DOCSLIB.ORG

Der Besuch Der Alten Dame

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Der Besuch Der Alten Dame GOTTFRIED VON EINEM DER BESUCH DER ALTEN DAME Ludwig | Waechter Beirer | Hotter Premiere Performance Horst Stein 23. Mai 1971 zurückliegenden Vorstellungen ist eine musikalische Landkarte der Wiener Staatsoper entstanden, die viel von der einzigartigen Tradition und Klangkultur Es ist Eigenart des Theaters, des Musik- erkennen lässt. Und vor allem eines ein- theaters, dass es seine größte Wirkung drucksvoll unter Beweis stellt: Dass das in- stets im Unverfälschten, Nicht-Retuchier- ternational unvergleichliche Orchester, ten, im ununterbrochenen Fluss entfal- die größten Dirigenten, einzigartige Sän- ten kann. Hier entzünden sich die gro- gerinnen und Sänger, das unersetzbare ßen Sternstunden der Oper, die einzelne Ensemble jene über die Zeiten Verbin- Momente zur Geschichte werden las- dende sind, die der Wiener Staatsoper sen. Eben der Live-Charakter zeigt den in der Vergangenheit wie der Gegen- Künstler, den Menschen auf der Bühne wart einen unvergleichlichen Stellenwert in seinem wahrsten Ausdruck, und gera- unter den großen Opernhäusern einräu- de in diesem Live-Charakter liegt auch men. die besondere Kraft, die das Musikthea- ter einer oftmals perfektioniert dahinglei- Dominique Meyer tenden Welt entgegensetzen kann. Die Direktor der Wiener Staatsoper CD-Edition Wiener Staatsoper Live, die unvergessliche Aufzeichnungen aus der Geschichte des Hauses am Ring präsen- It is characteristic of theatre – of music tiert, ist ganz diesem unmittelbaren Aus- theatre – that it always unleashes its grea- druck verpflichtet: In regelmäßiger Fol- test impact in an unadulterated, unal- ge werden Live-Mitschnitte des Öster- tered, unbroken flow. Here, the great mo- reichischen Rundfunks aus dem Haus ments of opera take wing: those indivi- am Ring veröffentlicht und damit erinne- dual moments that become history. rungswürdige Aufführungen seit der Wie- When it is live, we see the truest ex- dereröffnung im Jahr 1955 für eine große pression of the artist, the human being Zuhörerschaft zugänglich gemacht. So on stage. It is precisely in the cha- können jene Abende der Wiener Staats- racter of these live moments that lies oper, die als Legende in die Geschich- the special power of music theatre in te eingegangen sind, aufs Neue erlebt the midst of a world where an easy werden. perfection seems often to dominate. Im Laufe der Jahre ist die Zahl dieser ver- The CD series Wiener Staatsoper Live, öffentlichten Einspielungen beträchtlich which presents unforgettable historical angewachsen, und im Überblick über recordings from the house on the Ring- diese so gesicherten, weiter und näher straße, is committed completely to this art of direct expression. At regular in- leurs feux, instants magiques appelés à tervals, live recordings are published rester dans l’histoire. C’est saisis sur le vif, that Austrian Radio made at the Wie- dans le feu de l’action scénique, que les ner Staatsoper. Thus a large audien- artistes, êtres de chair et de sang, ap- ce gains access to memorable perfor- paraissent dans toute leur authenticité. mances that have taken place there La force du live nous rappelle égale- since the reopening of the house in 1955. ment que le théâtre se situe bien à l’op- Those evenings at the Wiener Staatsoper posé d’un univers lisse et aseptisé. L’édi- that have become legend in the histo- tion Wiener Staatsoper Live, qui reg- ry of the art can now be experienced roupe des représentations inoubliables again anew. de la Staatsoper, en est l’exemple par- In the course of the years, the number fait: des captations réalisées par la Ra- of recordings published has grown con- diodiffusion Autrichienne se trouvent ré- siderably. The overview of these perfor- gulièrement publiées, rendant accessi- mances from recent and not-so-recent bles à un large public les plus mémo- history has created a kind of musi- rables représentations offertes par le cal map of the Wiener Staatsoper that Haus am Ring depuis sa réouverture en allows the observer to recognize much 1955. De la sorte, chaque soirée entrée of its unique tradition and musical cul- dans la légende de notre maison peut ture. And above all, it offers impressive être vécue de nouveau. proof that the Opera’s unique orchestra, Au fil des ans, le nombre de ces publi- its greatest conductors, its unique singers cations est devenu très important. Avec and its irreplaceable ensemble are what le recul, tous ces documents accumulés link the Wiener Staatsoper of the past font apparaître un paysage musical à la with the Wiener Staatsoper of today, gi- fois vaste et varié, qui se nourrit d’une ving it an incomparable position among tradition et d’un style sans équivalent. the great opera houses of the world. Une réalité s’impose également de ma- nière indiscutable: l’orchestre incompa- Dominique Meyer rable, les chefs les plus illustres, les so- Director of the Wiener Staatsoper listes d’exception, la troupe irremplaça- ble, sont les éléments qui, tous ensem- ble, ont assuré à la Wiener Staatsoper, C’est le propre du théâtre, du théâtre quelle que soit l’époque, une position musical en particulier, de pouvoir don- unique au monde. ner sa pleine mesure en direct, sans cou- pure ni retouche d’aucune sorte. Les mo- Dominique Meyer ments forts de l’opéra y brillent de tous Directeur de la Wiener Staatsoper WIENER STAATSOPER 23. Mai 1971 Uraufführung DER BESUCH DER ALTEN DAME Auftragswerk der Wiener Staatsoper Oper in drei Akten Libretto: Friedrich Dürrenmatt Musik von GOTTFRIED VON EINEM Die Besucher: Claire Zachanassian, geborene Wäscher, Multimillionärin...................................................... Christa Ludwig Gatte VII . Wolfgang Peschel Gatte IX . Elmar Breneis Der Butler . Heinz Zednik Toby Kaugummi ..................................... Erich Trachtenberg Roby kauend ............................................... Klaus Peters Loby . Fritz Sperlbauer blind Koby .................................................. Karl Terkal Die Besuchten: Ill . Eberhard Waechter Seine Frau . Emmy Loose Seine Tochter.............................................. Ana Higueras-Aragon Sein Sohn . Ewald Aichberger Der Bürgermeister . Hans Beirer Der Pfarrer ..................................................... Manfred Jungwirth Der Lehrer . Hans Hotter Der Arzt....................................................... Siegfried Rudolf Frese Der Polizist ........................................................ Alois Pernerstorfer Erste Frau .................................. Laurence Dutoit Zweite Frau . Margareta Sjöstedt Kunden Hofbauer ......................................... Kurt Equiluz Helmesberger . Harald Pröglhöf Die Sonstigen: Bahnhofsvorstand . Hans Christian Zugführer . Hans Braun Kondukteur . Franz Machala Pressemann..................................................... Wilhelm Lenninger Kameramann . Hans Braun Eine Stimme . Julius Suchey Chor und Orchester der Wiener Staatsoper HORST STEIN CD 1 74’17 Erster Akt 1 Einleitung Bahnhof I 3’30 „Die Gudrun” – Hamburg Neapel Chor ∙ Kondukteur 2 Mit dem einuhrdreizehn Personenzug von Kalberstadt 5’00 Bürgermeister ∙ Pfarrer ∙ Lehrer ∙ Ill ∙ Chor 3 Ist hier Güllen? 2’13 Claire ∙ Zugführer ∙ Ill ∙ Lehrer ∙ Chor ∙ Pfarrer ∙ Bürgermeister 4 Verehrte, gnädige Frau 3’59 Bürgermeister ∙ Claire ∙ Ill 5 Gnädige Frau 4’25 Lehrer ∙ Claire ∙ Bürgermeister ∙ Polizist ∙ Ill ∙ Pfarrer ∙ Chor 6 Wir sind in Güllen. Wir riechen’s 1’53 Koby ∙ Loby ∙ Polizist 7 Zwischenspiel I – Konradsweilerwald I 5’45 Wir sind Fichten, Föhren, Buchen Chor ∙ Claire Der Konradsweilerwald,Koby und Loby, haltet mal an. Claire ∙ Koby ∙ Loby ∙ Ill 8 Ich schätze Zigarren. 7’02 Claire ∙ Ill · Koby ∙ Loby 9 Zwischenspiel II – Goldener Apostel 0’36 10 Der Beifallssturm gilt Ihnen, verehrte gnädige Frau 3’51 Bürgermeister ∙ Claire ∙ Arzt ∙ Ill 11 Gnädige Frau, meine lieben Güllener. 3’43 Bürgermeister 12 Bürgermeister, Güllener. Eure selbstlose Freude 6’51 Claire ∙ Bürgermeister ∙ Ill ∙ Butler ∙ Lehrer ∙ Koby ∙ Loby 13 Es ist so. – Verjährt, alles verjährt! 4’26 Claire ∙ Ill ∙ Butler ∙ Bürgermeister Zweiter Akt 14 Einleitung – Spezereihandlung I 2’31 Kränze. – Jeden Morgen bringen sie die Ill ∙ Sohn ∙ Tochter ∙ Hofbauer 15 Milch, Herr Ill. 4’34 Erste Frau ∙ Zweite Frau ∙ Ill ∙ Helmesberger ∙ Hofbauer 16 Zwischenspiel III – Sakristei 0’53 17 Treten Sie ein, Ill, in die Sakristei. 6’44 Pfarrer ∙ Ill 18 Zwischenspiel IV – Bahnhof II 6’06 Grüß Gott, Ill Bürgermeister ∙ Chor ∙ Ill ∙ Polizist ∙ Arzt ∙ Lehrer Bahnhofsvorstand CD 2 61’18 Dritter Akt 1 Einleitung – Petersche Scheune 5’28 Der Arzt und der Lehrer – Sollen hereinkommen. Butler ∙ Claire ∙ Lehrer ∙ Arzt 2 Frau Zachanassian. Reden wir offen miteinander. 2’04 Lehrer ∙ Arzt ∙ Claire 3 Es war Winter einst, als ich dieses Städtchen verließ 4’50 Claire ∙ Lehrer ∙ Arzt 4 Zwischenspiel V – Spezereihandlung II 1’03 5 Alles neu. Modern wie dies jetzt bei uns aussieht. 2’16 Ill ∙ Tochter ∙ Sohn ∙ Frau Ill 6 Guten Abend, Ill 5’01 Bürgermeister ∙ Ill 7 Bürgermeister! Ich bin durch eine Hölle gegangen. 4’26 Ill ∙ Bürgermeister ∙ Frau Ill ∙ Tochter ∙ Sohn 8 Zwischenspiel VI – Konradsweilerwald II 0’56 9 Wir sind Fichten, Föhren, Buchen. 6’27 Chor ∙ Claire ∙ Ill 10 Du hattest – ich meine, wir hatten ein Kind. 3’08 Ill ∙ Claire 11 Ich danke Dir für die Kränze 6’16 Ill ∙ Claire ∙ Gatte IX 12 Zwischenspiel VII – Theatersaal 0’52 13 Ich heiße die Gemeinde von Güllen willkommen 4’57 Bürgermeister ∙ Lehrer ∙ Hofbauer ∙ Helmesberger ∙ Chor 14 Alfred Ill, ich habe an Sie eine Frage 2’45 Bürgermeister ∙ Ill ∙ Ensemble ∙ Chor 15 Schade. Herr Bürgermeister. Die Beleuchtung
Load more

Recommended publications
  • Einem Gottfried
    EINEM VON GOTTFRIED Compositore austriaco (Berna 24 I 1918 - Waldviertel 12 VII 1966) Dapprima autodidatta, Gottfried von Einem studiò con Boris Blacher e sviluppò in seguito un equilibrato linguaggio musicale. Nel 1938 iniziò la sua carriera come istruttore di canto all'Opera di Berlino e come assistente al Festival di Bayreuth. Durante il nazionalsocialismo venne più volte arrestato. Dopo la guerra Einem rivestì varie funzioni sia al Festival di Salisburgo, sia alle Festwochen di Vienna. Dal 1963 al 1972 insegnò alla Musikhochschule di Vienna, dal 1964 fu membro della Akademie der Kunste di Berlino e dal 1965 al 1970 presidente dell'Akademie fur Musik austriaca. 1 DANTONS TOD Di Gottfried von Einem (1918-1996) libretto proprio e di Boris Blacher, dal dramma di Georg Büchner (La morte di Danton) Opera in due atti e sei quadri Prima: Salisburgo, Felsenreitschule, 6 agosto 1947 Personaggi: Georges Danton (Bar); Julie, sua moglie (Ms); Camille Desmoulins e Jean Hérault de Séchelles, deputati (T); Lucille, moglie di Camille (S); Maximilien Robespierre (T); Saint-Just (B); Simon, suggeritore (B); due becchini (T); una dama (S); una popolana (A); uomini e donne del popolo In Dantons Tod non si saluta solo un esordio teatrale particolarmente felice, tanto da decretare all’autore fama subitanea, ma anche l’inizio della consuetudine salisburghese (mai più abbandonata) di inserire ogni anno nel Festival un’opera contemporanea in ‘prima’ assoluta. Il soggetto di Büchner venne scelto sull’onda emotiva suscitata dal fallito attentato a Hitler nel 1944; ad approntare la versione ridotta fu Boris Blacher, maestro di Einem e futuro dedicatario dell’opera.
    [Show full text]
  • Download Booklet
    Richard Wagner (181 –188) Library The Mastersingers of Nuremberg Photo Music drama in three acts Arts & Libretto by the composer, English translation by Frederick Jameson, Music revised by Norman Feasey and Gordon Kember agner Hans Sachs, cobbler Norman Bailey bass-baritone Lebrecht © Veit Pogner, goldsmith Noel Mangin bass W Kunz Vogelgesang, furrier David Kane tenor Konrad Nachtigal, tinsmith Julian Moyle bass Sixtus Beckmesser, town clerk Derek Hammond-Stroud baritone Fritz Kothner, baker David Bowman bass Balthasar Zorn, pewterer John Brecknock tenor Ulrich Eisslinger, grocer David Morton-Gray tenor Augustin Moser, tailor Mastersingers Dino Pardi tenor Hermann Ortel, soapmaker James Singleton bass CHARD Hans Schwarz, stocking weaver Gerwyn Morgan bass Hans Foltz, coppersmith Eric Stannard bass RI Walther von Stolzing, a young knight from Franconia Alberto Remedios tenor David, Sachs’ apprentice Gregory Dempsey tenor Eva, Pogner’s daughter Margaret Curphey soprano Magdalene, Eva’s nurse Ann Robson mezzo-soprano Nightwatchman Stafford Dean bass Sadler’s Wells Opera Chorus Sadler’s Wells Opera Orchestra Leonard Hancock assistant conductor Reginald Goodall COmpacT DISC ONE Time Page Time Page 1 Prelude 10: �p ��� ��� 11 ‘By silent hearth, one winter’s day’ 9:01 �p 91� Walther, Sachs, Beckmesser, Kothner, Vogelgesang, Nachtigal Act I 12 ‘To make your footsteps safe and sure’ :22 �p 99�� 2 ‘As to thee our Saviour came’ :00 �p ��� ��� Kothner, Walther, Beckmesser Congregation TT 74:34 3 ‘Oh stay! A word! one single word!’ 9:� �p ��� ���
    [Show full text]
  • Toccata Classics TOCC 0125 Notes
    P ERNEST KRENEK: MUSIC FOR CHAMBER ORCHESTRA by Peter Tregear The Austrian-born composer Ernst Krenek (1900–91) has been described, with good reason, as a compositional ‘companion of the twentieth century’.1 Stretching over seventy years of productive life, his musical legacy encompasses most of the common forms of modern western art music, from string quartets and symphonies to opera and electronic music. Moreover, it engages with many of the key artistic movements of the day – from late Romanticism and Neo- classicism to abstract Expressionism and Post-modernism. The sheer scope of his music seems to reflect something profound about the condition of his turbulent times. The origins of Krenek’s extraordinary artistic disposition are to be found in the equally extraordinary circumstances into which he was born. He came to maturity in Vienna in the dying days of the First World War and the Austro-Hungarian Empire and, with its collapse in 1919, the cultural norms that had nurtured Vienna’s enviable musical reputation all but disappeared. In addition, by this time, new forms of transmission of mass culture, such as the wireless, gramophone and cinema, were transforming the ways and means by which cultural life could be both propagated and received. As an artist trying to come to terms with these changes, Krenek was doubly fortunate. Not only was he generally recognised as one of the most gifted composers of his generation; he was also an insightful thinker about music and its role in society. Right from the moment in 1921 when, in the face of growing tension between himself and his composition teacher Franz Schreker, he set out on a full-time career as a composer, he determined that he would be more than just as a passive reflector of the world around him; he would be both its witness and conscience.
    [Show full text]
  • Dietrich Fischer-Dieskau, Polar Music Prize Laureate 2005 Fischer
    Dietrich Fischer-Dieskau, Polar Music Prize Laureate 2005 Fischer-Dieskau´s talent for music was manifest at an early age. He took piano lessons and started to study singing in 1941 with Prof. Georg A. Walter. The following year he became a student of Prof. Hermann Weissenborn at the College of Music in Berlin. His first public appearance took place in 1942 at the church hall in Berlin- Zehlendorf, where he sang Schubert´s Winterreise with interruptions for air-raid warnings. After graduating from high school in 1943 he was called up for military service and spent the time until 1947 as a prisoner of war in Italy. There he continued with his singing studies on his own. He resumed his studies with Prof. Weissenborn during the years 1947-48. His real career as a singer began in 1947 when, without prior rehearsal, he substituted for a soloist who had taken ill, in Brahms´ “Ein Deutsches Requiem” in Badenweiler. His official debut as a singer took place in the autumn of 1947 with a song recital in Leipzig, and shortly after that he made a successful appearance at the Titania Palace in Berlin. In the same year he made his first phonograph recording of “Winterreise”. In the autumn of 1948 he was engaged as a lyric baritone at the Städtische Oper in Berlin, where his first appearance, as Posa in Verdi´s opera “Don Carlos” under the baton of Ferenc Fricsay, aroused a great deal of public attention. Then there were guest performances at the opera houses in Vienna and Munich, and from 1951 on also in England, Holland, Switzerland, France and Italy.
    [Show full text]
  • Gottfried Von Einem World Premiere: 18 May 1980 Theater an Der Wien, Wien, Austria Giancarlo Del Monaco, Director; Theater an Der Wien Conductor: David Shallon
    9790202514177 Pocket or Study Score Gottfried von Einem World Premiere: 18 May 1980 Theater an der Wien, Wien, Austria Giancarlo del Monaco, director; Theater an der Wien Conductor: David Shallon Kabale und Liebe op. 44 (Intrigue and Love) 1974-75 2 hr 15 min Opera in two acts (nine scenes) Gottfried von Einem photo © Werner Neumeister 2S,2M,heldT,3T,2Bar,2BBar; 2(II=picc).2.2.2-2.2.1.0-timp-strings 9790060019470 (Vocal Score) (German) OPERAS 9790060019487 Libretto (German) 9790060019463 Study Score - Hawkes Pocket Score 906 Der Besuch der alten Dame op. 35 (The Visit of the Old Lady) World Premiere: 17 Dec 1976 1968-70 2 hr 10 min Staatsoper, Wien, Austria Otto Schenk, director; Wiener Staatsoper Opera in three acts Conductor: Christoph von Dohnányi Major roles: M,heldT,Bar; minor roles: 2S,lyrS,M,8T,3Bar,3BBar,2B,speaker,mime; chorus; Luzifers Lächeln op. 110 2.picc.2.2.2-4.3.3.1-timp.perc:tamb/cyms/SD/TD/BD/tam-t/gong/tgl-gtr-strings; On-stage: 2bells,station bell,firebell (Lucifer’s Smile) 9790060019371 Libretto (English) 1996 1 hr 10 min Availability: This work is available from Boosey & Hawkes for the world Chamber opera in twenty scenes 9790060019340 (Vocal Score) (German) S,M,2T,Bar,BBar(mime),2speakers; 9790060019357 (Vocal Score) (English, German) 2.0.2.2-2.2.2.0-perc-gtr-strings 9790060019333 Study Score - Hawkes Pocket Score 882 World Premiere: 04 Feb 1998 World Premiere: 23 May 1971 Kammeroper, Wien, Austria Staatsoper, Wien, Austria Josef E. Köpplinger, director; Wiener Kammeroper, Österreichische Otto Schenk, director; Wiener Staatsoper Kammersymphoniker Conductor: Horst Stein Conductor: Peter Keuschnig Availability: This work is available from Boosey & Hawkes for the world Jesu Hochzeit op.
    [Show full text]
  • FRANZ WELSER-MÖST Geistliche Sonate · Stundenlied
    VON EINEM PhiladelPhia ILDIKO RAIMONDI · GABOR BOLDOCZKI SymPhonie IVETA APKALNA WIENER PHILHARMONIKER FRANZ WELSER-MÖST Geistliche Sonate · Stundenlied GOTTFRIED VON EINEM (1918 –1996) Philadelphia Symphonie op. 28 16’23 1 Allegro giusto 3’47 2 Andante 5’36 3 Allegro vivace 7’00 Geistliche Sonate 15’50 für Sopran, Trompete und Orgel op. 38* 4 Allegro 5’29 5 Molto andante 2’49 6 Moderato 2’38 7 Andante – Allegro – Andante - Allegro 3’56 Stundenlied 35’59 für gemischten Chor und Orchester op. 26 Text von Bertolt Brecht 8 I Als er aus dem Tempel stracks die Händler 3’17 ausgewiesen 9 II In der ersten Tagesstund war der Herr 4’00 bescheiden 10 III Um zwei, wenn die Sonn’ das All noch einmal 4’06 beschienen 11 IV Um drei ward der Gottessohn mit Geißeln 3’54 geschmissen 12 V Uns hat eine Ros’ ergetzet 4’30 13 VI Um vier hat ihm eine Frau ihr Brusttuch 2’10 angeboten 14 VII Um sechs ward er nackt und bloß ans Kreuz 5’50 geschlagen 15 VIII Jesus schreit zur neunden Stund, 5’28 klaget sich verlassen 16 IX Da hat man zur Vesperzeit der Schech’r Bein 2’41 zerbrochen Ildikó Raimondi · Sopran* Gábor Boldoczki · Trompete* Iveta Apkalna · Orgel* Singverein der Gesellschaft der Musikfreunde Wien WIENER PHILHARMONIKER FRANZ WELSER-MÖST Gottfried von Einem wurde 1918 in er bei Blacher Kompositionsunter - Bern geboren, als Sohn des Mili - richt genommen hatte. Zwei Jahre tärattachés an der dortigen k.u.k. später wurde ihr Sohn Caspar ge - österreichisch-ungarischen Bot- boren. Vier Jahre nach Liannes Tod schaft, William von Einem, und des - 1962 heiratete er die Schriftsteller- sen Gattin Gerta Louise, geb.
    [Show full text]
  • Lisa Della Casa
    90 Jahre Salzburger Festspiele, 60 Jahre Großes Festspielhaus – wie nähert man sich diesem © Wien Fayer, Jubiläum in einer Zeit an, die nach Superlativen ruft? Noch einmal die historischen Anfänge feiern? Zum x-ten Male alles Revue passieren lassen? Noch einmal Erfolge, glänzende Premieren und mitreißende musikalische Triumphe bebildern? lisa della casa 90 years of the Salzburg Festival, 60 years of the Great Festival Hall – how do you acknowledge these anniversaries in a time which calls for superlatives? Celebrate their historical beginnings once again? Look back on the past for the umpteenth time? Relive successes, glittering premieres and thrilling musical triumphs yet again? TExT: dEREk wEbER PhoToS: ARchiv dER SAlZbuRGER FESTSPiElE/ARchivE SAlZbuRG FESTivAl 120 salon Salon10_02_LisaDellaCasa_050710.indd 120 14.07.10 14:31 Der Rosenkavalier, 1960 Salon10_02_LisaDellaCasa_050710.indd 121 14.07.10 14:31 © Fayer, © Wien Fayer, unter den vielen Namen, welche die Festspiele prägten, gibt es einen, der ihre Geschichte auf besondere weise erzählt, authentisch, durch sich selbst, durch einen stillen Glanz, den man den „wahren“ nennen möchte, weil er ohne Glamour- Seitenblicke auskam. Noch heute steht dieser Name, der sich auch auf dem besetzungszettel der Eröffnungspremiere im Großen Festspielhaus vom Sommer 1960 findet, für schlichte Eleganz, stimmige bühnenpräsenz und eine gesangliche Perfektion, der zugleich menschliche wärme eigen war. „die leibhaftige Poesie“ hat ein kritiker sie einmal genannt. lisa della casa ist heute über 90 Jahre alt. ihr letzter bühnen- auftritt liegt mehr als 35 Jahre zurück; sie lebt zurückgezo - gen mit ihrer Familie auf jenem Schweizer Schloss in der Nähe des bodensees, das sie zusammen mit ihrem Mann vor 60 Jahren erwarb.
    [Show full text]
  • The University Musical Society of the University of Michigan
    The University Musical Society of The University of Michigan Presents THE VIENNA SYMPHONY ORCHESTRA JOSEF KRIPS, Conductor SUNDAY AFTERNOON, MARCH 19, 1972, AT 2:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PRO G RAM Symphony No. 94 in G major ("Surprise") HAYDN Adagio cantabile, vivace assai Andante Menuetto, allegro molto Allegro di molto Concerto for Orchestra, Op. 4 VON EINEM Allegro Larghetto Allegro INTERMISSION Symphony No.9 in C major ("The Great") SCHUBERT Andante; allegro non troppo Andante con moto Scherzo: allegro vivace Finale: allegro vivace Epic, Vox, Westminster, Deutsche Grammophon, Mercury & Philips, Lyric, Everest, Richmond, Bach Guild, Turnabout, Desto, and Music Guild Records The Vienna Symphony has previously appeared in Ann Arbor on February 20, 1964, and October 19, 1967. Mr. Krips is conducting here for the first time. Ninth Concert Ninety-third Annual Choral Union Series Complete Programs 3768 PROGRAM NOTES Symphony No. 94 in G. major ("Surprise") FRANZ JOSEPH HAYDN The "Surprise" Symphony was composed in 1791. The name, of course, comes from the fortissimo in the second movement which effects a sudden sharp contrast with what has gone before. It is the second in the series of twelve great symphonic masterpieces which Haydn wrote for the Salomon concerts, so called after the impresario who had sought out Haydn in Vienna after the death of Haydn's lifelong patron, Count Esterhazy. Adagio cantabile, vivace assai. As in all the "Salomon" symphonies except one, this work begins with a slow introduction, a sort of generalized prologue in which Haydn seems to invite his hearers to reflect for a moment on the seriousness of the symphonic enterprise just before speeding off on a typical opening movement with all its jollity and good spirit.
    [Show full text]
  • Gottfried Von Einem’S Spirit, Which Found Its Expression in an Gottfried Von Einem Oeuvre That Encompasses All Genres
    richness of Gottfried von Einem’s spirit, which found its expression in an Gottfried von Einem oeuvre that encompasses all genres. _Harald Kunz, 1998_ Gottfried von Einem photo © Werner Neumeister __An introduction to Einem’s music by Harald Kunz__ _A Declaration of Belief in Tradition_ Now that modern music has aged, the Avant-garde is history, and Post Modernism established, it is no longer considered a crime to declare one’s belief in traditions, to carry them forward and develop them further. Gottfried von Einem, who had the reputation of being too modern in his youth, was certainly no conservative, backward-looking traditionalist in later life. In his oeuvre, he unquestionably had his finger on the pulse of the times. For the performers of his works and his audience alike, his music was contemporary and alive. Yet Gottfried von Einem’s music was never modern in the sense of being modish – he did not embrace short-lived fashions but rather followed his craftsman’s skill and well-informed creative powers that were imbued with his extraordinary personality. With a solid traditional foundation, the unique personal quality in von Einem’s music appears as a refreshing contrast to the familiar; as a surprise impetus for a new auditory experience. Gottfried von Einem believed that it is only possible to experience the unexpected as new when it is presented against the background of music which seems familiar to a listener. If exclusively new elements are employed, this leads to a dulling of receptiveness to what is new and may even result in boredom.
    [Show full text]
  • CHAN 3054 Book Cover.Qxd 25/7/08 11:22 Am Page 1
    CHAN 3054 book cover.qxd 25/7/08 11:22 am Page 1 CHANDOS O PERA IN ENGLISH CHAN 3054(3) PETE MOOES FOUNDATION CHAN 3054 BOOK.qxd 25/7/08 11:30 am Page 2 (1813–1883) AKG Richard Wagner The Rhinegold Preliminary Evening to the Festival Play The Ring of the Nibelung Music drama in four scenes Poem by Richard Wagner English translation by Andrew Porter Gods Wotan ............................................................................................Norman Bailey bass-baritone Donner................................................................................................Norman Welsby baritone Froh ........................................................................................................Robert Ferguson tenor Loge ..........................................................................................................Emile Belcourt tenor Giants Fasolt..............................................................................................................Robert Lloyd bass Fafner ..........................................................................................................Clifford Grant bass Richard Wagner 3 CHAN 3054 BOOK.qxd 25/7/08 11:30 am Page 4 Nibelungs Alberich ................................................................................Derek Hammond-Stroud baritone Mime ....................................................................................................Gregory Dempsey tenor Goddesses Fricka..........................................................................................Katherine
    [Show full text]
  • Gesänge Des Orients
    Gesänge des Orients Simon Wallfisch baritone Edward Rushton piano Viktor Ullmann Gottfried von Einem Pavel Haas Egon Wellesz Richard Strauss Hans Gál Photo:Renate Berger Edward Rushton & Simon Wallfisch http://www.simonwallfisch.com/ http://organza.ch/edward-rushton.html 20 NI 5971 NI 5971 1 Gesänge des Orients cosmopolitan musical idiom that owes a great deal to his teacher Boris Blacher as well as to Stravinsky and Hindemith, but also as a result of his courageous protection of a Jewish musician colleague in wartime Berlin. The two cycles of Hafis and Chinese Songs, composed Simon Wallfisch, baritone Edward Rushton, piano around the period when his first opera Dantons Tod was successfully premiered at the Salzburg Festival, are terse, often dissonant and spare in expression, perhaps indicative of the climate Viktor Ullmann (1898-1944) of austerity that characterised the period. What marks them out as exceptional achievements 1 Liederbuch des Hafis Op. 30 (1940) 8.16 are the brilliant and wide-ranging characterisation of the vocal writing, as well as von Einem’s uncanny capacity to invent strongly distinctive thematic material perfectly matching the Hafiz Song-book (Hafiz, trans. Hans Bethge) contrasting moods of the poems. 1 Vorausbestimmung (Preordination) Erik Levi, 2018 2 Betrunken (Drunk) 3 Unwiderstehliche Schönheit (Irresistible Beauty) 4 Lob des Weines (In Praise of Wine) Gottfried von Einem (1918-1986) Acht Hafis-Lieder Op. 5 (1947) 4.56 Eight Hafiz-songs (Hafiz, trans. Bethge) 2 1 Wahrlich, du bist ein kecker Dieb (In Truth,
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 74, 1954-1955, Subscription
    SYMPHONY HALL, BOSTON Telephone, Commonwealth 6-1492 SEVENTY-FOURTH SEASON, i954-!955 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1954, BY BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES or the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President . Vice-President Jacob J. Kaplan Richard C. Paine . Treasurer Talcott M. Banks, Jr. C. D. Jackson John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Charles H. Stockton Francis W. Hatch Edward A. Taft Harold D. Hodgkinson Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Thomas D. Perry, Jr., Manager G. Rector J Assistant Assistant W. J. J. Brosnahan, Treasurer N. S. Shirk \ Managers Rosario Mazzeo, Personnel Manager [433] THE LIVING TRUST How It Benefits You, Your Family, Your Estate Unsettled conditions . new inventions . political changes . interest rates and taxes, today make the complicated field of in- vestments more and more a province for specialists. Because of this, more and more men and women, with capital to invest and estates to manage, are turning to the Living Trust. WHAT IT IS The Living Trust is a Trust which you establish to go into effect during your lifetime, as part of your overall estate plan, and for the purpose of receiving professional management for a specified portion of your property. It can be arranged for the benefit of yourself, members of your family, or other individuals or charities —and can be large or small.
    [Show full text]