Libretto by Marie Pappenheim
Structured in four scenes, the singer of this theatrical "monologue"
searches for her lover in a strange forest. Musically, Schoenberg uses "free
tonality" to paint an aural soundscape reflecting the psychological terrain
through which the singer travels (both literally and mentally). Each section
employs at different times dissonant ensemble passages, ominous rhythmic
patterns, fervent crescendos and angular polyphonic sequences. The vocals
are mainly sung, but some passages are spoken (or shouted).
- Scene 1 (2:43): Under a moonlit sky, a woman enters a fearful, forbidding forest.
- Scene 2 (3:01): The woman searches for someone whom she had expected in her garden earlier. A night bird startles her and she mistakes a tree trunk for a body.
- Scene 3 (1:54): She reaches a moonlit path and still finds nothing, but hears more ominous animal sounds.
- Scene 4 (23:49): Eventually she discovers her lover's dead body in front of a house and thinks that his other lover must have killed him. She mourns her loss in disbelief and expresses her resentment against him for choosing the other woman over her.
In some ways this piece is a large-scale predecessor to the melodrama Pierrot Lunaire Op.21 (1912), especially since the first three scenes of Erwartung are very short, and the fourth scene can be subdivided into smaller sequences as well.
WER 50002 (1962, reissue of Vega C 35 A 153, 1958)
Igor Stravinsky: Agon: Ballet for Twelve Dancers (1957) (22:14)
Orchestra: Sinfonieorchester Des Südwestfunks, Baden-Baden, Conductor: Hans Rosbaud, recorded 1957
This ballet (written for a George Balanchine production) is structured as follows:
Side 1 (8:44):
- Pas-de-quatre
- Double pas-de-quatre
- Triple pas-de-quatre (Coda)
- Prelude
- First pas-de-trois (Sarabande-step - Gaillarde - Coda)
Side 2 (13:31):
- Interlude
- Second pas-de-trois (Bransle simple - Bransle gay - Bransle de Poitou)
- Interlude
- Pas-de-deux
- Four Duos
- Four Trios
Although Stravinsky applies some chromaticism in places, his rhythmic
treatment generally gives this piece a festive, playful mood, with even the
"12-tone" sequences being more tongue-in-cheek than actually tense. Employing
chamber sub-groupings of the orchestra (with a few sections featuring a
substantial mandolin part), some of the short dance sequences are drawn from
French 17th century court forms (Sarabande, Galliarde, Bransle). Additionally,
the score has instructions synchronizing the dance elements to the music
itself.
WER 50004 (1965, reissue of Vega C 35 A 181)
This record features two works by Francis Poulenc, with the French composer himself on piano.
Francis Poulenc: Sonate Pour Flûte Et Piano (1957) (11:32)
- Allegro Malinconico
- Cantilena: Assez Lent
- Presto giocoso
- Flute – Jean-Pierre Rampal
- Piano – Francis Poulenc
This witty duet is very inviting and makes good use of "exotic" flavors in
its lively opening theme. The slow middle movement (characterized by Poulenc
as an interlude or fantasia) also has a modern-sounding, almost cinematic
melody line. The final movement is a lively dance with many lilting,
accented figures.
Francis Poulenc: Trio Pour Piano, Hautbois Et Basson (1924-26)
(12:52)
- Presto (Lent-presto)
- Andante (Andante Con Moto)
- Rondo (Très Vif)
- Piano – Francis Poulenc
- Oboe – Pierre Pierlot
- Bassoon – Maurice Allard
The early trio piece opens with a playful, Mozart-ian tone and but then soon
embraces some more Romantic harmonies. However, the proceedings are always
colored with some French wit. This recording is from 1957.
WER 60001 (1963, reissue of Disques Adès – MA 30 LA 524, 1962) Pierrot Lunaire. Dreimal sieben Gedichte nach Albert Giraud, (Melodram) Op. 21 (1912) (32:18)
This was Wergo's first LP (the previous albums were 10 inch records).
Soprano Vocals: Helga PilarczykConductor: Pierre Boulez ("Kammerensemble Der Domaine Musical")
- Piano: Maria Bergmann
- Flute, Piccolo Flute: Jacques Castagner
- Clarinet: Guy Deplus
- Bass Clarinet: Louis Montaigne
- Viola: Serge Collot
- Violin: Luben Yordanoff
- Cello: Jean Huchot
Pierrot Lunaire is performed by a soprano "speaker" and a chamber
septet (or a quintet which can double on some instruments). Structured as 21
short poems (grouped into 3 parts), it depicts the various psychological
states described in Albert Giraud's florid poetry. Although it doesn't employ
Schoenberg's later 12-tone technique, the melodies are extremely chromatic and
expressionistic. The 21 sections feature different subsets of instruments, but
no more than five instruments perform at any one time.
Part One (11:14)
-
Mondestrunken (Drunk with Moonlight): Piano, flute, violin, cello
- Colombine (Columbine): Piano, violin, flute, clarinet
- Der Dandy (The Dandy): Piano, piccolo, clarinet
-
Eine blasse Wäscherin (A Pallid (Ethereal) Washerwoman): Flute, clarinet,
violin
- Valse de Chopin: Piano, flute, clarinet/bass clarinet
- Madonna: Flute, bass clarinet, cello (and piano)
- Der kranke Mond (The Sick Moon): Flute
Part Two (10:44)
- Nacht (Passacaglia) (Night): Piano, bass clarinet, cello
- Gebet an Pierrot (Prayer to Pierrot): Clarinet, piano
- Raub (Theft): Flute, clarinet, violin, cello
-
Rote Messe (Red Mass): Piccolo, bass clarinet, viola, cello, piano
- Galgenlied (Gallows Song): Piccolo, viola, cello (and piano)
-
Enthauptung (Beheading): Bass clarinet/clarinet, viola, cello, piano,
flute
- Die Kreuze (The Crosses): Piano, flute, clarinet, violin, cello
Part Three (10:23)
-
Heimweh (Homesickness): Clarinet, violin, piano (and piccolo, cello)
- Gemeinheit! (Foul Play/Vulgarity/Outrage): Violin, cello, piccolo, clarinet, piano
- Parodie (Parody): Piccolo/flute, clarinet, viola, piano
- Der Mondfleck (The Moon Spot): Piccolo, clarinet, violin, cello, piano
- Serenade: Cello, piano
-
Heimfahrt (Barcarole) (Journey Home): Flute, clarinet, violin, cello,
piano
-
O Alter Duft (O Ancient Fragrance): Flute/piccolo, clarinet/bass clarinet,
violin/viola, cello, piano
WER 60002 (1963, reissue of Disques Adès – MA 30 LA 525, 1962)
Arnold Schoenberg: Serenade, Op. 24 (1920-23) (30:49)
- Marsch (4:15)
- Menuett (6:32)
- Variationen (3:37)
- Sonett Nr. 217 Von Petrarca Für Eine Tiefe Männerstimme (2:49)
- Tanzscene (6:28)
- Lied (Ohne Worte) (2:15)
- Finale (4:57)
Conductor: Pierre Boulez ("Kammerensemble Der Domaine Musical")
- Guitar: Paul Stingl
- Mandolin: Paul Grund
- Cello: Jean Huchot
- Clarinet: Guy Deplus
- Clarinet, Bass Clarinet: Louis Montaigne
- Viola: Serge Collot
- Violin: Luben Yordanoff
- Bass Vocals: Louis-Jacques Rondeleux (Sonett Nr. 217)
In this "dance" work, Schoenberg demonstrates that "atonal" 12-tone music can
also be witty and comic. The use of guitar and mandolin in the instrumentation
goes a long way towards creating this mood, as well as the use of
lurching/galloping rhythmic devices.
WER 60003 (1963)
This album features Stravinsky's works for two pianos or 4-hands.
Pianos: Alfons Kontarsky, Aloys Kontarsky, recorded November 11, 1962.
Igor Stravinsky: Concerto Per Due Pianoforti Soli (1935) (20:52)
- Con Moto
- Notturno (Adagietto)
- Quattro Variazioni
- Preludio E Fuga
This is an energetic but "light" piece which makes use of tremolo rhythms and
some jazzy harmonies.
Igor Stravinsky:
Sonata For Two Pianos (1944)
(10:25)
- Moderato
- Theme With Variation
- Allegretto
This piece draws some tendencies from the French, jazz-tinged parlour music of
Debussy. The last section also includes a fugue, and is later structured as a
series of short vignettes.
Igor Stravinsky: Drei Leichte Stücke Für Klavier, Vierhändig (1915)
(3:51)
- Marche
- Valse
- Polka
Here, Stravinsky produces "traditional" rhythms but with some more exotic
harmonies.
Igor Stravinsky: Fünf Leichte Stücke Für Klavier, Vierhändig (1916-17)
(5:59)
- Andante
- Española
- Balalaika
- Napolitana
- Preludio E Fuga
Like the earlier pieces, this suite also shows Debussy's influence on
Stravinsky, in particular in its inclusion of folk, dance and rustic colors.
WER 60004 (1963, reissue of Līgo – Д-04448/04449, 1960)
Sergei Prokofiev: Sonate Nr. 7 In B-dur Op. 83, Für Klavier (1942)
(18:07)
- Allegro Inquieto
- Andante Caloroso
- Precipitato
Sergei Prokofiev: Sonate Nr. 9 In C-dur Op. 103, Für Klavier (1947)
(22:49)
- Allegretto
- Allegro Strepitoso
- Andante Tranquillo
- Allegro Con Brio, Ma Non Troppo Presto
- Piano: Sviatoslav Richter
WER 60005 (1963)
Hans Heinz Stuckenschmidt: Einführung In Die Neue Musik Mit
Ausgewählten Tonbeispielen
This 2-LP set features Hans Heinz Stuckenschmidt describing current trends in modern music (from 1908 to 1958) with selected examples from the following works:
-
Arnold Schoenberg: The Book of the Hanging Gardens, Op. 15 (1908,
1909)
-
Arnold Schoenberg: Pierrot Lunaire (1912)
-
Igor Strawinsky: L'Histoire Du Soldat (1918)
-
Edgard Varese: Hyperprism (1922, 1923)
-
Arnold Schoenberg: Suite Für Klavier, Op. 25 (1921/23)
-
Anton Webern: Concerto for Nine Instruments, Op. 24 (1934)
-
Igor Stravinsky:
Concerto for piano and wind orchestra (1923/24)
-
Béla Bartók: Music for Strings, Percussion and Celesta (1936)
-
Karlheinz Stockhausen: Kontrapunkte (1953)
-
Pierre Schaeffer: Etude Aux Allures (for tape, 1958)
-
Luigi Nono: Il Canto Sospeso (1955-56)
-
Pierre Boulez: Le Marteau Sans Maitre (1955)
- Hans Werner Henze: Kammermusik 58 (1958)
Herbert Eimert: Einführung In Die Elektronische Musik (50:24)
This LP features Herbert Eimert describing the elements, history and techniques of electronic music (recorded at the Studio für elektronische Musik des Westdeutschen Rundfunks, Köln 1963).
Acoustic and Theoretical Basic Concepts
- tone
- sound
- tone mixture
- noise
- harmony/consonance
- sound transformation by ring modulator
- sound generation by sine wave generator, noise generator and pulse generator
On the History and Compositional Technique
- Beginnings 1952/53 - The Earliest Compositions
- Further development Until 1960
- Music and Language:
- Acoustics and information theory - W. Meyer-Eppler
- Production technology
- Electronic Birthday Homage For Igor Stravinsky (1957)
- On the Technique of Epitaph for Aikichi Kuboyama (1957-62)
Béla Bartók: Sonate für zwei Klaviere und Schlagzeug, Sz 110 (1937)
(26:53)
- Assai Lento / Allegro Molto
- Lento Ma Non Troppo
- Allegro Non Troppo
- Pianos: Alfons Kontarsky, Aloys Kontarsky
- Percussion: Christoph Caskel, Heinz König
Béla Bartók: Sieben Stücke Aus Dem Mikrokosmos (Fassung Für Zwei
Klaviere) (1926-39) (8:46)
- No. 113: Bulgarian Rhythm (1)
- No. 69: Chord study
- No. 135: Perpetual motion machine
- No. 123: Staccato And Legato
- No. 127: New Hungarian Folksong
- No. 145: Chromatic Invention
- No. 146: Ostinato
- Pianos: Alfons Kontarsky, Aloys Kontarsky
Seven Pieces From Microkosmos (Version For Two Pianos).
This is the second Wergo release to feature Alfons and Aloys Kontarsky on
pianos. Although these two works are not nearly as "avant garde" as the
later works these performers would soon be associated with, both of these
works feature elements of great rhythmic and harmonic interest.
Claude Debussy: Petite Suite (1888-89) (12:52)
- I. En bateau
- II. Cortège
- III. Menuet
- IV. Ballet
Claude Debussy: Six Épigraphes antiques, L.131 (1914-15) (14:38)
- I. Pour invoquer Pan, dieu du vent d'été
- II. Pour un tombeau sans nom
- III. Pour que la nuit soit propice
- IV. Pour la danseusse aux crotales
- V. Pour l'Égyptienne
- VI. Pour remercier la pluie au matin
Claude Debussy: Lindaraja (1901) (4:45)
Claude Debussy: En blanc et noir (1915) (15:34)
- I. À mon ami A. [sic] Koussevitzky
- II. Au Lieutenant Jacques Charlot tué à l'ennemi en 1915, le 3 mars
- III. À mon ami Igor Stravinsky
Pianos: Alfons Kontarsky, Aloys Kontarsky
This is the third Wergo release to feature Alfons and Aloys Kontarsky on
pianos. Although Debussy's piano works generally have less tension than
those of Stravinsky or Prokofiev, these works are among his most
modernistic (excepting possibly the first piece).
Karlheinz Stockhausen: Kontakte für elektronische Klänge, Klavier und
Schlagzeug (1958-60) (34:55)
- Side 1 (16:11)
- Side 2 (18:45)
- Piano (& percussion): Davis Tudor
- Percussion: Christof Caskel
Although the tape element of this piece was created over 1958 to
1960, the instrumental part was recorded on the occasion of the 34th World
Festival of the IGNM in Cologne on June 10, 1960 at WDR,
Cologne (under the supervision of the composer, assissted by
Gottfried Michael Koenig).
Kontakte marks Stockhausen's first "live" electro-acoustic work in the version with accompanying live instrumentalists. In GESANG DER JÜNGLINGE, a boy's voice was used in the assembly of the electronic layers, but in the case of Kontakte, the "concrete" sounds would be "joined" at the moment of performance. Originally planned as an electroacoustic work with 4 live performers playing scores with some aleatoric elements, it was eventually reduced to just tape, piano and percussion, with all of the live parts completely notated out.
The basic sounds of the tape portion of Kontakte were mostly generated by a pulse generator which could create bursts of noise ("white noise clicks") at the rate of 16 clicks/second to 1 every 16 seconds, and with durations between 1/10000 of a second and 1-second. These "full-spectrum" noise impulses were then fed through a frequency bandwidth filter in order to produce pitches, noises and mixtures of both. Other devices employed include reverb units and ring modulators.
The piano and percussion elements were designed by the composer to
underline (synchronize with) elements of the electronic attacks. Sometimes
the live instruments also dialogue with or even anticipate the tape
elements.
Karlheinz Stockhausen: Zyklus (1959) (Version 1) (11:39)
- Percussion: Christoph Caskel
Karlheinz Stockhausen: Zyklus (1959) (Version 2) (10:15)
- Percussion: Max Neuhaus
Zyklus is a solo percussion piece which partially uses indeterminate
notation to specify attacks. However, the types of percussion are
organized by texture, and the performer moves from one grouping to
another. Different versions of Zyklus are also markedly different due to
the fact that the performer may start on any page of the score (but
continue on the first page after reaching the last page until all pages
have been completed).
Karlheinz Stockhausen: Klavierstuck X (1955/61) (22:02)
- Piano: Frederic Rzewski
This piano piece explores cluster chords and cluster glissandi, developing
in pitch and dynamic range. After an initial explosion/overture, the work
develops in groupings of small explosions (separated by pauses), each with
their own substructure. From a tempo viewpoint, no initial speed is
prescribed, but the piece follows a tempo specified in relative
notation.
Pierre Boulez: Structures pour deux pianos, Book 1 (1952) (14:31)
- Part One (3:24)
- Part Two (8:31)
- Part Three (2:12)
- Part 1 (8:37)
-
Part 2 (10:43)
- Pianos: Alfons Kontarsky, Aloys Kontarsky
Boulez's intention with these works was to break away from the forms and
styles of all previous music up until that time. To accomplish this, he
applied the serial technique to the organization of pitch, dynamics,
duration and articulation ("modes of attack"). In other words, by dividing
each of these qualities into 12 degrees and then applying them so that no
one degree dominated for any length of time, any obvious sense of
key/harmony, tempo, dynamics or mood was obliterated. Nonetheless, moments
of rhythmic dialogue between the two piano parts do give these works a
sense of composed chaos. Book 2 also gives each of the two piano players
several "solos" with which to explore some more unified textures.
Book 1 was initially premiered in Paris in 1952, performed by Boulez and
Olivier Messiaen, while Book 2 was premiered in 1962 by Boulez and Yvonne
Loriod.
This is the 4th Wergo release in 3 years to feature Alfons and Aloys
Kontarsky on pianos, recorded in 1965 in Cologne.
Hans Werner Henze: Kammermusik 1958 über die Hymne "In lieblicher Bläue" von Friedrich Hölderlin für Tenor, Gitarre und acht Solo-Instrumente (1958)
- Prefazione (ensemble)
- In Lieblicher Bläue (voice & guitar)
- Tento I "Du Schönes Bächlein" (solo guitar)
- Innen Aus Verschiedenem Entsteht (voice & ensemble)
- Tento II "Es Findet Das Aug' Oft" (solo guitar)
- Gibt Es Auf Erden (voice & ensemble)
- Sonata (ensemble)
- Möcht' Ich Ein Komet Sein? (voice & guitar)
- Cadenza (ensemble)
- Wenn Einer In Den Spiegel Siehet (voice & guitar)
- Tento III "Sohn Laios" (solo guitar)
- Wie Bäche Reißt Das Ende Von Etwas Mich Dahin (voice & ensemble)
- Adagio (ensemble)
Chamber music 1958 on the hymn "In lieblicher Bläue" by Friedrich
Hölderlin for tenor, guitar and eight solo instruments.
Ensemble: Philharmonisches Oktett, Berlin
- Tenor: Loren Driscoll
- Guitar: Erich Ferstl
- Clarinet: Herbert Stähr
- Horn: Gerd Seifert
- Bassoon: Hans Lemke
- Violins: Fred Malacek, Rudolf Hartmann
- Viola: Ulrich Fritze
- Cello: Heinrich Masowski
- Contrabass: Rainer Zepperitz
Recorded 1 & 2 April and 12 & 13 May, 1965
This is a somewhat "pastoral" suite of songs, guitar etudes, interludes
and ensemble compositions revolving around texts written by Friedrich
Hölderlin. Stylistically, these pieces employ extended chromatic harmony,
but frequently still retain a strong sense of Late Romanticism. Some of
the guitar solos (in particular the 2nd etude piece) demonstrate some
ethnic (Spanish) influences.
Arnold Schoenberg: Variationen für Orchester, Op. 31 (1926-28) (21:18)
- Introduction: Mäßig, ruhig
- Theme, Molto moderato
- Variation I: Moderato
- Variation II: Adagio
- Variation III: Mäßig
- Variation IV: Walzer-tempo
- Variation V: Bewegt
- Variation VI: Andante
- Variation VII: Langsam
- Variation VIII: Sehr rasch
- Variation IX: L'istesso Tempo
- Finale, Mäßig schnell
- Sinfonieorchester Des Südwestfunks, Conducted by Hans Rosbaud
Arnold Schoenberg:
Variationen Über Ein Rezitativ Für Orgel, Op. 40 (1941) (18:36)
- Theme, Variations 1-10, Cadenza (Fuge)
- Organ: Gerd Zacher
This work navigates between tonal and atonal music. Although it employs
all 12 notes of the chromatic scale, a pitch center of D is established
in the initial theme, after which a series of 11-bar variations follow.
Although the harmony does modulate quite a bit, the presence of a tonic
note can still be detected.
Herbert Eimert: Epitaph Für Aikichi Kuboyama, für Sprecher und
Sprachklänge (1960-62) (23:25)
- Speaker: Richard Münch
This is an electronic work which derives its source from an opening spoken
recitation (not sung) of the German translation (Günther Anders) of the
epitaph for Aikichi Kuboyama, a fatality caused by H-bomb testing in the
Pacific (in 1954). In contrast to earlier works by Stockhausen (Gesang der Junglinge), Berio (Visage, Omaggio' a Joyce) and Krenek (Spiritus intelligentsiae sanctus), the transformations here tend to avoid "musical" results, but rather
tend towards "speech-sound" phenomena. In other words, the bulk of the
developed sounds are essentially unrecognizable as being sourced from
vocal elements.
Herbert Eimert: Sechs Studien (Electronic Music, Six Studies) (1962) (17:49)
- I (2:57)
- II (3:03)
- III (2:36)
- IV (3:10)
- V (4:01)
- VI (2:06)
Created while working on Epitaph and some earlier electronic
works, these shorter pieces are also based on spoken word recordings
transformed into abstract noise ("sounds in whose spectrum the
spoken word can no longer be recognized."). Each of these studies
focuses on a specific textural approach, much like an etude.
Paul Hindemith: Kammermusik Nr.2 (Klavierkonzert) Op.36 Nr.1 (1924)
(19:11)
- Sehr Lebhafte Achtel (3:35)
- Sehr Langsame Achtel (7:51)
- Kleines Potpourri: Sehr Lebhafte Viertel (1:48)
- Finale: Schnelle Viertel (5:55)
Ensemble: Ensemble Des Südwestfunk-Orchesters, Baden-Baden, Conductor: Hilmar Schatz:
- Piano: Maria Bergmann
- Trumpet: Walter Scholz
- Horn: Karl Arnold
- Trombone: Otto Heinl
- Flute: Kraft-Thorwald Dilloo
- Clarinet: Hans Lemser
- Bass Clarinet: Karl Meiser
- Oboe: Horst Schneider
- Bassoon: Helmut Müller
- Violin: Alfred Böhler
- Viola: Ulrich Koch
- Violoncello: Dietrich Liebenwein
- Contrabass: Manfred Gräser
This is a propulsive work with driving ostinato rhythms and clear themes.
Maria Bergmann is featured as the pianist in this peformance.
Paul Hindemith: Sonate Op.25 Nr.1 Für Viola Solo (1922) (14:27)
- Breite Viertel (1:55)
- Sehr Frisch Und Straff (Viertel) (2:17)
- Sehr Langsam (4:29)
- Rasendes Zeitmaß. Wild. Tonschönheit Ist Nebensache (1:31)
- Langsam, Mit Viel Ausdruck (3:58)
- Viola: Ulrich Koch
In this solo piece, the viola is played so that bowing on two strings simultaneously produces a second melody, in some ways creating a "violin accompaniment".
Paul Hindemith: Trio Für Bratsche, Heckelphon Und Klavier Op. 47 (1929)
(14:32)
- Part I: Solo (7:02)
- Sehr Lebhaft, Stürmisch (Klavier)
- Arioso: Sehr Langsam (Heckelphon, Klavier)
- Duett: Lebhaft (Heckelphon, Bratsche, Klavier)
- Part II: Potpourri (7:32)
- Schnelle Halbe
- Lebhaft. Ganze Takte
- Schnelle Halbe
- Prestissimo
- Viola: Ulrich Koch
- Heckelphone: Horst Schneider
- Piano: Maria Bergmann
This is a lively work notable for using the rarely-featured Heckelphone, a
kind of cross between a tenor saxophone and an oboe. The first part starts
with solo piano, after which the heckelphone joins, and then eventually
the viola. The second part has a folk-dance rhythm, somewhat reminiscent
of Bartok's folk dances.
Paul Hindemith: Messe Für Gemischten Chor A Cappella (1963) (25:45)
- Kyrie (3:59)
- Gloria (5:28)
- Credo (5:41)
- Sanctus (2:12)
- Benedictus (3:19)
- Agnus Dei (5:01)
- Choir: Schola Cantorum Stuttgart, Conducted by Clytus Gottwald
Paul Hindemith: Apparebit Repentina Dies Für Gemischten Chor
Und Blechinstrumente (1947) (21:18)
- Apparebit repentina dies magna Domini/The sudden great day of the Lord will appear
- Hujus omnes ad electi colligentur dexteram/All these are gathered to the right hand of the elect
- Retro ruent tunc injusti ignes in perpetuos/Then the unjust fires rush back into the perpetual...
- Ydri fraudes ergo cave, infirmantes subleva/Therefore, beware of Ydri's frauds, relieve those who are weak
- Choir: Schola Cantorum Stuttgart, Conducted by Clytus Gottwald
- Winds: Bläser-Ensemble Des Südwestfunk-Orchesters, Baden-Baden
Boris Blacher:
Abstrakte Oper Nr. 1, Op. 43 (1953) (27:20)
- Angst/Fear
- Liebe I/Love I
- Schmerz/Pain
- Verhandlung/Negotiation
- Panik/Panic
- Liebe II/Love II
- Angst/Fear
- Lyrics By: Werner Egk
- Ensemble: The University Of Illinois Opera Group, Conductor: Ludwig Zirner
Boris Blacher: Elektronische Impulse (1965) (2:50)
- Technical Director Of the Studio Der Technischen Universität, Berlin: Fritz Winckel
Despite the fast, choppy electronic nature of this piece, Blacher
claims to employ a musical discipline in its creation. Possibly for this
reason, this piece seems more "tonal" than those of the serialists. The
opening and ending sequences feature some harmonious vocal sampling,
while other sections sound closer to transformed piano or percussion.
Boris Blacher: Sonate Für Klavier Op. 39 (1951) (7:55)
-
Piano: Gerty Herzog
Boris Blacher: Aprèslude, quattro lieder per voce e pianoforte su testi di Gottfried
Benn, Op.57 (1958) (4:35)
-
Gedicht (1:55)
-
Worte (1:07)
-
Eure Etüden (1:00)
-
Letzter Frühling (0:33)
- Tenor Vocals: Ernst Haefliger
-
Piano: Gerty Herzog
Boris Blacher: What About This, Mr. Clementi? (3 pieces, 1943) (3:05)
- (0:43)
- (1:22)
- (1:00)
- Piano: Gerty Herzog
These are "lighter" piano-based pieces which aim to merge jazz with
baroque forms. The four lieder of Aprèslude feature some
interesting rhythms in the piano accompaniments, but are otherwise
harmonically conventional. The Clementi piece is a suite of
three short etudes which also reflect a jazz-inflected, Debussy-like
approach.
Recorded live at University Of Illinois during the Festival Of Contemporary Arts, 1963. Elektronische Impulse realized at the Tonstudio der Technischen Universität Berlin, everything else recorded at Telefunken-Tonstudio, Berlin 1966.
Kazimierz Serocki: Musica Concertante (1958) (11:24)
- crotchet ca. 84
- dotted crotchet ca. 72
- crotchet ca. 60
- quaver ca. 192
- crotchet ca. 48
- dotted crotchet ca. 80
- crotchet ca. 72
These 7 serially-composed episodes, each with a different instrumental combination, explore different approaches to rhythm, polyphony and dynamics (although all of them retain a pointillist texture typical to serial music to some extent).
Kazimierz Serocki: Segmenti Für Kammerorchester (1960-61) (11:40)
Segments for Chamber Orchestra
This serial work (structured as several episodic "segments") employs
winds, percussion and plucked strings to create different sound scenes.
Coming from 3 separated instrumental groups, the sounds move across the
stereo field in dialogue (sometimes coming across as a stripped-down
incarnation of Stockhausen's Gruppen).
Kazimierz Serocki: Episoden, Für Streicher Und 9 Schlagzeuggruppen
(1959) (10:56)
Episodes for Strings and 3 Percussion Groups.
- “proiezioni” (projections)
- “movimenti” (movements)
- “migrazioni” (migrations)
- “incontri” (encounters)
Like Segments, this work also distributes the orchestra in an unconventional arrangement (V and C-shaped), and further explores the movement of string and percussion textures in space.
Kazimierz Serocki: Symphonische Fresken (1963/64) (12:21)
Symphonic Frescoes
In this work Serocki abandons the serial technique of dissonant
polyphony, and instead focuses on the dynamic manipulation of
layered textures. Structured as a prelude followed by 3 episodes, it
begins mysteriously, but eventually builds to an intense
climax.
-
Polish National Radio Symphony Orchestra, Conducted by Jan Krenz
Witold Lutoslawski: Trois Poemes D'Henri Michaux (1962-63) for choir and orchestra (20:20)
- Pensées (7:16)
- Le Grand Combat (5:42)
- Repos Dans Le Malheur (7:23)
- Chorus: Polnischer Radio-Chor
- Orchestra: Polnisches Radio-Symphonie-Orchester, Conductor: Jan Krenz
These vocal and orchestra arrangements are notable for "swirling" lines,
probably achieved through indeterminate notation. The vocal portions also
make use of whispering, speech-song and microtonalism.
Witold Lutoslawski: Postludium (1958-60) for orchestra (4:03)
- Orchestra: Polnisches Radio-Symphonie-Orchester, Conductor: Jan Krenz
This opens withs a pensive section with foreground elements interrupting
the placid surface. The work eventually erupts into a massive crescendo,
before returning back to the more placid textures.
Witold Lutoslawski: String Quartet (1964) (23:36)
LaSalle Quartett:
- Violin: Henry Meyer
- Violin: Walter Levin
- Cello: Jack Kirstein
- Viola: Peter Kamnitzer
Krzysztof Penderecki: Psalmen Davids Für Chor Und Schlagzeug (1958) (10:09)
From the Psalms of David for Choir and Percussion.
- (3:06)
- (1:39)
- (2:26)
-
(2:53)
-
Choir: Chor Der Warschauer Philharmonie
- Orchestra: Warschauer Philharmonisches Orchester
This work starts out with an instrumental fanfare of piano and percussion,
after which a more restrained second movement follows, featuring chanted
vocal lines (many of the choral portions also feature opposing forces in
dialogue). Some of the "mechanical" rhythms of the 3rd movement are
influenced by late 20s/early 30s styles, in particular that of Stravinsky.
The final movement is a summation of the previous three.
Krzysztof Penderecki: Anaklasis Für Streicher Und Schlagzeug (1960) (7:40)
-
Choir: Chor Der Warschauer Philharmonie
-
Orchestra: Warschauer Philharmonisches Orchester, Conductor: Andrzej
Markowski
For strings and percussion groups, this abrasive work virtually introduced
graphic notation to European music. Penderecki begins his experiments with
extended techniques here, which would very shortly lead to his most famous
work, Threnody to the Victims of Hiroshima (1960).
Krzysztof Penderecki: Sonate Für Cello Und Orchester (1964) (9:44)
- Violoncello: Siegfried Palm
-
Orchestra: Philharmonisches Orchester Poznan, Conductor: Andrzej Markowski
During a few cadenza-like moments, this cello concerto requires the
cellist to switch rapidly from technique to technique (bowing, plucking,
knocking, etc.). In general, however, the supporting strings and brass
also produce constantly-evolving sequence of dynamic, abrasive sound
textures.
Krzysztof Penderecki: Fluorescences Für Orchester (1961) (17:40)
-
Choir: Chor Der Warschauer Philharmonie
- Orchestra: Warschauer Philharmonisches Orchester
Flourescences employs all of Penderecki's textural effects up until
this time and takes them to even greater extremes, this time also taking
greater advantage of brass and an enlarged percussion section. As is
typical of this period, Penderecki explores exotic sonorities produced
through massed ensemble instruments.
Krzysztof Penderecki: Stabat Mater Für Drei A-cappella Chöre (1963) (7:41)
-
Choir: Chor Der Warschauer Philharmonie,
-
Orchestra: Warschauer Philharmonisches Orchester, Conductor: Andrzej
Markowski
Although this piece does employ its three 16-voice choirs to create a
variety of colors, pitch bandwiths and masses, it also demonstrates
moments of clearly traditional tonality, creating a dramatic arc which
permeates the entire work.
Luciano Berio: Circles (1960) (18:14)
- Vocals: Cathy Berberian
- Harp: Francis Pierre
- Drums: Jean-Claude Casadesus, Jean-Pierre Drouet
Luciano Berio: Sequenza I (1958) (5:01)
- Flute: Aurèle Nicolet
This is an exploration of various flute timbres.
Luciano Berio: Sequenza III (1965) (8:55)
- Vocals: Cathy Berberian
This is an exploration of various vocal styles.
Luciano Berio: Sequenza V (1966) (7:29)
-
Trombone: Vinko Globokar
In this work, the trombone tones approach those of electronic music.
György Ligeti: Aventures (1962) (10:58)
György Ligeti: Nouvelles Aventures (1962-65) (11:46)
-
Vocals: Gertie Charlent, Marie-Thérèse Cahn, William Pearson
- Ensemble: Internationales Kammerensemble Darmstadt, Conductor: Bruno Maderna
In the above 2 works, Ligeti uses a made-up language to realize
kaleidoscopic, multi-layered dramas of absurdity, peppered with isolated
instrumental accents and commentary. The second work also sometimes makes
satirical gestures towards traditional repertoire (chorale, bel canto
opera, etc).
György Ligeti: Atmospheres (1961) (8:35)
- Orchestra: Sinfonie-Orchester Des Südwestfunk, Baden-Baden, Conductor: Ernest Bour
In this orchestral piece, Ligeti uses "micropolyphony" to create
monolithic, slow-moving clouds (tone clusters) of harmonic texture.
György Ligeti: Volumina (1961-62) (15:17)
- Organ: Karl-Erik Welin
This piece is based on slowly changing held note clusters (sometimes
tremolo), with the number of held notes remaining the same.
The theme of this album is the Jewish experience, especially in the early
20th century.
Jüdische Chronik, Für Alt- Und Baritonsolo, Kammerchor, Zwei Sprecher
Und Kleines Orchester (1960) (25:52)
Jewish Chronicle, for alto, baritone, chamber choir, two speakers and small orchestra
Lyrics by: Jens Gerlach
- Boris Blacher: I. Prolog (Dies Geschieht Heute/This Happens Today)
- Rudolf Wagner-Régeny: I. Prolog (Werden Die Stummen Rufen?/Will the mute call?)
- Karl Amadeus Hartmann, Paul Dessau, Hans Werner Henze: II. Ghetto (Berichtet Wird/Reported)
- Hans Werner Henze: III. Aufstand (Ach, Erde, Bedecke Mein Blut Nicht!)/Uprising (Oh, Earth, Do Not Cover My Blood!)
-
Paul Dessau:
III. Aufstand (Im Januareis Glomm Das Feuer)/Uprising (In the January Ice the Fire Glows)
- Paul Dessau: IV. Epilog (Dies Geschieht Heute/This Happens Today)
- Narrators: Ekkehard Schall, Hilmar Thate
- Vocalists: Anna Barová, Vladimir Bauer
- Choir: Rundfunkchor Leipzig
- Orchestra: Rundfunk-Sinfonie-Orchester Leipzig, Conductor: Herbert Kegel
A total of 5 composers worked on different sections of this work, which
features both spoken and sung dialogue. For this reason, each of
the scenes reflects a different musical approach, reflecting similar
dramatic works by Weill, Berg, Shostakovich and Schoenberg.
Dmitri Shostakovich: Aus Jüdischer Volkspoesie Op. 79, Ein Liederzyklus
Für Sopran, Alt, Tenor Und Orchester (1948/49) (24:51)
From Jewish Folk Poetry Op.
79, A song cycle for soprano, alto, tenor and orchestra
- Totenklage (Sonne Und Regen)/Lamentation (Sun And Rain)
- Wiegenlied (Schlaf, Schlaf Ein)/Lullaby (sleep, sleep on)
- Söhnchen, Schönstes/Son, loveliest
- Abschied (Ach, Abram, Wie Wird Das Leben Sein)/Farewell (Oh, Abram, how will life be)
- Warnung (Hör Mich, Hasja)/Warning (Hear Me, Hasja)
- Der Verlassene Vater (Ehle, Der Trödler)/The Abandoned Father (Ehle, The Trödler)
- Die Grosse Not (Weich Und Süß Schläft Das Kind)/The great need (soft and sweet sleeps the child)
- Winter (Die Mutter Liegt Frierend Im Bette)/Winter (The mother is freezing in bed)
- Das Schöne Neue Leben (Kein Lied Von Den Feldern)/The Brave New Life (No Song From The Fields)
- Lied Der Hirtin (Auf Der Wiese Vor Dem Walde)/Song of the shepherdess (on the meadow in front of the forest)
- Das Glück (Bei Meinem Mann Hab Ich Mich Eingehakt)/Happiness (I linked my arms with my husband)
-
Vocalists: Annelies Burmeister, Maria Croonen, Peter Schreier
- Orchestra: Städtisches Berliner Sinfonie-Orchester, Conductor: Kurt Sanderling
These are somewhat rustic vocal settings with orchestral accompaniment,
with some songs having more or less of a "folk-dance" (or even
Middle-Eastern) element present.
Karlheinz Stockhausen: Momente für sopran, 4 chorgruppen und 13
Instrumentalisten (1962-69, 1965 Version) (57:56)
Moments for soprano, 4 choir groups and 13 instrumentalists
- I(m): Clapping Moment (5:33)
- M Moments (23:43)
- I(d): Organ Moment (4:41)
- K Moments (11:43)
- I: Prayer Moment (12:19)
- Soprano: Martina Arroyo
- Choir: Der Kölner Rundfunkchor, Conductor: Herbert Schernus
- Hammond Organ: Aloys Kontarsky
- Lowrey Organ: Alfons Kontarsky
- Orchestra: Mitglieder des Kölner Rundfunk-Sinfonie-Orchesters, Conductor: Karlheinz Stockhausen
This is a recording of Momente in the state it was in (sketched out
but not completely scored) in 1965. In the ensuing years, the work would
be expanded to double the length of this version. It features a soprano
vocalist using sung and spoken text to traverse a constantly-changing
environment of brass, choir, organ and percussion, with many
hand-percussion elements added by the choir. It opens with a "clapping"
sequence (performed by the choir), which leads into an "aria" portion. An
organ interlude appears in the middle. Different versions of Momente can
be performed, since the work is structured as "episodes" whose order can
be flexible.
Claude Debussy: Sonate Für Flöte, Viola Und Harfe (1915) (16:48)
- Pastorale: Lento, dolce rubato
- Interlude: Tempo di Minuetto
- Finale: Allegro moderato ma risoluto
- Flute: Aurèle Nicolet
- Viola: Ulrich Koch
- Harp: Ursula Holliger
Claude Debussy: Sonate Für Violine Und Klavier (1916/17) (12:16)
- Allegro vivo
- Intermède: Fantasque et léger
- Finale: Très animé
- Violin: Saschko Gawriloff
- Piano: Maria Bergmann
Claude Debussy: Sonate Für Violoncello Und Klavier (1915) (10:10)
- Prologue: Lent, sostenuto e molto risoluto
- Sérénade: Modérément animé
- Finale: Animé, léger et nerveux
- Cello: Siegfried Palm
- Piano: Maria Bergmann
Recorded September-October 1966 Stuttgart.
Although Debussy never completed his projected set of "Six sonatas for
various instruments", the ones that were completed are witty/melancholy
chamber pieces which demonstrate the full range of his approach to modern
composition. As to be expected, some "jazz" elements are also hinted at
times.
WER 60026 Neue Chormusik I (1966)
WER 60027 Paul Hindemith: Kammermusik Nr. 3 (Cellokonzert), Nobilissima Visione (1966)
WER 60028 Antoinette Vischer (1967)
WER 60029 Severino Gazzelloni (1967)
WER 60030 Bernd Alois Zimmermann: Die Soldaten (1965)
WER 60031 Bernd Alois Zimmermann: Die Befristeten (1967)
WER 60032 Arnold Schoenberg: Quintett Für Flöte, Oboe, Klarinette, Horn Und Fagott (1967)
WER 60033 Gerd Zacher: Orgel (Kagel, Cage, etc)
WER 60034 Isang Yun (1967)
WER 60035 Wolfgang Fortner: Die Pfingstgeschichte, Triplum (1967)
WER 60036 Siegfried Palm: Ligeti, Penderecki, Webern, etc (1969)
WER 60037
Luis De Pablo (1969)
WER 60038 Luigi Nono: La Fabbrica Illuminata (1968)
WER 60039 Henri Pousseur, Michel Butor, Pierre Bartholomee (1968)
WER 60040 Lukas Foss: Echoi, The Fragments Of Archilochos, Non-Improvisation (1968)
WER 60041 Gisela May Singt Brecht - Eisler - Dessau (1966)
WER 60042 Cristóbal Halffter: Symposion, Secuencias, Lineas Y Puntos (1969)
WER 60043 Mauricio Kagel: Heterophonie (1972)
WER 60044 Witold Lutoslawski (1969)
WER 60045 György Ligeti: Requiem, Lontano, Continuum (1969)
WER 60046 Luc Ferrari
(1969)
WER 60047 Folke Rabe: Was, Bo Anders Persson: Proteinimperialism (1970)
WER 60048 Sylvano Bussotti: Il Nudo, Phrase À Trois, Ancora Odono I Colli, Rara (1969)
WER 60049 Roman Haubenstock-Ramati (1970)
WER 60051 Liliana Poli: Schoenberg, Nono, etc (1970)
WER 60052 Aurele
Nicolet (1969)
WER 60053 Quartett Societá Cameristica Italiana
(1971)
WER 60054 Cathy Berberian: Magnificathy (1971)
WER
60055 Róbert Wittinger: Irreversibilitazione, OM, Tendenze, Strutture
Simmetriche (1971)
WER 60056 Joan Carroll: Stravinsky,
Gorecki, Riemann (1971)
WER 60057 The San Francisco
Conservatory New Music Ensemble (1971)
WER 60058 Gerd
Zacher: Ives, Satie, etc (1970)
WER 60059 György Ligeti (1971)
WER 60060 New Phonic Art (1971)
WER 60061 Karl Amadeus Hartmann: Gesangsszene (1972)
WER
60062 Bernd Alois Zimmermann: Concerto Pour Violoncelle, Photoptosis, Tratto II
(1969)
WER 60063 Christian Wolff (1972)
WER
60064 Hanns Eisler (1972)
WER 60065 Karlheinz Stockhausen: Ensemble (1972)
WER
60066 Josef Anton Riedl (1972)
WER 60067 Luigi Nono: Canti Di
Vita E D'Amore, Per Bastiana, Omaggio A Vedova (1973)
WER 60068
Wilhelm Killmayer: Fin Al Punto, The Woods So Wilde (1973)
WER 60069
Klaus Huber: ...Inwendig Voller Figur... (1973)
WER
60070 Neue Chormusik II (1974)
WER 60071 Peter Ruzicka -
Metastrofe (1974)
WER 60072 Aribert Reimann (1974)
WER
60073 Roswitha Trexler Singt Eisler - Dessau - Lutoslawski (1975)
WER 60074 John Cage: Sonata XIII, Music For Marcel
Duchamp, Songs Books I-II; Empty Words III (1976)
WER
60075 Dieter Schnebel: Choralvorspiele I, II, Atemzuge (1976)
WER
60076 György Ligeti (1976)
WER 60077 Wolfgang Fortner:
Prismen, Bluthochzeit (1977)
WER 60078 Sonja
Kehler: Brecht-Portrait (1978)
WER 60079 György Ligeti: String Quartets (1978)
WER
60080 Charles Ives: Concord Sonata (Hebert Henck, 1978)
WER
60081 Volker Banfield: Killmayer, Scriabin & Fiše (1979)
WER
60082 Harald Genzmer (1979)
WER 60083 Spyros Sakkas Singt (1979)
WER 60084 Heinz Holliger (1979)
WER 60085 György Ligeti: Szenen Und Zwischenspiele Aus Der Oper Le Grand Macabre
(extracts, 1980)
WER 60086 Karl Amadeus Hartmann: Symphonies (1980)
WER
60087 Jean Françaix: Françaix spielt Françaix (1982)
WER
60088 Hans Zender (1982)
WER 60089 Paul Hindemith: Lustige
Sinfonietta (1982)
WER 60090 Emile Naoumoff (1982)
WER
60091 Béla Bartók: Piano and Percussion (1982)
WER 60092 Wilhelm Killmayer:
Poemes Symphoniques (1982)
WER 60093 Alexander Goehr (1982)
WER
60094 Electric Phoenix (1982)
WER 60095 György Ligeti (1982)
WER 60096 John Casken: The Moving Fires Of Evening (1982)
WER
60097 Aribert Reimann (1982)
WER 60098 Clarence Barlow:
Çogluotobüsisletmesi (1982)
WER 60099 John Cage: Music
of Changes (Herbert Henck, 1982)
WER 60100 György Ligeti: Trio fur Violine
Horn & Clavier (1986)