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Hinrich Alpers Kuss Quartett Marie-Pierre Langlamet Hanno Hinrich Alpers Kuss Quartett Marie-Pierre Langlamet Hanno Müller-Brachmann Tehila Nini Goldstein Nabil Shehata Agata Szymczewska RUDI STEPHaN (1887–1915) CHaMBER WORKS aND SONGS 1 Groteske für Geige und Klavier (1911) 8.04 13 Liebeszauber (Friedrich Hebbel) (1914) 11.31 Hinrich Alpers piano · Agata Szymczewska violin arranged for baritone and seven stringed instruments by Hinrich Alpers (2003/2013) „Ich will Dir singen ein Hohelied…“ (1913/14) Hanno Müller-Brachmann baritone · Hinrich Alpers piano 6 poems by Gerda von Robertus for soprano and piano Kuss Quartett · Nabil Shehata double-bass 2 I. Kythere 2.09 Marie-Pierre Langlamet harp 3 II. Pantherlied 0.59 14 Mitternacht (Leo Greiner) (1904) 2.53 4 III. Abendfriede 2.08 15 Weihnachtsgefühl (Martin Greif) (1905) 2.05 5 IV. In Nachbars Garten 2.25 6 V. Glück zu Zweien 2.12 Sieben Lieder nach verschiedenen Dichtern (1913/14) 7 VI. Das Hohelied der Nacht 2.34 16 I. Sonntag (Otto Julius Bierbaum) 2.07 Tehila Nini Goldstein soprano · Hinrich Alpers piano 17 II. Pappel im Stahl (Josef Schanderl) 1.50 18 III. Dir (Hinrich Hinrichs) 2.27 8 Waldnachmittag (Maurice Reinhold von Stern) (1904) 3.10 19 IV. Ein Neues (Karl von Berlepsch) 2.58 9 Auf den Tod einer jungen Frau (Anton Lindner) (1904) 2.10 20 V. Im Einschlafen (Bruno Goetz) 4.44 10 Up de eensome Hallig (Detlev von Liliencron) (1914) 2.07 21 VI. Abendlied (Gustav Falke) 3.00 22 VII. Heimat (Richard Dehmel) 3.09 “Zwei ernste Gesänge” for baritone and piano (1913/14) Tehila Nini Goldstein soprano · Hinrich Alpers piano 11 Am Abend (Johann Christian Günther) 1.21 12 Memento vivere (Friedrich Hebbel) 3.52 Hanno Müller-Brachmann baritone · Hinrich Alpers piano 2 Musik für Sieben Saiteninstrumente in a single movement and a postlude (1912) 23 I. Satz 15.02 24 II. Nachspiel 9.14 Hinrich Alpers piano · Kuss Quartett Nabil Shehata double-bass · Marie-Pierre Langlamet harp A co-production with Deutschlandfunk Kultur Recording: February 21/22 & 24, 2014, Jesus-Christus-Kirche Berlin-Dahlem Executive producer: Stefan Lang Recording producer: Hein Laabs · Sound engineer: Bernd Friebel · Sound technician: Annerose Unger Sound engineer: Hajo Seiler · Sound technician: Clémence Fabre · Idea and conception: Hinrich Alpers Publisher: Schott Music GmbH & CO. KG. Mainz · Total time: 1:34:54 Agata Szymczewska recorded on a violin by Antonio Stradivarius (Cremona c. 1680) on loan from Deutsche Stiftung Musikleben./Agata Szymczewska spielt eine Violine von Antonio Stradivari (Cremona ca. 1680), eine Leihgabe der Deutschen Stiftung Musikleben. Artwork: Christine Schweitzer, Cologne Cover photo: Rudi Stephan © Stadtarchiv Worms M11263 P & g 2017 Deutschlandradio/Sony Music Entertainment Germany GmbH 3 Tehila Nini Goldstein (g Janine Escher) Agata Szymczewska (g Bartek Barczyk) Hinrich Alpers (g Hannes Caspars) Nabil Shehata (g Stephan Zwickirsch) Kuss Quartett (g Molina visuals) Hanno Müller-Brachmann Marie-Pierre Langlamet (g Jim Rakete) (g Monika Rittershaus) 4 Danksagung AcknOwledgements Meine Begeisterung für Rudi Stephans Musik entbrannte im My enthusiasm for Rudi Stephan’s music was first fired by zarten Alter von fünfzehn Jahren während eines Konzertes a concert that I attended in my home city at the tender age in meiner Heimatstadt. Die Musik für Orchester stand auf of fifteen. On the pro gramme was the Music for Orchestra dem Programm, und sofort war ich in Stephans Bann, and I was immediately captivated by it. This feeling of welcher bis heute ungebrochen ist. being spellbound by his music has never left me. In vielen Konzerten habe ich seitdem Rudi Stephans Since then I have performed Rudi Stephan’s songs and Lieder und Kammermusik auf ge führt, doch war es immer chamber works at numerous concerts, but it was always my mein Traum, durch eine Gesamteinspielung einen Beitrag dream to contribute to the events surrounding the centenary zum Gedenken seines 100. Todestages leisten zu können. of his death by making a complete recording of them. The Dass dieses Doppelalbum nun vorliegt, ist beglückend fact that this double album now exists is a source of great und zugleich ein Ansporn. Es wäre jedoch nie zustande joy to me and at the same time a spur. But it would never gekommen, wenn sich nicht auch zahlreiche Weggefährten have come into existence at all if numerous colleagues had von meiner Liebe zu Stephans Musik hätten anstecken lassen. not found my love of Stephan’s music so infectious. Mein ganz besonderer Dank gilt Stefan Lang (Deutsch- I am especially grateful to Stefan Lang at Deutschland- landfunk Kultur), der sich unermüd lich für die Vollendung funk Kultur for tirelessly champi on ing this project. I should dieses Projektes stark gemacht hat, Dr. Hartwig Lehr also like to take this op portunity to thank both Dr Hartwig (Worms), der bei der Beschaffung seltener Noten half Lehr of Worms for helping me to obtain a number of und William Aide (Toronto) für seine poetischen Über- hand-to-find scores and William Aide of Toronto for his setzungen der Liedtexte. poetic translations of the song texts. Hinrich Alpers, März / March 2017 5 RUDI STEPHAN * 29. Juli 1887 Worms – † 29. September 1915 bei Tarnopol „Rudi Stephan war derjenige, der kommen sollte, er war es, auf den wir hofften ... Er war derjenige, welcher berufen war, alles Tastende in der Modernen Musik zu einem großen künstlerischen Werk zu sammeln und ihr eine neue Richtung zu geben.“ Paul Scheinpflug, Chefdirigent der Dresdner Philharmonie (1925) Als Sohn einer gutsituierten Wormser Familie – der Vater war Jurist und und sein eigener Kompositionsstil war zweifelsfrei durch die Kenntnis Landtagsabgeordneter, auch die Mutter stammte aus wohlhabendem französischer Musik beeinflusst – viele Musikwissenschaftler heben das Hause – konnte Rudi Stephan schon früh unabhängig von finan ziellen impressionistische Element in Rudi Stephans Musik ausdrücklich hervor. Zwängen seiner musikalischen Ausbildung nachgehen. Er war ein begabter Wenngleich aus heutiger Sicht schmeichelhaft, greift diese Einord- Pianist und spielte Kontrabass und Harmonium im Orchester des hu- nung allein aber wohl zu kurz. Von Anbeginn seines kompositorischen manistischen Gymnasiums seiner Heimatstadt, welches heute, ihm zu Schaffens fallen nämlich zahlreiche stilistische Eigenarten an Stephans Ehren, seinen Namen trägt. Werk auf, die von großer Selbstständigkeit und starkem eigenem Gestal- Stephan studierte zunächst in Frankfurt bei Bernhard Sekles, zu dessen tungswillen zeugen. Am offenkundigsten zeigt sich die Unabhängigkeit Schülern später Paul Hinde mith und Theodor W. Adorno zählen sollten. des Stephanschen Geistes in der Wahl der Titel seiner Werke. Stephan Bereits 1906 zog er nach München und nahm Unterricht bei Rudolf verzichtete bewusst auf etablierte Gattungsbezeichnungen (Symphonie, Louis. Doch blieb er ein Eigenbrötler, der am Münchner Konzertleben Streich quartett) oder solche, die gerade in Mode gekommen waren – wenig teilnahm, gleichwohl aber den musikalischen Strömungen seiner etwa „Symphonische Dichtung“, neben der Oper das für Richard Strauss Zeit beispiellos offen gegenüberstand. Der Schriftsteller Kasimir Edschmid wohl wichtigste Genre um die Wende zum 20. Jahrhundert. Vielmehr schreibt: „Er war für das Einsame gemacht. […] Er arbeitete mit Hart- wählte er für die meisten seiner Werke schlicht den Titel „Musik“, ergänzt näckigkeit, in sich verschlossen, nur auf die Tätigkeit hin orientiert, um die jeweilige Besetzung, etwa „…für Orchester“, „…für Geige und tage- und wochenlang.“ Orchester“ oder „für Sieben Saiteninstrumente“ (gemeint sind Streicher, Dem angespannten deutsch-französischen Verhältnis zum Trotz (in Harfe und Klavier). welchem spätestens seit dem Krieg 1870/71 die gegenseitige schroffe Man darf dies als Ausdruck äußerster Zurückhaltung und Beschei- Ablehnung aktueller musikalischer Strömungen zum guten Ton gehörte) denheit werten. Es wäre Rudi Stephan wohl ein Leichtes gewesen, gewis- war Stephan der zeitgenössischen Musik Frankreichs gegenüber aufge- sermaßen auf den fahrenden Zug der Zeit (es fällt einem wieder sofort schlossen. Er besaß Partituren der wichtigsten Werke Debussys (Pelléas Richard Strauss oder auch Max Reger ein) aufzuspringen. Er vermerkte et Mélisande, Prélude à l’après-midi d’un faune), aber auch Strawinskys jedoch bereits 1907 im Autograph eines verlorengegangenen Orchester- (Le Sacre du Printemps) und Skrjabins (Prometheus, Le Poème de l’extase), stückes: „Keinen poetischen Titel, nicht die Benennung Ton dichtung und 6 gar nichts“. Musik sollte ohne übersteigerte Erwartungen, gewissermaßen mente von Rudi Stephan erwies sich als hervorragende Lei stung eines nur durch sich selbst, wirken können und nicht durch einen poetischen bizarrphantastischen, aber selbständigen und reichen Talents“. Er sieht Titel künstlich überhöht oder gar erst ins Interesse des Zuhörers gerückt ferner bereits „eine eigene, neuartige Tonsprache von überraschender werden. Folgerichtig war Stephan selten mit einem Werk völlig zufrie- klang licher Ausgiebigkeit, deren Absonderlichkeiten auch da, wo sie den – oft arbeitete er bereits abgeschlossene Werke um und verwandte zunächst befremden, den Stempel des Gemußten, nicht des Ertüftelten Themen in späteren Stücken erneut, wo sie dann wieder verblüffend tragen.“ originell auftreten konnten. Ein Jahr später (1913) kam in Jena die zweite Musik für Orchester zur 1911 engagierte Rudi Stephan für die damals exorbitante Summe von Aufführung. Hier äußerte sich die Presse dermaßen überschwänglich, 5000 Mark das Münchener Konzertvereins-Orchester und ließ
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