Puttlingen / Jahns - In Bester Gesellschaft - COMPACT DISCS [CD]

Weikl / Sawallisch - Balladen [VINYL LP] date 07/29/1983

In 1946 Hindemith, who became an American citizen in January of that year, composed the Requiem for Robert Shaw's Collegiate Chorale. Whitman's poem had been written on the death of Lincoln. Some parallel events at Roosevelt's death and the excellent interpretation presented Hindemith's work a great success. The recent identification of the Jewish melody Gaza, which appears in large parts of the work, reveals a further meaning It must be seen as Hindemith's musical reaction to the Holocaust, a reaction, whose effect is all the more penetrating and persuasive, because Hindemith himself never revealed the identity of the Gaza melody for the purposes of cheap publicity. Hindemith wrote a Requiem for the living (the survivors), who are obligated to remember and identify themselves with the victims and must transform this historical moment into an imperishable personal experience. Album Tracks 1. PRLD - Berlin Rso/Lothar Zagrosek 2. 1. When Lilacs - Krister St. Hill/Rundfunkchor Berlin/Dietrich Knothe 3. 2. Arioso In the Swamp - Cornelia Kallisch 4. 3. March Over the Breast of the Spring - Krister St. Hill/Rundfunkchor Berlin/Dietrich Knothe 5. 4. O Western Orb - Krister St. Hill/Rundfunkchor Berlin/Dietrich Knothe 6. 5. Arioso Sing on, There in the Swamp - Cornelia Kallisch 7. 6. Song O How Shall I Warble - Krister St. Hill/Rundfunkchor Berlin/Dietrich Knothe 8. 7. Intro and Fugue Lo! Body and Soul! - Rundfunkchor Berlin/Dietrich Knothe 9. 8. Sing on! You Gray-Brown Bird - Cornelia Kallisch/Krister St. Hill 10. 9. Death Carol Come, Lovely and Soothing Death - Rundfunkchor Berlin/Dietrich Knothe 11. 10. to the Tally of My Soul - Krister St. Hill/Rundfunkchor Berlin/Dietrich Knothe 12. 11. Finale Passing the Visions - Krister St. Hill/Cornelia Kallisch/Rundfunkchor Berlin/Dietrich Knothe

How and why Johann Melchior Molter came to Karlsruhe is one of the secrets of his otherwise well-documented life. Molter was a Inchperfect capellmeisterInch in the sense of the eponymous famous treatise of the Hamburg music scholar Johann Mattheson. In his early years, Molter became familiar with the style of French music of his time; in Italy, where he drew it a second time during his time in Eisenach, he became acquainted with the current Italian style. Stylistic versatility was the craftsmanship with which Molter moved in all major genres. Although large parts of his vocal works are lost or were destroyed during the Second World War, the surviving cantatas and other works for vocal Molter as a composer, who knew exactly how the human voice comes to it's best advantage. In contrast, the manuscripts of many of Molter's instrumental works have been handed down in large numbers. In addition to about 170 symphonies, solo concertos for various instruments are the largest group of works within Molter's instrumental works. Most of these concerts may have been written for virtuoso court musicians in Karlsruhe and Eisenach and have been performed within the framework of court music practice. All concerts are documents of a Kapellmeister, who mastered the compositional standards of his time on a very high level. That Molter occupies an important place in the history of the instrumental concert, he owes the fact that he was one of the first composers who composed concertos for the clarinet. This instrument was invented at the beginning of the 18th century by Johann Christoph Denner, but it did not prevail until the end of the 18th century in the orchestras. This production commemorates (for the 300th birthday of Karlsruhe) the most important composer of the fan city.