Teufelstanz

P & C 2002
Total playing time: 62´45 Min.

Arrangements of classical compositions for mallet instruments and orchestra.


CD-Order: cd-bestellung@roland-haerdtner.com

Content

  • Michail Glinka (1804 - 1857)
    01. Ouvertüre zu Ruslan und Ludmilla
  • Joseph Hellmesberger (1855 - 1907)
    02. Teufelstanz
  • Jacques Offenbach (1819 - 1880) - aus Orpheus in der Unterwelt
    03. Ouvertüre
    04. Can-Can
  • Leó Weiner (1885 - 1960)
    05. Mathis' Tanz
  • Dimitri Schostakowitsch (1906 - 1975) - aus Jazz-Suite Nr. 2
    06. Marsch
    07. Lyrischer Walzer
    08. Tanz
  • Gerónimo Giménez (1854 - 1923)
    09. Intermezzo aus La boda de Louis Alonso
  • Georges Bizet (1838 - 1875) - aus Carmen Suite
    10. Introduction / Arragonaise
    11. Prélude
    12. Intermezzo
    13. Dragons d'Alcala
    14. Chanson
    15. Habanera
    16. Chanson Bohème
    17. Duett / Torero-Lied
    18. Finale II
  • Georges Bizet: Aus L'Arlesienne, Suite Nr. 2
    19. Farandole

Instrumentalists:

Roland Härdtner - marimba, vibraphone, xylophone, orchestra bells, tubular bells

Information about Roland Härdtner's musical career can be found under "biographie".



Baden-Badener Philharmonie

Since one and a half century the sounds from the traditional orchestra have enchanted generations of concert visitors. The artistic gestus of the body of sound was influenced by the collaboration with famaous artists of this epoch. Not only Johann Strauß conducted here, his enthusiastic appreceation of the ensemble is well-known, but also Berlioz, Offenbach, Brahms, Richard Strauß, Furtwängler and many more made highlights in the philharmonic's history. The listing of their soloists can be read like a „Who's who“ of musical history. Franz Liszt, Pablo Casals and Placido Domingo, they all visited the stage of „Europe's summer capital“.

For more information please go to www.philharmonie.baden-baden.de



Werner Stiefel

Vienna, Salzburg and Stuttgart were stages of Werner Stiefel's university years. Like many conductors, he started his career at the theatre, were he learned his musicianship from scratch. His repertoire covered a 100 operas, operettas and ballets, when he focused more on the symphonic aspects of the concert business after the takeover of the Baden-Badener Philharmonics. Since two decades Werner Stiefel leads one of the most traditional symphonic orchestras in Germany, the Baden-Baden Philharmonics. The sophistication of his interpretations and programmes influenced the ensemble's history remarkably. Guest conductings lead him to Europe's musical centres, to Vienna, Moskow and Paris. Japan, Korea, Taiwan, Canada, the USA and South America are international stages of his success.



Info

The title is the programme itself: devilish virtuosic play for mallet instruments and orchestra. Roland Härdtner and the Baden-Baden Philharmonics conducted by Werner Stiefel chose sensational highlights of orchestra literature. A new listening experience emerges, well-known melodies sound from the vibraphone, marimba, xylophone or the orchestral bells, imitate the tone of the human voice or of an orchestra instrument or create by their special sound an appealing contrast to what we would have expected.


The „Teufelstanz“ (devil' s dance), made famous worldwide by the „Vienna New Year Concerts“ gave the name for this CD. Joseph Hellmesberger wrote this composition while he was working as first court conductor at the opera in vienna. Hellmesberger was Gustav Mahler's successor and led the philharmonic concerts in vienna from 1900 to 1903.


The CD is started by Michail Glinka's dashing overture to „Ruslan and Ludmilla“. Dance-like the „Teufelstanz“ moves to Paris' underworld with the overture „Orpheus in der Unterwelt“ by Jacques Offenbach and the „Can-Can“. The „Mozart of the Champs-Élysée“ braught the originally considered sleazy dance to the opera stage and whole Europe got into raptures over the German-born Frenchman' s music.

Leó Weiner's hungarian „Rócatánc“ for xylophone is as traditionally as fiery. It was glossily orchestrated by Willi Merz, who also gave the title „Mathis' Tanz“ to it.

Dimitri Schostakowitsch' s love for entertaining music didn't show to advantage for the first time when he composed the suite nr. 2 for the „Staatliche Jazzorchester“ in 1938. Already ten years before, the 22-year-old orchestrated on the occasion of a bet with friends within 40 minutes the popular song „Tea for Two“ with the title „Tahiti Trot“.


Spanish and french rhythms are the finish of the virtuosic mallet arrangements. The intermezzo originates from Gerónimo Giménez's „La boda de Louis Alonso“, a zarzuela composed in 1896/97, which is the Spanish equivalent of the German operetta. The melodies from „Carmen“ which are assembled in this suite, have become the pinnacle of the Spanish in music and make one forget, that George Bizet, a Frenchman, put this opera on stage in Paris and in Vienna in 1875. Tschaikowsky called „Carmen“ a „masterpiece in the true sense of the word“ amd presumed in 1875 that Carmen will be amongst the most popular operas of the world in ten years time. The „Farandole, a provencal dance, originates from Bizet's in 1872 composed music for Alphonse Daudet's play „L'Arlésienne“.

 

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