|
|
 |
|
 |
||
|
|
 |
|
 |
|
Contents:
DDD Total Time= 55:23 / Recorded: Theodor-Egel-Saal Ebnet, Freiburg/Germany 16.-17.1.02 Schoeck/Schütter - 4.5.02 Scartazzini This collection of songs by the Swiss composers Othmar Schoeck, Meinrad Schütter and Andrea Lorenzo Scartazzini describes a path through the 20th century through the time, history and chronology of their origin: its beginning and first half through Othmar Schoeck (*1886), the romantic, who was born rather late, -the early 30s, neo.-classicism and influences of dodecaphonic music as far as the post-modern era of the 90s through Meinrad (*1910), - as well as the end, transition and beginning of the new millennium with Andrea Lorenzo Scartazzini. Contrasting musical personalities – a contrasting work, which, however, shows certain connections, although the composers have their own tonal language and form of expression. We hear some of the more rarely performed compositions and the cycle of the Sappho-Lieder for lower voice and piano by Scartazzini is a premiere, which was specifically composed for this CD. Songs by Othmar Schoeck were one of the first major musical impressions of the young Meinrad Schütter, whose own songs can be seen as their newly formulated continuation. Both composers have their roots in the romanic age of the 19th century and despite their differences they both deliver music of large-scale phrases and arches of breath and melody. Othmar Schoeck and Meinrad Schütter, though belonging to different age groups, experienced two wars, the effects of which could be seen in all areas of society and within music and literature. Swiss artist between 1939 and 1945 lived largely in a climate of isolation and only today in the era of post-modernism some of the Swiss composers born before W.W.I are being recognised. “First successes found little acclaim in their own country. This includes among others. Othmar Schoeck and Meinrad Schütter, and only those who emigrated, such as Arthur Honegger and Frank Martin found lasting international recognition.“ (Chris Walton) However, Schoeck had gained a faithful audience early on, an audience, which was interested in and promoted his song and opera works. In contrast, Schütter‘s works were performed and pioneered by Alexander Schaichet and Hermann Scherchen, but he showed little interest in his fame and was temporarily forgotten. Othmar Schoeck with his almost 400 songs, including several large song cycles and songs with orchestra, such as “Lebendig begraben“ (Gottfried Keller) is the most important Swiss composer of songs. Apart from 8 operas, including “Penthesilea“, “Venus“, “Massimilla Doni“, choral works and chamber music the songs became the focus of his endeavours. In an era of musical innovation he made no concessions to the ‘Zeitgeist’ and remained committed to romantic tradition and tonality.. And in the complete oeuvre of Meinrad Schütter, which encompasses all genres, vocal composition takes a very important position (2 masses, the opera “Medea“, 60 piano songs, songs with instrumental accompaniment, choral works). While using free tonality he uses the techniques of the past in order to unfold independent rhythms, linearity and serial structure in short forms of concentrated density, often ascetically reduced and antipathetic. For Schütter the hearing of an accord is essential and this also applies to Scartazzini who, in a continuous sense and according to the demands of our time, occupies himself with the exploration of marginal areas: pitch – sound – silence and transparency of fragile structures in wide-ranging sound structures. In Scartazzini’s works so far we can recognise a stressing of the human voice. He has already composed important works for song with ensembles of various groupings. His interest lies in the emotional sound experience, which is marked by dynamic range and concentrated, affected energy, but is never out of control. All three composers have a penchant and love for literature. This is apparent by their choice of the authors of their texts from the poetry of great world literature. Notes on the Works:Othmar Schoeck Zwölf Eichendorff-Lieder op. 30 (Twelve Songs based on poems by Eichendorff) (1917-1918)Othmar Schoeck was born on September in 1886 in Brunnen on the Vierwaldstättersee. After studying at the conservatory in Zurich and with Max Reger in Leipzig (1907/08) he settled in Zurich, where he lived until his death in 1957. Apart from his intensive composition work he also worked as a piano accompanist and conductor. We could describe the link Schoeck-Eichendorff as a congenial connection between poet and composer. Due to his special talent for things lyrical Schoeck felt already early on a deep kindred spirit for this poet of German romanticism, to whose texts he set numerous songs as well as the opera „Schloss Dürande“. As early as 1913 Hermann Hesse wrote, that from the contemporary musicians none was able to set Eichendorff’s poems as beautifully as Othmar Schoeck. At the same time Eichendorff became a shelter during crises in the composer’s life. The songs 1-6, the so-called ‘spiritual songs’, were composed during a devastating influenza epidemic, which befell Switzerland in 1918, a time when many died, a time, which frightened Schoeck and caused him to withdraw to his parents’ house in Brunnen The „secular songs“ 7-12 were composed during the summer of 1917. Eichendorff’s poetry is carried by the great symbols and metaphors of romanticism. The „silent forest“ symbolises loneliness and borderline situations during one’s existence. It is a focal point, a place for retreat, but also of denial, as is the case in „Waldeinsamkeit“ (Loneliness of the Forest) (1). The rustling of the forest is a symbol for the eternal, ever-lasting. The sound of horns can be interpreted in many ways. In the song „Kurze Fahrt“ (Short Journey) (2) the postal horn calls for departure, promises great joys of life and at the same time is a symbol of death. After joyful expectation follows adversity and disillusionment, which is masterly set by Schoeck in this shortest of the songs. In three times eight bars the human life becomes a moment. Today we read Eichendorff from a different perspective and discover the modernity of this poetry of premonition. He know how to introduce memory and vision simultaneously; a simultaneity of non-simultaneity. Looking back he rushes forward , „immer am Horizont der Unendlichkeit“, i.e. ‘always on the horizon of eternity’ (Eckard Henscheid) – „Der verspätete Wanderer“ (The late Wanderer) (8): „...wo aber werd‘ ich sein im künftgen Lenze?“ (… but where will I be next spring?) „Schoeck’s Eichendorff-Lieder 1918 are not only free of all sentimentality, but they also unfold a unity of expression, which for Schoeck is both new and unexpected. Puffett called Schoeck’s first 6 songs as “so far his most personal music”. The songs of op.30 were also Schoeck’s first consistent attempt to give a quasi-cyclic order to a song cycle; as a whole this opus represents an important climax of his work.“(Chris Walton) Meinrad Schütter Ausgewählte Lieder (Selected Songs) (1931-1994)Meinrad Schütter was born on September 21st 1910 in Chur (Graubünden) and grew up there. He had his first theory lessons with Antoine Cherbuliez and then went on to study at the conservatory in Zurich. Concert tours as well as a small Rome grant led him abroad until 1939. Further studies with Willy Burkhard and Paul Hindemith followed. After having worked for 30 years at the opera in Zurich he has been living as a freelance composer in Küsnacht near Zurich since 1976. „Dumonda“ was the first song, still in the late-romantic tradition and at the same time the first valid composition by Meinrad Schütters (1931). Among his songs those based on the texts of romantic language are amongst his most beautiful. In his youth the composer had been surrounded by this language and had always been fascinated by its own musicality and sensitivity of vocal form and the sharpness of its consonants. Rhaeto-Romanic is a Latin dialect, which developed from approximately 30 BC from a mixture of Celtic and Etruscan. The language is mainly preserved in the canton of Graubünden and has been the fourth official language of Switzerland since 1936.In the Rilke song „Herbsttag“ (Autumn Day) (1934) we can sense an influence of the liturgy and Gregorian chant, although the text is still rather free. A little later he wrote „Die müden Sterne“ (The tired Stars), a composition of already freer tonality, transparency and independence of voice and instrument. In the song „Der Tod“ (Death) (1956) the sharply punctuated rhythms symbolise death’s relentlessness and we can recognise a penchant for the dramatic of the opera composer, when he devises scenarios of great expressiveness, but also shows the finest lyrical sensitiveness of deep thought as is the case „Nächtliche Lampe“ (Nocturnal Lamp) (1980). He we briefly glimpse the Tristan motive and associated mythical themes. In the 90s Schütter experienced another intensive, creative period. The expressive images of the night „Zona dal plaschair“ and „Favuogn“ come from the cycle „Chanzuns da la not“ (1994). Sung, partly sung and spoken lines are allocated to the singing voice. The piano part has an equal function with regard to independence and interpretation of the melodic lines. Andrea Lorenzo Scartazzini Sappho-Lieder (Sappho Songs) (2002)Andrea Lorenzo Scartazzini was born 1971 in Basle. He read Italian and German at the University in Basle and composition with Rudolf Kelterborn in Basle and Wolfgang Rihm in Karlsruhe (Germany). He spent the term of 1999/2000 at the Royal Academy of Music in London. Scartazzini received numerous recognitions and prizes, including the Jakob Burckhardt Prize (Basle) and the study prize of the Ernst v. Siemens Stiftung (Munich). He has appeared at home and abroad and at the Salzburg Easter Festival 200 as well as the Musikfestwochen Luzern 2001. The poetess Sappho was the greatest poet of the ancient world, which lived by high, religious ideas and spent her life in the circle of her students around 600 BC on the island of Lesbos. Her odes, songs and poems show an emotional, restraint hymn-like character and have a beautiful tonality and special rhythm. Scartazzini extend the sound possibilities of the piano by plucked and beaten strings as well as prepared, muted lower levels, which are audible as a wooden rattling sound. The singing voice, too, has extreme levels allocated to it, from the deepest humming to the falsetto. But the Sappho-Lieder remain bel canto songs of differentiated expressiveness and extreme tonal sensuality. Mainly rather slow tempi supply a basis of tranquility in which wide-ranging sound areas can develop. The songs celebrate the course of a whole day, from the morning via the intensive heat of the midday until dusk and moonlit night. The final song evokes the dawn and so completes the circle. Page revised 27.06.03 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
