NÜCHTERNHEIT UND FEUER RUDOLF KEMPE Conducts

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NÜCHTERNHEIT UND FEUER RUDOLF KEMPE Conducts NÜCHTERNHEIT UND FEUER Kempes Vorbilder waren die großen Dirigenten, unter denen er in den Jahren 1929 bis 1936 Rudolf Kempe in Stuttgart als Oboist im Gewandhausorchester gespielt hatte: Furtwängler, Klemperer, Erich Kleiber, Der 1910 bei Dresden geborene, 1976 in Zürich Fritz Busch, Bruno Walter und Richard Strauss. gestorbene Rudolf Kempe galt als einer der Seine Schlagtechnik war sparsam und prä- bedeutendsten Dirigenten seiner Generation. zise, überschwängliche Gestik lehnte er ab. Handwerklich stand er in der deutschen Vielmehr pfl egte er ein „Understatement”, wie RUDOLF KEMPE conducts BARTÓK & STRAUSS Kapellmeister-Tradition, musikalisch verkörperte es auch Strauss als Dirigent seiner eigenen er den Prototypen eines modernen Dirigenten, Werke an den Tag legte. Vielleicht war es BÉLA BARTÓK (1881–1945) der auf Gefühlsexzesse verzichtete und mit dies, was Kempe die besonderen Sympathien Genauigkeit und Weitblick dem Werk zu größt- der Engländer eintrug. Kempes Streben nach 01 Der wunderbare Mandarin • Suite für Orchester möglicher Wirkung verhalf. Als Solo-Oboist Transparenz des Orchesterklangs und Klar- The Wonderful Mandarin • Suite for Orchestra Sz 73 (op. 19) 18:29 des Gewandhausorchesters und Korrepetitor heit der Abläufe kam besonders den Werken RICHARD STRAUSS (1864-1949) an der Leipziger Oper hatte er das Innenle- von Wagner und Strauss zugute, seine Wie- Also sprach Zarathustra • Tondichtung für großes Orchester ben des Orchesters ebenso wie den Umgang dergaben waren von einer unprätentiösen Thus spoke Zarathustra • Tone Poem for large Orchestra op. 30 31:47 mit Sängern aus nächster Nähe kennenge- Natürlichkeit und verbanden Nüchternheit mit lernt, wovon seine Arbeit als Konzert- und Sinn für Dramatik und einem subtilen Aus- 02 Sonnenaufgang | Sunrise 1:46 Operndirigent nachhaltig profi tierte. Seine druckswillen. 03 Von den Hinterweltlern | Of the Afterwordly 3:10 Dirigentenkarriere führte über Chemnitz, Wei- Von den vielen Schallplatteneinspielungen 04 Von der großen Sehnsucht | Of the great Longing 1:55 mar und Dresden an die Spitze der Bayeri- Kempes besitzen etliche bis heute Referenz- 05 Von den Freuden und Leidenschaften | Of Joys and Passions 1:52 schen Staatsoper, wo er 1952 Nachfolger von charakter – darunter Brahms’ Deutsches Georg Solti wurde. Er dirigierte an der Wiener Requiem, die Operngesamtaufnahmen von 06 Das Grablied | The Dirge 2:11 Staatsoper, an Covent Garden in London, an Smetanas Verkaufter Braut, Wagners Lohen- 07 Von der Wissenschaft | Of Science 3:56 der New Yorker Met, in Buenos Aires und bei grin und Strauss’ Ariadne auf Naxos oder die 08 Der Genesende | The Convalescent 5:04 den Festspielen in Edinburgh, Salzburg und vollständige Einspielung sämtlicher Orchester- 09 Tanzlied | The Dance Song 7:31 Bayreuth. werke von Richard Strauss, für die er als aus- 10 Das Nachtwandlerlied | Song of the Nightwanderer 4:21 In den 60er Jahren wandte sich Kempe ver- gewiesener Experte galt. stärkt dem Konzertrepertoire zu. Als Nachfol- TOTAL TIME: 50:27 ger von Sir Thomas Beecham übernahm er Strauss: Also sprach Zarathustra op. 30 die Leitung des Royal Philharmonic Orches- Wie souverän Kempe Strauss’ opulente Par- tra London, 1965 wurde er Chefdirigent des tituren handhabte, sie kammermusikalisch Tonhalle-Orchesters Zürich und 1967 GMD bei durchlichtete und von allem gründerzeit- den Münchner Philharmonikern. Diese Zusam- lichen Pomp befreite, lässt sich an der Kon- menarbeit fand – ebenso wie die mit dem zertaufzeichnung der Sinfonischen Dichtung Londoner BBC-Orchester, dessen Leitung er Also sprach Zarathustra ablesen, die 1961 in 1975 übernahm – ein viel zu frühes Ende durch der Stuttgarter Liederhalle anlässlich eines den Tod Kempes im Alter von nur 65 Jahren. Gastspiels des Dirigenten beim Radio-Sinfo- Musik ist kaum repräsentiert. So fehlt zum den Ostinati und schneidenden Dissonanzen SOBRIETY AND FIRE nieorchester Stuttgart entstand. Beispiel in seiner Diskographie Béla Bartók die Hässlichkeit und Widerlichkeit der zivilisier- Richard Strauss schrieb seine gut halbstündige völlig – und der vorliegende Konzertmitschnitt ten Welt. Vor allem faszinierte den Komponis- Rudolf Kempe in Stuttgart Tondichtung 1896 unter dem Eindruck der Lek- schließt hier eine empfi ndliche Lücke. Mag ten jedoch die Figur des Mandarins, den eine türe von Friedrich Nietzsches gleichnamigem die Koppelung Strauss – Bartók auf den ersten Aura der Fremdheit umgibt und der zwischen Rudolf Kempe, who was born near Dresden philosophischen Gedicht, das – dem persi- Blick auch ungewohnt anmuten, so erweist absoluter Gefühlskälte und verzehrender Lei- in 1910 and died in Zurich in 1976, was consi- schen Propheten aus dem sechsten vorchrist- sie sich doch bei näherer Betrachtung als denschaft schwankt. Angesichts der gerin- dered one of the most important conductors lichen Jahrhundert in den Mund gelegt – die sinnvoll: Das Erlebnis der Budapester Premiere gen Aussichten auf szenische Aufführungen of his generation. His craftsmanship put him Entwicklung vom in religiösem Wahn befan- des Zarathustra im Februar 1902 löste bei arbeitete Bartók das Werk 1928 zu einer Kon- in the German kapellmeister tradition, while genen Hinterweltlertum zum freien, schöp- dem zwanzigjährigen Bartók eine regelrech- zert-Suite um. Dieser ließ Rudolf Kempe mit in his approach to music he epitomized the ferischen, ganz dem diesseitigen Leben zu- te Strauss-Euphorie aus und bewog ihn, der dem Stuttgarter Radio-Sinfonieorchester eine modern conductor, forgoing excesses of fee- gewandten Übermenschen propagiert, und bis dahin eher eine Pianisten-Karriere ange- brillante, von mitreißender rhythmischer Ener- ling and helping the musical work achieve das auch Gustav Mahler (3. Sinfonie) und strebt hatte, sich defi nitiv der Komposition gie und feinem Klangsinn getragene Wieder- the greatest possible effect with his accuracy Frederick Delius (A Mass of Life) zu Komposi- zuzuwenden. gabe zuteilwerden. and vision. As solo oboist with the Gewand- tionen anregte. Strauss hatte freilich nicht im Die Tanz-Pantomime Der wunderbare Man- Peter T. Köster haus Orchestra and répétiteur at the Leipzig Sinn, Philosophie in Töne umzusetzen. Für ihn darin markiert den Höhepunkt von Bartóks Opera, he became intimately acquainted war – wie er an Romain Rolland schrieb – das expressionistischer Phase und enthält die kom- with the inner workings of an orchestra, as well poetische Programm „nichts anderes als der promissloseste, aggressivste Musik, die der as how to deal with singers, which profi ted of formbildende Anlass zum Ausdruck und zur Komponist je geschrieben hat. Die Urauffüh- his work as a concert and opera conductor rein musikalischen Entwicklung meiner Emp- rung 1926 in Köln wurde zu einem an Strawins- from then on. His career as a conductor led fi ndungen... Mehr als ein gewisser Anhalt soll kys Sacre du printemps erinnernden Skandal by way of Chemnitz, Weimar and Dresden to auch für den Hörer ein solch analytisches Pro- – nicht zuletzt wegen der „unsittlichen“ Hand- the head of the Bavarian State Opera, where gramm nicht sein. Wen es interessiert, der be- lung, die den damaligen Kölner Oberbürger- he became the successor to Georg Solti nütze es. Wer wirklich Musik zu hören versteht, meister Konrad Adenauer veranlasste, jede in 1952. He conducted at the Vienna State braucht es wahrscheinlich gar nicht.“ weitere Aufführung zu verbieten: Opera, at Covent Garden in London, at the In diesem Sinne macht Kempe Zarathustra zu In einem schäbigen Vorstadtzimmer zwingen New York Met, in Buenos Aires and at festivals einem orchestralen Fest, das den Hörer vom drei Zuhälter ein Mädchen dazu, Männer von in Edinburgh, Salzburg and Bayreuth. grandiosen Sonnenaufgangs-Beginn (der der Straße anzulocken, um sie zu überfallen In the 1960s, Kempe turned increasingly to the durch Kubricks Film 2001 – Odyssee im Welt- und auszurauben. Nach zwei mittellosen Frei- concert repertoire. As successor to Sir Thomas raum berühmt wurde) bis zum mystischen ern erscheint ein chinesischer Mandarin, den Beecham, he took over the direction of the Schluss nicht aus seinem Bann entlässt. das Mädchen mit einem lasziven Tanz um- Royal Philharmonic Orchestra in London, in garnt. Die Zuhälter rauben ihn aus und ver- 1965 he became chief conductor of the Ton- Bartok: suchen erfolglos auf verschiedene Arten ihn halle Orchestra in Zurich, and in 1967 General Der wunderbare Mandarin – Sinfonische Suite umzubringen. Erst nachdem sich das Mäd- Music Director of the Munich Philharmonic. Kempes Repertoire war weit umfangreicher, chen ihm hingegeben hat, stirbt er an seinen This collaboration – like that with the London als seine Studio-Einspielungen vermuten las- Verletzungen. BBC Orchestra, whose direction he took on in sen. Vor allem sein Einsatz für zeitgenössische Bartóks Musik charakterisiert mit hämmern- 1975 – came to an end much too soon when Kempe died at the age of only sixty-fi ve years. thinning them out in the manner of chamber interest in contemporary music. For instance, ming passion. In view of the small chance of music and liberating them from all their Wil- Béla Bartók is entirely lacking, and here is its being performed on stage, Bartók revised Kempe's models were the great conductors helminian pomp. where this concert recording fi lls an awkward the work in 1928, making it into a concert under whom he had played as oboist from Richard Strauss wrote his half-hour tone poem void. The combination of Strauss and Bar- suite. This was given a brilliant performance, 1929 to 1936: Furtwängler, Klemperer,
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