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Richard Strauss (1864-1949) Der Bürger als Edelmann op. 60 Vier letzte Lieder Wiegenlied op. 41,1 Zueignung op. 10,1 Morgen! op. 27, 4

Lisa Larsson, soprano Musikkollegium Winterthur Douglas Boyd, cond.

1 Hybrid-SACD

Order No.: MDG 901 1738-6

UPC-Code:

Listening Facet Lifelong Friendship During recent years the Musikkollegium Winterthur has This is hardly surprising inasmuch as Richard Strauss released an impressive series of recordings carefully maintained lifelong ties of friendship to Winterthur. The produced in multichannel 2+2+2 sound. Under the composer visited the city on repeated occasions and conductor Douglas Boyd the orchestra adds a new facet performed works of his such as the Alpensinfonie and to its discography with Richard Strauss’s suite Der Bürger Don Quixote with the Musikkollegium. Even today original als Edelmann and his Vier letzte Lieder – a fine manuscripts of his music are housed in Winterthur. programme and a splendid role for Lisa Larsson.

Magnificent Metaphor Franz Schubert The Swedish soprano’s intense interpretation of these Incidental Music to Rosamunde D 797 masterful late works is a moving experience. Just listen to MDG 901 1633-6 (Hybrid-SACD) “Im Abendrot” to a text by Eichendorff: Strauss enhances the sunset atmosphere, transforming it into a magnificent Franz Schubert metaphor referring to the end of life. The music seems to Symphony No. 7 B minor (Unfinished) stand still at the end; full of confidence in redemption, it Symphony No. 8 C major (The Great) witnesses the opening of paradise – a gripping moment. MDG 901 1636-6 (Hybrid-SACD)

Swiss Style Josef Rheinberger The incidental music to Molière’s Der Bürger als Complete Organ Concertos, Edelmann was Strauss’s first collaborative effort with 3 pieces for für Violoncello & Organ Hugo von Hofmannsthal, who here reworked the baroque MDG 901 1643-6 (Hybrid-SACD) French comedy. This comedy focuses on a rich parvenu who clumsily attempts to imitate noble models, and Felix Mendelssohn Bartholdy Strauss illustrates it with humor and wit. The tone of the Symphony No. 3 „ Scottish“ music repeatedly lets baroque stylistic elements shimmer Symphony No. 4 „Italian“ forth and in this way builds a bridge from Molière’s time to (Version 1833/34) the fin de siècle. The work exists in four entirely different MDG 901 1663-6 (Hybrid-SACD) versions published by Strauss with the same opus number, that is, as his op. 60. The genially instrumented Suite op. 60 (!) is practically of chamber dimensions and made to order for the traditional Swiss orchestra.

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