DOCSLIB.ORG

Der Rosenkavalier RICHARD STRAUSS Netherlands Philharmonic Orchestra Marc Albrecht Chorus of Dutch National Opera Live Recording by Dutch National Opera

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Der Rosenkavalier RICHARD STRAUSS Netherlands Philharmonic Orchestra Marc Albrecht Chorus of Dutch National Opera Live Recording by Dutch National Opera Der Rosenkavalier RICHARD STRAUSS Netherlands Philharmonic Orchestra Marc Albrecht Chorus of Dutch National Opera Live recording by Dutch National Opera 1 RICHARD STRAUSS (1864-1949) Der Rosenkavalier Komödie für Musik in drei Aufzügen, op. 59 (Dresden 1911) Libretto: Hugo von Hofmannsthal CD 1 CD 2 Erster Aufzug Zweiter Aufzug [1] Einleitung 3:32 [1] Einleitung 0:42 [2] Wie du warst! (Octavian) 8:45 [2] Ein ernster Tag, ein großer Tag! (Faninal) 1:11 [3] Der Feldmarschall sitzt im krowatischen Wald (Octavian) 6:18 [3] In dieser feierlichen Stunde der Prüfung (Sophie) 3:38 [4] Selbstverständlich empfängt mich Ihre Gnaden (Baron) 9:07 [4] Presentation of the Rose 0:27 [5] Macht das einen lahmen Esel aus mir? (Baron) 6:18 [5] Mir ist die Ehre widerfahren (Octavian) 6:49 [6] Drei arme, adelige Waisen (Drei Waisen) 2:54 [6] Ich kenn’ Ihn schon recht wohl (Sophie) 4:04 [7] Di rigori armato il seno (Der Tenor) 5:21 [7] Jetzt aber kommt mein Herr Zukünftiger (Sophie) 8:56 [8] Mein lieber Hippolyte (Marschallin) 3:31 [8] Hab’ nichts dawider (Baron) 4:21 [9] Da geht er hin, der aufgeblas’ne, schlechte Kerl (Marschallin) 5:03 [9] Mit Ihren Augen voll Tränen (Octavian) 2:51 [10] Ach! Du bist wieder da? (Marschallin) 5:51 [10] Herr Baron von Lerchenau! (Anina, Valzacci) 14:14 [11] Die Zeit, die ist ein sonderbar’ Ding (Marschallin) 13:43 [11] Da lieg’ ich! (Baron) 11:53 total time: 70:31 total time: 59:15 2 3 CD 3 Dritter Aufzug [1] Einleitung und Pantomime 6:42 [2] Hab’n Euer Gnaden noch weitre Befehle? (Wirt) 2:32 [3] Nein, nein! I trink’ kein Wein (Octavian) 7:49 [4] Wie die Stund’ hingeht (Octavian) 4:55 [5] Halt! Keiner rührt sich! (Kommissarius) 8:34 [6] Ihre hochfürstliche Gnaden, die Frau Fürstin Feldmarschall (Wirt) 10:21 [7] Ist halt vorbei (Marschallin) 2:35 [8] Mein Gott! Es war nicht mehr als eine Farce (Sophie) 2:22 [9] Heut oder morgen oder den übernächsten Tag (Marschallin) 4:39 [10] Marie Theres’! - Hab’ mir’s gelobt, ihn lieb zu haben (Octavian - Marschallin) 6:12 [11] Ist ein Traum, kann nicht wirklich sein (Sophie - Octavian) 6:56 total time: 63:44 4 5 SOLOISTS Die Feldmarschallin Valzacchi Ein Wirt Vier Lakaien Fürstin Werdenberg Michael Laurenz Robert Wörle Jeroen de Vaal, Bas Kuijlenburg, Camilla Nylund John van Halteren, Nicolas Clemens Annina Ein Sänger Der Baron Ochs auf Lerchenau Kai Rüütel Yosep Kang Vier Kellner Peter Rose Cato Fordham, Harry Teeuwen, Ein Polizeikommissar Drei adelige Waisen Richard Meijer, Hans-Pieter Herman Octavian Scott Wilde Dana Ilia, Inez Hafkamp, Paula Murrihy Marieke Reuten Hausknecht Haushofmeister der Feldmarschallin Peter Arink Herr von Faninal Mark Omvlee Eine Modistin Martin Gantner Tomoko Makuuchi Haushofmeister bei Faninal Sophie Morschi Franz Ein Tierhändler Hanna-Elisabeth Müller Richard Prada Ein Notar Jungfer Marianne Leitmetzerin Alexander Vassiliev Irmgard Vilsmaier 6 7 NETHERLANDS PHILHARMONIC ORCHESTRA cello flute horn Marc Vossen Hanspeter Spannring Wouter Brouwer/ first violin second violin viola David Bordeleau Ellen Vergunst Sergei Dovgaliouk Olga Martinova David Peralta Alegre Janos Konrad Douw Fonda Margreet Niks Miek Laforce (concertmaster) Mintje van Lier Laura van der Stoep Jan Bastiaan Neven Stef Jongbloed Saskia Viersen Heleen Veder Odile Torenbeek Atie Aarts oboe Fred Molenaar Robert Lis Cynthia Briggs Marjolein de Waart Mariet Toon Durville Sergey Arseniev Karina Korevaar Suzanne Dijkstra van Dijk-Serpenti Rob Bouwmeester trumpet Tessa Badenhoop Mikail Makhtin Nicholas Durrant Nitzan Laster Anita Janssen Ad Welleman Armand Gouder Jos Schutjens Avi Malkin Carin Nelson Jeroen Botma de Beauregard Joanna Trzcionkowska Stephanie Steiner Rik Otto clarinet Marc Speetjens Anuschka Franken Vanessa Damanet Margrietha Isings Anjali Tanna Rick Huls Hike Graafland Sandra Merel van Schie Leon Bosch trombone Derk Lottman van Eggelen-Karres Maarten Jansen double bass Harrie Troquet Harrie de Lange Marina Malkin Irene Nas Arwen van der Burg Luis Cabrera Martin Peter Cranen Gerard Peters Paul Reijn Lotte Reeskamp João Seara Wim Hendriks Henrik Svahnström Monica Vitali Julien Beijer bassoon Philip Dingenen Ingrid van Dingstee Sorin Orcinschi Remko Edelaar tuba Marijke van Kooten Coleman Willis Peter Rikkers Dymphna van Dooremaal David Kutz Christaan Lascae Marco Behtash Jaap de Vries Catharina Ungvari Dobril Popdimitrov timpani Risto Vuolanne Theun van Nieuwburg 8 9 percussion BÜHNEMUSIK Nando Russo Hay Beurskens first violin flute bassoon Paul Lemaire Vadim Tsibulevsky Leon Berendse/ Margreet Bongers/ Martin Baai (concertmaster) Carla Meijers Hajime Konoe Barry Jurjus Liset Pennings Susan Brinkhof/ Rob van der Sterren second violin Annet Karsten Maria Kouznetsova oboe harp Hans Meijer/ horn Sandrine Chatron viola Marjolein Koning Fokke van Heel Miriam Overlach Maaike-Merel Jose Sogorb van Baarzel clarinet celesta Pierre Woudenberg trumpet Jonathan Waleson cello Koen Cuijpers Gertjan Loot/ Sebastian Koloski Herman Draaisma/ Hans van Loenen Monique Schippers double bass harmonium David Murray Gerrit Hommerson piano Kimball Huigens 10 11 CHORUS OF DUTCH NATIONAL OPERA THE PRODUCTION WAS CREATED BY: soprano Marieke Reuten bass Ineke Berends Leonie van Rheden Ronald Aijtink musical director lighting design Bernadette Bouthoorn Floor van der Sluis Peter Arink Marc Albrecht Bernd Purkrabek Jeanneke van Buul Petra Stoute Nicolas Clemens Maria van Dongen Leo Geers director dramaturgy Iris Giel tenor Jeroen van Glabbeek Jan Philipp Gloger Sophie Becker Fang Fang Kong Harrie Buijs Hans Pieter Herman Klaus Bertisch Oleksandra Lenyshyn Wim Jan van Deuveren Sander Heutinck chorus rehearsal director Tomoko Makuuchi Frank Engel Wouter Klein Ching-Lien Wu Vesna Miletic Ruud Fiselier Bas Kuijlenburg Mariette Oelderik Cato Fordham Richard Meijer set design Janine Scheepers John van Halteren Matthijs Mesdag Ben Baur Willem Korteling Wojtek Okraska alto Frank Nieuwenkamp Ian Spencer costumes Anneleen Bijnen Richard Prada Rene Steur Karin Jud Inez Hafkamp Francois Soons Harry Teeuwen Myra Kroese Jeroen de Vaal Mary de Reus Bert Visser 12 13 english deutsch nederlands synopsis libretto 14 A Worldly Caprice During the mid 18th century, there was a popular genre of painting called for a baritone and another for a graceful girl dressed up as a man, à la Farrar the capriccio. It featured imaginary topographical scenes in which various or Mary Garden. Period: the old Vienna under the Empress Maria Theresa. elements, largely architectural, were brought together as never possible in real life. They offered dazzling views and set the imagination in a spin. Strauss was delighted with the plan, particularly when he received a draft Hugo von Hofmannsthal and Richard Strauss’s Der Rosenkavalier is the of the first act, though the composer did express some doubts about the operatic equivalent, for in its re-creation of ‘the old Vienna under the subtleties of the work. ‘It really is charming beyond all measure’, he wrote to Empress Maria Theresia’ – the very period in which the genre of the capriccio his colleague, ‘so delicate, maybe a little too delicate for the general mob, flourished – it juxtaposes seemingly distinct elements, such as 18th-century but that doesn’t matter’. Hofmannsthal responded immediately: social conventions, 19th-century waltzes and 20th-century thinking. Your apprehension lest the libretto be too “delicate” does not make me The idea for the opera came from Hofmannsthal, whom Strauss had pressed nervous. Even the least sophisticated audience cannot help finding the action for another project, ideally a comedy, while they were at work on Elektra. simple and intelligible: a pompous, fat and elderly suitor favoured by the Having prevaricated for nearly a year, Hofmannsthal finally revealed the subject father has his nose put out of joint by a dashing young lover – could anything of his and Strauss’s new opera on 11 February 1909, two weeks after the be plainer? premiere of Elektra. Hofmannsthal’s modesty belies the breadth of his achievement. And he had I have spent three quiet afternoons drafting the full and entirely original found an equally acute partner in Strauss, particularly when it came to what scenario for an opera, full of burlesque situations and characters, with lively Hofmannsthal described as the work’s ‘more subtle psychological contours’. action, pellucid almost like a pantomime. […] It contains two big parts, one Yet so consummate is Strauss’s soulful music for the Marschallin, the catalyst for 16 17 the action, that it is often she, rather than Ochs and Octavian, who dominates How different to Act I, when Octavian constantly reiterated the Marschallin’s our perception of the story. For if the opera is, at least ultimately, about lyrical tones – romance aside, their opening exchanges are like teacher and Octavian’s ‘happily ever after’ with Sophie, then it also concerns the misfortune pupil, ventriloquist and puppet. In Act II, the emphasis shifts and Octavian of the Marschallin. is placed in charge. He and Sophie are revealed as kindred musical spirits, quite distinct from the buffo babblings of Ochs. And at the close of Act III, Consequently, many have belittled Sophie in defence of Octavian’s former they show themselves to be entirely at one in their lullaby-like finale, lover, though Strauss clearly intended a transition from the Marschallin to so much simpler than the chromaticism that runs through the Marschallin’s Faninal’s daughter, as evinced by the famous final trio. Octavian tries to speak, Act I monologue, ‘trickling like sands in an hourglass’. uttering the Marschallin’s name, though tellingly not using her affectionate nickname, ‘uncertain, as if he wished to follow her’. This gesture, hovering Baron Ochs is no less vividly drawn. He brings chaos into the Marschallin’s over an expectant dominant seventh, presages the Marschallin’s next line, otherwise calm home in the first scene, trailed by Italian conspirators, three which takes us seamlessly into D flat major. This most amorous of keys is, orphans, a trilling flautist, an ardent Puccini-esque tenor and a pedantic notary, however, only briefly stated, for the entry of Sophie, Octavian’s new love, in a passage more redolent of Berio than 18th-century Vienna.
Load more

Recommended publications
  • Ballades À Cor Perdu
    JEUDI 12 ET VENDREDI 13 MARS 2020 20H PMC - SALLE ÉRASME BALLADES À COR PERDU SMETANA DIRECTION La Fiancée vendue, CORNELIUS MEISTER ouverture COR MOZART STEFAN DOHR Concerto pour cor n°4 en mi bémol majeur K 495 VON ZEMLINSKY Die Seejungfrau BEDRICHˇ SMETANA (1824-1884) La Fiancée vendue, ouverture (1866) 6’ WOLFGANG AMADEUS MOZART (1756-1791) Concerto pour cor n°4 en mi bémol majeur K. 495 (1786) 17’ I. Allegro moderato II. Romanza : Andante III. Rondo : Allegro vivace ALEXANDER VON ZEMLINSKY (1871-1942) Die Seejungfrau, fantaisie d'après le conte d’Hans Christian Andersen (1905) 45’ I. Sehr mässig bewegt II. Sehr bewegt, rauschend III. Sehr gedehnt, mit schmerzvollem Ausdruck DIRECTION CORNELIUS MEISTER COR STEFAN DOHR 2 À l’origine, Stefan Dohr apprend l’alto et, après avoir entendu le célèbre corniste Hermann Baumann, il en conclut que « ce cor sonne mieux que mon alto ». Aujourd’hui, Stefan est le cor solo de l’Orchestre philharmonique de Berlin. À Strasbourg, il montrera toute l’étendue de son talent en interprétant Mozart. Cornelius Meister dirigera l’une des plus belles œuvres de Zemlinsky que l’on entend peu en concert, Die Seejungfrau (La Sirène) d’après le conte d’Andersen. Armin Jordan l’avait révélée au public strasbourgeois en 2002. 3 Smetana fut l’un des artisans de l’émergence d’une musique natio- nale tchèque et signa l’un des pre- miers chœurs en langue tchèque : La Chanson tchèque en 1860. Ce musicien-citoyen conçut son métier comme une mission patriotique, se dévouant à l’enseignement et, à partir de 1861, exclusivement au Théâtre national.
    [Show full text]
  • Introducing Tianwa Yang
    INTRODUCING TIANWA YANG “I suppose Yang’s playing can only be described as perfect, and perfect is a word I normally hate to use, because I normally think of perfection to be a myth.“ – Elaine Fine, American Record Guide INTRODUCING TIANWA YANG BIOGRAPHY Called “an unquestioned master of the violin” (American Record Guide) who “rises above her competition” (Fanfare), Tianwa Yang has quickly established herself as a leading international performer and recording artist. The young violinist, a resident of Germany and heralded by the Detroit News as “the most important violinist to come on the scene in many a year,” has debuted with such major orchestras as the Detroit, Seattle, Baltimore, Nashville, Kansas City and New Zealand Symphonies, in addition to the MDR-Sinfonieorchester-Leipzig, Bayerisches Staatsorchester, Orchestre National d’Île de France, Orchestre Philharmonique de Strasbourg, and the Hong Kong, Buffalo, BBC, Deutsche Radio, Warsaw and Royal Liverpool Philharmonics. Ms. Yang has performed under the baton of renowned conductors Marc Albrecht, Andreas Delfs, JoAnn Falletta, Giancarlo Guerrero , Günther Herbig, Yoel Levi, Carlos Miguel Prieto, Gerard Schwarz, Vassily Sinaisky amongst others. Other international engagements include those at the Ravinia Festival, Virginia’s Arts Festival, London’s Wigmore Hall, Paris’ Salle Pleyel and Leipzig’s Gewandhaus. Ms. Yang has also given live concert broadcasts from the Schwetzingen Festival, broadcast by the SWR Stuttgart, from the Berlin Philharmonic Hall, broadcast by Deutschlandradio, and from the Montpellier Festival, broadcast by Radio France. As a critically acclaimed recording artist for Naxos, Ms. Yang will soon expand her discography with the release of the complete Solo Sonatas by Eugene Ysaye.
    [Show full text]
  • Die Seejungfrau Zemlinsky
    Zemlinsky Die Seejungfrau NETHERLANDS PHILHARMONIC ORCHESTRA MARC ALBRECHT Cover image: derived from Salted Earth (2017), cling to them. Has Zemlinsky’s time come? photo series by Sophie Gabrielle and Coby Baker Little mermaid in a fin-de-siècle https://www.sophiegabriellephoto.com garment Or is the question now beside the point? http://www.cobybaker.com In that Romantic vein, the Lyric Symphony ‘I have always thought and still believe remains Zemlinsky’s ‘masterpiece’: frequently that he was a great composer. Maybe performed, recorded, and esteemed. His his time will come earlier than we think.’ operas are now staged more often, at least Arnold Schoenberg was far from given to in Germany. In that same 1949 sketch, Alexander von Zemlinsky (1871-1942) exaggerated claims for ‘greatness’, yet he Schoenberg praised Zemlinsky the opera could hardly have been more emphatic in composer extravagantly, saying he knew the case of his friend, brother-in-law, mentor, not one ‘composer after Wagner who could Die Seejungfrau (Antony Beaumont edition 2013) advocate, interpreter, and, of course, fellow satisfy the demands of the theatre with Fantasy in three movements for large orchestra, after a fairy-tale by Andersen composer, Alexander Zemlinsky. Ten years better musical substance than he. His ideas, later, in 1959, another, still more exacting his forms, his sonorities, and every turn of the 1 I. Sehr mäßig bewegt 15. 56 modernist critic, Theodor W. Adorno, wrote music sprang directly from the action, from 2 II. Sehr bewegt, rauschend 17. 06 in surprisingly glowing terms. Zemlinsky the scenery, and from the singers’ voices with 3 III.
    [Show full text]
  • MARC ALBRECHT Conductor
    MARC ALBRECHT Conductor “With Marc Albrecht, a man of the late romantic era stands on the podium, a man who perfectly balances the exact dose of the Strauss agogics […] What a Strauss dream in the open air!” – concerti, 2018 Since 2011 Marc Albrecht has been Music Director of the Dutch National Opera, the Netherlands Philharmonic and the Netherlands Chamber Orchestra. In May 2016, the National Opera Amsterdam was awarded with the International Opera Award “Opera House of the Year”. Albrecht himself received the prestigious award 2019 in the category “Conductor of the Year”. His Music Director contract has been extended until the summer of 2020. Marc Albrecht is a highly requested guest in international opera houses. In March 2013, he gave his debut at the Teatro alla Scala Milan with “Die Frau ohne Schatten” (direction: Claus Guth), and in August 2017, he was invited back to conduct “Hänsel and Gretel”. He gave guest performances at the Bayreuther Festspiele (2003-2006) with “Der fliegende Holländer” as well as Janáček’s “From the House of the Dead” at the Teatro Real in Madrid. Marc Albrecht also maintains a close relationship with the Semperoper Dresden, where he has conducted “Wozzeck”, “La Damnation de Faust” and most recently, in 2009, “Elektra”, amongst others. At the Bayerische Staatsoper, he celebrated notable success with Henze’s “Die Bassariden” (direction: Christoph Loy) in 2008 and in the subsequent year at the Royal Opera House Covent Garden with “Der fliegende Holländer”. The Theater an der Wien regularly invites him to conduct, most recently Henze’s “Der Prinz von Homburg” in 2011 and “Elegie für Junge Liebende” in 2017.
    [Show full text]
  • Philharmonia Orchestra Ducted by Valery Gergiev
    CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, November 9, 2012, 8pm Esa-Pekka Salonen (b. 1958) Zellerbach Hall Helix Composed in 2005. Premiered on August 29, 2005, in London by the World Orchestra for Peace con- Philharmonia Orchestra ducted by Valery Gergiev. Esa-Pekka Salonen, Principal Conductor & Artistic Advisor Conducting is tough, composing probably even harder, but some of the most brilliant musi- PROGRAM cians—Busoni, Mahler, Bernstein, Boulez, Previn—have pursued parallel careers in both fields that enriched all the facets of their creative Esa-Pekka Salonen (b. 1958) Helix (2005) personalities. To this select company must now be added the Finnish composer-conductor Esa- Pekka Salonen. Born in Helsinki on June 30, 1958, Salonen majored in horn at the Sibelius Ludwig van Beethoven (1770–1827) Symphony No. 7 in A major, Op. 92 Conservatory, where he founded a “collective” (1811–1812) called Ears Open for promoting and perform- I. Poco sostenuto — Vivace ing new music with Jouni Kaipainen, Magnus II. Allegretto Lindberg, and Kaija Saariaho, now all major Esa-Pekka Salonen III. Presto — Assai meno presto musical figures in Finland. After graduating IV. Allegro con brio in 1977, Salonen studied composition privately Illustration by Tom Bachtell with Einojuhani Rautavaara and conducting with Jorma Panula, and attended conducting He also continues to guest conduct concerts and INTERMISSION courses in Siena and Darmstadt; he also stud- opera throughout the world and to serve as ar- ied composition with Niccolò Castiglioni and tistic director of the Baltic Sea Festival, which Franco Donatoni in Italy. In 1979, Salonen he co-founded in 2003.
    [Show full text]
  • Gurrelieder Pleyel-ALTAMUSICA-Juin 2011
    CRITIQUES DE CONCERTS 29 juin 2011 Gurre-Lieder de Schoenberg sous la direction de Marc Albrecht à la salle Pleyel, Paris. Apothéose opératique Enthousiasme salle Pleyel à la mesure de la somptueuse interprétation des Gurre-Lieder sous la baguette de Marc Albrecht à la tête de l’Orchestre philharmonique de Strasbourg. Sur des poèmes du Danois Jens Peter Jacobsen, la cantate de Schoenberg tient en haleine pendant les deux heures de cette œuvre monumentale à tous égards. Salle Pleyel, Paris Le 25/06/2011 Claude HELLEU Deux heures d’excès magnifiques. Sous la direction précise, calme, incisive de Marc Albrecht, les effectifs démesurés de l’orchestre donnent tout à entendre des envolées d’une partition gigantesque. L’Orchestre philharmonique de Strasbourg porte le souffle épique des masses instrumentales et raffine les voix données aux pupitres – seules les flûtes, au début, restent un peu en deçà des autres vents – sans jamais faillir à la lisibilité grandiose des Gurre-Lieder , poèmes d’amour et de mort de Jens Peter Jacobsen que nous pouvons ce soir suivre surtitrés. Six solistes, trois chœurs d’hommes à quatre voix, un chœur mixte à huit voix – Chœur Philharmonique de Brno, magnifique – participent au climat palpitant de ce conte fantastique où nous allons dans une atmosphère de plus en plus inquiétante des extases amoureuses du roi du Danemark aux chasse et équipée infernales qui le puniront de son blasphème à Dieu pour avoir permis la mort de sa bien-aimée. Panthéisme, symbolisme, impressionnisme somptueusement décadent, expressionnisme soudain et saisissant en troisième partie : les narrateurs se succèdent, voix individuelles limpides sur les masses orchestrales, celles des femmes particulièrement remarquables.
    [Show full text]
  • Media – History
    Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder.
    [Show full text]
  • Schoenberg and the Gesamtkunstwerk Path to Abstraction By
    Schoenberg and the Gesamtkunstwerk Path to Abstraction by John Blythe A thesis submitted to the University of Birmingham for the degree of MA by Research in the History of Art Dept. of Art History, Curating and Visual Studies, College of Arts and Law, University of Birmingham. February 2019. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. To the technicians Tom and Marlowe Contents Lists of Figures Lists of Illustrations Introduction page 1 Schoenberg’s First Exhibitions page 3 Review of literature page 14 National Gallery Exhibition page 20 Berlinische Exhibition page 27 Richard Gerstl page 29 Schoenberg’s Jewish Antecedents page 35 Research Methodology page 43 Thesis Structure page 51 Chapter 1 Schoenberg’s fin-de-siècle Vienna and Harmonielehre. page 53 The Discourse on Synaesthesia in fin-de-siècle Vienna page 53 Austrian culture and politics page 56 Origins of Viennese Discourse on Synaesthesia page 60 A Widening Discourse page 66 Schoenberg’s Harmonielehre page 76 Honoré de Balzac’s Seraphita page 90 Summary page 92 Chapter 2: First Triad – Wagner, Schopenhauer and Schoenberg. page 94 Gesamtkunstwerk page 94 Overtones to the First Triad page 116 Gurrelieder, a new redemption page 125 Summary page 128 Chapter 3: Second Triad and the Idea of Language.
    [Show full text]
  • GUSTAV MAHLER SYMPHONY NO. 4 Netherlands Philharmonic
    GUSTAV MAHLER SYMPHONY NO. 4 Netherlands Philharmonic Orchestra Marc Albrecht Elizabeth Watts Gustav Mahler (1860-1911) Violin 1 Emmy Stoel-Mourits Atie Aarts Symphony No. 4 in G Vadim Tsibulevsky Lotte Reeskamp Rik Otto Jan Evert van Riemsdijk Heleen Veder Carin Nelson 1 Bedächtig. Nicht eilen – Recht gemächlich 16. 32 Saskia Viersen Vanessa Damanet Anjali Tanna 2 In gemächlicher Bewegung. Ohne Hast 10. 14 Robert Lis Jos Schutjens Sebastian Koloski 3 Ruhevoll (Poco adagio) 21. 42 Angela Skala Irene Nas 4 Sehr behaglich 9. 20 Hike Graafland Double Bass “Wir genießen die himmlischen Freuden” Philip Dingenen Viola Annette Zahn (Des Knaben Wunderhorn) Anuschka Franken Janos Konrad Walther van Domburg Henrik Svahnström Marjolein de Waart Sorin Orcinschi Total playing time: 57. 53 Lonneke van Straalen Michiel Holtrop Julien Beijer Marina Malkin Avi Malkin Erik Spaepen Marijke van Kooten Suzanne Dijkstra Larissa Klipp Armand Gouder de Berdien Vrijland Beauregard Stephanie Steiner Flute Nicoline van Santen Odile Torenbeek Leon Berendse Nicholas Durrant Hanspeter Spannring Violin 2 Maaike-Merel van Ellen Vergunst David Peralta Alegre Baarzel Liset Pennings Mintje van Lier Guillaume Serpenti Cello Netherlands Philharmonic Orchestra Karina Korevaar Douw Fonda Conducted by Marc Albrecht Saskia Schröeder Jan Bastiaan Neven Elizabeth Watts, soprano Cynthia Briggs Mariet van Dijk Oboe Trumpet Das himmlische Leben The Heavenly Life Toon Durville Ad Welleman (aus Des Knaben Wunderhorn) (from Des Knaben Wunderhorn) Danielle Kreeft Jeroen Botma Anita Janssen Marc Speetjens Wir genießen die himmlischen Freuden, We enjoy heavenly pleasures (English horn) D’rum tun wir das Irdische meiden. and therefore avoid earthly ones. Timpani Kein weltlich’ Getümmel No worldly tumult Clarinet Peter Elbertse Hört man nicht im Himmel! is to be heard in heaven! Rick Huls Lebt alles in sanftester Ruh’.
    [Show full text]
  • Brahms Piano Quartet Op. 25 Orchestrated by Arnold Schönberg
    SCHÖNBERG ACCOMPANIMENT TO A CINEMATOGRAPHIC SCENE BRAHMS PIANO QUARTET OP. 25 ORCHESTRATED BY ARNOLD SCHÖNBERG Netherlands Philharmonic Orchestra Marc Albrecht VIOLIN 1 Joost Cransberg CLARINET JOHANNES BRAHMS (1833-1897) Vadim Tsibulevsky Maaike-Merel van Baarzel Rick Huls settled in 1934 with his family in Los from masters and the way one can for performance by small ensembles. Saskia Viersen Judith Wijzenbeek Harrie Troquet (E-fl at clarinet) Schönberg between Piano Quartet Op. 25 Marina Malkin Berdien Vrijland Herman Draaisma (bass clarinet) Angeles, where he accepted a position apply these lessons without loss of However, these arrangements also Henrik Svahnström Nicholas Durrant Orchestrated by Arnold Schönberg Angela Skala Merel van Schie BASSOON two cultures as lecturer at the University of Southern personality.” had another purpose: Schönberg was Anuschka Franken Susan Brinkhof California and later at the University of convinced that a small ensemble would Ingrid van Dingstee CELLO Margreet Bongers 1 Allegro 14. 12 Chrisiaan Lascae Christiaan Louwens Jaap de Vries (double bassoon) “Where I am, there is German culture,” California (UCLA). Despite the above- Schönberg considered it vitally do far more justice to the structure Mascha van Sloten Jan Bastiaan Neven 2 Intermezzo - Allegro ma non troppo 8. 26 Marina Waterman Atie Aarts FRENCH HORN thus spoke the German author and mentioned remark by Thomas Mann, important to study the techniques and “aesthetic content” of the music. 3 Andante con moto 9. 44 Armand Gouder de Beauregard Anjali Tanna Wouter Brouwer Nobel Prize winner Thomas Mann on Los Angeles must have seemed like a of other composers in order to thus “Indeed, it is possible in this way to Melissa Ussery Rik Otto Sergei Dovgaliouk 4 Rondo alla zingarese - Presto 9.
    [Show full text]
  • 1912 – Ein Herausragender Dirigentenjahrgang
    1 2012 JOURNALDie Münchner Opernfreunde 31. Jahrgang Hundert Jahre kulturelle Vielfalt: 1912 – ein herausragender Dirigentenjahrgang s gibt im Lauf der Geschichte be- kita Magaloff , Kurt Drabek, Felix Pro- Carlo Ponti. Ebenso werden Welt- merkenswert aufregende Jahr- haska, Eleazar de Carvalho, Herman klasse-Sänger geboren: Martha Mödl, Egänge, und andere wiederum Strategier, Volker Gwinner, Kazuo Kathleen Ferrier, Joan Hammond, plätschern so dahin! Sind es allgemein Alfred Deller, Christel Goltz, Lorenz die Schaltjahre, spielen die Sterne eine Fehenberger, Ramon Vinay, Esther Rolle? Wer beeinfl usst das Zusammen- Rethy, Marta Eggerth, Josef Greindl. treff en vieler außergewöhnlicher Er- eignisse innerhalb eines Jahres? 1912 In diversen europäischen Opernhäu- war so ein Super-Jahr. Das chinesische sern und Konzertsälen werden urauf- Horoskop weist als Tier die Ratte aus. Warren Alan Foto: geführt: Busonis Die Brautwahl (Ham- Die Krise in Europa führte zwei Jahre burg), Ravels Daphnis et Chloé (Paris), später zum Ersten Weltkrieg; China Schrekers Der ferne Klang (Frankfurt), wird Republik, der sechsjährige Kai- Schönbergs Pierrot lunaire (Berlin), Na- ser Pu Yi verzichtet auf den ron; tanael Bergs Leila (Stockholm), Schre- die Expedition zum Südpol unter kers Das Spielwerk und die Prinzessin Robert Scott endet tragisch; die Ti- (Wien) und in Stuttgart die endgültige tanic versinkt im Nordatlantik; in Fassung von Strauss’ Ariadne auf Na- Stockholm fi nden die V. Olympischen xos. Da die Ansammlung von Pultstars Sommerspiele statt; Karl May stirbt dieses Jahrgangs besonders hervor- in Radebeul; Stuttgart eröff net das sticht, sei hier einiger ausführlicher Königliche Hoftheater; Bruno Walter gedacht: wird GMD in München; Archäologen fi nden die Büste von Nofretete, heute Sir Georg Solti im Neuen Museum in Berlin behei- wurde am 21.
    [Show full text]
  • De Nationale Opera — Nº 94 / 2014
    ODEON een uitgave van DE NATIONALE OPERA — Nº 94 / 2014 GURRE-LIEDER ARNOLD SCHÖNBERG P 6 ORFEO CLAUDIO MONTEVERDI P 14 L’ÉTOILE EMMANUEL CHABRIER P 20 BACK TO BACH HET NATIONALE BALLET P 28 LOHENGRIN RICHARD WAGNER P 32 03 REDACTIONEEL BIJ DE START VAN HET NIEUWE SEIZOEN In het eerste kwartaal van seizoen 2014-2015 brengt De Nationale Opera vier prachtige producties uit. Nieuw zijn Gurre-Lieder (Arnold Schönberg), Orfeo (Claudio Monteverdi) en L’étoile (Emmanuel Chabrier); Lohengrin (Richard Wagner) gaat in reprise. De monumentale Gurre-Lieder beleven in Amsterdam hun scenische wereldpremière in een regie van Pierre Audi. Hoe de grenzen tussen opera en dans op originele en creatieve wijze kunnen worden overschreden, blijkt daarna uit de regie en choreografie die de beroemde Sasha Waltz met haar gezel- schap Sasha Waltz & Guests heeft gemaakt voor Orfeo uit 1607 − volgens velen de eerste ‘echte’ opera. Het komische L’étoile wordt geënsceneerd door Laurent Pelly, die bij ons eerder zeer succesvol was met zijn geestige interpretatie van Prokofjevs L’amour des trois oranges. Pierre Audi’s enscene- ring van Lohengrin oogstte in 2002 grote bewondering, kort- om: hoog tijd voor een herneming! Gurre-Lieder en Lohengrin Drie vocale giganten op één podium worden muzikaal geleid door chef-dirigent Marc Albrecht, Orfeo door Pablo Heras-Casado (DNO-debuut) en L’étoile Nicolas Testé Piotr Beczala Diana Damrau door Patrick Fournillier (eveneens DNO-debuut). De Nationale Opera en Het Nationale Ballet werken steeds hechter samen. Dit zal uiteindelijk ook zijn weerslag vinden in een gezamenlijk magazine. Als voorproefje hebben wij in dit nummer een viertal pagina’s gewijd aan Back to Bach, een bijzondere productie van Het Nationale Ballet.
    [Show full text]