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16,95 €

Wolfgang Rihm; Ernst Toch
Conciertos para violonchelo y orquesta


REF.: NEOS 11038
EAN 13: 4260063110382
24 horas: Si realiza el pedido hoy, este producto estará listo para ser enviado el viernes 20/09/2019


FECHA DE PUBLICACIÓN
26/03/2012

INTÉRPRETES
Tanja Tetzlaff, violonchelo
Die Deutsche Kammerphilharmonie Bremen
Peter Ruzicka, director
Florian Donderer, director


CONTENIDO

Wolfgang Rihm (*1952):

[01] Konzert in einem Satz for violoncello and orchestra (2005/2006) 26:52

Tanja Tetzlaff, violoncello
Die Deutsche Kammerphilharmonie Bremen
Peter Ruzicka, conductor

Live Recording/World Premiere Recording

Ernst Toch (1887-1964):

Konzert für Violoncell und Kammerorchester (1925) 28:17

[02] I 10:38
[03] II 03:32
[04] III 09:39
[05] IV 04:26

Tanja Tetzlaff, violoncello
Die Deutsche Kammerphilharmonie Bremen
Florian Donderer, conductor

1 CD - DDD - 55'11''


RESEÑA (La Quinta de Mahler)

La violonchelista Tanja Tetzlaff se pregunta en las notas de este disco por los  posibles oyentes de esta música, sendos conciertos para violonchelo y orquesta de Wolfgang Rihm y Ernst Toch. A ellos envía Tetzlaff su agradecimiento, especialmente a quienes se tomen la molestia de escuchar varias veces estas dos piezas prácticamente desconocidas para familiarizarse con ellas, captar mejor sus matices y –quién sabe– tal vez cambiar su opinión tras una primera audición.

No es cuestión nimia la que plantea Tetzlaff.  ¿Qué perfil tipo reunirá el consumidor de una obra como el Konzert in einem Satz, de Wolfgang Rihm? Aquí ha de hacerse una advertencia: absténgase el conspicuo buscador de lenguajes experimentales y novedosos. En el vasto catálogo del compositor alemán, la pieza  se revela como una confirmación de su estilo más expresivo y romántico. Huye Rihm de efectos gratuitos en el violonchelo y se decanta por lograr coherencia en el discurso del instrumento, articulado en un legato continuo que explora de forma extremadamente virtuosística en su registro más agudo. Como contraste a la expansiva línea del solista, el conjunto está enfocado de forma camerística. El único movimiento de este Konzert in einem Satz sobrevuela por secciones de carácter diverso, en un ejercicio de abstracción de la estructura del concierto clásico.

Salvando la distancia de 80 años que los separa –la obra de Toch fue escrita en 1925– el Concierto para violonchelo del vienés guarda  similitudes con el de Rihm: el amplio vuelo expresivo otorgado al solista, la concepción camerística de la pieza, el virtuosismo salvaje por momentos y las secciones meditativas. La obra fue redactada en la década dorada del compositor en Europa, en los años previos a su emigración a EE. UU., donde hizo carrera escribiendo para películas de Hollywood. No es un concierto para el lucimiento del ego del solista, a pesar de lo arduo de su tarea, sino más bien para poner a prueba su capacidad para el trabajo en equipo. Ambas obras complacerán al amante de las rarezas exquisitas.

María Santacecilia

 

When I received the offer to give the first German performance of Wolfgang Rihm’s new Cello Concerto I was thrilled. What an honour to give a fresh work almost its very first hearing! What a challenge to learn the hugely difficult part! And how nice to do it with my beloved Deutsche Kammerphilharmonie Bremen, and with Peter Ruzicka, a conductor and marvellous composer constantly on the move in the world of contemporary music!

Being among the first to play an entirely new piece is always very exciting. First you read the score, trying to imagine the sounds and grasp the structure. Then the solo part rears its head: all those notes have to be learnt and internalised, notes without predecessors to copy or imitate! But then, after laborious excavation (like an archaeologist), how wonderful to suddenly discover the piece’s essence and to realise, at least by the time of the first orchestral rehearsal, what the piece is trying to describe and express.

In the case of Wolfgang Rihm’s Cello Concerto, the first thing that struck me was how hard it is to play – and how basically romantic it is, how idiomatic to the cello with its far-flung lines and wide-ranging expression. Rihm has the cellist play so often in the altissimo register (and it has to sound beautiful!) that everything seems overstated, at times almost hysterical.

There is also much that is conventional and ‘concerto-like’ about its form: wild cadenzas, a merry scherzo, a pensive slow section, a highly virtuosic conclusion with a truly beautiful and conciliatory ending. This is what moved me most in the first rehearsal; many other things I only discovered later! Playing those final bars is like saying farewell. It always seemed to me as if the entire overstated, exaggerated piece were, in retrospect, one final act of rebellion from the conventional solo concerto, which then sinks into oblivion.

The performance in Bremen’s ‘Glocke’ concert hall (in the presence of the composer, who also attended the final rehearsals, inspiring, stimulating and very friendly) was, of course, a thrilling experience. The house was packed, and everyone was tense with expectation, not knowing what the piece as a whole would feel like or what its impact would be. Luckily the people were enthralled by the music, and Rihm himself was so satisfied that he wanted the live recording released on CD. Needless to say, it’s wonderful when the many, many hours of work, the tension before and at the beginning of the concert, and the pleasure of having it ‘come off’ are followed by such a sense of success. Amazingly, the project proved feasible: everyone was in agreement, and a label was found. Then the question arose of what else to put on the CD. I began to ponder.

Several factors led me to the rather unknown and rarely played Cello Concerto by Ernst Toch. In the Rihm piece, I had already noticed how very important it was to have an orchestra with a flexible chamber-music mentality behind me. The many changes of tempo and mood, the demanding solo parts in the orchestra and a score that often has many things happening at once and must therefore be played lucidly: all this made The Deutsche Kammerphilharmonie Bremen an ideal partner.

The orchestra was no less preordained for the Toch Concerto, a chamber concerto with eleven orchestral instruments scored one to a part, all of them nimble and highly virtuosic. The musicians have to listen closely to each other and know exactly what the others are doing. At times, especially in the last movement, the solo cello is only one of many instruments on an equal footing. This is, I believe, one reason why so few cellists play the piece: you can’t simply take home all the laurels … The Toch Concerto is also similar in design, with four conventionally structured movements (though Rihm has the sections overlap to create a ‘Concerto in one Movement’). It, too, probes the limits of expression, especially in the exquisitely sad slow movement. The cello plays alone for long stretches at a time, as if lost. We immediately think of the age when it was written (1925), of the world wars, the demise of the belle époque, Toch’s later emigration.

With the Toch Concerto, too, it took me a while (especially in the outside movements) to realise what it’s emotionally about, to perceive its structure, to make the notes speak. Luckily, in violinist-conductor Florian Donderer I had someone at my side who worked constantly to bring the phrases to life, clearly and distinctly, to draw different colours from the orchestra – and finally to actively inspire the entire orchestra, over and over again. After all, this was not a live recording of a concert but a studio recording, where the greatest danger lies in losing the broad arch, the expression and savagery of the music because of the many rehearsals and interruptions. Wherever possible we tried to do complete takes, to conjure up the feeling of a live concert and to play with extreme intensity, particularly given that it would be combined with a live recording. Despite the long and exhausting sessions we still had lots of fun and satisfaction with the music.

Now the CD is ready to be sent on its way. Who will be interested in such an unknown repertoire? Who listens to classical music at all, much less music like this? Who won’t just listen to it in passing while washing up, driving the car or carrying on a conversation? Who will actually sit down with a glass of wine and eavesdrop, retracing the intentions of the composer and the emotions of the players? Who will listen to this CD a second or third time to become better acquainted with the pieces, to understand them better, perhaps to change their first impression? To those listeners I give a thousand thanks: they are the crowning touch on the pleasure I already felt in making this CD.

Tanja Tetzlaff
Translation: J. Bradford Robinson

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