Rolf Liebermann: Furioso
Allegro vivace, furioso - Andante - Allegro vivace, Tempo 1 (9:51)

Richard Strauss: Metamorphosen (Studie für 23 Solostreicher)
Adagio ma non troppo - Piú Allegro - Adagio, tempo primo (26:39)

Arthur Honegger: Symphonie no. 3 (Symphonie liturgique)
I "Dies irae", Allegro marcato (7:18); II "De profundis clamavi", Adagio (12:46); III "Dona nobis pacem", Andante (12:26)

Total time 69:02

Philharmonic Orchestra Lübeck
Roman Brogli-Sacher

(Lübeck Philharmonic Live vol. 1)

In 1966, Theodor W. Adorno qualified his meanwhile familiar and frequently
discussed maxim about the impossibility of writing poetry after the Second World
War: „Perennial suffering has as much right to expression as the tortured have to
scream; hence it may have been wrong to say that no poem could be written after
Auschwitz." Just as writers could no longer trust the language, composers also had
to search for new paths. The three works presented here constitute an exception,
since their musical language picks up the threads of tradition and employs these
means to react to the events of the war.
Postwar Sounds. Switzerland. - At first glance, three words that can only be
reconciled with difficulty. To be sure, Switzerland did not participate in the Second
World War, but, in the truest sense of the word, it stood right in the middle of it -
above all geographically. It therefore became a safe harbor for many refugees, but at
times also turned back refugees who were not classified as „politically persecuted."
In the 1990s, the Bergier Report critically examined Switzerland's role during this
period.
Nevertheless, the focus of this recording is not politics, but rather the people, or to
put it another way: Swiss artists and those who have a relation to this country, for
example, Richard Strauss, who after the Second World War emigrated to Switzerland
for several years.
Two compositions are by Swiss-born composers, while Richard Strauss'
Metamorphoses was written during the final days of the war at the instigation of the
Swiss conductor and patron of the arts Paul Sacher, to whom Strauss dedicated the
work.