Philharmonisches Orchester der Hansestadt L beck - Rarities-Chamber Musical - SUPER-AUDIO CD [Super Audio CD (SACD)]

Philippe Pierlot - Chamber Music 3 [COMPACT DISCS] date 10/08/2013

In the handwritten catalogue of his own works, Brahms recorded that he had composed the Second Symphony in Pörtschach; and already during the summer Eduard Hanslick received the information from Brahms that he would Inchhave a symphony played for him in winter.Inch At the end of October 1877 Brahms returned to Vienna. During the first half of November he already worked on the four-hand piano score of the Second Symphony, and in December he gave a private performance, together with the pianist and composer Iganz Brüll, of the piano arrangement in Friedrich Ehrbar's piano showroom. The orchestral rehearsals for the Second Symphony began at the end of December, and the premiere took place on 30 December 1877 in the large hall of the Musikverein in Vienna Hans Richter conducted the Vienna Philharmonic from the manuscript. For his Violin Concerto, Othmar Schoeck let himself be inspired by something that greatly enthralled him the violin playing of the erstwhile child prodigy Stefi Geyer. Her talent and striking beauty turned the heads of important composers, including Béla Bartók - and Othmar Schoeck fared no differently. In the autumn of 1910 Schoeck took up work on the Violin Concerto op. 21. Due to the motivic relationships between the individual movements, it comes close to a musical InchfantasiaInch and demands a rich palette of finely graded timbres from the soloist. The first complete performance of the Violin Concerto, with Schoeck on the piano, took place on 28 February 1912 in Berlin; about a month later, the work was heard in Bern in the version with orchestra. The soloist of the first performances was the Dutchman Willem de Boer, the concertmaster of the Tonhalle Orchestra, which accompanied both the Bern and, a short time later, the Zurich first performances. Stefi Geyer recorded the Violin Concerto during the shellac gramophone record era.

During the fourteen years in which he worked on his First Symphony, Brahms was under a high pressure of expectation in the shadow cast by Beethoven, he was forced to take a compositionally convincing position both with respect to the dominant father figure as well as the InchNew German School.Inch Moreover, he saw himself associated with friends who pressed him for a first symphony. And, finally, in the 1850s the scrupulous, hard working but at times insecure Brahms suffered setbacks in at least two attempts to form a symphony out of already extensively developed compositional material. Among all these obstacles, Beethoven's InchmodelInch was undoubtedly the greatest. Concerning this, the following remarks by Brahms have come down to us he explained to his friend Carl Bargheer of Detmold InchIf one still attempts to write symphonies after Beethoven, then they have to look entirely different.Inch Some ten years later, after he had already composed a first version of the opening movement of his First Symphony, he admitted to the conductor Hermann Levi InchI will never compose a symphony! You have no idea how I feel when I always hear such a giant marching behind meInch - meaning Beethoven. Strauss' tone poem Death and Transfiguration Inchis an example of a poetic idea that was retrospectively assigned. Alexander Ritter, poet-musician in Meiningen also gave the new composition the title and program Ritter initially thought of the title InchSeraphic FantasyInch - thus a first hint of a metaphysical program - but then decided on InchDeath and TransfigurationInch. But that's not all Strauss had a poem by Ritters that existed in two versions preceded the printed score, combining music and poetry. This dedicated program came into being only after the composition had been completed - whether Strauss was creatively guided by a Inchpoetic ideaInch remains to be seen.