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Gateway into the Beyond. Œuvres pour violon seul. Brunnert.
Format : 1 CD
Total Time : 01:12:21

Recording : 17-18/12/2014
Location : Vienne
Country : Autriche
Sound : Stereo

Label : Gramola
Catalog No. : GRAM98006
EAN : 9003643980068
Price Code : DM019A

Publishing Year : 2020
Release Date : 01/06/2020

Genre : Classical
Eduard Erdmann (1896-1958)
Sonate pour violon seul, op. 12

Edmund von Borck (1906-1944)
Prélude pour violon seul, op. 11

Johann Sebastian Bach (1685-1750)
Sonate pour violon n° 2 en la mineur, BWV 1003

Paul Hindemith (1895-1963)
Sonate pour violon seul, op. 31 n° 2

Heinz Schubert (1908-1945)
Fantaisie pour violon seul

Lucas Brunnert, violon

Gateway into the Beyond' refers to the enigmatic six opening notes of the sonata by Eduard Erdmann - one of the most powerful and complex solo sonatas for violin from early classical modernism, is presented here as a premiere recording. A German album for solo violin juxtaposing four 20th century works written between 1920 and 1943 with the second solo sonata by Johann Sebastian Bach placed in its center. In addition to Erdmann, two composers who died during World War II are also presented in first recordings: Edmund von Borck with a compact, powerful prelude, and Heinz Schubert with a fantasy written in 1943 during abhorrent times, it’s flaming expression of despair amidst all the suffering virtually mystically transcending it at the same time. Paul Hindemith’s 2nd solo sonata is a playful counterpoint to both of these existentialist works. He employs variations from Mozart and a jaunty pizzicato scherzo to creates a diversity of connections to tradition. This album is the result of an eight-month period of intense musical collaboration between the soloist and the producer. Lucas Brunnert has proven himself to be a violinist who not only captivates with technical sovereignty, an extremely multifacetted tone and great intensity, but also particularly understands and fulfills the spiritual, the superordinate context. The listener can experience how Eduard Erdmann’s use of Schönberg’s free tonality, not a-tonality, is coherent even in the boldest passages and how Paul Hindemith’s new harmonies, evolved out of the romantic tradition, unfold an inner vitality with much unexpected humor and ingenuity. The linear intensity and figurative virtuosity in the service of a coherent whole is strikingly evident in Bach as well as in Heinz Schubert. Bach and Expressionism enter into a relationship overflowing with excitement, in which the solo violin opens up worlds of expression unheard-of for an unaccompanied melodic instrument.

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