moderntimes_1800 orchestre de chambre sur instruments origineaux · innsbruck

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George Onslow, VIOLIN SONATAS OP. 16, moderntimes_1800   

 

sound examples:

Johann Gottlieb Graun, Concerto c minor
01. Allegro
02. Largo
03. Allegro

Johann Gottlieb Graun, Concerto G major
01. Allegro
02. Adagio
03. Allegro molto e con spirito

probably Markus Heinrich Grauel, Concerto A major
01. Allegretto
02. Adagio
03. Allegro

Johann Gottlieb Graun, Concerto F major
01. Allegro
02. Mesto
03. Allegro

Johann Gottlieb Graun, Concerto E flat major
01. Allegretto
02. Adagio, un poco Andante
03. Allegro

 

CD Release:

Johann Gottlieb Graun (1702 -1771)
CONCERTOS FOR STRINGS
moderntimes_1800
Ilia Korol: violin, viola solo
Piroska Batori: violin solo

Concerto c minor Graun WV C:XIII:68
Concerto G major Graun WV C:XIII:84
Concerto A major (probably Markus Heinrich Grauel)
Concerto F major Graun WV Av:XIII:31
Concerto E flat major Graun WV Cv:XIII:116

world première recordings

Challenge Classics, 2009
CC 72317 , 2 CD
0608917231724
www.challenge.nl



 

press review:

. Toccata
. FonoForum

 

Johann Gottlieb Graun was born in 1701 or 1702 in Wahrenbrück. He studied for several months between 1721 and 1723 with Giuseppe Tartini (1692-1770) in Padua. Tartini had a lasting impression on the young Graun; this can also be heard in his compositions. In 1740 Graun was nominated as concertmaster and conductor at the court-orchestra of Frederick II of Prussia. Graun’s duties included having to scout for new talent for the orchestra, and the direction of the court concerts in Berlin. After the Seven Years’ War, Graun retired from active duty for reasons of health. He died, highly esteemed, on 7 October 1771 in Berlin. Instrumental works utterly dominate the extensive oeuvre of Johann Gottlieb Graun as a composer. It is hardly surprising that among them – besides overtures, symphonies, quartets, trios and wind concertos – he wrote a great number of concertos and solo Sonatas for the violin. He composed at least 83 solo concertos, double concertos and several ensemble concertos with solo violin. (A sinfonia for 8 winds & b.c., also performed by moderntimes_1800, is to be found on CC72193) The concerto by Markus Heinrich Grauel on this CD may be taken as an example of Graun’s influence.

 

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"Freiheit, brennende Liebe" 1809 - 2009

Eine szenische musikdramatische Collage mit
moderntimes1800 / kammerorchester auf originalinstrumenten,
Tobias Moretti und Franz Hackl

26. Mai 2009, 20 Uhr Innsbruck, Dogana

Kartenpreise: € 50 / 40 / 35 / 30 / 25 / 20
(- 20% für Studenten; - 10% für Ö1-Clubmitglieder)
Karten unter +43 (0) 512 5356-0 | ibk.ticket@utanet.at

Buy tickets online: www.ticketonline.at

„Freiheit, die ich meine, die mein Herz erfüllt…Magst du nie dich zeigen der bedrängten Welt?“ schreibt Max von Schenkendorff anno 1813. Auch 1809 ‚meint’ mit Freiheit nicht jeder dasselbe. Frankreich und Bayern geben vor, sie zu bringen - die Tiroler wollen sie verteidigen. Hier prallen eine Aufklärungsoffensive und der Wunsch nach Beibehaltung des bestehenden Freiheitsrechtes aufeinander.

Das kleine „Heilige Land“ kratzt als erstes am Mythos Napoleons und seiner Unbesiegbarkeit. In der Folge dieser Kämpfe entsteht in Europa ein nationales Bewußtsein, ein nationaler Unabhängigkeitsdrang, ein subjektives Freiheitsbewußtsein: Freiheit für wen? Freiheit gegen wen?

Zu den Gedenkfeierlichkeiten 1809 haben das Orchester "moderntimes1800" und Tobias Moretti, auf der Suche nach einer außergewöhnlichen Umsetzung des Themas, eine musikdramatische Collage ausgearbeitet.

Die 200 - Jahr - Gedenkfeier braucht ein verbindendes Element, das zum einen dem Anlaß und seiner Bedeutung gerecht wird, zum andern aber alle kontroversen Perspektiven vereint. Dieser gemeinsame Nenner ist der Freiheitsbegriff, der um 1800 wie ein Gespenst durch Europa ging und alle Ideologien aufeinanderprallen ließ.

Freiheit bedeutet eben für jeden etwas anderes. Künstlerisch bedeutet dies, daß wir diese Auseinandersetzung musikalisch und musikdramatisch auch aufeinanderprallen lassen.

 

       

Präsentiert von Hypo Tirol Bank

Gefördert von Stadt Innsbruck und Land Tirol

Mit freundlicher Unterstützung von HOCHRIEGL

 

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George Onslow, VIOLIN SONATAS OP. 16, moderntimes_1800   

sound examples:

Georg Onslow, Violin sonata in A op. 16
01. Allegro vivace
02. Adagio
03. Finale Agitato e molto espressivo

Georg Onslow, Violin sonata in c op. 16
01. Allegro aspressivo
02. Menuetto allegro
03. Adagio cantabile
04. Finale Allegretto

Georg Onslow, Violin sonata in F op. 16
01. Allegro
02. Andante
03. Finale. Allegretto

 

CD Release:

George Onslow (1784 -1853)
VIOLIN SONATAS OP. 16
moderntimes_1800
Ilia Korol, violin (anon., North Italy, c. 1730)
Norbert Zeilberger, fortepiano (A.Czernin, 2006 / South German, c. 1850)

Sonata 1 in F, op. 16

Sonata 2 in c, op. 16

Sonata 3 in A, op. 16


Challenge Classics, 2008
CC 72193, 1 CD
0608917219326
www.challenge.nl



 

press review:

. "Sonaten eines Aussenseiters", Kritik von Dr. Stefan Drees, Klassik.com, 22.12.2008

. Diapason D'OR

 
George Onslow (1784 -1853) was a French pianist-composer with a British father. He studied pianoforte in London with Dussek and Cramer and composition in Paris with Reicha. In the course of his life, Onslow primarily wrote chamber music, string quintets and quartets and piano quintets, duos and trios, furthermore a few symphonies. This brought him fame in Europe, above all in Germany, Austria and England. He also wrote three operas, but these were not really successful. The Duos op.16 were written in 1819 and published a year later in Vienna. The string instrument printed on the score is designated as "violin, viola or violon-cello". Ilia Korol opted for the violin because of the tessitura; this would have been less beautiful on a lower-pitched instrument, whereas the violin provides a brilliant contrast to the partially dense structure of the piano part, which is "just made to be played". Onslow left us a quite specific interpretation of Romantic chamber music, a personal style of great individuality and extraordinary quality.

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Diapason D'OR. Jean-Luc Macia 7-8. 2008 (Pdf)
CD "Sinfonias from the Englightenment"

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"Vertrauen als Motivation". Gerhard Persché im Gespräch mit Ilia Korol
Fono Forum 05/2008

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sound examples:

J. A. Hasse. Sinfonia in D major*
01. Con affetto. Lento maestoso
02. Lento con sordino. Poco piano
03. Allegro assai

J.G. Graun. Sinfonia in E flat major*
01. Allegro
02. Mesto e andante con sordino
03. Allegro

C.P.E. Bach. Sinfonia B flat major*
01. Allegro moderato
02. Poco Adagio con sordino
03. Presto

W.F. Bach. Sinfonia D major
01. Allegro e maestoso
02. Andante
03. Vivace

C.P.E. Bach. Sinfonia E flat major*
01. Allegro di molto
02. Larghetto con sordino
03. Allegretto

Haydn. Symphony no. 39 in g minor
01. Allegro assai
02. Andante
03. Menuet - Trio
04. Finale. Allegro di molto

W. A. Mozart. Symphony no. 29 in A major. K 201
01. Allegro moderato
02. Andante
03. Menuetto - Tro - Menuetto
04. Allegro con spirit

* world premiere recording

 

 

CD Release:

Sinfonias from the Englightenment
moderntimes_1800

1 CD

Johann Adolf Hasse (1699–1783)
Sinfonia D major* for Alcide al bivio,
festa teatrale (Vienna, 1760)for 2 flutes, 2 oboes,
2 horns, 2 trumpets, timpani, strings and basso continuo

Johann Gottlieb Graun (1702-1771)
Sinfonia E flat major*for 2 flutes, 2 oboes, 2 bassoons,
2 horns, strings and basso continuo

Carl Philipp Emanuel Bach (1714-1788)
Sinfonia B flat major* Wq deest for 2 flutes, bassoon,
strings and basso continuo

Wilhelm Friedemann Bach (1710-1784)
Sinfonia D major from cantata Dies ist der Tag,
Falck 64 (1746-64) for 2 flutes, 2 oboes, bassoon, 2 horns, strings and basso continuo

Carl Philipp Emanuel Bach
Sinfonia E flat major* Wq deest for 2 oboes, 2 bassoons,
2 horns, strings and basso continuo

 

CD 2

Joseph Haydn (1732-1809)
Symphony no. 39 in g minor Hob. 1:39 (before 1770)
for 2 oboes, bassoon, 4 horns and strings

Wolfgang Amadeus Mozart (1756-1791)
Symphony no. 29 in A major K 201 (Salzburg, 1774)
for 2 oboes, 2 horns and strings

* world premiere recording


Challenge Classics, April 2008
CC 72193, 2 CD
0608917219326
www.challenge.nl



 

press review:

. Diapason D'OR. Jean-Luc Macia 7-8.08
. Review allmusic.com 7-08 by Uncle Dave Lewis
. Review Gramophone 12-08 by Richard Wigmore
. "Was ist Aufklärung?", Klassik.com 6.08
. "Blick zurück nach vorn", Crescendo 6.08
. Carsten Niemann, Rondo 6.08
. Peter Päffgen, Gitarre & Laute-ONLINE XXX / 2008 N. 1

 

The Age of Enlightenment was the epoch that Frederick II ruled over Prussia. This monarch was also musician and composer and gathered Germany’s musical elite at his court. In the second half of the 18th century out of the gallant and reason-driven ideas of the philosophical and literary Enlightenment emerged a movement of sensibility, known as ‘Sturm und Drang’ and this transition is most clearly marked by composers as C.Ph.E. Bach, the Graun and Benda bro’s and J.A.Hasse, all composers closely related to the Prussian court of Frederick, while in Vienna still was blowing a more traditional wind. Also the musically independent Joseph Haydn couldn’t avoid in some of his symphonies the influence of this new trend. Enlightened contemporaries considered all these musicians who dedicated their creativity to the new sound as the avant-garde. This CD actually includes the first recording ever of the symphonies by Hasse, Graun and Carl Philipp.

 

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Brahms, Violinsonaten.     

CD Release:
Johannes Brahms
Violinsonaten

Sonate Nr. 1 G-Dur op. 78
Sonate Nr. 2 A-Dur op.100
Sonate Nr. 3 d-Moll op.108

moderntimes_1800
Ilia Korol, violin (Cai von Stietencron, 1999)
Natalia Grigorieva, fortepiano (Streicher, 1870)

Challenge Classics, October 2007
CC 72194
0608917219425
www.challenge.nl

 

sound examples:

Sonate Nr. 1 G-Dur op. 78: Adagio - Piu andante - Adagio
Sonate Nr. 2 A-Dur op. 100: Allegro amabile
Sonate Nr. 3 d-Moll op.108: Allegro; Un poco presto e con sentimento


press review:

Tim Perry, MusicWeb International
"Die 5-Sterne-Aufnahme. Großer Atem mit erdigem Klang", Karsten Dürer
"Sphärenwechsel", Norbert Hornig. Fono Forum 04. 2008
Klassik heute. Sixtus König. 01.02.2008
"Röntgen Brahms", Door Roland de Beer, De Volkskrant

 
Articulation and balance in this recording were developed from the way the instruments were handled. Ilia Korol plays a violin of Cai von Stietencron in the traditional style of Cremona, Italy; however, it features ‘modernisations’ of the kind that were usual in the period of Brahms. In other words the neck, bass-bar, finger board and bridge were altered to achieve a more brilliant, powerful tone. But in Vienna gut strings were still being used; this recording follows suit.
Natalia Grigorieva plays a Streicher grand piano of 1870, one which is probably very close to the instrument that in 1868 Brahms received as a present from the firm of Streicher for his flat in Vienna. The bass is powerful, very sonorous, rich in overtones and never muffled; the high notes are clear and focussed, without being pointed.
The piano plays the role as an equal partner with the violin, so that one sometimes gains the impression of listening to an animated conversation between friends, as in the first movement of the G major Sonata: at the opening the piano lays the harmonic foundation for the violin’s melody; then it blends itself in, at first cautiously, then more forthrightly, enlivens the theme, argues, interrupts the violin either in agreement or in contradiction, disputes with it, makes up with it, before the two instruments together come to a conclusion.
Brahms wrote his Violin Sonata in G, op. 78, in Bonn in 1878-9. After a well disposed, lively Vivace ma non troppo the mood is reversed in a serious Adagio. In the third movement Brahms quotes from Regenlied op. 59 no. 3 (text by Klaus Groth), written a few years before.
The earliest sketches of the A major Sonata op. 100 date from the summer of 1883, while he worked on the Third Symphony. Brahms himself pointed out that in the first movement motives from his Lieder can be found, above all Wie Melodien zieht es mir, op. 105 no. 1; it can no longer be established which was written first, the Lied or the Sonata.
The Sonata in d minor op. 108 is of a different character; the opening movement presents a restless picture of interpenetrating layers of mood. It leads to an Adagio that begins in almost chorale-like fashion after which the theme is then dissipated in ‘Hungarian’ or ‘Gipsy’ style with its improvisatory gestures. The final movement is a stormy rondo, but whereas by tradition the theme of a final movement is tonally closed, Brahms here uses a refrain that is tonally open and therefore of the type that would normally be found in an opening movement; to a certain extent he refuses to consider his statement finished.

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