GERMAN & AUSTRIAN SYMPHONIES from the 19Th

Total Page:16

File Type:pdf, Size:1020Kb

GERMAN & AUSTRIAN SYMPHONIES from the 19Th GERMAN & AUSTRIAN SYMPHONIES From The 19th Century To The Present A Discography of CDs and LPs Prepared by Michael Herman Richard Strauss (1864-1949) Born in Munich, the son of Franz Strauss, the principal horn player at the Court Opera in Munich. He wrote his first compositions at age six and studied the piano. He then received private instruction in music theory and orchestration from a conductor at the Court Opera, Friedrich Wilhem Meyer as well as violin lesson from its concertmaster, Benno Walter. He studied music briefly in Berlin before being appointed assistant conductor to Hans von Bülow. The rest is history as he went on to become one of Germany's greatest composers as well as a world famous conductor. In his long life, he produced an enormous catalogue of operas, orchestral, chamber, piano, organ, choral and vocal works that have never lacked for performances. Symphony (No. 1) in D minor (1880) Karl Anton Rickenbacher/Bavarian Radio Symphony Orchestra ( + Symphony in F minor) KOCH 3-6532-2 (1999) (original CD release: SCHWANN 311118 H1) (1989) Kenneth Schermerhorn/Hong Kong Philharmonic Orchestra ( + Kampf und Sieg and Interlude for Mozart's "Idomeneo") MARCO POLO 8.220323 (1993) (original LP release: MARCO POLO 6.220323/RECORDS INTERNATIONAL 7003-1) (1985) Klauspeter Seibel/Nuremberg Symphony Orchestra ( + Festive March and Munich Waltz) COLESSEUM 34.9006 (1986) Symphony (No. 2) in F minor (1884) Herbert Häfner/Vienna Orchestra SPA 17 (LP) (c. 1950) Michael Halász/Slovak State Philharmonic Orchestra MARCO POLO 8.220358 (1996) (original LP release: MARCO POLO 6.220358 RECORDS INTERNATIONAL 7005-1) (1985) Hermann Bäumer/Deutsche Radio Philharmonie Saarbrücken Kaiserslautern ( + Concert Overture in C minor) CPO 555290-2 (2019) Neeme Järvi/Royal Scottish National Orchestra ( + Romance for Cello and Orchestra and 6 Lieder) CHANDOS CHAN 10236 (2004) MusicWeb International Updated: August 2020 Richard Strauss Symphonies Karl Anton Rickenbacher/Berlin Radio Symphony Orchestra ( + Symphony in D minor) KOCH 3-6532-2 (1999) Hiroshi Wakasugi/Tokyo City Symphony Orchestra ( + Romance for Cello and Orchestra) DENON CO-75860 (1994) Sebastian Weigle/Frankfurt Opera and Museum Orchestra ( + Don Juan) OEHMS OC890 (2015) Symphony in E-flat major for 16 Winds (Sonatina No. 2), Op. Posth. "Happy Workshop" (1943-5) Michael Collins/London Winds ( + Sonatina No. 1 Suite for 13 Winds and Serenade for Winds) HYPERION DYAD CDD22015 (2 CDs) (1997) (original release: HYERION CDA66731/2 {2CDs}) (1993) Edo De Waart/Netherlands Wind Ensemble ( + Sonatina No. 1, Suite for 13 Winds and Serenade for Winds) NEWTON CLASSICS 8802066 (2 CDs) (2011) (original release: PHILIPS 6770 048 {2 LPs} ) (1972) Désiré Dondeyne/Harmonie de Chambre des Gardiens de la Paix ( + Sonatina No. 1, Suite for 13 Winds and Serenade for Winds) ARION ARN 268793 (2 CDs) (2009) (original release: ARION ARN 336019 {3 LPs}) (1979) Karl Haas/London Baroque Ensemble PARLOPHONE PMA 1006/DECCA (US) 9761 (LP) (1953) Richard Hickox/Haffner Wind Ensemble of London ( + Oboe Concerto) CHANDOS CHAN 9286 Heinz Holliger/Chamber Orchestra of Europe Winds ( + Suite for 13 Winds and Serenade for Winds) PHILIPS 438733-2 (1993) Michael Höltzel/Gran Partita Detmold ( + Suite for 13 Winds) DETMOLD HOCHSCHULE FÜR MUSIK HSD 001 (1991) Sabine Meyer Wind Ensemble ( + Serenade for Winds and Dvorak: Serenade, Op. 44) AVIE AVI553014 (2008) Norwegian Winds, Oslo ( + Sonatina No. 1, Suite for 13 Winds and Serenade for Winds) AUROPHON AU32 165 (2 CDs) (1993) MusicWeb International p2 Richard Strauss Symphonies Orpheus Chamber Orchestra ( + Sonatina No. 1) DEUTSCHE GRAMMOPHON 445849-2 (1996) Wolfgang Sawallisch/Munich Academy Wind Soloists ORFEO 004821 (original LP release: ORFEO S 004821 A) (1982) Klaus Rainer Schöll/Amadé Wind Ensemble ( + Sonatina No. 1 and Serenade for Winds) ARTS MUSIC 47395-2 (1997) Wolfgang Schröder/Munich Philharmonic Solists CALIG CAL 30820 (LP) (1983) Izler Solomon/MGM Orchestra MGM RECORDS E 3097 (LP) (1954) Villa Musica Ensemble ( + Till Eulenspiegel) MD&G (DABRINGHAUS & GRIMM) GOLD 3041172 (2003) Rodney Winther/University of Cincinnati Chamber Players ( + Martinu: La Revue de Cuisine and Ibert: Concerto for Cello and Winds) MARK RECORDS 8467 (2009) Symphonia Domestica, Op. 53 (1903) Vladimir Ashkenazy/Deutsches Symphonie-Orchester, Berlin (rec. 1996) ( + Mozart: Violin Concerto No. 5) AUDITE 97535 (2008) Vladimir Ashkenazy/Czech Philharmonic Orchestra ( + Don Juan) ONDINE ODE943-2 (2000) Edo De Waart/Minnesota Orchestra ( + An Alpine Symphony, Till Eulenspiegel, Don Juan and Suite for 13 Winds) VIRGIN CLASSICS VERITAS 61460-2 (2 CDs) (1998) (original CD release: VIRGIN CLASSICS VC 7 91492-2 (1992) Wilhelm Furtwängler/Berlin Philharmonic Orchestra (rec. 1944) ( + Don Juan) MELODIYA MELCD-1001111 (2007) (original CD release: MELODIYA M10 40961-2) (1978) Alexander Gauk/Moscow Radio Symphony Orchestra MELODIYA D 021557-8 (LP) (1968) Eliahu Inbal/Orchestre de la Suisse Romande (rec. 1990's) ( + Tod und Verklärung) DENON CREST CO 70762 (2005) MusicWeb International p3 Richard Strauss Symphonies Marek Janowski/Berlin Eadio Symphony Orchestra ( + Die Tageszeiten) PENTATONE PTC5186507 (2015) Neeme Järvi/Royal Scottish National Orchestra ( + Till Eulenspiegel, Macbeth, Don Quixote and Also sprach Zarathustra) CHANDOS CHAN 10206 (2 CDs) (2004) (original CD release: CHANDOS CHAN 8572) (1987) Kristjan Järvi//Middle German Radio Symphony Orchestra, Leipzig ( + Ellimgton: Harlem and Stravinsky: Preludium for Jazz Band) NAIVE V5404 (2015) Herbert von Karajan/Berlin Philharmonic Orchestra ( + Don Quixote and Ein Heldenleben) EMI CLASSICS 476903-2 (2 CDs) (2005) (original LP release: HMV ASD 2955/ANGEL S-36973) (1973) Rudolf Kempe/Dresden Staatskapelle (included in collection: "Kempe conducts Richard Strauss, Volume 2") EMI CLASSICS 643462-2 (3 CDs) (1992) (original release: HMV SLS 894 {3 LPs}) (1973) Kazuhiru Koizumi/Tokyo Metropolitan Symphony Orchestra ( + Mussorgsky : A Night on the bare mountain FONTEC FOCD9239 (2005) Franz Konwitschny/Dresden Staatskapelle (rec.1961) ( + Beethoven: Symphony No. 4 and Mozart: Piano Concerto No. 23) ORFEO D'OR C839112B (2 CDs) (2011) Franz Konwitschny/Saxon State Orchestra (rec. 1956) ( + Witt: Symphony in C) DEUTSCHE GRAMMOPHON 477 5483 (2005) (original LP release: DEUTSCHE GRAMMOPHON 18331/DECCA {US} GOLD SEAL DL 9904) (1956) Clemens Krauss/Bavarian Radio Symphony Orchestra (rec. 1953) ( + Ravel: Rapsodie Espagnole and Haydn: Symphony No. 88) ORFEO D'OR C196891B (1990) Clemens Krauss/Vienna Philharmonic Orchestra ( + Le Bourgeois Gentilhomme: Suite) TESTAMENT SBT 1184 (2000) (original LP release: DECCA LXT2643/LONDON LL-483) (1952) Lorin Maazel/Bavarian Radio Symphony Orchestra ( + Tod und Verklärung) RCA VICTOR RED SEAL 09026-68221-2 (1996) Lorin Maazel/Vienna Philharmonic Orchestra ( + Also sprach Zarathustra) DEUTSCHE GRAMMOPHON 445560-2 (1995) (original LP release: DEUTSCHE GRAMMOPHON 413460-1) (1984) MusicWeb International p4 Richard Strauss Symphonies Zubin Mehta/Berlin Philharmonic Orchestra ( + Burleske for Piano and Orchestra) CBS MASTERWORKS MK 42322 (1987) Zubin Mehta/Los Angeles Philharmonic Orchestra ( + An Alpine Symphony, Macbeth and Parergon for Piano Left Hand and Orchestra) DECCA ELOQUENCE 4800408 (2 CDs) (2008) (original LP release: DECCA SXL 6442/LONDON CS 6663) (1970) Dimitri Mitropoulos/Vienna Philharmonic Orchestra (rec. 1957) ( + Schumann: Symphony No. 1) ORFEO D'OR C565011B (2001) Dimitri Mitropoulos/WDR Symphony Orchestra, Cologne (rec. 1957) ( + Tod und Verklarung, Don Juan, An Alpine Symphony and Die Frau ohne Schatten: Suite) URANIA URN 22345 (2 CDs) (2008) Charles Munch/Boston Symphony Orchestra (rec. 1959) ( + Sibelius: Violin Concerto) PRISTINE AUDIO PASC568 (2010) Eugene Ormandy/Philadelphia Orchestra (rec. 1938) (included in collection: "The Art of Eugene Ormandy") BIDDULPH 064-5 (2 CDs) (2000) (original LP release: RCA CAMDEN CAL-328) (1950's) (from RCA 78's) André Previn/Berlin Philharmonic Orchestra (included in collection: "André Previn - A Celebration") DEUTSCHE GRAMMOPHON 4778114 (2009) (original CD release: DEUTSCHE GRAMMOPHON 449188-2) (1996) Fritz Reiner/Chicago Symphony Orchestra ( + Le Bourgeois Gentilhomme: Suite) RCA VICTOR LIVING STEREO 708282 (2007) (original LP release: RCA VICTOR LM 2103) (1957) François-Xavier Roth/SWR Sinfonieorchester Baden-Baden und Freiburg ( + Metamorphosen) SWR MUSIC SWR19021CD (2017) Wolfgang Sawallisch/Philadelphia Orchestra ( + Festliches Präludium for Organ and Orchestra and Till Eulenspiegel) EMI CLASSICS 55185-2 (1994) Carl Schuricht/La Scala Orchestra, Milan (rec. 1941) ( + Brahms: Symphony No. 2) URANIA C704077L (2003) ( + Lothar: Schneider Wibbel Overture, Franck: Le Chausseur Maudit, Zandonai: Serenata Medioevale and Reznicek: Donna Diana Overture) PRISTINE AUDIO PASC 320 (2012) MusicWeb International p5 Richard Strauss Symphonies Carl Schuricht/Stuttgart Radio Symphony Orchestra (included in collection: "Carl Schuricht Collection II - Historical Recordings 1951-1966") HÄNSSLER HAEN 93292 (10 CDs) (2012) Gerard Schwarz/Royal Liverpool Philharmonic Orchestra ( + An Alpine Symphony, Oboe Concerto and Duet-Concertino) AVIE AV 2071 (2 CDs) (2005) Gerard Schwarz/Seattle Symphony Orchestra ( + Die Liebe der Danae: Symphonic Fragment) NAXOS 8.571216 (2012) (original CD release: DELOS DE 3082) (1989) Richard Strauss/ Philharmonia Orchestra (rec. 1947) ( + Burleske for Piano and Orchestra, Don Juan and Till Eulenspiegel) TESTAMENT SBT 1441 (2009) Richard Strauss/Vienna Philharmonic
Recommended publications
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • Leihmaterial Bote & Bock
    Leihmaterial Bote & Bock - Stand: November 2015 - Komponist / Titel Instrumentation Komp. / Dauer Aa, Michel van der 2 After Life B 2S,M,A,2Ba; 2005-06/ 95' Oper nach dem Film von Hirokazu Kore-Eda 0.1.1.BKl.0-0.1.0.1-Org(=Cemb)-Str(3.3.3.2.2); 2009 elektr Soundtrack; Videoprojektionen 1 The Book of DisquietB 1.0.1.1-0.1.0.0-Perc(1): 2008 75' Musiktheater für Schauspieler, Ensemble und Film Vib/Glsp/3Metallstücke/Cabasa/Maracas/Egg Shaker/ 4Chin.Tomt/grTr/Bambusglocken/Ratsche/Peitsche(mi)/ HlzBl(ti)/2Logdrum/Tri(ho)/2hgBe-4Vl.3Va.2Vc.Kb- Soundtrack(Laptop,1Spieler)-Film(2Bildschirme) 0 Here [enclosed] B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2003 17' für Kammerorchester und Soundtrack Soundtrack(Laptop, 1Spieler); Theaterobjekt K Here [in circles] B Kl.BKl.Trp-Perc(1)-Str(1.1.1.1.1); 2002 15' für Sopran und Ensemble kl Kassetten-Rekorder (z.B. Sony TCM-939) 0 Here [to be found]B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2001 18' für Sopran, Kammerorchester und Soundtrack Soundtrack(Laptop, 1 Spieler) Here Trilogy B 2001-03 50' siehe unter Here [enclosed], Here [in circles], Here [to be found] F Hysteresis B Fg-Trp-Perc(1)-Str*; Soundtrack(Laptop,1 Spieler); 2013 17' für Solo-Klarinette, Ensemble und Soundtrack *Streicher: 1.0.1.1.1 (alle vertärkt) oder 4.0.3.2.1 oder 6.0.5.4.2; Kb mit tiefer C-Saite 2 Imprint B 2Ob-Cemb-Str(4.4.3.2.1); 2005 14' für Barock-Orchester Portativ-Orgel zu spielen vom Solo-Violinisten; Historische Instrumente (415 Hz Stimmung) oder moderne Instrumente in Barock-Manier gespielt 1 Mask B 1.0.1.0-1.1.1.0-Perc(1)-Str(1.1.1.1.1)-
    [Show full text]
  • Krzysztof Urbański Principal Guest Conductor
    Tokyo Symphony Orchestra <Kawasaki office> Muza Kawasaki Central Tower 5th floor 1310 Omiya cho, Saiwai-ku Kawasaki city, Kanagawa, 212-8554 TEL: +81-(0)44-520-1518 FAX: +81-(0)44-543-1488 http://tokyosymphony.jp Krzysztof Urbański Principal Guest Conductor Krzysztof Urbański starts his new relationship with the Tokyo Symphony Orchestra as Principal Guest Conductor from April 2013. Mr. Urbański made his debut with the Tokyo Symphony in November 2009. In the second concert with the TSO, a subscription concert in June 2011, Mr. Urbański conducted Lutoslawski’s Little Suite, Szymanowski’s Violin Concerto No.2, and Shostakovich’s Symphony No.10 with overwhelming power. September 2013 marks the start of Krzysztof Urbański’s third season as Music Director of Indianapolis Symphony Orchestra. He also continues as Chief Conductor of the Trondheim Symfoniorkester, who appointed him Artistic Leader in recognition of the major contribution he has made to the orchestra. Urbański’s performances this season include the world premiere of Pastorale e capriccio which both orchestras have co-commissioned from Wojciech Kilar. In 2013/14, he takes the Trondheim Symfoniorkester on tour to Vienna, Cologne, Warsaw and Kraków. He also holds the position of Principal Guest Conductor of Tokyo Symphony Orchestra. This season sees debuts with Berliner Philharmoniker and Chicago Symphony Orchestra (at the Ravinia Festival) and the following season with Pittsburgh Symphony Orchestra, Rotterdam Philharmonic Orchestra, Tonkünstler-Orchester Niederösterreich and Münchner Philharmoniker. He will also return to the Philharmonia Orchestra, Wiener Symphoniker, Orquesta y Coro Nacionales de Espana, NDR Sinfonieorchester Hamburg, Finnish Radio Symphony Orchestra and Oslo Philharmonic Orchestra.
    [Show full text]
  • Karl Schuricht Concerto En Ré Majeur - Op
    Karl Schuricht Concerto En Ré Majeur - Op. 77 Pour Violon Et Orchestre mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Concerto En Ré Majeur - Op. 77 Pour Violon Et Orchestre Country: France Style: Romantic MP3 version RAR size: 1276 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1954 mb Rating: 4.2 Votes: 930 Other Formats: XM AA APE FLAC AIFF ASF WAV Tracklist Concerto En Ré Majeur - Op. 77 Pour Violon Et Orchestre A1 Allegro Non Troppo (Cadence De Kreisler) B1 Adagio Allegro Giocoso, Ma Non Troppo Vivace (Cadence De B2 Kreisler) Companies, etc. Printed By – Dehon & Cie Imp. Paris Credits Liner Notes – Claude Rostand Barcode and Other Identifiers Rights Society: DP Other versions Category Artist Title (Format) Label Category Country Year Johannes Brahms, Johannes Brahms, Christian Ferras, Christian Ferras, Wiener Philharmoniker, LXT 2949 Wiener Carl Schuricht - Decca LXT 2949 UK Unknown Philharmoniker, Carl Concerto In D Major For Schuricht Violin And Orchestra Opus 77 (LP, Album) Carl Schuricht - Carl Schuricht - Christian Ferras - Christian Ferras - 6.42142 Johannes Brahms - 6.42142 Johannes Brahms - Decca Germany Unknown AF Wiener Philharmoniker - AF Wiener Violinkonzert D-Dur (LP, Philharmoniker Album) Carl Schuricht - Christian Ferras - Carl Schuricht - Johannes Brahms - Christian Ferras - Wiener Philharmoniker - LXT 2949 Johannes Brahms - Decca LXT 2949 Spain 1958 Concierto En "Re" Wiener Mayor Para Violín y Philharmoniker Orquesta Opus 71 (LP, Album, Mono) Johannes Brahms, Christian Ferras, Vienna Johannes Brahms, Philharmonic Christian Ferras, Orchestra*, Carl B 19018 Vienna Philharmonic Richmond B 19018 Mexico Unknown Schuricht - Concerto In Orchestra*, Carl D Major For Violin And Schuricht Orchestra Opus 77 (LP, Album) Carl Schuricht - Carl Schuricht - Christian Ferras - Christian Ferras - LW 50095 Johannes Brahms - Johannes Brahms - Decca LW 50095 Germany Unknown Wiener Wiener Philharmoniker - Philharmoniker Violinkonzert D-Dur (LP) Related Music albums to Concerto En Ré Majeur - Op.
    [Show full text]
  • Multivalent Form in Gustav Mahlerʼs Lied Von Der Erde from the Perspective of Its Performance History
    Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History Christian Utz All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 09/10/2017 Accepted: 19/11/2017 Published: 27/02/2018 Last updated: 27/02/2018 How to cite: Christian Utz, “Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History,” Musicologica Austriaca: Journal for Austrian Music Studies (February 27, 2018) Tags: 20th century; Analysis; Bernstein, Leonard; Das Lied von der Erde; Klemperer, Otto; Mahler, Gustav; Performance; Performance history; Rotational form; Sonata form; Strophic form; Walter, Bruno This essay is an expanded version of a paper presented at the symposiumGustav Mahler im Dialog, held at the Gustav Mahler Musikwochen in Toblach/Dobbiaco on July 18, 2017. The research was developed as part of the research project Performing, Experiencing and Theorizing Augmented Listening [PETAL]. Interpretation and Analysis of Macroform in Cyclic Musical Works (Austrian Science Fund (FWF): P 30058-G26; 2017–2020). I am grateful for advice received from Federico Celestini, Peter Revers, Thomas Glaser, and Laurence Willis. Files for download: Tables and Diagrams, Video examples 1-2, Video examples 3-4, Video examples 5-8, Video examples 9-10 Best Paper Award 2017 Abstract The challenge of reconstructing Gustav Mahlerʼs aesthetics and style of performance, which incorporated expressive and structuralist principles, as well as problematic implications of a post- Mahlerian structuralist performance style (most prominently developed by the Schoenberg School) are taken in this article as the background for a discussion of the performance history of Mahlerʼs Lied von der Erde with the aim of probing the model of “performance as analysis in real time” (Robert Hill).
    [Show full text]
  • STRAUSS Also Sprach Zarathustra. Ein Heldenleben • Vasily Petrenko
    STRAUSS Also sprach Zarathustra. Ein Heldenleben • Vasily Petrenko, cond; Oslo PO • LAWO 1166 (Streaming audio: 79:57) https://app.napster.com/artist/vasily-petrenko/album/richard-strauss-also- sprach-zarathustra-op-30-ein-helden Collectors of Richard Strauss’s tone poems can afford to be finicky, or even to turn their backs on upstart new recordings when we have Fritz Reiner, Rudolf Kempe, and Herbert von Karajan as enduring pillars of the Strauss discography—anytime I return to Reiner’s 1961 Don Juan with the Chicago Symphony, I feel that no greater recording is imaginable. But the call of these orchestral thrill rides never ceases, and in recent years desirable recordings have emerged from Christian Thielemann, Vladimir Jurowski, Manfred Honeck, and François-Xavier Roth. To them can now be added this superb new release from Vasily Petrenko and the Oslo Philharmonic. It’s something of a cheeky release, too, because the pairing of Also sprach Zarathustra and Ein Heldenleben mimics the very first recording, from 1954, that Reiner made in Chicago after assuming leadership of the CSO. The two Living Stereo LPs became a landmark in the postwar hi-fi era, achieving tremendous sales. Although Reiner’s remake of Zarathustra in 1962 is considered superior among collectors, no one would be without the 1954 version. You don’t have to feel guilty about betraying old allegiances, however, to appreciate the vibrancy and imagination that Petrenko brings to these two scores. It’s good news that this CD is the initial installment in a Strauss series from him and the Oslo orchestra.
    [Show full text]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • Richard Strauss
    Richard Strauss Meister der Inszenierung Bearbeitet von Daniel Ender 1. Auflage 2014. Buch. 349 S. Hardcover ISBN 978 3 205 79550 6 Format (B x L): 13,5 x 21 cm Weitere Fachgebiete > Musik, Darstellende Künste, Film > Musikwissenschaft Allgemein > Einzelne Komponisten und Musiker Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Daniel Ender Richard Strauss Meister der Inszenierung BÖHLAU VERLAG WIEN · KÖLN · WEIMAR Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Umschlagabbildung: Richard Strauss, 1929 (© ullstein bild – Laszlo Willinger) © 2014 by Böhlau Verlag Ges.m.b.H & Co. KG, Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Umschlaggestaltung: Michael Haderer, Wien Layout: Bettina Waringer, Wien Korrektorat: Katharina Krones, Wien Druck und Bindung: CPI Moravia Gedruckt auf chlor- und säurefreiem Papier ISBN 978-3-205-79550-6 Inhalt Ein öffentliches Leben. Zur Einleitung Ein Kind seiner Zeit . 9 Die inszenierte Biographie . 18 Selbst- und Fremdbilder . 23 1. Vom Epigonen zum Genie „Ein sogenannter Charakter“. Umwelt und Familie. 33 „Nicht von hervorstechender Originalität“. Der Weg in die Öffentlichkeit . .42 „Zum Zukunftsmusiker gestempelt“.
    [Show full text]
  • A Mythic Heroine in <I> Der Rosenkavalier </I>
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 11 | Issue 1 Article 3 A Mythic Heroine in Der Rosenkavalier Bridget Ramzy Wilfrid Laurier University Recommended Citation Ramzy, Bridget (2018) "A Mythic Heroine in Der Rosenkavalier ," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 11: Iss. 1, Article 3. A Mythic Heroine in Der Rosenkavalier Abstract This paper explores the Allomatische—Strauss and Hofmannsthal's concept of transformation by means of taking risk—through its application to Der Rosenkavalier's Marie-Therese (the Marschallin). The Allomatische’s very apparent presence throughout Strauss and Hofmannsthal’s collaborations in their “mythic” operas, urges its examination in Der Rosenkavlier. This paper explores the Marschallin's risk in context of gender, arguing that her self-acceptance as an ageing woman is an exceedingly brave act, that in-turn transforms her. In this paper, a character study of the Marschallin in Act I before the transformation, and after in Act III is presented and corroborated by interspersed musical examples. A comparison with other characters, both male and female, further establishes the gendered context of the Marschallin's risk. In conclusion, the Marschallin's brave risk of self-acceptance as an aging woman transforms her, and places her in the pantheon of Strauss and Hofmannsthal's mythic heroines. Keywords opera, gender, Der Rosenkavalier, the Marschallin, Richard Strauss A Mythic Heroine A Mythic Heroine in Der Rosenkavalier Bridget Ramzy Year II – Wilfrid Laurier University Richard Strauss and Hugo von Hofmannsthal were fascinated with the theme of transformation. Two of Strauss's tone poems, Tod und Verklärung and Eine Alpensinphonie, deal with the subject, and it is central in many of Strauss and Hofmannsthal’s collaborative works.1 Hofmannsthal wrote, “Transformation is the life of life itself, the real mystery of nature as creative force.
    [Show full text]
  • Don Quijote Von Miguel De Cer­ Vantes Seit Nunmehr Vier Jahrhunderten Generationen Von Lesern Immer Wieder Neu in Seinen Bann
    DON_Schutzumschlag_Grafik_rechts.FH11 Wed May 30 13:04:18 2007 Seite 1 C M Y CM MY CY CMY K Wie kein zweiter Roman zieht der Don Quijote von Miguel de Cer­ vantes seit nunmehr vier Jahrhunderten Generationen von Lesern immer wieder neu in seinen Bann. Abgefasst im Spanien des frühen 17. Jahrhunderts, das zu jener Zeit die Geschicke Europas wesentlich mitbestimmte, wurde der Roman bald zum Inbegriff der spanischen Literatur und Kultur. Von Madrid aus hat er auf den Rest Europas ausgestrahlt und Denker, Dichter, Künstler, Komponisten und später Tilmann Altenberg auch Filmemacher zur Auseinandersetzung mit ihm angeregt. Klaus Meyer-Minnemann (Hg.) Die acht Beiträge des Bandes erkunden zentrale Aspekte des cervantinischen Romans und gehen seiner Rezeption und Verar- beitung in Literatur, Kunst, Film und Musik im europäischen Kontext nach. Europäische Dimensionen des Inhalt: · Klaus Meyer-Minnemann: Zur Entstehung, Konzeption und Wir- Film und Musik Kunst, in Literatur, Don Quijote in Literatur, Kunst, kung des Don Quijote in der europäischen Literatur · Hans-Jörg Neuschäfer: Boccaccio, Cervantes und der utopische Possibilismus Film und Musik · Katharina Niemeyer: Der Furz des Sancho Panza oder Don Quijote als komischer Roman Don Quijote · Dieter Ingenschay: Don Quijote in der spanischen und deutschen Literaturwissenschaft · Johannes Hartau: Don Quijote als Thema der bildenden Kunst · Tilmann Altenberg: Don Quijote im Film · Bárbara P. Esquival-Heinemann: Don Quijote in der deutschsprachi- gen Oper · Begoña Lolo: Musikalische Räume des Don
    [Show full text]
  • OTHER WORLDS 2019/20 Concert Season at Southbank Centre’S Royal Festival Hall Highlights 2019/20
    OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall Highlights 2019/20 November Acclaimed soprano Diana Damrau is renowned for her interpretations of the music of Richard Strauss, and this November she sings a selection of her favourite Strauss songs. Page 12 September October Principal Conductor and Mark Elder conducts Artistic Advisor Vladimir Elgar’s oratorio Jurowski is joined by The Apostles, arguably Julia Fischer to launch his greatest creative the second part of Isle achievement, which of Noises with Britten’s will be brought to life elegiac Violin Concerto on this occasion with alongside Tchaikovsky’s a stellar cast of soloists Sixth Symphony. and vast choral forces. Page 03 Page 07 December Legendary British pianist Peter Donohoe plays his compatriot John Foulds’s rarely performed Dynamic Triptych – a unique jazz-filled, exotic masterpiece Page 13 February March January Vladimir Jurowski leads We welcome back violinist After winning rave reviews the first concert in our Anne-Sophie Mutter for at its premiere in 2017, 2020 Vision festival, two exceptional concerts we offer another chance presenting the music in which she performs to experience Sukanya, of three remarkable Beethoven’s groundbreaking Ravi Shankar’s works composed Triple Concerto and extraordinary operatic three centuries apart, a selection of chamber fusion of western and by Beethoven, Scriabin works alongside LPO traditional Indian styles. and Eötvös. Principal musicians. A love story brought to Page 19 Pages 26–27 life through myth, music
    [Show full text]
  • 1 the Alps, Richard Strauss's Alpine Symphony and Environmentalism
    Note: This is an expanded version of an article appearing in the journal Green Letters (2011); it is intended for a literary rather than musical readership, and the punctuation and spellings are British. The Alps, Richard Strauss’s Alpine Symphony and Environmentalism By Brooks Toliver Introduction After love and death, nature may well be European music’s preferred theme; it figures significantly in troubadour cansos, pastoral madrigals and operas, tone poems, impressionistic preludes, and elsewhere. In light of this it is puzzling how seldom actual nature is invoked in musical discourse. Composers—Richard Strauss among them—have been known to seek out nature in the manner of landscape painters, but there is no similar tradition among the critics, who ground nature-music and their judgments of it not in nature but in other music and criticism. When confronted with the vivid imagery of Strauss’s Alpine Symphony (1915), contemporaries wrote primarily of the aesthetics of vivid imagery, relegating the images themselves to the level of anecdote. Musicologists are quite adept at exploring the relationship of works to cultural constructions of nature, but relatively few have brought real environments into the discussion of canonical music. There has as yet been no serious consideration of how the Alps might be critical to an appreciation of the Alpine Symphony, nor has anyone theorized what the consequences of the Alpine Symphony might be for the Alps. Surely it is worth asking whether it metaphorically embodies sustaining or destructive relationships to the environment it represents, if it respects or disrespects nonhuman nature, and if love of nature is contingent on a symbolic domination of it, to name just three questions.
    [Show full text]