Hartmann Violn

Karl Amadeus Hartmann - Sinfonien - Gesangszene
(Symphonieorchester des Bayerischen Rundfunks - Rieger - Leitner - Kubelik - Macal)
EAC 099pb4 Rip | FLAC+CUE, LOGs | 4 CD | 224:50 min
973 MB | 300 dpi PDF Complete Scans
Genre: 20th Century - Contemporary | Label: Wergo

Hello buddies! I know many of you know about this set and how the modern recording by Metzmacher is maybe, more interesting than this one, but it contains some historical recordings by conductors who knew and met Hartmann and worked close to him, such as Rafael Kubelik, a great champion of his symphonies and stage music. Enjoy!

Cellist Matt Haimovitz, the MDR Leipzig Radio Symphony Orchestra and its chief conductor Dennis Russell Davies present the first commercial recording of Ukrainian unsung composer Thomas de Hartmann’s cello concerto. De Hartmann was an important compositional voice in his own time, connected to the greatest musicians and artists of his era, but has sunk into oblivion after his death in 1956.

Oliver Hartmann is a German metal vocalist, guitarist, songwriter, and producer who performed in various acts, either as guitarist, solo or choir singer. He is best known for his role as vocalist and one of the founders of the band At Vance, his own band Hartmann and his guest appearances on albums of several prominent metal bands, including Freedom Call, Edguy, Rhapsody, Genius rock opera, Iron Mask, Aina's metal opera Days of Rising Doom and the metal opera Avantasia where he participated as a vocalist in 4 albums and also as a guitarist of the live and studio line up. He is also guitarist and vocalist with the Pink-Floyd tribute band Echoes.

Funèbre stands out in the New Series both for its due attention to German composer Karl Amadeus Hartmann (1905-1963) and for welcoming conductor Christoph Poppen and the Munich Chamber Orchestra into the ECM fold. The latter have since gone on to record a number of pivotal records for the label, including the all-Scelsi program Natura Renovatur and the Bach/Webern crossover project Ricercar. Here they are joined by violinist Isabelle Faust, the Petersen String Quartet, and clarinetist Paul Meyer for a shuffling of dark, darker, and darkest.

Violinist and director Johann Ernst Hartmann is mainly known to posterity for his Danish Singspiel though he actually wrote far more instrumental music than songs. A disastrous fire in the Christianborg Palace in 1794 destroyed a large number of his manuscripts so it’s uncertain quite how many symphonies and other concerted music he did write – only one Symphony ever made it to publication, the First, which was published by Hummel in Amsterdam in 1770.

One of the most important German composers to emerge during the post-World War II era, Bernd Alois Zimmermann was born in the outskirts of Cologne in 1918. Zimmermann's music frequently borders on unplayability, and it is only through the exceptional gifts of a handful of players and conductors that his powerful musical creations escaped oblivion. On these CD's his violin concerto is presented together with works by Pfitzner and Hartmann.

Over a decade before Richard Wagner's Valkyries took their celebrated ride, August Bournonville and Johann Peter Emilius Hartmanns Valkyrie danced on the Danish stage. Born in Copenhagen, son of French dancers, Bournonville founded the national Danish ballet with a series of ballets drawing its themes from Nordic mythology and early Danish history. For his first such project, Bournonville turned to his childhood friend Hartmann, who already had established himself as a composer of music on national themes.

The music of the Ukrainian-born Thomas de Hartmann (1884–1956) is only now beginning to be rediscovered, almost seven decades after his death. The two works receiving their first recordings here reveal a major late-Romantic voice, downstream from Tchaikovsky, a student of Arensky and Taneyev, contemporary of Rachmaninov, and alert to the discoveries of Stravinsky and Prokofiev. The Symphonie-Poème No. 1 – a musical cousin of Rachmaninov’s Second Symphony – occupies a vast canvas and requires a correspondingly huge orchestra, generating a monumental sense of scale from essentially balletic material. The lighter Fantaisie-Concerto for double bass and orchestra moves from tangy dissonance via a tuneful slow movement to a perky, folk-inspired finale.