Germany Winterberg & Winterberg – An encounter of music and literature: Jaroslav Rudiš (reader). Adamello Quartet (Clemens Linder, Byol Kang [violins], Susanne Linder [viola], Adele Bitter [cello]) with Holder Groschopp (piano). Schwartzsche Villa, Grünewaldstrasse, Berlin, 12.7.2024. (CC)

Hans Winterberg – Sudeten-Suite (‘Errinerung an die Sudeten’); Cello Sonata; String Quartet No.1 (Symphony for String Quartet)

The brainchild of Frank Harders-Wuthenow, this live performance celebrated the music of Hans Winterberg (1901-1991), whereas coinciding with the discharge of the primary quantity of that composer’s chamber music on the EDA label: the Cello Sonata and the String Quartet No.1 seem on the disc, supplemented there by the Trumpet Sonata No.1, the Sonata for Violin and Piano and the Suite for Viola and Piano.

For extra on the actions of Harders-Wuthenow, and extra on Winterberg and Entartete Musik, I like to recommend a podcast that includes Harders-Wuthenow, Dr Michael Haas, hosted by Hana Gubenko and myself (the Spotify hyperlink is right here). Additionally current on the live performance was the composer’s grandson, Peter Kreitmeir, who has performed a key half within the liberation of Winterberg’s manuscripts.

There’s extra, although. Why Winterberg & Winterberg? Who’s the opposite?. The one who’s ‘not Hans’ is Wenzel Winterberg, the protagonist of an outstanding novel by Jaroslav Rudiš, Winterberg’s Final Journey. Czech-born Rudiš wrote the e book in German, however it’s out there in a superb translation by Kris Finest (Finest was additionally on the occasion). Readings have been clearly in German. Though not the identical Winterberg, there ae parallels, not least within the ‘musical’ nature of Rudiš’s e book, together with a leitmotif that runs via the e book that refers, poignantly and unforgettably, to a ‘stunning panorama of battlefields, cemeteries, and ruins’

The Schwartzsche Villa is a fantastic setting simply outdoors the centre of Berlin (it additionally hosts exhibitions, presently Michelle Jezierski’s Verge). The core performers right here have been the Adamello String Quartet, comprised of members from the DSO (Deutsches Symphonie-Orchester Berlin) with one tweak: second violinist Nikolaus Kneser was changed by a concertmaster of the DSO, Byol Kang.

The entire was prefaced by a pre-concert discuss delivered with depth and keenness by Harders-Wuthenow. The area is small, but it surely was packed: there’s clearly an urge for food for the brand new in Berlin, mirrored maybe additionally within the enthusiastic reception.

It was the intersection of phrases and music in the principle physique of the live performance that was so particular. First, Rudiš learn from the very starting, the chapter ‘From Königgrätz to Sadowa’ (pp.13-20 of the English version). The studying introduced out the concept of textual content nearly as music: phrase repetitions (in addition to that literary leitmotif) took on sonic significance.

Round this studying, we heard Hans Winterberg’s Sudeten-Suite (‘Reminiscences of the Sudeten’), composed in 1963/4. The thought of recollections, of a Rückblick, is enshrined in Winterberg’s conventional harmonic language right here on this ten-minute piece for piano trio. The pianist was Holger Groshopp, recognized for his associations with the Berliner Philhamoniker and the DSO in addition to his recording of the whole piano music by Simon Laks on the Cybele label and his recordings of Busoni transcriptions on Capriccio. Components of Dvořák have been actually current right here in a chunk of nice freedom. Perhaps there was a touch of Janáček over the central ‘Rund um den Plöckstein’, a spot of expansive violin strains set towards sudden juxtapositions. One has to admire Groschopp’s taking part in within the finale, ‘Elbe-Quellen,’ a tough piece that however exudes a contented, open-air manner and a few remarkably contemporary counterpoint.

One other studying – now the chapter ‘From Jičín to Budweis’ (pp. 167-169, Wenzel Winterberg’s recollections of Prague) after which ‘From Budweis to Winterberg’ (pp. 179-186) earlier than the Cello Sonata (1951). This has been recorded by the current performers, Adele Bitter and Groschopp, on the RDA disc. The Cello Sonata is a brief work of solely round 13 minutes, however its three actions include the kernel of Winterberg’s model There’s a neoclassical side right here, however there’s additionally a way of urgency. This final is especially audible within the first motion, nearly breathless and but bursting with concepts. The textural differentiation Winterberg clearly makes use of was highlighted by the performers, notably through Groschopp’s number of tone. The musical language is abruptly way more superior; the problem of the person elements will increase exponentially; Bitter’s staccato and clear rhythmic mastery gave the cello half a lot life. The piano’s energetic descending theme had a contact extra of the particular about it, a way of discovery, within the dwell efficiency than it does on the EDA disc, by the way. The central ’Mit ausdrucksstarker Bewegung’ is a shadowy music with out phrases. The piano begins with delicate excessive chords towards which the cello, decrease, sings. This can be a Nocturne like no different. As recording engineer and ‘Entartete Musik’ professional Haas has prompt, shadows are deep right here, and Bitter and Groschopp captured the music’s inside coronary heart completely; the viewers was enraptured, and rightly so. The finale begins with a cello repeated observe that may solely be described as ‘buzzing’ earlier than the piano embarks on a twisted ragtime whirligig, a wild folks dance; If that seems like an entire lot of twisted enjoyable, it’s. The sense of abandon exuded by Bitter and Groschopp was immense.

One other studying: a pair, in actual fact. ‘St. Anne’s’ (a hospital in Brno after a coronary heart assault, from p.311) and from the penultimate ‘The Storm’ (pp. 427-431). Then …

It’s fairly a factor to expertise the world premiere of a chunk written in 1936, however that was the case right here with Hans Winterberg’s First String Quartet.

The String Quartet No.1 is one in every of Winterberg’s most advanced works of his pre-war interval. It has been mentioned the piece sits someplace between Janáček and Pavel Haas on the one hand, and the works of the Second Viennese College (Schoenberg, Berg, Webern) on the opposite. Rhythm and motifs tackle equal significance in Winterberg’s exceptional tapestry. There are three actions (Allegretto; Molto tranquillo; Allegro vivace), however they emerge as one full complete, or not less than they did on this exceptional efficiency. The third part takes up materials type the primary, with the central Molto tranquillo properly delineated in structural phrases.

The subtitle ‘Symphony for String Quartet’ and is certainly linked to Winterberg’s First Symphony through its ‘disguised’ formal scheme: three actions heard as one. The Quartet begins quietly, on second violin, an oscillating determine that worries, its rhythmic distortions implying an undercurrent of ungroundedness. The soundworld is exclusive, but when I needed to single out one level of reference it could be Zemlinsky; and but there are mechanistic passages that take us into altogether completely different areas towards which melodies attempt to emerge and achieve freedom. Repetition of small cells is one other part of Winterberg’s vocabulary; the Adamello Quartet performed beautifully, permitting textures to talk naturally, projecting maximal readability all through and above all squeezing each drop of expressive juice from Winterberg’s advanced, rewarding rating.

The Molto tranquillo contains a violin music (Clemens Linder really touching) towards an nearly whispered, unsettlingly cellular background; maybe that ‘tranquillo’ ought to include a qualifier; or maybe this was Winterberg’s definition of tranquility. The musical language right here is actually particular person, the efficiency unforgettable. The motion’s remaining place of repose is interrupted by melodic shards in repetition. The writing for quartet is actually wondrous right here, as it’s within the music’s later interiorisation. Winterberg writes with true independence of line for all 4 devices, coming collectively right into a splendidly ingenious complete. There are moments on this finale that require the utmost management by the musicians over their devices, not least the poignant shut, which hangs within the air; one couldn’t have requested for extra from the Adamello Quartet.

For these occupied with exploring the music of Hans Winterberg additional, he subsequent logical cease may be a recording on Toccata Classics of String Quartets Nos. 2-4 by the Amernet Quartet (TOCC 0683) and a twofer of Pierian (0054/55) which incorporates Symphonies Nos. 1 and a pair of, the Ballade um Pandora, the Symphonischer Epilog, the Symphonische Reiseballade, and Stationen. Lovers of wind music would possibly get pleasure from one other Toccata launch (TOCC 491) which incorporates the Suite for Flute, Oboe, Basson and Harpsichord, the Suite for Clarinet and Piano, the Cello Sonata (there performed by Theodore Buchholz and Alexander Tentser), the Wind Quintet and one other Suite, this one for flute, oboe, clarinet, bassoon and piano.

Colin Clarke