The Magic Christian

Christian Thielemann writes: I see Die Meistersinger as the pivot and central point of Wagners entire oeuvre. On the one hand it is a reaction to Tristan; on the other, he had found himself in a blind alley with Siegfried, and together those two works showed him the way out of it. The fascinating thing about Die Meistersinger is that you can find everything in it. Hero and anti-hero, comedy and tragedy, upperclass and lower-class lovers, burlesque and reflection, the old and the new, in short a whole world. The magic words summing it up for me are atmosphere and poetry. How can I, as a conductor, make the music glitter in its exaggerations and parodies, and at the same time lend it authority? Conversely, how can I make its emotionalism sound not false but genuine, emphasizing the deeply felt popular note in the music? Wagner is fundamentally asking his interpreters to square the circle, which is what makes Die Meistersinger such a difficult work to perform. Perhaps it can succeed only by osmosis, if we open ourselves up entirely to all its moods, colours and aromas, inhaling them so deeply that they naturally emerge from us again at the right moment.

“Wartburg” fizzes and shimmers with all the acuity of Michael Wollny's senses and his protean capacity to be alive to the possibilities and the magic of the moment. This is improvising at the limit, life seen through a dream. The album also documents a first-ever encounter of his trio with Emile Parisien, arguably the most influential and original voice on soprano sax today. A unique moment in contemporary jazz.

The evil Ravenna finds that her sister Freya is pregnant and in love with a noble. Freya gives birth to a baby girl but her beloved lover murders the baby and her rage unleashes ice powers and she kills him. Freya heads to North and builds a palace and an army that captures children from the villages to be raised as soldiers without love. Years later, their children Eric and Sara are grown-up and in love with each other.

Selected by ECHO (the European Concert Hall Organisation) as one of its ‘Rising Stars’ of the 2009/10 season, the Swedish clarinettist Emil Jonason has become increasingly visible on the international music scene. For his first disc on the BIS label he has chosen to record a concerto written for him by his compatriot Christian Lindberg, composer, conductor and legendary trombonist. As Lindberg remarks in his own note on the work, the soloist was involved at all stages of the compositional process. But the Erratic Dreams are the composer’s own – as is the figure of Mr Grönstedt, the main character of those dreams, and of the six movements that make up the colourful score.