Alexander Kukelka (1963-)
Concerto pour naï et quintette à cordes
Quatre Mélodies pour baryton-basse, clarinette basse et piano "Trau noch dem Frühling nicht"
Dix Méditations pour clarinette seule et orchetsre klezmer "Vom Zauber der Dinge"
"Aufruf zur höchsten Schau", pour baryton, 2 violons, violoncelle, clarinette, accordéon et piano
Quintette à cordes
"Ständchen", pour violon, alto et violoncelle
Quatre Pièces pour piano
Humoresque pour quatuor de vents "Von einem Marsch, der auszog, das Tanzen zu lernen"
Petit rondo pour trio de bois "Toi-Toi-Toi!"
Bagatelle pour trio de bois "If You Make a noise, Make it Quietly!"
Farce pour flûte, violoncelle et piano "Requiem for a Dead End"

Günter Haumer, baryton
Peter Uhler, violon
Monika Uhler, violon
Joanna Lewis, violon
Anne Harvey-Nagl, violon
Marta Ptulska, alto
Manuel Schlager, violoncelle
Marta Kordykiewicz, violoncelle
Sophie Stocker, violoncelle
Melissa coleman, violoncelle
Asja Valcic, violoncelle
Michael Pistelok, contrebasse
Piotr Motyka, accordéon
Andreea Chira, flûte de pan
Marlies Gaugl, flûte
Wolfgang Kornberger, clarinette
Moritz Weiß, clarinette
Josef Bednarik, hautbois
Marion Janda, basson
Thomas Steinwender, cor
Kaori Nishii, piano
Yu-Hsuan Lin, piano
Doris Kitzmantel, piano
Alexander Kulkelka, direction

Since 2004, the lost world of the former “Buchenland” (Beech Country) with its Jewish-Christian culture, which was expelled and destroyed by Naziism, has played a special role in Alexander Kukelka’s oeuvre – his ancestors came from Czernowitz (Chernivtsi) and the former Bukovina. The album “Call to the Highest Vision” is a follow-up to the production “Czernowitzer Skizzen” released in 2008, and stands as a further attempt to pay compositional tribute to this historically unique “multi-ethnic mosaic” on the edge of the Carpathians with its capital Czernowitz, also known as “Little Vienna” or “Jerusalem on the Pruth”. The selected works combine most diverse styles of composing, with works ranging from the concerto for nai (pan flute) and string auintet, songs for bass bariton, bass clarinet and piano, Meditations for solo clarinet and Klezmore Orchestra, works with ironic titles such as “About a March That Set Out to Learn How to Dance – Humoresque for Wind Quartet” or “Requiem for a Dead End – Farce for Flute, Cello and Piano”. However, no “historical distance” or compositional employment can relativize or explain the irretrievable loss of this unique linguistic and cultural landscape, in which half a dozen ethnic groups dreamed of a better world in peaceful coexistence on the eve of the Shoah.