Who is Afraid of 20th Century Music?

A New Year’s concert with a difference, skilfully devised by Metzmacher, that could become an annual fixture

Record and Artist Details

Composer or Director: Dmitri Shostakovich, Kurt (Julian) Weill, Sergey Prokofiev, Maurice Ravel, Bernd Alois Zimmermann, Aram Il'yich Khachaturian, Anton Plate, Leonard Bernstein, Mauricio Kagel, Charles Ives, Paul Hindemith, Hans Werner Henze, Igor Stravinsky

Label: EMI Classics

Media Format: CD or Download

Media Runtime: 77

Mastering:

DDD

Catalogue Number: 556970-2

Tracks:

Composition Artist Credit
Overture to 'Candide' Leonard Bernstein, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
Leonard Bernstein, Composer
Mänadenjagd Hans Werner Henze, Composer
Hamburg State Philharmonic Orchestra
Hans Werner Henze, Composer
Ingo Metzmacher, Conductor
Rag Time (well-tempered) Paul Hindemith, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
Paul Hindemith, Composer
Central Park in the Dark Charles Ives, Composer
Charles Ives, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
Gayaneh, Movement: Sabre Dance Aram Il'yich Khachaturian, Composer
Aram Il'yich Khachaturian, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
Masquerade, Movement: Waltz Aram Il'yich Khachaturian, Composer
Aram Il'yich Khachaturian, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
(10) Märsche um den Sieg zu verfehlen, Movement: Vivace Mauricio Kagel, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
Mauricio Kagel, Composer
(10) Märsche um den Sieg zu verfehlen, Movement: Allegro Mauricio Kagel, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
Mauricio Kagel, Composer
You must finish your journey alone Anton Plate, Composer
Anton Plate, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
(The) Love for Three Oranges, Movement: March Sergey Prokofiev, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
Sergey Prokofiev, Composer
(La) Valse Maurice Ravel, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
Maurice Ravel, Composer
(The) Golden Age, Movement: Polka Dmitri Shostakovich, Composer
Dmitri Shostakovich, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
Circus Polka Igor Stravinsky, Composer
Hamburg State Philharmonic Orchestra
Igor Stravinsky, Composer
Ingo Metzmacher, Conductor
(Der) Silbersee, Section: Ouverture Kurt (Julian) Weill, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
Kurt (Julian) Weill, Composer
(Der) Silbersee, Section: Gräbst du? (Gravediggers' duet) Kurt (Julian) Weill, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
Kurt (Julian) Weill, Composer
Stille und Umkehr Bernd Alois Zimmermann, Composer
Bernd Alois Zimmermann, Composer
Hamburg State Philharmonic Orchestra
Ingo Metzmacher, Conductor
It might be thought that New Year as customarily marked in Vienna is a pleasurable yet ever increasing anomaly, so full marks to Metzmacher and his Hamburg orchestra for assembling so varied yet representative a selection, confirming the vibrancy of 20th-century music.
Eclectic is the watchword here: a full-bodied but charismatic reading of Bernstein’s Candide Overture launches an evening which mixes self-contained items and extracts with no regard for chronology, but a real feeling for their musical follow-through. Enjoyable in its own right, the programme is also a vehicle allowing Metzmacher to demonstrate his sympathies for a wide range of repertoire. Post-war German music is featured by representative miniatures from Henze and Kagel, as well as an intriguing piece d’occasion from Anton Plate and a transcendent farewell from Bernd Alois Zimmermann, daringly placed between jazz-age take-offs by Hindemith and Shostakovich. La valse emerges as portentous and menacing, Central Park as a luminous and timeless recollection. Uproarious pieces by Hindemith and Stravinsky rediscover their historical context, while lollipops from Khachaturian and Prokofiev remain shamelessly impervious to programming.
In all respects, Metzmacher gets the right balance between commemoration and celebration, to the delight of an audience clearly enjoying its ‘alternative’ night out. While the impact of certain items would have been heightened without the applause that follows, the need to capture the event as it happened is evidently, and rightly, the point of this release. Let’s hope it’s the beginning of a whole new tradition.'

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