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| 1.01 |
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Die Sonne scheidet |
04:42 |
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| 1.02 |
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Schlummerliedchen |
01:38 |
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| 1.03 |
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Drei Vögel (davon ein Esel) |
07:54 |
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| 1.04 |
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Zum letzten Lebewohl |
01:30 |
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| 1.05 |
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Phantasie |
02:55 |
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| 1.06 |
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Wo bleibst du? |
01:39 |
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| 1.07 |
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Um Mitternacht |
03:00 |
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| 1.08 |
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Mir war das Glück nicht hold |
05:10 |
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| 1.09 |
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Neuschluderbacher Tanz |
04:15 |
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| 1.10 |
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Wohin ich geh? |
02:15 |
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| 1.11 |
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Morgen! |
03:37 |
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| 2.01 |
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Der Kukuk |
02:43 |
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| 2.02 |
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Wer ist der Bär? |
03:30 |
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| 2.03 |
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Die Katzenkönigin |
03:39 |
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| 2.04 |
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Der verliebte Maikäfer |
05:05 |
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| 2.05 |
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Kleiner Haushalt |
05:43 |
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| 2.06 |
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Totengräberlied |
02:26 |
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| 2.07 |
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Tod und Tödin |
06:50 |
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Total Time |
01:08:31 |
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| Digital Booklet - only with album |
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 mp3 320 kB/s |
 HD wav |
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Mahler (nach wie vor) |
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12,99 € | download |
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| About the Album |
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‘Gustav Mahler in a new sound dimension ... Oscillating between death and dance, tragedy and humour, sonically extraordinary, sensual and surprising ... Gustav Mahler without big orchestral oomph, subtly arranged with choir.’ (Kurier)
The joint Mahler project by Musicbanda Franui and the Bavarian Radio Choir is entitled with a quote from the ‘Song of the Earth’: ‘Where am I going?’ It continues: ‘I go, I wander into the mountains. I seek rest for my lonely heart.’ This opens up a variety of associations that determine the programme.
In order to describe the prehistory of Mahler's music, Howard Arman's arrangements follow the musical path from Carl Loewe to Gustav Mahler. Markus Kraler and Andreas Schett, on the other hand, have adapted Mahler's vocal works for the instruments of Franui and the BR Choir, and have further developed the composer's tonal language in ‘post-compositions’, in other words, musically formulating Mahler's afterlife.
In this sense this ‘Farewell’ is the core of the program, which is dedicated not only to Mahler’s life and work but also to what came before and what was to come. According to Andreas Schett, the “love affair between Franui and Gustav Mahler goes back a long way,” and in Howard Arman’s view, “the timbre of Franui, this symphonically assembled folk-song-instrumental timbre, is ideal for a project of this kind.” So this is an encounter of two ensembles that ap- proach Mahler and his former life and afterlife from a very personal angle. |
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| Musicbanda Franui |
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Franui is the name of a mountain pasture close to the small village of In- nervillgraten, located at 1,402 meters above sea level in East Tyrol in Austria, where most of the Franui musicians grew up. The Musicbanda of the same name have been playing together in nearly the same lineup since 1993 and are frequently invited to perform at major festivals and venues. Their new inter- pretations of lieder by Schubert, Schumann, Brahms and Mahler have earned Franui renown beyond the borders of Austria. The ensemble regard them- selves as a “transformer station between classical music, folk music, jazz and contemporary chamber music;” sometimes the original is lovingly celebrated in all its beauty, at others it is turned upside up (or down), stripped down to its bare bones, enhanced, painted over, elaborated, in a process that blurs the boundaries between interpretation and improvisation, between arrangement and (re)composition.
For their live shows and music theater productions Franui frequently col- laborate with other exceptional performers, including baritone Florian Boesch, puppeteer Nikolaus Habjan, the Wienerlied duo Die Strottern, the mask theater ensemble Familie Flöz, video artist Jonas Dahlberg, filmmaker and author Alexander Kluge, the Austrian Kabarett artists Maschek, the Australian Con- temporary Circus Circa, as well as renowned actresses and actors.
Franui’s albums are released with the label col legno and have won several prizes (e. g. the German Record Critics’ Award). On the occasion of their thir- tieth anniversary the Musicbanda hosted a three-day “High Culture Festival,” which drew some 6,000 visitors to the Unterstaller Alm (1,673 meters above sea level) in Innervillgraten.
In September 2024 Musicbanda Franui’s and actor Nicholas Ofczarek’s joint adaptation of Thomas Bernhard’s novel “Holzfällen” premiered at the Burgtheater in Vienna. |
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| Howard Arman |
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The conductor and composer Howard Arman has distinguished himself all genres and epochs of classical music: historically-informed baroque perfor- mances, opera and symphonic choral works as well as radio and TV broadcasts and large-scale “sing along” concerts.
He was Generalmusikdirektor in Altenburg-Gera, Music Director of the Lucerne Theatre and Principal Guest Conductor of the Gärtnerplatz Theatre in Munich, conducting a repertoire which extended from baroque opera through Wagner’s Tristan und Isolde to world premieres. He has appeared regularly at festivals such as Salzburg and Luzern, as well as at opera houses in Europe, America and Asia. His CD recordings, particularly with the MDR Radio Choir Leipzig (whose Honorary Conductor he now is) and the choir of the Bavarian Radio Munich have received numerous awards, most recently the International Classical Music Award for his recording of Caplets Le Miroir de Jésus.
Arman’s own compositions include works for orchestra and for the stage. His own completion of Mozart’s Requiem has just been published by Carus Verlag. |
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| Chor des Bayerischen Rundfunks |
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Its outstandingly homogenous sound and stylistic versatility have earned the BR Choir worldwide renown. Sir Simon Rattle was appointed Chief Con- ductor of the Choir and Symphony Orchestra of the BR in the fall of 2023. Artistic Director Peter Dijkstra is responsible for the choir’s musical profile and versatility. The BR Choir regularly performs world premieres, both in the “musica viva” series and in its own subscription concerts, and has given guest performances in Asia and at the Lucerne and Salzburg Festivals. Frequent artistic collaborators include major European orchestras, e. g. the Berlin and Vienna Philharmonic Orchestras or the Sächsische Staatskapelle Dresden, and period instrument ensembles such as Il Giardino Armonico or Akademie für Alte Musik Berlin, as well as renowned conductors, including Zubin Mehta, Christian Thielemann, Riccardo Muti, Andris Nelsons and Giovanni Antonini. The choir’s CD productions have received numerous prestigious awards, in- cluding the ICMA 2021 in the choral music category for Kuljeric’s “Croatian glagolitic requiem” and several Diapasons d’or.
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