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Bernd Alois Zimmermann - Canto di speranza

Recorded 2005 | Released 2008

The stylistic and emotional distance that Zimmermann travelled in barely 20 years is graphically illustrated by the works that frame the outstanding ECM disc. The synthesis of Bartók, Schoenberg and Stravinsky in the sparky Violin Concerto of 1950, played with expressive intelligence by Thomas Zehetmair, seems light years away from the deep pessimism of Zimmermann’s final work… Between the two comes a beautifully judged account of one of Zimmermann’s perfectly achieved scores, the 1957 'cantata' for cello and orchestra, Canto di Speranza. With its finely honed lyricism and limpid scoring it has the focus and economy that Zimmermann’s later music sometimes lost; Thomas Demenga’s performance of the solo part maintains that purity even under the greatest pressure. (BBC Music Magazine)

Personnel:

Thomas Zehetmair: violin

Thomas Demenga: cello

Gerd Böckmann: voice

Robert Hunger-Bühler: voice

Andreas Schmidt: bass

WDR Sinfonieorchester Köln - Heinz Holliger (cond.)

Recording:

May 2005, Kölner Philharmonie

ECM New Series 2074 (476 6885)

Info (ECM):

Three keyfigures from ECM’s contemporary music roster – Heinz Holliger, Thomas Zehetmair, and Thomas Demenga – team up for an exceptional recording of three works by German post-war composer Bernd Alois Zimmermann. Zimmermann, almost half a generation older than the serialists such as Boulez and Stockhausen, integrated state-of-the-art compositional methods in his writing while constantly following his own independent, highly expressive musical language. The rhythmically energetic violin concerto (1950) which is partially based on twelve-tone models and cast in three movements, was soon hailed as a model for a post-war solo concerto, while “Canto di Speranza” (1953/57), a one-movement cello concerto, acccording to Zimmermann, emphasizes monologue and introvert meditation. “Ich wandte mich…” on the other hand is Zimmermann’s last work, finished only a few days before his suicide in 1970. Labelled by the composer as an “ecclesiastical action”, the 35-minute oratorio on biblical verse and the famous parable "The Grand Inquisitor" from Dostoevsky’s “Brothers Karamazov” is a deeply pessimistic “performance art” work - of the kind that flourished in Germany’s ‘Fluxus’ scene around 1970 - involving recitation, singing, and both gestural and acrobatic action.

Track listing:

1. Meiner Frau, Sonata

2. Meiner Frau, Fantasia

3. Meiner Frau, Rondo

4. Canto di Speranza

5. Ich wante mich und sah an alles Unrecht, das geschah unter der Sonne

Reviews:

International Record Review

This is a fine representative selection of his output: the early, still essentially neo-Classical violin concerto, the more characteristic cello concerto, Canto di speranza, and Zimmermann’s final work. … Thomas Zehetmair … is an ideal advocate for the solo part; the lush colours of Zimmermann’s generous orchestration come off beautifully under Holliger, particularly in the glorious slow movement. … The work should be much better known and I can hardly imagine a better way to make its acquaintance. … Thomas Demenga is also an ideal soloist, managing to retain a full-bodied tone throughout, despite the thorny tasks Zimmermann sets him.

A genuine cantata concludes the programme – a song not of hope but of despair. … With its clear narrative form, the work is no mere 1960s ‘happening’ and its effect not only in concert but on record can be deeply harrowing.

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