Maria Bach: Chamber Works Alexander Hülshoff

• Maria Bach (1896 - 1978): Piano Quintet in A Minor "Volga":
• 1 Bach: Piano Quintet in A Minor "Volga": I. Ruhig bewegt 07:58
• 2 Bach: Piano Quintet in A Minor "Volga": II. Variationen über das Wolgalied. Largo sostenuto 17:18
• 3 Bach: Piano Quintet in A Minor "Volga": III. Finale. Laufen lassen 06:36
• Cello Sonata in C Minor:
• 4 Bach: Cello Sonata in C Minor: I. Energisch, bewegt 07:06
• 5 Bach: Cello Sonata in C Minor: II. Romanze. Ruhig und breit 06:15
• 6 Bach: Cello Sonata in C Minor: III. Finale. Rondo capriccioso 05:52
• Cello Suite in F Minor:
• 7 Bach: Cello Suite in F Minor: I. Präludium. Con espressione 04:13
• 8 Bach: Cello Suite in F Minor: II. Scherzo. Sehr lebhaft 02:03
• 9 Bach: Cello Suite in F Minor: III. Air. Lento 02:49
• 10 Bach: Cello Suite in F Minor: IV. Finale con Variazioni. Sehr markiert 04:46
• Total Runtime 01:04:56

Info for Maria Bach: Chamber Works

The 20th century experienced an unprecedented level of political, social and cultural disruption and radical change and upheaval that had a profound effect on the life and work of many artists. First of all there are those artists who were forced, in the 1930s, to emigrate on account of their race, religion or political beliefs, some of whom then returned after a conflict had ended. One example of this is the protracted harassment of artists in the Soviet Union as a result of Socialist Realism ideology, which after World War II was expanded to take in the eastern European countries behind the “Iron Curtain” and forced composers either to adhere – some might say dumb-down – to the Soviet standard (as did Latvian Janis Ivanovs, German Max Butting and Slovak Alexander Moyzes) or to go into exile (Czech Karel Husa, Hungarian György Ligeti).While such artists who went to the West were not subject to political guidelines in the same way, there was a degree of social pressure to conform that should not be underestimated. While modern music had been viewed with suspicion before 1933, after 1945 composers who adhered to the tonality principle were suspected of being old-fashioned or even reactionary.

Alexander Hülshoff, cello
Nina Karmon, violin
Marina Grauman, violin
Öykü Canpolat, viola
Oliver Triendl, piano

No biography found.

Booklet for Maria Bach: Chamber Works