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01. Thomas Indermuhle, Augsburg Philharmonic Orchestra, Rudolf Piehlmayer - ROTAS: Atemkreis
02. Thomas Indermuhle, Augsburg Philharmonic Orchestra, Rudolf Piehlmayer - ROTAS: Scherzo Interrotto
03. Thomas Indermuhle, Augsburg Philharmonic Orchestra, Rudolf Piehlmayer - ROTAS: Abgesang
04. Rahel Cunz, Ensemble Theater am Gleis Winterthur, Jac van Steen - Wunderhorn-Musik: Das Wunderhorn
05. Rahel Cunz, Ensemble Theater am Gleis Winterthur, Jac van Steen - Wunderhorn-Musik: Der Ritter Und Die Magd
06. Rahel Cunz, Ensemble Theater am Gleis Winterthur, Jac van Steen - Wunderhorn-Musik: Die Wahrheit
07. Rahel Cunz, Ensemble Theater am Gleis Winterthur, Jac van Steen - Wunderhorn-Musik: Abendstern
08. Rahel Cunz, Ensemble Theater am Gleis Winterthur, Jac van Steen - Wunderhorn-Musik: An Einen Boten
09. Rahel Cunz, Ensemble Theater am Gleis Winterthur, Jac van Steen - Wunderhorn-Musik: Die Greuelhochzeit
10. Rahel Cunz, Ensemble Theater am Gleis Winterthur, Jac van Steen - Wunderhorn-Musik: Des Hirten Einsamkeit
ARTIST
TITLE
ROTAS/Wunderhorn-Musik
FORMAT
CD

LABEL
CATALOG #
NEOS 11016CD NEOS 11016CD
GENRE
RELEASE DATE
7/2/2013

"ROTAS, a concerto for oboe and orchestra, was composed in 2009 to a commission from the Augsburg Philharmonic Orchestra and is dedicated to that orchestra, to its conductor Rudolf Piehlmayer, and to the soloist Thomas Indermühle. ROTAS is the last composition of my five-part SATOR cycle. These five compositions are united through the use of common musical material derived from the famous 'SATOR square' (sator, arepo, tenet, opera, rotas) that serves as the germ cell of these works. All the parameters of this music are developed from it, as are the formal structures. The Oboe Concerto is particularly closely related to the first composition of the cycle, my Clarinet Concerto, and this creates an arch stretching across the whole cycle. In this three-movement composition, the solo oboe contrasts short phrases played in a single breath (and thus of a 'natural' length) with overlong passages that can only be played by means of circular breathing. An area of conflict is thus created between passages that are perceived as organic in conception, and melodies that seem almost unending. Wunderhorn-Musik was composed in 2008 to a commission from the Ensemble Theater am Gleis in Winterthur (TaG) and the Swiss Arts Council Pro Helvetia, and is dedicated to the violinist Rahel Cunz, the TaG Ensemble and the conductor Jac van Steen. Wunderhorn-Musik was inspired by the folksong collection Des Knaben Wunderhorn, which was published by Clemens Brentano and Achim von Arnim in 1806. Its subtitle 7 Sound Pictures for Violin and Ensemble refers to the fact that the texts on which the work is founded were used in neither a pictorial nor an onomatopoeic fashion during the process of composition. Rather is this work a setting of impressions that were evoked while reading the seven texts in question." - David Philip Hefti