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Jeney: Wohin

Jeney: Wohin


Jeney:

Wohin?

MR Symphony Orchestra and MR Choir, Zoltán Kocsis

Heraclitus in H

Gábor Csalog (piano)

Heraclitian Tear-drop

Gábor Csalog (piano)

Heraclitus Adverbial

Gábor Csalog (piano)

“which half is never the same?”

Krulik String Quartet

Consolazione (something lost: echo)

György Déri (cello), Gábor Csalog (piano)

Songs of Innocence and Experience

Piia Komsi (soprano)

Pavane

MR Symphony Orchestra, Zoltán Kocsis


In 2003 the journal MusikTexte polled composers on their views about the Irak war. They received more than fifty responses: some wrote letters, others wrote compositions. Zoltán Jeney sent in just one small work for one voice, one of the saddest musical jokes of all time. In this narrow-range, wavering, roaming chromatic melody, the listener slowly recognizes the theme of the Ode to Joy. While Beethoven’s exhilarating melody has over the centuries proclaimed the triumph of humanism, and is even used as the anthem of the European Union, Jeney’s version is a lost, clumsy, privately mumbled parody of the original, and as such says far more than a verbalized protest.

Released or re-released in last 6 months

Contemporary Music - up to 25% off

BMC - BMC240

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Eötvös: Paradise Reloaded (Lilith)

Eötvös: Paradise Reloaded (Lilith)


Hungarian Radio Symphonic Orchestra, Gregory Vajda

Following the 2010 Munich world première of his opera, The Tragedy of the Devil, Péter Eötvös decided to make some revisions to it. Though following the plot of the original piece, written by the young German playwright Albert Ostermaier, there are some key points where the new material completes or even reconsiders the original one. The resultant piece became effectively a new work in its own right, and was given the title Paradise Reloaded. While in the original play the main protagonist is Lucifer, but for Paradise Reloaded the spotlight falls on to a different character, Lilith, the first wife of Adam. In this new piece, Péter Eötvös explores the hypothetical question: what would have happened if our culture which is explicitly based on the Bible had chosen Lilith to be the ancestress of mankind, instead of Eve? The opera was premièred October 2013 in Vienna, followed by its February 2014 Hungarian première in Budapest. The cast of soloist on the present CD, recorded in the studio of the Hungarian Radio after the Budapest performance, is the same as of the première in Vienna.

“This recording with the Hungarian Radio Symphony Orchestra, conducted by the excellent Gregory Vajda, is committed and precise. Soloist performances are strong all round, with Rebecca Nelsen’s highly-charged, pin-bright rendering of Eve particularly noteworthy” BBC Music Magazine, January 2017 ****

Contemporary Music - up to 25% off

BMC - BMC226

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Vegh Conducts Schubert

Vegh Conducts Schubert


Schubert:

Symphony No. 1 in D major, D82

Symphony No. 2 in B flat major, D125

Symphony No. 3 in D major, D200

Symphony No. 4 in C minor, D417 'Tragic'


In the last two decades of his life Sándor Végh placed increasing emphasis on conducting. At the beginning of this period he was still performing as a violinist, until because of age-related joint problems he had to lay down the bow. Végh conducted the Camerata Academica chamber orchestra from 1978 right until his death in 1997. A marked feature of the Camerata sound was that the strings were usually Végh’s students. This resulted in the creation of an even string sound and unity of style which was unique in its type. “For me the Camerata is an instrument, and the members feel every frisson of my soul. They give me a great deal of pleasure.” – said Végh in an interview. The music of Schubert played a special role in Végh’s life: he approached it with deep respect and worked painstakingly with it. The first four symphonies, composed between 1813 and 1816, have until now not been available in Sándor Végh’s interpretation. This present compilation contains previously unpublished recordings that were made in the concert hall of the Cologne Philharmonic during the Camerata Academica’s Schubert cycle, in which all the composer’s symphonies were played between 26 May and 2 June 1996.

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BMC - BMC201

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Gyorgy and Marta Kurtág Play Kurtág

Gyorgy and Marta Kurtág Play Kurtág


Kurtág:

Suite for Four Hands

Games: Hommage a Halmagyi Mihaly


Gyorgy Kurtág (piano) & Marta Kurtág (piano)

The music selected for this disc is necessarily heterogeneous, and had to meet several criteria. First and foremost, the label could only choose from what was available: the studio recordings in the archive of the Hungarian Radio, and recordings made at concerts. Since the available material was far more extensive than that finally included on this disc, another important criteria was Márta Kurtág and György Kurtág’s assessment of each recording. Recorded made by the Hungarian Radio between 1988 and 2001.

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BMC - BMC233

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Gábor Csalog plays Beethoven, Szőllősy and Csapó

Gábor Csalog plays Beethoven, Szőllősy and Csapó


Beethoven:

Piano Sonata No. 31 in A flat major, Op. 110

Piano Sonata No. 32 in C minor, Op. 111

Csapó:

Straight labyrinth

Szőllősy, A:

Paesaggio con morti (Landscape with Corpses), for piano


Gábor Csalog (piano)

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Laszlo Lajtha: Complete Works for String Orchestra

Laszlo Lajtha: Complete Works for String Orchestra


Lajtha:

Les Soli, Op. 33

Simone Fontanelli

Sinfonietta for String Orchestra, Op. 43

Imre Rohmann

Sinfonietta No. 2 for String Orchestra, Op. 62

Peter Csaba


Budapest Chamber Orchestra

László Lajtha (1892–1963) was one of the greatest Hungarian composers of the first half of the twentieth century, and he also made important contributions to ethnomusicology and international cultural diplomacy. During his lifetime he was mentioned (predominantly in France) together with Bartók and Kodály, who were a decade older as ‘les trois grands hongrois’ – the three great Hungarians. Because of his opposition to communism, after 1948 his works were hardly ever played in Hungary. In recent decades, musicians, scholars, and the public have begun to rediscover his distinctive oeuvre.

Contemporary Music - up to 25% off

BMC - BMC189

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Das Reale Klavier - Ein Kolner Konzert

Das Reale Klavier - Ein Kolner Konzert


Lüdemann:

Präludium 1

Blaue Kreise

Heartbeats

Präludium 2

Spring Rites

Ankunft

Love Confessions

Rollende Steine

Arabesque


Hans Lüdemann (piano and virtual piano)

Contemporary Music - up to 25% off

BMC - BMC219

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Hyperion's Song of Destiny

Hyperion's Song of Destiny


Sáry, L:

There's only ever what there is

BHKZ Academy, Schola Cantorum Budapestiensis

In memoriam Igor Stravinsky

MR Symphony Orchestra Winds

Journey to Ixtlan

Klára Csordás (mezzo-soprano)

BHKZ Academy

Hyperion's Song of Destiny

BHKZ Academy

El viaje definitivo

Klára Csordás (mezzo-soprano), Lajos Lencsés (cor anglais), Horia Dumitrache (clarinet), Lajos Rozmán (clarinet)

BHKZ Academy

Ludus cromaticus

Anna Mérey (violin), István Lukácsházi (double bass)

BHKZ Academy

Hexagramm

BHKZ Academy, Schola Cantorum Budapestiensis


Géza Gémesi

The piece Hyperion’s Song of Destiny (Hommage à Hölderlin) is one of Lászlo Sáry’s works that comes closest to sacredness. This CD is organised symmetrically, with this magnum opus in the centre: Hyperion’s Song of Destiny, written in 1985/86 for twenty-four string instruments. The Hölderlin poem from which it takes its inspiration is not heard here, and the music unfolds like a single twenty-minute breath, in which we can wallow but not take bearings, and the work seems to be a kind of sacrificial music. It opens a window onto another world, onto a hitherto unknown universe of sound.

Contemporary Music - up to 25% off

BMC - BMC218

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Orientale Lumen II

Orientale Lumen II


CD 1

1. Bell Prayer I

2. Evening Sacrifice

3. God Is with Us

4. Christ Is Born

5. When the Angel Came Down to Mary

6. Christmas Bell Prayer

7. Awake, Oh Christian Soul

8. Oh, Pious Jesus

9. Little Girl

10. Hark, How the Bells

11. 12. Credo

13. Cherubic Chant

14. Interlude for Bells, Wood & Metals

15. Two Movements from Presanctificated Gifts

16. Kratima (Ps 105) [Live]

17. Traditional Serbian Chant (Ps 135)

18. We Hymn Thee

CD 2

1. Bell Prayer I (Prelude)

2. Credo (Grechaninov)

3. Bell Prayer II

4. I Will Bless the Lord at All Times

5. Symantron (Wood Bell)

6. Do Not Reject Me (Ps 70)

7. Bell Prayer III

8. Blessed Is the Man (Ps 1)

9. Bless the Lord, O My Soul (Ps 103)

10. Praise Ye the Name of the Lord (Ps 134/135)

11. Interlude for Chains and Metals

12. Lamentation of the Virgin Mary

13. Having Beheld the Resurrection of Christ

14. Cherubimic Hymn

15. Bell Prayer IV

16. Te Deum Laudamus


Saint Ephraim Male Choir

Orientale lumen – Light of the East. The title of the encyclical of St John Paul II was borrowed by the Saint Ephraim Male Choir for their concert series in St Stephen’s Basilica, launched in December 2012. The first season’s series were highly successful and instantly embraced by the audience; thousands wanted to listen to the “vocal pieties” encompassing the unusually broad repertoire of Byzantine liturgical music. Eight concerts from the seasons of 2013 and 2014 served as a basis for this double-disc compilation. Bulgarian, Greek, Hungarian, Russian, Ruthenian, Serbian, and Ukrainian prayers can be heard on the recording, conveying and representing the religious sentiments from numerous decades.

Contemporary Music - up to 25% off

BMC - BMC217

(CD - 2 discs)

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Bartók & Folk

Bartók & Folk

Complete works for male choir, interspersed with folk music


Bartók:

Four Old Hungarian Songs

Szekely Folksongs, BB 106

Slovak Folksongs, BB 77

Elmult idokbol (From Olden Times), BB 112

trad.:

Béres legény jól megrakd a szekered (Farm labourer lad, load the cart well)


Balázs Szokolay Dongó (flute/bagpipe tárogató), Márk Bubnó (gardon/percussive cello)

Saint Ephraim Mail Choir, Tamás Bubnó

The least known area of Bartók’s musical legacy is his choral works, including the six male choruses. He wrote the first when he was 22 and the last when he was 54: these compositions run almost throughout his composing career – from the youthful post-Romantic blooming, through his folksong arrangements based on experiences gained on field trips, which influenced his whole life and outlook, to one of the greatest works ever written for male choir: a chorus suite entitled From Olden Times.

Between Bartók’s works we hear authentic folk music and an extension of it, which gives an insight into the sources, the musical and psycho- logical experiences that may have touched the composer on his field trips: these are played by Balázs Szokolay Dongó on the bagpipes.

Contemporary Music - up to 25% off

BMC - BMC220

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