Download Teilnehmende III. Liedduo-Wettbewerb 2018

Total Page:16

File Type:pdf, Size:1020Kb

Download Teilnehmende III. Liedduo-Wettbewerb 2018 Teilnehmende III. LiedDuo-Wettbewerb 2018 Im Programm der Teilnehmenden werden nur die Wahlwerke genannt. Die Pflichtstücke können Sie den Seiten 18 & 19 entnehmen. Manuel Adt | Bariton Kathrin Isabelle Klein | Klavier *19.08.1989 | Deutschland *25.12.1991 | Deutschland 1. Durchgang Franz Schubert: Die Taubenpost (Schwanengesang) D 957 Hugo Wolf: Der Tambour (Mörike) 2. Durchgang Franz Schubert: Sehnsucht (Seidl) D 879 Aufenthalt (Rellstab) D 957 Der Musensohn (Goethe) D 764 Der liebliche Stern (Schulze) D 861 Hugo Wolf: Alle gingen, Herz zur Ruhe (Spanisches Liederbuch) Der Feuerreiter (Mörike) 3. Durchgang Franz Schubert: Der Zwerg (Collin) D 771 Sehnsucht (Schiller) D 636 Hugo Wolf: Lied eines Verliebten (Mörike) An die Geliebte (Mörike) Iida Antola | Sopran Anni Laukkanen | Klavier *25.01.1990 | Finnland *29.11.1989 | Finnland 1. Durchgang Franz Schubert: Dass sie hier gewesen D 775 Hugo Wolf: Geh’, Geliebter, geh’ jetzt (Spanisches Liederbuch) 2. Durchgang Franz Schubert: Die Gebüsche (Schlegel) D 646 Auf der Riesenkoppe (Körner) D 611 Herbst (Rellstab) D 945 Beim Winde (Mayrhofer) D 669 Hugo Wolf: Lebe Wohl (Mörike) Die Spröde (Goethe) 3. Durchgang Franz Schubert: Heimliches Lieben (Klencke) D 922 Sehnsucht (Seidl) D 879 Hugo Wolf: Im Frühling (Mörike) Hochbeglückt in deiner Liebe (Goethe) Anna Avdalyan | Sopran Fabian Gehring | Klavier *21.06.1995 | Armenien *03.04.1991 | Deutschland 1. Durchgang Franz Schubert: Suleika II (Goethe) D 717 Hugo Wolf: Waldmädchen (Eichendorff) 2. Durchgang Franz Schubert: Die Gebüsche (Schlegel) D 646 Delphine (Schütz) D 857 Nur wer die Sehnsucht kennt (Goethe) D 877-4 Der Knabe (Schlegel) D 692 Hugo Wolf: Die Kleine (Eichendorff) Ich hab’ in Penna einen Liebsten wohnen (Heyse) 3. Durchgang Franz Schubert: Die Liebe (Goethe) D 210 Kennst du das Land (Goethe) D 321 Hugo Wolf: Unfall (Eichendorff) An eine Äolsharfe (Mörike) Matthias Azesberger | Bariton Luca de Grazia | Klavier *01.02.1991 | Österreich *24.04.1986 | Schweiz 1. Durchgang Franz Schubert: Im Freien (Seidl) D 880 Hugo Wolf: Der Jäger (Mörike) 2. Durchgang Franz Schubert: Sehnsucht (Seidl) D 879 Der Geistertanz (Matthison) D 116 Des Fischers Liebesglück (Leitner) D 933 Schiffers Scheidelied (Schober) D 910 Hugo Wolf: Um Mitternacht (Mörike) Wenn du mich mit den Augen streifst und lachst (Heyse) 3. Durchgang Franz Schubert: Alinde (Rochlitz) D 904 Hoffnung (Schiller) D 637 Hugo Wolf: Begegnung (Mörike) Nachtzauber (Eichendorff) 22 Erika Baikoff | Sopran Michael Sikich | Klavier *14.02.1994 | USA *09.10.1993 | USA 1. Durchgang Franz Schubert: Sehnsucht (Schiller) D 636 Hugo Wolf: Ich hab’ in Penna einen Liebsten wohnen (Heyse) 2. Durchgang Franz Schubert: Delphine (Schütz) D 857 Die Gebüsche (Schlegel) D 646 Gretchen am Spinnrade (Goethe) D 118 Erster Verlust (Goethe) D 226 Hugo Wolf: Der Knabe und das Immlein (Mörike) Begegnung (Mörike) 3. Durchgang Franz Schubert: Der Jüngling an der Quelle (Salis-Seewis) D 300 Die Männer sind méchant (Seidl) D 866 Hugo Wolf: Die Bekehrte (Goethe) Die Spröde (Goethe) Pia Salome Bohnert | Sopran Linda Leine | Klavier *28.12.1988 | Deutschland *18.04.1988 | Lettland 1. Durchgang Franz Schubert: Geistertanz (Matthison) D 116 Hugo Wolf: Kennst Du das Land (Goethe) 2. Durchgang Franz Schubert: Ellens erster Gesang (Scott) D 837 Die Sternennächte (Mayrhofer) D 670 Rastlose Liebe (Goethe) D 138 Heidenröslein (Goethe) D 257 Hugo Wolf: Unfall (Eichendorff) “Mir ward gesagt” (Heyse) 3. Durchgang Franz Schubert: An den Mond (Hölty) D 193 Die Forelle (Schubart) D 550 Hugo Wolf: Lied vom Winde (Mörike) Nachtzauber (Eichendorff) Laura Braun | Sopran Wilhelm Matanz | Klavier *28.11.1995 | Deutschland *07.09.1989 | Deutschland 1. Durchgang Franz Schubert: Sehnsucht (Seidl) D 879 Hugo Wolf: Storchenbotschaft (Mörike) 2. Durchgang Franz Schubert: Die Sternennächte (Mayrhofer) D 670 Die Gebüsche (Schlegel) D 646 Geheimnis (Mayrhofer) D 491 Heimliches Lieben (Klenke) D 922 Hugo Wolf: Nixe Binsefuß (Mörike) Gesang Weylas (Mörike) 3. Durchgang Franz Schubert: Der Jüngling am Bache (Schiller) D 192 Der liebliche Stern (Schulze) D 861 Hugo Wolf: Die Bekehrte (Goethe) Waldmädchen (Eichendorff) Ronan Caillet | Tenor Malte Schäfer | Klavier *05.07.1994 | Frankreich *12.05.1992 | Deutschland 1. Durchgang Franz Schubert: An die Leier (Bruchmann) D 737 Hugo Wolf: Storchenbotschaft (Mörike) 2. Durchgang Franz Schubert: Des Fischers Liebesglück (Leitner) D 933 Willkommen und Abschied (Goethe) D 767 Die liebe Farbe (Müller) D 795-16 Die böse Farbe (Müller) D 795-17 Hugo Wolf: Ganymed (Goethe) Auf einer Wanderung (Mörike) 3. Durchgang Franz Schubert: Der Zwerg (Collin) D 771 Ungeduld D 795-7 Hugo Wolf: Nachtzauber (Eichendorff) Seemanns Abschied (Eichendorff) 23 Teilnehmende III. LiedDuo-Wettbewerb 2018 Im Programm der Teilnehmenden werden nur die Wahlwerke genannt. Die Pflichtstücke können Sie den Seiten 18 & 19 entnehmen. Hongyu Chen | Bariton Zuzanna Pawlaszek | Klavier *03.12.1985 | Mongolei *25.05.1988 | Polen 1. Durchgang Franz Schubert: Prometheus (Goethe) D 674 Hugo Wolf: Ein Ständchen euch zu bringen kam ich her (Heyse) 2. Durchgang Franz Schubert: Sehnsucht (Seidl) D 879 Verklärung (Pope/Herder) D 59 Ganymed (Goethe) D 544 Der Atlas (Heine - Schwanengesang) D 957-8 Hugo Wolf: Gesang Weylas (Mörike) Storchenbotschaft (Mörike) 3. Durchgang Franz Schubert: Sei mir gegrüßt (Rückert) D 741 Fischerweise (Schlechta) D 881 Hugo Wolf: Nimmersatte Liebe (Mörike) Der Feuerreiter (Mörike) Shichao Cheng | Tenor Zihao Lin | Klavier *30.08.1990 | China *15.11.1992 | China 1. Durchgang Franz Schubert: Versunken (Goethe) D 715 Hugo Wolf: St. Nepomuks Vorabend (Goethe) 2. Durchgang Franz Schubert: Willkommen und Abschied (Goethe) D 767 Der Einsame (Lappe) D 800 Rastlose Liebe (Goethe) D 138 Der Jüngling an der Quelle (Salis-Seewis) D 300 Hugo Wolf: Frech und Froh I (Goethe) An eine Äolsharfe (Mörike) 3. Durchgang Franz Schubert: Du bist die Ruhe (Rückert) D 766 Erster Verlust (Goethe) D 226 Hugo Wolf: Ganymed (Goethe) Der Tambour (Mörike) Coline Dutilleul | Mezzosopran Pedro Costa | Klavier *26.02.1986 | Belgien *11.10.1989 | Portugal 1. Durchgang Franz Schubert: Nachtstück (Mayrhofer) D 672 Hugo Wolf: Lied vom Winde (Mörike) 2. Durchgang Franz Schubert: Dem Unendlichen (Klopstock) D 291 Der Jüngling und der Tod (Spaun) D 545 Über Wildemann (Schulze) D 884 Schwanengesang (Senn) D 744 Hugo Wolf: Nixe Binsefuß (Mörike) Die Zigeunerin (Eichendorff) 3. Durchgang Franz Schubert: Versunken (Goethe) D 715 Berthas Lied in der Nacht (Grillparzer) D 653 Hugo Wolf: In dem Schatten meiner Locken (Spanisches Liederbuch) Nachtzauber (Eichendorff) Arvid Fagerfjäll | Bariton Tommaso Graiff | Klavier *30.08.1991 | Schweden *17.10.1996 | Italien 1. Durchgang Franz Schubert: Abschied (Mayrhofer) D 475 Hugo Wolf: Der Tambour (Mörike) 2. Durchgang Franz Schubert: Verklärung (Pope/Herder) D 59 Sehnsucht (Seidl) D 879 Nacht und Träume (Collin) D 827 Auf der Donau (Mayrhofer) D 553 Hugo Wolf: Ganymed (Goethe) Abschied (Eichendorff) 3. Durchgang Franz Schubert: Im Frühling (Schulze) D 882 Die Wetterfahne (Müller) D 911 Hugo Wolf: Im Frühling (Mörike) Verschwiegene Liebe (Eichendorff) 24 Johannes Fritsche | Bariton Zhen Li | Klavier *30.05.1993 | Deutschland *11.01.1989 | China 1. Durchgang Franz Schubert: Das gestörte Glück (Körner) D 309 Hugo Wolf: Der Jäger (Mörike) 2. Durchgang Franz Schubert: Sehnsucht (Seidl) D 879 Der Geistertanz (Matthison) D 116 Der Erlkönig (Goethe) D 328 Täuschung (Winterreise) D 911 Hugo Wolf: Zur Warnung (Mörike) Benedeit die sel’ge Mutter (Italienisches Liederbuch) 3. Durchgang Franz Schubert: Gruppe aus dem Tartarus (Schiller) D 583 Die Taubenpost (Schwanengesang) D 957 Hugo Wolf: Auf einer Wanderung (Mörike) Fühlt meine Seele (Michelangelo) Elena Harsányi | Sopran Toni Ming Geiger | Klavier *05.12.1991 | Deutschland *19.03.1990 | Deutschland 1. Durchgang Franz Schubert: Ganymed (Goethe) D 544 Hugo Wolf: Heimweh (Mörike) 2. Durchgang Franz Schubert: Ellens erster Gesang (Scott) D 837 Erlafsee (Mayrhofer) D 586 Der Wanderer an den Mond (Seidl) D 870 An mein Herz (Schulze) D 860 Hugo Wolf: Auch kleine Dinge können uns entzücken (Heyse) Ich hab in Penna einen Liebsten wohnen (Heyse) 3. Durchgang Franz Schubert: Berthas Lied in der Nacht (Grillparzer) D 653 Im Frühling (Schulze) D 882 Hugo Wolf: Mein Liebster singt am Haus (Heyse) Lied vom Winde (Mörike) Martin Häßler | Bass Somi Kim | Klavier *07.04.1989 | Deutschland *27.04.1989 | Neuseeland 1. Durchgang Franz Schubert: Prometheus (Goethe) D 674 Hugo Wolf: Fußreise (Mörike) 2. Durchgang Franz Schubert: Am Bach im Frühling (Schober) D 361 Gruppe aus dem Tartarus (Schiller) D 583 L’incanto degli occhi (Metastasio) D 902 Lied eines Schiffers an die Dioskuren (Mayrhofer) D 360 Hugo Wolf: Anakreons Grab (Goethe) Der Schreckenberger (Eichendorff) 3. Durchgang Franz Schubert: Der Schiffer (Mayrhofer) D 536 Auf der Bruck (Schulze) D 853 Hugo Wolf: Zur Warnung (Mörike) Feuerreiter (Mörike) Franziska Heinzen | Sopran Benjamin Mead | Klavier *07.11.1985 | Schweiz *02.09.1992 | Großbrittanien/Polen 1. Durchgang Franz Schubert: Bei Dir allein (Seidl) D 866 Hugo Wolf: Erstes Liebeslied eines Mädchens (Mörike) 2. Durchgang Franz Schubert: Die Sternennächte (Mayrhofer) D 670 Die Gebüsche (Schlegel) D 646 Geheimes (Goethe) D 719 Abendstern (Mayrhofer) D 806 Hugo Wolf: Die Bekehrte (Goethe) Hochbeglückt in deiner Liebe (Goethe) 3. Durchgang Franz Schubert: Die Liebe hat gelogen (Platen) D 751 Gott im Frühlinge (Uz) D 448 Hugo Wolf: Lied vom Winde (Mörike) Verschling’ der Abgrund (Heyse) 25 Teilnehmende
Recommended publications
  • 6 a Büchsal Aufm Rücket 8 Abendlied 260 Abends 78 Abschied Vom Dirndel
    — 434 — Inhalts-Verzeichnis. A Bleaml, das schön blühn soll ' 6 A Busserl ist a schnuckrig Ding . 7 A Büchsal aufm Rücket 8 Abendlied 7 260 Abends 78 Abschied vom Dirndel 270 Abschied nehmen, sagt er . ., ., ' 314 Abschied (Brüder sammelt euch) 51 Abschied (So leb denn wohl) 237 Ach, das Exmatrikulieren 9 Ach Gottes Segen 10 Ach' Gott, wie weh tut scheiden 314 Ach wie ists möglich denn 316 Alle Jahre wieder . 11 Alle Vögel sind schon da 13 Alles neu macht der Mai 12 Alles schweige, Jeder neige ernsten Tönen. - 14 Alles, was wir lieben, lebe 13 Alleweil fidel, fidel 432 Als der Großvater die ©ro&inuttex: nahm . : . 316 Als die Römer frech geworden 16 Ms einst der Mensch im Paradies ; 18 Ms ich an einem Nachmittag . - 20 Als ich an einem Somrnertag 318 Äls ich auf meiner Bleiche .x ' . 17 Als ich noch im Flügelkleide ..." • . 19 Als Noah aus dem Kasten war . 21 Als Wir 1870 22 Als wir jüngst in Negensburg 24 Alt Heidelberg, du feine . \ 25 Am Brunnen -vor dem Tore 26 Am Meer 372 Andreas Hofers Tod 362 Ännchen von Tharau . .• 11 An Alexis send ich dich 26 An das Deutsche Reich 427 Art das Baterland . • . 82 An dem schönsten Frühlings morgen 28 An den Mond 128 An den Rhein, an den Rhein . 29 An der Quelle wß der Knabe 30 An der Saale Hellem Strande 29 Au der Weichsel gegen Lsten 31 An die Freude IIS Bibliografische Informationen digitalisiert durch http://d-nb.info/572341970 — 435 — An Rose 271 Arbeit macht das Leben süß 32 Arm und klein ist meine Hütte 33 Auch ich war ein Jüngling 319 Auf, auf, ihr Brüder, hebt das Glas 430 Auf Bergen, da wehen die Winde so frisch 405 Auf, Brüder, auf, beginnt das Lied der'Weihe 412 Auf d' Alma gehn ma aufa 34 Auf de Berge lebt man frei ~ 35 Auf,bem Karzer lebt sichs fein 36 Aus dem Schlosse von Gradesco .
    [Show full text]
  • LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!
    LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the city with song! Festival Programme 2009 The Grammar School at Leeds inspiring individuals is pleased to support the Leeds Lieder+ Festival Our pupils aren’t just pupils. singers, They’re also actors, musicians, stagehands, light & sound technicians, comedians, , impressionists, producers, graphic artists, playwrightsbox office managers… ...sometimes they even sit exams! www.gsal.org.uk For admissions please call 0113 228 5121 Come along and see for yourself... or email [email protected] OPENING MORNING Saturday 17 October 9am - 12noon LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Biennial Festival of Art Song Artistic Director Julius Drake 3 Lord Harewood Elly Ameling If you, like me, have collected old gramophone records from Dear Friends of Leeds Lieder+ the time you were at school, you will undoubtedly have a large I am sure that you will have a great experience listening to this number of Lieder performances amongst them. Each one year’s rich choice of concerts and classes. It has become a is subtly different from its neighbour and that is part of the certainty! attraction. I know what I miss: alas, circumstances at home prevent me The same will be apparent in the performances which you this time from being with you and from nourishing my soul with will hear under the banner of Leeds Lieder+ and I hope this the music in Leeds. variety continues to give you the same sort of pleasure as Lieder singing always has in the past. I feel pretty sure that it To the musicians and to the audience as well I would like to will and that if you have any luck the memorable will become repeat the words that the old Josef Krips said to me right indistinguishable from the category of ‘great’.
    [Show full text]
  • Ilker Arcayürek Ilker Arcayürek
    FRANZ SCHUBERT : DER EINSAME ILKER ARCAYÜREK ILKER ARCAYÜREK tenor SIMON LEPPER piano FOREWORD TRACK LISTING FRANZ SCHUBERT (1797 –1828) Schubert and the feeling of solitude have been my companions for many years. We can 1 Frühlingsglaube D686 03’13 find ourselves alone as the result of many different circumstances in life – unhappiness 2 Nachtstück D672 05’51 in love, a bereavement, or simply moving to another country. For me, however, being 3 Sehnsucht D879 02’46 alone has never meant being ‘lonely’. 4 Schäfers Klagelied D121 03’36 As in Schubert’s song Der Einsame , I try to enjoy the small things in life, and, 5 Der Musensohn D764 02’14 especially in those times when I am alone, to consciously take time out of 6 Romanze zum Drama ‘Rosamunde’ D797/3b 03’49 everyday life and reflect on my own experiences. I find that making music is 7 Der Schiffer D536 02’00 a particularly good way of occupying myself in moments of solitude. 8 Der Jüngling an der Quelle D300 01’45 9 Über Wildemann D884 02:19 A running brook, a broken heart, the bitter-sweet release of death – few 10 Abendstern D806 02’29 composers have succeeded in setting these varied images to music as Drei Gesänge des Harfners D478 transparently as Schubert did. His diverse emotional and musical world had 11 i Wer sich der Einsamkeit ergibt 04’03 me under its spell from an early age. This developed into such a thirst for 12 ii Wer nie sein Brot mit Tränen a ß 04’46 more that now I can hardly wait to sing works by Schubert that are new to 13 iii An die Türen will ich schleichen 02’21 me.
    [Show full text]
  • Schubert's Recapitulation Scripts – Part II
    CHAPTER 4 CATEGORY 2 RECAPITULATIONS 4.1. Introduction 4.2. Mozart, Monahan, and the Crux 4.3. Beethoven and the Minimally Recomposed Category 2 4.4. Beethoven and Schubert: Labor and Grace 4.5. Repetitions of Single Referential Measures 4.6. A Summary Analysis: The Finale of D. 537 4.7. Conclusion ADD CUT 1. One alteration only, + x 1. One alteration only, - x SIZE a. Minimally different, + 1 a. Minimally different, -1 1. by repetition (at the same pitch 1. deletion of originally repeated level) material 2. by sequence (repetition at a 2. deletion of non-repeated different pitch level) material a. by repetition of multiple referential measures, en bloc (backing up) STRATEGY b. by repetition of a single referential measure (stasis) 3. by composing new material Figure 4.1. Category 2 Strategies. 151 The ways in which thematic and harmonic gestures reappear go well beyond what can be captured by the standard notions of return or recapitulation.1 Like virtually all Western music, the music of the common-practice period is characterized by formal correspondences of various kinds. Such correspondences usually do not form exact symmetries, however, even at the phrase level. This stems partly, no doubt, from distaste for too much repetition and regularity—for predictability, that is, the negative side of the symmetrical coin.2 At this very early date, Riepel could scarcely be expected to realize what he was observing; later, of course, asymmetry would set in on a much greater scale.3 If one does not perceive how a work repeats itself, the work is, almost literally, not perceptible and therefore, at the same time, not intelligible.
    [Show full text]
  • Katharina Konradi SOPRANO Eric Schneider PIANO
    2019 L’AUDITORI | Sala 2 Oriol Martorell BARCELONA V 08 NOV 20:00h BARCELONA SCHUBERT LIED Katharina Konradi SOPRANO Eric Schneider PIANO © Peter Adamik © Peter L’AUDITORI DE BARCELONA Franz Schubert (1797-1828) 1. Katharina Konradi Im Abendrot, D 799 (1825) Eric Schneider An die untergehende Sonne, D 457 (1817) Alinde, D 904 (1827) 2. Konstantin Krimmel An mein Herz, D 860 (1825) Doriana Tchakarova An den Mond, D 259 (1815) Der Traum, D 213 (1815) 3. Natalia Labourdette An die Nachtigall, D 497 (1816) Anastasiya Timofeeva Die Vögel, D 691 (1820) Guarda, che bianca luna, D 688/2 (1820) 4. Sheva Tehoval Zwei Szenen aus dem Schauspiel ‘Lacrimas’, D 857 (1825) Daniel Heide Strophe aus ‘Die Götter Griechenlands’, D 677 (1819) Der Geistertanz, D 116 (1812) En coproducción con Der zürnenden Diana, D 707 (1820) Der Zwerg, D 771 (1822) Romanze aus ‘Rosamunde’, D 797/3b (1823) Verklärung, D 59 (1813) Cora an die Sonne, D 263 (1815) Fischerweise, D 881 (1826) BARCELONA SAMPLER SÈRIES Katharina Konradi, que hizo un brillante debut en el año 2018 en la Schubertíada de Vilabertran y vuelve en 2019, hará su primer recital en Barcelona dentro del VARIOS ESPACIOS ciclo Schubert Lied. Acompañada por un pianista de referencia como Eric Schneider, la soprano 1. Sarah Maria Sun presentará un programa donde Alberto Rosado encontraremos lieder tan conocidos Kaoru Kakizakai como An den Mond, Fischerweise o Neopercusión Der Zwerg, combinados con otros Peiju Chien-Pott poco habituales como Die Vögel o Cora an die Sonne. La naturalidad 2. Barcelona Clarinet Players con la que Konradi afronta el canto la convierte en una intérprete ideal En coproducción con para la franqueza y sobriedad que exige el lied.
    [Show full text]
  • Joyce, Christopher (2017). 'Prince of the German Lied: Franz Schubert and the Poetry of Song.'
    Haberdashers’ Aske’s School Occasional Papers Series in the Humanities Occasional Paper Number Fourteen Prince of the German Lied: Franz Schubert and the Poetry of Song Christopher Joyce [email protected] October 2017 1 A Haberdashers’ Aske’s Occasional Paper. All rights reserved. Haberdashers’ Aske’s Occasional Paper Number Fourteen October 2017 All rights reserved Prince of the German Lied: Franz Schubert and the Poetry of Song Dr C. J. Joyce Abstract This paper surveys Schubert’s output of Lieder, or ‘art-songs’, and his development of the nineteenth-century Romantic genre of the Lied. It argues that through the new medium of the Lied Schubert found artistic expression which was revolutionary, fresh, and unprecedented, and which influenced indelibly the evolution of Western music throughout the Romantic and into the Modern ages. Unlike the song-traditions of the seventeenth and eighteenth centuries, the Lied interwove poetry and music in a novel way so that the two became inseparable. Whereas, until Schubert, the voice and accompaniment had been very distinct and compartmentalised, Schubert and his successors, especially Schumann and Brahms, integrated the vocal line with the piano so that both became equal components of the melodic and harmonic structures within the song. Schubert’s reputation in history as the great ‘poet of music’ is richly deserved, and his development of the Lied as a new and dynamic form of artistic expression is perhaps his greatest contribution as a composer to the emergent Romantic movement which, in the early nineteenth century when Schubert was living, took shape in music, poetry, literature, philosophy and art.
    [Show full text]
  • Schubertiade ‘Du Holde Kunst, Ich Danke Dir’ Anima Eterna Brugge Jos Van Immerseel
    SCHUBERTIADE ‘DU HOLDE KUNST, ICH DANKE DIR’ ANIMA ETERNA BRUGGE JOS VAN IMMERSEEL 1 MENU › TRACKLIST › ENGLISH TEXT › TEXTE FRANÇAIS › NEDERLANDSE TEKST › DEUTSCHER TEXT › SUNG TEXTS › TEXTES CHANTÉS › GEZONGEN TEKSTEN › GESUNGENE TEXTE SCHUBERTIADE ‘DU HOLDE KUNST, ICH DANKE DIR’ ANIMA ETERNA BRUGGE JOS VAN IMMERSEEL CD1 1 STÄNDCHEN (ERSTE FASSUNG) D 920 5’29 MEZZO, VOCAL QUARTET, FORTEPIANO 2 AUF DER BRUCK D 853 3’58 BARITONE, FORTEPIANO 3 GRETCHEN AM SPINNRADE D 118 3’36 SOPRANO, FORTEPIANO 4 DIE NACHT D 983C 2’42 VOCAL QUARTET 5 MARCHE CARACTÉRISTIQUE D 886/2 6’27 FORTEPIANO* (FOUR HANDS) 6 DIE JUNGE NONNE D 828 4’45 SOPRANO, FORTEPIANO QUINTETT ‘DIE FORELLE’ D 667 VIOLIN, VIOLA, CELLO, DOUBLE BASS, FORTEPIANO* 7 ALLEGRO VIVACE 13’26 8 ANDANTE 7’12 9 SCHERZO 4’32 10 ANDANTINO (THEME & VARIATIONS) 7’47 11 ALLEGRO GIUSTO 7’12 TOTAL TIME: 67’12 CD2 1 NACHTGESANG IM WALDE D 913 6’08 VOCAL QUARTET, HORN QUARTET 2 GANYMED D 544 4’17 SOPRANO, FORTEPIANO 3 DU LIEBST MICH NICHT D 756 3’44 MEZZO, FORTEPIANO 4 ANDANTE (TRIO IN E FLAT MAJOR) D 929/2 10’01 VIOLIN, CELLO, FORTEPIANO* 5 L’INCANTO DEGLI OCCHI D 902/1 2’54 BARITONE, FORTEPIANO 6 IL TRADITOR DELUSO D 902/2 3’48 BARITONE, FORTEPIANO 7 IL MODO DI PRENDER MOGLIE D 902/3 4’25 BARITONE, FORTEPIANO DIVERTISSEMENT À LA HONGROISE D 818 FORTEPIANO* (FOUR HANDS) 8 ANDANTE 10’54 9 MARCIA, ANDANTE CON MOTO 3’06 10 ALLEGRETTO 13’50 TOTAL TIME: 63’13 CD3 1 FANTASIE IN F MINOR D 940 18’11 FORTEPIANO* ( FOUR HANDS) 2 DER WANDERER D 489 4’55 BARITONE, FORTEPIANO 3 NACHT UND TRAÜME D 827 3’46 SOPRANO,
    [Show full text]
  • Music and Poetry of the German Lied (Mus 7998)
    MUSIC AND POETRY OF THE GERMAN LIED (MUS 7998) LOUISIANA STATE UNIVERSITY COLLEGE OF MUSIC & DRAMATIC ARTS SPRING 2018 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Tuesdays and Thursdays, 10:30–11:50 M&DA 249 office hours Thursdays, 1:00–2:00, or by appointment prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Howe / MUS 7998 Syllabus / 2 GENERAL INFORMATION COURSE OBJECTIVES This course is an interdisciplinary investigation into the music and poetry of the nineteenth- century German lied. Each class, we will focus our attention on one song, using it as an entry point into broader discussions of style, analysis, compositional process, social history, reception, and performance practice. We will examine the poetry of Chamisso, Eichendorff, Geibel, Goethe, Heine, Heyse, Klopstock, Mörike, Müller, and Rückert; and the music of Beethoven, Berg, Brahms, Bronsart, Cornelius, Franz, Hensel, Jensen, Lang, Liszt, Loewe, Mahler, Reichardt, Schröter, Schubert, Schumann, Wieck-Schumann, Wolf, and Zelter. We will also use the assigned repertoire to survey the voices and performance practices of the great lied artists of the twentieth century, from early recording pioneers (Bos, Gerhardt, Hüsch, Kipnis, Lehmann), to postwar masters (Ameling, Baker, Demus, Fischer-Dieskau, Fassbaender, Hotter, Moore, Parsons, Prey, Popp, Schreier, Schwarzkopf), to contemporary specialists (Bonney, Drake, Goerne, Hampson, Höll, Johnson, Prégardien, Quasthoff, Shirai). Reading assignments will introduce students to many of the most important figures in lied scholarship. In addition, students will complete a series of three essays, each designed to develop their skills in comparative analysis: the first, on Schubert’s multiple settings of a single poem; the second, on diverse compositional approaches to the lieder of Mignon; and the third, on various performance practices and interpretations of a single song.
    [Show full text]
  • Johann Michael Vogl's Alterations to Schubert's "Die Schonë Mullerin̈ "
    University of Iowa Iowa Research Online Theses and Dissertations Spring 2009 Johann Michael Vogl's alterations to Schubert's "Die schonë Mullerin̈ " Joseph R Matson University of Iowa Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons Copyright 2009 Joseph R Matson This thesis is available at Iowa Research Online: https://ir.uiowa.edu/etd/251 Recommended Citation Matson, Joseph R. "Johann Michael Vogl's alterations to Schubert's "Die schonë Mullerin̈ "." MA (Master of Arts) thesis, University of Iowa, 2009. https://doi.org/10.17077/etd.xsg0v6p1 Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons JOHANN MICHAEL VOGL’S ALTERATIONS TO SCHUBERT’S DIE SCHÖNE MÜLLERIN by Joseph R. Matson A thesis submitted in partial fulfillment of the requirements for the Master of Arts degree in Music in the Graduate College of The University of Iowa May 2009 Thesis Supervisor: Associate Professor Marian Wilson Kimber Copyright by JOSEPH R. MATSON 2009 All Rights Reserved Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL __________________________ MASTER’S THESIS _________________ This is to certify the Master’s thesis of Joseph R. Matson has been approved by the Examining Committee for the thesis requirements for the Master of Arts degree in Music at the May 2009 graduation. Thesis Committee: ___________________________________ Marian Wilson Kimber, Thesis Supervisor ___________________________________ Christine Getz ___________________________________ Katherine Eberle ACKNOWLEDGMENTS I wish to acknowledge the support of several people. The faculty, staff, and student body in the School of Music gave me the opportunity and support to pursue my research, in spite of the flood that closed the music building in 2008.
    [Show full text]
  • William Socolof - Bass Baritone Vocal Repertoire
    William Socolof - Bass Baritone Vocal Repertoire Orchestral Bach – Cantatas 58, 78, 82, 97 Bach – St. Matthew Passion Bach – Mass in B minor Beethoven – Choral Fantasy (Bass Solo) Beethoven – Symphony No. 9 Berlioz – L’enfance du Christ Bernstein – Songfest (Bass) Brahms – Ein Deutsches Requiem Gandolfi – In America (World Premiere) Händel – Messiah Mahler – Kindertotenlieder Mahler – Rückert Lieder Mozart – Per Questa Bella Mano Mozart – Requiem Sondheim – Sondheim on Sondheim (Orchestral Premiere) Vaughan Williams – Dona Nobis Pacem Verdi – Messa di Requiem Chamber Barber – Dover Beach Brahms – Vier Duette Brahms – Liebeslieder Walzes Crumb – Ghosts of Alhambra Crumb – Songs, Drones, and Refrains of Death Rorem – From an Unknown Past Schoenberg – Serenade Op. 24 Schubert – Der Tages Weihe Schutz – Symphonae Sacrae I American and English Songs and Cycles Aucoin – Three Whitman Songs Barber – Hermit Songs Barber – Sure on this shining night Barber – Solitary Hotel Barber – Three Songs Op. 10 Bernstein – Simple Song Berstein – To what you said Blitzstein – Stay in my arms Bolcom – Laura Sonnets Bolcom – Black Max Bolcom – George Bolcom – Waitin Copland – Nature the Gentlest Mother Copland – Why do they shut me out of heaven? Copland – When they come back Copland – The Chariot DeBlasio – All the Way Through Evening Finzi – Let Us Garlands Bring Ives – Ann street Ives – Memories Ives – Immortality Ives – Like a sick eagle Ives – Thoreau Ives – The Housatonic at Stockbridge Ives – Tom Sails Away Ives – Genereal William Booth Enters Into Heaven
    [Show full text]
  • Notes, Texts, and Translations I from Messiah, HWV 56 G.F. Handel For
    Notes, Texts, and Translations I from Messiah, HWV 56 G.F. Handel For behold, darkness shall cover the earth (1685–1759) The people that walked in darkness George Frideric Handel, the German-English composer maintains a reputation as one of the greatest composers of the Baroque period. He began his music studies at a young age, learning to play the clavichord, harpsichord, violin, organ, and oboe. Eventually, he financed his way to Italy to master the Italian opera style and compose oratorios (sacred opera). By 1710, Handel was an international icon for his Italian operas and received high-ranking musician positions in England, where he permanently established his new home. England’s declining interest in operas led Handel to pioneer the English oratorio style; the biblical inspiration for oratorios complemented the British monarchy and the national religion of England and contributed to the great popularity of Handel’s Messiah. Unlike many of Handel’s oratorios, Messiah’s libretto was completely based on verses from the Bible, both Old and New Testaments, and the Book of Common Prayer. Additionally, the only characters are Angels and the crowd at the crucifixion. Some critics argue that Handel’s Messiah isn’t dramatic enough to be in the category of oratorio, but rather is a collection of sacred hymns. On the contrary, other oratorios featured action limited to time and space, whereas Messiah has action that transcends time and space with the incredible fulfillment of man’s deliverance from the tyranny of Satan, sin, and death by the long-promised Messiah. Handel uses tonal contrast throughout Messiah to paint a picture of a world filled with darkness and broken people, who received a gift of hope in the form of Jesus, the light that shines through the darkness.
    [Show full text]
  • German Lieder in the Perception of the Modern Australian Listener
    australiaa n societ s y for mumsic education e German Lieder in the perception of i ncorporated the modern Australian listener and/ or singer: a survey at the 30th National Liederfest Julia Nafisi Melbourne Conservatorium of Music, The University of Melbourne; Monash University Abstract German Romantic Art Songs or German Lieder constitute a consistent part of every aspiring classical singer’s repertoire around the world. This study investigates a contemporary Australian audiences’ appreciation of the genre; it asks further what role the various Romantic characteristics play in German Lieder genre, gauges respondents’ awareness of stylistic characteristics of Lieder and explores the importance of the “German-ness” of Lieder. A survey conducted at the prestigious annual competition National Liederfest elicited surprisingly passionate responses which suggest new ways of teaching Lieder in Australia. Key words: German Lieder, Romantic art songs, Romanticism, perception of Lieder, teaching of Lieder Australian Journal of Music Education 2011:1, 31-41 German Romantic Art Songs Whilst the genre has arguably been born with Schubert, the “source of nearly every Lied stream The combination of words and music in song lies that flows through the nineteenth century at the beginning of all music making; each time and into the twentieth” (Miller, 1999) the term has entrusted to its songs its most spontaneous German Lieder nowadays includes all Art Songs emotions, its most fleeting moods and its most written in the German language from the late secret feelings; thus the song is a micro-cosmos 18th century (e.g. Mozart, Haydn), covering the of human history (Oehlmann, 2000). In the whole 19th century (e.g.
    [Show full text]