Leopold Railway Gun

George Enescus greatest sin was his ability to master many things and excel at all of them, whether as composer, violinist, pianist, conductor, teacher, or even organist and cellist! This ability coupled with his legendary musical memory were astonishing. His musical compositions, however, were overshadowed by his career as a virtuoso something he struggled with throughout his life. Rudolf Leopold and Raluca Stirbat present Enescus complete known works for cello and piano, which reflect the turbulent musical and general circumstances of the composers astonishing life and his time.

The 1970 film version of Richard Wagner’s opera Die Meistersinger von Nürnberg is based on a staging by the director Leopold Lindtberg, for which Herbert Kirchhoff designed the set and Rudolf Heinrich the costumes. Leopold Ludwig conducts the Chorus of the Hamburg State Opera and the Philharmonic Hamburg State Orchestra. A quick glance at the cast list of this film production of Die Meistersinger reveals the surprising fact that the vocal protagonists – all stars of international reputation – were almost all associated with the Hamburg State Opera ensemble. This production fascinates by its appealing classical staging, the brilliance of the whole cast and the great camera shots, which are only could be realised in a studio production like this and with the result, that the audience finds itself placed amidst the scene.

A new GENUIN album featuring the Leopold Mozart Quartet is dedicated to the string quartet works of composer Heinz Winbeck, who died in 2019. The Augsburg ensemble, made of four musicians who are active throughout Germany, is known for its high artistic quality, demanding programming, and enormous versatility. Winbeck's three string quartets were written in a period of only five years, between 1979 and 1984, and are the expression of a mature composer at the height of his powers. An unconditional will characterizes Winbeck's music to expressivity and is particularly evident in the interpretation by the Leopold Mozart Quartet: Expansive lines, the use of sparse material, and the search for extreme states – gripping, new chamber music!

In June and July 1967 the opera ensemble toured North America, with visits to the World Exposition in Montreal (Canada) and New York. In addition to six modern works (including Jenufa and Mathis der Maler) the programme also featured Der Freischütz, which according to Liebermann “was virtually unknown in the United States.” In order to avoid any “stylistic hiatus” with the modern operas, the company decided to perform a concert version of Weber’s work. The tour concept was an enormous success, with tickets being traded at black market prices. In August 1967 the company made the first of 13 recordings for television.

If not at the beginning of the opera, then surely with the well-known prisoner chorus “O welche Wonne!” everybody will recognise the outstanding quality of this Fidelio. Leonore’s “Töt erst sein Weib!”, sung by the soprano Anja Silja, is only one out of many deep emotional moments of this studio production of the Hamburg State Opera, recorded in 1968 under the artistic direction by Rolf Liebermann. This very natural set and unostentatious production goes without any wrong pathos and lives through its simple beauty, strong emotions and great musical moments. A reunion with great opera stars: Anja Silja as Leonore, Lucia Popp as Marzelline, Richard Cassilly as Florestan, Hans Sotin as Don Fernando und Theo Adam as Don Pizarro.

As a special, connecting and autobiographical element for this recording, the beautiful city of Salzburg is a legendary and inspiring place that is deeply influenced by music history and which everyone involved in the production - from the composer, the conductor, the soloist to the orchestra musicians and the orchestra attendant - became hometown for at least an important period of life; in the actual as well as in the artistic sense.

Like Sebastian Bach and François Couperin, Sylvius Leopold Weiss came from and continued a musical tradition. His father was Johann Jakob Weiss, his brother was Johann Sigismund Weiss, and his son was Johann Adolph Faustinius Weiss. Also, like Bach and Couperin, Sylvius Leopold was the most famous member of his musical clan, and during his long and distinguished career he taught a number of students who would become exceptional lutenists, Adam Falckenhagen and Johann Kropfgans among them. Following demands created by his exceptional reputation, Weiss traveled extensively before he settled at the court of Augustus the Strong in 1728; he remained there for the rest of his life. Weiss and Bach certainly met on more than one occasion as the latter visited his son Wilhelm Friedemann and also had an interest in music-making at the Saxon court. As a performer, Weiss was considered the finest of his time and many believed that his ability as a lutenist rivaled that of Bach as an organist and Scarlatti as a harpsichordist. His Berlin colleague, Ernst Gottlieb Baron, mentioned to a “Weissian Method,” probably a reference to his astounding and masterful technique, not to mention his style. Hundreds of Weiss’s works survive, chief among them six-movement sonatas or partitas that follow the accepted blueprint for the genre, i.e., Allemande, Courante, Bouree, Sarabande, Minuet, and Gigue.

As the notes to this welcome release make clear Stokowski had never conducted The Four Seasons before the Phase Four series of LPs of which this is so engaging an example. He, soloist Hugh Bean and the New Philharmonia went to the BBC’s Maida Vale studios and taped it for later broadcast (in the end it wasn’t until 1968 that it hit the airwaves), recording it the following day. The late Hugh Bean has recalled that it was in the can in one session – Stokowski remaining the professional to his batonless fingertips.

The recent Kozeluch revival, featuring recordings of his solo, chamber and orchestral music, has demonstrated his status as one of the most important figures in the whole of Viennese Classicism. This double album dedicated to Kozeluch’s works for fortepiano four-hands provides further confirmation of his compositional mastery, on a level bearing comparison with his contemporaries.