C1551. BRUNO MADERNA Cond. RTF S.O.: Symphonies of Wind Instruments (Stravinsky); BRUNO MADERNA Cond. Enesmble du Domaine Musical: Five Pieces for Orchestra, Op.10; BRUNO MADERNA Cond. RAI S.O., Torino: Variations for Orchestra, Op.30 (both Webern); BRUNO MADERNA Cond. Südfunk-Sinfonieorch.: Turandot - suite (Busoni); BRUNO MADERNA Cond. Saarlärlandischer Rundfunk S.O., w. CHRISTIANE EDINGER: Violin Concerto, Op.36 (Schönberg). [Another brilliant and fascinating Maderna issue from Yves St Laurent; the Schönberg Violin Concerto is irresistible!] (Canada) St Laurent Studio YSL T-476, Live Performances, 1963-71. Transfers by Yves St Laurent.
“While she has often been associated with the standards of the violin repertory, particularly those from the German School, Christiane Edinger has played a variety of works throughout her career, including concertos by Tchaikovsky, Saint-Saëns, Elgar, Prokofiev, Bartók, and Khachaturian, as well as several by contemporary composers like Penderecki, Bernd Alois Zimmermann, Boris Blacher, Howard Blake, and Cristobal Halffter, who wrote two concertos specifically for her. Though she has lacked the superstar status of modern string players like Anne-Sophie Mutter, Edinger was and still is recognized as one of the finest German violinists of her generation. She has performed with the leading orchestras in Europe and the Americas and has collaborated with such conductors as Herbert von Karajan, Neville Marriner, Kurt Masur, Christoph Eschenbach, and many others. She has also regularly performed chamber music, notably in her ensemble, the Edinger Quartet. Her recordings are still widely available on a range of labels, including ASV, Arte Nova, Audite, Naxos, Orfeo, and others.
Christiane Edinger was born in Potsdam, Germany, on March 20, 1945. Her father was the virtuoso pianist Gerhard Puchelt. Edinger began studying the violin at five and her advanced studies were at the Berlin Hochschule fur Musik and Juilliard School of Music. Her list of teachers is impressive: Vittorio Brero (Berlin), Nathan Milstein (Switzerland), and Joseph Fuchs (Juilliard). At 19 Edinger appeared at the Berlin Festival playing works by Boris Blacher, risky repertoire at the time. Her performances were so impressive, though, that she was immediately invited to appear with the Berlin Philharmonic Orchestra, with whom she played the Mendelssohn Violin Concerto. Edinger was soon an imposing presence on the international scene, regularly performing at the major concert venues across the globe. She has appeared with the Berlin Philharmonic more than a dozen times, in concerto repertory by Mozart, Beethoven, Tchaikovsky, Blacher, Zimmermann, and many others. From the 1990s Edinger began making more frequent chamber music appearances. The Edinger Quartet has garnered much critical acclaim, notably from recordings on the Audite label of music by Eduard Franck. Edinger plays a 1623 Amati.”
- Robert Cummings, allmusic.com
“Bruno Maderna, like his close friend and fellow avant garde composer Pierre Boulez, had in recent years become a conductor of international reputation. Since his debut here in 1970 conducting Mercadante's opera II GIURAMENTO at the Juilliard School, Mr. Maderna had led the New York Philharmonic, the Chicago Symphony, the Philadelphia Orchestra, the Boston Symphony and the Detroit Symphony. In Europe he had conducted widely, including the London Symphony, the B.B.C. Symphony and the Concertgebouw in Amsterdam. For the last two years of his life he was music director of the Italian Radio in Milan.
Mr. Maderna did not put great stock in his, or anyone's, success on the podium. ‘The era of the star conductor is finished’, he told a NEW YORK TIMES interviewer in 1972. In place of that phenomenon we must have, he contended, composer-conductors who could guide the musical life of their communities. His ideal in this respect was Mr. Boulez, the New York Philharmonic's music director.
Mr. Maderna, who was born in Venice, made his New York City Opera debut [in 1972] conducting a new production of DON GIOVANNI.”
- THE NEW YORK TIMES, 14 Nov., 1973