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Bernd Alois Zimmermann
Dialoge, Monologe, Perspektiven |
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Dialoge- Concerto for Two Pianos and large Orchestra (1960/65) I |
01:03 |
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| 2 |
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II |
01:17 |
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| 3 |
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III |
01:54 |
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| 4 |
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IV |
02:34 |
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| 5 |
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V |
02:36 |
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| 6 |
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VI |
06:46 |
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| 7 |
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VII |
00:40 |
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| 8 |
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Monologe- Version of Dialoge for Two Pianos Soli (1963/64) I |
01:26 |
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| 9 |
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II |
02:32 |
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| 10 |
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III |
02:36 |
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| 11 |
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IV |
01:43 |
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| 12 |
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V |
06:51 |
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| 13 |
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Perspektiven- Music to an Imaginary Ballet for Two Pianos (1955/56) Teil I |
09:31 |
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| 14 |
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Teil II |
05:17 |
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| 15 |
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Photoptosis- Prélude for Large Orchestra (1968) |
12:48 |
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Total Time |
59:34 |
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| Digital Booklet - only with album |
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| The first part of Perspektiven whose world premiere was in 1956 is entirely geared towards the music of Anton Webern, with the sonic contrasts overlying the mirror symmetric unity of the movement. In the second part, however, symmetry also determines the sound of Perspektiven. Zimmermann struggled in the early1960s when his opera Die Soldaten was rejected as unplayable by the Opera Cologne. It almost happened to him again when his Dialoge, composed in the fall of 1965, was rescued only through the engagement of the famous piano duo Kontarsky. At a later point, however, Zimmermann reworked the entire score since the orchestra musicians could not read his special music notation. Apart from the two pianos, the ‘dialogue’ also engages the entire orchestra, with the sound of this conversation changing “constantly with respect to density and continuity”. In his Monologe, Zimmermann was concerned with a sonic pluralism in which “dialogues extend beyond times and spaces and remain monologues in dialogues and a myriad of exchanges.” In his orchestral piece Photoptosis, Zimmermann manages to perfectly convey the force of light, from gentle glimmer to brilliant glow. |
1CD | Instrumental | Piano | Orchestral | Contemporary | Special Offers |
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| Recommendation |
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Elmar Lampson
Fadenkreuze  |
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| All hell is loose! York Höller managed to transfer Mikhail Bulgakov’s satire The Master and Margarita to the opera stage. |
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| For me, composition is a game’, says Kampe, ‘using objects which – from a distance – don’t seem to belong together. |
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