Orchestra

Luigi Nono - Intolleranza 1960Luigi Nono
Intolleranza 1960

One-act opera in two parts
German translation by Alfred Andersch

Libretto with texts of Angelo Maria Rippelino, Julius Fucik, Jean-Paul Sartre, Paul Eluard, Wladimir Majakowskij, Henri Alleg and Bertolt Brecht

Wolfgang Neumann
Maria Kowollik
Judy Berry
Ina Schlingensiepen
Armin Kolarczyk
Bartholomeus Driessen

Bremen Philharmonic Orchestra
Bremen Theatre Choir
Conducted by Gabriel Feltz

Intolleranza 1960 was Luigi Nono's first work for the opera stage and is a flaming protest against intolerance and oppression and the violation of human dignity. The year in the title refers to the time of the work's origin. It was commissioned for the 1969 Venice Biennale by its director Mario Labroca. The first performance was conducted by Bruno Maderna on 13 April 1961 at the Teatro La Fenice in Venice. The premiere was disrupted by neo-fascists, who shouted "Viva la polizia" during the torture scene. Nono's opponents accused him of poisoning Italian music.
A co-production with
Radio Bremen.

Diapason_dOR

 

"Diapason d'Or" 

 

Gustav Mahler
Symphony Nr.4

Stuttgart Philharmonic Orchestra
Jeannette Wernecke, Soprano
Gabriel Feltz

Catalog number 21072

“… What I was attempting here was exceedingly difficult to realize. Imagine the uniform blue of the skies, which is more difficult to paint than all changing and contrasting shades. This is the fundamental mood of the whole. Only sometimes it darkens and becomes ghostly, gruesome. But heaven itself is not darkened; it shines on in an eternal blue. Only to us it suddenly seems gruesome, just as on the most beautiful day in the woods, flooded with light, we are often gripped by a panic and fear. The Scherzo is mystical, confused and eerie so that your hair will stand on end. But in the following Adagio you will soon see that things were not so bad - everything is resolved.”

(Gustav Mahler in a letter to his friend Natalie Bauer-Lechner, 1900)

 

Gustav Mahler
Symphony Nr.3

Stuttgart Philharmonic Orchestra
Gabriel Feltz

Catalog number 21065

"A highly exciting performance in which Feltz, from the first bar to the last, succeeded in transposing the ever-changing, almost mountainously craggy and often hard-cut material into a pulsing flow of sound. The Philharmoniker were at their very best: Wonderful, the range of dynamics, from a whispering quadruple pianissimo right up to a raging thunder. Magnificent, the realisation of the abruptly contrasting characters. Divine, the transparent melodiousness of the strings in the profound and thoughtfully-flowing finale." 
Verena Großkreutz, Esslinger Zeitung

 

Johannes Brahms
Symphonies 3 & 4

Bremen Philharmonic
Markus Poschner

Catalog number 21064

“… As with the Third Symphony, audiences for the most part greeted the Fourth “with exceptional applause”. Whether this was due to or in spite of the high degree of artificiality is a matter for conjecture. Brahms’ achievement of realizing the ideals of chamber music-like structure in the monumental framework of the genre symphony was something which was upheld by future composers. When asked what had been able to learn from Brahms, the composer Arnold Schoenberg answered: “Economy, and yet richness”.
Alexander Butz

Live recording
A co-production with Radio Bremen

 
Johannes Brahms Symphonies 1 & 2

Johannes Brahms
Symphonies No. 1 & 2

Bremen Philharmonic
Markus Poschner

Catalog number: 21056

Brahms and Bremen

Brahms and Bremen, Bremen and Brahms: born in Hamburg in 1833 and later a Viennese by choice, he had a special affinity to the Hansa city on the river Weser. The Bremer Philharmonic’s Brahms Project is thus a continuation of a special tradition. One of the composer’s landmarks as a composer has a direct connection to the Hansa city. At the age of 35 he made nothing less than his breakthrough as an internationally renowned composer in Bremen’s Dom (Cathedral) with the premiere of his German Requiem. On that Good Friday in 1868 Robert Schumann’s prophecy for the young composer came true: “If he [Brahms] lowers his magic wand where the might of the masses, a chorus and orchestra, empower him, then we are in for some wonderful insights into the spiritual world”, said Schumann in his famous article on Brahms Neue Bahnen (New Paths). It had however taken thirteen years for Brahms, who until then had mainly composed piano and chamber music, to lower his own “magic wand” in the direction of a work for chorus and orchestra.
It was, significantly, Clara Schumann who remembered the article by her husband at the world premiere in Bremen conducted by Brahms himself: “As I watched Johannes [in Bremen Cathedral] standing with the baton in his hand, I remembered my dear Robert’s prophecy - which today was realized. The baton really did become a magic wand and bewitched everyone, even his most bitter enemies.”

Wolfgang Sandberger

A co-production with Radio Bremen

 
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