Pina Napolitano - Kammerkonzert: Music of Arnold Schoenberg - Teaser

Описание: Pina Napolitano, piano
Ida Aldrian, mezzo soprano
Christoph, Filler baritone
Wiener Concert-Verein
Michael Zlabinger, conductor

ARNOLD SCHOENBERG
1-4. Piano Concerto, Op. 42
Arr. for 15 solo instruments by H. Collins Rice
5-8. Four Orchestral Songs, Op. 22
Arr. for voice and piano quintet by F. Griessle
9. Song of the Wood Dove, from Gurrelieder, Op. 57a
Arr. for 15 instruments, harmonium and piano by A. Schoenberg
10. Chamber Symphony No. 1, Op. 9

www.pina.com
www.idaaldrian.at
www.christophfiller.at
www.michael-zlabinger.com
www.wienerconcertverein.at

With Michael Zlabinger conducting the musicians of the Wiener Concert-Verein, this release features Schoenberg’s Piano Concerto, Op. 42 in a new arrangement for 15 solo instruments by Hugh Collins Rice; the same forces used in Schoenberg’s Chamber Symphony No. 1, and similar to those of his ‘Song of the Wood Dove’ from Gurrelieder, performed here by mezzo-soprano Ida Aldrian. Baritone Christoph Filler sings Schoenberg’s Four Orchestral Songs, Op. 22 in an arrangement for voice and piano quintet by Schoenberg’s son-in-law, Felix Greissle.

The four works on this disc are fine examples from each of Schoenberg’s main creative periods – tonal, atonal, serial. They also represent the principal genres of Germanic 19th-century music – Lied, concerto, music drama and symphony. But most of all, they are a wonderful illustration, and distillation, of Schoenberg’s ideas about the unique character and values of chamber music.

These smaller-scale scores are in the tradition of Schoenberg’s own arrangements for chamber forces, made for his intimate and restrained society concerts in Vienna. The Wiener Concert-Verein is a chamber ensemble that began its life as the orchestra later to become the Vienna Symphony, members of which premiered Schoenberg’s Kammersymphonie Op. 9 and participated in the notorious Skandalkonzert of 1913.

Pina Napolitano began studying Schoenberg’s Concerto, his most extensive work for the piano, some years ago, after recording his solo works for Odradek. She was attracted by its sheer beauty – its narrative immediacy, richness and variety of contrasting colours – as well as its dense texture in which the piano is soloist, but the other instruments are no less important. Bachian texture, late-Romantic spirit; classical in form but dodecaphonic in language. Waltzing gestures take us back to Vienna but the original orchestration was more suggestive of Schoenberg’s move to Hollywood. In order to strive for a more polyphonic and rhythmically subtle performance, Napolitano suggested that composer and Schoenberg expert Hugh Collins Rice make a reduction, and he accepted: the result takes Schoenberg out of Hollywood and puts him back in Vienna.

Photos: Tommaso Tuzj, vist.co
Recorded in Wiener Konzerthaus
September 24-27, 2021: Concerto, Kammersymphonie, Waldtaube
June 16-17, 2022: Four Orchestral Songs
Piano: Steinway D
Piano technician: Gerhard Feldmann
Harmonium: from Wiener Staatsoper, dating from the premiere of Strauss’ Ariadne auf Naxos
Engineer: Kristaps Austers, Tonzauber
Producer & Editing: John Clement Anderson
Mixing and Mastering: Thomas Vingtrinier
Translation: Antonio Gómez Schneekloth(German)