstrative virtuosity by Berio, Donatoni and Bucchi, lyrical quality by Penderecki and Denisov.
“After only a few minutes of Luciano Berio’s Sequenza IX, the first work in a recital of solo works from the second half of the 20th century, it is obvious that the Spanish clarinet player Laura Ruiz Ferreres is an exceptional, or even better, a phenomenal musician. Her creative power, the extreme sensuousness of her playing and the variety of her tone are fascinating. Her excellent technique allows her to play the most technically difficult passages with apparent ease. One does not often hear runs played with such sparkle and clarity. She is also a master of avant-garde sound effects and has, for example, a perfect double-tongue staccato, all of which makes her the ideal performer of this cross-section of contemporary solo repertoire for the clarinet.”
Heribert Haase in „das orchester“

 

Nader Mashayekhi
fié ma fié II
moulana

Catalog number 21050

Salar Aghili, vocals
Munich Radio Symphony Orchestra
Frank Cramer


A ‘beginning’ with a new and highly individual aesthetic is something which most certainly characterises the orchestral songs by Nader Mashayekhi. fié ma fié II and moulana are two works from a series of compositions, whereby each in itself constitutes an innovative song cycle, because the lyric, which is the basis of each of the compositions, is in several parts or is taken from the works of various poets.
Both works bring together two music cultures which, from a music-historical point of view, are distant and different: contemporary orchestral composition and traditional Iranian musical practice.
This creates simultaneity of asynchrony which in this form represents something completely new. The simultaneity of both cultures in a performance shows the historico-cultural asynchrony in a much clearer light.
Mohsen Mirmehdi

A co-production with the Bayerischer Rundfunk

"CD-Tipp" Fono Forum

 

Friedhelm Döhl Edition Vol. 11
Chamber Music - Lyric

Catalog number 21046

HIOB  -  MISSA  -  POSAUNEN IM RAUM (Medea-Material)

If one looks through the works by Friedhelm Döhl, it is apparent that there is hardly any ‘sacred’ music in the narrowest sense of the word. There are many compositions where there is a sacred (spiritual) element, such as in some of the songs or ‘subcutaneously’ in some of the instrumental or orchestral works e.g. in ‘Melancolia’ , ‘Tombeau’, ‘Passion’, - and, above all, in ‘Requiem’, but even here this is not with reference to the traditional Christian liturgy, rather more as a query from the wings, as it were ‘extra muros’, moreover, it is an ‘inner dialogue’ between Celan and Nelly Sachs. The ‘Orgelmesse’ [Organ Mass] - with its movements Kyrie, Gloria, Offertorium, Agnus dei and Ite missa est, all composed over the space of 25 years - bears the subtitle ‘Fragment’, which expresses something breakable, where there are more unanswered questions than conclusive statements.

The works on this CD are in a way also ‘extra muros’, and yet each of them - in completely different ways - was originally conceived for the church, in the concrete external sense (Church building) as well as in the figurative spiritual sense. HIOB [engl. JOB] as the juxtaposition of lamentation and theodicy, MISSA as the ‘Passion’ of an ‘outcast’ (Medea) and POSAUNEN IM RAUM [engl. TROMBONES IN SPACE] (Medea-Material) as a sounding ‘cosmos’, archaic and ritualistic. - The 3 compositions are also conceivable outside the church, and have - in the case of ‘Missa’ and ‘Posaunen im Raum’ - been so performed many times.

with

Ensemble Neue Musik Lübeck, Jan Müller-Wieland
Ensemble Medea Project
Friedhelm Döhl


About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“

Fred Audin/ ClassiqueInfo-Disque, 2/2009

 

Friedhelm Döhl Edition Vol. 11
Chamber Music - Lyric

Catalog number 21046

For Friedhelm Döhl chamber music and lyric are two perspectives which complement each other, one might almost say: necessitate each other. This has been clear ever since the ‘7 Haiku’ 1963 for Soprano, Flute and Piano or Soprano and Piano (friedhelm Döhl edition Vol. IV). However, the ‘lyrical’ works are not merely parallel musical settings of the literary content, but rather autonomous musical compositions where text, voice and instrumentation are equally-weighted factors in the structure, each very individual and diverse, such as in the ‘Sonne-Hymnen’ or the ‘Celan-Liedern’. - On the other hand: The ‘Chamber music’ works are most certainly instrumental in their conception, instrumentally challenging and idiosyncratic, and yet, at the same time, they are interwoven with and characterised by lyrical aspects, even though these are quasi ‘unspoken’. The ‘Concerto a due’ has definite lyrical components: the song quotes in the first movement, the ‘Lied‘ and ‘Ballade’ in the third and fourth movements, ‘Abschied’ in the short, island-like third movement. The Duo for Flute and Cello ‘Der Abend/Die Nacht’ alludes in its title to a (verifiable) connection to poems by Trakl. (However, nobody needs to know the poems to ‘understand’ the music.) - As Döhl witnessed several productions of plays by Beckett in Berlin, the Beckett quote at the beginning of the (Berlin) score of ‘Sotto voce’ is most certainly not there just by chance. The Beckett text can surely lead one to draw a certain musical association, but this is by no means explicit, just as the Beckett text itself is not meant to be explicit. Conversely, the music can lead one to view the Beckett text in a new, unforeseen way. However, text and music can also well do without each other. They are as independent as they are ambiguous. It is remarkable that Döhl - as is apparent from the sketches - wrote the text after the composition of the score, perhaps as one possible perspective of the musical idea.

with
Christiane Edinger, James Tocco, Judith Kamphues, Angela Firkins, Christian Ruvolo, Ulf Bästlein, Friedhelm Döhl, Hartmut Gerhold, Werner Selge, Trio Pleyel


About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“

Fred Audin/ ClassiqueInfo-Disque, 2/2009

 

Johann Sebastian Bach
Christmas Oratory, BWV 248

Catalog number 21047

Agnieszka Tomaszweska
Manja Stephan

Catherine Wyn-Rogers
Clemens C. Löschmann
Phillip Langshaw

Bremer RathsChor / Neue Rathsphilharmonie Bremen

Wolfgang Helbich


Live recording

A co-production with Radio Bremen
Programme tip, Deutschlandradio Kultur, Berlin

 

Gustav Mahler
Symphony Nr. 6

Stuttgart Philharmonic Orchestra
Gabriel Feltz


Catalog number 21045


“… a production with unleashed sound contrasts in the glittering brass, shrill woodwind tableaux and string madness. Symphonic art which touches the extremities of our existence, a terrible end to the tragedy, two death-blows with a hammer. Mahler’s Hitchcock-symphony in the Beethovensaal? Enthusiastic, emotional applause, repeated calls of bravo.”
Helmuth Fiedler, Stuttgarter Nachrichten

 

Friedhelm Döhl Edition Vol. 10
Music for Solo Strings

Catalogue number 21044

Friedhelm Döhl wrote music for all genres, from solo instruments to large numbers of participants, from the small lyrical form to symphonic cycles. If one looks closely at his complete compositional works it is apparent that the various principles are interconnected, the symphonic with the lyrical (e.g. ‘Winterreise. String Quartett’) and the lyrical in the symphonic (e.g. ‘Gesang der Frühe’ for large orchestra). Vol. 1-5 contain works for samller ensembles (Chamber Music, Piano, open Grand Piano, Song cycles, Song scenes and Microdramas) whereas in Vol. 6-9 his large-scale works can be found (Concertos, Requiem, orchestral works).

Vol. 10 is dedicated to his ‘music for solo strings’ – for violin, viola, cello, violin/cello, double bass, - performed by excellent specialists of their instruments, who were in close contact to the composer and with whom he enjoyed working: Zakhar Bron (violin), Corinna Golomoz (viola), Johannes Moser (cello), Christiane Edinger / Ulf Tischbirek (violin / cello), Jörg Linowitzki (double bass).


About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“

Fred Audin/ ClassiqueInfo-Disque, 2/2009

 

Alois Bröder - Chamber music with guitar mit Gitarre

14 neue Haiku
Erdferne
Kern.Spalte. 

Abbozzi
Drei Spiele
14 Haiku

Catalog number 21043

Christopher Brandt, guitar

Olaf Van Gonnissen, guitar

Eva Lebherz-Valentin, soprano

Martin Hummel, baritone

Friederike Richter, piano

Johannes Fischer, alto recorder

Linda Bangs, baritone saxophone

Christoph von Erffa, violoncello

Alois Bröder is a composer who knows how to bring together intellect and belly in his works. He writes pieces which have to be comprehended well for the open-minded listener. As a trained guitarist he has a faible for this instrument whose possibilities he exhausts. He revives the song accompanied with guitar (in the 19th century often usually), possibly in his both haiku cycles which were recorded with the soprano Eva Lebherz-Valentin, the baritone Martin Hummel and Christopher Brandt and published together with other works as Chamber Music with Guitar.Bröder writes fascinatingly for the respective instruments. The haiku songs are vocal in the disposition and also follow the meaning of the texts. The sounding of the instrumental music is enjoyed thoroughly in an ingenious way, and absorbing connections originate, possibly in the Abbozzi for guitar and piano, whereby the listener is astonished that both instruments fit so well. Similar happens in Drei Spiele for guitar, baritone saxophone and cello.
Heinz Zietsch(in: Darmstädter Echo, 23.7.2008)

 

Friedhelm Döhl Edition Vol. 9
Orchestral works

TOMBEAU
PASSION
I
KAROS

Sinfonieorchester des Norddeutschen Rundfunks Hamburg
/ Hans Zender
Rundfunkorchester Hannover des NDR
/ Othmar Mága
Basler Sinfonieorchester
/ Moshe Atzmon

Catalogue number 21042

“Ikaros – Döhl’s music seems nervous, fragile, vulnerable. It is full of tempestuous outbreaks and unexpected collapses, attempts at expressive development, but also zones of depressive resignation. The proximity to Webern’s orchestra pieces op. 6 is often tangible.” (Baseler Zeitung)


About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“
Fred Audin/ ClassiqueInfo-Disque, 2/2009

 

Scot Weir
What shall we remember?

 

American songs  by
André Previn, Jake Heggie, John Duke, Ricky Ian Gordon

Scot Weir, tenor

Jan Czajkowski, piano

Catalog number 21038


Jake Heggie:
I Shall Not Live In Vain
As Well As Jesus
Even
Animal Passion

John Duke:
April Elegy
Ride The Great Black Horses
The White Dress
I Carry Your Heart

Jake Heggie:
To speak of love
Joy alone

André Previn:
As imperceptibly as Grief
Will there really be a morning?
Good morning midnight

Ricky Ian Gordon:
Harlem night song
Dream variations
Luck
Litany
Angel wings
A horse with wings
The lake isle of Innisfree
In time of silver rain
Fewer words
What shall we remember
Prayer

A co-production with Radio Bremen

 

Richard Strauss -  Also sprach Zarathustra
György Ligeti - Atmosphères
Wolfgang Amadeus Mozart - Jupiter-Sinfonie

 

Stuttgart Philharmonic Orchestra
Gabriel Feltz

Catalog number 21029

CD plus Bonus CD with DTS 5.1 recording


“One of the finest surround recordings we have ever heard!“
David Griesinger

A co-production with Radio Bremen

 

Friedhelm Döhl Edition Vol. 6
SYMPHONIE for cello and orchestra
SOMMEREISE. Piano concerto
ZORCH. Sound-Scene for bigband and three open grand pianos

 

Catalog number 21028

Heinrich Schiff, cello

Rundfunksinfonieorchester Saarbrücken

Hans Zender

Rudolf Buchbinder, piano

Bamberger Symphoniker

Horst Stein

RIAS BIG-BAND
Klaus Martin Ziegler

Grand pianos: Harald Bojé, Jolyon Brettingham-Smith, Robert Spillmann

”It is the dark side of the Romantic era which is above all invoked by the ‘Symphony for Cello and Orchestra’. Döhl writes strong and expressive music. The piano concerto ‘Sommerreise’ is much lighter and has a rather happy, rhythmically-pointed quality. The virtuoso-playful character of the first movement is in stark contrast to the richly-coloured sounds with which the second and third movements open. Döhl himself speaks in this context of a summer sky-scape.”

Martin Demmler in Fono Forum


"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'

About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“
Fred Audin
/ ClassiqueInfo-Disque, 2/2009

 

Richard Strauss. Eine Alpensinfonie
Mikolajus Konstantinas Ciurlionis. Im Wald

 

Catalog number 21027

Philharmonic Orchestra Altenburg - Gera
Gera
Gabriel Feltz

 

Friedhelm Döhl Edition Vol. 8
Melancolia

Gesang der Frühe (Dialogue with Schumann)

Catalog number 21037

Edith Gabry, soprano
Kölner Rundfunkchor und -Sinfonieorchester
Christoph von Dohnanyi

Philharmonisches Orchester Lübeck
Roman Brogli-Sacher

Vol 8 of the 'Friedhelm Döhl Edition' unites the first and last of Döhl’s orchestral works:
MELANCOLIA / Magic squares
for large orchestra with choir and soprano solo 1967/68
GESANG DER FRÜHE (Dialogue with Schumann) for large orchestra 2005/06

None of Döhl’s orchestral works is like any of the others. Each is individual, not adhering to any scheme, neither ‘absolute’ nor ‘programmatic’. Each work moves freely in a sort of in-between world: between ‘purely musical’ form-genesis and ‘extra-musical’ association. This quasi ‘intermediary’ ambivalence is referred to in the titles or sub-titles of the works, they being, in chronological order of composition: 'Melancolia', 'Zorch', 'Ikaros', 'like an attempt to regain speech', 'Tombeau', 'Passion', 'Winterreise, 'Sommerreise', 'Gesang der Frühe'.


"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'

About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“
Fred Audin
/ ClassiqueInfo-Disque, 2/2009

 

Sergej Rachmaninoff: Die Totensinsel & Der Fels
Alexandre Skrjabin: Prométhée Le poème du feu

Andreas Boyde, Klavier
Stuttgarter Philharmoniker
Philharmonia Chor Stuttgart
Gabriel Feltz

SACD, stereo & multichannel (Hybrid)

Catalog number: 21035
 

Friedhelm Döhl Edition Vol. 7
REQUIEM 2000

 

Mechthild Seitz, alto
Ekkehard Abele, baritone
Zsigmond Szathmáry, organ
St. Marien Kassel
Vokalensemble Kassel

Hans Darmstadt

Catalog number 21033


Friedhelm Döhl:

Requiem is also coming to terms with human existence, left alone on a “narrow path”, also coming to terms with (the human presumption of) “Apocalypse now”. – Doubts followed my first ideas. Doubt, whether…, doubt, how…, doubt about the meaning and form…

"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'

About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“
Fred Audin
/ ClassiqueInfo-Disque, 2/2009

 

Rudolf Hindemith Edition Vol. 3
Rudolf Hindemtih as interpreter - historical recordings

 

Rudolf Hindemith, cello

Paul Hindemith, viola

Amar Quartet
Alice Ehlers, harpsichord

Mariangela Granata, piano

Catalogue number 21032


Frédéric Chopin
Sonata for violoncello and piano g-minor op. 65

Antonin Dvorák
Dumky-Trio, op. 90

Benedetto Marcello
Sonata für violoncello and harpsichord F-major

Ludwig van Beethoven
Duett for viola and violoncello Es-major; WoO 32

Igor Strawinsky
Concertino (for Stringquartet) in one movement

 

Friedhelm Döhl Edition Vol. 3
Music for open grand piano

Catalog number 21021

CADENZA for 2 open grand pianos
ODRADEK for 2 open grand pianos
7 HAIKU for open grand piano
NACHTFAHRT for open grand piano and drums

Friedhelm Döhl,
Marianne Schroeder, piano
Janos Döhl, drums

Cover by Günther Uecker

 "Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'

About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“
Fred Audin/ ClassiqueInfo-Disque, 2/2009

 

Friedhelm Döhl Edition Vol. 2

Piano music

Catalog number 21019 

FIESTA. Ballett for 2 pianos
3 BALLADEN (after Celan) for piano
UND WENN DIE STIMME... (after Beckett) for piano
TRAUM-STÜCKE for piano
PORTRAITS for piano
TEXTUR for piano

Mats Persson / Kristine Scholz, James Tocco, Friedhelm Döhl

 

"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'

About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“
Fred Audin / ClassiqueInfo-Disque 2/2009

 

... wie ein Cherub aus den Wolken

Hommage à Bettine von Arnim

 

Lieder and spoken texts (in German language)

Verena Rein, soprano
Axel Bauni, piano

Catalog number 21016

 

Friedhelm Döhl Edition Vol. 1

Chamber Music

Catalog number 21013

SOUND OF SLEAT. String quartet
WINTERREISE. String quintet
BRUCHSTÜCKE zur Winterreise for piano
NOTTURNO for accordeon and double bass

LaSalle-Quartet
, Auryn-Quartett, Boris Pergamenschikow, James Tocco, Hugo Noth, Ovidiu Badila

"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'

About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“
Fred Audin/ ClassiqueInfo-Disque, 2/2009

 

Bronius Kutavicius
The Gates of Jerusalem

St. Christopher Chamber Orchestra/ Aidija Chamber Choir/ Donatas Katkus

Catalog number 21003

In this work the Lithuanian composer Bronius Kutavicius, sometimes ironically called the “last pagan composer”, presents a geographical panorama of religious rites from various parts of the world, taking as his starting point the cultural influences on the city of Jerusalem, which has three city gates on each of its four sides.

“Bronius Kutavicius is gradually winning a group of fans in the centre of Europe.”
Martin Demmler in FonoForum:

“The artistic interpretation of these “echoes of the ancient world cultures” by the St. Christopher Chamber Orchestra and the Aidija Chamber Choir from Vilnius has a high degree of authenticity.”
Lutz Lesle in NEUE ZEITSCHRIFT FÜR MUSIK

 

Annette von Droste-Hülshoff


„Da floss ihr grünes Blut“

Poems & music

Carola von Seckendorff, conception und recitation


Juliane Ankele, violoncello and compositions

Catalog number 21040

This recording offers a selection from the vast array of lyric works by Droste. The works range from early poems written as a child and youth right up to the mature works she wrote only a few years before her death.

 

Brahms – Lieder
Hidenori Komatsu, baritone
Jörg Demus, piano

Catalog number 21002

„You won’t be able to play these songs right now since the words will be too moving for you. But I ask you to look at them and to keep them as a true sacrifice for your beloved mother’s death.“

From a letter of Johannes Brahms, who was a longtime friend of Clara Schumann, to Clara’s daughter Marie.

 

Recorded at Museo Cristifori, Austria, with a Steinway C from 1913

 

La Bellina

Silke Meyer, recorder
Claudia Krawietz, harpsichord

Catalog number 21006

Works by

Pandolfi Mealli, Francois Couperin, Anne Dancian Philidor, Joseph Bodin de Boismortier, Louis Couperin, Angelo Berardi

 

Friedhelm Döhl Edition Vol. 5
Song scenes and micro dramas

 

Catalog number 21024

MEDEA-MONOLOG

SZENE ÜBER EINEN KLEINEN TOD’

A & O / Mikrodrama II

ANNA K
‚AUF SCHMALEM GRAT’ / Requiem for 6 voices

FRAGMENT SYBILLE after Hölderlin

June Card, Sopran,
Bonner Ensemble für Neue Musik,Francis Travis,Hanna Auerbach,Gerhard Braun, Werner Taube,Helmut Krauss,Collegium Vocale Köln,Wolfgang Fromme,Günther ReichEnsemble, Peter Stamm

"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'

About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“
Fred Audin/ ClassiqueInfo-Disque, 2/2009

 
CD21005

Double Talk. Contemporary Japanese Music

Werke von Michiharu Matsunaga, Maki Ishi, Satoshi Ohmae, Toshio Hosokawa,   Yoshirio Kanno, Makoto Shinohara

Gudula Rosa, Blockflöten
Makiko Goto, Koto

Katalognummer: 21005

Dirk Hühner in RADIO kultur:  „Wahre Klangwunder vollbringt Gudula Rosa auf ihren Blockflöten...“

Gerhard Braun in Tibia: „Die beiden Interpreten verdienen höchste Anerkennung für ihre von einer meditativen Grundhaltung geprägte Darbietung, die allen technischen Anforderungen genügt und nicht nur im Konzert, sondern (was durchaus nicht selbstverständlich ist) auch aus dem Lautsprecher eine starke Ausstrahlung vermittelt. Prädikat: Höchst empfehlenswert!“
 

The contemporary voice of Turkish music

 

Atilla Aledemir, Violin
Ş
evki Karayel, piano

Catalog number 21026


This CD presents works of composers from different periods, who could justly be said to represent “the contemporary voice of Turkish music”. The selection of works for violin and piano does justice to the technical peculiarities of each individual work and gives a hearing to Turkish music of the 20th century as a whole.

AHMED ADNAN SAYGUN (1907-1991)
Demet – Suite for violin and piano
ILHAN USMANBA
Ş (*1921)
„Approximate Duo“ for violin and piano
(dedicated to Atilla Aldemir and Ş
evki Karayel)
FAZIL SAY (*1970)
Sonata for violin and piano
MUAMMER SUN (*1932)
Three pieces for violin and piano
MELIHA DOGUDUYAL
Vacuum (dedicated to Atilla Aldemir)
Encore (dedicated to Atilla Aldemir and
Şevki Karayel)

“This CD recording can claim to be one of the most serious and professional productions of works by Turkish composers which has ever been released, either in Turkey or elsewhere in the world. It fills me with pride and pleasure to have played, with my composition, a small part in this production.“

Fazil Say

 

ROBERT SCHUMANN - Herbstempfindungen
Lieder from 1850 

 

Scot Weir, Tenor
Rainer Hoffmann, Klavier

Catalog number 21025


Drei Lieder op. 83
Sechs Lieder op. 89
Fünf Lieder op. 96
Sieben Lieder op. 90
Des Sennen Abschied op. 79/23

 

During his last creative period from 1849 to 1852 Robert Schumann felt compelled to explore the boundaries of the relationship between words and music. Vocal compositions of whatever type became the centre of his attention and outweighed his interest even for his main instrument, the piano, as well as for symphonic compositions. Schumann’s vocal works from his final period were influenced by two divergent movements: on the one hand they were expansive and ranged from Piano-Lieder, opera, oratorio and choral works to melodrama, to piano-accompanied recitation of the poetic word; on the other, the relationship between word and music, which for Schumann, as an intellectual and man of letters, had been decisive from his younger days, now became extremely intensive and intimate, as can be noted by the declamatory style, whereby the literary conscience is equally as important as the musical. This fine-polishing of declamation, which is manifested in the oratorio-like “Scene from Goethe’s Faust”, as in the works for double choir and the Piano-Lieder, coincides remarkably with the tendencies of Schumann’s compatriot and antipode Richard Wagner and anticipates the overly-sensitive, richly thoughtful and allusive treatment of the words by Hugo Wolf, or even the speech-rhythm of Berg’s “Wozzeck”.

A coproduction with Radio Bremen

 

Orchestral works by Respighi & Suk

 

Catalog number 21022

Philharmonic Orchestra Altenburg - Gera

Gabriel Feltz

Ottono Respighi:
Fontane di Roma
Feste Romane
Joseph Suk:
Scherzo Fantastique op. 25 (1903)

“An orchestra which is brilliantly disposed and plays magnificently, led by a conductor who is at the same time charismatic and intelligent, and then the sophisticated recording technique: Respighi’s music, which is often berated for being somewhat shallow, becomes an experience and Suk’s Scherzo Fantastique proves to be a real discovery!”

Gerhard Anders in “das orchester”

 

Friedhelm Döhl Edition Vol. 4
Lieder

Catalog number 21023

„...WENN ABER“ / 9 Hölderlin-Fragments
TRAKL-LIEDER

7 HAIKU

UNTERWEGS
7 STATIONEN

ITKE SONGS
Dietrich Fischer-Dieskau, baritone
Aribert Reimann, piano

Eva Csapò, soprano
Mario Venzago, piano

Friedhelm Döhl, accordeon

 

"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'

About the Friedhelm Döhl Edition


"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“

Fred Audin/ ClassiqueInfo-Disque, 2/2009

 

Brahms. Schubert

LIEDER

Hidenori Komatsu, baritone,
Jörg Demus, piano

Catalog number 21007

Live recorded at Musikhalle Hamburg, 2002

 

Tehran Symphony Orchestra live in Osnabrück

Works by Hassan Riahi, Pjotr Tchaikovsky, Nader Mashayekhi

Salar Aghili, Gesang
Harir Shariatzadeh, Daf
Amir Sarraf, Klavier
Teheraner Symphonieorchester
Nader Mashayekhi

Catalog number: 21036

 

Female composers’ works

Fanny Hensel, Emilie Mayer, Luise Adolpha LeBeau 

 

Catalog number 21015

 

Emilie Mayer (1812-1883)- Symphonie Nr. 5 f-minor
Fanny Hensel (1805-1847)
- "Hero und Leander"
Luise Adolpha Le Beau (1850-1927)
- Piano Concerto in d-minor op.37

Maacha Deubner, soprano
Katia Tchemberdji, piano

Kammersymphonie Berlin

conducted by Jürgen Bruns

 “An ambitious project and the resulting concert programme are reflected on this CD which also contains a carefully put together and informative booklet with numerous details about the female composers portrayed. The Kammersymphonie Berlin conducted by Jürgen Bruns plays with great engagement and verve - the bravos from the audience at the end, which can be heard on the recording, are justly deserved. This CD points us down a long-forgotten path of music history and is, above all, commendable for the recording of the 5th Symphony.”

Sven Kerkhoff in „musikansich“

 

Anatolijus Senderovas

Concerto in Do

David Geringas - Cello

 

Catalog number 21014

David Geringas,Symphony Orchestra of the Lithuanian Academy of Music,Robertas Servenikas, Tatjana Schatz-Geringas,Geir Draugsvoll,Zbignievas Zilionis

The first performance of the Concerto in Do by the Lithuanian composer Anatolijus Šenderovas took place on August 11th 2002 in the Berliner Konzerthaus with David Geringas and the Lithuanian Music Academy Symphony Orchestra conducted by Robertos Servenikas. Susan Shineberg wrote in "International Art Manager": "The ecstatic reaction of the audience was remarkable, the performers and the composers were called back on stage six times. It is hard to remember an occasion when an audience, which did not consist entirely of specialists, gave a performance of a piece of contemporary music such a spontaneously enthusiastic welcome."

The work was a triumph and was awarded a prize for the best first performance at the Young Euro Classic Festival. The composer received the European Composer Prize 2002.

The Concerto in Do was commissioned by Young Euro Classic for the European Music Summer 2002 and is dedicated to the cellist David Geringas. ("Do" is not only the key of the piece [i.e. "C"], it is also the name by which the cellist is known to his close friends and relatives.)

The artistic cooperation between David Geringas and Anatolijus Šenderovas goes back a long way. As far back as 1972 Šenderovas composed the Sonata for Cello and Percussion, and shortly after that, Four Pieces for Cello and Piano. Both works are dedicated to Geringas and are a standard part of his repertoire.

In 1975 the recording studio in Vilnius recorded these works for an LP production. As was standard practice at the time, the recording was sent to Moscow where it was to be endorsed by the "Arts Council" (in other words, the censors!).

On 21st July 1975 the recording was endorsed. However, it then became known that David Geringas, after winning the 4th International Tchaikovsky Competition and after many restrictions and prohibitions which made normal artistic activity almost impossible, had decided to emigrate.

He had departed on 17th July 1975.

For this reason, on 22nd July 1975, one day after it had been endorsed, the endorsement was rescinded. The word "endorsed" was crossed out and replaced by "recording rejected" and two illegible signatures…

That meant that the recording and the cover with the inscriptions should be destroyed. The original master-tape was indeed demagnetised. However, a good fairy, the editor Zinutė Nutatutaitė gave the cover back to the composer and managed to persuade the sound engineer Rimas Pupeikis (who is now director of the studio) to make a copy of the recording. This tape and the cover were kept in Anatolijus Šenderovas archives for 27 years….

This CD presents, for the first time, that historic archive recording which had not been made available to the public in soviet times. The restoration of the recording was done by Giedrius Litvenas of the "Lithuanian Recording Studio MA“.

 

L’invitation au voyage

Scot Weir, tenor
Karola Theill, piano


Catalog number 21020

Henri Duparc:         
L’invitation au voyage
Gabriel Fauré:
Dans le foret de septembre
Au bord de l’eau
Claire de lune
Hymne
Claude Debussy:
Ariettes oubliées
Henri Duparc:
Phidylé
Chanson triste
Francis Poulenc:
Tel jour, telle nuit
Maurice Ravel:
Deux mélodies hébraiques
Henri Duparc:
La vie anterieure

 

Rudolf Hindemith Edition, Vol. 1

Catalog number 21009 

Five Piano Pieces / Sonatina Nr. 7
Theme and Variations on „Ich hab’ die Nacht geträumet“
Der Spiegel for string quartet
Sextett – Serenade
Suite for piano and orchestra

Jutta Müller-Vornehm, piano (Five Piano Pieces, Sonatina)
Kolja Lessing, piano (Suite)
Members of Philharmonisches Staatsorchester Bremen (String Quartet, Serenade)
Philharmonisches Staatsorchester Bremen
George Alexander Albrecht

„Kolja Lessing as the soloist and Alexander Albrecht as conductor present the Suite for Piano and Orchestra as a very entertaining composition, …, which betrays the influence of Spanish folk music and jazz and is characterised in all its differing types of genre and movements by a laconic shortness. Rudolf Hindemith reveals a quite amazing originality and bubbly temperament.”

NEUE MUSIKZEITUNG

 

Trivium

Hermann Hudde, guitar

 Catalog number 21017

Joaquin Turina: Garrotin y soleares; Rafaga
Rubén Riera: Melancolía, Monotonía, Nostalgia
Federico Mompou: Suite Compostelana
Reneé Eespere: Trivium for guitar, flute and violin

with
Burkhard Schmidt, violin
Gary Wolf, flute

”Dear Mr. Hudde,

you gave me an enormous surprise. You and your chamber music partners have wonderfully recorded my piece of music Trivium.

Rene Eespere”

”It’s nice to see the three pieces by Rubén’s late father, which I published with Universal Edition 19 (!) years ago. He is rarely remembered now, but as he was a modest man I don’t suppose he feels badly about it!. Minimalism is not my favourite musical idiom, but on hearing Trivium my worst fears proved groundless!. Trivium is a delightful piece with a contemplative stillness that is very north European - not least that of Finland. Sincerely,

John Duarte”

 

Quasi Improvisata - Works for Cello & Bajan

David Geringas, cello
Geir Draugsvoll, bajan

Catalog number 21008

Every interpretation is, to a certain degree, an improvisation of a text which remains unseen to the listener. This is true of the works performed on this CD in a very particular way, because they are only partly written down and rely for the rest on the will and fantasy of the player.

The excellent duo – the cellist David Geringas and the Bajan (button accordion) player Geir Draugsvoll – draw their inspiration from quite different sources. But they also have something in common: they make each piece to an inspired "quasi improvisata"  which is forever unique.

Anatolijus Šenderovas:                
Songs of Sulamite

Sofia Gubaidulina:
In Croce

Lepo Sumera: 
Quasi Improvisata

Eduardas Balsys:
Habanera

Astor Piazzolla:
Tanti anni prima
Oblivion
Hommage à Liège
- Introducción
- Milonga
- Tango

„... sounds fascinating!"

Johannes Saltzwedel in KulturSPIEGEL

 

My Recollections
Lithuanian contemporary music for cello and piano

David Geringas, cello
Tatjana Schatz-Geringas, piano
Petras Geniusas, piano

Catalog number 21012

Vytautas Barkauskas: Suite de concert, op.98 (1993)
Bronius Kutavicius: Rhythmus – Arhythmus (1993)
Anatolijus Senderovas: Due canti (1993)
Osvaldas Balakauskas: Dal vento (1999)
Mindaugas Urbaitis: Reminiscences (1999)

 

All recordings made under the supervision of the composer

“My Recolections is a collection of virtuoso show pieces and blissfully tuneful character pieces. These present a richly varied panorama of fine-sounding perspectives and are all marked by the memories of a common past which was corrupted by the political state of affairs.“

Die Welt

 

A co-production with the Lithuanian Music Information and Publishing Centre

 

Rudolf Hindemith Edition Vol. 2

Piano music and chamber music

Catalog number 21018

Seven preludes and fugues
Sonatinas Nr. 1, 2, 4, 5, 6
Waltz of the opera „Des Kaisers Neue Kleider”
Sextett (Serenade) for clarinet, string quartet and double bass

Mariangela Granata, piano
Ludger Maxsein, piano
Eduard Brunner, clarinet
Alfred Schopper, violin
Miwako Ninomiya, violin
Rhoda Lee Rhea, viola
Rudolf Hindemith, violoncello
Rudolf Knerer, double bass

 

KO KÛ
New music from Japan and China
for Recorder and Percussion

Gudula Rosa, recorders
Haruka Fujii, percussion

Catalog number 21039

While many western composers have been fascinated and inspired by Asian music, their counterparts in Asia have adapted their musical language to the western modern and have tried to interfuse this with Asian sensations. “Asia” is present in contemporary music in many ways. The recordings on this CD combine works by renowned composers who have each, in their own way, determined the face of contemporary Asian music. The first work is by John Cage who founded and left a lasting impression on the western way of viewing Asian thinking and Asian aesthetics.

A co-production with Radio Bremen

 

La note d’or

Verena Rein
Ciurlionis Stringquartet, Vilnius

Sergej Okrusko

Catalog number 21031


Works of the Belle Époque (Ernest Chausson, Guillaume Lekeu, Maurice Ravel, Gabriel Fauré)
for soprano, string quartet and piano

“At the end of the 19th century the French Mélodie managed to break away from foreign, above all, German Lied role-models. French composers sought and found their own language of sound which is marked by a subtle balance and extreme differentiation.
This recording with Vera Rein, the Lithuanian Čiurlionis-Quartet and the Ukrainian pianist Sergej Okruško presents all these characteristics of French song with temperament and passion. The vocal works by Chausson, Lekeu and Fauré are rounded off by Ravel’s String Quartet in F major. Just like the performances, the quality of the sound recording is at an exceedingly high level.”
klassika.info

 

Gustav Mahler
Symphony Nr. 7

Stuttgart Philharmonic Orchestra
Gabriel Feltz

Catalog number 21041

The seventh symphony somehow does not fit in with this commonly held view of the composer. The jubilant tone of the finale, the adulating and tender atmosphere of the nocturne and the modern scurrility of the scherzo seem to be something different and new among his works. “It is my best work and its character is mainly jovial”. This remark by Mahler about his seventh symphony should be seen in contrast to Theodor W. Adorno’s terse judgement of the finale, written in the year of the premiere (1908): “The movement is theatrical: only the canopy above the stage on the all too near fairground is that blue.” Taking Mahler’s optimism seriously? Is that possible?

 

Edvard Grieg

ROMANSER. LIEDER

Silke Schimkat, alto
Frank-Thomas Link, piano

Catalogue number 21011

Haugtussa op.67 and other Lieder

“As far as the subtlety of her presentation is concerned the contralto can very well compete with Anne Sofie von Otter’s prize winning CD of works by Grieg. … Schimkat’s intensive study of the Norwegian language as well as Franck-Thomas Link’s delicate sounding accompaniment are further plus factors of the production.”

 

A co-production with Sender Freies Berlin

 

Fatum
Roman Viazovskiy, guitar

Catalog number 21001

Works by: Konstantin Vassiliev , Leo Brouwer, Antonio José, Egberto Gismonti

“… Certainly Fatum is one of the best recordings I have reviewed over recent years, the playing is immaculate, the programme has no low points: what more could one ask for? The undoubted highlights for the reviewer are the two works by Konstantin Vassiliev. … This is wonderful writing for the instrument – some of the best of our times. Highly recommended.”

Steve Marsh in Classical Guitar Magazine

 

Works for piano solo by female composers
Judith Pfeiffer, piano

Catalog number 21004

Marianne Martinéz: Sonata in E major
Josepha von Auernhammer: Six variations on a hungarian theme
Fanny Hensel: Notturno g minor
Clara Schumann: Ballade from Soirées musicales op. 6 & Variations on a theme of Robert Schumann, op. 20
Cécile Chaminade: L’Ondine, op. 101
Germaine Tailleferre: Partita
Lili Boulanger: D’un vieux jardin; D’un jardin clair, Cortège
Elena Firsova: Elegie, op. 21
Dorothee Eberhardt: Time changes I-III

“She (Judith Pfeifer) takes the pieces as seriously as they deserve to be taken, attunes herself exactly to the style required and enchants with her naturalness, whereby she lacks nothing in technical competence. She thus makes the rather supercilious world of men aware of composing women and also those who play the piano.”

Sebastian Loskant in Nordwestdeutsche Zeitung

 

This Time The Dream's On Me

Scot Weir, tenor
Jan Czajkowski, piano

Catalog number 21034

Scot Weir has made a name for himself especially as a Lied and Oratorio singer. For this recording with the young pianist Jan Czajkowski he withdrew to his house in the Rocky Mountains and recorded American “classics” by Cole Porter, George Gershwin, Harold Arlen and Jerome Kern. The result is a very personal interpretation which shows Weir to be a wonderful performer of popular music as well.

“Jan Czaikowski was certainly not all too challenged as a piano accompanist on this CD. However the arrangements, which are all by him, serve to underline the compositional demands of such ‘entertaining’ pieces. Weir crowns them with the noblesse of a Lied singer, while at the same time giving the production a pronounced ‘American’ feel.“