Karl Weigl: Orchestral Works Oliver Triendl, Lina Johnson, Jenaer Philharmonie & Simon Gaudenz

• Karl Weigl (1881 - 1949): 3 Gesänge for Soprano & Orchestra:
• 1 Weigl: 3 Gesänge for Soprano & Orchestra: No. 1, Heimkehr 07:19
• 2 Weigl: 3 Gesänge for Soprano & Orchestra: No. 2, Hymne 02:49
• 3 Weigl: 3 Gesänge for Soprano & Orchestra: No. 3, Geständnis 04:13
• Rhapsody in D Minor for String Orchestra, Op. 30:
• 4 Weigl: Rhapsody in D Minor for String Orchestra, Op. 30: I. Langsam. Etwas belebter 09:22
• 5 Weigl: Rhapsody in D Minor for String Orchestra, Op. 30: II. Lebhaft vivace - Mäßig moderato 11:18
• 6 Weigl: Rhapsody in D Minor for String Orchestra, Op. 30: III. Sehr langsam. Bewegt und schwungvoll 08:34
• Piano Concerto in F Minor, Op. 21:
• 7 Weigl: Piano Concerto in F Minor, Op. 21: I. Moderato allegro 13:06
• 8 Weigl: Piano Concerto in F Minor, Op. 21: II. Andante sostenuto 05:45
• 9 Weigl: Piano Concerto in F Minor, Op. 21: III. Allegro molto 06:39
• Total Runtime 01:09:05

Info for Karl Weigl: Orchestral Works

Die Orchesterlieder des heute beinahe vergessenen Wiener Komponisten und Spätromantikers Karl Weigl datieren von 1916, während die Rhapsodie für Streichorchester zwar auf das 1906 entstandene Streichsextett zurückgeht, aber zusammen mit dem Klavierkonzert erst 1931 komponiert wurde und wie dieses eine progressive und doch völlig organische, natürliche Entwicklung verrät. Es gibt in Weigls Schaffen weder radikale Richtungsänderungen noch irgendwelche Anzeichen der Stagnation. Wo Weigl in der Neuen Musik der Zwanziger einzuordnen war, erkennen wir vielleicht am besten an der Tatsache, dass der Kompositionspreis der Stadt Wien im Jahre 1925 an vier prominente Künstler vergeben wurde: an Karl Weigl, Franz Schmidt, Alban Berg und Anton Webern. Weigl hat mit seiner Sprache nie die dissonanten Extreme des Ausdrucks erreicht wie Alban Berg, doch die Werke dieser CD zeigen, dass er sich oftmals an die Grenzen seines selbstgesteckten Rahmens gewagt hat. Das Klavierkonzert ist das außergewöhnlichste und originellste Werk auf dieser CD und verdeutlicht den Übergang von der aufreizend verführerischen Sprache der frühen Weigl’schen Wiener Werke zu einem kraftvolleren, bestimmteren Ton.

"Der 1881 geborene österreichische Komponist Karl Weigl, der 1938 wegen seiner jüdischen Herkunft in die USA emigrierte und 1949 in New York verstarb, ist in den vergangenen Jahren diskographisch zurecht entdeckt worden.​ Das Label CPO spielt dabei eine Schlüsselrolle.​ Jetzt ist dort ein Album erschienen, auf der Weigls „Drei Gesänge für eine hohe Frauenstimme mit Orchester“ (1916) sowie die „Rhapsodie für Streichorchester“ (1935) und das spätromantisch empfundene Klavierkonzert op.​ 21 in f-Moll (1931) zu hören sind.​ Die Jenaer Philharmonie unter der Leitung von Simon Gaudenz (Sopran: Lina Johnson, Klavier: Oliver Triendl) entfachen einen Klangzauber, der diesen noch ganz aus dem Geist des Wiener Fin de Siècle heraus konzipierten Werken bestens angemessen ist.​" (Südwest-Presse, Burkhard Schäfer)

Oliver Triendl, Klavier
Lina Johnson, Sopran
Jenaer Philharmonie
Simon Gaudenz, Leitung

Lina Johnson
Starting off with the role of DESPINA in Guy Joosten's Cosi fan Tutte at the Royal Danish Opera in 2011, Lina Johnson has embarked on an operatic carreer performing soubrette, lyric coloratura and belcanto repertoire, as well as concert repertoire like Mozart concert arias, Händel's Messiah and Orff's Carmina Burana. She has been described with a natural stage presence and a beautiful, clear and expressive lyric coloraturavoice.

She attained her musical education at the NTNU Music Conservatoire in Trondheim, the Norwegian State Academy of Music in Oslo, The Royal Danish Music Academy in Copenhagen, and the Opera Academy in Copenhagen. She recieved the Léonie Sonning talent prize in 2008. Her dedication to chamber music and lied repertoire was rewarded with 2nd prize in the Kokkola Nordic Lied competition in Finland in 2007, and a nomination for the Wigmore Hall Kohn Opera Voice Fellowship in 2011. In 2012 she was a finalist in the Wilhelm Stenhammar International Singing Competition. In 2010 she was picked out for the Mozart recidency at the Aix-en-Provence festival.

Lina Johnson made her operatic debut at Copenhagen Opera, The Royal Danish Theatre, as NAJADE in Robert Carsens' Ariadne auf Naxos in 2009, and has since done the roles of CONSTANCE in Dialogues des Carmelites, MUSETTA in La Bohème, DESPINA in Così fan tutte in this theatre. The season 2012/13 she performed the role of KÖNIGIN DER NACHT at Opera Sør in Norway, made her debut at the Norwegian National Opera in Oslo as ADÈLE in Die Fledermaus, performed the role of GENOVIEFFA in Suor Angelica and covered LAURETTA in Gianni Schicchi at the Royal Danish Theatre. The 13/14 season included ADINA in L´elisir d´amore at the Oscarsborg Opera in Norway, VESPETTA in Telemanns' Pimpinone at the Norwegian National Opera, Händel’s Messiah with Århus Symphony Orchestra, and FRASQUITA with the Trondheim Symphonic Orchestra.

The 2014/2015 season included GILDA in Rigoletto with the Oscarsborg Opera, a concert with the repertoire of the famous castrato singer Farinelli, world premiere of Steingrimur Rohloff's danish opera Babel at Hofteatret in Copenhagen, ROSINA in Il Barbiere di Siviglia at the Norwegian National Opera, VIOLETTA VALERY in La Traviata at Copenhagen Opera Festival, THE MESSIAH with Malmö Symphony Orchestra and with Homens Barokk Copenhagen, concerts at Bergen International Music Festival, and Bach kantatas BWV 159, BWV 197 and Magnificat BWV 243 in D-Major with the Aalborg Symphonic Orchestra.

The 2015/2016 season included ÁDELE in Die Fledermaus at Oscarsborg Opera, OSCAR in Un ballo Maschera with Opera Nordfjord, DIE KÖNIGIN DER NACHT in Die Zauberflöte at The Norwegian National Opera, WIFE in the world premier of Rolf Wallins first opera Elysium at the Norwegian National Opera, CLORINDA in La Cenerentola at the Teatro Verdi di Trieste, ADELE in Die Fledermaus at Teatro Verdi di Trieste, KÖNIGIN DER NACHT in Die Zauberflöte with Odense Symphony Orchestra, MUSETTA in La Boheme with Opera i Bjørvika, and AMINA in La Sonnambula at Opera Hedeland.

The 2016/2017 season includes the roles of GILDA in Rigoletto and PAPAGENA in Die Zauberflöte at Teatro Verdi di Trieste, THE DIVA with The Norwegian National Ballet at Theatre Champs Elysees in Paris, SOPHIE in Der Rosenkavalier at NCPA Beijing, Brahms Requiem with Trondheim Symphonic Orchestra, and The Matthew Passion with the BBC Philharmonic in Manchester.

Oliver Triendl
One can hardly imagine a more devoted champion of neglected and rarely played composers than pianist Oliver Triendl. His tireless commitment – primarily to romantic and contemporary music – is reflected in more than 100 CD recordings. The scope of his repertoire is surely unique, comprising some 90 piano concertos and hundreds of chamber music pieces. In many cases, he was the first to present these works on stage or to commit them to disc.

As a soloist Triendl has performed together with many renowned orchestras. The list includes the Bamberg and Munich Symphonies, Munich Radio Orchestra, Berlin Radio Symphony Orchestra, NDR Radio Philharmonic, Gürzenich Orchestra, Munich Philharmonic, Staatskapelle Weimar, German Radio Philharmonic, German State Philharmonic of Rhineland-Palatinate, Munich, Southwest German, Stuttgart, Württemberg and Bavarian Radio Chamber Orchestras, Orchestre de Chambre de Lausanne, Orchestre Symphonique de Bretagne, Mozarteum Orchestra of Salzburg, Tonkunstler Orchestra Vienna, Netherlands Symphony Orchestra, Czech State Philharmonic, Polish National Radio Symphony Orchestra, Sinfonia Varsovia, Polish Chamber Philharmonic, Georgian Chamber Orchestra, St.Petersburg Camerata, Zagreb Soloists and Shanghai Symphony Orchestra.

The avid chamber musician has concertized with fellow musicians such as Christian Altenburger, Wolfgang Boettcher, Thomas Brandis, Eduard Brunner, Ana Chumachenko, David Geringas, Clemens Hagen, Frans Helmerson, Hervé Joulain, Isabelle van Keulen, Rainer Kussmaul, François Leleux, Lorin Maazel, Marie Luise Neunecker, Paul Meyer, Sabine and Wolfgang Meyer, Pascal Moraguès, Charles Neidich, Arto Noras, Raphaël Oleg, Gustav Rivinius, Benjamin Schmid, Hagai Shaham, Christian Tetzlaff, Radovan Vlatković, Jan Vogler and Antje Weithaas. He performed with Apollon musagète, Artis, Atrium, Auryn, Carmina, Danel, Gringolts, Keller, Leipzig, Mandelring, Meta4, Minguet, Pražák, Schumann, Sine Nomine, Škampa, Talich and Vogler String Quartets as well as with excellent artists of the younger generation like Nicolas Altstaedt, Claudio Bohórquez, Mirijam Contzen, James Ehnes, Liza Ferschtman, David Grimal, Ilya Gringolts, Alina Ibragimova, Sharon Kam, Henning Kraggerud, Pekka Kuusisto, Johannes Moser, Daniel Müller-Schott, Alina Pogostkina, Christian Poltéra, Alexander Sitkovetsky, Baiba Skride, Valeriy Sokolov, Carolin and Jörg Widmann.

Triendl, a native of Mallersdorf, Bavaria, where he was born in 1970, and a prizewinner at many national and international competitions, studied under Rainer Fuchs, Karl-Heinz Diehl, Eckart Besch, Gerhard Oppitz and Oleg Maisenberg. He has concertized with success at festivals and in many of Europe’s major music centers as well as in North and South America, South Africa, Russia and Asia.

Booklet for Karl Weigl: Orchestral Works