Musik in Deutschland 1950–2000
Box 1: Sinfonische Musik 1 (6 CDs)
CD 1: Donaueschinger Musiktage Urauffuhrungen 1955-1989 74'03
The Donaueschingen Festival - Premieres from 1955 to 1989
The Donaueschingen Festival was founded in 1921 as a testing ground for new forms of chamber
music. It was exposed to many dangers in the decades that followed, but received new impetus
after 1950, now with a strong emphasis on orchestral music. Since then, the Festival has been
a mould for young talent and a litmus test for new artistic currents. Practically all noteworthy
composers of the last fifty years have launched their international careers or received crucial
support in Donaueschingen.
Iannis XENAKIS / Яннис КСЕНАКИС (1922-2001), Metastaseis (1954) 8'24
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Hans-Rosbaud
Krzysztof PENDERECKI / Кшиштоф ПЕНДЕРЕЦКИЙ (1933), Anaklasis fur Streicher und Schlagzeuggruppen
(1960) 8'15
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Hans Rosbaud
Olivier MESSIAEN / Оливье МЕССИАН (1908-1992), Chronochromie (1960): Ausschnitt
Introduction 3'36
Strophe 1 1'36
Antistrophe I 3'25
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Hans Rosbaud
Gyorgy LIGETI / Дьёрдь ЛИГЕТИ (1923-2006), Atmospheres fur gro?es Orchester (1961) 8'34
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Ernest Bour
Heinz HOLLIGER / Хайнц ХОЛЛИГЕР (1939), Pneuma fur Blaser, Schlagzeug, Orgel und Radios (1970) 9'16
Ausschnitt
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Ernest Bour
Helmut LACHENMANN / Хельмут ЛАХЕНМАН (1935), Tanzsuite mit Deutschlandlied fur vier Solostdreichere und Orchester (1979/80) :
Aussschnitt 9'54
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Sylvain Cambreling
Wolfgang RIHM / Вольфганг РИМ (1952), Frau/Stimme fur Sopran und Orchester mit Sopran (1989) 19'51
Isolde Siebert, Carmen Fuggis, Sopran
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Michael Gielen
CD 2: Klangkomposition
Soundscapes
Large parts of music history in the latter half of the twentieth-century fall under the heading of "timbre
as compositional material." Thanks to the broad range of new performance techniques, the integration of
noise, and novel sound-producing devices, a change of paradigm took place that called for a new
understanding of this music. Parameters such as pitch and duration that had imparted form to music in the
past now gave way to timbre, noise, and volume, thereby also conditioning a reassessment of earlier music.
Gyorgy LIGETI / Дьёрдь ЛИГЕТИ (1923-2006), Lontano fur gro?es Orchester 10:31
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Ernest Bour
Helmut LACHENMANN / Хельмут ЛАХЕНМАН (1935), Notturno (Musik fur Julia) fur kleines Orchester mit
Violoncello 19:04
Andreas Lindenbaum, Violoncello
KLANGFORUM WIEN / Hans Zender
Bernd Alois ZIMMERMANN / Бернд Алоиз ЦИММЕРМАН (1918-1970), Stille und Umkehr –Orchesterskizzen
8:02
PHILHARMONISCHES ORCHESTER NURNBERG / Hans Gierster
Friedrich SCHENKER / Фридрих ШЕНКЕР (1942), Landschaften fur gro?es Orchester
Landschaft I (Farben) 2:34
Landschaft II (Leise, bewegt) 2:02
Landschaft III 3:24
Landschaft IV (Wolken, aus einem Flugzeug gesehen) 3:21
RUNDFUNK-SINFONIEORCHESTER LEIPZIG / Herbert Kegel
Wolfgang RIHM / Вольфганг РИМ (1952), Depart fur gemischten Chor, Sprechchor und 22 Spieler 8:48
WIENER JEUNESSE-CHOR
WIENER PHILHARMONIKER / Claudio Abbado
Friedrich GOLDMANN / Фридрих ГОЛДМАН (1941), Klangszenen I fur Orchester (1990) 18:07
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Friedrich Goldmann
CD 3: Musik-Biennale Berlin: Urauffuhrungen 1969-1995
The Berlin Biennale - Premieres from 1969 to 1995
From 1967 until the demise of the East German state, twelve "International Festivals of Contemporary
Music" were mounted at two-year intervals in the eastern sector of Berlin. Founded only a few years after
the building of the Berlin Wall, the aim of the "Berlin Biennale" was to provide a forum for musicians from
East Germany and abroad who were seemingly in step with the official doctrines of "socialist realism."
But many young composers of the time increasingly refused to follow these obsolescent dogmas and sought
instead to produce recklessly personal idioms in sharp contrast with prevailing strictures. With the fall
of the Wall, the Biennale was subsumed into the Berlin Festival and successfully emerged as an international
forum for encounters with major new currents in composition.
Gunter KOCHAN / Гюнтер КОХАН (1930), Sinfonie Nr. 2 fur gro?es Orchester in einem Satz 16:26
BERLINER SINFONIE-ORCHESTER / Kurt Sanderling
Siegfried MATTHUS / Зигфрид МАТТУС (1934), Konzert fur Violine und Orchester
Manfred Scherzer, Violine
RUNDFUNK-SINFONIEORCHESTER BERLIN / Gert Bahner
Georg KATZER / Георг КАТЦЕР (1935), Streichermusik I fur 14 Solostreicher 3:41
KAMMERORCHESTER BERLIN / Max Pommer
Ruth ZECHLIN / Рут ЦЕХЛИН (1926), Situationen fur Orchester 11:33
ORCHESTER DER KOMISCHEN OPER BERLIN / Joachim Willert
Friedrich GOLDMANN / Фридрих ГОЛДМАН (1941), Sinfonie 3 fur Orchester II. Satz 11:29
RUNDFUNK-SINFONIEORCHESTER LEIPZIG / Friedrich Goldmann
Johannes KALITZKE / Йоханнес КАЛИТЦКЕ (1959), Die Ruckseite der Tage Vier Orchester-Stucke
mit Sopran und Tonband
IV. Im Zwielicht 6:47
SINFONIEORCHESTER DES NORDDEUTSCHEN RUNDFUNKS HAMBURG / Johannes Kalitzke
CD 4: Neue Weltmusik 79:54
New World Music
In the eighteenth and nineteenth centuries, non-western influences found expression in gorgeous, exotic-sounding
scores with superficial impressionistic swaths of local color. Beginning in the 1940s, however, the
structures and basic properties of non-western musical cultures were integrated more systematically and
formatively into western compositions.
Olivier MESSIAEN / Оливье МЕССИАН (1908-1992), Turangalila-Symphonie fur Klavier, Ondes Martenot
und Orchester
III Turangalila I 5:21
Ginette Martenot, Ondes Martenot
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Hans Rosbaud
Nicolaus A. HUBER / Николас ХУБЕР (1939), Morgenlied 17:35
SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKSBR / Patrick Thomas
Younghi PAGH-PAAN / Юнги ПАГ-ПАН (1945), Sori 17:13
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Sylvain Cambreling
Walter ZIMMERMANN / Вальтер ЦИММЕРМАН (1949), Landler-Topographie
Teil 3 8:06
Teil 4 3:09
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Cristobal Halffter
Peter Michael HAMEL / Петер Михаэль ХАМЕЛЬ (1947), Funf Konzerte fur Klavier und Orchester
Scherzo 5:17
RUNDFUNK-SINFONIEORCHESTER FRANKFURT / Dmitrij Kitajenko
Steffen SCHLEIERMACHER / Штефан ШЛЕЙЕРМАХЕР (1960), Stille und Klang 22:41
DEUTSCHES SYMPHONIE-ORCHESTER BERLIN / Friedrich Goldmann
CD 5: Ruckkehr aus dem Exil 73:42
Return from Exile
At the end of the Second World War, Germany's musical life was prostrate. Many musicians of the early
post-war years joined forces to build new institutions on democratic principles and to establish new
international contacts. An important role was played by composers who had been ostracized by Nazi cultural
policies. Some of those driven into exile for political, racial, or aesthetic reasons returned to the
eastern section of Germany and looked full of hope toward a future that seemed to them unthinkable without
a critical confrontation with the disasters of the past.
Arnold SCHONBERG / Арнольд ШЁНБЕРГ (1874-1951), A Survivor from Warsaw fur Sprecher, Mannerchor
und Orchester op. 46 9:12
Hans Olaf Heidemann, Sprecher
TEILNEHMER DES DARMSTADTER FERIENKURSES 1950
ORCHESTER DES LANDESTHEATERS DARMSTADT / Hermann Scherchen
Karl Amadeus HARTMANN / Карл Амадей ХАРТМАН (1905-1963), ADAGIO (Symphonie Nr. 2) 15:22
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Hans Rosbaud
Ernst Hermann MEYER / Эрнст Герман МАЙЕР (1905-1988), Symphonie fur Streicher
II. Assai vivace 3:41
RUNDFUNK-SINFONIEORCHESTER LEIPZIG / Herbert Kegel
Walter BRAUNFELS / Вальтер БРАУНФЕЛЬС (1882-1954), Sinfonia brevis op. 69
VI. Finale Moderato 6:46
PHILHARMONIA HUNGARICA / Werner Andreas Albert
Hanns EISLER / Ханс ЭЙСЛЕР (1898-1962), Deutsche Sinfonie fur Soli, Sprechstimmen, Chor und
Orchester op. 50
X. Allegro fur Orchester 9:51
RUNDFUNK-SINFONIEORCHESTER BERLIN / Max Pommer
Paul HINDEMITH / Пауль ХИНДЕМИТ (1895-1963), Symphonia serena
IV. Finale 9:22
DRESDNER PHILHARMONIE / Herbert Kegel
Max BUTTING / Макс БУТТИНГ (1888-1976), Sinfonie Nr. 7, op. 67
II. Allegro 12:23
RUNDFUNK-SINFONIEORCHESTER BERLIN / Rolf Kleinert
Paul DESSAU / Пауль ДЕССАУ (1894-1979), Deutsches Miserere - Oratorium
Teil II Die Kriegsfibel, Nr. 25 - Nr. 28 7:05
Hajo Muller, Bass
RUNDFUNK-CHOR LEIPZIG
RUNDFUNK-SINFONIEORCHESTER LEIPZIG / Herbert Kegel
CD 6: Rundfunk als Mazen 75'22
Radio Stations as Art Patrons
Without Germany's broadcasting systems, contemporary art music would never have evolved with the breadth
and variety we associate with it today. The most important promoter of contemporary music in post-war
Germany was radio, whether as a patron of the arts or as a sponsor of concerts and broadcasts. In the West,
broadcasting systems rigorously took up the cudgels for the avant-garde in all its many guises. East German
radio, despite party control, gave modern music many opportunities for limited public resonance. This
unique line of evolution is illustrated here by six premieres from East and West Germany.
Hans Werner HENZE / Ханс Вернер ХЕНЦЕ (1926), Concertino fur Klavier und Blasorchester mit
Schlagzeug (1947) 12'38
SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG / Francis Travis
Luigi NONO / Луиджи НОНО (1924-1990), Composizione II per orchestra (Diario polacco '58)
(1959) 12'29
RADIO-SINFONIE-ORCHESTER FRANKFURT / Bruno Maderna
Bernd Alois ZIMMERMANN / Бернд Алоиз ЦИММЕРМАН (1918-1970), Dialoge - Konzert fur zwei Klaviere
und gro?es Orchestere (Originalfassung von 1960) 16'51
Alfons und Aloys Kontarsky, Klavier
KOLNER RUNDFUNK-SINFONIE-ORCHESTER / Sixten Ehrling
Wolfgang RIHM / Вольфганг РИМ (1952), Magma (1973) 13'45
SWR RADIO-SINFONIEORCHESTER STUTTGART / Jacques Mercier
Friedrich SCHENKER / Фридрих ШЕНКЕР (1942), Fanal Spanien 1936 11'27
RUNDFUNK-SINFONIEORCHESTER LEIPZIG / Wolf-Dieter Hauschild
Helmut ZAPF / Хельмут ЦАПФ (1956), Concertino I fur Orchester (1986)
STAATSKAPELLE BERLIN / Herbert Kegel
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