Three keyfigures from ECM’s contemporary music roster – Heinz Holliger, Thomas Zehetmair, and Thomas Demenga – team up for an exceptional recording of three works by German post-war composer Bernd Alois Zimmermann. Zimmermann, almost half a generation older than the serialists such as Boulez and Stockhausen, integrated state-of-the-art compositional methods in his writing while constantly following his own independent, highly expressive musical language.
The decision as to where the borders of music lie can only be determined by the work of composers, who are always trying to make understandable that which is incomprehensible, to turn chaos into order, to encompass that which has no borders: an impulse of the human spirit since the beginning." (Bernd Alois Zimmermann, 1956) The present CD brings three pieces of occasional music (the miniature ballet "Un petit rien", the Music for a Puppet Theater, "Das Gelb und das Grün" [The Yellow and the Green], and the film music "Metamorphose" [Metamorphosis]) together with the composition which laid the groundwork for the "linguistic compositions" of Zimmermann's Late Period: the highly serialized cantata "Omnia tempus habent.
With the new WERGO production "Initiale – Lieder und frühe Kammermusik" (Initials – Songs and Early Chamber Music), the complete Lied compositions by Bernd Alois Zimmermann are now available as a recording for the first time. The eleven songs were all interpreted by the adorable singer Anna Prohaska. The up-and-coming 27-year-old star currently captivates the opera world with her light and lyric soprano voice. The CD title borrowed from the eponymous song "Initiale" is also programmatic for this recording because it contains not only Zimmermann's vocal works but also his early chamber music. Members of ……..
One of the most important German composers to emerge during the post-World War II era, Bernd Alois Zimmermann was born in the outskirts of Cologne in 1918. Zimmermann's music frequently borders on unplayability, and it is only through the exceptional gifts of a handful of players and conductors (including cellist Siegfried Palm and conductor Hans Rosbaud) that his powerful musical creations escaped oblivion.
The CD release of the “studio reihe neuer musik”-series starts with a CD with works by Bernd Alois Zimmermann. His complex “pluralistic” style fuses past, present and future into a musical unit of the highest order. The “Concerto pour violoncelle et orchestre en forme de ‘Pas de trios’” created in the late 1960s develops its binding power from a single musical nucleus; “Tratto II” and “Photoptosis” represent Zimmermann's compositional opening of time and space.
Hello buddies! Here you are a OOP cd with several concertos by the enigmatic german composer Bernd Alois Zimmermann by performers who met him in life like Gielen, who was as a great champion of his music. Enjoy!!
The name of Bernd Alois Zimmermann is probably not a very familiar one to the experimental classical music listener. As this top-notch disc shows, Zimmermann's music was (and still is) strikingly original. It begins with his Cello Concerto in the form of a pas de trois, from the mid 1960s, a five-movement work that exploits to the fullest the solo cello as well as the unusual accompanying orchestra, which includes alto saxophone, contrabass tuba, electric guitar, prepared piano, glass harp, and even cimbalom.
"…All three works are superbly played here by the brilliantly nimble Stefan Schilli, and Mariss Jansons and the Bavarian orchestra give him vivid support. I cannot think of a more enticing triptych of modern oboe concertos from any other source." ~Grammophone
One of the most important German composers to emerge during the post-World War II era, Bernd Alois Zimmermann was born in the outskirts of Cologne in 1918. Zimmermann's music frequently borders on unplayability, and it is only through the exceptional gifts of a handful of players and conductors that his powerful musical creations escaped oblivion. On these CD's his violin concerto is presented together with works by Pfitzner and Hartmann.
Bernd Alois Zimmermann's Concerto for violin and large orchestra (1950) is an established masterpiece by one of the most significant (but little known) postwar German composers. Hungarian Peter Eötvös has emerged as a strong and original voice of the late twentieth century, and his Cap-Ko (2005), a concerto for acoustic piano, keyboard, and orchestra, deserves a place beside Zimmermann's concerto. Czech composer Martin Smolka's Walden, the distiller of celestial dews (2000), for chorus and percussion may not prove to have the durability of the other pieces, but it exposes a creative imagination with the potential for more substantial work……..Stephen Eddins @ AllMusic.com