Müller-Zürich - Pfister - Schaeuble

Müller-Zürich - Pfister - Schaeuble

Konzertante Werke

The 1998-9 concert season of the Camerata Zürich, one of Switzerland's main chamber orchestras, was entitled 'Treasures from the Zentralbibliothek Zürich'. In every concert, a work from the library's collection was performed. Three of these can be heard here: the double concerti by Hans Schaeuble and Paul Müller-Zürich, and the Aegean Diary by Hugo Pfister. This CD is the result of a close coop...

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Musica Veglia in Engiadina

Musica Veglia in Engiadina

Alte Musik im Engadin

The library of the Planta Foundation in the alpine village of Samedan contains numerous interesting musical manuscripts dating from the 16th to the 19th century. These manuscripts are evidence of the interest of influential Engadine families for the secular instrumental music of their time. These manuscripts are the earliest source of instrumental music in the Engadine and show an orientation t...

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Musicalische Artztney

Musicalische Artztney

Hausmusik im humanistischen Basel

The Basel Doctor Felix Platter (1534-1614) was a passionate lute player and considered music as having healing properties. He did translations and wrote paraphrases and new texts for compositions widespread in Europe at the time. He collected these texts in a volume of poetry titled Collection of all kinds of funny (i.e. happy) poems, now in the University Library of Basle. The musicians of thi...

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Musik aus Schweizer Klöstern mit Tromba Marina

Musik aus Schweizer Klöstern mit Tromba Marina

Kompositonen von Frank Niklaus Jakob, Wolfgang Iten, Anonym, Michael Bürgin, Marianus Königsperger, Johann Friedrich Korb und Nescio

Tromba marina - Even more than its appearance, it is the instrument's sound that makes it so peculiar. Although it is a string instrument, it sounds like a trumpet. The reason for this is its asymmetrical, shoe-shaped bridge. The tromba marina was in use from the first half of the 17th century until into the 19th. In central Europe, it was widely used and not at all as rare as we assume today. ...

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Norbert Moret

Norbert Moret

Triptyque - Gastlosen - Mendiant du Ciel bleu

Deeply inspired while in Vienna as a student of the conductor Wilhelm Furtwängler and in Paris with the composers Arthur Honegger, René Leibowitz and Olivier Messiaen, Norbert Moret has authored one of the most accomplished musical oeuvres of our time - explosive, visionary, dreamy, even silent music. Norbert Moret, a Romantic? Certainly, in the sense that he is engaged completely with all his ...

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Orgelkonzerte

Orgelkonzerte

aus der Kathedrale St. Gallen

The three organs in St. Gallen Cathedral are true masterpieces. Taking account of this exceptional situation the Collegium Musicum St. Gallen interpret three works of J.S. Bach, Händel and Haydn. In addition, they commissioned the Swiss composers Gion Antoni Derungs and Paul Huber to compose two organ concertos. Whereas Derungs' "Concerto da chiesa" is based on the dialogue between th...

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Othmar Schoeck

Othmar Schoeck

Penthesilea

In early 1924, Schoeck decided to set Kleist's original text to music. The whole exposition must be cut away, said Schoeck, and the opera must "rush past like a tempest". As for the music, he said in spring 1924 that "the harmonies will be extremely harsh, and there'll be little to hear of traditional tonality". Schoeck finished the score of "Penthesilea" in Decemb...

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Othmar Schoeck

Othmar Schoeck

Sommernacht - Sonate für Bassklarinette und Orchester - Penthesilea-Suite - Besuch in Urach

Schoeck was brilliant at first drafts. His operas Venus and Schloss Dürande were finished at a feverish tempo, essentially before the libretti were completed. Such a phenomenal process of sound-sculpting aims to go directly to the very core of the matter, to the essentials. The process of fine tuning – making sure that everything sits properly – was of secondary importance to him. That’s why m...

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Othmar Schoeck

Othmar Schoeck

Venus

"The music is nostalgic and consuming, an homage to all that is beautiful, I am beside myself when I hear it" wrote Othmar Schoeck to his librettist Armin Rüeger. The passion and expressive immediacy of Venus stands on the divide between two creative phases and combines the best of both: the spontaneity of melodic invention which is typical of Schoeck's youthful lyricis...

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Othmar Schoeck

Othmar Schoeck

KONZERT FÜR VIOLINE UND ORCHESTER, OP. 21

There are very few instrumental pieces in the whole of Othmar Schoeck's creative output. Right from the beginning of his musical life, the Swiss composer displayed a particular interest in music that was linked to the written word. While still a student he composed many lieders and operas. The instrumental pieces - by no means of lesser artistic merit - were composed largely at the end of his s...

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Othmar Schoeck

Othmar Schoeck

Sämtliche Klavierwerke

Schoeck is primarily known as a composer in the German Lied tradition. More than three hundred Lieder for voice and piano, composed over a period of almost sixty years, form the backbone of his output. When one considers the fact that Schoeck earned his living not merely as a conductor, but also as a pianist, it might seem surprising that he has left us but a small number of works for his instr...

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Othmar Schoeck

Othmar Schoeck

Sonaten für Violine und Klavier

Schoeck is primarily known as a composer in the German lied tradition. When one considers that Schoeck made his living primarily as a conductor and piano accompanist, it may seem surprising that he composed relatively little instrumental music. There are few works for solo piano that date from the beginning and the end of his composing career respectively (MGB CD 6146); otherwise, his instrumen...

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Passacaglia über Bachs Passacaglia

Passacaglia über Bachs Passacaglia

Various composers

There are today many different "right" ways of registrating the Passacaglia. We can differentiate between three main tendancies: the romantic-symphonic, rich in nuance (e.g. going from a whispering, soft beginning to the impressive and powerful climax), the highly complex, developped from analysis (e.g. with serial techniques) and the quite homogenous registered Organo pleno thro...

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Paul Juon

Paul Juon

ARABESKEN OP. 73

Paul Juon was born on 8 March 1872 in Moscow, though as a Swiss national. He studied first as a violinist, then later took composition lessons from Sergei Taneyev and Anton Arensky in Moscow, and from Woldemar Bargiel in Berlin. He spent the greater part of his life in the latter city, where he was also active as a teacher of composition. After his retirement in 1934, he moved to Vevey on Lake ...

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Paul Juon

Paul Juon

Sämtliche Streichquartette

For his first essay in the quartet genre Paul Juon had a bright idea with regard to its formal layout. He overcame the traditional four-movement plan by inserting an Intermezzo between the Scherzo and the Finale. His First String Quartet in D Major op. 5, composed in Baku in 1896, is marked by further special characteristics. With its considerable opulence in sound and its expansion in length (...

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Paul Juon

Paul Juon

Klavierquartette

The first movement of op. 37, with its bold, recitative-like cello theme, could on its own deserve to bear the title 'Rhapsody'. The final movement, which is in many sections and is in formal terms highly complex, once more passes by all the landscapes touched upon by the previous movements. It is a prime example of how Juon understands how to unify heterogeneous elements into a conclusive, ori...

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Paul Juon

Paul Juon

Silhouettes op. 9 und op. 43 - Sieben kleine Tondichtungen op. 81

Paul Juon is in many senses a man who “crossed boundaries”. It’s obviously true in a geographical sense, and in that he lived in a world of radical political change. But it’s also true in musical terms. He lived and worked in both Romanticism and Modernism, East and West. His successful endeavours to achieve a musical language of his own can be heard in his music, and is another reason for the ...

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Paul Juon

Paul Juon

Klavierwerke

Paul Juon was born in Moscow, as Pawel Fedorovitch Juon, on 8 March 1872. His roots went deep into the Russian music that surrounded him in his childhood years. With the development of metrical rows in 1904 in his Dance Rhythms op. 24 for piano duet, he prepared the way for the 'variable metres' of Boris Blacher (1903-1974), developed half a century later. With this, and with his efforts to ach...

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Paul Juon

Paul Juon

Quintett op. 33 - Kammersinfonie op. 27

With his Chamber Symphony op. 27, published in 1905, Paul Juon ventured a considerable step forwards. At least for the moment, he left behind him the opulent sonorities of the Late Romantics and their tendencies to hypertrophy, and entered new territory in exemplary manner with a reduction in his palette of sound that was well-nigh radical in scope. The First Piano Quintet op. 33 was published ...

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Paul Juon

Paul Juon

Tripelkonzert "Episodes concertants" - Cellokonzert "Mysterien"

In the course of four decades he has gone from being a composer whose music was often performed and appreciated in Germany, to become a virtually forgotten musician, remembered primarily because his name appears with a list of a few of his works in reference books. And yet the Symphony in A-major op. 23 by Juon, whose forefathers came from the Grisons, received successful performances between 1...

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