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Bläserphilharmonie Mozarteum Salzburg BLÄSERPHILHARMONIE MOZARTEUM SALZBURG DANY BONVIN GALACTIC BRASS GIOVANNI GABRIELI ERNST LUDWIG LEITNER RICHARD STRAUSS ANTON BRUCKNER WERNER PIRCHNER CD 1 WILLIAM BYRD (1543–1623) (17) Station XIII: Jesus wird vom Kreuz GALAKTISCHE MUSIK gewesen ist. In demselben ausgehenden (1) The Earl of Oxford`s March (3'35) genommen (2‘02) 16. Jahrhundert lebte und wirkte im Italien (18) Station XIV: Jesus wird ins „Galactic Brass“ – der Titel dieses Pro­­­ der Renaissance Maestro Giovanni Gabrieli GIOVANNI GABRIELI (1557–1612) Grab gelegt (1‘16) gramms könnte dazu verleiten, an „Star im Markusdom zu Venedig. Auf den einander (2) Canzon Septimi Toni a 8 (3‘19) Orgel: Bettina Leitner Wars“, „The Planets“ und ähnliche Musik gegenüber liegenden Emporen des Doms (3) Sonata Nr. XIII aus der Sterne zu denken. Er meint jedoch experimentierte Gabrieli mit Ensembles, „Canzone e Sonate” (2‘58) JOHANN SEBASTIAN BACh (1685–1750) Kom ponisten und Musik, die gleichsam ins die abwechselnd mit­ und gegeneinander (19) Passacaglia für Orgel c­Moll, BWV 582 ERNST LUDWIG LEITNER (*1943) Universum der Zeitlosigkeit aufgestiegen musizierten. Damit war die Mehrchörigkeit in der Fassung für acht Posaunen sind, Stücke, die zum kulturellen Erbe des gefunden, die Orchestermusik des Barock Via Crucis – Übermalungen nach den XIV von Donald Hunsberger (6‘15) Stationen des Kreuzweges von Franz Liszt Planeten Erde gehören. eingeleitet und ganz nebenbei so etwas für Orgel, Pauken und zwölf Blechbläser, RICHARD STRAUSS (1864–1949) wie natürliches Stereo. Die Besetzung mit Uraufführung (20) Feierlicher Einzug der Ritter des William Byrd, der berühmteste Komponist verschiedenen Blasinstrumenten war flexibel Johanniter­Ordens, AV 103 (6‘40) Englands in der Zeit William Shakespeares, und wurde den jeweiligen Räumen ange­ (4) Hymnus „Vexilla regis“ (1‘12) hat einen Marsch für jenen Earl of Oxford passt. (5) Station I: Jesus wird zum Tod (2‘01) CD 2 geschrieben, der vielleicht sogar Shakespeare verurteilt ALFRED UHL (1909–1992) (6) Station II: Jesus trägt sein Kreuz (2‘30) (1) Fanfare für Blechbläser (1‘20) (7) Station III: Jesus fällt zum ersten Mal (0‘41) ANTON BRUCKNER (1824–1896) (2) 150. Psalm in der Fassung für 12 (8) Station IV: Jesus begegnet Maestro Giovanni Gabrieli lived in Blechbläser, Orgel und Pauke von Ernst GALACTIC MUSIC seiner Mutter (1‘46) Renaissance Italy and composed music Ludwig Leitner (Uraufführung) (9‘15) (9) Station V: Simon von Cyrene Galactic Brass – the title of this programme for St. Mark’s Cathedral in Venice. On the hilft Jesus das Kreuz tragen (1‘31) HENRI TOMASI (1901–1971) might lead us to think of Star Wars, The galleries facing each other in the cathedral (10) Station VI: Sancta Veronica (2‘22) (3) Fanfares Liturgiques – Planets and similar music of the stars. Gabrieli experimented with ensembles which (11) Station VII: Jesus fällt zum Karfreitags­Prozession (9‘22) However, it is intended to suggest composers played music with and against each other. zweiten Mal (1‘07) whose music has, as it were, ascended to the Polyphony was thus founded which led to (12) Station VIII: Die Frauen von WERNER PIRCHNER (1940–2001) universe of timelessness, pieces that belong the introduction of Baroque orchestral music Jerusalem (1‘26) Firewater­Music aus „Die drei Jahreszeiten“, to the cultural heritage of the planet earth. and something rather like natural stereo. (13) Station IX: Jesus fällt zum PWV 22 The orchestration with various wind dritten Mal (0‘45) (4) Ich wendete mich nicht (3‘37) William Byrd, England’s most famous instruments was flexible and adjusted to (14) Station X: Jesus wird entkleidet (1‘40) (5) Angekettet wie ein Vieh (3‘03) composer at the time of William Shakes­ the relevant performance space. (15) Station XI: Jesus wird ans Kreuz (6) SOS – im Brunnen vor dem Tore (4‘30) peare, wrote a march for the Earl of Oxford geschlagen (1‘12) (7) Das Geheimnis (6‘25) who might well have been Shakespeare In 1878 Franz Liszt was an outstanding (16) Station XII: Jesus stirbt am Kreuze (2‘36) CD 1 TT (47‘00) CD 2 TT (37‘34) himself. Towards the end of the 16th century keyboard virtuoso and already a living Franz Liszt war 1878 als singulärer Tasten­ dergleichen Bilder an den Wänden hängend.“ hen sich auf Liszt, ebenso die Choräle ‚O (Mein Gott, mein Gott, warum hast Du mich virtuose schon eine Legende, als Dirigent und Diese „Malereien“ und der von einem großen Haupt voll Blut und Wunden’ in Station VI verlassen?)“ Schöpfer der symphonischen Tondichtung österreichischen Künstler unserer Zeit, Arnulf und ‚O Traurigkeit, o Herzelei’ in Station XII, geliebt und umstritten, als Mensch in einer Rainer, geprägte Begriff „Übermalung“ haben des weiteren das immer wiederkehrende Johann Sebastian Bach, der „liebe Gott in abgeklärten Phase seines abenteuerlichen Ernst Ludwig Leitner dazu bewogen, seine BACH­Motiv in seiner Grundgestalt und Um­ der Musik“, dem Liszt und Leitner wie viele Lebens angelangt, in der er sogar die niede­ Liszt­Adaption „Übermalungen“ zu nennen. kehrung in den entsprechenden Sätzen. Oft seiner Nachfolger ihre Reverenz erwiesen ren Weihen empfing und sich Abbé nennen Leitner, gebürtig aus Wels, einer der wesent­ sind es nur einige – einstimmige – Motive, haben, darf in einem galaktischen Programm durfte. In Rom begann, in Budapest beendete lichen österreichischen Komponisten der Ge­ wie die ersten Takte in Station I, die von Liszt nicht fehlen. Des Thomaskantors nicht da­ der musikalische Weltbürger seinen klingen­ genwart und besonders mit dem Mozarteum stammen und aus denen in der Folge der tierbare Passacaglia für Orgel in c­Moll hat den Kreuzweg „Via Crucis“ für Soli, Chor und und mit der Bläserphilharmonie verbunden, ganze Satz entwickelt wird, oder charakteris­ Donald Hunsberger für 8 Posaunen bearbei­ Klavier oder Orgel. „Die Andacht des Kreuz­ schrieb zu seinem Stück: „Die einzelnen tische Intervalle, wie die fallende große Sex­ tet. Der Macht des „basso ostinato“, des stets weges“, schrieb er, „hat sich über alle Länder Satztitel der Stationen I bis XIV, die ihrerseits te in Station III, die bei Liszt für ‚Jesus cadit’ wiederkehrenden Bassthemas, über welches verbreitet und ist in einigen sehr volkstüm­ kirchlicher Tradition entstammen, und der (Jesus fällt) steht, oder die Abwärts­Quart Bach kunstvoll variiert, kann man sich nicht lich geworden. Man findet auch in manchen gregorianische Hymnus ‚Vexilia regis’ (Die für ‚crucifige’ und die absteigende vermin­ entziehen. Die Passacaglia, wörtlich „eine Kirchen Malereien von Leidensstationen oder Standarten des Königs …) zu Beginn bezie­ derte Quint für ‚Eli’ – Eli, lama, asanthani Straße entlang gehen“, war ursprünglich ein legend; as a conductor and creator of the sym­ “paintings” and the concept of “overpainting” and O Traurigkeit, o Herzelei in station XII; as A galactic programme would be incomplete phonic tone poem he was popular and as epitomised by a great Austrian artist of our the work continues there is a recurrent BACH without Johann Sebastian Bach, “dear God in controversial; as a human being he had arrived time, Arnulf Rainer, prompted Ernst Ludwig (B, A, C, B flat) motif in its basic form and music” whom Liszt and Leitner as well as at a serene phase in his adventurous life Leitner to call his adaptation of music by Liszt inversion in the relevant movements. Often many of his successors revered. Donald during which he was even consecrated with Übermalungen. Leitner was born in Wels and there are only some one­part motifs such as Hunsberger has adapted Bach’s undated minor orders and thus allowed to call himself is one of Austria’s most important living the first bars in station I, which are by Liszt, Passacaglia for organ in C minor for eight “Abbé”. The musical cosmopolitan began his composers. He has a special attachment to and from which the entire movement is trombones. One cannot escape the power of melodious way of the cross Via Crucis for the Mozarteum and to the Bläserphilharmonie; subsequently developed, or characteristic the “basso ostinato” of the constantly soloists, choir and piano or organ in Rome and he had this to say about his piece, “The intervals such as the descending major sixth in repetitive bass theme which Bach master­ completed it in Budapest. “The prayer of the separate titles of the movements of the station III, which in Liszt stands for Jesus cadit fully varies. Passacaglia, which literally way of the cross,” he wrote, “has spread over stations from I to XIV which come from a (Jesus falls) or the descending fourth for means “walking along a street” and was all countries and in some has become very sacred tradition, and the Gregorian hymn crucifige and the falling diminished fifth for originally a Spanish folk dance, became an popular. In some churches paintings are to be Vexilia regis (The Standards of the King...) at ‘Eli – Eli, lama asanthani’ (My God, my God, eminent musical form in Baroque music. found of the stations of suffering or with the beginning refer to Liszt, as do the chorales why have you abandoned me?”). Franz Strauss was a horn player in the similar pictures hanging on the walls.” These O Haupt voll Blut und Wunden in station VI, Munich Court Opera and one of the best spanischer Volkstanz und wurde im Barock straße bis heute ihr eigen nennen. Dort ist Der Wiener Alfred Uhl studierte in seiner Marsches für Blechbläser aus dem Jahr 1942 zu einer prominenten musikalischen Form. der prunkvolle Marsch für Blech und Pauken Heimatstadt Komposition bei Franz Schmidt nicht ganz vergessen sollte. Nach 1945 möglicherweise sogar uraufgeführt worden. an der damaligen Musikakademie, heute distanzierte sich Uhl glaubwürdig von dieser Franz Strauss war Hornist der Münchener Aber es ist nicht zackiger Militarismus, der Universität für Musik und darstellende Kunst, Zeit und auch von vielen seiner Jugendwerke, Hofoper und einer der besten Spieler dieses aus dieser Musik spricht, sondern eine religi­ wohin er nach einer Zeit als Barpianist und aber nie von seinem tonalen Stil.
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  • Too Many Cookes…? in This Issue: in a Review of the 2011 BBC Prom Performance of Bruckner’S
    ISSN 1759-1201 www.brucknerjournal.co.uk Issued three times a year and sold by subscription FOUNDING EDITOR: Peter Palmer (1997-2004) Editor : Ken Ward [email protected] 23 Mornington Grove, London E3 4NS Subscriptions and Mailing: Raymond Cox [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME FIFTEEN, NUMBER THREE, NOVEMBER 2011 Associate Editor: Crawford Howie Too many Cookes…? In this issue: IN A review of the 2011 BBC Prom performance of Bruckner’s Concert Reviews Page 4 Eighth Symphony on the web-site Seenandheard- International.com, Geoff Diggines referred to the view of New Recordings Page 13 Deryck Cooke on the first printed editions of Bruckner symphonies - “abominable bowdlerisations”. Those of us who Book Review: Constantin Floros discovered Bruckner in the third quarter of the 20th century Anton Bruckner. The Man and the Work reviewed by Crawford learnt much of what we thought we knew about Bruckner and Howie and Malcolm Hatfield Page 14 the editions of his music from Cooke’s writings, and indeed, we have much to be grateful for. He wrote well, he was Bruckner’s Sonata Form Terminology devoted to the music and took it seriously, and said much that in Sketches for the Finale of the Eighth Symphony facilitated our understanding and love for this music. And in by Paul Hawkshaw Page 19 taking on board his view of versions and editions, one felt one was joining a community dedicated to the defence of Bruckner Constructing the “Bruckner Problem” against those who would impose inauthentic and vulgar by Benjamin Korstvedt Page 23 alterations upon his works.
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