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900119 Beethoven Booklet V3 - 18.06.13 17:34 Seite 1 900119 beethoven booklet v3_- 18.06.13 17:34 Seite 1 BEETHOVEN THE SYMPHONIES AND REFLECTIONS KANCHELI · MOCHIZUKI · ŠERKŠNYTE˙ SHCHEDRIN · STAUD · WIDMANN MARISS JANSONS SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS 900119 beethoven booklet v3_- 18.06.13 17:34 Seite 2 LUDWIG VAN BEETHOVEN THE SYMPHONIES AND REFLECTIONS KANCHELI · MOCHIZUKI · ŠERKŠNYTE˙ · SHCHEDRIN · STAUD · WIDMANN MARISS JANSONS SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS 900119 beethoven booklet v3_- 18.06.13 17:34 Seite 4 LUDWIG VAN BEETHOVEN 1770–1827 CD 1 CD 2 Symphonie Nr. 1 C-Dur / C major op. 21 Symphonie Nr. 3 Es-Dur / E-flat major op. 55 „Eroica” 01 I. Adagio molto – Allegro con brio 8:18 01 I. Allegro con brio 16:54 02 II. Andante cantabile con moto 7:20 02 II. Marcia funebre. Adagio assai 12:40 03 III. Menuetto. Allegro molto e vivace – Trio 3:16 03 III. Scherzo. Allegro vivace – Trio 5:43 04 IV. Finale. Adagio – Allegro molto e vivace 5:37 04 IV. Finale. Allegro molto 12:10 Total time: 24:45 Total time: 47:43 JOHANNES MARIA STAUD *1974 RODION SHCHEDRIN *1932 „Maniai“ für Orchester (2011) „Beethovens Heiligenstädter Testament“ (2008) 05 Furioso – Grazioso 11:13 Symphonisches Fragment für Orchester 05 Maestoso con grave 12:09 Symphonie Nr. 2 D-Dur / D major op. 36 06 I. Adagio molto – Allegro con brio 11:00 07 II. Larghetto 9:27 CD 3 08 III. Scherzo. Allegro – Trio 3:26 Symphonie Nr. 4 B-Dur / B-flat major op. 60 09 IV. Allegro molto 6:25 01 I. Adagio – Allegro vivace 11:10 Total time: 30:40 02 II. Adagio 8:45 *1969 MISATO MOCHIZUKI 03 III. Allegro vivace – Trio. Un poco meno allegro 5:45 10 „Nirai“ (2012) 04 IV. Allegro ma non troppo 7:01 Intermezzo zu Beethovens Symphonien Nr. 2 und 6 9:00 Total time: 33:00 900119 beethoven booklet v3_- 18.06.13 17:34 Seite 6 Symphonie Nr. 5 c-Moll / C minor op. 67 GIYA KANCHELI *1935 05 I. Allegro con brio 6:55 06 „Dixi“ für gemischten Chor und Orchester (2009) 21:47 06 II. Andante con moto 8:50 07 III. Allegro 4:55 CD 5 08 IV. Allegro 10:31 Total time: 31:25 Symphonie Nr. 7 A-Dur / A major op. 92 RAMINTA ŠERKŠNYTE˙ *1975 01 I. Poco sostenuto – Vivace 14:03 „Fires“ (2010) 02 II. Allegretto 8:08 09 I. Misterioso 5:44 03 III. Presto – Assai meno presto 8:38 10 II. Con brio 4:50 04 IV. Allegro con brio 8:51 Total time: 10:34 Total time: 40:00 CD 4 JÖRG WIDMANN *1973 Symphonie Nr. 6 F-Dur / F major op. 68 “Pastorale”* 05 „Con brio“ Konzertouvertüre für Orchester (2008) 11:50 01 I. Angenehme, heitere Empfindungen, welche bei der Ankunft auf dem Lande im Menschen erwachen. Symphonie Nr. 8 F-Dur / F major op. 93 Allegro ma non troppo 11:50 06 I. Allegro vivace e con brio 9:25 02 II. Szene am Bach. Andante molto moto 11:37 07 II. Allegretto scherzando 3:45 03 III. Lustiges Zusammensein der Landleute. Allegro 5:11 08 III. Tempo di Menuetto 4:31 04 IV. Donner. Sturm. Allegro 3:36 09 IV. Allegro vivace 7:60 05 V. Hirtengesang. Wohltätige, mit Dank an die Gottheit Total time: 26:00 verbundene Gefühle nach dem Sturm. Allegretto 9:60 Total time: 42:28 * Satzbezeichnungen nach der neuen kritischen Ausgabe von Jonathan Del Mar * Titles of movements according to the new critical edition by Jonathan Del Mar 900119 beethoven booklet v3_- 18.06.13 17:34 Seite 8 CD 6 Symphonie Nr. 9 d-Moll / D minor op. 125 01 I. Allegro ma non troppo e und poco maestoso 14:59 02 II. Molto vivace – Presto 11:35 Tonmeister/Recording Producer: Wilhelm Meister Toningenieur/Balance Engineer: Ulrike Schwarz (Symphonien Nr. 1, 2, 3, 4, 5, 7, 8, 9, Šerkšnyte˙, Staud), 03 III. Adagio molto e cantabile – Andante moderato 12:39 Peter Urban (Widmann), Sunao Shimazaki (Symphonien Nr. 1, 2, 4, 5, 7, 8, 9), 04 IV. Finale: Presto – Allegro assai 23:52 Klemens Kamp (Symphonie Nr. 6, Shchedrin, Mochizuki, Kancheli) Tontechnik/Sound Engineer: Mechthild Homburg, Elisabeth Panzer, Bernadette Rüb („Freude, schöner Götterfunken“) Live-Aufnahmen / Live Recordings: Total time: 63:23 Symphonien Nr. 1, 2 & 5: Tokio, Suntory Hall 27.11.2012 Symphonie Nr. 3: München, Herkulessaal, 18./19.10.2012 Symphonie Nr. 4: Tokio, Suntory Hall 26.11.2012 Symphonie Nr. 6: München, Herkulessaal, 08./09.11.2012 Christiane Karg Sopran / soprano Symphonie Nr. 7: Tokio, Suntory Hall 30.11.2012 Symphonien Nr. 8 & 9: Tokio, Suntory Hall 01.12.2012 Mihoko Fujimura Alt / alto J.M. Staud: München, Herkulessaal 09./10.02.2012 Michael Schade Tenor / tenor M. Mochizuki: München, Herkulessaal 08./09.11.2012 R. Shchedrin: München, Philharmonie am Gasteig 18./19.12.2008 Michael Volle Bariton / baritone R. Šerkšnyte˙: München, Herkulessaal 17./18.05.2012 G. Kancheli: München, Herkulessaal 29./30.10.2009 Chor des Bayerischen Rundfunks J. Widmann: München, Philharmonie am Gasteig 25./26.09.2008 Peter Dijkstra Einstudierung / chorus master Verlag/Publisher: Kancheli: Musikverlag Hans Sikorski GmbH & Co. KG. Staud: Universal Edition Wien AG. Mochizuki: Breitkopf & Härtel Wiesbaden - Leipzig - Paris. Widmann/Shchedrin: Schott Music GmbH & Co. KG Mainz. Šerkšnyte˙: Eigenverlag SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS MARISS JANSONS Dirigent / conductor Fotos/Photography: © Koichi Miura (Cover S. 10/11, S. 17, S. 33, S. 56); © Sarah Ainslie (S. 34); © 2010 by Jérémie Souteyrat, Tokyo (S. 36); © Narimantas Sˇerksˇnys (S. 37); © Peter Andersen (S. 39); © Jonathan Irons (S. 40); © Marco Borggreve (S. 42); © Copyright 2012 by Universal Edition A.G., Wien/UE 35691 (S. 28). © SCHOTT MUSIC GmbH & Co. KG, Mainz (S. 33). Design/Artwork: [ec:ko] communications Editorial: Peter Rieckhoff / Andrea Lauber. Label Management: Stefan Piendl, Arion Arts GmbH, Dreieich Eine CD-Produktion der BRmedia Service GmbH. P+C 2013 BRmedia Service GmbH 900119 beethoven booklet v3_- 18.06.13 17:34 Seite 10 Aufführung der 9. Symphonie am 1. Dezember 2012 (Suntory Hall, Tokio) Performance of Symphony No.9 on December 1st, 2012 (Suntory Hall, Tokyo) 900119 beethoven booklet v3_- 18.06.13 17:34 Seite 12 DIE NEUN SYMPHONIEN Beethoven leuchtet mit seinem revolutionären Schaffen tatsächlich in zwei Richtungen: weit voraus, aber ebenso zurück. Er führt das Erbe der Klassik fort, In nicht allzu ferner Zukunft wird man jüngeren Menschen erklären müssen, indem er sich selbst anfangs an Mozart und, mehr noch, an seinem für die For- was ein Leuchtturm ist. Längst haben nämlich auch in der Schifffahrt satelli- mengenese der Musik bahnbrechenden Lehrer Haydn orientiert. Er wird aber tengestützte Ortungssysteme einen unaufhaltsamen Siegeszug angetreten, und auch zum Überwinder der Klassik, indem er mit seinem höchst individuellen es dürfte bloß eine Frage der Zeit sein, bis die ehemals so unentbehrlichen Ausdrucksbedürfnis deren Konventionen sprengt und die Tore zur Romantik Lichtzeichen dem Fortschritt zum Opfer fallen. Mit ihnen stürzt freilich auch aufstößt. Keine Werkgruppe innerhalb seines umfangreichen Schaffens spiegelt eine der schönsten Metaphern in sich zusammen, die der poetische Geist der diese Zweiseitigkeit derart plastisch wider wie der Zyklus der neun Sympho- Romantik der Seefahrersprache entliehen hat: Ein Leuchtturm war nicht nur nien. Sie sind Resümee, Höhe- und Endpunkt der klassischen Gattung; zugleich das Erste und Letzte, was der Weltumsegler bei der Heimkehr und dem erneu- nehmen sie in nuce Entwicklungen künftiger Epochen vorweg. ten Aufbruch zu seinen Fahrten wahrnahm – ihr Leuchten war, weit darüber Noch heute spricht man, in Anlehnung an die Metaphorik der Antike, von hinaus, ein Symbol der Hoffnung, dass es inmitten der realen oder imaginären einem Janus-Gesicht, um das Doppeldeutige im Wesen eines Menschen zu be- Stürme des Lebens einen Ort der Orientierung gäbe, der den rechten Weg zum zeichnen. Auf Beethoven und sein Werk trifft dies zweifelsohne zu: Er ist Klas- Ziel weist. siker in der Anbindung an die Tradition; er ist Zukunftsmusiker im betont Kaum überraschend, dass es in der sturmbewegten Geschichte der mensch- individualisierten Umgang mit ebendieser Tradition. Das unterstreicht unter lichen Kultur immer wieder überragende Künstlergestalten gab, denen im über- anderem die Tatsache, dass jede seiner neun Symphonien ein höchst charak- tragenen Sinne die Funktion eines Leuchtturms, um nicht zu sagen: eines teristisches, für sich stehendes Stück ist – Werkreihen im Sechser- oder Leuchtfeuers zuerkannt wurde. Sie zeigten der Kunst ihrer Epoche die Richtung Dutzendpack wie im Barock, auch bloß geschlossene Werkgruppen wie teil- auf, leuchteten ihr buchstäblich voran; sie wurden zum dauerhaften Bezugs- weise noch bei Haydn und Mozart, sind bei Beethoven undenkbar. Denn jede punkt für viele nachfolgende Künstlergenerationen, da in ihnen zentrale Strö- neue Symphonie scheint bei ihm jeweils den Rahmen der ganzen Gattung neu mungen des Geistes zusammenliefen. In der Philosophie scheinen Platon und abzustecken – Wiederholungen ein und desselben Stück- oder Satzkonzepts Kant solche Fixgrößen zu sein; in der Literatur kommt bis heute niemand an sind ausgeschlossen. Shakespeare und Goethe vorbei. In der Musik gibt es neben Bach, dem lieben Ein radikaler Schritt, der schlagartig allen späteren Komponisten den Boden Herrgott der Tonkunst, vor allem einen rechtmäßigen Propheten, auf den sich unter den Füßen wegzog: Was eine Symphonie sei, musste fortan jeder durch die Mehrzahl aller späteren Komponisten mühelos verständigen könnte: Ludwig sein Werk neu definieren, ohne sich dabei auf etablierte Muster verlassen oder van Beethoven. zurückziehen zu können. Der Siegeszug der Gattung, der über ihre höchste 900119 beethoven booklet v3_- 18.06.13 17:34 Seite 14 Blüte im 19. und 20. Jahrhundert hinaus bis in die Gegenwart andauert, beruht Musikgeschichtsschreibung lange behauptet hat. Vielmehr finden sich neben entscheidend auf dem mit Beethoven in die Welt gekommenen Zwang zur Ori- kühnen „Vorgriffen“ auf Künftiges immer wieder „Rückfälle“ in vermeintlich ginalität, also der künstlerischen Selbstverpflichtung, die alte Form immer wie- Überwundenes.
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