Soile Isokoski, 1 Das Rosenband, Op
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Richard Strauss (1864-1949) Richard Strauss Orchestral Songs Soile Isokoski, 1 Das Rosenband, Op. 36/1, Klopstock 2:56 soprano 2 Ich wollt ein Sträusslein binden, Op. 68/2, Brentano 3:31 Vier letzte Lieder Rundfunk- 3 Säusle, liebe Myrte, Op. 68/3, Brentano 4:53 Four Last Songs Sinfonieorchester Berlin 4 Als mir dein Lied erklang, Op. 68/4, Brentano 3:51 5 Befreit,Op. 39/4, Dehmel 5:29 Rainer Wolters, concertmaster 6 Ruhe, meine Seele!, Op. 27/1, Henckell 4:06 Marek Janowski, 7 Wiegenlied, Op. 41/1, Dehmel 3:43 conductor 8 Meinem Kinde, Op. 37/3, Falke 2:45 9 Zueignung, Op. 10/1, von Gilm zu Rosenegg 1:35 10 Morgen!, Op.27/4, Mackay 3:35 11 Die heiligen drei Könige aus Morgenland, Op. 56/6, Heine 6:09 Soile Isokoski Vier letzte Lieder, Op. posth. 20:51 12 Frühling, Hesse 2:59 Rundfunk 13 September, Hesse 4:52 Sinfonieorchester © Universal Edition (1, 6, 8-10) 14 Beim Schlafengehen, Hesse 4:58 © Fürstner (2-4) Berlin © Rob. Forberg – P. Jurgenson (5) © F.E.C. Leuckart (7) 15 Im Abendrot, von Eichendorff 7:41 © Boosey & Hawkes (11-15) ODE 982-2 [64:24] Marek Janowski 982 booklet 20/12/01 13:06 Sivu 2 G Few composers have left the world Mahler had left off. While Strauss song and arranged for piano accom- song when Pauline was pregnant. Two with such a radiant farewell as originally wrote most of his songs paniment later in the same year. years later, he wrote another fine and Richard Strauss (1864-1949) did in with piano accompaniment, in Sometimes the long delay between well-loved lullaby, Wiegenlied (1899, his Vier letzte Lieder (1948). Strictly orchestrating them he managed to the original version and the orchestrated 1900), where a wonderful speaking, they were not really his last give them a new, independent guise orchestration had a profound impact melody merges with an almost compositions – he completed the little- often surprisingly different from the on the nature of the song. Ruhe, insubstantially delicate orchestration. known Malven in November in the same original version. Besides, Strauss’s meine Seele! was written in 1894 and Strauss was very much a down-to- year – but they can easily be construed melodic writing is often on a grand orchestrated in 1948, over half a earth person, and spiritual matters as a sort of spiritual testament. They scale that almost begs for an orchestral century later. In the meantime, both remained somewhat alien to him. One represent the culmination of his backing. the Strauss’s world and his view of it of the few religious pieces in his output spectacular career as a vocal composer, Strauss achieved mastery as a vocal had changed fundamentally. In the is the devout Die heiligen drei Könige a career that lasted throughout his composer in his twenties in the mid- orchestral version, the sombre and aus Morgenland (1906), narrating the long and prolific life: Strauss actually 1880s. The nine songs in op. 10 belong serious tones of the song are deeper Adoration of the Magi. After this song, 2 wrote his first song at the age of six, to this period. They were earlier dated than they were originally, and the it took over ten years for him to write 3 and when he died in September 1949, to 1882-83, but it has subsequently lyrics had acquired a wholly new his next songs, opp. 66-69 (1918). The he left a sketch for an unfinished vocal emerged that they were in fact written meaning for the composer, who had six songs of op. 68, very varied in mood, work on his desk. in 1885. The voluptuously melodic lived through war and was approaching are settings of texts by Clemens Strauss gained a close and faithful Zueignung that opens the opus is one death. Ruhe, meine Seele! is contained Brentano. The three melodically rich interpreter for his songs when he of Strauss’s most popular songs, yet in op. 27, which Strauss wrote as a songs from the opus featured on this married soprano singer Pauline de he did not orchestrate it until 1940. wedding present for his wife Pauline. disc were orchestrated by Strauss in Ahna in September 1894. In fact, he Certain other songs also had to wait a The opus includes more positive 1940. wrote most of his songs for soprano long time before finding a new life in feelings too: a confident world view is Vier letzte Lieder, the epitome of voice, having an exceptionally profound an orchestral guise. For example, the reflected in Morgen!, a sensitively Strauss’s vocal output, was completed understanding of its potential. Strauss’s intensive and introvert song of parting sketched song that is one of Strauss’s between May and September, 1948. vocal writing was at its most brilliant Befreit was written in 1898 but not most concise (1894, orchestrated 1897). The order in which the songs are when he combined the soprano voice orchestrated until 1933. The glowing His family inspired him to write the performed is different from that in with his other great love, the orchestra. romantic love song Das Rosenband bright lullaby Meinem Kinde (1897), which they were completed; the work As a composer of orchestral songs, he (1897), on the other hand, was exceptionally scored for a small was not given its present ordering continued from where Berlioz and originally conceived as an orchestral chamber ensemble; Strauss wrote this until it was printed in 1950. The title 982 booklet 20/12/01 13:06 Sivu 2 G Few composers have left the world Mahler had left off. While Strauss song and arranged for piano accom- song when Pauline was pregnant. Two with such a radiant farewell as originally wrote most of his songs paniment later in the same year. years later, he wrote another fine and Richard Strauss (1864-1949) did in with piano accompaniment, in Sometimes the long delay between well-loved lullaby, Wiegenlied (1899, his Vier letzte Lieder (1948). Strictly orchestrating them he managed to the original version and the orchestrated 1900), where a wonderful speaking, they were not really his last give them a new, independent guise orchestration had a profound impact melody merges with an almost compositions – he completed the little- often surprisingly different from the on the nature of the song. Ruhe, insubstantially delicate orchestration. known Malven in November in the same original version. Besides, Strauss’s meine Seele! was written in 1894 and Strauss was very much a down-to- year – but they can easily be construed melodic writing is often on a grand orchestrated in 1948, over half a earth person, and spiritual matters as a sort of spiritual testament. They scale that almost begs for an orchestral century later. In the meantime, both remained somewhat alien to him. One represent the culmination of his backing. the Strauss’s world and his view of it of the few religious pieces in his output spectacular career as a vocal composer, Strauss achieved mastery as a vocal had changed fundamentally. In the is the devout Die heiligen drei Könige a career that lasted throughout his composer in his twenties in the mid- orchestral version, the sombre and aus Morgenland (1906), narrating the long and prolific life: Strauss actually 1880s. The nine songs in op. 10 belong serious tones of the song are deeper Adoration of the Magi. After this song, 2 wrote his first song at the age of six, to this period. They were earlier dated than they were originally, and the it took over ten years for him to write 3 and when he died in September 1949, to 1882-83, but it has subsequently lyrics had acquired a wholly new his next songs, opp. 66-69 (1918). The he left a sketch for an unfinished vocal emerged that they were in fact written meaning for the composer, who had six songs of op. 68, very varied in mood, work on his desk. in 1885. The voluptuously melodic lived through war and was approaching are settings of texts by Clemens Strauss gained a close and faithful Zueignung that opens the opus is one death. Ruhe, meine Seele! is contained Brentano. The three melodically rich interpreter for his songs when he of Strauss’s most popular songs, yet in op. 27, which Strauss wrote as a songs from the opus featured on this married soprano singer Pauline de he did not orchestrate it until 1940. wedding present for his wife Pauline. disc were orchestrated by Strauss in Ahna in September 1894. In fact, he Certain other songs also had to wait a The opus includes more positive 1940. wrote most of his songs for soprano long time before finding a new life in feelings too: a confident world view is Vier letzte Lieder, the epitome of voice, having an exceptionally profound an orchestral guise. For example, the reflected in Morgen!, a sensitively Strauss’s vocal output, was completed understanding of its potential. Strauss’s intensive and introvert song of parting sketched song that is one of Strauss’s between May and September, 1948. vocal writing was at its most brilliant Befreit was written in 1898 but not most concise (1894, orchestrated 1897). The order in which the songs are when he combined the soprano voice orchestrated until 1933. The glowing His family inspired him to write the performed is different from that in with his other great love, the orchestra. romantic love song Das Rosenband bright lullaby Meinem Kinde (1897), which they were completed; the work As a composer of orchestral songs, he (1897), on the other hand, was exceptionally scored for a small was not given its present ordering continued from where Berlioz and originally conceived as an orchestral chamber ensemble; Strauss wrote this until it was printed in 1950.