{"id":1058,"date":"2021-04-13T19:39:36","date_gmt":"2021-04-13T17:39:36","guid":{"rendered":"https:\/\/www.campanella-musica.com\/?post_type=avada_portfolio&p=1058"},"modified":"2021-05-31T19:14:20","modified_gmt":"2021-05-31T17:14:20","slug":"concertante-frank-martin-witold-lutoslawski-jacques-ibert","status":"publish","type":"avada_portfolio","link":"https:\/\/www.campanella-musica.com\/en\/archive\/katalog\/concertante-frank-martin-witold-lutoslawski-jacques-ibert","title":{"rendered":"Concertante: Frank Martin \u2022 Witold Lutoslawski \u2022 Jacques Ibert"},"content":{"rendered":"

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Catalogue No: C 130045<\/a>
\n<\/strong><\/p>\n<\/div><\/div><\/div>

Behind this programme stands one of the outstanding supporters of music in the 20th century: the Swiss Paul Sacher, whose contribution as a patron, commissioner of new works and conductor was exceptional.<\/span><\/span><\/span><\/span><\/p>\n

In 1951 he conducted the premiere of Jacques Ibert\u2019s Symphonie Concertante for oboe and strings, a piece with a Mediterranean insouciance, in 1970 he presented to the public the artfully orchestrated<\/span><\/span> <\/i>Trois Danses for oboe, harp and strings by his compatriot Frank Martin, and in 1980 he premiered the Double Concerto for oboe, harp and chamber orchestra by the Polish avant-garde composer Witold Lutoskawski. These three works, inspired variously by styles ranging from French neo-classicism and Latin-American gestures to the abstract formulations of modernism, are brought together in the present production to form a small but well-contrasted snapshot of an age in which almost anything was possible.<\/span><\/span><\/span><\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div>

Tracklisting<\/h4>\n

Frank Martin (1890-1974)<\/strong>
\n3 T\u00e4nze f\u00fcr Oboe, Harfe und Streichorchester
\n01 Seguirya \u2022 Molto moderato
\n02 Soledad \u2022 Lento
\n03 Rumba \u2022 Allegro<\/p>\n

Witold Lutoslawski (1913-1994)<\/strong>
\nDoppelkonzert f\u00fcr Oboe, Harfe und Kammerorchester
\n04 Rapsodico
\n05 Dolente
\n06 Marciale e grotesco<\/p>\n

Jacques Ibert (1890-1962)<\/strong>
\nSymphonie Concertante (f\u00fcr Oboe und Streichorchester)
\n07 Allegro con moto
\n08 Adagio ma non troppo
\n09 Allegro brillante<\/p>\n

TT 65:05<\/p>\n<\/div><\/div><\/div>

Artists<\/h4>\n

Hansj\u00f6rg Schellenberger, Oboe
\nMargit-Anna S\u00fc\u00df, Harp
\nFranz Liszt Chamber Orchestra Budapest
\nConductor Zolt\u00e1n Pesk\u00f3<\/p>\n

Pressestimmen<\/h4>\n

\u261e<\/strong> \u00bbDie moderne Tonkultur von Schellenberger, seine strahlende Klangintensit\u00e4t und gestalterische Flexibilit\u00e4t haben es in sich. Bei Jacques Ibert zieht er obendrein ein prasselndes Feuerwerk ab. … Aber auch die hochsensible Harfenistin Margit-Anna S\u00fc\u00df musiziert mit Nuancierungsvielfalt, subtiler Agogik und Lebendigkeit.\u00ab Berliner Tagesspiegel<\/em>, 12.8.1999<\/p>\n

\u261e<\/strong> \u00bbLutoslawskis Konzert f\u00fcr Oboe und Harfe erweist sich als ein geradezu musikantisches Meisterwerk von fulminanter, abenteuerlicher Substanz. Er klingt in seiner spielerischen Eleganz fast schon franz\u00f6sisch, w\u00e4hrend Iberts \u00bbSymphonie Concertante\u00ab ungemein gewichtig, ja, gr\u00fcblerisch wirkt. Martins\u00abTrois Danses\u00ab steigern sich zu einer vitalen \u00bbRumba\u00ab. … partnerschaftliches, kollegiales Musizieren, das sich ohne Eitelkeit und Selbstgef\u00e4lligkeit ganz auf die Werke einl\u00e4\u00dft.\u00ab Fono Forum<\/em>, 10\/1999<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":4,"featured_media":613,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","meta":{"footnotes":""},"portfolio_category":[60,61,63],"portfolio_skills":[],"portfolio_tags":[],"class_list":["post-1058","avada_portfolio","type-avada_portfolio","status-publish","format-standard","has-post-thumbnail","hentry","portfolio_category-harp","portfolio_category-oboe-en","portfolio_category-orchestra"],"_links":{"self":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/avada_portfolio\/1058","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/avada_portfolio"}],"about":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/types\/avada_portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/comments?post=1058"}],"version-history":[{"count":0,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/avada_portfolio\/1058\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/media\/613"}],"wp:attachment":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/media?parent=1058"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/portfolio_category?post=1058"},{"taxonomy":"portfolio_skills","embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/portfolio_skills?post=1058"},{"taxonomy":"portfolio_tags","embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/portfolio_tags?post=1058"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}