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Entartete Musik

Vlaams Radiokoor

Entartete Musik

Price: € 14.95
Format: CD
Label: Antarctica
UPC: 0608917735123
Catnr: AR 051
Release date: 07 July 2023
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Label
Antarctica
UPC
0608917735123
Catalogue number
AR 051
Release date
07 July 2023
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

In 1938, at the Reichsmusiktage in Düsseldorf, the Nazi regime opened an exhibition around music with the theme: 'Entartete Musik'. They collected examples of what they considered degenerate music: jazz or 'Nigger-Musik', the atonal expressions of the Second Viennese School, music by Jewish composers, 'music bolshevism'.

Gustav Mahler, Kurt Weill, Hanns Eisler, Mischa Spoliansky; these were just a few names on the long list of depraved composers. Numerous musicians and composers felt the pinch in the early 1930s and promptly emigrated abroad, where they often had to start again from scratch. Others were deported to one of the concentration camps or, if they were more 'lucky', to the model ghetto in Theresienstadt.

While there, music offered a welcome distraction from the harsh conditions and continuous fear. Most of them eventually perished, and all were almost forgotten after the war. Now they sound again…

In 1938 opende het naziregime tijdens de Reichsmusiktage in Düsseldorf een tentoonstelling rond muziek met als thema: ‘Entartete Musik’. Ze verzamelden voorbeelden van wat in hun ogen gedegenereerde muziek was: jazz of 'Nigger-Musik', de atonale uitingen van de Tweede Weense School, muziek van Joodse componisten, 'muziekbolsjewisme'.
Gustav Mahler, Kurt Weill, Hanns Eisler, Mischa Spoliansky; het waren maar enkele namen op de lange lijst van verdorven componisten. Tal van musici en componisten voelden de bui begin jaren dertig al hangen en emigreerden tijdig naar het buitenland, waar ze vaak weer van nul moesten beginnen. Anderen werden gedeporteerd naar één van de concentratiekampen, of, als ze meer ‘geluk’ hadden, naar het modelgetto in Theresienstadt.
Daar bood de muziek een welkome afleiding van de barre omstandigheden en de continue angst. Het grootste deel van hen kwam uiteindelijk om, en allen werden ze na de oorlog bijna vergeten.

1938 eröffnete das Naziregime bei den Reichsmusiktagen in Düsseldorf eine Ausstellung über Musik mit dem Thema "Entartete Musik". Sie sammelten Beispiele für das, was sie als entartete Musik betrachteten: Jazz oder "Nigger-Musik", die atonalen Ausdrucksformen der Zweiten Wiener Schule, Musik jüdischer Komponisten, "Musikbolschewismus".

Gustav Mahler, Kurt Weill, Hanns Eisler, Mischa Spoliansky - das waren nur einige Namen auf der langen Liste der verkommenen Komponisten. Zahlreiche Musiker und Komponisten bekamen das Anfang der 1930er Jahre zu spüren und emigrierten umgehend ins Ausland, wo sie oft noch einmal ganz von vorne anfangen mussten. Andere wurden in eines der Konzentrationslager oder, wenn sie mehr "Glück" hatten, in das Musterghetto Theresienstadt deportiert.

Dort bot die Musik eine willkommene Ablenkung von den harten Bedingungen und der ständigen Angst. Die meisten von ihnen sind schließlich umgekommen, und alle wurden nach dem Krieg fast vergessen. Jetzt erklingen sie wieder...

Artist(s)

Vlaams Radiokoor (vocals)

The Vlaams Radiokoor (Flemish Radio Choir) was founded in 1937 by the Belgian public broadcaster of the day. Today, the  Vlaams Radiokoor is renowned for vocal music in Flanders and Europe, and is counted among the top ensembles both at home and abroad. The 32 singers rehearse under the baton of music director Bart Van Reyn in Studio 1 of the well-known Flagey building in Brussels.  A shared passion for contemporary repertoire, the belief that the voice is the ultimate interpreter of our emotions, and the commitment to make our vocal heritage accessible to singers and audiences alike are what binds the ensemble together. The Vlaams Radiokoor is and remains a living portal for repertoire, knowledge, experience and voices. It makes our...
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The Vlaams Radiokoor (Flemish Radio Choir) was founded in 1937 by the Belgian public broadcaster of the day. Today, the Vlaams Radiokoor is renowned for vocal music in Flanders and Europe, and is counted among the top ensembles both at home and abroad. The 32 singers rehearse under the baton of music director Bart Van Reyn in Studio 1 of the well-known Flagey building in Brussels. A shared passion for contemporary repertoire, the belief that the voice is the ultimate interpreter of our emotions, and the commitment to make our vocal heritage accessible to singers and audiences alike are what binds the ensemble together. The Vlaams Radiokoor is and remains a living portal for repertoire, knowledge, experience and voices. It makes our vocal heritage accessible to singers and the audience, while also investing in the creation of new vocal works. The Vlaams Radiokoor is an institution of the Flemish Community.

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Bart Van Reyn (conductor)

Evi Roelants (vocals)

Composer(s)

Gustav Mahler

During his own time, Gustav Mahler was considered as one of the major conductors of Europe, but nowadays he is considered to a major composer who bridged the Late Romantic period to the modern age.  Few composers are so connected with the symphonic repertory as Gustav Mahler. Composing symphonies was his 'core business': in every aspect he developed the symphony towards, and sometimes even over, its absolute limits. Almost all of Mahler's symphonies are lenghty, demand a large orchestra and are particularly great in their expressive qualities. With rustic and mythical atmospheres (the start of the First Symphony), daunting chaos (the end of his Sixth), grand visions (end of his Second), cheerful melodies (opening Fourth), romantic melancholy (the famous adagio of...
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During his own time, Gustav Mahler was considered as one of the major conductors of Europe, but nowadays he is considered to a major composer who bridged the Late Romantic period to the modern age.

Few composers are so connected with the symphonic repertory as Gustav Mahler. Composing symphonies was his "core business": in every aspect he developed the symphony towards, and sometimes even over, its absolute limits. Almost all of Mahler's symphonies are lenghty, demand a large orchestra and are particularly great in their expressive qualities. With rustic and mythical atmospheres (the start of the First Symphony), daunting chaos (the end of his Sixth), grand visions (end of his Second), cheerful melodies (opening Fourth), romantic melancholy (the famous adagio of his Fifth), evocations of nature (his Third), megalomanic eruptions in the orchestra (his Eighth), and the clamant atonality of his unfinished Tenth, Mahler's musical palette seemed inexhaustible.

His symphonies are captivating, but some could find it a bit 'over the top' at times. For those, his orchestral songs could undoubtedly show there is an incredibly subtle and refined side to his compositional style as well.

In the Netherlands, Mahler is particularly popular due to its close bond with the Royal Concertgebouw Orchestra, which was already established during his lifetime!


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Kurt Weill

Kurt Weill was a German composer, active from the 1920s in his native country, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his best-known work The Threepenny Opera, which included the ballad 'Mack the Knife'. Weill held the ideal of writing music that served a socially useful purpose. He also wrote several works for the concert hall. He became a United States citizen on August 27, 1943.
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Kurt Weill was a German composer, active from the 1920s in his native country, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his best-known work The Threepenny Opera, which included the ballad "Mack the Knife".
Weill held the ideal of writing music that served a socially useful purpose. He also wrote several works for the concert hall. He became a United States citizen on August 27, 1943.

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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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Press

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01.
Des Knaben Wunderhorn: XII. Urlicht
05:30
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
02.
Das Lila Lied
02:51
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
03.
Suite dansante en jazz, WV 98
01:58
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
04.
Youkali
04:10
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
05.
L'heure bleue
03:57
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
06.
5 Lieder: I. Die stille Stadt
03:34
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
07.
Ich wandre durch Theresienstadt
03:01
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
08.
Der Graben
04:56
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
09.
3 Jiddische Lieder, Op. 53: No. 1, Berjoskele
05:35
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
10.
Czech and Russian Folk Songs: Uz Mne Kone Vyvadeji
02:59
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
11.
Wiegala
02:36
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
12.
Ein jüdisches Kind
02:05
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
13.
Lullaby - Ukolébavka
02:27
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
14.
Symphony No. 5 in C-Sharp Minor: IV. Adagietto, 'Im Abendrot'
10:16
(Gustav Mahler, Mischa Spoliansky, Erwin Schulhoff, Kurt Weill, Alma Mahler, Ilse Weber, Hanns Eisler, Viktor Ullmann, Gideon Klein, Carlo Sigmund Taube) Vlaams Radiokoor, Brussels Philharmonic Soloists, Estelle Lefort, Koenraad Sterckx, Didier Poskin, Evi Roelants, Vlaams Radiokoor
show all tracks

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