SW LA Begegnung Strauss and Others

Total Page：16

File Type：pdf, Size：1020Kb

Sarah Wegener, soprano Götz Payer, piano Begegnung… Wegener explores the depths of the soul and lets her marvellously radiant voice, as powerful as it is rich in colour, and calm, perfectly balanced vibrato glide over the water conjured up by pianist Götz Payer, which at times delicately sparkles, at others swells powerfully like waves. FAZ 2017 – zur CD „Into the deepest sea“, CAvi 8553374 Following their first recording „Into the deepest sea“ Sarah Wegener and Götz Payer are in the studio again for their next Lied CD in cooperation with SWR and CAvi. Praised as a specialist for Strauss, especially for her concerts with the London Philharmonic Orchestra under Vladimir Jurowski as well as the Bavarian Radio Symphony Orchestra under Mariss Jansons in 2019, it was only logical to focus on a Strauss programme this time, to be released in summer 2021. CD Programme Cäcilie Breit’ über mein Haupt Ständchen Leises Lied Traum durch die Dämmerung Ruhe, meine Seele Glückes genug Zueignung Das Rosenband Befreit Die erwachte Rose Die Georgine Heimliche Aufforderung Allerseelen Begegnung Freundliche Vision Die Verschwiegenen Die Nacht Gefunden Waldseligkeit Winterweihe Morgen Rote Rosen Song Recital A selection of Strauss songs can be amended and combined with songs by e.g. Schubert, Schumann, Korngold, Reger, A. Mahler, Marx, Zemlinsky, R. Quilter and others. We will be happy to send individually tailored proposals upon request. Wegener [proved that she is a very a fine ] Straussian, with a warm tone, and a telling yet understated way with words, which enabled her to suggest both the cool sensuality of "Freundliche Vision", and the vulnerability of "Allerseelen". […] She did wonderful things with "Morgen!", where her voice hovered in dreamy contemplation over the unfolding violin melody The Guardian, November 219 Sarah Wegener interpreted the six Strauss songs so beautifully and effortlessly that even following the encore the audience would hardly let her leave the stage. With a warm timbre and round tone, she achieves a soaring yet nimble expressiveness. Süddeutsche Zeitung, Oktober 2019 https://www.br-so.de/video/mariss-jansons-sarah-wegener/ ©Paul Gärtner Subject to change! Contact Kerstin Alt – [email protected] – +49 (0)30 214 594 -235 Clara Rempe – [email protected] – +49 (0)30 214 594 -233 www.karstenwitt.com .

Copy Link

Recommended publications

MUSIK – Nicht Nur Von RICHARD STRAUSS
MUSIK – nicht nur von RICHARD STRAUSS ____________________ KATALOG NR. 471 Inhaltsverzeichnis Nr. 1-462 Noten Nr. 463-480 Karl Böhm Nr. 481-740 Bücher Nr. 741-882 Sammelstücke MUSIKANTIQUARIAT HANS SCHNEIDER D 82327 TUTZING Es gelten die gesetzlichen Regelungen der Bundesrepublik Deutschland. Alle Angebote sind freibleibend. Preise einschließlich Mehrwertsteuer in Euro (€). Meine Rechnungen sind nach Erhalt ohne Abzug zahlbar. Falls Zahlungen nicht in Euro lauten, bitte ich, die Bankspesen in Höhe von € 10.– dem Rechnungsbetrag hinzuzufügen. Versandkosten zu Lasten des Empfängers. Begründete Reklamationen bitte ich innerhalb von 8 Tagen nach Empfang der Ware geltend zu machen. (Keine Ersatzleistungspflicht). Gerichtsstand und Erfüllungsort für beide Teile Sitz der Lieferfirma. Eigentumsvorbehalt gemäß § 455 BGB. Die angebotenen Werke befinden sich in gutem Erhaltungszustand, soweit nicht anders vermerkt. Unwesentliche Mängel (z. B. Namenseintrag) sind nicht immer angezeigt, sondern durch Preisherabsetzung berücksichtigt. Über bereits verkaufte, nicht mehr lieferbare Titel erfolgt keine separate Benachrichtigung. Mit der Aufgabe einer Bestellung werden meine Lieferbedingungen anerkannt. Format der Bücher, soweit nicht anders angegeben, 8°, das der Noten fol., Einband, falls nicht vermerkt, kartoniert oder broschiert. ABKÜRZUNGEN: S. = Seiten Pp. = Pappband Bl. (Bll.) = Blatt Kart. = Kartoniert Aufl. = Auflage Brosch. = Broschiert Bd. (Bde.) = Band (Bände) d. Zt. = der Zeit Diss. = Dissertation besch. = beschädigt PN = Platten-Nummer verm. = vermehrt VN = Verlags-Nummer hg. = herausgegeben Abb. = Abbildung bearb. = bearbeitet Taf. = Tafel Lpz. = Leipzig Ungeb. = Ungebunden Mchn. = München o. U. = ohne Umschlag Stgt. = Stuttgart O = Originaleinband Bln. = Berlin des Verlegers Ffm. = Frankfurt/Main Pgt. (Hpgt.) = (Halb-)Pergament o. O. = ohne Verlagsort Ldr. (Hldr.) = (Halb-)Leder o. V. = ohne Verlagsangabe Ln. (Hln.) = (Halb-)Leinen BD = Bibliotheksdublette Köchel6 = Köchel 6.
[Show full text]
The Lieder of Richard Strauss
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1969 The Lieder of Richard Strauss Gary Dwight Welch Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Musicology Commons Recommended Citation Welch, Gary Dwight, "The Lieder of Richard Strauss" (1969). All Master's Theses. 1244. https://digitalcommons.cwu.edu/etd/1244 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. THE LIEDER OF RICHARD STRAUSS A Covering Paper Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Arts by Gary Dwight Welch July, 1969 ~iltu!G•ll N\ '3mqswua ~00}1103 ~·is U0\1tUNRM J'li108J AJVJ<{n ~ 1111~s ,S" h (YJ I~ '/~~S' 01 APPROVED FOR THE GRADUATE FACULTY ________________________________ John DeMerchant, COMMITTEE CHAIRMAN _________________________________ Wayne S. Hertz _________________________________ Joseph S. Haruda CENTRAL WASHINGTON STATE COLLEGE DEPARTMENT OF MUSIC presents in GARY D. WELCH, Baritone VIVIENNE ROWLEY JOHN DeMERCHANT, pianists PROGRAM Ru ggiero Leoncavallo ........ .... " Prologue" to Pagliacci II Richard Strauss Allerseelen Traum durch die Dammerung Stiindchen Die Nacht Cacilie INTERMISSION Ill Nicholas Flagella ............. .. ...... ........ .............. .. ........ ... ..... .. .The Land The Eagle The Owl The Snowdrop The Throstle Flower in the Cranny IV Giuseppe Verdi ..... .... ... ......... ...... .. .................. ... ... E'Sogno? f rom Falstaff Sidney Homer.. ... ...... ................. ..... .... ....... ... .. .. ........ .. .The Pauper's Drive Jean Sibelius ... ........ .... ..... .. ................. ..... ... ....... .. .......... Come Away Death Howard Hanson ..... .. .. .. .... .. .aOh , 'Tis n Earth Defiled from Merry Mount Myron Jacobson .
[Show full text]
SCMS Repertoire List Through 2021 Winter Festival
SEATTLE CHAMBER MUSIC SOCIETY REPERTOIRE LIST, 1982–2021 “FORTY YEARS OF BEAUTIFUL MUSIC” James Ehnes, Artistic Director Toby Saks (1942-2013), Founder Adams, John China Gates for Piano (2013) Arensky, Anton Hallelujah Junction for Two Pianos (2012, 2017W) Piano Quintet in D major, Op. 51 (1997, 2003, 2011W) Road Movies for Violin and Piano (2013) Piano Trio in D minor, Op. 32 (1984, 1990, 1992, 1994, 2001, 2007, 2010O, 2016W) Aho, Kalevi Piano Trio in F minor, Op. 73 (2001W, 2009) ER-OS (2018) Quartet for Violin, Viola and Two Celli in A minor, Op. 35 (1989, 1995, 2008, 2011) Albéniz, Isaac Six Piéces for Piano, Op. 53 (2013) Iberia (3 selections from) (2003) Iberia “Evocation” (2015) Arlen, Harold Wizard of Oz Fantasy (arr. William Hirtz) (2002) Alexandrov, Kristian Prayer for Trumpet and Piano (2013) Arnold, Malcolm Sonatina for Oboe and Piano, Op. 28 (2004) Applebaum "Landscape of Dreams" (1990) Babajanian, Arno Piano Trio in F sharp minor (2015) Andres, Bernard Narthex for Flute and Harp (2000W) Bach, Johann Sebastian “Aus liebe will mein Heiland sterben” from St. Matthew Passion BWV 244 Anderson, David (for flute, arr. Bennett) (2019) Capriccio No. 2 for Solo Double Bass (2006) Brandenburg Concerto No 3 in G major, BWV 1048 (2011) Four Short Pieces for Double Bass (2006) Brandenburg Concertos (Complete) BWV 1046-1051 (2013W) Capriccio “On the Departure of a Beloved Brother” in B flat major, BWV 992 Anderson, Jordan (2006) Drafts for Double Bass and Piano (2006) Chaconne, from Partita for Violin in D minor, BWV 1004 (1994, 2001, 2002) Choral Preludes for Organ (Piano) (Selections) (1998) Anonymous (arr.
[Show full text]
47Th SEASON PROGRAM NOTES Week 2 July 21–27, 2019
th SEASON PROGRAM NOTES 47 Week 2 July 21–27, 2019 Sunday, July 21, 6 p.m. The marking for the first movement is of study at the University of California, San Monday, July 22, 6 p.m. unusual: Allegramente is an indication Diego, in the mid-1980s that brought a new more of character than of speed. (It means and important addition to his compositional ZOLTÁN KODÁLY (1882–1967) “brightly, gaily.”) The movement opens palette: computers. Serenade for Two Violins & Viola, Op. 12 immediately with the first theme—a sizzling While studying with Roger Reynolds, Vinko (1919–20) duet for the violins—followed by a second Globokar, and Joji Yuasa, Wallin became subject in the viola that appears to be the interested in mathematical and scientific This Serenade is for the extremely unusual song of the suitor. These two ideas are perspectives. He also gained further exposure combination of two violins and a viola, and then treated in fairly strict sonata form. to the works of Xenakis, Stockhausen, and Kodály may well have had in mind Dvorˇ ák’s The second movement offers a series of Berio. The first product of this new creative Terzetto, Op. 74—the one established work dialogues between the lovers. The viola mix was his Timpani Concerto, composed for these forces. Kodály appears to have been opens with the plaintive song of the man, between 1986 and 1988. attracted to this combination: in addition and this theme is reminiscent of Bartók’s Wallin wrote Stonewave in 1990, on to the Serenade, he wrote a trio in E-flat parlando style, which mimics the patterns commission from the Flanders Festival, major for two violins and viola when he was of spoken language.
[Show full text]
6 X 10.Long.P65
Cambridge University Press 978-0-521-02774-8 - Richard Strauss: Man, Musician, Enigma Michael Kennedy Index More information index Aagard-Oestvig, Karl, 196, 212 Annunzio, Gabriele d’, 175, 187 Abendroth, Walther, 290–1 Arnim, Achim von, 103, 202 Adam, Adolphe, 105 Artôt de Padilla, Lola, 193 Adler, Guido, 295 Aschenbrenner, Carl, 19, 27 Adler, Hans, 374 Asow, Dr Erich Müller von, 18, 347 Adolph, Dr Paul, 262, 285, 298, 299 Astruc, Gabriel, 144 Adorno, Theodor, on R.S., 224 Auber, Daniel, 16–17, 32, 48, 130, 316, 366 Ahlgrimm, Isolde, 353 Audibert, Comte d’, 368 Ahna, Major General Adolf de (father-in- law), 58, 81–3 Bach, Johann Sebastian, 4, 128, 395; Well- Ahna, Mädi de (sister-in-law), 81–2 Tempered Clavier, 15 Ahna, Maria de (mother-in-law), 58 Baden-Baden, 28 Ahna, Pauline de. See Strauss, Pauline Bahr, Hermann, 96, 199, 231, 341; works Aibl, Joseph, 34, 109 on R.S. libretto, 196 Albert, Eugen d’, 32, 56 Bakst, Léon, 186 Albert, Hermann, 328 Bantock, Sir Granville, 284 Allen, Sir Hugh, 312 Bärmann, Carl, 20 Allgemeiner Deutscher Musikverein, 73, Barrymore, Lionel, invites R.S. to 108, 153, 306 Hollywood, 372–3 Allgemeine Musikzeitung, 33, 62, 290 Basile, Armando, 381 Altenberg, Peter (Richard Englander), 148 Bayreuth, 8, 26, 47, 54, 55, 57, 60, 61, 68, Alvary, Max, 68 83, 85, 86, 143, 281, 287; R.S. ﬁrst Alwin, Carl, 94, 212, 222, 224, 238, 255, conducts at, 78; R.S. conducts Parsifal 256, 329 at, 276–7; Pauline sings at, 66, 78 Ampico (piano rolls, Chicago 1921), 406 Beardsley, Aubrey, 148 Amsterdam.
[Show full text]
Download Program Notes
Select Songs Franz Schubert and Richard Strauss n the refined, jewel-like genre of the Lied, bert’s lifetime a few composers were creat - Ithe German art song, the name of Franz ing symphonic arrangements of songs orig - Schubert stands indisputably at the top of a inally written for voice and piano. Most of list that would wend through the 19th cen - these early arrangers are little known today, tury and into the 20th, encompassing such but by the 1860s famous names such as eminences as Schumann, Mendelssohn, Berlioz, Liszt, and Brahms were adding to Brahms, Wolf, Mahler, and Richard Strauss. the repertoire. The set of songs heard in this Matthias Goerne has assembled a set of songs concert affords a glimpse of how gifted by the first and last of those figures, who, in composers paid tribute to Schubert and the classic tradition of the Lied, originally Strauss by adapting their songs to the evolv - crafted their songs for voice with piano. ing orchestral aesthetics of their own Songs with full orchestral accompani - times, as well as to how Strauss crafted ment flourished in the later 19th century, symphonic versions of some songs he had the contributions of Strauss and Mahler originally composed with accompaniments being exemplary — but already in Schu - by piano alone. An Silvia, D.891 Des Fischers Liebesglück, D.933 Greisengesang, D.788 Franz Schubert Born: January 31, 1797, in Liechten thal, then a suburb of Vienna, Austria, now part of the city Died: November 19, 1828, in Vienna Works composed and premiered: An Silvia was composed in early July 1826, and Des Fischers Liebesglück in November 1827; premieres unknown, as Schubert songs were typically unveiled at private gatherings in Vienna, with the composer as piano accompanist to solo vocalists; Alexan - der Schmalcz’s orchestrations were introduced on April 25, 2015, at the Great Hall of the Vienna Musikverein, by the Vienna Symphony Orchestra, Philippe Jordan, conductor, Matthias Goerne, baritone .
[Show full text]
Patricia Rozario Charles Owen
Richard Strauss Lieder Patricia Rozario Charles Owen Richard Strauss Lieder Patricia Rozario Charles Owen Richard Strauss Lieder RICHARD STRAUSS (1864-1949) 1 All’ mein Gedanken 1’08 13 Morgen! … 3’46 (Felix Dahn) (John Henry Mackay) 2 Du meines Herzens Krönelein 1’54 14 Traum durch die Dämmerung 2’38 (Felix Dahn) (Otto Julius Bierbaum) 3 Die Nacht 2’56 15 Schlagende Herzen 2’20 (Hermann von Gilm) (Otto Julius Bierbaum) 4 Wiegenlied 4’00 16 Nachtgang 2’47 (Richard Dehmel) (Otto Julius Bierbaum) 5 Blauer Sommer 2’32 17 Das Rosenband 2’56 (Carl Busse) (Friederich Gottlieb Klopstock) 6 Befreit 5’25 18 Für funfzehn Pfennige 2’20 (Richard Dehmel) (Anonymous) 7 Ich trage meine Minne 1’49 19 Hat gesagt – Bleibt’s nicht dabei 2’07 (Karl Henckell) (Anonymous) 8 Ständchen 2’21 20 Freundliche Vision 2’18 (Adolf Friedrich von Schack) (Otto Julius Bierbaum) 9 Allerseelen 2’59 21 Ich schwebe 1’52 (Hermann von Gilm) (Karl Henckell) 10 Ruhe, meine Seele! 3’28 22 Winterliebe 1’40 (Karl Henckell) (Karl Henckell) 11 Cäcilie 1’52 23 Winterweihe 2’46 (Heinrich Hart) (Karl Henckell) 12 Heimliche Aufforderung 2’48 24 Kling! 1’36 (John Henry Mackay) (Karl Henckell) 62’18 Patricia Rozario soprano Charles Owen piano Patricia Rozario, born in Bombay, studied at London’s Guildhall School of Music, winning the Gold Medal and Maggie Teyte Prize. She also studied at the National Opera Studio in London, and won prizes at the Salzburg Mozarteum, S’Hertogenbosch International Singing Competition, Benson and Hedges Competition at Aldeburgh, and International Young Artist Competition at Tunbridge Wells.
[Show full text]
HOLLIS, DEBORAH LEE, DMA Orchestral Color in Richard Strauss's Lieder
HOLLIS, DEBORAH LEE, D.M.A. Orchestral Color in Richard Strauss’s Lieder: Enhancing Performance Choices of All of Strauss’s Lieder through a Study of His Orchestrated Lieder. (2009) Directed by Dr. James Douglass. 83 pp. Strauss was a major composer of Lieder , with more than 200 published songs composed between 1870 and 1948, many of which belong to the standard song repertoire. Strauss’s lieder are distinctive because they reflect his simultaneous preoccupation with composing tone poems and operas. The vocal lines are declamatory, dramatic, and lyrical, while the accompaniments are richly textured. Strauss learned the craft of orchestration through studying scores of the masters, playing in orchestras, conducting, and through exposure to prominent composers. Equally important was his affiliation with leading figures of the New German School including Liszt, Wagner, and Berlioz. Berlioz used the expressive characteristics of the orchestral instruments as the primary inspiration for his compositions. Like Berlioz, Strauss used tone color as a crucial element that gave expression to poetic ideas in his symphonic works, operas, and songs. Strauss’s approach to orchestration gives insight into ways that a collaborative pianist may use tone color to enhance renderings of all of the composer’s lieder. In this study, I use my own analysis of Strauss’s orchestrations of his songs, as well as Strauss’s statements in his revision of Berlioz’s Treatise on Instrumentation , to show how his orchestrations bring out important aspects of the songs, clarifying and enriching their meaning. I further show how collaborative pianists can emulate these orchestral effects at the keyboard using specific techniques of touch, pedal, and phrasing, thereby rendering each song richer and more meaningful.
[Show full text]
ARSC Journal
RICHARD STRAUSS' S RECORDINGS: A COMPLETE DISCOGRAPHY by Peter Morse If Richard Strauss had never composed a bar of music, he would be known today as one of the great conductors of the century. We forget, in the shadow of his musical masterpieces, that he was at various times conductor of the Berlin Philharmonic and general music director of both the Berlin Opera and the Vienna Opera. He conducted the world premiers of such works as Humperdinck's "Hansel and Gretel" and Mahler's first and second symphonies. His conducting of Mozart was particularly praised. He cut away a great deal of romantic excess which had accum ulated during the nineteenth century and restored to Mozart's music the coolness and clarity of the original. In this he was, with Toscanini, one of the modern founders of the new orchestral style. (Strauss allowed more liberties to be taken with vocal works.) Because he was so highly qualified as a conductor, his interpre tations of his own music deserve even more attention than those of most composers. The same cool style may be heard in his treatment of his own works, ranging from "Don Juan" to the "Intermezzo" excerpts. Strauss the composer wrote in his scores all the directions that were needed by Strauss the conductor. He had little tolerance for further elaboration on his orchestral music. Today, every conductor who wishes to perform Strauss's music should study the composer's re cordings as well as the score. Even if one disagrees with Strauss's interpretations, it is inexcusable to ignore them.
[Show full text]
NMPAS Richard Strauss Recital May 15, 2021
NEW MEXICO PERFORMING ARTS SOCIETY Franz Vote, Artistic Director & Conductor RECITAL SERIES III CONCERT “Two larks still soar alone… into the haze.” (Im Abendot) RICHARD STRAUSS VIER LETZTE LIEDER and other songs Esther Moses Bergh, mezzo soprano Franz Vote, piano Saturday, April 24, 2021 ~ 7:00 pm Immaculate Heart of Mary Chapel 50 Mount Carmel Road Santa Fe, New Mexico SPONSORED BY JUDY WILLIAMS AND ELLIOT STERN 1 2 NEW MEXICO PERFORMING ARTS SOCIETY RECITAL SERIES III CONCERT SATURDAY, April 24, 2021 ~ 7:00 pm RICHARD STRAUSS (1864-1949) Freundliche Vision (Fünf Lieder, op. 48, no. 1) Text: Otto Julius Bierbaum (1865-1910) Ständchen (Sechs Lieder, op. 17, no. 2) Text: Adolf Friedrich von Schack (1815-1894) Traum durch die Dämmerung (Drei Lieder, op. 29, no. 1) Text: Otto Julius Bierbaum Morgen! (Vier Lieder, op. 27, no. 4) Text: John Henry Mackay (1864-1933) Zueignung (Acht Lieder aus Letzte Blätter, op. 10, no. 1) Text: Hermann von Gilm (1812-1864) w Vier Letzte Lieder, op. posth. Frühling September Beim Schlafengehen Texts: Hermann Hesse (1877-1962) Im Abendrot Text: Joseph von Eichendorff (1788-1857) ESTHER MOSES BERGH, mezzo soprano FRANZ VOTE, piano This project is supported in part by New Mexico Arts, a division of the Department of Cultural Affairs, and by the National Endowment for the Arts. Spring 2021 NMPAS programs are partially sponsored by the Santa Fe Arts & Culture Department ARTS & CULTURE DEPARTMENT 3 Franz Vote, Artistic Director During my long conducting career, including a decade in Germany and another at the Metropolitan Opera, I often dreamed that one day both Bach and New Mexico would be part of my life again.
[Show full text]
Repertoire Lied (PDF)
R E P E R T O I R E L I E D Stand: 1 / 2011 Lied : Wolfgang Amadeus Mozart : -Abendempfindung (Joachim Heinrich Campe (1746-1818)) KV 523 (Wien, 1787) (a) (1756-1791) 6 Notturni (Terzette) (a) Christoph Willibald Gluck : -Die Sommernacht (Friedrich Gottlieb Klopstock (1724-1803)) (1714-1787) -Die frühen Gräber (Klopstock) Haydn : engl. Kanzonetten: -She never told her love (Shakespeare) (a) (1732-1809) -Despair (Anne Hunter) (a) -The Wanderer (Anne Hunter) (a) -Sympathy (nach Metastasio) (a) -Sailor's Song (a) -Das Leben ist ein Traum (Johann Wilhelm Ludwig Gleim (1719-1803) Joh. Abr. Peter Schulz -Der Mond ist aufgegangen (Matthias Claudius) (a) (1747-1800) Joh.Friedr.Reichardt : Nachtgesang (Goethe) (a) (1752-1814) Klage (Goethe) (a) Die schöne Nacht (Goethe) (a) Aus Euphrosyne (Goethe) (a) An die Türen will ich schleichen (Goethe) (a) Rhapsodie (Goethe) (a) Kophtisches Lied (Goethe) (a) Mut (Goethe) (a) Erinnerung (Goethe) (a) An Lina (Goethe) (a) Ganymed (a) Karl Friedrich Zelter Lieder nach Texten von Johann Wolfgang von Goethe (a) (1758-1832) Klage (Wer nie sein Brot mit Tränen ass) 1796 Wonne der Wehmut 1807 Mailied (Wo geht’s Liebchen ?) 1812 Erster Verlust 1807 Der König in Thule 1812 Tischlied Vaclav Jan Tomasek Lieder nach Texten von Johann Wolfgang von Goethe aus op.53-61, ersch. 1815 (a) (1774-1850) Erster Verlust Schäfers Klagelied Rastlose Liebe Wandrers Nachtlied (Der du von dem Himmel bist) Beethoven : op. 98 : Liederzyklus An die ferne Geliebte (Jeitteles) (a) (1770-1827) aus Sechs Lieder von Gellert, op 48 -Bitten -Die Liebe des Nächsten -Vom Tode -Die Ehre Gottes aus der Natur -Sehnsucht (Goethe) (b) -Andenken (Matthisson) (b) -In questa tomba oscura (Carpani) (a) -Adelaide (Matthisson) (a) -Ich liebe dich (Herrosee) (a) aus 25 Schottische Lieder Op.
[Show full text]
Symphonieorchester Des Bayerischen Rundfunks
SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS 19 | 20 Donnerstag 10.10.2019 Freitag 11.10.2019 1. Abo D Herkulessaal 20.00 – ca. 22.15 Uhr 19 / 20 MARISS JANSONS Leitung DIANA DAMRAU Sopran SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS KONZERTEINFÜHRUNG 18.45 Uhr Moderation: Antje Dörfner LIVE-ÜBERTRAGUNG IN SURROUND im Radioprogramm BR-KLASSIK Freitag, 11.10.2019 PausenZeichen: Julia Schölzel im Gespräch mit Diana Damrau VIDEO-LIVESTREAM auf br-klassik.de Freitag, 11.10.2019 ON DEMAND Das Konzert ist in Kürze auf br-klassik.de als Video und Audio abrufbar. PROGRAMM Richard Strauss »Vier sinfonische Zwischenspiele aus ›Intermezzo‹«, op. 72 • Reisefieber und Walzerszene. Schnell und heiter • Träumerei am Kamin. Ruhig schwebend • Am Spieltisch. Sehr gemächlich • Fröhlicher Beschluss. Sehr lebhaft und fröhlich Richard Strauss Ausgewählte Lieder für Sopran und Orchester • Das Rosenband, op. 36 Nr. 1. Andante grazioso • Ständchen, op. 17 Nr. 2. Vivace e dolce • Freundliche Vision, op. 48 Nr. 1. Ruhig • Wiegenlied, op. 41 Nr. 1. Sanft bewegt • Allerseelen, op. 10 Nr. 8. Tranquillo • Morgen!, op. 27 Nr. 4. Langsam Pause Johannes Brahms Symphonie Nr. 4 e-Moll, op. 98 • Allegro non troppo • Andante moderato • Allegro giocoso • Allegro energico e passionato Zyklische Bruchstücke Zu den Vier sinfonischen Zwischenspielen aus »Intermezzo« von Richard Strauss Adrian Kech Entstehungszeit Konzept: 1929 Drucklegung: vermutlich 1933 Uraufführung Unbekannt Lebensdaten des Komponisten 11. Juni 1864 in München – 8. September 1949 in Garmisch Die Geschichte der Vier sinfonischen Zwischenspiele aus »Intermezzo« begann am 7. Juli 1924. An diesem Tag schrieb Richard Strauss an seinen Verleger Otto Fürstner: »Wie denken Sie darüber, aus Intermezzo den Walzer u. das Asdurzwischenspiel nach der 5.ten Scene jetzt schon separat für Orchester herauszugeben? Ich möchte das letztere eventuell schon Ende August in München in einem Conzert mit den Wiener Philharmonikern spielen.« Wohlgemerkt: Zum Zeitpunkt von Strauss’ Anfrage war die Oper Intermezzo noch gar nicht uraufgeführt.
[Show full text]