Klaus Stoll | Jose Vitores

Bassonoble

Price: € 19.95
Format: CD
Label: Phil.Harmonie
UPC: 4250317416148
Catnr: PHIL 06014
Release date: 20 May 2022
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Label
Phil.Harmonie
UPC
4250317416148
Catalogue number
PHIL 06014
Release date
20 May 2022
Album
Artist(s)
Composer(s)
EN
DE

About the album

Lifetime affection with the double bass, its sound and character, awoke in me the desire to prepare a musical plea for my instrument with somewhat unconventional and little known solo pieces. This can be seen as encouragement for composers and instrumentalists to add some more musical facets to the largest string instrument, which went through numerous metamorphosis. José Vitores, born in Guayaquil (Ecuador), lives in Berlin as well, where he works as a composer and guitarist – as such on this recording: he himself contributed in friendship his "CANCION SIN PALABRAS".
Lebenslange Zuneigung zu Wesen und Klang des Kontrabasses erweckten in Klaus Stoll, dem 1. Solobassisten der Berliner Philharmoniker den Wunsch, mit einer Vorstellung wenig konventioneller sowie kaum bekannter Solostücke seinem Instrument ein klingendes Plädoyer zu verfertigen, was durch vielfache Metamorphose geprägten, größten Streichinstrument als Instrumentalist oder Komponist weitere Facetten hinzuzufügen verstanden werden darf. Neben Solostücken für Kontrabass aus den letzten fünf Jahrhunderten spielte Stoll zusammen mit dem equadorianischen Gitarristen José Vítores 'Intermezzo (Goyescas)' von Enrique Granados (1967-1916), 'Poema en gris' von Horacio Cabarcos (1923-1978) und eine Eigenkomposition des Gitarristen, 'Cancion sin Palabras' ein.

Artist(s)

Klaus Stoll (double bass)

Jose Vitores (guitar)

Composer(s)

Enrique Granados

Enrique Granados Campiña was born in Lleida, Spain, the son of Calixto Granados, a Spanish army captain, and Enriqueta Campiña. As a young man he studied piano in Barcelona, where his teachers included Francisco Jurnetand and Joan Baptista Pujol. In 1887, he went to Paris to study. He was unable to become a student at the Paris Conservatoire, but he was able to take private lessons with a conservatoire professor, Charles-Wilfrid de Bériot, whose mother, the soprano Maria Malibran, was of Spanish ancestry. Bériot insisted on extreme refinement in tone production, which strongly influenced Granados’s own teaching of pedal technique. He also fostered Granados's abilities in improvisation. Just as important were his studies with Felip Pedrell. He returned to Barcelona in 1889. His first successes were at the...
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Enrique Granados Campiña was born in Lleida, Spain, the son of Calixto Granados, a Spanish army captain, and Enriqueta Campiña. As a young man he studied piano in Barcelona, where his teachers included Francisco Jurnetand and Joan Baptista Pujol. In 1887, he went to Paris to study. He was unable to become a student at the Paris Conservatoire, but he was able to take private lessons with a conservatoire professor, Charles-Wilfrid de Bériot, whose mother, the soprano Maria Malibran, was of Spanish ancestry. Bériot insisted on extreme refinement in tone production, which strongly influenced Granados’s own teaching of pedal technique. He also fostered Granados's abilities in improvisation. Just as important were his studies with Felip Pedrell. He returned to Barcelona in 1889. His first successes were at the end of the 1890s, with the zarzuela Maria del Carmen, which attracted the attention of KingAlfonso XIII.
In 1911 Granados premiered his suite for piano Goyescas, which became his most famous work. It is a set of six pieces based on paintings of Francisco Goya. Such was the success of this work that he was encouraged to expand it. He wrote an opera based on the subject in 1914, but the outbreak of World War I forced the European premiere to be canceled. It was performed for the first time in New York City on 28 January 1916, and was very well received. Shortly afterwards, he was invited to perform a piano recital for President Woodrow Wilson. Prior to leaving New York, Granados also made live-recorded player piano music rolls for the New-York-based Aeolian Company's "Duo-Art" system, all of which survive today and can be heard – his very last recordings.
The delay incurred by accepting the recital invitation caused him to miss his boat back to Spain. Instead, he took a ship to England, where he boarded the passenger ferry SS Sussex for Dieppe, France. On the way across the English Channel, the Sussex was torpedoed by a German U-boat, as part of the German World War I policy of unrestricted submarine warfare. In a failed attempt to save his wife Amparo, whom he saw flailing about in the water some distance away, Granados jumped out of his lifeboat and drowned. However, the ship broke in two parts and only one sank (along with 80 passengers). Ironically, the part of the ship that contained his cabin did not sink and was towed to port, with most of the passengers, except for Granados and his wife, on board. Granados and his wife left six children: Eduard (a musician), Solita, Enrique (a swimming champion), Víctor, Natàlia, and Francisco.

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John Cage

John Cage was an American composer and music theorist. He was a pioneer in the implementation of indeterminacy in music, as well as in his use of non-standard musical instruments and electroacoustic ways of generating sound. He was one of the leading composers of the 20th century and propelled the post war avant-garde movement.  His teachers included Henry Cowell and Arnold Schoenberg, both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. Cage is perhaps best known composition 4′33″ (1952), which is performed in the...
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John Cage was an American composer and music theorist. He was a pioneer in the implementation of indeterminacy in music, as well as in his use of non-standard musical instruments and electroacoustic ways of generating sound. He was one of the leading composers of the 20th century and propelled the post war avant-garde movement. His teachers included Henry Cowell and Arnold Schoenberg, both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951.
Cage is perhaps best known composition 4′33″ (1952), which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces.
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Erwin Schulhoff

Erwin Schulhoff is amongst the composers who have fallen into oblivion, and yet played an important role in the history of music. Dvorak already noticed him when he was a young boy, because of his musical talent and interest in everything new. Schulhoff was one of the first European composers to find inspiration in jazz. He mainly made use of harmonic and rhythmic elements and dances like the foxtrot, charleston and shimmy. After the First World War, he also embraced the influence of Dadaism and composed a few pieces with absurd elements, such as In futurum, which consists entirely of rests. In the 1930s, Schulhoff became a sympathizer of communism under influence of his friends, as a result of which he was...
more
Erwin Schulhoff is amongst the composers who have fallen into oblivion, and yet played an important role in the history of music. Dvorak already noticed him when he was a young boy, because of his musical talent and interest in everything new.
Schulhoff was one of the first European composers to find inspiration in jazz. He mainly made use of harmonic and rhythmic elements and dances like the foxtrot, charleston and shimmy. After the First World War, he also embraced the influence of Dadaism and composed a few pieces with absurd elements, such as In futurum, which consists entirely of rests.
In the 1930s, Schulhoff became a sympathizer of communism under influence of his friends, as a result of which he was not permitted to perform in Germany. Due to his Jewish descent and radical politic interests his music became labeled as ‘Entartete Musik’. His communist sympathies also brought him trouble in Czechoslovakia, were he had to work under a pseudonym after the invasion of the Nazis. In 1941, the Soviet Union approved his petition for citizenship, but he was arrested and deported to a concentration camp before he could leave Czechoslovakia.
Schulhoff was admired by his acquaintances, and recognized as a promising, gifted talent. As a pianist he was known as a virtuoso with brilliant technique and a strong touch.
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György Kurtág

The musical language of the 20th-century Hungarian composer and pianist György Kurtág refers on the one hand to the spontaneity of Bartók and on the other hand to the concentration of Webern. Kurtágs time in Paris in 1957-1958 was of vital importance to the origin of this language. There he studied with Messiaen and Milhaud, he examined and copied the works of Webern, and he received therapy from the psychologist Marianne Stein, who helped him recover from his depression and stimulated his creativity. The first composition he wrote after his return to Budapest, the String Quartet, was his first work in his own style, which he regarded as his Opus 1. In the 1980’s Kurtág gained international recognition for the first...
more
The musical language of the 20th-century Hungarian composer and pianist György Kurtág refers on the one hand to the spontaneity of Bartók and on the other hand to the concentration of Webern. Kurtágs time in Paris in 1957-1958 was of vital importance to the origin of this language. There he studied with Messiaen and Milhaud, he examined and copied the works of Webern, and he received therapy from the psychologist Marianne Stein, who helped him recover from his depression and stimulated his creativity. The first composition he wrote after his return to Budapest, the String Quartet, was his first work in his own style, which he regarded as his Opus 1.
In the 1980’s Kurtág gained international recognition for the first time with his Messages of the Late Miss R.V. Troussova, and his creativity increased, which resulted in several international commissions. Since the 1990’s Kurtág has frequently worked abroad. He was amongst others composer in residence at the Berlin Philharmonic and lived a few years in Paris, where he collaborated with the Ensemble InterContemporain.
Next to his activities as a composer and pianist, Kurtág taught piano and chamber music at the Ferenc Liszt Academy from 1967 until 1993, which led him to write short pedagogical piano works, collected in the still ongoing compendium Játékok (Games), which consists of nine volumes at the moment. Kurtág and his wife Márta regularly perform a selection of pieces from this collection.

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Play album
01.
Canzona per Basso Solo (arr. J. Vitores)
05:50
(Jose Vitores) Jose Vitores
02.
Recercada No. 1 (arr. K. Stoll)
05:43
(Klaus Stoll) Klaus Stoll
03.
Partite sopra diverse Sonate per il violone: Toccata
00:48
(Giovanni Battista Vitali) Klaus Stoll
04.
Partite sopra diverse Sonate per il violone: Ruggiero
02:24
(Giovanni Battista Vitali) Klaus Stoll
05.
Partite sopra diverse Sonate per il violone: Bergamasco
01:47
(Giovanni Battista Vitali) Klaus Stoll
06.
Partite sopra diverse Sonate per il violone: Chiacona
01:43
(Giovanni Battista Vitali) Klaus Stoll
07.
Bian yin barl (arr. K. Stoll)
04:30
(Anonymous) Klaus Stoll
08.
Royanji: I.
01:06
(John Cage) Klaus Stoll
09.
Royanji: II.
00:59
(John Cage) Klaus Stoll
10.
Royanji: III.
01:05
(John Cage) Klaus Stoll
11.
Royanji: IV.
01:00
(John Cage) Klaus Stoll
12.
Royanji: V.
01:00
(John Cage) Klaus Stoll
13.
Royanji: VI.
01:08
(John Cage) Klaus Stoll
14.
Royanji: VII.
01:04
(John Cage) Klaus Stoll
15.
Royanji: VIII.
01:15
(John Cage) Klaus Stoll
16.
Der gottliche Funke kann, wie in einer Leberwurst auch in einem Kontrabass vorhanden sein ?
01:15
(Erwin Schulhoff) Klaus Stoll
17.
Bassnachtigall (arr. K. Stoll): I. Melancolia
01:42
(Erwin Schulhoff) Klaus Stoll
18.
Bassnachtigall (arr. K. Stoll): II. Perpetuum mobile
00:33
(Erwin Schulhoff) Klaus Stoll
19.
Bassnachtigall (arr. K. Stoll): III. Fuga
01:05
(Erwin Schulhoff) Klaus Stoll
20.
2 Hebraic Studies (arr. K. Stoll): 2 Hebraic StudiesNo. 2. Yizkor (arr. K. Stoll)
02:09
(Marvin P. Feinsmith) Klaus Stoll
21.
Signs, Games and Messages for Cello: Message-consolation a Christian Sutter
02:49
(György Kurtág) Klaus Stoll
22.
Goyescas (arr. K. Stoll and J. Vitores): Goyescas, Part IIntermezzo (arr. K. Stoll and J. Vitores)
05:29
(Enrique Granados) Jose Vitores
23.
Porteno per Contrabajo
04:45
(Oswaldo Requena) Klaus Stoll
24.
Poema en Gris (arr. J. Vitores)
03:38
(Horacio Cabarcos) Jose Vitores
25.
Estudio Tango No. 5
02:31
(Ciro Daniel Buono) Klaus Stoll
26.
S-Bahn: Inseln
01:07
(Jose Hernan Cibils) Klaus Stoll
27.
Cancion sin Palabras
03:52
(Jose Hernan Cibils) Jose Vitores
show all tracks

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