Schulhoff: Chamber Music [Hybrid SACD] [Hybrid SACD] [SACD]

Editorial Reviews
Amazon.com
This the fourth in Praga's series under the rubric of "Czech Degenerate Music," the term "degenerate" being an ironic reference to the Nazi's perverse label for Jewish artists and musical styles that they deemed undesirable. Schulhoff died in a Nazi concentration camp in 1942; his music was largely forgotten until recently, when it became apparent that he was among the era's most talented composers. The 1924-1925 works here are neoclassical, with bracing touches of expressionistic angst and sardonic humor. Influences include jazz, Czech folk dance, Stravinsky, and modern French composers (Poulenc and Milhaud are dedicatees, and the Concertino for Flute, Viola, and Double Bass is reminiscent of Debussy). The opening work, Five Pieces for String Quartet, is a delightful romp through various dances including the tango; the Duo for Violin and Cello, a successful blend of Czech folk melody with severe neo-classicism. The String Sextet is a harmonically adventurous work whose darker shadows never exclude melodic inventiveness. Featuring two of the top Czech ensembles, the performances are outstanding. --Dan Davis

Tracks:

Passacaille After Handel
Duo Op. 7
Duo Op. 7
Duo Op. 7
Sonate Pour Violon & Violoncelle
Sonate Pour Violon & Violoncelle
Sonate Pour Violon & Violoncelle
Duo
Duo
Duo
Duo
God Save The King Op. 38

Amazon.com

This is a recording to induce smiles of incredulity, admiration, and delight. The Capuçon brothers are dazzling virtuosos who revel in their technical prowess with unabashed, sometimes mischievous relish; their tone is simply gorgeous: rich, vibrant, and intense, and they have the impetuosity, exuberance and abandon that befits their youth. (Renaud was born in 1976, Gautier in 1981, in Chambery, France.) The recording is designed to display every aspect of their matchless virtuosity, but equally astonishing are their uncanny rapport and unanimity and the homogeneity of their tone: they trade phrases and take over lines literally imperceptibly, and at times, especially when the cellist plays high up on the A and the violinist on the G-string, one cannot tell which instrument is playing what. The program includes a world premiere: Eric Tanguy's Sonata, written for the brothers and tailored to their strengths: two marathon run-around movements flanking a dark, passionate, slow one, all full of close interplay between the instruments. Kodály's familiar, very difficult Duo, played with great idiomatic empathy, unbridled temperament and mournful lamentation, exploits all the instruments' resources of colors and sound effects. The less familiar Duo by Erwin Schulhoff is equally difficult; with its wildly contrasting moods, abrupt changes of character and improvisatory freedom it has a powerful emotional impact. The program begins and ends with brilliant fireworks: Handel-Halvorsen's "Passacaglia," tossed off with playful nonchalance, and "Variations brillantes sur God Save the King," by two virtuosos: violinist Joseph Ghys and cellist Adrien Servais. (It is tempting to imagine that each wrote his own part.) Prefaced by a solemn, operatic Introduction, the five variations are the last word in acrobatics; the pyrotechnics are so incredible that the piece sounds like a parody of its own genre. Naturally, the playing is absolutely stunning. --Edith Eisler

Customer Reviews:

A smile in the mind..........2003-09-12

Refreshingly interesting programming combined with virtuosic music-making makes this one of the few "must-have" classical albums of the year (2003). No re-hashes here...it's all new to the ear (well, my ear). and the sense of ensemble between these two brothers is uncanny and breathtaking, underscored throughout by a sly sense of wit...merry, witty and just plain fun! BUY THIS CD...you'll love it and you'll be supporting some darned interesting upcoming new talent! P.S. The liner notes and photos are subtley hilarious...very well put-together package.

Magnificent music making!.......2003-07-18

The playing and music making on this disc are magnificent. The Capuçon brothers are virtuosos of the first rank, but more importantly they are incapable of playing an unmusical or uninteresting note. They speak with one voice when called upon, but are perfectly willing to engage one another in heated musical dialogue in the Kodaly and Tanguy. The performance of the Kodaly is especially wonderful. Technical perfection, panache, an infinite pallete of colors and amazing musicianship: what more could you want in a cd? I urge you to buy this cd and all others by these remarkable young brothers, especially their Ravel disc.

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More Jazzy Classics from the 20s

Piano Concertos of the 1920s

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
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Piano Concertos of the 1920s
Martinu: Works for Violins and Orchestra
Bad Boy of Music
Antheil: Ballet Mecanique
Ervin Schulhoff: Symphonies 1-3

ASIN: B0009ML2NI
Release Date: 2005-06-14

Tracks:

I. Molto Sostenuto. Allegro Espressivo. Alla Marcia Maestoso
II. Sostenuto. Cadenza. Molto Sostenuto E Astrattamente
III. Allegro Alla Jazz. Alla Zingaresca. Tempo I. Prestissimo
A Jazz Symphony
I. Allegro
II. Adagio. Andante Con Moto
III. Allegro Agitato

Album Description

"A WELCOME EXHUMATION AMONG THESE CATCHY WORKS INSPIRED BY THE JAZZ AGE: Schulhoff's Piano Concerto was completed in 1923 after he had been one of the first central European composers to respond to early jazz, which he heard on records owned by the painter George Grosz. Schulhoff was born in Prague but after studying at the Conservatory moved to Germany where his teachers included Reger. However he soon got over that conventional background and even mixed with the dadaists in Berlin.

This concerto is a neglected curiosity: Michael Rische claims to have given the first performance outside Prague in 1993. The first movement starts with some luscious romantic left-overs and ends with a menacing march; the second uncannily anticipates some of Messiaen's personal chords under a beguiling melody; and the Allegro alla jazz finale is syncopated. The episodic layout includes two minutes in gypsy-style for violin and piano alone in the middle of the finale.

Antheil wrote his Jazz Symphony for Paul Whiteman in 1925 but it wasn't ready so the première came in 1927 with WC Handy's Orchestra and the composer at the piano...Antheil - far crazier than Schulhoff - sends up Stravinsky's ragtime pieces and there's a lengthy passage where the sage in procession from the first part of The Rite of Spring seems to have wandered into Ives's Central Park in the Dark. At the end of his kleptomaniac exploits, the most shocking thing Antheil can possibly do is to quote somebody else's pop song straight - and end on an interrupted cadence! The Gershwin gets a thoroughly reliable performance" -GRAMOPHONE (April 2004)

Customer Reviews:

More Jazzy Classics from the 20s.......2006-03-04

This is every bit as distinguished an effort as Michael Rische's Piano Concertos of the 1920s, Volume 1. If anything, it is even more of a revelation because of the inclusion of Erwin Schulhoff's Concerto. This is clearly an important work. It starts off with a mysterious, quasi-improvisatory movement that sounds like the world's most high-class movie music, but that's only because in the 1930s and 40s movie music composers would finally catch up with Schulhoff. By the end of the movement we are in a tortured musical dream world, haunted by cascading harps and slashing percussion. The next movement is quieter but equally mysterious, with a long, ruminative cadenza for the pianist. It's only in the last movement that Schulhoff unleashes his version of jazz, and it's a corker, mixing as it does jazz and Gypsy(!) music.

George Antheil's Jazz Symphony isn't in quite the same class, but it's all over in a compact 13 minutes and is predictably wild, beginning with a tango-influenced section that quickly devolves into a crazy jazz episode with wailing brass and xylophone scales. The piano enters with some Petruschka-like utterances before the tuba and banjo take us briefly back to New Orleans. Toward the end, there are the usual obeisances to (or outright plagiarisms from) Stravinsky--Petruschka, Ragtime--before we end with Busby Berkley. This Antheil's a wild and crazy guy, but I like him!

With the Gershwin Concerto, we're in familiar territory, and Rische and Marshall don't really add anything to our understanding or enjoyment of this popular work. On the other hand, if their performance doesn't rival classics such as Wild/Fiedler, they give us a thoroughly attractive reading that catches all the verve and moxie of Gershwin's best orchestral work.

This disc is a great deal of fun with (thanks to Schulhoff) a serious side as well, and I highly recommend it.

Schulhoff Quartet, Violin Sonata, Violin/Cello Duo, Sextet / Petersen Quartet

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Schulhoff Quartet, Violin Sonata, Violin/Cello Duo, Sextet / Petersen Quartet
Petersen Quartet , Rainer Johannes Kimstedt , and Michael Sanderling
Manufacturer: Capriccio
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Sextets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
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Ervin Schulhoff: Symphonies 1-3
Schulhoff Quartets No. 1, 2, Five Pieces / Petersen Quartet
Joseph Marx: Alt-Wiener Serenaden; Partita in Modo Antico; Sinfonia in Modo Classico
Joseph Joachim Raff: String Quartets Nos. 1 & 7 "Die schöne Mullerin"
Joseph Joachim Raff: Shakespeare Overtures / Elegie / Fest-OuvertÃ¼re

ASIN: B000001WS5
Release Date: 1996-03-05

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Metropolis Berlin, 1927 - 1933

Manufacturer: Ottavo Recordings
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
ASIN: B000C6NO50
Release Date: 2005-12-27

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Flautopia: Music for Flute & Piano

Manufacturer: MSR Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000H0M600
Release Date: 2006-07-11

Tracks:

MARTIN Scherzo (Divertimento) for Flute and Piano
SCHULHOFF: Sonata for Flute and Piano - Allegro moderato
SCHULHOFF: Sonata for Flute and Piano - Scherzo
SCHULHOFF: Sonata for Flute and Piano - Aria
SCHULHOFF: Sonata for Flute and Piano - Rondo-Finale
REINECKE: Sonata Undine, Opus 167 - Allegro
REINECKE: Sonata Undine, Opus 167 - Intermezzo
REINECKE: Sonata Undine, Opus 167 - Andante tranquillo
REINECKE: Sonata Undine, Opus 167 - Finale
MARTIN First Sonata - Allegro moderato
MARTIN First Sonata - Adagio
MARTIN First Sonata - Allegro poco moderato
JANEK: Pochod Modr

Product Description

The pieces by Martinù, Schulhoff, Reinecke and Janáèek included on this recording are close to my heart for many reasons. MartinùÂ’s phrasing echoes the rhythm of the Czech language and I have a great fondness for the uneven, conversational quality of MartinùÂ’s melodies - perhaps because of my own Slavic ancestry. His affinity for the flute is unmistakable, making this work very gratifying to play. The recently rediscovered Sonata for Flute and Piano by Schulhoff is a gem within the flute repertoire. Glimpses of Slavonic folk style, jazz and impressionism characterize SchulhoffÂ’s writing, and the exploration of his Sonata infused this recording project with a refreshing energy. While the Schulhoff is a recent discovery for me, the Reinecke Sonata Â“UndineÂ” has been a favorite piece since my childhood. The tale of the water nymph who longs to become human has always captivated my imagination, and the soaring romantic melodies are perfectly suited to the flute. The recording concludes with a short piccolo and piano piece by Janáèek entitled Pochod Modráèkù (March of the Blue Breasts). I first encountered this material when I was playing the important woodwind chamber work Mládi (Youth). The small scale piccolo piece appears rather inconsequential on its own; however, within the context of the larger work the material assumes more significance, representing substantial memories from JanáèekÂ’s youth. The composers on this recording have many indirect historical, biographical and musical relationships; most importantly, all of the works celebrate the spirit of the flute. TANYA DUSEVIC WITEK: Tanya DuÂševiæ Witek has been the recipient of many awards in North America, including The National Arts Club's Tilden Prize, a Fulbright Grant, the National Flute Association's Young Artists' Competition, a Sony ES Award for Excellence, the McGraw-Hill CompanyÂ’s Robert Sherman Award and several Canada Council Grants. Ms. Witek has appeared at Marlboro! Music, Mostly Mozart at Lincoln Center and The Banff Festival. She has toured the U.S. with the acclaimed "Musicians from Marlboro" ensemble and is heard on a commemorative recording celebrating the festivalÂ’s 50th anniversary. As principal flute of the New York Symphonic Ensemble and a regular guest artist with the Orpheus Chamber Orchestra, she has toured widely throughout Asia, Europe and the United States. Ms. Witek has appeared as soloist at many fine halls including Alice Tully Hall and Avery Fisher Hall at Lincoln Center, CarnegieÂ’s Weill Recital Hall, Kioi Hall in Tokyo, Izumi Hall in Osaka, and The Purcell Room in London. She has recorded for EMI, Bridge, Panasonic, CRI, and her performances have been broadcast on CBC Radio in Canada, Radio France, NHK in Japan, as well as WNPR and WNCN in New York. Deeply committed to educational outreach, she has introduced thousands of New York City public school children to classical music through her work as a Teaching Artist for the New York Philharmonic and Lincoln Center Institute. As a founding member of the Forest Hills Chamber Players, Ms. Witek performs free concerts in community venues in the outer boroughs of New York City. A native of Calgary, Canada, Ms. Witek was educated at The University of Calgary, The Banff Center, and she received her master and doctoral degrees from The Juilliard School. Her teachers have included Philippa Fullerton, Carol Wincenc and Samuel Baron. CHARLES FOREMAN: Pianist Charles Foreman has been equally praised for his superb musicianship, formidable technique, vast repertoire, and imaginative programming. Foreman will begin CanadaÂ’s first complete cycle of the piano works of Chopin in 2006. He recently completed his first cycle of the thirty-two Beethoven sonatas, to sold-out houses and standing ovations. In 2001, Foreman concluded his Â“Sounds of a CenturyÂ” project, ten recitals of twentieth-century piano music, one for each decade, which the Calgary Herald called "monumentalÂ…heroicÂ… illuminating." Foreman made his

Double Play / Rachel Barton, Wendy Warner

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Very pleasant listening

Double Play / Rachel Barton, Wendy Warner

Manufacturer: Cedille
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
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Scottish Fantasies for Violin and Orchestra with Rachel Pine (2 CDs)
Samuel Barber: Orchestral Works, Vol. 2

ASIN: B00001QEFJ
Release Date: 1999-10-01

Tracks:

I. Allegretto (2:43)
II. Adagio (4:13)
III. Poco allegro (3:05)Duo (1925) (17:52) - ERWIN SCHULHOFF
I. Moderato (5:47)
II. Zingaresca: Allegro giocoso (3:14)
III. Andantino (4:40)
IV. Moderato (4:00)Sonata (1922) (19:17) - MAURICE RAVEL
I. Allegro (4:51)
II. Tres vif (3:18)
III. Lent (5:24)
IV. Vif, avec entrain (5:33)Duo, Op. 7 (1914) (24:55) - ZOLTAN KODALY
I. Allegro serioso, non troppo (8:06)
II. Adagio (8:13)
III. Maestoso e largamente (8:28)TOTAL TIME (72:40)

Album Description

Rachel Barton returns for her fourth Cedille recording, along with fellow young virtuoso, childhood friend, and Rostropovich protÃ©gÃ© Wendy Warner. The twentieth century has proved a golden age for big, virtuosic duos for violin and cello. Violinist Rachel Barton and cellist Wendy Warner, major-league soloists and lifelong friends, present these duos that give equal stature to both instruments. Martinu's Duo sustains high energy, especially in the Poco Allegro third movement, which features a wild refrain theme and bariolage (bowing involving rapid shifting between strings). Fellow Czech Erwin Schulhoff offers a persuasive merger of folk and contemporary elements, combining traditional Central European folk rhythms with modern string effects, such as left-hand pizzicatos and high harmonics. Ravel's large-scale sonata is so challenging that the violinist who gave the premiere chided the composer: "It must be fun writing such difficult stuff, but no one's going to play it except virtuosos." Ravel smiled: "Good! Then I shan't be assassinated by amateurs." Kodaly's Duo blends Hungarian folk materials with the formal structure of art music. Particularly striking is the Adagio's trio-like middle section in which the cello provides a bowed soprano melody and a plucked-bass accompaniment as the violin spins a counter-melody in the alto range Miss Barton and Miss Warner both grew up in the Chicago area, and studied at the Music Center of the North Shore (now Music Institute of Chicago) in Winnetka, IL, where they played in the same string quartet. The two played Brahms' Double Concerto in A minor in 1996 with the Chicago Youth Symphony in Chicago's Grant Park Music Festival, a performance which inspired the Chicago Tribune's Dan Tucker to write, "Barton, Warner are 2 of a kind: brilliant . . . This was a memorable concert; let us hope for more like it."

Customer Reviews:

Very pleasant listening.......2000-01-15

Smaller labels like Cedille can take chances on issuing CDs like (CDR 90000 047). Here is a fine presentation of four duos for violin and cello (think of opera duets for soprano and contralto) that are seldom if ever heard in concerts or on other recordings. We have here Martinu's "Duo No. 2," Schulhoff's "Duo," Ravel's "Sonata," and Kodaly's "Duo, Op 7" played lovingly by Rachel Barton (v.) and Wendy Warner (c.). Composed respectively in 1958, 1925, 1922, and 1914, these works do not give us the lush melodies we get in (say) the duos for violin and viola of Mozart or comparable works by Dvorak. 20th century music tends to be more pioneering, more cerebral and therefore more challenging to the listener. And it is a good thing that the producers and artists have chosen for this offering four different national temperaments to be represented. Highly recommended for the rarity of the selections as much as for the playing.

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Rustiques

Manufacturer: Summit(Classical)
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
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Samuel Barber: Symphony No. 1/Piano Concerto/Souvenirs

ASIN: B000ILYYOY
Release Date: 2006-10-10

Tracks:

I Pastorale
II Reverie
III Rondeau A La Francaise
I Dialogue
II Scherzino
III Aria
IV Finale
I Ouverture
II Burlesca
III Romanzero
IV Charleston
V Tema Con Variazoni
VI Florida
VII Rondino-Finale
I Anime
II Languissement
III Vif

Album Description

If music, like wine, is evaluated in terms of vintages, then 1927 was a very good year for the trio d'anches, or reed trio, typically comprised of an oboe, a clarinet, and a bassoon. 1927 heralded the creation in Paris of an elite ensemble with three of the city's most eminent players: oboist Myrtil Morel, clarinetist Pierre Lefebvre, and the group's founder, bassoonist Fernand Oubradous. Also that year and in the same city, Max Eschig published Heitor Villa-Lobos' daring Trio for oboe, clarinet and bassoon, and in Prague the radically eclectic Ervin Schulhoff completed his Divertissement for the same instrumental combination. Alexander Tansman's Suite pour trio d'anches of 1949 is influenced by Stravinsky. Of all the works on the present disc, it is Rustiques by Joseph Canteloube that resonates most with wind players to this day. Known primarily for his Chants d'Auvergne, Canteloube again mined old French chansons and dances for inspiration, but this time he wove together tunes from all across the country.

Musik für Saxophon aus Berlin, Vol. 1 (1930-1932)

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Musik für Saxophon aus Berlin, Vol. 1 (1930-1932)

Manufacturer: Eda Edition Abseits
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00008YJG0
Release Date: 2003-04-29

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Regarding study of music banned by 3rd Reich

The Music Survives: Degenerate Music

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

The Decca Records Store | Specialty Stores | Music
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Viktor Ullmann: Der Kaiser von Atlantis/Hölderlin-Lieder
The Conformist (Extended Edition)

ASIN: B0000042FG
Release Date: 1997-06-10

Tracks:

Die V (Libretto: Braunfels After Aristophanes): Vorspiel - Prolog
Between Two Worlds: The World At War - The Next World
Der Kaiser von Atlantis (Libretto: Kien): Wer da? Halt! Steh! - Ist's wahr, das es Landschaften gibt - Komm fort von hier - Schau, die Wolken
Das Wunder der Heliane (Libretto: Muller after Kaltneker): Act 2, Scene 3: Ich ging zu ihm
Flammen (Libretto: Benes, Brod): Scene 8: Introduzione - Karnevalsnacht
Rondeau: `Rue du Rocher' (excerpt) - Berthold Goldschmidt
Die Gezeichneten (Libretto: Schreker): Act 3, Scene 15: Maskenzug - Was fliehst du vor mir?
Deutsche Sinfonie, Op. 50: Prdium
Der gewaltige Hahnrei: Act Two: Zwischenspiel - Du bist so blas wie ein Licht bei Tage!
String Quartet No. 2 - From The Monkey Mountains - III: Largo e misterioso - The Moon And I
Johnny Spielt Auf (Libretto: Krenek): Ob er kommt

Description

CD Video boxed set. Londn Rec. CD sample of wks by compose rs banned by Nazi regime. 40 min. vid. documentary of how & why these composers were labelled degenerate by Nazis. Never-before-seen cover art by Art Spiegelman (Maus).

Customer Reviews:

Regarding study of music banned by 3rd Reich.......2004-12-09

I know Michael Haas, executive producer. He has made a total commitment to locating and recording work of musicians whose work was banned by the Hitler regime because composers, etc. were even suspected to be Jewish, gay, gypsy, etc. One atheist or agnostic composer was sent to concentration camp because his father had been a Jew in the past.

This is needed to give a picture of the survival of music by talented people under duress.

Composers of the Holocaust: Ghetto Songs & Instrumental Works

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Composers of the Holocaust: Ghetto Songs & Instrumental Works

Manufacturer: Leonarda Productions
ProductGroup: Music
Binding: Audio CD

Classical | Indie Music | Stores | Music

General | Classical | Styles | Music
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MUSIC FROM THE HOLOCAUST
Holocaust Cantata
Forbidden Music: Music from Theresienstadt
Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps (Oxford Historical Monographs)
Our Town is Burning: Cries from the Holocaust

ASIN: B00006BNAO
Release Date: 2000-04-11

Tracks:

Es Brent (baritone, piano) (Mordekhai Gebirtig; piano arr. by Lazar Weiner)
Terezin Hymn (Downtown Chamber Singers) (chamber singers) (Karel Svenk; piano arr. by Stern-Wolfe)
Tsigaynerlid (mezzo-soprano, baritone, piano) (David Beigelman; piano arr. by Stern-Wolfe)
Sonata for Violin & Piano: Allegro impetuoso (Erwin Schulhoff)
Sonata for Violin & Piano: Andante (Schulhoff)
Sonata for Violin & Piano: Burlesca: Allegretto (Schulhoff)
Sonata for Violin & Piano: Allegro risoluto (Schulhoff)
Tsen Brider (baritone, piano) (Martin Rosenberg; piano arr. by Sheinkman)
Shtil, di nakht iz oysgeshternt (mezzo-soprano, piano). Words by Hirsh Glik to old folk song
Zog Nit Keynmol (words by Hirsh Glik; piano arr. by Stern-Wolfe)
Wiegenlied (mezzo-soprano, piano) (arr. by Gideon Klein)
Suite for Oboe and Piano: Furioso (Pavel Haas)
Suite for Oboe and Piano: Con fuoco (Haas)
Suite for Oboe and Piano: Moderato (Haas)
Yisrolik (baritone voice, piano) (Misha Veksler; piano arr. by Sheinkman)
Wiegala (mezzo-soprano, piano) (Ilse Weber; piano arr. by Stern-Wolfe
Ein Jadisches Kind (mezzo-soprano, piano) (Carlo S. Taube)

Album Description

Music by composers who died in the Holocaust: Ghetto Songs from Warsaw, Vilna, and Terezin and instrumental works by Schulhoff and Haas. Piano arrangements by Mimi Stern-Wolfe (Beigelman, Weber, "Shtil"), Mordechai Sheinkman (Rosenberg, Veksler) and Lazar Weiner (Gebirtig). Total Time: 65:56. DDD. Musical producer, editing, mastering and graphic design by Marnie Hall. Cover drawing by Jennifer Ross. David Hancock recorded Mr. Abelson, the Schulhoff and the group pieces at Holy Trinity Episcopal Church in New York City. Marnie Hall recorded Ms. Ganz and Mr. Lucarelli at SUNY Purchase (State University of New York). This recording is made possible with public funds from The New York State Council on the Arts, a state agency. Additional funding provided by The Jack and Belle Alpern Foundation and numerous individuals. © Leonarda Productions, Inc. 2000. All rights reserved. CDs made in the U.S.A.

Track Listings:

Track Listings

track listings

Track Listings

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