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  • Wolfgang Rihm: Musik fr Oboe und Orchester / Styx und Lethe / Dritte Musik / Erster Doppelgesang
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Wolfgang Rihm: Musik fr Oboe und Orchester / Styx und Lethe / Dritte Musik / Erster Doppelgesang


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Audio CD, April 10, 2007
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Product Details

  • Orchestra: SWR Baden-Baden und Freiburg
  • Conductor: Hans Zender, Michael Gielen
  • Composer: Wolfgang Rihm
  • Audio CD (April 10, 2007)
  • Number of Discs: 1
  • Label: Hanssler Classics
  • ASIN: B000O5B514
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #33,332 in Music (See Top 100 in Music)

1. Musik Fur Oboe Und Orchester
2. Styx Und Lethe Musik Fur Violoncello Und Orchester
3. Dritte Musik Fur Violine Und Orchester - Michael Gielen
4. Erster Doppelgesang Musik Fur Viola, Violoncello Und Orchester - Jan Latham-Koenig

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4 of 4 people found the following review helpful By Autonomeus on June 23, 2007
Format: Audio CD
This Hanssler disc bears the title RIHM-EDITION, VOL. 1. This is great news for admirers of Rihm's music, and the Edition is off to an amazing start with this collection of four concertos from the SWR Sinfonieorchester Baden-Baden und Frieburg, with conductors Michael Gielen and Hans Zender. I recommend this disc without reservation to anyone who is curious about the prolific contemporary German composer -- it instantly becomes the best introduction to Rihm.

Concertos, it seems to me, often provide an accessible doorway to a composer's work. The foregrounding of a solo line over an orchestral counterpart can be easier to follow than the complex structures of, say, symphonies or string quartets. This set of Rihm concertos is a fantastic example of the principle, in any event. All four are either world premieres, or world premiere recordings, or both.

The first, "Musik fur Oboe und Orchester" (16'19" -- 1995/2002) is the least intimidating of the four. Alexander Ott plays the lovely solo part, which is melodic in the best romantic tradition. Some will not doubt see this as Rihm mellowing and making a neoclassical turn, but it is a beautiful piece in its own right. It works toward an energetic and humorous climax. "Styx und Lethe: Musik fur Violoncello und Orchester" (23'34" -- 1997/1998) is the most impressive of the four concertos, and features Lucas Fels on cello. It is a very dense work, but utterly fascinating in its complexity. Rihm describes it as being like "over-packed suitcases." Like the oboe concerto, the cello concerto concludes with frantic energy. Together, they stand as two chapters of a story, beginning light and carefree, and turning dark and tormented. Hans Zender leads the SWR Symphony Orchestra in live performances of both pieces.
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2 of 2 people found the following review helpful By Christopher Culver TOP 1000 REVIEWER on July 29, 2008
Format: Audio CD
With a career of over 35 years and some 400 compositions, Wolfgang Rihm is one of Germany's eminent composers. He first rose to prominence in the early 1970s when he chose neither serialist complexity nor minimalist crawling, writing instead almost bar by bar in a furious expressionist style. His Darmstadt credo, "Music must be full of emotion and the emotions full of complexity" inspires him to this day. Hanssler Classic is to be commended on having launched the Rihm Edition, which will make many of Rihm's greatest compositions available on disc over the next several years. This first volume contains four concertante works performed by the SWR Sinfonieorchester Baden-Baden und Freiburg with a changing cast of conductors and soloists.

The most striking part of "Music fur Oboe und Orchester" (1995/2002) is something that came only with the recent edition, a nearly three-minute oboe solo (Rihm is very fond of going back and writing new lines over existing works). The orchestra then enters, and the mood drastically changes. The scoring is very light, with the oboe maintaining long lines with a succession of individual orchestral instruments playing pointillistically. I've never heard a concerto quite like this. The soloist and orchestra might initially be seen as anatagonists as is common with 20th century concertos, though instead of a confrontation they seem to uneasily go along aside one another. But then we get an uproariously bouncy ending, with the oboe joining the orchestra in a dance. "Styx und Lethe" for cello and orchestra (1997/98) reminds me a lot of Berio's "Chemins II" for viola and chamber orchestra in for most of the work the soloist furiously saws away at a succession of basic lines while the ensemble is like a halo of development around him.
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