Senfter: Complete Works For Viola and Piano
Haenssler - HC 22076
Kompozytor
Johanna Senfter (1879-1961)
Johanna Senfter (1879-1961)
Wykonawcy
Roland Glassl, viola
Oliver Triendl, piano
Roland Glassl, viola
Oliver Triendl, piano
Utwory na płycie:
Sonata for viola and piano No. 2 in F Major, Op. 101 - 1. Frisch und lebendig
Sonata for viola and piano No. 2 in F Major, Op. 101 - 2. Sehr ruhig
Sonata for viola and piano No. 2 in F Major, Op. 101 - 3. Lebhaft
Sonata for viola and piano No. 2 in F Major, Op. 101 - 4. Gemächlich
Sonata for viola and piano No. 2 in F Major, Op. 101 - 5. Lustig, nicht zu schnell
Sonata for viola and piano No. 1 in F Minor, Op. 41 - 1. Bewegt
Sonata for viola and piano No. 1 in F Minor, Op. 41 - 2. Scherzo: Ziemlich geschwind
Sonata for viola and piano No. 1 in F Minor, Op. 41 - 3. Sehr ruhig
Sonata for viola and piano No. 1 in F Minor, Op. 41 - 4. Gemächlich
Duo for viola and piano, Op. 127
Variations for viola and piano, Op. 94
Five pieces for viola and piano, Op. 76 - Nr. 1 Weihnachten (In ruhiger Bewegung)
Five pieces for viola and piano, Op. 76 - Nr. 2 Karfreitag (Sehr ruhig)
Five pieces for viola and piano, Op. 76 - Nr. 3 Auferstehungsfeier (Feierlich, nicht zu langsam)
Five pieces for viola and piano, Op. 76 - Nr. 4 Himmelfahrt (Gemächlich)
Five pieces for viola and piano, Op. 76 - Nr. 5 Zum Totensonntag (Sehr ruhig)
Duo for Viola & Piano, Op. 127
Pieces (5), for Viola & Piano, Op. 76
Variations for Viola & Piano, Op. 94
Viola Sonata No. 1 in F minor, Op. 41
Viola Sonata No. 2 in F major, Op. 101
Pieces (5), for Viola & Piano, Op. 76
Variations for Viola & Piano, Op. 94
Viola Sonata No. 1 in F minor, Op. 41
Viola Sonata No. 2 in F major, Op. 101
In the male-dominated world of the time, in which women who performed and composed required special assertive skills, Johanna Senfter consciously refrained from a career in the wider world and limited her creative field to her birthplace of Oppenheim am Rhein near Mainz, not least because of her unstable health as a result of a severe bout of diphtheria in her childhood. This pragmatic self-limitation has given way to an interesting, decades-long debate, not least because her compositional legacy at the Cologne Musikhochschule is available to all interested researchers and musicians and has led to new editions or first recordings of her compositions.