Traurigkeit

Herbert von Karajan was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 34 years. During the Nazi era, he debuted at the Salzburg Festival, with the Vienna Philharmonic, the Berlin Philharmonic, and during World War II he conducted at the Berlin State Opera. Generally regarded as one of the greatest conductors of the 20th century, he was a controversial but dominant figure in European classical music from the mid-1950s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate, he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.

In contrast to the grand scale and public profile of his orchestral and choral works, Johannes Brahms saw the organ as an instrument ‘for home use’, and one in which he confided his most intimate feelings. The earlier pieces were exercises in counterpoint inspired by Brahms’ friendship with Clara Schumann and, despite their academic titles, they are infused with distinctive musical ideas and lyrical expressiveness. The later Chorale Preludes with their themes of suffering and death can be seen as autobiographical, the elder Brahms seeking spiritual strength in the ‘pure style’ of the Protestant tradition.

Herbert von Karajan was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 34 years. During the Nazi era, he debuted at the Salzburg Festival, with the Vienna Philharmonic, the Berlin Philharmonic, and during World War II he conducted at the Berlin State Opera. Generally regarded as one of the greatest conductors of the 20th century, he was a controversial but dominant figure in European classical music from the mid-1950s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate, he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.

Valentin Silvestrov - Hieroglyphen der Nacht (2017) {ECM New Series 2389}
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© 2017 ECM Records | ECM New Series 2389 / 481 5692
Classical / Chamber Music / Contemporary Classical / Violoncello

Released in time for the great Ukrainian composer’s 80th birthday on September 30, Hieroglyphen der Nacht features Valentin Silvestrov’s music for solo violoncello and for two cellos. German cellist Anja Lechner has had a long association with Silvestrov, first documented on the Grammy-nominated leggiero, pesante in 2001. Here she plays, alone, Augenblicke der Stille und Traurigkeit (of which she is the dedicatee), Lacrimosa, Walzer der Alpengöckchen, and Elegie (which calls for her to play both cello and tamtams). Lechner is joined by French cellist Agnès Vestermann, a frequent duo partner, to play Drei Stücke (dedicated to both musicians), 8.VI. 1810…zum Geburtstag R.A. Schumann, Zwei Serenaden, and 25.X.1893…zum Andenken an P.I. Tschaikowskij.