Ruth Volpert - 1929 - Tempo Tanz Und Technik - COMPACT DISCS [CD]
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October 29, 1923 was a date steeped in history. In the middle of a year of political and economic crises, the age of public radio in Germany was ushered in with the first broadcast of the InchBerliner FunkstundeInch (Berlin Radio Hour) from the attic of an office building on Potsdamer Platz. - Radio offered entirely new possibilities for the production and reception of music. The two compositions on this CD not only benefited from these developments but also played an active role in shaping them. Eduard Künneke's five-movement Concerto grosso InchTänzerische SuiteInch op. 26 for jazz band and large orchestra was the sixth commission the composer received from the Berliner Funk-Stunde. It's five movements corresponded to modern dances the Overture is a Foxtrot, the Andante a Blues, the Intermezzo a Tango, the valse mélancolique a Boston Waltz and the Finale a Foxtrot again. The premiere took place under Künneke's baton on September 8, 1929 in Hall 5 at the Berlin Funkausstellung. The Berlin Funk Orchestra played together with Dajos Béla's renowned jazz band. The suite was celebrated as a milestone in contemporary radio music and soon became part of the regular concert programme. Even the critics were enthusiastic InchKünneke skilfully combines the character of the old suite with modern means. Modern dances are stylised vividly with exciting rhythms and rich tone colours, and with delightful use of prominent solo instruments such as the violin, the saxophone, etc. It all sounds very good on the radio this is pleasing, imaginative, symphonic jazz at the best level. Inch Hanns Eisler's cantata InchTempo der ZeitInch (Tempo of the Times) op. 16 for soloists, narrator, choir, winds and percussion was written in 1929 as a commission for the Donaueschingen Festival (known as InchDeutsche Kammermusik Baden-BadenInch from 1927 to 1929). The premiere took place in Baden-Baden
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- GenreClassicalDescriptionOctober 29, 1923 was a date steeped in history. In the middle of a year of political and economic crises, the age of public radio in Germany was ushered in with the first broadcast of the InchBerliner FunkstundeInch (Berlin Radio Hour) from the attic of an office building on Potsdamer Platz. - Radio offered entirely new possibilities for the production and reception of music. The two compositions on this CD not only benefited from these developments but also played an active role in shaping them. Eduard Künneke's five-movement Concerto grosso InchTänzerische SuiteInch op. 26 for jazz band and large orchestra was the sixth commission the composer received from the Berliner Funk-Stunde. It's five movements corresponded to modern dances the Overture is a Foxtrot, the Andante a Blues, the Intermezzo a Tango, the valse mélancolique a Boston Waltz and the Finale a Foxtrot again. The premiere took place under Künneke's baton on September 8, 1929 in Hall 5 at the Berlin Funkausstellung. The Berlin Funk Orchestra played together with Dajos Béla's renowned jazz band. The suite was celebrated as a milestone in contemporary radio music and soon became part of the regular concert programme. Even the critics were enthusiastic InchKünneke skilfully combines the character of the old suite with modern means. Modern dances are stylised vividly with exciting rhythms and rich tone colours, and with delightful use of prominent solo instruments such as the violin, the saxophone, etc. It all sounds very good on the radio this is pleasing, imaginative, symphonic jazz at the best level. Inch Hanns Eisler's cantata InchTempo der ZeitInch (Tempo of the Times) op. 16 for soloists, narrator, choir, winds and percussion was written in 1929 as a commission for the Donaueschingen Festival (known as InchDeutsche Kammermusik Baden-BadenInch from 1927 to 1929). The premiere took place in Baden-BadenArtistRuth VolpertTitle1929 - Tempo Tanz Und TechnikFormatCDLabelBR Klassiks
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October 29, 1923 was a date steeped in history. In the middle of a year of political and economic crises, the age of public radio in Germany was ushered in with the first broadcast of the InchBerliner FunkstundeInch (Berlin Radio Hour) from the attic of an office building on Potsdamer Platz. - Radio offered entirely new possibilities for the production and reception of music. The two compositions on this CD not only benefited from these developments but also played an active role in shaping them. Eduard Künneke's five-movement Concerto grosso InchTänzerische SuiteInch op. 26 for jazz band and large orchestra was the sixth commission the composer received from the Berliner Funk-Stunde. It's five movements corresponded to modern dances the Overture is a Foxtrot, the Andante a Blues, the Intermezzo a Tango, the valse mélancolique a Boston Waltz and the Finale a Foxtrot again. The premiere took place under Künneke's baton on September 8, 1929 in Hall 5 at the Berlin Funkausstellung. The Berlin Funk Orchestra played together with Dajos Béla's renowned jazz band. The suite was celebrated as a milestone in contemporary radio music and soon became part of the regular concert programme. Even the critics were enthusiastic InchKünneke skilfully combines the character of the old suite with modern means. Modern dances are stylised vividly with exciting rhythms and rich tone colours, and with delightful use of prominent solo instruments such as the violin, the saxophone, etc. It all sounds very good on the radio this is pleasing, imaginative, symphonic jazz at the best level. Inch Hanns Eisler's cantata InchTempo der ZeitInch (Tempo of the Times) op. 16 for soloists, narrator, choir, winds and percussion was written in 1929 as a commission for the Donaueschingen Festival (known as InchDeutsche Kammermusik Baden-BadenInch from 1927 to 1929). The premiere took place in Baden-Baden
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The at hand presents musical portraits of two influential composers of the Baroque era through a selection from their oeuvre for violin and harpsichord Heinrich Ignaz Franz Biber (1644 - 1709) and Georg Muffat (1653 - 1704). Their first meeting in Salzburg was unfortunately not documented. However, it is known that both talents arrived with differing previous musical experiences before spending years in the service of the Archdiocese of Salzburg. Thanks to economic growth and financial strength in this sovereign Catholic principality, all the arts, including music, enjoyed considerable support. Like in all other Baroque centers, music was an integral part of courtly representation, and in Salzburg, it also became an important channel of communication for the Counter-Reformation. A fabulous violinist, Biber preferred his favorite instrument in his compositions and wrote two sonata collections that belong to the basic repertoire of Baroque solo literature the InchRosenkranzInch or InchMysteryInch sonatas (c. 1674) and the Violin Sonatas (1681). Two pieces from each of these collections can be heard on the album at hand, rounded off with a passacaglia from Georg Muffat's collection InchApparatus Musico-OrganisticusInch, which holds as much significance for Baroque keyboard literature as Biber's collections for the violin mentioned above, and last but not least a unique piece Muffat's only surviving violin sonata. The instruments that meet in this recording come from two worlds Flóra Fábri performs on a harpsichord built in 2015 by Detmar Hungerberg according to Italian models; the violin played by Dóra Szilágyi was built in 1765 by Sebastian Klotz in Mittenwald.
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