• MDG9482199 Katalognummer
  • 760623219967 EAN
  • 1SACD Format
  • 2021 Utgivelsesår
  • På lager Tilgjengelighet

Berolina Ensemble

Straesser, Ewald

Berolina Ensemble




Ewald Straesser
Chamber Music

      Quintet op 34 in G major (34:00)
      for clarinet, 2 violins, viola and cello
1    Poco moderato (9:21)
2    Poco vivo, ma energico (6:17)
3    Largo (10:37)
4    Alla breve, grazioso e con anima (7:44)

      Sonata op. 58 i E major (22:12)
      for clarinet and piano
5    Allegro non troppo (8:20)
6    Andante grazioso (3:01)
7    Andante sostenuto (4:32)
8    Molto allegro (6:18)

      Quintet op. 9b in G major (20:58)
      for flute, oboe, clarinet, horn and bassoon
9    Allegro (7:41)
10  Allegretto con moto grazioso (3:30)
11  Andante con moto grazioso (3:09)
12  Allegro moderato (6:35)

Velg antall  


Ewald Straesser (or Sträßer) was highly respected during his lifetime, and the list of his interpreters reads like a "Who's Who" of music: Furtwängler, Abendroth, Mengelberg, Nikisch and Pfitzner conducted his works, and the pianists Elly Ney and Max van der Sandt repeatedly included him in their programmes. Today, Straesser's music has completely disappeared from the repertoire in the succession to Brahms; the new recording of three chamber music works by the Rhinelander-born composer by the Berolina Ensemble, which is eager to make discoveries, is all the more commendable.

Straesser composed intuitively; according to his own statements, a deeper "intention", possibly even a political or educational one, was alien to him. This made him suspect in avant-garde circles, and since he himself made little fuss about his person and tended to avoid public appearances, his artistic star by no means shone as brightly as his works deserved. As the critic noted at the time, the premiere ensemble in 1903 was probably not able to meet the high demands of the wind quintet. It is good that the Berolina Ensemble now provides an adequate interpretation!

With a traditional foundation and excellent technical skills, Straesser is often seen by contemporaries as a successor to Brahms. However, he was ahead of Brahms in his ability to write wide-ranging melodic arcs, which can be heard particularly beautifully in the Clarinet Sonata written in 1932 shortly before his death. Together with the Clarinet Quintet of 1915, these three works span an entire composer's life, which shows an interesting development, especially from a harmonic point of view.

Without ever getting into atonality or twelve-tone technique, Straesser finds his own way into a modern tonal language, chromaticism increases, surprising dissonances sometimes remain unresolved... The Berolina Ensemble traces all this with audible enthusiasm and adds another highlight to its now considerable discography


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