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AMERICAN CLASSICS Ernst TOCH Tanz-Suite • Cello Concerto 8.559324 Spectrum Concerts Berlin Christian Poltéra, Cello

8.557199 “It takes supreme technical control and a sixth sense for delicate nuance to fully convey the work's subtle sound world ... all of the performances are on the highest level.” — Classics Today

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Ernst Toch (1887-1964) Tanz-Suite, Op. 30 • Cello Concerto, Op. 35 Also available: Silence is part of music’s morality. One does not hear the numerous relatives from the Holocaust. From 1938 to unwritten works and the creative silence but they 1945 Ernst Toch wrote almost nothing that he wanted to influence everything which will be written afterwards. conceive and elaborate on, writing practically only film They are part of the artistic essence and character of an scores from which he was able to earn a living for himself artist just as much as the works which were finished. The and his family. same holds true for Ernst Toch. His works fall into two The Tanz-Suite, Op. 30, and the Cello Concerto, 8.559173 large groups, works composed up to 1938 and those Op. 35, written in 1923 and 1924 in Mannheim, where composed after 1945. Having lived in Berlin since 1929, Toch had been a professor of composition at the “The disc of John Harbison’s Toch left Germany shortly after the National Socialist Musikhochschule since 1913, are associated with his chamber music is an absolute party took power and emigrated, via Paris, to London. successful career during the 1920s; they show his winner... Everyone who loves before finally settling in the United States. individual and integrating position amid the different Born in Vienna, Toch received the Mozart prize in currents and trends of the post-war period of disruption. chamber music needs this disc.” 1909 and the Mendelssohn prize in 1910. He was, to a The Cello Concerto was published in 1925 by Schott in — Fanfare large extent, self-taught. Not only was he able to claim a Mainz. The score bears the following imprint: “Awarded a place for himself in the vivacious music scene of the early prize in the 1925 publishing-house competition”. twentieth century, but developed into one of the most often In his Tanz-Suite for chamber ensemble, with performed serious composers through his sheer creative prominent percussion, Toch comes to terms with energy and intellectual scope. This was the state of his contemporaries such as Igor Stravinsky and Béla Bartók. reputation at the time he left Berlin in 1933 to finish and Bartók composed his Tanz-Suite like Toch in 1923; synchronize his great music score for Katharina die Große Stravinsky had compiled already before the First World (Catherine the Great). He would never return to Germany War excerpts from his ballets into suites for concert or Austria again. Ernst Toch died at almost 77 years of age performance. Toch’s Dance Suite consists of six on 1st October, 1964, in Santa Monica where, after a two- characteristic movements of different lengths, written like year period in New York, he spent altogether 28 years, the miniature dance scenes, structured in short but distinctive longest period living in one place in his whole life. sections which are partly repeated and varied. One can The fact that Toch could not achieve the level of imagine various kinds of choreographies: a ballet with a 8.557153 success in the United States that he enjoyed in Europe was fantasy story (the music assumes a narrative quality over a accepted by him as a fate largely shared with other longer period), an abstract ballet which leaves the “...these are among the composer’s immigrants. His music, which came to terms with all responsibility for the inner coherence to the music, or a most winning music, making up a modern musical trends in an idiosyncratic and creative piece in the mood of Oskar Schlemmer’s Triadic Ballet, superb disc, brilliantly played and way, without being completely committed to any one, replacing human dancers with movable puppets. All three recorded ... inspiring dedicated seemed certain of broad acceptance, as had happened with types were cultivated during the 1920s, and Toch was Igor Stravinsky and Paul Hindemith. Yet Toch was not more or less focused equally on all three forms (even if the playing...” — The Guardian good at selling himself. “He could not even promote a Triadic Ballet only appeared a few years after the Tanz- glass of water“(Herbert Zipper). He initially concentrated Suite). his energies on rescuing his relatives, amid the A concert performance without the visual aspect of developments in and around Germany, from Nazi- the dance gives the listener not only the opportunity of free persecution and helping them to emigrate to America. He association but also draws one’s attention to the musical later became deeply depressed as he was not able to save structure such as the relationship between solo phrases and

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exponiertem Schlagzeug) setzt sich Toch mit Das Cellokonzert op. 35 vereint Modernität mit duos, trios and ensembles. The dance is sublimated in The first movement impresses with a delicate and Zeitgenossen wie Igor Strawinsky und Béla Bartók musikantischer Unmittelbarkeit. Darin steht es Paul itself, the individual actions of the protagonist, the Pas de subtle texture where the main events return again and auseinander. Bartók komponierte seine Tanz-Suite wie Hindemiths Kammermusiken für ein Soloinstrument deux, Pas de trois and group dances. The art of dance has again, only to integrate themselves back into the fiiligree Toch 1923; Strawinsky stellte schon vor dem Ersten und Ensemble nahe. Trotz seiner symphonischen thus become music with its complete spectrum of texture. The soloist has the leading part, playing now and Weltkrieg Auszüge aus seinen Balletten zu Suiten für Dimensionen ist es als ein Kammerkonzert für einen expressions from the elegaic to the grotesque. The then by himself, most of the time as first among equals. den Konzertgebrauch zusammen. Tochs Opus 30 Solisten und eine elfköpfige Instrumentalgruppe beginning is conceived as an overture; the finale is a great The whole movement is composed like a multilayered besteht aus sechs charakteristischen Sätzen komponiert. Damit griff Toch einen Trend auf, der in waltz scene. Calm and animated, melancholic and serene, dialogue, like finely illuminated dialectics between the unterschiedlicher Länge. Sie sind in sich wie Schönbergs und Schrekers Kammersymphonien und in with intervening alternating bitter-sweet and ironic individual and the whole. The fast second movement is Tanzszenen en miniature angelegt, gegliedert in kurze, Alban Bergs Kammerkonzert seinen exponierten phrases. Toch’s Dance Suite comes at the point of one of those pieces which one would describe as deutlich unterschiedene Abschnitte, die zum Teil Ausdruck fand. Alle diese Werke zielten auf intersection of several tendencies of the 1920s. The ‘motoric’. Toch’s kinetic energy occurs when quick wiederkehren und variiert werden. Man kann sich Transparenz, auf Klarheit des musikalischen Satzes, auf composer was on the promising path to success. march-like rhythms meet unbroken elements which can verschiedene Arten von Choreografien dazu vorstellen: Deutlichkeit jedes Einzelereignisses und auf innere The Cello Concerto, Op. 35, combines modernity build up to a perpetuum mobile. In contrast the third ein Ballett mit einer Fantasiehandlung (die Musik Konsequenz. Toch stattete sein Ensemble außerdem mit with musical immediateness, thus being close to Paul movement starts more introspectively with a cello solo, an nimmt über weite Strecken erzählerische Qualitäten an), einem ungewöhnlich reichen Schlagzeug aus. Hindemith’s chamber works for solo instrument and expressive melody. The solo part gradually fans out into a ein abstraktes Ballett, das der Musik die Verantwortung Der erste Satz besticht durch das zarte, feine Gewebe ensemble. Despite its symphonic dimensions it was complete ensemble of the strings before the oboe für den inneren Zusammenhang überlässt, oder eine der Stimmen, aus dem Hauptereignisse immer wieder composed as a chamber concerto for a soloist and eleven introduces an additional melody. The brilliance of the last Inszenierung im Sinne Oskar Schlemmers „Triadischen hervortreten, um sich wieder in das filigrane players. Toch took up a trend which was expressed in movement comes from the virtuoso collaboration of the Balletts“, das menschliche Tänzer durch bewegliche Gesamtgefüge zu integrieren. Der Solist spielt die Schoenberg’s and Schreker’s Kammersymphonien and in individual players and the ensemble. Puppen ersetzte. Alle drei Arten wurden in den Hauptrolle, agiert dann und wann allein, meist aber als Alban Berg’s Kammerkonzert. All these works aimed at zwanziger Jahren gepflegt. Toch stand gleichsam in Erster unter Gleichen. Der ganze Satz ist wie ein transparency, clarity of musical movement, distinctness of Habakuk Traber ihrem Fokus (auch wenn das „Triadische Ballett“ erst vielschichtiger Dialog komponiert, als fein each single incident and at inner logic. Toch also enriched einige Jahre nach der Tanz-Suite aufkam). ausgeleuchtete Dialektik zwischen Einzelleistung und his instrumentation with an unusual display of percussion. English translation: Markus Koch Eine konzertante Aufführung lässt dem Hörer nicht Gesamtwirkung. Der rasche zweite Satz gehört zu der Art nur die Freiheit der Assoziation, sie lenkt die von Stücken, die man gern als „motorisch“ bezeichnet, Aufmerksamkeit auch stärker auf die musikalische weil sie konzentrierte Bewegungsimpulse mitreißend Spectrum Concerts Berlin Struktur, etwa auf das Verhältnis solistischer Passagen ausspielen. Die kinetische Energie entsteht bei Toch aus zu Duos, Trios und Ensembles. Darin ist der Tanz selbst der Spannung zwischen schnellen, marschartigen Founded by the American cellist Frank Dodge in 1988, Spectrum sublimiert, die Einzelaktion des Protagonisten, die pas Rhythmen und ungebrochenen Bewegungen, die sich Concerts Berlin has become one of Germany’s most significant voices in de deux, pas de trois und Gruppentänze. Die Tanzkunst leicht zu einem perpetuum mobile steigern könnten. Der the world of chamber music. Reviewers have showered praise on ist ganz Musik geworden mit der ganzen Bandbreite dritte Satz beginnt dagegen wie nach innen gewandt mit Spectrum Concerts Berlin for years, both in reviews of live performances ihres Ausdrucks von der Elegie bis zur Groteske. Der einem Solo des Violoncellos, einem ausdrucksvollen at the Philharmonie’s Kammermusiksaal and in recordings. Spectrum Anfang ist wie eine Ouvertüre konzipiert; den instrumentalen Gesang. Der Solopart fächert sich Concerts Berlin members, in addition to the performers on this recording, Abschluss bildet eine große Walzerszene. Dazwischen allmählich in einen ganzen Streichersatz auf, ehe die include Janine Jansen, Annette von Hehn, Maxim Rysanov, Torleif wechseln sich ruhige und lebhafte, melancholische und Oboe einen Seitengedanken einführt. Der letzte Satz Thedéen, Emmanuel Pahud, Daniel Blumenthal and Robert Levin. The heitere, bittersüße und ironische Passagen ab. Tochs erhält seinen Elan aus dem Zusammenwirken von Einzel- mission of Spectrum Concerts Berlin expanded in 2006 with the opening Suite steht im Schnittpunkt mehrerer Tendenzen der und Ensemble-Virtuosität. of Spectrum Concerts Berlin – USA, Inc., a sister organization based in zwanziger Jahre. Der Komponist befand sich auf dem New York City which presents Spectrum Concerts Berlin to New York hoffnungsvollen Weg zum Erfolg. Habakuk Traber audiences at Carnegie’s Zankel Hall. www.spectrumconcerts.com From left to right: Hartmut Rohde, Annelieke van Beest, Maartin Jansen, Julia-Maria Kretz, Christian Poltéra, Janine Jansen, Annette von Hehn, Joel Waterman

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Christian Poltéra Ernst Toch (1887–1964) Tanz-Suite op. 30 • Cellokonzert op. 35 The cellist Christian Poltéra studied with Nancy Chumachenco, Boris Pergamenschikow and Heinrich Schiff. As soloist he has appeared with the Tonhalle Orchester Zürich, Vienna zurück. Ernst Toch starb am 1. Oktober 1964, knapp 77 and Düsseldorf Symphony Orchestras, Northern Sinfonia of England, Oslo and Jahre alt, in Santa Monica, seiner neuen Heimat, in der Copenhagen Philharmonic Orchestras, BBC Symphony Orchestra, RSO Moscow, the er nach zweijährigem Aufenthalt in New York Berlin Symphony Orchestra, Bamberg Symphony Orchestra, Orchestre Philharmonique de insgesamt 28 Jahre, den längsten Abschnitt seines Monte Carlo, BBC Scottish Symphony Orchestra, Stavanger Symfoni Orkest, Lebens, zugebracht hatte. Gewandhausorchester Leipzig with Riccardo Chailly, on tour with the SWR Symphony Dass er in den USA an die einstigen europäischen Orchestra Baden-Baden, and with the Accademia Santa Cecilia of Rome and the American Erfolge nicht mehr anknüpfen konnte, teilte er als Symphony in New York. As a chamber musician Christian Poltéra performs with Thomas Schicksal nur äußerlich mit anderen Emigranten. Seine Zehetmair, Gidon Kremer, Leonidas Kavakos, Julius Drake, Lars Vogt and Leif Ove Musik, die sich mit allen Strömungen der damaligen Andsnes. He is a chamber-music partner of the Auryn Quartet, Zehetmair Quartet, Panocha Moderne eigenwillig und kreativ auseinandersetzte, Quartet and Guarneri Quartet. Some of his recordings include Antonín Dvoﬁák’s Cello ohne sich einer ganz zu verschreiben, hätte in der Neuen Concerto with the Musikkollegium Winterthur with Heinrich Schiff conducting, the Welt durchaus Chancen auf breitere Resonanz gehabt; Quintet by Schubert with the Auryn Quartet for Tacet and chamber music of Ernst von Strawinsky und Paul Hindemith belegen dies. Aber Dohnányi with Spectrum Concerts Berlin on Naxos [8.557153]. In 2004 he received the Toch war einerseits kein guter Selbstvermarkter, „er Borletti-Buitoni Trust Award and was selected as the BBC New Generation Artist. konnte nicht einmal ein Glas Wasser anpreisen“ Christian Poltéra performs on a cello by Antonio Casini of 1675. www.christianpoltera.com (Herbert Zipper), andererseits konzentrierte er angesichts der Entwicklungen in und um Deutschland Zur Moralität der Musik gehört auch ihr Verstummen. seine Energien immer stärker darauf, Angehörige in Priya Mitchell Die ungeschriebenen Werke und das schöpferische Europa vor der Nazi-Verfolgung zu retten und ihnen zur Schweigen hört man nicht. Doch sie beeinflussen das, Emigration nach Amerika zu verhelfen. Dass er etliche The violinist Priya Mitchell studied at the Yehudi Menuhin School, Vienna Conservatory was nach ihnen entsteht. Zum künstlerischen Wesen und Verwandte nicht mehr vor dem Tod in der Schoa and with Zachar Bron in Germany. In 1994 the Young Concert Artists Trust in London Charakter eines Komponisten gehören sie ebenso wie bewahren konnte, warf ihn in tiefe Depressionen. 1938 selected her for representation. She was chosen as the British representative for the die Arbeiten, die er vollendete. So bei Ernst Toch. Sein bis 1945 verstummte der Komponist Ernst Toch, so weit European Concert Halls Organization Rising Stars series, and in the 1997/98 season gave Schaffen zerfällt in zwei große Gruppen: die Werke, die er Eigenes, autonom Gestaltetes konzipieren und recitals in Paris, Vienna, Frankfurt, Amsterdam, Brussels and New York’s Carnegie Hall. er bis 1938, und diejenigen, die er nach 1945 ausarbeiten wollte, fast ganz. Er schrieb praktisch nur Highlights in her career include performing the Sibelius Violin Concerto with the Russian komponierte. Schon kurz nach Machtantritt der National- noch Filmmusiken. Mit ihnen verdiente er sich und Philharmonic Orchestra and conductor Yuri Temirkanov, Mendelssohn’s Concerto with the sozialisten verließ er Deutschland und emigrierte seiner Familie den Lebensunterhalt. BBC Philharmonic at the St Magnus Festival, the Bruch Concerto with the Philharmonia, zunächst über Paris nach London, dann in die USA. Die Tanz-Suite op. 30 und das Cellokonzert op. 35, Vaughan Williams’s The Lark Ascending with Sinfonia Varsova and Yan Pascal Tortelier at Seit 1929 hatte er in Berlin gelebt. Als Komponist 1923 und 1924 in Mannheim geschrieben, wo Toch seit Symphony Hall Birmingham and Walton’s Violin Concerto with Sir Andrew Davis and the war der gebürtige Wiener, der 1909 den Mozart- und 1913 eine Professur für Komposition an der BBC Symphony Orchestra. She has also performed concertos with the English Chamber 1910 den Mendelssohnpreis für seine Werke gewann, Musikhochschule innehatte, verbinden sich mit Tochs Orchestra, Royal Liverpool Philharmonic Orchestra, London Mozart Players, Deutsche weitgehend Autodidakt. Dass er sich als solcher in der Erfolgslaufbahn in den zwanziger Jahren; sie zeigen Sinfonie Orchester Berlin, the Belgian National Orchestra and the BBC Scottish Symphony gärenden Musikszene des frühen 20. Jahrhunderts nicht seine individuelle und integrative Position im Kraftfeld Orchestra. nur behaupten, sondern zu einem der meist aufgeführten der unterschiedlichen Richtungen und Strömungen, die Autoren ernster Musik entwickeln konnte, zeugt von den Aufbruch in jener Nachkriegszeit unterstreichen. schöpferischer Energie und geistiger Weite. Das war Das Cellokonzert erschien 1925 im renommierten sein Stand, als er 1933 Berlin verließ, um seine Mainzer Verlagshaus Schott & Söhne. Die Partitur trägt großartige Musik für den Film Katharina die Große den Aufdruck: „Bei dem Wettbewerbe des Verlags 1925 fertigzustellen und zu synchronisieren. Er kehrte mit einem Preise ausgezeichnet.“ schließlich nie mehr nach Deutschland oder Österreich In seiner Tanz-Suite für Kammerensemble (mit 8.559282 4 9 8.559282 559282 bk Toch US 8/10/06 2:40 PM Page 8

Bernhard Krug Julia-Maria Kretz

Bernhard Krug was born in 1967. His musical studies began at the age of six with the The violinist Julia-Maria Kretz was born in Berlin in 1980. She studied with Marianne Boettcher at the Julius Stern piano and at the age of sixteen he began studying the horn as a pupil of Anton Hammer. Institute of the University of Arts Berlin and with Thomas Brandis and Josef Suk in Prague. She is first prize winner He continued his studies with Gerd Seifert at the University of Arts Berlin and later at the of the German music competition Jugend musiziert, and was awarded the classical prize from West German Radio Orchestra Academy of the Berlin Philharmonic Orchestra, where he graduated with (WDR). She is also first prize winner of the Marie-Luise Imbusch-Stiftung. She has appeared as soloist with the distinction. He was scholar of the Foundation for Higher Studies of the German People, Nuremberg Symphony Orchestra, the State Orchestra Thessaloniki and the Philharmonic Orchestra Bad and became a member of the Gewandhaus Orchestra in Leipzig in 1991 and principal Reichenhall. Julia-Maria Kretz is also a member of the Mahler Chamber Orchestra. She has performed at the horn in 1992. In 1999 he became a member of the Bayreuth Festival Orchestra. He has Schleswig-Holstein Music Festival, the International Music Festival Young Prague and the Mozarttage Salzburg. appeared as a soloist with renowned orchestras playing horn concertos by Mozart, Haydn, She has been a member of Spectrum Concerts Berlin since 2004. Glière, Strauss, Telemann, and Weber. As a chamber musician he has toured Germany, France, Japan, Mexico, Austria, Spain and the United States in different ensembles, such as the Gewandhaus Oktett Leipzig, of which he is a founding member. Bernhard Krug Hartmut Rohde teaches at the Felix Mendelssohn Bartholdy University of Music and Theatre in Leipzig and gives masterclasses at universities in Germany and Japan. The viola-player Hartmut Rohde began studying the violin and viola at the age of nine in Celle, as a pupil of Hatto Beyerle. He is now professor of viola at Berlin’s University of Arts and guest professor at the Royal Academy in London. He is a founding member of the Kandinsky String Trio and the Mozart Piano Quartet. He frequently tours the United Daniel Tummes States, Australia, Europe and Korea and has performed at the Salzburg, Berlin, Pablo Casals, Ravinia and Rheingau Festivals. Hartmut Rohde has recorded for Decca, Arte Nova, Naxos and Darbinghaus + Grimm. In 2003 he received the Daniel Tummes studied percussion, piano and composition at the Mainz Conservatory. He was a student of Klaus Echo Classic Prize together with the Leipzig String Quartet for their recording of Richard Strauss’s Metamorphosen and Kiessner, Thomas Lutz and David Punto, and is active in Berlin with all the Berlin orchestras and opera houses. He Capriccio. He is winner of the first prize of the German Music Competition, the International Academy Mozarteum is a member of Percussion Project Rostock and the Tim Fischer Band. Salzburg and the Best Interpretation of Contemporary Music at the Naumburg Competition in New York. Hartmut Rohde plays a viola by Michael Ledfuss (2002) and a violin by Giuseppe Fiorini (1899). www.hartmutrohde.de Thomas Carroll Frank Dodge Born in Swansea, Thomas Carroll studied with Melissa Phelps at the Yehudi Menuhin School and with Heinrich Schiff in Austria. Over the last two years he has made his Frank Dodge studied with Jacobus Langendoen, Aldo Parisot, Pierre Fournier, Wigmore Hall début and New York concerto début at the Alice Tully Hall, along with début Eberhard Finke and Maurice Gendron, and attended masterclasses of Janos Starker recitals in New York, Boston, and Washington, D.C. At the opening of the last season and Mstislav Rostropovich. He received a bachelor’s degree from the New England Thomas Carroll made his début with the Royal Scottish National Orchestra and Sofia Conservatory and a master’s from Yale University. Dodge was founding member of Philharmonic Orchestra and performed as soloist with the BBC National Orchestra of the Portsmouth Chamber Ensemble, winners in 1981 of the Artists International Wales and ViVA. He has given recitals at the Louvre in Paris, Konzerthaus in Vienna, Competition in New York and frequent guests on series such as the Cleveland Marianische Saal in Lucerne, the Dubrovnik Festival, Mecklenburg Festival and the Museum of Art at University Circle, the Harvard Musical Association, Carnegie International Chamber Music Festival in Utrecht with Janine Jansen, Julian Rachlin and Recital Hall, Bay Chamber Concerts and the Machais Bay Chamber Concerts. He Ensemble. As a chamber musician he has appeared with the Belcea Quartet, Chilingirian lived in New York from 1978 to 1982 as a member of the Opera Orchestra of New Quartet, Endellion Quartet, Ivry Gitlis, Gidon Kremer, Steven Isserlis, Michael Collins, York, the St Luke’s Chamber Ensemble, the Orchestra of our Time and as principal Julian Rachlin at Wigmore Hall, and at the Edinburgh and Cheltenham International Festivals, among many others. cellist of the Stanford Symphony. Fellowships from the National Endowment for the His concerto work has included appearances with the London Symphony, Philharmonia, BBC National Orchestra of Arts, the New Hampshire Commission on the Arts, the Martha Baird Rockefeller Fund Wales, London Mozart Players, ViVA, Orchestra of the East Midlands, Prague Philharmonic and the Bayerischer for Music, Inc. and the Greater Piscataqua Community Foundation supported his Rundfunk Orchestra. With his piano trio Dimension he won the Parkhouse Award. USA-based endeavours. Frank Dodge moved to Berlin in 1982. A two-year fellowship from the Frank Huntington Beebe Fund for Musicians in Boston and two Individual Artists Fellowships from the New Hampshire State Council on the Arts assisted him 8.559282 8 5 8.559282 559282 bk Toch US 8/10/06 2:40 PM Page 6

with study abroad. From 1983 to 1993 he performed regularly with the Berlin Philharmonic Orchestra. A Highlands Nigel Shore tour as principal cellist of the Scottish Chamber Orchestra under the direction of Jaime Laredo followed in the spring of 1985. He then returned to Berlin where he has lived since. He founded Spectrum Concerts Berlin in 1988. The English oboist Nigel Shore is currently principal first oboe at the Komische Oper Berlin. After four years with His work in Berlin has been supported by the Ernst von Siemens Foundation in Munich, the Aaron Copland Fund the Berlin Philharmonic Orchestra, he became a much sought-after player in numerous chamber orchestras for Music, the Robert Helps Music Trust, the Körber Foundation and the Koussevitzky Music Foundation. Frank internationally, such as the Kammerorchester Carl Philipp Emanuel Bach, the Academy of St Martin-in-the-Fields, Dodge performs on a cello by Antonio Casini dated 1676 from Modena. www.spectrumconcerts.com the Mahler Chamber Orchestra, the Internationale Bachakademie Stuttgart and the Kammerorchester Berlin. Over the last twenty years solo engagements have taken him regularly to Japan, Russia, the Middle East, North and South America and throughout Europe, for concerts with artists such as Peter Schreier, Hartmut Haenchen, Saulius Stacey Watton Sondeckis, Paul Goodwin, Frank-Peter Zimmermann, Jochen Kowalski and Paco de Lucia. He was a founding member of the Berlin Oboe Quartet, which commissioned and recorded many important new works for oboe and Stacey Watton made his concerto début as a double bass player at the age of thirteen. string trio, Ensemble Aureus which undertook concert and education work worldwide for the Goethe-Institut and, He studied at the Guildhall School of Music and Drama in London, where he won the more recently, KO5, the Wind Quintet of the Komische Oper Berlin, which continues the lively tradition of wind Eugene Cruft Prize. He was also a prize-winner at the Koussevitsky Double Bass chamber music established at the Comic Opera in a regular series of Berlin concerts. competition in Moscow in 1995. Stacey Watton is principal bass with the Primavera Chamber Orchestra, the English Classical Players, the Johann Strauss Gala Orchestra Lars Wouters van den Oudenweijer and with the London Chamber Orchestra. He also appears as a guest principal with groups such as the English Chamber Orchestra, Britten Sinfonia, Guildhall String Dutch clarinettist Lars Wouters van den Oudenweijer graduated with distinction at the Ensemble, the London Mozart Players, London Philharmonic, Royal Philharmonic, and Rotterdam Conservatory with Walter Boeykens and continued his studies at the Juilliard the National and Hallé Symphony Orchestras. As a chamber music player he has School with clarinettist Charles Neidich, supported by Fulbright and Bernstein performed with Julian Rachlin, Daniel Mueller-Schott, Anthony Marwood and Janine scholarships. He is a first prize winner of the National Concours of the Jong Muziektalent Jansen, and in duo recitals with Steven Isserlis at the Bath Mozart Fest and Wigmore Nederland Foundation and the National Final of the Prinses Christina Concours, for which Hall in London. Stacey Watton is founder of the Esprit Ensemble. He has recorded with Gary Karr and the London he was awarded the Gaudeamus and the Residentie Orkest prize. In 1999 he received the Double Bass Sound. www.espritensemble.com Philip Morris Finest Selection Prize. As a soloist Lars Wouters van den Oudenweijer has performed with the Rotterdam Philharmonic Orchestra, the Netherlands Chamber Orchestra and the Beethoven Academie. As a member of the Delos Ensemble he toured Marieke Schneemann throughout Bosnia Herzegovina and the Middle East. With the Euterpe Wind Quintet he has recorded Willem Jeth’s Onde, and as a chamber musician he performs with Maurice The flautist Marieke Schneemann studied with Karl-Friedrich Mess at the Musikhochschule Bourgue, Charles Neidich, Eduard Brunner, Miranda van Kralingen and with the Cleveland Stuttgart and with Frans Vester at the Royal Conservatory in The Hague where she was awarded the Quartet. Theodoris Abaziz composed the piece Euro for him, of which he gave the première soloist’s diploma cum laude. Marieke Schneemann was Principal Flautist with the Rotterdam in Carnegie Hall in 2001. His recording of works by Reger, Berg and Keuris for Emergo Philharmonic Orchestra under Valery Gergiev and member of the Netherlands Wind Ensemble and Classics received the Edison Award Young Masters. He also appears on several Naxos recordings with Spectrum the Fodor Quintet. As a recitalist she performs with pianist Marietta Petkova, harpist Godelieve Concerts Berlin. Lars Wouters van den Oudenweijer has been a member of Spectrum Concerts Berlin since 2000. Schrama and cimbalom players Michiel Weidner and Jan Rokyta. With Ralph van Raat she focuses on the performance of contemporary music and together they have recorded solo works by Rudolf Catherine McGuire Escher. With Marietta Petkova she has recorded a CD devoted entirely to songs by Gabriel Fauré. She has performed at international festivals and appeared as a soloist with the Rotterdam Philharmonic Orchestra, The bassoonist Catherine Maguire was born in Manchester in 1971 and was a pupil of Graham Salvage at the Netherlands Radio Philharmonic Orchestra, Nieuw Sinfonietta Amsterdam, Ulster Orchestra and I Solisti di Chetham’s School of Music. After reading music at Cambridge University and a postgraduate year at the Royal Zagreb under the conductors Edo de Waart, Roy Goodman, Marc Minkovsky, Thierry Fischer, Ivan Fischer, Iwaki Academy of Music in London, she moved to Germany to continue her studies with Klaus Thunemann. In 1996 she Hirokami and George Benjamin. She teaches as a Professor at the Conservatory of Amsterdam. won the highest prize in the Prague Spring International Bassoon Competition and from 1997 to 1999 was a member of the Berlin Philharmonic Orchestra Academy. She was principal bassoon of the Bremen Philharmonic for three years before becoming principal bassoon of the Komische Oper Berlin in 2002. As a conductor she directs various ensembles in Berlin and is a tutor with international youth orchestras.

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Bernhard Krug Julia-Maria Kretz

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AMERICAN CLASSICS Ernst TOCH Tanz-Suite • Cello Concerto 8.559324 Spectrum Concerts Berlin Christian Poltéra, Cello

8.559282 12 CMYK NAXOS Playing Ernst Time: TOCH 57:35 (1887-1964) broadcasting and copying of this compact disc prohibited. translations reserved. Unauthorised public performance, All rights in this sound recording, artwork, texts and 8.559282 Tanz-Suite for Flute, Clarinet, Violin, & Viola, Double Bass and Percussion, AMERICAN CLASSICS Op. 30 (1923-24)* 29:53 2006 Naxos Rights International Ltd. • Made in Canada Ernst Toch was among the most neglected 1 Anstürmend, ziemlich rasch composers of the 20th century. He was TOCH: (Roter Wirbeltanz) 4:50 born in Vienna and lived in Berlin from 2 Schwer, lastend (Tanz des Grauens) 5:55 1929 until he was forced to emigrate in 3 Intermezzo: Fließende Achtel 2:42 1933, eventually settling in the United 4 Gemessen (Tanz des Schweigens) 4:13 States. However, in the United States 5 Intermezzo: Lebhaft 2:42 Toch’s music did not achieve the level of 6 Mäßige Viertel (Tanz des Erwachens) 9:31 success it had enjoyed in Europe. The Tanz-Suite • Cello Concerto Concerto for Cello and Tanz-Suite and Cello Concerto, written in Chamber Orchestra, Op. 35 (1924-25) 27:41 Mannheim in 1923 and 1924, are the perfect demonstration of how Toch’s 7 Allegro assai moderato 10:36 music came to terms with all modern 8 Agitato 3:09 musical trends in an idiosyncratic and 9 Adagio 9:32 creative way, without being completely 0 Allegro vivace 4:24 committed to any one. Since the 1990s Spectrum Concerts Berlin there has been a gradual revival of interest in Toch’s work, in which Spectrum Christian Poltéra, Cello Concerts Berlin has taken a decisive part. Priya Mitchell*, Julia-Maria Kretz, Violin Hartmut Rohde, Viola* • Frank Dodge, Cello

Tanz-Suite • Cello Concerto Tanz-Suite Stacey Watton, Double Bass* Marieke Schneemann, Flute* • Nigel Shore, Oboe Lars Wouters van den Oudenweijer, Clarinet* Catherine Maguire, Bassoon This disc has been generously supported Bernhard Krug, Horn by the Ernst Toch Society, the Aaron

TOCH: TOCH: DDD Daniel Tummes, Percussion* Copland Fund for Music, Inc., the Thomas Carroll, Conductor Cultural Section of the American Embassy Berlin and the Berlin Philharmonic. Tracks 1-6 recorded from 1st to 3rd May, 2006, and tracks 7-10 recorded live on 3rd May, 2006, at the Kammermusiksaal www.naxos.com 8.559282 8.559282 of the Philharmonie, Berlin. Producer, engineer and editor: Christoph Franke Assistant engineer: Laura Bährle Booklet notes: Habakuk Traber • Publisher: Schott Musik Cover image: In Europa © Alan Magee NAXOS American Classics tray insert 24/10/2003 9:01 am Page 1

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