MARC ANDREAE VOLKMAR ANDREAE

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Andreae was born in July 1879 in Bern, Switzerland, and, with his musical gifts soon manifesting themselves, he studied composition in Cologne as a pupil of Fritz Wüllner (shortly before Adolf Busch also became a Wüllner pupil; it was at the Conservatoire that they became lifelong friends). Something of Andreae’s personal and musical qualities can be gained from the description of him by the English writer on music, EJ Dent, quoted in Tully Potter’s masterly two-volume biography of Adolf Busch (Toccata Press, 2010): ‘[Volkmar Andreae] was entirely free from the inordinate vanity of the modern virtuoso conductor; he was firmly rooted in Zürich and devoted all his energies to the development of Zürich’s musical life. He had all the qualities which the romantic artist is inclined to despise – efficiency, punctuality, organising ability; and he applied these qualities – not without a touch of military precision acquired in his function as a colonel of Swiss artillery – towards furthering the cause of music and to the artistic support of other musicians.’ A further intimation of Andreae’s significance with regard to other great musicians is that Richard Strauss dedicated his late Oboe Concerto (1945) to him; earlier, Busoni had inscribed his Two Studies for Doktor Faust Opus 51 to Andreae. Of Volkmar Andreae’s symphonic music featured on this disc, the Symphony in C major Opus 31 is the largest and perhaps most significant work. Although, as an adult composer, Andreae composed just the one Symphony, he had, in 1899 in his final period under Wüllner in Cologne, composed a Symphony in F major for his graduation, dating it July 20 that year. 1899 also saw the composition of several other large-scale works, a Piano Concerto in D minor, and a String Quartet in E flat major (these manuscripts are all dated July 1899) followed, a year later, by a Konzertstück in B minor for piano and orchestra, composed in Vienna, to where Andreae had moved for a short time prior to taking up his first professional appointment as repétiteur at the Munich Court Opera. Andreae’s official Opus 1 (his impressive first Piano Trio, (recorded on Guild GMCD 7307), also dates from the summer of 1899, so it would appear that the large works submitted for his graduation just mentioned might very well merit investigation). The young man’s musicianship must have made a deep impression, for within a short time he was conducting important premieres of his own early works in Germany and Switzerland, and in 1904 he conducted Mahler’s Third Symphony in Zürich – the first time a symphony by Mahler had been heard in Switzerland. So impressed were the directors of the Tonhalle Orchestra in Zürich that, on the strength of this performance, Andreae was named music director of the Orchestra – a post he held until 1949. Although Switzerland remained Andreae’s base virtually throughout his life, he was often invited to guest conduct – he gave the Italian premiere of Bach’s St Matthew Passion in 1911 at La Scala, and, almost a dozen years later, his performance in Milan of Bruckner’s Third Symphony was the first time a work by the Austrian master was heard in Italy. It was the music of Bruckner, performed under Andreae at a time when his symphonies were very rarely heard, with which Andreae became more closely associated later in life – certainly with regard to his recorded legacy. Chefdirigent des BSO ist zur Zeit – und noch bis mindestens 2016 – der dynamische Kirill Karabits. Er führt die Tradition seiner hoch angesehenen Vorgänger fort, zu denen nach dem Gründer des BSO, Sir Dan Godfrey, auch Sir Charles Groves, Constantin Silvestri, Rudolf Schwarz, Paavo Berglund, Andrew Litton, Yakov Kreizberg und Marin Alsop zählten. Das BSO tritt in aller Welt auf. Es spielte unter anderem in der Carnegie Hall und dem Lincoln Center in New York, im Concertgebouw in Amsterdam, im Musikverein und Konzerthaus in Wien, im Rudolfinum in Prag sowie in der Berliner Philharmonie. In Großbritannien tritt das Orchester regelmäßig in der Royal Festival Hall, der Barbican und der Royal Albert Hall in London auf, in der Symphony Hall in Birmingham und in der Bridgewater Hall in Manchester. Das BSO konzentriert sich besonders auf Auftritte im Süden und Westen Englands; jedes Jahr gibt es über 130 Konzerte an seinem Heimatstandort, dem Lighthouse in Poole, sowie in Bournemouth, Portsmouth, Cheltenham, Weymouth, Exeter, Bristol, Basingstoke, Winchester und vielen anderen Veranstaltungsorten der Region. Eines der Hauptanliegen des BSO ist die Gewinnung neuer Zuhörerschaften auch außerhalb der Konzerthallen. Die innovative Abteilung des Orchesters für Ausbildung und Gemeindearbeit – BSO Resonate – ermöglicht Auftritte einzelner Ensembles an kleineren und ungewöhnlicheren Veranstaltungsorten in der Region. Das BSO-Ensemble für zeitgenössische Musik – Kokoro – ist ein wichtiger Auftraggeber und Aufführer neuer Werke. Musiker des BSO sind auch an zahlreichen Projekten beteiligt, die jedes Jahr insgesamt mehr als 125000 Kinder und Erwachsene erreichen. Seit den 1920er Jahren hat das BSO viele Aufnahmen für Schallplatte wie CD eingespielt und Auftritte in Radio und Fernsehen gehabt; insgesamt sind es bis heute über 300 Titel. Jedes Jahr werden mehrere CDs veröffentlicht, was das BSO zu einem der am meisten aufgenommenen Orchester Großbritanniens macht. Über das Radio gewinnt das Orchester auch weiterhin zahlreiche neue Zuhörer: Die laufende Partnerschaft mit BBC Radio 3 ermöglicht regelmäßige Live-Übertragungen von Konzerten des BSOs; zusammen mit zahlreichen Sendungen auf Classic FM erreicht das BSO mit seinen Auftritten damit mehr als dreizehn Millionen Zuhörer pro Jahr. CHARLES MUTTER – Leader Prior to his appointment as Associate Leader of the BBC Concert Orchestra in 2007, Charles Mutter led the Edinburgh Quartet for four years and was a member of the Smith Quartet for ten. His work with both groups attracted numerous awards and much critical acclaim. Since 2007, he has made numerous appearances as a soloist with the BBC Concert Orchestra and other orchestras, and is also much in demand as a guest leader, notably with the Bournemouth Symphony Orchestra. Charles is also artistic 4 13
BOURNEMOUTH SYMPHONY ORCHESTRA “...an orchestra at the top of its game...” – The Daily Telegraph The Bournemouth Symphony Orchestra was formed in 1893 and throughout its illustrious history it has worked with some of the finest composers, conductors and musicians in the world including Elgar, Bartok, Sibelius, Holst, Stravinsky, Vaughan Williams and Sir Thomas Beecham. More recently the BSO has worked with eminent British composers Sir Michael Tippett, Sir John Tavener and Sir Peter Maxwell Davies. The dynamic Kirill Karabits is the present Principal Conductor of the BSO – a role he will occupy until at least 2016. He continues the fine tradition of esteemed past Principal Conductors, since founder Sir Dan Godfrey, who have included Sir Charles Groves, Constantin Silvestri, Rudolf Schwarz, Paavo Berglund, Andrew Litton, Yakov Kreizberg and Marin Alsop. The BSO tours worldwide, performing in venues including Carnegie Hall and the Lincoln Center, New York; Concertgebouw, Amsterdam; Musikverein and Konzerthaus, Vienna; Rudolfinum, Prague; and Philharmonie, Berlin; and makes regular UK appearances at Royal Festival Hall, Barbican and Royal Albert Hall, London; Symphony Hall, Birmingham and Bridgewater Hall, Manchester. The BSO is dedicated to providing orchestral music across the South and West of England and each year gives upwards of 130 concerts from its home base at Lighthouse, Poole to Bournemouth, Portsmouth, Cheltenham, Weymouth, Exeter, Bristol, Basingstoke and Winchester. Taking music beyond the concert hall lies at the heart of the BSO’s commitment to engaging with new audiences. Through the pioneering education and community department – BSO Resonate – ensembles perform at smaller and more unusual venues across the region, whilst the BSO’s contemporary music ensemble Kokoro is at the forefront of commissioning and performing new works. BSO musicians also take part in an extensive array of projects which reach more than 125,000 children and adults every year. The BSO has been making recordings and broadcasts since the 1920s, and now has over 300 titles to its name. It continues to release several CDs every year making it one of the most recorded orchestras in Britain today. Radio broadcasts enable the BSO to continually reach new and wider audiences; a continuing partnership with BBC Radio 3 ensures regular UK broadcasts of live BSO concerts and this together with countless plays on Classic FM allows over thirteen million people to enjoy the BSO’s performances each year. “...ein Orchester der Spitzenklasse...” – The Daily Telegraph Seit seiner Gründung im Jahr 1893 hat das Bournemouth Symphony Orchestra mit einigen der besten Komponisten, Dirigenten und Musikern in der ganzen Welt zusammen gearbeitet, darunter Elgar, Bartok, Sibelius, Holst, Stravinsky, Vaughan Williams und Sir Thomas Beecham. In jüngerer Zeit hat das BSO mit so hervorragenden britischen Komponisten wie Sir Michael Tippett, Sir John Tavener und Sir Peter Maxwell Davies kollaboriert. 12 Despite the existence of the early F major Symphony, Andreae’s mature Symphony in C major, dating from 1919, remains his only large-scale abstract symphonic composition. It was completed in the summer of that year in the Swiss village of Zuoz, situated in the eastern region of the country, and the work arose partly in recognition of the doctorate bestowed upon him by the University of Zürich following a series of lectures Andreae had given there on in 1914/15 on ‘Beethoven and form’, and more personally perhaps as a reaction to the troubled times in Europe during the Great War which, of course, had only recently come to an end, and which he had observed rather more closely than many of his fellow-countrymen. The first performance of the Symphony took place in Zürich, naturally with the composer conducting, on November 4, 1919, when the work was revealed as a masterly composition. The work is in four movements which follow one another without break and which are further unified by subtle thematic transformation. That being said, in the opening large paragraph (effectively, for mnemonic purposes, the ‘first movement’) a secondary theme is merely hinted at, rather than being stated as in a sonata structure; the second part of the work takes the form of an extended funeral march with a deeply expressive theme centred upon B major over a constant four-note motif derived from the Symphony’s opening idea. This leads into a Scherzo with a trio section of somewhat rustic character, and which in turn leads directly to the powerful final part of the work, beginning with a reminiscence of the Funeral March set against profoundly transformed recollections from the opening vast paragraph that together bring the work to a powerfully optimistic conclusion. The work is worthy of extended and detailed analysis, quite outside the scope of these notes, and the quality of Andreae’s Symphony may very well come as a surprise for many people. It is surely no exaggeration to claim that it is arguably the finest such work by a Swiss composer, a genuine symphony of remarkable breadth of utterance, masterly in its orchestration and utterly organic in the music’s evolving nature, impelled by the initial idea, exceptionally wide-ranging in its expression, but at all times held completely under control and fully comparable with broadly contemporaneous works by Strauss, Pfitzner and Franz Schmidt, orchestrated with a rather lighter hand which does not avoid power and strength where called for. Andreae uses his full orchestra with a master’s touch, and the manner by which he approaches the superb closing pages demonstrates the quality of a genuinely significant and original composer. One may well understand the powerful impression this work made when it was performed by the Berlin Philharmonic Orchestra under the composer during a tour in 1923, having been given also by Fritz Busch in Dresden soon after the premiere. Andreae’s Notturno and Scherzo (two pieces for orchestra) comprise the work immediately preceding the Symphony; as with the movements of the latter work, they are conjoined, and were inspired by a stay in the Swiss-Italian region of Ticino, which made a strong impression on the composer. The delightfully-orchestrated 5
Seite 1 und 2: GMCD 7377 2012 Guild GmbH © 2012
Seite 3: director of the Loch Shiel Spring F
Seite 7 und 8: Beethovens Missa Solemnis dirigiert

MARC ANDREAE VOLKMAR ANDREAE

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