Marianne Beate Kielland, Nils Anders Mortensen - Einsamkeit: Songs By Mahler (2018) [Hi-Res]
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BAND/ARTIST: Marianne Beate Kielland, Nils Anders Mortensen
- Title: Einsamkeit: Songs By Mahler
- Year Of Release: 2018
- Label: Lawo Classics
- Genre: Classical
- Quality: flac 24bits - 48.0kHz +Booklet
- Total Time: 00:55:27
- Total Size: 474 mb
- WebSite: Album Preview
Tracklist
01. Ruckert-Lieder I. Ich atmet' einen linden Duft
02. Ruckert-Lieder II. Liebst du um Schonheit
03. Ruckert-Lieder III. Blicke mir nicht in die Lieder
04. Ruckert-Lieder IV. Ich bin der Welt abhanden gekommen
05. Ruckert-Lieder V. Um Mitternacht
06. Kindertotenlieder I. Nun will die Sonn' so hell aufgeh'n
07. Kindertotenlieder II. Nun seh' ich wohl, warum so dunkle Flammen
08. Kindertotenlieder III. Wenn dein Mutterlein
09. Kindertotenlieder IV. Oft denk' ich, sie sind nur ausgegangen
10. Kindertotenlieder V. In diesem Wetter
11. Lieder eines fahrenden Gesellen I. Wenn mein Schatz Hochzeit macht
12. Lieder eines fahrenden Gesellen II. Ging heut' Morgen uber's Feld
13. Lieder eines fahrenden Gesellen III. Ich hab' ein gluhend Messer
14. Lieder eines fahrenden Gesellen IV. Die zwei blauen Augen von meinem Schatz
Mahler. For any lover of classical music, the name itself is evocative of orchestral colour, broad, sweeping symphonic brushstrokes and the culmination of the romantic symphony. However, Mahler wrote with equal mastery in another genre: His oeuvre is remarkable in that he virtually wrote in two genres alone, namely symphony and song. What is more, there were few composers for whom the two genres were so closely connected: Mahler would often reuse material from songs in symphonies, and some claim that these self-quotations are keys to secret programmes in the symphonies. Most important of all is the fact that all of his mature songs were written both with orchestral accompaniment and as songs for piano and voice. In one of his final masterpieces, Das Lied von der Erde (the Song of the Earth) he combined the two into a symphonic song cycle.
Where does this leave the piano version? Are these ‘mere’ piano reductions? One might ascribe commercial reasons for their creation: in Mahler’s own time, a reduced arrangement was the only way the works could be heard outside of the concert hall, and a piano reduction would be the easiest to sell. This, however, would give far too little credit to the pieces. In fact, the attention to detail given in them shows that they were written to be performed as equals in either form. After all, since it would be in this form that most people would have the opportunity to hear them, it was important that these versions were as strong as they could possibly be.
01. Ruckert-Lieder I. Ich atmet' einen linden Duft
02. Ruckert-Lieder II. Liebst du um Schonheit
03. Ruckert-Lieder III. Blicke mir nicht in die Lieder
04. Ruckert-Lieder IV. Ich bin der Welt abhanden gekommen
05. Ruckert-Lieder V. Um Mitternacht
06. Kindertotenlieder I. Nun will die Sonn' so hell aufgeh'n
07. Kindertotenlieder II. Nun seh' ich wohl, warum so dunkle Flammen
08. Kindertotenlieder III. Wenn dein Mutterlein
09. Kindertotenlieder IV. Oft denk' ich, sie sind nur ausgegangen
10. Kindertotenlieder V. In diesem Wetter
11. Lieder eines fahrenden Gesellen I. Wenn mein Schatz Hochzeit macht
12. Lieder eines fahrenden Gesellen II. Ging heut' Morgen uber's Feld
13. Lieder eines fahrenden Gesellen III. Ich hab' ein gluhend Messer
14. Lieder eines fahrenden Gesellen IV. Die zwei blauen Augen von meinem Schatz
Mahler. For any lover of classical music, the name itself is evocative of orchestral colour, broad, sweeping symphonic brushstrokes and the culmination of the romantic symphony. However, Mahler wrote with equal mastery in another genre: His oeuvre is remarkable in that he virtually wrote in two genres alone, namely symphony and song. What is more, there were few composers for whom the two genres were so closely connected: Mahler would often reuse material from songs in symphonies, and some claim that these self-quotations are keys to secret programmes in the symphonies. Most important of all is the fact that all of his mature songs were written both with orchestral accompaniment and as songs for piano and voice. In one of his final masterpieces, Das Lied von der Erde (the Song of the Earth) he combined the two into a symphonic song cycle.
Where does this leave the piano version? Are these ‘mere’ piano reductions? One might ascribe commercial reasons for their creation: in Mahler’s own time, a reduced arrangement was the only way the works could be heard outside of the concert hall, and a piano reduction would be the easiest to sell. This, however, would give far too little credit to the pieces. In fact, the attention to detail given in them shows that they were written to be performed as equals in either form. After all, since it would be in this form that most people would have the opportunity to hear them, it was important that these versions were as strong as they could possibly be.
Year 2018 | Classical | FLAC / APE | HD & Vinyl
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