Rudolf Fitzner Videos
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Stefan Wolpe Fitzner Fabric Roussel 1950
Quartet, for tenor saxophone, trumpet, percussion & piano, C. 122 (1950) I. Lento II. Con moto Andras Hamary, piano David Smeyers, tenor saxophone Mathias Kiefer, trumpet Markus Hauke, percussion Christian Fitzner, conductor Stefan Wolpe wrote his first quartet while living in relative obscurity in New York City after having emigrated from Germany via Palestine. Wolpe is generally regarded as having come to full artistic maturity during this period in the United States. The Quartet can be interpreted as a fascinating transition piece / a work that both points backwards toward Wolpe's experience in the turbulent cultural politics of Europe, and points ahead toward his deepening involvement in the American abstract expressionist movement. Partly for this reason, the piece seems contradictory: it is at once populist and avant-garde. Dedicating the piece to the memory of the Chinese Revolution, Wolpe filled the piece with references to both jazz and communist agitprop "battle music," a repertoire to which he made significant contributions as an engagé artist in Weimar-era Germany. The instrumentation of the quartet alludes to the traditional jazz combo. In a characteristically idiosyncratic mixture of German and English, Wolpe enthusiastically described the piece as "one of my best Kampfmusiken [battle musics], as one called it so most scheusslicherweise [detestably] in Germany ... Es ist [it is] populism, and my personal human radicalism, mit offenen Armen gesungen [sung with open arms]." At the same time, however, the piece could hardly be mistaken for a Socialist-Realist anthem. This is largely because it is written in a highly chromatic idiom that integrates adapted twelve-tone techniques. The work's fabric of atonal counterpoint consists of lines that, at times, sound more abrupt and gestural than sustained and melodic. This tendency is partly indebted to the emerging influence on Wolpe of the abstract expressionist "action" painters, with whom the composer closely associated at the Eighth Street Club in the 1950s. The first movement, in particular, seems to resonate with Wolpe's radical political views and experience in producing "battle music." It begins with a loud timpani solo that has strong militaristic connotations. The martial sound of the movement intensifies after the entrance of the rest of the ensemble. The piece begins to sound like a kind of brassy fanfare, largely because an upward fifth leap (especially in the trumpet) emerges as the movement's primary motive. Yet, because of this texture's unpredictability and the irregularity of its pulse and rhythms, the fanfare sounds somewhat humorous and off-kilter. Nearly a third of the way into the piece, the timpani leave the texture, and the melodic instruments develop the opening motive in a way that seems very loose and improvisational. The opening's squadron of comic soldiers seems to have evolved into a group of introspective jazzmen. The lines of the loosely contrapuntal texture become longer and more ruminative. Eventually, they become unabashedly lyrical, even dreamy. A snare drum, however, interrupts this remote and wistful moment, and the movement ultimately concludes with a feeling of unresolved conflict. The second movement is straightforwardly cheerful and witty. It begins with a single melody played in rhythmic unison by the entire ensemble. The melody sounds nearly like a plausible bebop tune; its opening statement like the "head" of a jazz number. The ensemble then engages in a humorous exploration of this tune. The movement's play between a sense of pulse and a lack of pulse, however, is one characteristic that makes this music very different from most jazz improvisations. In describing his quartet, Wolpe explained, "One has the feeling of folding up together the tongues of all the peoples in one's own tongue ... I love its craziness, its openness. It really should be played also in public places, so closely is the spirit of the piece related to the people's exaltation." [allmusic.com] Art by Ker-Xavier Roussel
Freund Fitzner Akutagawa Schütter Umbreit Schäfer
Bereits am 20. Februar erscheint der Film Bungo Stray Dogs Dead Apple: (http•••) / Darum geht es: Ein verhängnisvoller Nebel zieht durch die Straßen, nicht nur in Yokohama, sondern weltweit. Dieser scheint mit einer Selbstmordvorfalls-Serie von Befähigten in Verbindung zu stehen. Das Ganze entwickelt sich zu einem Fall, den nur die Bewaffneten Detektive lösen können. Und so werden sie vom Regierungsmitarbeiter und Dazais altem Freund Ango Sakaguchi beauftragt. Im Zuge der Ermittlungen stellt sich jedoch heraus, dass der Strippenzieher wohl Tatsuhiko Shibusawa zu sein scheint, über den kaum etwas bekannt ist. Währenddessen sorgt der gefürchtete Fjodor Dostoyevsky für weitere Komplikationen. Als plötzlich auch noch Dazai verschwindet, wird immer unklarer, ob die Bewaffneten Detektive den Nebel des Verfalls aufhalten können… / Für alle Neugierigen gibt es einen Einblick in die Synchronsprecherliste: Atsushi Sebastian Fitzner Dazai Timo Kinzel Kunikida Christian Rudolf Akutagawa Daniel Schütter Tanizaki Nils Rieke Shibusawa Martin Sabel Ranpo Asad Schwarz Kenji Felix Strüven Yosano Jannika Jira Chuya Tammo Kaulbarsch Fukuzawa Daniel Welbat Kyoka Sarah Tusk Naomi Alina Degener Oogai Robert Kotulla Heimleiter Holger Umbreit Ango Marcus Just Fjodor Patrick Elias Odasaku Johannes Klaußner Tsujimura Runa Pernoda Schäfer Deutsche Bearbeitung: DMT Digital Media Technologie GmbH Dialogbuch: Andreas Barz Regie: Detlef Klein
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