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Serenade for Clarinet & Strings
Ernst Křenek, Hans Gál, Krzysztof Penderecki

Kilian Herold | Barbara Buntrock | Florian Donderer | Tanja Tetzlaff

Serenade for Clarinet & Strings

Price: € 19.95
Format: CD
Label: CAvi
UPC: 4260085535378
Catnr: AVI 8553537
Release date: 03 May 2024
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Label
CAvi
UPC
4260085535378
Catalogue number
AVI 8553537
Release date
03 May 2024
Album
Artist(s)
Composer(s)
EN
DE

About the album

SERENADE
The century was only twenty-one years old, and so was Ernst Krenek, when his Serenade op. 4 was premièred on 31 July 1921 at the newly launched “Donaueschingen Chamber Music Performances for the advancement of contemporary music.” The event soon came to be known as Donaueschingen Festival, now one of the oldest specialized music festivals worldwide: Krenek’s music has occasionally been heard there since then – albeit as a series of utterly contrasting works one would hardly ascribe to the same composer.

Such variety comes from Krenek’s chameleon-like capacity of metamorphosis, of which he was well aware. He accepted that he came off “badly compared with the great masters of the past, whose work presents itself to us as a well-rounded, logically organized unit.” We can already sense something of Krenek’s bewildering stylistic diversity in his 1919 Serenade. At first sight, it seems to cling stubbornly to the style of Krenek’s teacher, Franz Schreker, and to Viennese Late Romanticism. It contains a whiff of Hugo Wolf’s Italian Serenade….

Hans Gál, under threat as a Jew in Germany and, from 1938, also in his native country of Austria, found refuge in the United Kingdom – although initially only as an intern in a camp, as he would vividly describe in his book “Musik behind Barbed Wire.” Hans Gál’s style remained rooted in the Vienna tradition of the “long” 19th century…..

Krzysztof Penderecki, on the other hand, was both a traditionalist and a trailblazer. In 1959, he entered the Polish Composer Society youth competition with three anonymous works that won 1st, 2nd, and 3rd prizes, thus unmistakably proving his rank as one of his country’s outstanding musical talents…..Penderecki composed his Clarinet Quartet, which exists in a further version for string orchestra, entitled Sinfonietta No. 2. Here we are dealing with a tranquil, subdued work that almost ventures into Schubertian confines, featuring a tender nocturnal dialogue between the clarinet and the viola as the first movement’s point of departure
© 2024 Johannes Jansen
SERENADE
So jung wie das Jahrhundert war Ernst Krenek, als seine Serenade op. 4 am 31. Juli 1921 bei den frisch gegründeten Donaueschinger Kammermusikaufführungen zur Förderung zeitgenössischer Tonkunst erklang. Bei diesem bald nur noch “Donaueschinger Musiktage” genannten Neue-Musik-Festival, das heute zu den weltweit ältesten Spezialfestivals überhaupt gehört, war Krenek auch in späteren Jahren gelegentlich vertreten, mit Werken allerdings, die kaum erkennen lassen, dass sie aus der Hand ein und desselben Komponisten stammen.
Krenek war sich seiner geradezu chamäleonhaften Verwandlungen bewusst und nahm in Kauf, »schlecht abzuschneiden im Vergleich mit den großen Meistern der Vergangenheit, deren Werk uns als wohlgerundete, logisch organisierte Einheit sich darstellt.« Etwas von der verwirrenden Stilvielfalt deutet sich schon in der 1919 entstandenen Serenade an, sosehr sie auch auf den ersten Blick in der Sphäre seines Lehrers Franz Schreker und der Wiener Spätromantik zu verharren scheint. Da weht ein leiser Hauch aus der Italienischen Serenade von Hugo Wolf herein……. ….

Hans Gál, Hans Gál – als Jude in Deutschland und seit 1938 auch in seiner österreichischen Heimat unmittelbar bedroht – Zuflucht in England fand, dies jedoch zunächst als Internierter, wovon sein Buch Musik hinter Stacheldraht höchst anschaulich erzählt.
Hans Gál blieb verwurzelt in der wienerischen Tradition des ›langen‹ 19. Jahrhunderts. Seine Serenade von 1935 ist ein elegantes und melodienreiches Werk, das nie die Grenzen der Tonalität verletzt. Die stilistische Haltung und handwerkliche Meisterschaft erinnert nicht von ungefähr an Johannes Brahms und dessen Altersliebe, ….

Krzysztof Penderecki, 1993 entstand in zeitlicher Nähe zu den Metamorphosen (2. Violinkonzert) sein Klarinettenquartett, das als Sinfonietta Nr. 2 auch in einer Fassung mit Streichorchester existiert. Es ist ein atmosphärisch eher ruhiges, beinahe Schubertsche Sphären berührendes Werk, das sich aus einem zarten Dialog zwischen Klarinette und Bratsche (Notturno) heraus entwickelt.© 2024 Johannes Jansen

Artist(s)

Tanja Tetzlaff (cello)

For decades, Tanja Tetzlaff has been one of the most influential musicians of her generation, both as soloist and chamber musician. Her playing is characterized by a uniquely fine yet powerful and nuanced sound, which always goes hand in hand with cultivated musicality. Tanja Tetzlaff’s trademark is her extraordinarily broad repertoire and her desire for new, groundbreaking concert formats. In April 2021, Tanja Tetzlaff became the first scholarship holder to be awarded the highly endowed Glenn Gould Bach Fellowship of the city of Weimar. She now has the opportunity to realize a two-year film project relating Bach’s famous cello suites to nature and climate change issues: Suites4Nature / Suites for a Wounded World. Tanja Tetzlaff is a founding member of the Tetzlaff Quartet (Christian Tetzlaff, Elisabeth Kufferath, and Hanna...
more

For decades, Tanja Tetzlaff has been one of the most influential musicians of her generation, both as soloist and chamber musician. Her playing is characterized by a uniquely fine yet powerful and nuanced sound, which always goes hand in hand with cultivated musicality. Tanja Tetzlaff’s trademark is her extraordinarily broad repertoire and her desire for new, groundbreaking concert formats.
In April 2021, Tanja Tetzlaff became the first scholarship holder to be awarded the highly endowed Glenn Gould Bach Fellowship of the city of Weimar. She now has the opportunity to realize a two-year film project relating Bach’s famous cello suites to nature and climate change issues: Suites4Nature / Suites for a Wounded World.
Tanja Tetzlaff is a founding member of the Tetzlaff Quartet (Christian Tetzlaff, Elisabeth Kufferath, and Hanna Weinmeister). She plays a cello by Giovanni Baptista Guadagnini from 1776.


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Barbara Buntrock (viola)

Barbara Buntrock took her first violin lessons at the age of five; it was only just before entering university-level studies that she discovered her love for the viola, its deeper tones and timbres. She studied at several music universities: in Cologne with Werner Dickel, in Lübeck with Barbara Westphal, at the Juilliard School in New York City with Heidi Castleman, and in Berlin with Tabea Zimmermann and Lars Anders Tomter. From February 2009 to December 2010, Barbara Buntrock was Principal Violist of the Leipzig Gewandhaus Orchestra but decided to devote herself instead to solo appearances and chamber music. In 2015, she was appointed Viola Professor at the Robert Schumann University of Music in Düsseldorf. Buntrock plays a viola made by Antonio Mariani in Pesaro, ca. 1650, an instrument...
more
Barbara Buntrock took her first violin lessons at the age of five; it was only just before entering university-level studies that she discovered her love for the viola, its deeper tones and timbres.
She studied at several music universities: in Cologne with Werner Dickel, in Lübeck with Barbara Westphal, at the Juilliard School in New York City with Heidi Castleman, and in Berlin with Tabea Zimmermann and Lars Anders Tomter.
From February 2009 to December 2010, Barbara Buntrock was Principal Violist of the Leipzig Gewandhaus Orchestra but decided to devote herself instead to solo appearances and chamber music.
In 2015, she was appointed Viola Professor at the Robert Schumann University of Music in Düsseldorf.
Buntrock plays a viola made by Antonio Mariani in Pesaro, ca. 1650, an instrument that previously belonged to legendary violist Lionel Tertis.
Her most recent recordings on CD include Walter Braunfels’s Scottish Fantasia (on the Capriccio label) and the viola concertos of Christian Westerhoff (cpo). In contrast to her musical activities, her two children have been the leading voice in Barbara Buntrock‘s life since 2021.

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Florian Donderer (violin)

As a chamber musician, soloist, conductor and concertmaster – equally at home on the violin and viola – he is a highly esteemed partner of many renowned musicians and a welcome guest at prestigious chamber music series and festivals. Since 2019, he has been the director of the Rottweil Music Festival Sommersprossen; together with his wife, Tanja Tetzlaff, he curates the chamber music series residenz@sendesaal at Sendesaal Bremen. With the Signum Quartet as its leader, he has travelled to international venues throughout Europe and even to New York‘s Carnegie Hall. As concertmaster and artistic director, he is a guest performer with various European chamber orchestras and a lecturer in violin, chamber music and orchestral playing at numerous universities. He plays a violin made by German violin maker Peter Greiner...
more
As a chamber musician, soloist, conductor and concertmaster – equally at home on the violin and viola – he is a highly esteemed partner of many renowned musicians and a welcome guest at prestigious chamber music series and festivals. Since 2019, he has been the director of the Rottweil Music Festival Sommersprossen; together with his wife, Tanja Tetzlaff, he curates the chamber music series residenz@sendesaal at Sendesaal Bremen. With the Signum Quartet as its leader, he has travelled to international venues throughout Europe and even to New York‘s Carnegie Hall.
As concertmaster and artistic director, he is a guest performer with various European chamber orchestras and a lecturer in violin, chamber music and orchestral playing at numerous universities. He plays a violin made by German violin maker Peter Greiner in 2003, as well as bows by Nico Plog from Antwerp.

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Kilian Herold (clarinet)

Widely known as a multifaceted chamber musician, a renowned clarinet soloist, and a high-profile orchestra musician, Kilian Herold is one of the most interesting and versatile clarinetists of his generation. After having held the post of Principal Clarinet at the Deutsche Kammerphilharmonie Bremen and the SWR Symphony Orchestra, he was appointed Clarinet Professor at Freiburg University of Music in 2016. Herold is frequently invited to guest with the Berlin Philharmonic and the Bavarian Radio Symphony Orchestra, and can be regularly seen and heard at a number of international chamber music and contemporary music festivals.
more

Widely known as a multifaceted chamber musician, a renowned clarinet soloist, and a high-profile orchestra musician, Kilian Herold is one of the most interesting and versatile clarinetists of his generation.
After having held the post of Principal Clarinet at the Deutsche Kammerphilharmonie Bremen and the SWR Symphony Orchestra, he was appointed Clarinet Professor at Freiburg University of Music in 2016. Herold is frequently invited to guest with the Berlin Philharmonic and the Bavarian Radio Symphony Orchestra, and can be regularly seen and heard at a number of international chamber music and contemporary music festivals.


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Press

Play album Play album
01.
Serenade for Clarinet, Violin, Viola and Cello, Op. 4 (1919): No. 1 Moderato
07:37
(Ernst Krenek) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
02.
Serenade for Clarinet, Violin, Viola and Cello, Op. 4 (1919): No. 2 Adagio ma non troppo
03:48
(Ernst Krenek) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
03.
Serenade for Clarinet, Violin, Viola and Cello, Op. 4 (1919): No. 3 Allegro molto
02:02
(Ernst Krenek) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
04.
Serenade for Clarinet, Violin, Viola and Cello, Op. 4 (1919): No. 4 Langsamer
02:07
(Ernst Krenek) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
05.
Serenade for Clarinet, Violin, Viola and Cello, Op. 4 (1919): No. 5 Allegretto grazioso
05:19
(Ernst Krenek) Florian Donderer, Kilian Herold, Tanja Tetzlaff, Barbara Buntrock
06.
Serenade for Clarinet, Violin, Viola and Cello, Op. 4 (1919): No. 6 Allegro vivace
01:25
(Ernst Krenek) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
07.
Serenade for Clarinet, Violin and Cello, Op. 93 (1937): No. 1 Cantabile. Moderato
07:46
(Hans Gál) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
08.
Serenade for Clarinet, Violin and Cello, Op. 93 (1937): No. 2 Burletta. Vivace ma non troppo
04:01
(Hans Gál) Barbara Buntrock, Tanja Tetzlaff, Florian Donderer, Kilian Herold
09.
Serenade for Clarinet, Violin and Cello, Op. 93 (1937): No. 3 Intermezzo. Andantino
02:52
(Hans Gál) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
10.
Serenade for Clarinet, Violin and Cello, Op. 93 (1937): No. 4 Giocoso. Allegro molto moderato
05:33
(Hans Gál) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
11.
Quartet for Clarinet, Violin, Viola and Cello (1993): I. Notturno
03:34
(Krzysztof Penderecki) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
12.
Quartet for Clarinet, Violin, Viola and Cello (1993): II. Scherzo
02:33
(Krzysztof Penderecki) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
13.
Quartet for Clarinet, Violin, Viola and Cello (1993): III. Serenade
01:27
(Krzysztof Penderecki) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
14.
Quartet for Clarinet, Violin, Viola and Cello (1993): IV. Abschied
07:47
(Krzysztof Penderecki) Kilian Herold, Florian Donderer, Tanja Tetzlaff, Barbara Buntrock
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