Sign Up Now | Log In

Member Login


Wladimir Vogel performed by Sinfonieorchester Basel under Israel Yinon - Orchestral Works (2014)

18-06-2014, 20:03
Classical Music | FLAC / APE

Wladimir Vogel performed by Sinfonieorchester Basel under Israel Yinon - Orchestral Works (2014)

Artist: Wladimir Vogel performed by Sinfonieorchester Basel under Israel Yinon
Title Of Album: Orchestral Works
Year Of Release: 2014
Label: Real Sounds S.r.l.
Genre: Classical
Quality: 320 / FLAC
Total Time: 79:53 min
Total Size: 183 / 336 MB


01 4 Etüden für Orchester - Ritmica funebre
02 4 Etüden für Orchester - Ritmica Scherzosa
03 4 Etüden für Orchester - Ostinato perpetuo
04 4 Etüden für Orchester - Ritmica ostinata
05 Tripartita - 1
06 Tripartita - 2
07 Tripartita - 3
08 Preludio
09 Interludio lirica
10 Postludi

Vogel, Wladimir (Rudolfovich)
(b Moscow, 29 Feb 1896; d Zürich, 19 June 1984). Swiss composer of German and Russian descent. He was influenced at an early age by Skryabin, whom he saw perform in Moscow. As a German national, Vogel was interned during World War I at Birsk in the Urals. In 1918 he moved to Berlin, where he studied window dressing at the Kunstgewerbeschule and composition privately with Tiessen (1919–21). From 1921 to 1924 he attended Busoni’s masterclass in composition at the Akademie der Künste in Berlin; he also became involved in Expressionist circles, joining the Novembergruppe and participating in the activities associated with Herwath Walden’s magazine Der Sturm. Vogel’s compositions, meanwhile, quickly became well known internationally through performances by leading conductors of the time. Between 1929 and 1933 he taught composition and radio-genetic interpretation at the Konservatorium Klindworth-Scharwenka. In the early 1930s Vogel became intensely involved in the workers’ movement, writing articles for Die Welt am Abend and Kampfmusik, setting Weinert’s communist ‘Der heimliche Aufmarsch gegen die Sowjetunion’, among other workers’ songs, and participating in the Kampfgemeinschaft der Arbeitersänger. He later tended to deny this involvement. In 1933 Vogel was forced to leave Germany and moved to Switzerland, where he remained for the rest of his life, other than brief excursions to Strasbourg, Brussels, London and Paris later in the 1930s. Forbidden by the authorities to work in Switzerland, Vogel relied on the support of wealthy patrons and his wife, the writer Aline Valangin, until he obtained citizenship in 1954. During this difficult time he nevertheless was active in the ISCM, taught composition privately, taking part in Scherchen’s ‘Sessions d’études musicales et dramatiques’ in Strasbourg, and even organized the international 12-Tone Music pre-conference in Osilina (1949), attended by Dallapiccola, Malipiero and others. He became an honorary member of the Accademia di S Cecilia in Rome (1958), the Accademia Filarmonica in Rome (1955) and an ordinary member of the Akademie der Künste in Berlin (1959). He was decorated with the Berliner Kunstpreis für Musik (1960), the Musikpreis der Stadt Zürich (1970) and the composer’s prize of the Schweizerischer Tonkünstlerverein (1972). Among his private composition pupils in Switzerland were Rolf Liebermann, Wildberger, Bergman and Rautavaara.

Vogel’s early compositions show the influence of Skryabin and of the German Expressionist circles around his teacher Tiessen. Although he later became a vocal supporter of Busoni’s teachings, Vogel’s works of the 1920s show his revolt against, rather than adoption of, Busoni’s Junge Klassizität. His Komposition für ein und zwei Klaviere (1923), for example, displays a polyphonic density, a filling-out of the chromatic spectrum and a constructivist aesthetic that was foreign to Busoni. In this work, and in the Vier Etüden für Orchester (1930–32), he developed a compositional approach he called ‘ritmica’, a principle of variation based on a constant rhythm. He and his apologists frequently compared these works to constructivist art. He is best known for his use of speech and his innovations with speaking choirs, which have their roots in communist agit-prop, melodrama and in Expressionist music. He produced several moving ‘dramma-oratorios’, among them Wagadus Untergang durch die Eitelkeit (1930) and Thyl Claes, fils de Kolldraeger (Part 1, 1938, 1941; Part 2, 1943–5). In these works he combined dramatic and epic-oratorio elements, divided strictly between spoken text (for the narrative, illustrative and descriptive) and sung words (for lyric expression and the spiritual). He experimented further with word-tone relationships in the Arpiade (1954), in which he distributed Arp’s text between four main groups of the speaking choir, for whom he had developed a unique notation. In the later Flucht (1963–4), he pursued the dramma-oratorio to its ultimate form, combining free-speaking solo voices (actors), rhythmisized solo-speaking voices, vocal soloists, vocal choir, rhythmisized speaking choir, and orchestra.

Vogel first adopted 12-note technique, in a singular fashion, in his Violin Concerto (1937), in the final movement of which he combined a 12-note row with the theme of the overture to Die Zauberflöte. In the 12-note works that immediately followed (e.g. Madrigaux, 1938–9) the row was used melodically. Later, however, he applied 12-note technique in a wider variety of ways. Influenced by architectural principles at least since his first contact with the Bauhaus in 1923, Vogel devoted several of his later works specifically to architectural, pictorial and graphic principles, for example, Inspiré par Jean Arp (1965), Graphique (1976) and Verstrebungen (1977). The works composed in Zürich after 1964 (e.g. Hörformen, 1967) are characterized by their reduced forces, increased transparency, emphasis on tone colour and clarity of form.

Tired of advertising and pop-ups? Join Now on IsraBox
Register on IsraBox allows you to access to the full resources. You can see torrent links, leave your comments, see hidden text, minimum advertising (no pop-ups), ask for supports and much more.

  • 0
0 voted

Nomdeplume   User offline   16 April 2015 10:58

The links have expired, could someone reupload this?

  • Dislike
  • 0
  • Like

tubarec   User offline   23 March 2016 09:40

a reup pleaase!!

  • Dislike
  • 0
  • Like


Users of are not allowed to comment this publication.