KLEBE: Poema drammatico / Widmungen / Zornige Lieder ohne Worte
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Giselher Klebe (b. 1925) Music for Solo Piano, Piano Duo and Piano Duet Giselher Klebe was born in Mannheim in 1925 and in 1940 entered the Berlin...
Giselher Klebe (b. 1925)
Music for Solo Piano, Piano Duo and Piano Duet
Giselher Klebe was born in Mannheim in 1925 and in
1940 entered the Berlin Conservatory with a
scholarship, studying the violin, viola and music
history, and composition with Kurt von Wolfurt. He
resumed his studies after the war as a pupil of Josef
Rufer at the newly founded Berlin International Music
Institute, and, privately, with Boris Blacher. His
Divertimento, Op. 1/2, for piano, had its first
performance in 1947, the year of his first meeting with
the composer Wolfgang Fortner, whom he succeeded
ten years later as senior lecturer in composition and
music theory at the Detmold North-West German
Music Academy. He became a professor at the
Academy in 1962. By this time he had established
himself as a composer, with works performed at
Darmstadt and at Donaueschingen and notable success
in 1950 with his orchestral Zwitschermaschine,
described as a musical metamorphosis for full orchestra
and inspired by Paul Klee's The Twittering Machine.
He won various awards and became one of the most
important contemporary composers of opera in
Germany, with a series of works, first with his own
libretti and then with texts by his wife Lore Klebe,
generally based on existing literary works. Over the
years he has won great distinction, with further prizewinning
compositions and public honours. In 1981 he
became director of the music section of the Berlin
Academy of Arts, of which he served as president from
1986 until 1989.
Klebe's Poèma drammatico, Op. 130, was written
in 1999 as a homage to Verdi. It was first performed in
Detmold the following year as part of the festival
celebrating the composer's 75th birthday. In this
concerto for two pianos and full orchestra the composer
expresses his love and admiration for the work of
Verdi, a guiding influence on his music since 1950. The
work includes quotations from Otello, Simone
Boccanegra, Macbeth and Il trovatore, couched in his
own musical language. He explains how the portrait of
Verdi looks at him, as he writes, inspiring the present
work.
The first and second Soggetto cavato, Op. 122 and
Op. 129, use a musical term from the Renaissance.
Coined by the theorist Zarlino it indicates a polyphonic
subject derived from the vowels of a name, then using
the traditional Guidonian syllables, ut, re, mi, fa, sol, la.
Klebe combines notes derived from the names of the
dedicatees with those of his own name, beginning with
gis (G sharp in German notation). The first of the two
works, both for piano duet, is dedicated to Kurt Horres,
in friendship and gratitude, and the second to Silke-
Thora Matthies and Christian Kohn.
Widmungen (Dedications) consists of five solo
piano pieces written to mark various occasions in the
lives of the dedicatees. As with the Soggetti cavati, use
is made of the letters of the various names as a motivic
basis. The first, Zehnmal Fünf (Ten Times Five) was for
the fiftieth birthday of the composer Johannes Driessler
in December 1970. Driessler was appointed director of
the Detmold Academy in 1960 and became known
principally for his church music, the field to which he
devoted his teaching. He died in 1998. Soggetto für
Christiane und Axel Eggers was written in 1975 to
mark the marriage of the dedicatees, and the third piece
celebrated the sixtieth birthday of Karl Schumann in
1985. Ariette celebrated the fiftieth birthday of the
composer Aribert Reimann in 1986 and also makes use
of Klebe's first name. The final dedication marked the
75th birthday of the painter and graphic artist Heinz
Trokes.
Zornige Lieder ohne Worte, Op. 118, (Angry Songs
without Words), were written in June 1994. The
composer explains that for each of them there was a
reason, clarified in the respective titles. The fifth song
Kassiber (Secret Message) is a piano version of Klebe's
setting of the poem of that name by Peter Hartling, the
root from which the other pieces spring.
Meine Enkelkinder und ich, Op. 140, (My
Grandchildren and I) is a series of seven easy piano
pieces written over a period of 21 days in October 2002,
in answer to a request from Christian Kohn for music
for beginners. The pieces reflect the composer's three
grandchildren, Mira, Maya and Tim Christian.
Klebe wrote his Thema und 39 Variationen (Theme
and 39 Variations) for the fortieth birthday of Christian
Kohn. The work is continuous, united in an arch form.
Its undulating course flows into a passage of great
serenity, which ends the composition.
Based on notes by the composer
English version by Keith Anderson
Poema drammatico, Op. 130 (more info)
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Poema drammatico, Op. 130 - 18:06
Soggetto cavato primo, Op. 122 (more info)
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Soggetto cavato primo, Op. 122 - 6:14
Soggetto cavato secondo, Op. 129 (more info)
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Soggetto cavato secondo, Op. 129 - 6:04
Widmungen (Dedications), Op. 115 (more info)
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Zehnmal Funf Johannes Driessler - 1:04
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Soggetto fur Christiane und Axel Eggers zur Hochzeit (Senza misura, liberamente) - 3:31
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Fur Karl Schumann zum 60. Geburtstag (Larghetto) - 2:38
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Ariette fur Aribert Reimann (Ariette) - 2:17
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Hommage a Heinz Trokes zum 75. Geburtstag (Poco rubato) - 2:25
Zornige Lieder ohne Worte (Angry Songs without Words), Op. 118 (more info)
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Zorn (Anger) - 2:10
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Verlassenheit (Loneliness) - 3:43
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Trauer (Sorrow) - 2:10
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Aufbegehren (Revolt) - 4:06
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Kassiber (Secret Message) - 3:08
Meine Enkelkinder und ich (My Grandchildren and I), Op. 140 (more info)
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Der Regenbogen (The Rainbow) - 1:25
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Erinnerung (Remembrance) - 1:39
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Schneller Entschluss - Zogen - Erneuter Entschluss (Quick Decision - Hesitation - Decided Again) - 0:45
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Nachdenklichkeit - Erste Trauer (Pensiveness - First Sorrow) - 1:21
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Boogie grazioso - 1:24
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Meditation - 1:23
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Fantasie - Nachdenklicher Ausklang (Fantasy - Pensive Ending) - 2:15
Thema und 39 Variationen, Op. 142 (more info)
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Thema und 39 Variationen, Op. 142 - 7:13