German music

[Rainolf]

As promised:

Karl Höller

Concerto for Piano and Orchestra op. 63 "Bamberger" (1972)

http://www.mediafire.com/download/br8fa46ij3iga62

Pianist is Ludwig Hoffmann. I have no information about orchestra, conductor or movement titles.

[guest145]

Martin Turnovsky conducts the Bamberg Symphony Orchestra in this recording of Holler's Piano Concerto. Sorry, I don't have movement titles, though.

[Rainolf]

Here are the movement titles:

1. Allegro
2. Larghetto misterioso
3. Allegro molto

first performance: 27.06.1973, Bamberg

Thanks to PeterP, Latvian and gabriel for providing the information.

[britishcomposer]

Peter Ronnefeld (1935-65)

Sinfonie 52 (1952)

WDR Sinfonieorchester,
Othmar Maga, cond.

http://www.mediafire.com/?6hmygr06lp306ht

Broadcast by WDR 3 in 2005. Not commercially released as far as I know.

[Sicmu]

http://www.mediafire.com/download/dkkm5pcg1e5do79/Heiden_Orchestral_Works.rar

[britishcomposer]

Ilse Fromm-Michaels (1888-1986)

Symphony in C minor, Op. 19 (1938)

Nordwestdeutsche Philharmonie,
Jost Michaels, cond.

http://www.mediafire.com/?09qs5xx5v57usm1

Broadcast by former Radio Bremen in the 1990s.

Her Wikipedia entry:
http://en.wikipedia.org/wiki/Ilse_Fromm-Michaels

[jowcol]

Manfred Trojahn: Symphony No. 1



From the collection of Karl Miller

Symphony 1 "Macrame"(1973-4)
Berlin Radio Symphony/ Peter Ruzicka

http://www.mediafire.com/download/cvqtkc006l1beda/Trojahn.zip

Wiki Bio:

Manfred Trojahn
From Wikipedia, the free encyclopedia

Manfred Trojahn (born 22 October 1949) is a German composer, flutist, conductor and writer.

Manfred Trojahn was born in Cremlingen in Lower Saxony and began his musical studies in 1966 in orchestra music at the music school of the city of Braunschweig. After graduating in 1970 he concluded his studies as a flutist at the Hochschule für Musik und Theater Hamburg with Karlheinz Zöller. From 1971 he studied composition with Diether de la Motte. He also studied with György Ligeti, conducting with Albert Bittner. Since 1991 he is professor for composition at the Robert Schumann Hochschule in Düsseldorf. From 2004 until 2006 he was President of the Deutscher Komponistenverband (German Composers Association); since 2008 he is vice-director of the music section of the Academy of Fine Arts in Berlin.


From https://www.baerenreiter.com
Manfred Trojahn is married to the stage- and costume-designer Dietlind Konold. He lives in Düsseldorf and Paris.

“Manfred Trojahn, the author of a sizable body of large-scale orchestral works, chamber music, and especially vocal music for various forces and several full-length operas, occupies what is in many respects a unique position in the music history of recent decades. He has defined his aesthetic stance by distancing himself from the sort of narrow and increasingly sclerotic notion of the musical avant-garde that took hold in the post-war centers of contemporary music. In contrast, Trojahn's aesthetic and compositional technique hearkens back to the musical past and to several exemplary composers, whether the modernist music of the ‘fin de siècle’ or such figures as Benjamin Britten and Hans Werner Henze.

Besides these ties with the musical past, Trojahn's music is governed above all by his personal experience, and it is only natural that his specific thoughts on these experiences should be applied time and again in his works. Trojahn is a self-reflective, almost ‘serial’ composer who tends to produce groups of pieces tightly related in their structure and emotional content. All the same, his concern is to break through the hermeticism that has beset standard avant-garde fare. The main focus of his interests lies on the communicative potential of music that is contemporary in a strong sense of the term.”

[jowcol]

Dietr Acker: Symphony 1 "Lebenslaufe" (1977-8)

From the collection of Karl Miller

Symphony 1 "Lebenslaufe"
Bavarian Radio Symphony Orchestra/Dieter Cichiewicz
Radio Broadcast


http://www.mediafire.com/download/iix6pit2e0x6sab/acker.zip


From BachCantatas.Com
Born: November 3, 1940 - Sibiu, Romania
Died: May 27, 2006 - Munich, Germany

The German composer and pedagogue, Dieter Acker, was born in Sibiu, Romania of German parents. He studied piano, organ, and theory with Franz Xaver Dressler in Sibiu (1950-1958), then composition with Sigismund Todutza at the Cluj Conservatory (1959-1964),

After finishing his studiesm Dieter Acker taught theory and composition at the Cluj Conservatory (1964-1969). He then settled in West Germany and taught at the Robert Schumann Conservatory in Düsseldorf (1969-1972); he joined the faculty at the Munich Hochschule für Musik in 1972, where he was a professor of composition from 1976.

Machine Translation of Reviews of the First Symphony from the Acker Website at http://www.composeracker.de:



        
Symphony No. I ("Curriculum vitae", 1977 / 78)

THE WORLD
Sometimes it happens that behind the folds of the pretty stale "Musica - Viva - concerts" in Munich lost a friendly smile. Dieter Acker, the 39-year-old Harald Genzmer successor as Professor of composition at the Munich Academy of music, was responsible for this time. His Symphony No. I titled "Curriculum vitae" is expressive, Mahlerian dimensions be summoned. On different levels of instrumental romp a myriad of thoughts, making arable but easily done. The bushes always permeable.

The naive honesty of this musical resumes disarmed. (vb)



MÜNCHNER MERKUR
...ein highly expressive work...The three movements are a serious one: in the ductus in Sonic density, in the interpretation.

...Acker fondness for swirling sounds for the grotesque, deep bass, Glissandi and shrill trumpets, sound volume and Ambitus remain in the memory. (K.R.Brachtel)

 
SÜDDEUTSCHE ZEITUNG
It was looking forward to the premiere of the first Symphony by Dieter Acker. ...da step meaning pregnant huge brass choirs, because conversations between the soloists of the Orchestra spin, so to speak on SideShow, chatter loudly woodwind and sighing heavily the strings. Is the climax of the first movement a kind of "Breakthrough" - to new horizons? Fine Zieseliertes characterizes the second sentence ("delicate and transparent")..., the third then brings the final on Gipfelung in the symphonic drama.

Field can bypass audible with the Orchestra, he has a keen sense for effective sound layers, also for "grateful" orchestral parts. (W.Schreiber)



TZ - MUNICH
...His Opus stands out strikingly from the cosmopolitan egalitarianism of much of modernist productions...


HANNOVERSCHE ALLGEMEINE ZEITUNG (03.02.1982)
"The days of new music in Hanover final concert"

...The Symphony works with all "materials" of the huge modern Symphony Orchestra. No doubt, field has an accurate knowledge of orchestral instruments and know how they as can be used effectively.

The Symphony has failed, is serious, powerful, and testifies to honest craftsmanship. (E. Limmert)



HAMBURGER ABENDBLATT (03.02.1982)
The Munich-based composer Dieter Acker has a heart for the listener.

He understands the Orchestra - all over the world as in groups and parts - so to deal with it,

Repertoire - that the factory might have prospects.



HANNOVERSCHE NEUE PRESSE (03.02.1982)
...Are here (Henze) the instrumental skills of each individual required down to the last, so this also applies to Dieter Acker Symphony recorded with great audience approval. (R.Hollmann)



THE WORLD (04.02.1982)
...Arable composed, rather than against the Orchestra. He shares the nerve for the "language" of instruments and the compatibility or incompatibility of their characters with Berlioz and Strauss, without however in the programmatic or illustrative. But he has the audience in mind: this may is lucky, not only to read musical progressions and developments, but also listening to play with. (Lesle)



STUTTGARTER ZEITUNG (17.02.1982)
The world, the he (Acker) builds by symphonic means is not a degradation product (Kirchner / Symphony), but original. Acker's three-movement Symphony works with shapes, figures and gestures, which are observable birth and growth: triumph of the goethean development idea, which for decades was faded in the rigging of serial predisposition, specific solidification or full-field condition descriptions. The records a story ever own by Red threads and no longer impose the listeners as he can retain and recognize. (Lutz.L)



WUPPERTAL NEWSPAPER (08.10.1979)
First Symphony by Dieter Acker ...die was heard in an impressive interpretation: she a Mahlerian intensity music demonstrated... a work with the field has reached a stage of unzweifel-cash Cup.

[jowcol]

Music of Johann Cilensek


From the collection of Karl Miller

Concert Piece for Flute and Orchestra
Richard Varga, flute
Berlin Symphony Orchestra/Gunther Herbig

Radio broadcast, date unknown

http://www.mediafire.com/download/kk5e3488sn0kx1e/Cilensek.zip

Bio from Qwika.com-- machine translation
 Johann Cilenšek (* 4. December 1913 in Grossdubrau; † 14. December 1998) was a German composer and university teacher as well as a vice-president of the academy of the arts of the GDR.

Johann Cilenšek was born 1913 as a son of a porcelain turner in the Saxonian Grossdubrau ( close Bautzen) and visited from 1924 to 1933 the high school in Bautzen. 1933 it was committed to 1934 in the porcelain factory Hermsdorf to the realm work service and worked. it studied 1935 to 1939 at church-musical Institut in Leipzig with Johann Nepomuk David (composition) and Friedrich Högner (organ). it joined 1937 the NSDAP . From beginning of war 1939 to end of war 1945 it was conscripted as Schleifer and turners.

1945 joined Cilenšek of the KPD and 1946 the SED . He became a teacher and 1947 professor for clay/tone set and composition at the Thuringian national conservatoire. It was 1951 to 1956 and 1964 to 1966 of chairmen of the regional organization Thuringia of the federation of German composers, in addition since 1961 member of the academy of the arts. Starting from 1966 it was as successors of Werner Felix Rektor of the university for music Franz Liszt Weimar until 1972. 1978 he became vice-president of the academy of the arts. Cilenšek emeritierte 1980.

It received the national price and 1983 the patriotic earnings/service medal to 1970.

Cilenšek composed five symphonies, piano concerts, a concert for organ and caper orchestra, concerts for solo instruments and orchestra, silhouettes for 15 solo strike ago, a mosaic for large caper orchestra, Sonaten, choir works and songs.

[jowcol]

Eduard Erdmann: Rhapsody and Rondo(1946)


From the collection of Karl Miller

http://www.mediafire.com/download/e8nkues11vl9e3t/Erdmann.zip

Rhapsody and Rondo (Concertino) for Piano and Orchestra, Op. 18
Paul Baumgartner, piano
Hannover Radio Symphony Orchestra/Willy Steiner
This work was dedicated to Paul Baumgartner, who also played in the work's premiere in 1948.


Wikipedia Bio:

Eduard Erdmann (5 March 1896 – 21 June 1958) was a Baltic German pianist and composer.

Erdmann was born in Wenden (Cēsis) in the Governorate of Livonia. He was the great-nephew of the philosopher Johann Eduard Erdmann. His first musical studies were in Riga, where his teachers were Bror Möllersten and Jean du Chastain (piano) and Harald Creutzburg (harmony and counterpoint). From 1914 he studied piano in Berlin with Conrad Ansorge and composition with Heinz Tiessen. In the 1920s and early 1930s his name was frequently cited among Germany's leading composers. Moreover, Erdmann had an international reputation as an outstanding concert pianist whose repertoire encompassed Beethoven and the advocacy of contemporary music. In 1925, he gave the premiere of Artur Schnabel's Piano Sonata, at the Venice ISCM Festival.[1]

From 1925 he was professor of piano at the Cologne Academy of Music but was forced to resign from his post by the Nazis in 1935 and became an 'inner exile', composing almost nothing until after the end of World War II. He joined the Nazi Party in 1937; while not in sympathy with National Socialism, his decision was to avoid government harassment so that he could continue to work, like several other German musicians at the time. This action ruined his post-war reputation, and it did not recover in his lifetime.[2] He resumed teaching as Professor of Piano at the Hochschule für Musik in Hamburg in 1950, but died of a heart-attack in 1958. His students at Hamburg included Aloys and Alfons Kontarsky. There has been little revival of interest in his own music and all his post-World War II works remain in manuscript; considering his inter-war eminence, he has received remarkably little attention up to the present day, but in 2006 the cpo label began issuing a series of CDs of his orchestral works.

Erdmann came to critical notice as a composer with the sensational success of his First Symphony (dedicated to Alban Berg) in 1919. He was also close friends with Ferruccio Busoni's pupil Philipp Jarnach, as well as Ernst Krenek, Artur Schnabel and Emil Nolde. Like Tiessen and Schnabel, he was deeply impressed by Schoenbergian and Bergian Expressionism but did not adopt the twelve-note method, preferring a freely and often totally chromatic vocabulary with little or no sense of key. His total output is quite small, and surprisingly contains very little piano music: but it came to include four symphonies, Nos. 3 and 4 dating from after World War II and thus still unpublished (although the Third Symphony was recorded and released on the CPO label with the Capricci opus 21).[3] As early as 1920 Erdmann issued a credo in which he declared himself opposed to the extreme individualism in music from Ludwig van Beethoven to Arnold Schoenberg, and dedicated instead to the creation of a more objective music characterized by what he called the 'third-person forms' created by composers from Heinrich Schütz to Anton Bruckner.

Between 1921 and 1943, Erdmann often appeared with the Australian violinist Alma Moodie, who lived in Germany.[4] Erdmann dedicated his Sonata for Solo Violin, Op. 12 (1921) to her, and she premiered it in Berlin in October 1921.[5] The Australian-English critic Walter J. Turner wrote of a recital he heard them play in London in April 1934, ‘it was the best violin piano duo that I have ever heard’. Their last concert together was given on 4 March 1943, three days before Alma Moodie's death, when they were in the middle of the cycle of Beethoven sonatas.

[Rainolf]

Fidelio Friedrich Finke (1891-1968)

Suite for Orchestra No. 3 (1943-1949)

I. Ostinato: Fließend
II. Scherzo: Sehr lebhaft
III. Nachtstück: Sehr langsam
IV. Fugato und Fanfare: Breit - Bewegt

Dresdner Philharmonie
Heinz Bongarz, conductor

http://www.mediafire.com/listen/4uxlxnqm1scbdyl/Finke_Orchestersuite_Nr._3.MP3

Taken from East German LP Eterna 820487 ("Unsere Neue Musik" Vol. 3)

[Rainolf]

Ernst Hermann Meyer (1905-1988)

Sinfonia Concertante for Piano and Orchestra W 341 (1961)

I. Andante larghetto - Animando - Molto moderato - Allegro non troppo - Allegro furioso e feroce - Andante sostenuto - Tranquillo ma appassionato
II. Allegro moderato - Allegro energico
III. Adagio maestoso - Andante tranquillo

Dieter Zechlin, Piano
Rundfunk-Sinfonie-Orchester Leipzig
Herbert Kegel, conductor

https://www.mediafire.com/folder/v9meb2h8il2ui/Ernst_Hermann_Meyer_Konzertante_Symphonie

Taken from East German LP Eterna 825 888

[Rainolf]

Leo Spies (1899-1965)

Funeral Music for orchestra (1951)

Rundfunk-Sinfonie-Orchester Leipzig
Gerhard Pflüger, conductor

http://www.mediafire.com/listen/ack55vl4enx6ujp/Spies_Trauermusik.MP3

Taken from LP Eterna 8 20 548 (Unsere Neue Musik vol. 10)

[Rainolf]

Hans-Georg Görner (1908-1984)

Die Fromme Helene (Helen, Who Couldn't Help It), Symphonic Burlesque op. 19

http://www.mediafire.com/listen/yds9l984ck16hd1/Görner_Die_fromme_Helene.MP3

Ei, Du feiner Reiter, Variations on a Soldier's Song by Samuel Scheidt op. 25

http://www.mediafire.com/listen/ewf6on8qpgi87ni/Görner_Ei_Du_feiner_Reiter.MP3

Peter Schlemihl, Ballet Suite op. 28

http://www.mediafire.com/listen/5dx2qji0cikb31a/Görner_Ballett-Suite_Peter_Schlemihl.MP3

(I. Prelude, II. In Mr. John's Garden, III. Mina's Wedding Dance IV. Dance of the Wedding Guests, V. The Seven-League Boots, VI. Epilogue)

Radio-Sinfonieorchester Berlin
Adolf Fritz Guhl, conductor

Taken from East German LP, Nova 880203

[guest224]

Mendelssohn, Felix (1809-1847), arranged Igor Oistrakh

Concerto for Violin, Piano and Orchestra in D minor

I. Allegro moderato
II. Adagio
III. Allegro molto

Igor Oistrakh (violin), Natalia Zertsalova (piano), Soloist Ensemble of the Moscow Philharmonic Symphony Orchestra, Valentin Zhuk

https://musicforeveryone.createaforum.com/downloads/franz-joseph-haydn-(1732-1809)-concerto-for-violin-piano-and-orchestra-in-f/

from MELODIYA LP A10-001-73-004