Multivalent Form in Gustav Mahlerʼs Lied Von Der Erde from the Perspective of Its Performance History
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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
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. -
Recordings of Mahler Symphony No. 4
Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel). -
Rezensionen Für
Rezensionen für Gustav Mahler: Das Lied von der Erde aud 95.491 4022143954916 Badische Zeitung 18.11.2003 (Heinz W. Koch - 2003.11.18) ... Wie spezifisch, ja wie radikal sich Gielens Mahler ausnimmt, erhellt schlagartig, wenn man Rafael Kubeliks dreieinhalb Jahrzehnte alte und vor einer Weile wiederveröffentlichte Einspielung dagegenhält. Eine gehörige Überraschung gab’s schon einmal – als nämlich die nie veröffentlichten Münchner Funk-„Meistersinger“ von 1967 plötzlich zu haben waren. Jetzt ist es Gustav Mahlers drei Jahre später eingespieltes „Lied von der Erde“, das erstmals über die Ladentische geht. Es gehört zu einer Mahler Gesamtaufnahme, die offenbar vor der rühmlich bekannten bei der Deutschen Grammophon entstand. Zumindest bei den hier behandelten Sinfonien Nr. 3 und Nr. 6 war das der Fall. Beim „Lied von der Erde“ offeriert das Symphonie-Orchester des Bayerischen Rundfunks, dessen Chef Kubelik damals war, ein erstaunlich präsentes, erstaunlich aufgesplittertes Klangbild, das sowohl das Idyllisch-Graziöse hervorkehrt wie das Schwerblütig-Ausdrucksgesättigte mit großem liedsinfonischem Atem erfüllt – eine erstrangige Wiedergabe. Auch die beiden 1967/68 erarbeiteten Sinfonien erweisen sich als bestechend durchhörbar. Vielleicht geht Kubelik eine Spur naiver vor als die beim Sezieren der Partitur schärfer verfahrenden Dirigenten wie Gielen, bricht sich, wo es geht, das ererbte böhmische Musikantentum zumindest für Momente Bahn. Da staunt einer eher vor Mahler, als dass er ihn zu zerlegen sucht. Wenn es eine Verwandtschaft gibt, dann ist es die zu Bernstein. Das Triumphale der „Dritten“, das Nostalgische an ihr wird nicht als Artefakt betrachtet, sondern „wie es ist“: Emotion zur Analyse. ... (aus einer Besprechung mit den Mahler-Interpretationen Michael Gielens) CD Compact n°169 (octobre 2003) (Benjamín Fontvelia - 2003.10.01) Rafael Kubelik/Audite Rafael Kubelik/Audite Full review text restrained for copyright reasons. -
The Ethics of Orchestral Conducting
Theory of Conducting – Chapter 1 The Ethics of Orchestral Conducting In a changing culture and a society that adopts and discards values (or anti-values) with a speed similar to that of fashion as related to dressing or speech, each profession must find out the roots and principles that provide an unchanging point of reference, those principles to which we are obliged to go back again and again in order to maintain an adequate direction and, by carrying them out, allow oneself to be fulfilled. Orchestral Conducting is not an exception. For that reason, some ideas arise once and again all along this work. Since their immutability guarantees their continuance. It is known that Music, as an art of performance, causally interlinks three persons: first and closely interlocked: the composer and the performer; then, eventually, the listener. The composer and his piece of work require the performer and make him come into existence. When the performer plays the piece, that is to say when he makes it real, perceptive existence is granted and offers it to the comprehension and even gives the listener the possibility of enjoying it. The composer needs the performer so that, by executing the piece, his work means something for the listener. Therefore, the performer has no self-existence but he is performer due to the previous existence of the piece and the composer, to whom he owes to be a performer. There exist a communication process between the composer and the performer that, as all those processes involves a sender, a message and a receiver. -
Mariss Jansons Symphonieorchester Des Bayerischen Rundfunks ANTON BRUCKNER 1824–1896 Symphonie Nr
BRUCKNER SYMPHONIE NR. 3 Mariss Jansons Symphonieorchester des Bayerischen Rundfunks ANTON BRUCKNER 1824–1896 Symphonie Nr. 3 d-Moll, WAB 103 (3. Fassung von 1889) 01 Mehr langsam, misterioso 22:06 02 Adagio, bewegt, quasi Andante 13:51 03 Ziemlich schnell – Trio 7:13 04 Allegro 13:09 Total time: 56:19 Symphonieorchester des Bayerischen Rundfunks Mariss Jansons Dirigent / conductor Live-Aufnahme / live recording: München, Philharmonie im Gasteig, 20./21.01.2005 Tonmeister / Recording Producer: Wilhelm Meister Toningenieur / Recording Engineer: Klemens Kamp Schnitt / Editing: Elisabeth Panzer, Susanne Wocker Remastering: Marie-Josefin Melchior Mastering Engineer: Christoph Stickel Verlag / Publisher: Musikwissenschaftlicher Verlag Wien, vertreten durch Alkor-Edition Kassel Photos: C Peter Meisel Design / Artwork: [ec:ko] communications Editorial: Thomas Becker · Lektorat: Dr. Vera Baur Eine CD-Produktion der BRmedia Service GmbH. P 2005 C 2019 BRmedia Service GmbH MARISS JANSONS SYMPHONIEORCHESTER _ DES BAYERISCHEN RUNDFUNKS Mariss Jansons wurde 1943 in Riga als Sohn des Dirigenten Arvıds Jansons geboren. Er studierte am Leningrader Konservatorium die Fächer Violine, Klavier Schon bald nach seiner Gründung 1949 entwickelte sich das Symphonieorchester und Dirigieren und vervollständigte seine Ausbildung bei Hans Swarowsky in Wien des Bayerischen Rundfunks zu einem international renommierten Orchester. und Herbert von Karajan in Salzburg. 1971 wurde er Preisträger beim Karajan- Besonders die Pflege der Neuen Musik hat eine lange Tradition, so gehören die Wettbewerb in Berlin und begann seine enge Zusammenarbeit mit den heutigen Auftritte im Rahmen der 1945 von Karl Amadeus Hartmann gegründeten musica St. Petersburger Philharmonikern, zunächst als Assistent von Jewgenij Mrawinskij, viva von Beginn an zu den zentralen Aufgaben des Orchesters. -
PROGRAM NOTES by Phillip Huscher
PROGRAM NOTES by Phillip Huscher Gustav Mahler Born July 7, 1860, Kalischt, Bohemia. Died May 18, 1911, Vienna, Austria. Symphony No. 9 in D Major Mahler began his ninth symphony in the spring of 1909 and on April 1, 1910, he told the conductor Bruno Walter that the score was complete. Walter conducted the first performance with the Vienna Philharmonic on June 26, 1912. The score calls for four flute s and piccolo, four oboes and english horn, three clarinets, E-flat clarinet and bass clarinet, four bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, cymbals, bass drum, tam -tam, triangle, glockenspiel, chimes, two harps, and strings. Performance time is approximately eighty -one minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mahler’s Ninth Symphony were given at Orchestra Hall on April 6 and 7, 1950, with George Szell conductin g. Our most recent subscription concert performances were given on November 30, December 1, 2, and 5, 1995, with Pierre Boulez conducting. The Orchestra first performed this symphony at the Ravinia Festival on August 11, 1979, with Lawrence Foster conducti ng, and most recently on June 28, 1991, with James Levine conducting. Because this symphony is Mahler’s last completed work, and because he died tragically of heart disease at the age of fifty shortly after finishing it, leaving behind his beautiful wife Alma and young daughter Anna, it’s often considered both his farewell and his most deeply personal score. Bruno Walter, who conducted the premiere thirteen months after Mahler’s death, said that he recognized the composer’s own gait in the limping rhythm o f the march at the climax of the first movement. -
Voyager's Gold Record
Voyager's Gold Record https://en.wikipedia.org/wiki/Voyager_Golden_Record #14 score, next page. YouTube (Perlman): https://www.youtube.com/watch?v=aVzIfSsskM0 Each Voyager space probe carries a gold-plated audio-visual disc in the event that the spacecraft is ever found by intelligent life forms from other planetary systems.[83] The disc carries photos of the Earth and its lifeforms, a range of scientific information, spoken greetings from people such as the Secretary- General of the United Nations and the President of the United States and a medley, "Sounds of Earth," that includes the sounds of whales, a baby crying, waves breaking on a shore, and a collection of music, including works by Mozart, Blind Willie Johnson, Chuck Berry, and Valya Balkanska. Other Eastern and Western classics are included, as well as various performances of indigenous music from around the world. The record also contains greetings in 55 different languages.[84] Track listing The track listing is as it appears on the 2017 reissue by ozmarecords. No. Title Length "Greeting from Kurt Waldheim, Secretary-General of the United Nations" (by Various 1. 0:44 Artists) 2. "Greetings in 55 Languages" (by Various Artists) 3:46 3. "United Nations Greetings/Whale Songs" (by Various Artists) 4:04 4. "The Sounds of Earth" (by Various Artists) 12:19 "Brandenburg Concerto No. 2 in F Major, BWV 1047: I. Allegro (Johann Sebastian 5. 4:44 Bach)" (by Munich Bach Orchestra/Karl Richter) "Ketawang: Puspåwårnå (Kinds of Flowers)" (by Pura Paku Alaman Palace 6. 4:47 Orchestra/K.R.T. Wasitodipuro) 7. -
Josef Suk's Asrael Re-Envisioned Via Schoenberg
A STUDY IN CLARITY: JOSEF SUK’S ASRAEL RE-ENVISIONED VIA SCHOENBERG Volume I of II IVAN ARION KARST School of Arts and Media College of Arts and Social Sciences University of Salford, Salford, UK Submitted in Fulfilment of the Requirements of the Degree of Doctor of Philosophy, October 2020 i Contents Table of Figures ........................................................................................................................... 4 Acknowledgements..................................................................................................................... 7 Abstract: ‘A Study in Clarity: Suk Re-envisioned via Schoenberg’ ................................................. 8 Chapter 1: Introduction ............................................................................................................... 1 Thesis Methodology ................................................................................................................. 1 A Study in Clarity: Literature Review ......................................................................................... 4 Chapter 2: Historical Context .................................................................................................... 10 Schoenberg: Transcription and the Verein .............................................................................. 10 Chapter 3: Analysis.................................................................................................................... 12 Transcription Techniques of the Verein ................................................................................. -
Pdf 139.3 Kb
Dresdner Philharmonie The Dresden Philharmonic can look back on 150 years of history as the orchestra of Saxony’s capital Dresden. When the so-called “Gewerbehaussaal” opened on 29 November 1870, the citizens of the city were given the opportunity to organise major orchestra concerts. Philharmonic concerts were held regularly starting in 1885; the orchestra adopted its present name in 1923. In its first decades, composers such as Brahms, Tchaikovsky, Dvořák and Strauss conducted the Dresdner Philharmonie with their own works. The first desks were presided over by outstanding concertmasters such as Stefan Frenkel, Simon Goldberg and the cellists Stefan Auber and Enrico Mainardi. From 1934, Carl Schuricht and Paul van Kempen led the orchestra; van Kempen in particular guided the Dresden Philharmonic to top achievements. All of Bruckner’s symphonies were first performed in their original versions, which earned the orchestra the reputation of a “Bruckner orchestra” and brought renowned guest conductors such as Hermann Abendroth, Eduard van Beinum, Fritz Busch, Eugen Jochum, Joseph Keilbert, Erich Kleiber, Hans Knappertsbusch and Franz Konwitschny to the rostrum. After 1945 and into the 1990s, Heinz Bongartz, Horst Förster, Kurt Masur (from 1994 also honorary conductor), Günther Herbig, Herbert Kegel, Jörg-Peter Weigle and Michel Plasson were the principal conductors. In recent years, conductors such as Marek Janowski, Rafael Frühbeck de Burgos and Michael Sanderling have shaped the orchestra. As of season 2019/2020, Marek Janowski has returned to the Dresden Philharmonic as principal conductor and artistic director. Its home is the highly modern concert hall inaugurated in April 2017 in the Kulturpalast building in the heart of the historic old town. -
Mahler's Song of the Earth
SEASON 2020-2021 Mahler’s Song of the Earth May 27, 2021 Jessica GriffinJessica SEASON 2020-2021 The Philadelphia Orchestra Thursday, May 27, at 8:00 On the Digital Stage Yannick Nézet-Séguin Conductor Michelle DeYoung Mezzo-soprano Russell Thomas Tenor Mahler/arr. Schoenberg and Riehn Das Lied von der Erde I. Das Trinklied von Jammer der Erde II. Der Einsame im Herbst III. Von der Jugend IV. Von der Schönheit V. Der Trunkene im Frühling VI. Der Abschied First Philadelphia Orchestra performance of this version This program runs approximately 1 hour and will be performed without an intermission. This concert is part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. Our World Lead support for the Digital Stage is provided by: Claudia and Richard Balderston Elaine W. Camarda and A. Morris Williams, Jr. The CHG Charitable Trust Innisfree Foundation Gretchen and M. Roy Jackson Neal W. Krouse John H. McFadden and Lisa D. Kabnick The Andrew W. Mellon Foundation Leslie A. Miller and Richard B. Worley Ralph W. Muller and Beth B. Johnston Neubauer Family Foundation William Penn Foundation Peter and Mari Shaw Dr. and Mrs. Joseph B. Townsend Waterman Trust Constance and Sankey Williams Wyncote Foundation SEASON 2020-2021 The Philadelphia Orchestra Yannick Nézet-Séguin Music Director Walter and Leonore Annenberg Chair Nathalie Stutzmann Principal Guest Conductor Designate Gabriela Lena Frank Composer-in-Residence Erina Yashima Assistant Conductor Lina Gonzalez-Granados Conducting Fellow Frederick R. -
Carl Schuricht Collection II Radio-Sinfonieorchester Stuttgart Historical Recordings 1951 – 1966 02 CD 1 CD 3 CD 5 CD 7 03
Carl SChuriCht ColleCtion II Radio-Sinfonieorchester Stuttgart Historical Recordings 1951 – 1966 02 CD 1 CD 3 CD 5 CD 7 03 LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN JOHANNES BRAHms CARL MARIA V. WEBER (1786 – 1826) 1 (1770–1827) Sinfonie Nr. 6 F-Dur op. 68 Sinfonie Nr. 4 e-Moll op. 98 [43:46] Ouvertüre zur Oper Euryanthe [08:46] 1 2 Sinfonie Nr. 1 C-Dur op. 21 [23:29] (Pastorale) [37:29] I Allegro non troppo [13:32] Ouvertüre zur Oper Oberon [09:32] 1 I Adagio molto – Allegro con brio [08:24] 1 I Erwachen heiterer Gefühle 2 II Andante moderato [12:20] Deutsch 2 II Satz: Andante cantabile con moto [05:40] bei der Ankunft auf dem Lande. 3 III Allegro giocoso [06:47] HUGO WOLF (1860 – 1903) 3 III Satz: Menuetto. Allegro ma non troppo [09:27] 4 IV Allegro energico e passionato [11:07] 3 Italienische Serenade G-Dur Allegro molto e vivace [03:28] 2 II Szene am Bach. für kleines Orchester [07:17] 4 IV Finale. Andante molto mosso [12:50] JOHANNES BRAHms Adagio – Allegro molto e vivace [05:57] 3 III Lustiges Zusammensein der 5 Rhapsodie für Alt, Männerchor PETER TsCHAIKOWSKY (1840 – 1893) Landleute. Allegro. attacca [03:07] und Orchester op. 53 [12:16] 4 Hamlet. Fantasie-Ouvertüre LUDWIG VAN BEETHOVEN 4 IV Gewitter, Sturm. Allegro. attacca [03:36] für Orchester op. 67 [19:05] Sinfonie Nr. 3 Es-Dur op. 55 (Eroica) [45:56] 5 V Hirtengesang. JOHANNES BRAHms 5 I Allegro con brio [13:57] Frohe und dankbare Gefühle nach 6 Tragische Ouvertüre d-Moll op.