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Rachel Talitman, Daniel Rubenstein, Marcos Fregnani-Martins & Pierre-Henri Xuereb | Ryterband, Gelbrun,Weinberg

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Classical: Chamber Music Classical: Chamber Music Moods: Solo Instrumental
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Ryterband, Gelbrun,Weinberg

by Rachel Talitman, Daniel Rubenstein, Marcos Fregnani-Martins & Pierre-Henri Xuereb

This cd is about three survivors: Jewish composers born at the beginning of the century in Poland, embodying three different styles and three different destinies.
Genre: Classical: Chamber Music
Release Date: 

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  Song Share Time Download
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1. Ryterband Trois Ballades Hébraiques Le Reveur
4:42 album only
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2. Ryterband Trois Ballades Hébraiques Le Maitre Joyeux
2:50 album only
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3. Ryterband Trois Ballades Hébraiques Berceuse
5:42 album only
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4. Ryterband Sonata Breve Allegro Agitato
2:55 album only
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5. Ryterband Sonata Breve Adagio Pastorale
7:32 album only
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6. Ryterband Two Desert Scenes a Smoke Tree Dream
3:56 album only
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7. Ryterband Two Desert Scenes the Tahquitz Falls
2:49 album only
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8. Ryterband Two Images for Harp Song of Olden Times
3:18 album only
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9. Ryterband Two Images for Harp At Sunset Beneath Palms
5:37 album only
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10. Gelbrun Introduction Et Arabesque for Harp
5:38 album only
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11. M. Weinberg Trio Op 127 1
4:03 album only
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12. M.Weinberg Trio Op 127 2
6:03 album only
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13. M.Weinberg Trio Op 127 3
3:39 album only

ABOUT THIS ALBUM


Album Notes

Roman Ryterband (1914-1979) was born in Lódz, Poland to a Jewish family of musicians and lawyers. Having shown a great love for music at an early age, yet pressured by his father to seek a law degree, Ryterband rebelled and, with encouragement from composer Alexander Glazounov, pursued his dream of a career in music.

He studied at the State Academy of Lódz and the University of Warsaw. In the years leading up to World War II, Ryterband traveled around Europe, gaining fluency in six languages. In 1939, as bombs were falling in Warsaw, he found himself on a deserted beach near Nice, France. From there he hopped the last train to Geneva, Switzerland before the border closed. He continued his studies at the University of Berne where he obtained an M.A. degree in Musicology, laying the groundwork for a career that would include more than 500 public appearances and concerts around the world, garnering him numerous awards and prizes. In 1955 he moved to Canada where he was appointed Director of Music for a Canadian broadcasting company and also became a lecturer at McGill University in Montreal, while continuing his activities as a conductor of orchestral and choral music. Upon moving to Chicago in 1960, Ryterband joined the faculty of the Chicago Conservatory College, still continuing his conducting activities. He also became the chairman of the International Society for Contemporary Music. Ryterband moved last to Palm Springs, California in 1967 and founded and directed this city’s Music and Arts Festival, while also teaching at UCLA. He died in Palm Springs in 1979.

Being a composer and a musicologist, Ryterband researched the musical folklore of many nations in both hemispheres and took elements from these other cultures which he incorporated into his own works. Thus, Ryterband studied the musical heritage of the Agua Caliente Band of Cahuilla Indians and integrated his findings into some of his compositions. The influence of Agua Caliente songs are found in the work Two Desert Scenes for flute and harp. The Sonata Breve, composed in 1961, is particularly concise in thematic material and development, intending to convey its message in the most direct manner. The first movement is virile and vehement, yet yielding to the true nature of both instruments. The second movement flows over into the third in a lively dialogue, which brings back the subject of the Adagio and actually merges both movements into one. The “Trois Ballades Hébraiques” are emotionally charged with tragic, humor, mysticism and passion, thus reflecting the composer's soul. The violin and the harp provide a romantic light upon the spiritual texture of his triptych.
Mieczyslaw Samuilowicz Weinberg was one of the twentieth century’s most powerful and prolific composers. Born in 1919 in Warsaw, into a musical family: his father was a composer and violinist in a Jewish theatre there. He made his first public appearance as a pianist at the age of ten, and two years later became a student at the Warsaw Academy of Music, then under the direction of Szymanowski, where he took piano lessons from Josef Turczynski. His graduation in 1939 was soon followed by Hitler’s invasion: when his entire family was killed, burned alive, Mieczyslaw flied eastwards, taking shelter first in Minsk, where he studied composition with Vassily Zolotaryov. Two years later, as Hitler now pushed into Russia, Weinberg again had to flee, this time finding work at the opera house in Tashkent, in Uzbekistan. In 1943 he took the action that was perhaps to be the most decisive in his life: he sent the manuscript of his newly completed First Symphony to Shostakovich in Moscow. Shostakovich’s response was helpful and immediate: Weinberg received an official invitation to travel to Moscow, where he was to spend the rest of his life, living largely by his compositions, and between deserved fame and unjustified neglect. Often seen in the shadow of his close friend Dimitry Shostakovich, by whom he was regarded as one of the most outstanding composers.Weinberg’s compositions include no less than 17 string quartets, over 26 large-scale symphonies, numerous sonatas for solo stringed instruments and piano as well as operas and film-scores. His last composition, Kaddish, is dedicated to the memory of the Jews who perished in the Warsaw Ghetto, Weinberg donating the manuscript to the Yad va-Shem memorial in Israel. He spent his last days confined to bed by ill health and deep depression occasioned by the wholesale neglect of his music — an unworthy end to a career the importance of which has yet to be recognized He died in 1996.
The Trio for Flute, Viola and harp was composed in 1979, is written in traditional and contemporary style. The Trio begins with a theme on flute and viola before the harp melts with them.The viola introduces the second calm movement, the three instruments have a melodic dialogue conducting to the third movement, which ends in the explosion of the three.
Artur Gelbrun was born in 1913 in Warsaw in whose Conservatory he graduated in violin and conducting. He escaped Warsaw just ahead of the German invasion, leaving behind family and friends who later perished in the ghetto. Taking refuge in Switzerland, he spent time in an internment camp and, on his release. He found work as an orchestral musician. He furthered his studies at the Accademia Santa Cecilia of Rome under Bernardino Molinari, at the Accademia Chigiana of Siena under Alfredo Casella and later in Switzerland with Hermann Scherchen (conducting) and with Willy Burkhardt (composition). He was a winner at the International Competition in Geneva for violin and chamber music.
Gelbrun played the violin and viola with the Warsaw Philharmonic Orchestra (1935-37), with Radio Lausanne (1941-44) and with the Zurich Tonhalle Orchestra (1944-48). After emigrating to Israel in 1949, Gelbrun devoted his time to composition, conducting and teaching. He was permanent guest conductor with the Radio Symphony Orchestra (Kol Israel Symphony Orchestra) in Jerusalem (1949-53), chief conductor of the Israel Youth Symphony Orchestra (1950-56) and of the Kibbutz Chamber Orchestra (1950-55). In 1955 he was appointed professor of composition and conducting at the Rubin Academy of Music, Tel Aviv University. Among the awards he received is the Israeli Broadcast Prize, 1973. Artur Gelbrun died in Tel Aviv on December 23, 1985. The Introduction and Arabesque for harp is composed in the twelve tones –dodecaphony.

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