SCH(m)ergrenze [Import]

SCH(m)ergrenze [Import]

Track Listings

1. Grieschischer Wein

2. Emin Name Is Huhn

3. Eine Neue Liebe Ist Wie Ein Neves Leben

4. Ich Suche Keine Schlame

5. Meint Die Den Oder Den?

6. Ich Hol' Dir Keine Flasche Bier

7. Michaela

8. Samba Mallorca

9. Am Ballermann

10. Kennst Du Die Susie Meier

11. L.M.A.A.

12. Es Ist Aus

13. Die Ballade Von Robby

14. Alalala Long

15. Das Jucklied!

16. Rattata

17. Mahzleit

18. Heier Kommt Doris

19. Oh Latino

20. Julia

Tracks:

Kommt, ihr Toechter, helft mir klagen
Da Jesus diese Rede vollendet hatte
Herzliebster Jesu, was hast du verbrochen
Da versammleten sich die Hohenpriester / Ja nicht auf das fest / Da nun Jesus war zu Bethanien / Wozu dienet dieser Unrat / Da das Jesus merkete
Du lieber Heiland du
Buss und Reu
Da ging hin der Zwoelfen einer
Blute nur, du liebes Herz
Aber am ersten Tage der suessen Brot / Wo willst du, dass wir dir bereiten / Er sprach: Gebet ihn in die Stadt / Un sie wurden sehr betrubt / Herr, bin ich's
Ich bin's, ich sollte buessen
Er antwortete und sprach:
Wiewohl mein Herz in Traenen schwimmt
Ich willdir mein Herze schenken
Und da sie den Lobgesang gesprochen hatten
Erkenne mich, mein Hueter
Petrus aber antwortete
Ich will hier bei dir stehen
Da kam Jesus mit ihnen zu einem Hofe
O Schmerz! hier zittert das gequaelte Herz
Ich will bei meinem Jesu wachen
Und ging hin ein wenig
Der Heiland faellt vor seinem Vater nieder
Gerne will ich mich bequemen
Und er kam zu seinen Juengern
Was mein Gott will, das g'scheh' allzeit
Und er kam und fand sie aber schlafend
So ist mein Jesus nun gefangen / Sind Blitze, sind Donner in Wolken verschwunden
Und siehe, einer aus denen
O Mensch, bewein' dein Suende gross

Tracks:

Ach! nun ist mein Jesus hin
Die aber Jesum gegriffen hatten
Mir hat die Welt trueglich gericht't
Und wiewold viel falsche Zeugen herzutraten
Mein Jesus schweigt zu falschen Luegen stille
Geduld, Geduld!
Und der Hohepriester antwortete / Er ist des Todes schuldig / Da speieten sie aus in sein Angesicht / Weissage uns, Christe
Wer hat dich so geschlagen
Petrus aber sass draussen im Palast / Wahrlich, du bist auch einer von denen
Erbarme dich
Bin ich gleich von dir gewichen
Das Morgens aber heilten alle Hohenpriester / Was gehet uns das an / Und er warf die Silberlinge in den Tempel
Gebt mir meinen Jesum wieder
Sie heilten aber einen Rat
Befiehl du deine Wege
Auf das Fest aber hatte der Landpfleger / Lass in kreuzigen!
Wie wunderbarlich ist doch diese Strafe
Der Landpfleger sagte
Er hat uns allen wohlgetan
Aus Liebe will mein Heiland sterben
Sie schrieen aber noch mehr / Lass in kreuzigen! / Da aber Pilatus sahe / Sein Blut komme uber uns / Da gab er ihnen Barrabam los
Erbarm es Gott
Koennen Traenen meiner Wangen

Tracks:

Da nahmen Kriegsknechte / Gegruesset seist du, Judenkoenig / Und speieten ihn an
O Haupt voll Blut und Wunden
Und da sie ihn verspottet hatten
Ja! freilich will in uns das Fleisch und Blut
Komm, suesses Kreuz
Und da sie an die Staette kamen / Der du den Tempel Gottes zerbrichst / Desgleichen auch die Hohenpreister / Andern hat er geholfen / Desgleichen schmaeheten ihn
Ach, Golgatha, unsel'ges Golgatha
Sehet Jesus hat die hand
Und von der sechsten Stunde / Der rufet dem Elias / Und bald lief einer unter ihnen / Halt, lass sehen / Aber Jesus schriee abermals laut
Wenn ich einmal soll scheiden
Und siehe da, der Vorhang im Tempel zerriss / Wahrlich, dieser ist Gottes Sohn gewesen / Und es waren viel Weiber da
Am Abend da es kuehle war
Mache dich, mein Herze, rein
Und Joseph nahm den Leib / Herr, wir haben gedacht / Pilatus sprach zu ihnen
Nun ist der Herr zu Ruh gebracht
Wir setzen uns mit Traenen nieder

Amazon.com essential recording

The St. Matthew Passion, Bach's monumental retelling of the story of the Last Supper and the arrest and execution of Jesus, typically runs from two-and-a-half to three hours. Yet this performance makes the time... well, not exactly fly past (consider the subject matter), but it's not tedious for even a second. Much of the credit for this goes to the marvelous Evangelist, Ian Bostridge. He's an outstanding narrator: the clear tone and diction, skillful timing, and intense involvement with words that made him a famous lieder singer are all in evidence; his part consists of nothing but recitative, yet he holds your interest unfailingly. Franz-Josef Selig gives a more dramatic reading of Jesus than you usually hear these days--he may be a bit too "operatic" for some listeners, but he really communicates his character's very human anguish and sorrow. Similarly, soprano Sibylla Rubens, tenor Werner Güra, and bass Dietrich Henschel sometimes unleash a bit too much vibrato for some tastes, but their singing is full-throated and attractive and they're very sensitive to the nuances in the text and music. Superstar countertenor Andreas Scholl is the standout--he combines unearthly purity with very earthly feeling and blends beautifully with the baroque instruments. The real stars of the record, however, are Philippe Herreweghe and his remarkable choir and orchestra. This conductor and his musicians (especially his radiant choir, Collegium Vocale) have always been superb at conveying warmth, devotion, and contemplation, but intense joy, anguish, or anger have sometimes seemed beyond them. Not here: they cover the full emotional range of this work--from reverent reflection to anguished remorse to churning fury--without ever crossing the line into melodrama or sacrificing clarity.

On top of all this, you get a CD-ROM chock full of interesting and well-organized information (in English, German, and French): texts as well as an overview with a timeline of Bach's life, a discussion of how the work is put together, marvelous graphics, sound clips, and an extensive interview with Herreweghe himself. A superb accompaniment to a superb release. --Matthew Westphal

Customer Reviews:

Beautiful.......2007-02-03

Do not hesitate for a moment to purchase this CD/CD ROM package. I researched thoroughly the many recordings of this work, and I am very pleased to have decided on this one. It is a gorgeous, moving recording.

a voice teacher and early music fan.......2007-01-08

Bach (1685-1750), a Lutheran, was specifically asked by St. Thomas' Church, Leipzig, to supply a non-theatrical Passion. In this context passion stands for the act of passive suffering, of watching and occasonally empathising in the suffering of Christ, a development which began in the Middle Ages when the church took steps to popularise the Bible. When sung, the role of the Evangelist would be taken by a tenor and that of Jesus by a bass. As various instruments were added they began to be associated with certain roles and as with opera any dramatic action in the text occurred during the recitative. The chorus has two functions: to participate in the action and then to reflect upon it, such reflections provided by the chorales which were familiar Lutheran hymns.
The St. Matthew Passion was composed for the Good Friday service at the St. Thomas Church in Leipzig in 1727. As time went on Bach revised and added other pieces and subsequently this Passion became the grandest and the largest of his works. He used a Double Chorus, included a third soprano group for the opening and close of Part One, two orchestras split so that they either accompanied the first or the second chorus, four soloists who carry specific parts and a number of other singers who have other roles. The Gospel of Matthew, Chapters 26 and 27 plus traditional Lutheran chorales and meditative poems (by Henrici also known as Picander) provide the text.The Evangelist narrates the action scene by scene.
Although the work as a whole is somewhat heavy and sombre there are some lighter moments to treasure, and none more delightful than the soprano aria in Part One "Ich will dir mein Herze schenken" (I will give my heart to Thee). Part two contains the best known and loved aria from the work "Erbarme dich,mein Gott" (Have mercy, my God) for alto and violin obligato and pizzicato bass. The death is terse but dramatic as is the earthquake following with the heartrending crying "Walrlich dieser ist Gottes Sohn gewesen" (Truly this was the Son of (God). It all ends with a Sarabande-like chorale bidding Jesus to rest in peace.
The packageing of this edition is outstanding; the booklet includes absolutely all the documentation that one may need to fully comprehend this monumental work of Bach's. In addition, the the 3 CD's, there is a CD-Rom that explains the entire procedure for the production of this recording (in 3 languages:French,English and German).
The performance itself is excellent and beyond reproach. Ian Bostridge is all that one would desire in a tenor Evangelist; a joy just to hear his voice. Andreas Scholl gives one of the most emotional performances I have ever heard from him; he tends to be somewhat 'laid-back' in some renditons, but not in this one. Just my opinion; all you Scholl fans, don't get excited!!!!!I suggest you allow yourself an entire day to explore this wonderful musical experience.

The True Drama of the St. Matthew Passion.......2006-04-11

There are gratefully many recordings of Bach's great St. Matthew Passion from which to choose, and the approaches to this long and mighty work of inspiration are varied. While this listener cut his teeth of the old Klemperer recording now re-mastered from the LP days to CD, this recording under the sensitive and commanding control of Philippe Herreweghe has become the recording most favored for return listenings, especially during the Holy Week. Herreweghe obviously knows the work from intense study, a fact that gives him all the stamina to make the overall Passion work both musically and dramatically.

Herreweghe draws sumptuous playing from his Collegium Vocale Orchestra and Chorus, keeping the period sound intact while adding the contemporary trend for finding the operatic aspects of the work in the lead of all the other recordings. Of course he has an extraordinary group of soloists who give definitive performances. The leading actor is the Evangelist who guides us through the arrest and assassination the Jesus according to the Gospel of Matthew: Ian Bostridge not only has a beautiful tenor voice, rich and warm, but he also offers perfect enunciation of the text and delivers his comments with the exact amount of propelling drama. The role of Jesus is strongly delivered by Franz-Josef Selig and matches his competition (Fischer-Dieskau, Quasthoff and Goerne included!) in conveying both the agony and the transcendence of Bach's lines.

Add to this strong matrix the exquisite singing of Andreas Scholl and the solo work by Sibylla Rubens, Werner G?ra, Dietrich Henschel, Dominik Worner, Elisabeth Hermans, Susan Hamilton and Frits Vanhulle and the beauty of the drama is perfect. This is truly the most dramatic performance of Bach's most dramatic Passion and one to cherish for years. Highly Recommended. Grady Harp, April 06

My favorite too!.......2005-09-17

I own six different St. Matthew Passion recordings, and this is my favorite. Herrweghe gets it right. I am not a stickler for HIP, but prefer it. In my opinion this is the most balanced high quality HIP treatment of the St. Matthew available. Get it!

Excellent work - but problems with sound level.......2005-05-29

I have no complaints about the performance, with the exception of two points: (1) the bass can at times sound too sharp and loud; (2) there is a bit of showing off, desire to impress the listener. Otherwise the work is awesome, but I am irritated by the recording quality. I thought that I would get used to it, but as I continue to listen to it, it irritates me more and more. The sound level is unequal. It is either too low, or annoyingly too high. I simply cannot just turn on the CD and listen through without adjusting volume levels all the time. Music becomes too quiet, then it bursts into sudden loudness, sharp, unpleasant sounds, which is extremely vexing. This is the main reason for my not listening to this recording more often. To add insult to injury, the bonus CD does not work on my computer, but freezes and muddles up. If I knew about this, I wouldn't have bought these CDs. Fortunately, I have also Herreweghe I, which I prefer to this one. But my all time favourite is - HARNONCOURT.

Average customer rating:

Wonderful
Terrific recording
Christa in her prime
Christa Ludwig is in great shape

Christa Ludwig - Les Introuvables
Johannes Brahms , Gustav Mahler , Robert Schumann , Max Reger , Franz Schubert , Hugo Wolf , Richard Strauss , Maurice Ravel , Camille Saint-Saens , Sergey Rachmaninov , Gioachino Rossini , Richard Wagner , George Frideric Handel , Johann Sebastian Bach , London Philharmonia Orchestra , Berlin Symphony Orchestra , Otto Klemperer , Horst Stein , Karl Forster , Christa Ludwig , Gerald Moore , Geoffrey Parsons , Herbert Downes , Amaryllis Fleming , Douglas Whittaker , Alexander Pushkin , and Mathilde Wesendonk
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Very Best of Christa Ludwig

ASIN: B000002S2Z
Release Date: 1992-04-14

Tracks:

Sapphische Ode, Op. 94 Nr. 4
Liebestreu, Op. 3 Nr. 1
Der Schmied, Op. 19 Nr. 4
Die Mainacht, Op. 43 Nr. 2
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): He, Zigeuner
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Hochgeturmte Rimaflut
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Wisst ihr, wann mein Kindchen
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Lieber Gott, du weisst
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Brauner Bursche
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Roslein dreie
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Kommt dir manchmal in den Sinn
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Rote Abendwolken ziehn
2 deutsche Volkslieder: Och mod'r, ich well en Ding han!
2 deutsche Volkslieder: We kumm ich dann de Pooz erenn?
Dein blaues Auge, Op. 59 Nr. 8
Von ewiger Liebe, Op. 43 Nr. 1
Das Madchen spricht, Op. 107 Nr. 3
O wusst ich doch, Op. 63 Nr. 8
Wie Melodien zieht es mir, Op. 105 Nr. 1
Madchenlied, Op. 107 Nr. 5
Vergebliches Standchen
Der Tod, das ist die kuhle Nacht, Op. 96 Nr. 1
Auf dem See, Op. 59 Nr. 2
Feldeinsamkeit, Op. 86 Nr. 2
In stiller Nacht ('Deutsche Volkslieder' Nr. 42)
Schwesterlien ('Deutsche Volkslieder', Nr. 15)
Immer leiser wird mein Schlummer, Op. 105 Nr. 2
Standchen, Op. 106 Nr. 1
Gestillte Sehnsucht, Op. 91 Nr. 2
Geistilches Wiegenlied, Op. 91 Nr. 2

Tracks:

Ich ging mit Lust durch einen grunen Wald ('Des Knaben Wunderhorn')
Hans und Grete
Fruhlingsmoren
Wo die schonen Trompeten blasen ('Des Knaben Wunderhorn')
Der Schildwache Nachtlied ('Des Knaben Wunderhorn')
Um schlimme Kinder ('Des Knaben Wunderhorn')
Ich atmet' einen linden Duft
Liebst du um Schonheit
Um Mitternacht
Das irdische Leben ('Des Knaben Wunderhorn')
Wer hat dies Liedlein erdacht ('Des Knaben Wunderhorn')
Lob des hohen Verstandes ('Des Knaben Wunderhorn')
Ich bin der Welt abhanden gekommen
Des Antonius von Padua Fischpredigt ('Des Knaben Wunderhorn')
Rheinlegendchen ('Des Knaben Wunderhorn')
Frauenliebe und Leben, Op. 42: Seit ich ihn gesehen
Frauenliebe und Leben, Op. 42: Er, der Herrlichste von allen
Frauenliebe und Leben, Op. 42: Ich kann's nicht fassen
Frauenliebe und Leben, Op. 42: Du Ring, an meinem Finger
Frauenliebe und Leben, Op. 42: Helft mir, ihr Schwestern
Frauenliebe und Leben, Op. 42: Susser Freund, du blickest
Frauenliebe und Leben, Op. 42: An meinem Herzen
Frauenliebe und Leben, Op. 42: Nun hast du mir den ersten Schmerz getan
Der Brief, Op. 76 No. 8
Waldeinsamkeit, Op. 76 No. 3

Tracks:

Die Allmacht, D. 852
Fischerweise, D. 881
An die Musik, D. 547
Der Musensohn, D. 764
Ganymed, D. 544
Auf dem Wasser zu singen, D. 774
Ave Maria, D. 839
Die Forelle, D. 550
Gretchen am Spinnrade, D. 118
Fruhlingsglaube, D. 686
Der Tod und das Madchen, D. 531
Lachen und Weinen, D. 777
Litanel auf das Fest 'Aller Seelen', D. 343
Erikonig, D. 328
Der Hirt auf dem Feisen, D. 965
Gesang Weylas
Auf einer Wanderung
Die Nacht, Op. 10 Nr. 3
Allerseelen, Op. 10 Nr. 8
Schlechtes Wetter, Op. 69 Nr. 5

Tracks:

3 Chansons madecasses: Nahandove
3 Chansons madecasses: Aoua! Aoua!
3 Chansons madecasses: Il est doux
Une flute invisible
Chanson georgienne: 'Oh! cesse de chanteer, gentille jeune fille,' Op. 4 No. 4
'Moisson de tristesse'
La regata veneziana: 3 canzonettas en dialecte ventien: Anzoleta avanti la regata
La regata veneziana: 3 canzonettas en dialecte ventien: Anzoleta co passa la regata
La regata veneziana: 3 canzonettas en dialecte ventien: Anzoleta dopo la regata
Wesendonk-Lieder: Der Engel
Wesendonk-Lieder: Stehe still!
Wesendonk-Lieder: Im Treibhaus
Wesendonk-Lieder: Schmerzen
Wesendonk-Lieder: Traume
Julius Caesar: Acte I: 'Es blaut die Nacht' (Cleopatra)
Johannes-Passion, BWV 245: Nr. 58 - Aria: 'Es ist volbracht!'
Tristan und Isolde: III Akt: 'Mild und leise (Isoldes Liebestod)

Customer Reviews:

Wonderful.......2003-07-20

This is a wonderful set. I would like to correct an error below. The climax in the Liebestod is a high A flat not high C. But you have to cut through the dense orchestration. That's why it's hard.

Terrific recording.......2003-07-06

I write this as s service to Christa Ludwig fans. This is a set of Lieder. Christa Ludwig is fabulous - as usual.

But if you want to hear Christa ludwig in a set of operatic recitals that will knock of your socks and blow you to bits. Look for this CD called "Celebrating Christa Ludwig". It has Christa Ludwig singing excerpts from Elektra (as Elektra!!!), Ariadne auf Maxos (as Ariadne!!), Die Frau Ohne Schatten (as the Dyer's Wife), Barber of Serville (as rosina) and the Immolation Scene of Gotterdammerung (as Brunnhilde!!!). She will blow you to bits with her unmatchable dramatic sense, vocal power and beauty of tone - the greatest Brunnhilde that never was and the greatest Elektra that never was. She did sing Ariadne once in Salzburg in 1964, and she sang the Dyer's Wife for 10 years from 1964 (Vienna State Opera) to 1974 (Salzburg Festival). Her complete Ariadne is available under Myto records.

Christa in her prime.......2001-09-19

Being an admirerer of Christa Ludwig, I went into purchasing this recording with great expectations, and it did not disappoint in any way. Ludwig is in her prime and is heard in wonderful interpretations and beautiful singing from among several composers and works. I not only enjoy listening to her personally, but am also able to put it to great use use in my Vocal Literature class here at the college in which I teach.

Christa Ludwig is in great shape.......2000-04-15

She sang all the major mezzo roles, and also some in the dramatic soprano repertory, notably Leonora in Fidelio, Lady Macbeth and the Marschallin.

Her voice is a rich, expressive mezzo capable of dramatic incisiveness and even throughout its considerable range. Her upper register in mezzo music is excintingly projected.

Although this compilation is composed of different recordings in different settings in different years, all of them show a young Ludwig when she had not yet acquired her prime and her status of, arguably, the best mezzo of the world, which would arrive in the years to come.

Ludwig, thirteen years Schwarzkopf's junior, was also a member of the legendary Ensamble of Berlin, which meant that each appearance of hers in any opera produced in Berlin, Munich, Vienna, London, Paris....by this Ensamble was backed by many hours of rehearsals with the same group of musicians. Usually this group comprised Schwarzkopf, Grümmer, Seefried, Berger, Güeden, Dermota, Tauber, and of course Furtwängler. This is how the legendary recording of COSI FAN TUTTE was made, in which she shared credits with Schwarzkopf.

Disc one is devoted to Brahms -not less than 30 Lieder are here. She doesn't sing Brahms with intimacy, rather she attacks each song with open throat. Her diction, her care for words is now proverbial. My favorite Lied in this disc is In stiller Nacht. She sets the melancholic mood of the song with her rich, vibrant contralto-like tones.

Disc two brings us Ludwig singing Mahler, Schumann and Reger. From the melodic lines of Mahler's Des Knaben Wunderhorn to the tortuous inflexions of Max Reger's two songs, she shows an extreme afinity with these composers. Schumann is taken very sensously, one can almost feel her velvety and creamy narrations of the woman-in-love of the song cycle.

Disc three is devoted to Schubert, Wolf and Strauss. Ludwig was not compelled to sing too much Wolf or Strauss (only 5 Lieder by these composers). It is her Schubert that shows her in splendid form. Auf dem Wasser zu singen is sung at such a low speed that her tone can only be described as luxurious. Erlkönig finds in her voice an ideal interpreter for the four characters of the song. In Wolf's Gesang Weylas, Gerald Moore has produced some magical arpeggios in the piano accompaniment, but of course this in only natural in him being the best accompanist ever.

Disc four is a miscellaneous melange of Ravel, Saint-Saëns, Rossini, Wagner, Händel and Bach. Ludwig never tried to sing on stage Isolde, but she recorded it; the Liebestod is taken at an exciting pace and one is only waiting for the climax to see if she can do it (the top c's). Yes, she can do it. Händel's aria from Julius Caesar is, again, sensous and exciting. Händel is another composer with whom she felt communicated. Ravel's Chansons Madécasses can only be described as magical. And of course she was outstanding in Bach oratorios, as is the case of Johannes Passion.

Wagner's Wessendonk Lieder are sung lustrously. I especially enjoyed Träume, which actually is sung, as its title suggests, dreamily.

Praised be the two accompanists for the majority of the recordings, Gerald Moore and Geoffrey Parsons. Both have gone now and the musical world seems so empty without their supreme touch. I do believe that 50% of Christa Ludwig's success as a Lieder Singer was due to them.

Customer Reviews:

Little Purcell, but Lots of Great Music.......2002-11-01

I first bought this disc on cassette, and promptly wore it out before getting the CD version. As a showcase of little-known English and Italian composers working in late 17th-century London, it's a real gem--bright trumpet playing, bold strings, and mostly bouncy melodies, some of which betray their origins as theatre pieces. The only Purcell on it, if you're looking, is a short (1 minute) Cibell that closes the disc. But forget Purcell for the moment and enjoy Nicola Matteis, Godfrey Keller, and all of the other obscure names who were certainly Purcell's contemporaries, and whose appearance here flesh out our understanding of what a truly great musical nation England was during the 17th century. My only complaint is that, since this is one of Hyperion's older releases, it is timed to fit on two vinyl sides--I would have been glad of another 20 minutes of this!

Average customer rating:

A strange mixture, but excellent performances

Hommage à R. Sch.

Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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Kurtag: Jatekok / Marta and Gyorgy Kurtag
Schumann: Kreisleriana [United Kingdom]
Steven Isserlis Plays Schumann
Musik Fur Streichinstrumente
Works of György Kurtág

ASIN: B000025XCU
Release Date: 2000-02-01

Tracks:

NEUN STUCKE FUR VIOLA SOLO: Szorongos Es Vigasztalos H.J.-Nek
NEUN STUCKE FUR VIOLA SOLO: Kromatikus Feleselos
NEUN STUCKE FUR VIOLA SOLO: In Memoriam Aczel Gyorgy
NEUN STUCKE FUR VIOLA SOLO: Elakado Szavak (Hommage A John Cage)
NEUN STUCKE FUR VIOLA SOLO: Doloroso
NEUN STUCKE FUR VIOLA SOLO: H.J.-Nota
NEUN STUCKE FUR VIOLA SOLO: Level Veranak
NEUN STUCKE FUR VIOLA SOLO: Vagdalkozos
NEUN STUCKE FUR VIOLA SOLO: In Memoriam Tamas Blum
JELEK OP.5: Agitato
JELEK OP.5: Giusto
JELEK OP.5: Lento
JELEK OP.5: Vivo, Feroce
JELEK OP.5: Adagio
JELEK OP.5: Con Slancio, Risoluto
HOMMAGE A R. SCH. OP.15D: (Merkwurdige Pirouetten Des Kapellmeisters Johannes Kreisler)
HOMMAGE A R. SCH. OP.15D: [E.: Der Begrenzte Kreis...]
HOMMAGE A R. SCH. OP.15D: [...Und Wieder Zuckt Es Schmerzlich F. Um Die Lippen...]
HOMMAGE A R. SCH. OP.15D: [Felho Valek, Mar Sut A Nap...]
HOMMAGE A R. SCH. OP.15D: In Der Nacht
HOMMAGE A R. SCH. OP.15D: Abschied [Meister Raro Entdeckt Guillaume De MacHaut]
MARCHENBILDER OP.113: Nicht Schnell
MARCHENBILDER OP.113: Lebhaft
MARCHENBILDER OP.113: Rasch
MARCHENBILDER OP.113: Langsam, Mit Melancholischen Ausdruck
FANTASIESTUCKE OP.73: Zart Und Mit Ausdruck
FANTASIESTUCKE OP.73: Lebhaft, Leicht
FANTASIESTUCKE OP.73: Rasch Und Mit Feuer
MARCHENERZAHLUNGEN OP.132: Lebhaft, Nicht Zu Schnell
MARCHENERZAHLUNGEN OP.132: Lebhaft Und Sehr Markiert
MARCHENERZAHLUNGEN OP.132: Ruhiges Tempo, Mit Zartem Ausdruck

Customer Reviews:

A strange mixture, but excellent performances.......2003-11-24

This disc makes a rather curious attempt to combine the music of Schumann and Kurtag. I fear that it may well fall between two stools--the Kurtag turning off Schumann-lovers and the Schumann turning off Kurtag fans. That would be unfortunate, as there are some fine performances of excellent music here.

The disc places the Kurtag selections first. The nine pieces for solo viola are selected from works now incorporated in his extensive collection Signs, Games and Messages for various string ensembles. The pieces chosen by Kim Kashkashian are largely elegiac in nature, and draw considerable power from limited means. Kurtag's music has often evoked comparison to Bartok and Webern, but in some of these pieces I detect the influence of the largely peaceful late works of John Cage. (Indeed, one of the finest of these miniatures is entitled Hommage a John Cage.)

Jelek, also for solo viola, is a rather lesser work. An early piece that had been withdrawn by the composer for many years, it was recently returned to the public domain in a revised version written for Kashkashian, but I still do not find it terribly convincing--the Webern influence is too raw and undigested.

Hommage a R. Sch, however, is a very different matter. This work, for clarinet, viola and piano, begins with five contrasting miniatures and then ends with an Abschied that openly evokes the world of Mahler's Das Lied von der Erde--though in six minutes rather than the thirty of the Mahler. This is an exceptionally powerful envoi, rising from near-silence to a powerful climax, before a beautifully-judged ending where the clarinetist lays down his instrument and plays one soft stroke on a drum, marking the close of the work.

This inspired vein continues in Schumann's rhapsodic Marchenbilder for viola and piano, surely one of the most delightful of his chamber works. These four instrumental poems also end with a melancholy slow movement, though Schumann's has a much lighter tone. Kashkashian's warm, rich tone is particularly effective in this work, and Robert Levin's understated accompaniment is particularly effective here.

Also a fine work--though, I think, not quite as substantial--are the Fantasiestuck for clarinet and piano. Once again these are rhapsodic, melodic works with a hint of the programmatic about them. Eduard Brunner's liquid clarinet tone is perfect for them.

Rather less successful are the late Marchenerzahlungen, for all three players. These works tend to rather rambling, incoherent structures, and the melodies are less distinctive than in the other two Schumann pieces. In addition, I feel this is probably the weakest performance on the disc--Levin in particular sounds intermittently uninspired here.

Customer Reviews:

The Review.......2000-06-30

It is okay. The CD cover can show more imfo.

Average customer rating:

Hommage a R. Sch.
Schumann , Kurtag , Michiels , Dieltjens , and Nys
Manufacturer: Etcetera
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
ASIN: B000FQVW42
Release Date: 2006-07-25

Average customer rating:

Schmidt Sings Religious Songs & Arias

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0000023RF
Release Date: 1995-02-07

Tracks:

Religiose Gesange: Nun Preisen Wir Die Allmacht Des Herrn... Dank Sei Dir Gott
Religiose Gesange: Dand Sei Dir Gott
Religiose Gesange: Aus Jeglichem Munde Erschallet Der Ruf
Religiose Gesange: Ob Der Morgen Ergluhet, Ob Sich Senket Die Nacht
Religiose Gesange: Einst In Ferner Zeiten Tage
Religiose Gesange: Bitten
Religiose Gesange: Preist Den Hernn, Er Gab Seine Lehre
Religiose Gesange: Adonai... Sch'ma Israel... Baruch Schem
Religiose Gesange: Sch'ma Israel... Adonai Hu Ho Elohim
Religiose Gesange: Ano Avdoh
Religiose Gesange: Ki Lekach Tov Natati Lachem
Aus Opern: Margarethe: Cavatine Des Faust
Aus Opern: Tosca: Und Es Blitzten Die Sterne
Aus Opern: Tosca: Nur Deinetwegen Wolt' Ich Noch Nicht Sterben Mit Gota Ljungberg
Aus Opern: Eguen Onegin: Wohin Seid Ihr Entschwunden
Aus Opern: Der Cid: Ach, Alles Sinkt Hinab
Aus Opern: Manon: Ich Bin Allein
Aus Opern: Die Tote Stadt: Gluck, Das Mir Verblieb

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Das Neue Gefuehl Fuer Sch
Various Artists
Manufacturer: Gib
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B00000B8DF
Release Date: 1997-11-24

Bartók: Mikrokosmos, Sz.107/44 Duos for 2 Violins, Sz.98

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Bartók: Mikrokosmos, Sz.107/44 Duos for 2 Violins, Sz.98

Manufacturer: Hungaroton
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Improvisation | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B00000308I
Release Date: 1994-04-18

Amazon.com

Complete recordings of Mikrokosmos are relatively common these days, but aside from guiding students I wonder what purpose they serve. This is a series of piano study pieces starting at the most basic level, and the music with genuine listening interest really begins only with Book 3 (of 6). Similarly the duets are mostly teaching pieces, and though they make for good listening in small groups, the entire series becomes tiresome. Bartók wrote magnificent music, and the later books of Mikrokosmos are filled with superb little pieces. But though the performances in this set are all excellent, not much of the music is basic Bartók. --Leslie Gerber