Doráti: Der Künder Tomasz Konieczny, Michael Schade, Rachel Frenkel, Beethoven Academy Orchestra & Martin Fischer-Dieskau

• Antal Doráti (1906 - 1988): Der Künder, Act I:
• 1 Doráti: Der Künder, Act I: Elia 07:19
• Der Künder, Act I, Scene 1:
• 2 Doráti: Der Künder, Act I, Scene 1: Gib uns Regen 04:42
• 3 Doráti: Der Künder, Act I, Scene 1: Ich bin gesandt 03:19
• 4 Doráti: Der Künder, Act I, Scene 1: Du bist mein Vetter Eljada 05:40
• Der Künder, Act I, Scene 2:
• 5 Doráti: Der Künder, Act I, Scene 2: Der Traum 04:14
• Der Künder, Act I, Scene 3:
• 6 Doráti: Der Künder, Act I, Scene 3: Orchesterzwischenspiel. Herr, was tust du mir an? 03:52
• 7 Doráti: Der Künder, Act I, Scene 3: Gott grüß' dich, Weib! 09:35
• 8 Doráti: Der Künder, Act I, Scene 3: Grausamer! 06:15
• 9 Doráti: Der Künder, Act I, Scene 3: Sehet! Seht her! 03:19
• 10 Doráti: Der Künder, Act I, Scene 3: Orchesterzwischenspiel. Die Räuber, nein! - Banditen! 05:58
• 11 Doráti: Der Künder, Act I, Scene 3: Tot! Auch er. 03:16
• 12 Doráti: Der Künder, Act I, Scene 3: Orchesterzwischenspiel. Der Herr hat gegeben, der Herr hat genommen. 05:07
• Der Künder, Act II, Scene 1:
• 13 Doráti: Der Künder, Act II, Scene 1: Begehrst du mich, König Ahab? 08:59
• 14 Doráti: Der Künder, Act II, Scene 1: Ahab, komm zu mir! 01:50
• Der Künder, Act II, Scene 2:
• 15 Doráti: Der Künder, Act II, Scene 2: Der Bürger Nabot ist vor dem König erschienen. 05:10
• 16 Doráti: Der Künder, Act II, Scene 2: Er hat jetzt für mich gemordet. 04:26
• 17 Doráti: Der Künder, Act II, Scene 2: Orchesterzwischenspiel 01:30
• Der Künder, Act II, Scene 3:
• 18 Doráti: Der Künder, Act II, Scene 3: Heiliger Boden, darauf das Volk verdarb! 04:07
• 19 Doráti: Der Künder, Act II, Scene 3: Ich nahm die Welt auf mich, als ich sie schuf. 03:07
• Der Künder, Act II, Scene 4:
• 20 Doráti: Der Künder, Act II, Scene 4: Die blutgedüngte Rebe, was soll mir das noch? 04:00
• 21 Doráti: Der Künder, Act II, Scene 4: Das Volk muss seinen Regen haben! 02:06
• Der Künder, Act II, Scene 5:
• 22 Doráti: Der Künder, Act II, Scene 5: Orchesterzwischenspiel. Wir sind gerufen, man hieß uns herzukommen. 02:05
• 23 Doráti: Der Künder, Act II, Scene 5: Wie lange, Volk Isreels, wie lange noch wollt ihr auf zwei Ästen hüpfen? 04:52
• 24 Doráti: Der Künder, Act II, Scene 5: Orchesterzwischenspiel. Das Baalopfer 05:48
• 25 Doráti: Der Künder, Act II, Scene 5: Tretet heran, o Freunde, je einer der zwölf Stämme Isreels. 06:16
• 26 Doráti: Der Künder, Act II, Scene 5: Du da oben! Schau zum Meer hinaus. 02:35
• Der Künder, Act III, Scene 1:
• 27 Doráti: Der Künder, Act III, Scene 1: Orchestervorspiel. Der Händler, der gestern hier war 03:10
• Der Künder, Act III, Scene 2:
• 28 Doráti: Der Künder, Act III, Scene 2: Orchesterzwischenspiel. Die Stunde der Zerstörer ist da. 06:12
• Der Künder, Act III, Scene 3:
• 29 Doráti: Der Künder, Act III, Scene 3: Ich habe euch, Künder, geladen 02:31
• 30 Doráti: Der Künder, Act III, Scene 3: Ich sah das Volk, das Volk von Isreel 06:40
• Der Künder, Act III, Scene 4:
• 31 Doráti: Der Künder, Act III, Scene 4: Mein Gott!… Ein Lied… Ein Lied. 05:35
• 32 Doráti: Der Künder, Act III, Scene 4: Der König ist tot! 02:24
• Der Künder, Act III, Scene 5:
• 33 Doráti: Der Künder, Act III, Scene 5: Orchesterzwischenspiel. Trauermarsch 03:12
• 34 Doráti: Der Künder, Act III, Scene 5: Zeit ist's, Abschied zu nehmen. 04:32
• 35 Doráti: Der Künder, Act III, Scene 5: Feurig entfährt ein Wagen dem Firmament! 01:46
• 36 Doráti: Der Künder, Act III, Scene 5: Er ist mein Hirt 04:39
• Total Runtime 02:40:08

Info for Doráti: Der Künder

World premiere recording of the only opera composed by Antal Doráti, The Herald: Antal Doráti is known to interested audiences mainly as one of the most influential conductors of the 20th century, not least through the range of his record catalogue. But the Hungarian-born US-American also left behind a compositional oeuvre of not inconsiderable scope.

Der Künder (The Herald) - translated by Doráti as The Chosen - is his only stage work and is based on the mystery play Elijah by the important philosopher Martin Buber (1878-1965). Martin Fischer-Dieskau, international conductor and scholar, was personally made aware by his former mentor Doráti of this opus magnum, the outlines of which were already completed in 1984, and has now initiated the world premiere recording of the work in Krakow.

Tomasz Konieczny, bass-baritone
Michael Schade, tenor
Rachel Frenkel, mezzo-soprano
Ron Silberstein, tenor
Teatr Wielki Choir Poznan
Beethoven Academy Orchestra
Martin Fischer-Dieskau, conductor

Martin Fischer-Dieskau
knows how hard it is to gauge the worth of a serious conductor. Not feeling the need for superficial dazzle, he is able in a flash to gain the confidence of his players. His command of the structure of the piece is combined with sure-fire technique.

As a musician of our day Martin Fischer-Dieskau eschews over-specialization. He has devoted his entire career to the study of the Viennese Classics and to the exploration of new music and contemporary production. In acknowledgement of the century-old tradition of conducting, he excels in the performance of the great Austro-Germanic symphonic repertoire, while international opera houses have invited him to conduct more than 40 works of every genre.

When Maestro Fischer-Dieskau conducts from memory, the audience and the orchestra feel secure. The great heritage of Western music, both in style and content, find continuity. The fusion of music and listener becomes a reality. After four music directorships on three continents and hundreds of guest engagements his audiences worldwide look forward with pleasure to an authentic musical experience, whether in opera or in concert.

A scion of the 19th century classical music tradition, Martin Fischer-Dieskau has developed a keen sense of innovative flair for unusual and varied programming. He brought Rameau, Glière, Blacher and the foremost contemporary Taiwanese composers to Taipei, the Bruckner symphonies to Mainland China, and a much-heralded production of Mozart’s "Magic Flute" to Chopin-haunted Mallorca. Over the years, he has conducted nearly 100 orchestras worldwide, including the Berlin Philharmonic, Royal Philharmonic, London Philharmonic, Moscow State Orchestra, Orchestre national de France, the NHK Tokyo, the Tokyo Philharmonic, and the New Japan Philharmonic. He has led all the major orchestras of Germany, Scandinavia, and many Italian and Spanish orchestras as well.

Maestro Fischer-Dieskau records for the Marco Polo and BIS labels, and has established his own television series introducing young musicians for the German ARD-TV channel. In addition to his international guest conducting activities, Maestro Fischer-Dieskau held a professorship at the Hochschule für Künste in Bremen.

A firm believer in the value of learning his craft from the ground up, Maestro Fischer-Dieskau spent his early years in the German houses in Augsburg, Aachen, Hagen, and Stuttgart. At the Bern Symphony Orchestra, where he served as Principal Conductor from 1990 till 1994, he conducted a variety of new, Russian, and Italian works. As Principal Conductor of the Canadian Kitchener-Waterloo (KW) Symphony from 2000 to 2004 he augmented the orchestra’s standard repertoire and opened the concert hall to new audiences. With the KW Symphony he also inaugurated the first German-Canadian Festival in Toronto in 2002. From 2009-2011 he was director of the Taipei Symphony Orchestra conducting a wide range of classical and Taiwanese repertoire while organizing an International Puccini symposium.

Early on, Maestro Fischer-Dieskau led productions at the San Carlo Opera House in Naples and the Regio in Turin and became a frequent guest at international festivals such as Helsinki, Granada, and Berlin. In 2000 he helped to inaugurate the first season of the newly-created Boca Raton Sinfonia in Florida, and was immediately invited for a return visit which attracted more than 15,000 spectators in an open-air concert event. The following seasons brought him back to Israel, France, the Netherlands, Finland, Austria, the Czech Republic, and the United States. In 2013 he followed these commitments with a tour of the German Radio Orchestra

featuring Wagner and Verdi. A highlight of 2015-2016 was assignments with new orchestras in China and Romania conducting Beethoven’s Ninth. In the summer of 2017, Maestro Fischer-Dieskau led the Orquesta Sinfónica Tenerife in works by Stravinsky, Gounod, and Jean Françaix.

Maestro Fischer-Dieskau’s early career was launched by an invitation from Seiji Ozawa to join the much sought-after Leonard Bernstein Fellowship program at Tanglewood in 1978, a program he had the privilege of attending again a decade later, in 1988, and then once more, in 1997. His earliest success was a production in 1974 of Haydn’s rarity “Il Mondo della Luna” in his native Berlin. At the age of 23, Maestro Fischer-Dieskau was chosen by Antal Doráti to become Assistant Conductor at the Detroit Symphony. His studies included conducting, violin, and piano at the Hochschule für Musik in Vienna, the Universität der Künste in Berlin and the Accademia Chigiana di Siena. He participated in masterclasses with Franco Ferrara, Maestro Ozawa, and Leonard Bernstein. To this he added the study of Italian literature and musicology, earning a PhD in 2015 from the Freie Universität Berlin and the Hochschule für Musik und Tanz in Cologne.

Booklet for Doráti: Der Künder