This disc, well recorded in 1979, contains the 3 Romances written for the oboe and piano plus other titles, all of which can be found in other instrumentations. The playing of all of these works, all of which are gentle in concept, is sublime and well suited to Holliger's smooth style of oboe playing. The Evening Song is a gentle piece transcribed for oboe and piano by Joachim. The Adagio and Allegro will be familiar to several in its version for horn and piano.
The oboe was a special instrument for Bruno Maderna, and he filled these three concertos (composed in 1962-3, 1967 and 1973) with solo lines in which sharply fragmented and fluently rhapsodic materials constantly interact. Heinz Holliger, in turn, pours all his unrivalled dexterity and capacity for infinitely varied expressive nuance into the performances here. Yet the music remains problematic.
A countryman of Bela Bartók and a sometime teacher to both György Ligeti and György Kurtág, Sándor Veress emigrated to Switzerland from what was then part of Hungary in 1949. Settling in Bern, he collected various prizes and teaching posts while working in relative obscurity on who knows how many pieces–most of which have been unavailable. This collection is made up of a pithy trio of compositions dated 1938 (Six Csárdás), 1951 (Hommage à Paul Klee), and 1952 (Concerto for Piano, Strings, and Percussion), and they show what a deftly melodic force Veress was. He's thrilled by blustery string wafts, especially in the concerto, where the percussion adds drama and immediacy. But he also favors sweetly chipper string formations, which surprise the ear during the homage to Klee, especially given the dissonances fostered early on by the twin pianos. The closing piano miniatures of Six Csárdás are counterpoint-rich gems, played with sharp precision by András Schiff.
Hungarian-born Sándor Veress (1907-1992) is a sadly neglected figure in modern music. Despite his pupilage under Bela Bartók and Zoltán Kodály, and even his succession over the latter as professor of composition at the Budapest School of Music in 1943, Veress has never attained the same international recognition as his two most successful compatriots. One might blame his preference for solitude or his idiomatic methodology for keeping him in obscurity. Yet as one who made the most of his outlier status and ideological exile, he seems never to have been one to wallow in self-pity. Exposed to much of the folk music that also captivated his mentors, Veress nurtured that same spirit when sociopolitical upheaval exacerbated his emigration to Switzlerland in 1949. Whereas Kodály in particular saw cultural preservation as central to the musical act, Veress saw it as an incision to be teased open and unraveled.
Götz Friedrich’s controversial Tannhäuser production from 1978 scandalized the Bayreuth old guard while revealing Tannhäuser’s revolutionary qualities to a new age of Wagner lovers.This brilliantly iconoclastic production, superbly sung and conducted, ushered in a new age of Wagner interpretation. Choreography of the ‘Bacchanal’ by John Neumeier and set design and costumes by the international well known stage designer Jürgen Rose. A superb cast led by Spas Wenkoff as Tannhäuser, Gwyneth Jones as Venus as well as Elisabeth and Bernd Weikl as Wolfram.
On the second of July 2002, Anyone's Daughter played at a festival in Calw to honour the 125th birthday of the German author Hermann Hesse. The history of this German band has been more or less connected with Hesse. In 1981 they released the album Piktors Verwandlungen based upon 'Piktors transformations', a famous tale written by Hesse. They performed this 40-minute piece again in Calw, where Hesse was born in 1877. This time the band performed this piece together with the famous German rock poet and congenial speaker Heinz Rudolf Kunze. To experience this unique event many loyal fans of Anyone's Daughter from all over the country came to Calw…