"Wozzeck" mit den Berliner Philharmonikern

Samstag, 30. November 1996, 20.00 Uhr
Montag,  2. Dezember 1996, 20.00 Uhr
Mittwoch,  4. Dezember 1996, 20.00 Uhr
BERLIN, Philharmonie

ALBAN BERG: Wozzeck (konzertant)

John Bröcheler, Waltraud Meier, Jon Villars, Hubert Delamboye, Aaage Haugland, Alexander Fedin, Wolfgang Koch, Andreas Macco, Jürgen Sacher, Liliana Nichiteanu
Rundfunkchor Berlin
Kinderchor der Deutschen Staatsoper Berlin
Tölzer Knabenchor (G. Schmidt-Gaden)
CLAUDIO ABBADO, Dirigent

Dido and Aeneas in München

Freitag, 29. November 1996, 20.00 Uhr
MÜNCHEN, Prinzregententheater

HENRY PURCELL: Dido and Aeneas

Solisten des Tölzer Knabenchors:
Dido Matthias Ritter
Aeneas Peter Leininger
Belinda Maximilian Hinz
Oberhexe Florian Moser
Erste Hexe Christoph Härtl
Zweite Hexe Maximilian Fraas
Höfling Stefan Meier

Tölzer Knabenchor
Münchner Bachsolisten
GERHARD SCHMIDT-GADEN, Musikalische Leitung

Szenische Aufführung in einer Produktion der Bayerischen Theaterakademie

Mahlers Achte mit Vladimir Ashkenazy in Berlin

17. November 1996, 20.00 Uhr
BERLIN, Philharmonie

GUSTAV MAHLER: Sinfonie Nr. 8 Es-dur 'Sinfonie der Tausend'

Julia Varady, Pamela Coburn, Laura Aikin, Sopran

Jane Henschel, Reinhild Runkel, Mezzosopran

Jon Villars, Tenor

Anthony Michaels-Moore, Bariton

Kwangchul Youn, Bass

Rundfunkchor Berlin

RIAS Kammerchor Berlin

Kölner Rundfunkchor

Tölzer Knabenchor *

Deutsches Symphonie-Orchester Berlin
VLADIMIR ASHKENAZY, Dirigent


Übertragung in Radio und TV (3sat)

* Besetzung: Andreas Burkhart, Maximilian Fraas, Tristan Franke, Christoph Härtl, Wolfgang Kick, Georg Kreiter, Maximilian Hinz, Christoph Kahlert, Stefan Meier, Robert Meyndt, Florian Moser, Manuel Mrasek, Stefan Pangratz, Matthias Ritter, Matthias Schloderer, Wolfgang Strube, N.N.

Neue Aufnahme: Bachs Messe in h-Moll

hyperion CDD22051/ CDA67201/2

J.S.BACH: Messe in h-Moll BWV 232

Matthias Ritter, Manuel Mrasek, Knabensopran
Maximilian Fraas, Matthias Schloderer, Knabenalt
Anthony Rolfe Johnson, Tenor
Michael George, Bass
Tölzer Knabenchor
The King's Consort
ROBERT KING, Leitung

Aufnahme 27. September - 02. Oktober 1996
St Jude-on-the-Hill, Hampstead Garden

Sopran: Peter Feierlein, Klaus von Gleissenthal, Christoph Härtl, Maximilian Hinz, Wolfgang Kick, Georg Kreiter, Wolfgang Fink, Stefan Meier, Franz Mittermaier, Florian Moser, Manuel Mrasek, Stefan Pangratz, Matthias Ritter, Tilmann Straßer
Alt: Andreas Burkhart, Maximilian Fraas, Tristan Franke, X-------x X.......x, Felix Lehner, Peter Leininger, Robert Meyndt, Matthias Schloderer, Wolfgang Strube

Robert King begründet den Einsatz von Knabenstimmen, und insbesondere der Tölzer Knaben, für diese Aufnahme wie folgt:

"We know that Bach did not use women’s voices in any of his sacred compositions: his choir at St Thomas’s Leipzig used boys’ voices on soprano and alto lines for both choruses and solos. So as much as using ‘baroque’ violins or ‘natural’ trumpets, any performance that tries to follow historical precedents must use boys’ voices in both the soprano and alto lines of the choir and in the upper-voice solos if it is to have much validity. It is true that voices broke later in the eighteenth century than they do in the twentieth (due largely to our greatly improved medical and sanitary conditions which give young bodies fewer diseases to fight, and thus allow them to grow and mature sooner), but it is fair to presume that those eighteenth-century voices also ‘strengthened’ later as well: comparison of the relative sizes of eighteenth-century children with their twentieth-century counterparts shows them to be consistently smaller and less developed physically. Bach’s best boys were probably fourteen to sixteen years old: similar twentieth-century ones tend to be twelve to fourteen. It is not unreasonable to imagine that the sound produced by both groups is fairly similar. Musicianship is not automatically ‘better’ in an older child than a younger one, for one is often astonished by the innate musicianship of a younger child over that of an older one, and (as any experienced cathedral organist will tell you) a choir and its voices can change radically over the course of just a few months – it is hard to imagine Bach having any easier a task with the cultivation of his choristers than does a twentiethcentury cathedral organist!

A much more important consideration is to use voices which produce a ‘continental’, strongly chestvoiced style of delivery, far removed from the ‘white’ head voice that is sometimes produced by English choristers, and to use not only boy sopranos but also the unique sound of boy altos. The argument that Bach’s boys possessed an enhanced musical maturity through their greater years has been advanced as a reason for not using boys’ voices at all: the substitution of women’s voices seems to be a radical one, creating a sound which Bach could not have expected to hear.
Whilst it is far harder work performing Bach’s Mass using children on choruses and solos than it is calling on experienced and technically more assured female adults, the sound of unbroken soprano voices and the astonishing timbre of boy altos is inimitable and, in the end, seems so utterly right for Bach’s music. It is this choral sound which he heard almost every day of his working life. So, whilst we would be foolish to suggest that with this recording we have got any nearer to Bach’s actual performing intentions than has anyone else, we have tried to lay in every possible store to do so."

(aus dem Booklet zur CD)

CD 1997 erschienen bei Hyperion Records

Haydns Nelsonmesse u. Theresienmesse auf CD

09. September 1996

10. September 1996

11. September 1996

BAD TÖLZ, Stadtpfarrkirche "Maria Himmelfahrt"

CD-Aufnahme

JOSEPH HAYDN:

Missa, Hob. XXII: 12 "Theresienmesse"

Missa in Angustiis, Hob. XXII: 11 "Nelsonmesse"

Ann Monoyios, Sopran

Svetlana Serdar, Alt

Wolfgang Bünten, Tenor

Harry van der Kamp, Bass

Tölzer Knabenchor (Gerhard Schmidt-Gaden)

Tafelmusik (Jeanne Lamon)

BRUNO WEIL, Leitung

1CD SONY Classical (vivarte) SK 62 823

Produzent: Wolf Erichson

Bach-Motetten in Locarno

Freitag, 07. Juni 1996
LOCARNO, Chiesa

J.S. BACH: Sechs Motetten BWV 225-230

Tölzer Knabenchor
GERHARD SCHMIDT-GADEN, Leitung

Ein Programmheft zu diesem Konzert findet sich nicht mehr in unserem Archiv, wohl aber die Speisekarte zum Mittagsmenü "Tölzer Knabenchor" im Restaurant des Hotels: Passierte Gemüsesuppe, Kalbshaxe Mailänder Art, Risotto mit Weisswein und Steinpilzen, Salat und zum Abschluss ein Eisbecher mit frischen Früchten. Das soll an dieser Stelle auch einmal erwähnt werden. Der Kammerchor der Tölzer ist meist in guten bis erstklassigen Hotels untergebracht, und die Chorleitung ist bemüht, die Knaben für strapaziöse Reisen und Proben auch kulinarisch zu entschädigen.