Amy Pfrimmer - The Lost Romantic - Songs of Louise Reichardt (2020)
BAND/ARTIST: Amy Pfrimmer
- Title: The Lost Romantic - Songs of Louise Reichardt
- Year Of Release: 2020
- Label: MSR Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 00:44:27
- Total Size: 233 mb
- WebSite: Album Preview
Tracklist
01. Sei Canzoni di Metastasio: I. Ombre amene, amiche piante
02. Sei Canzoni di Metastasio: II. Più liete imagine nell’alma aduna
03. Sei Canzoni di Metastasio: III. Semplicetta tortorella
04. Sei Canzoni di Metastasio: IV. Fra un dolce deliro
05. Sei Canzoni di Metastasio: V. Non turbar quand io mi lagno
06. Sei Canzoni di Metastasio: VI. Se non piange un infelice
07. Ruhe, Süßliebchen, im Schatten
08. Durch die bunten Rosen
09. Heimweh
10. Das Mädchen am Ufer
11. Hymnen an die Nacht (aus Geistlichen Liedern)
12. Sehnsucht nach den Vaterland
13. An Maria (aus Geistlichen Liedern)
14. Ein recht Gemüth
15. Unruhiger Schlaf
16. Durch den Wald
17. Ich wollt’ ein Sträußlein binden
18. Frühlingsblumen (aus Des Knaben Wunderhorn)
19. Die Blume der Blumen
20. Giusto Amor (Poesia)
21. Già della notte oscura (Notturno)
22. Vanne felice rio (Poesia)
Music, literature, poetry, and political discussion were all part of the household in which composer Louise Reichardt was reared. This recording celebrates the songs – Lieder and canzone – of Louise Reichardt (1779-1826), an extraordinarily influential musical figure associated with the German Romantic movement. Publishing more than ninety songs in her lifetime, some under her own name and some under the name of her composer-father, Johann Friedrich Reichardt, Louise Reichardt created a body of work that, despite its breadth and influence, has been historically neglected. With an abundant body of available, published songs written as teaching tools for her voice students, Reichardt belongs to the ever-broadening field of recently rediscovered Classical and Romantic era female composers. Her musical and personal uniqueness as an active, self-supporting and frequently published female composer may even have helped pave the way for the inclusion of later women composers, including Clara Schumann and Fanny Mendelssohn Hensel.
Reichardt’s musical lineage includes her grandfathers, both of whom served as court musicians to Frederick the Great. She was also daughter to two musicians: her mother, Juliane Benda, herself a composer and well-regarded singer who died when Louise was a small child, and her father, Johann Friedrich, whose compositional mentoring was fundamental to her musical development. Her access to continuous musical stimulation and critical thinking about music, literature and philosophy resulted from her father’s associations and his position as Kapellmeister and court composer to Frederick the Great. The Reichardt home was a hub of musical activity as well as intellectual and literary discussion, with the Reichardt’s hosting the exchange of works and ideas by contemporary leading poets, philosophers and writers.
Once in Hamburg, Reichardt ran a thriving singing studio and was a choral conductor. Reichardt, along with Johann Heinrich Clasing, the Hamburg musical associate who was her composition and conducting teacher there, formed the Hamburg women’s Choral Society, or Gesangverein. She worked tirelessly for the society, preparing chorus and soloists, and translating texts for performances of Händel and Mozart choral works, which were her particular passion. Although the gender norms of the time led to her male colleagues, particularly Clasing, ultimately conducted performances, Louise was nonetheless regarded as an essential contributor and influence in Hamburg’s musical scene.
The songs selected for this recording are grouped by the poets who formed Reichardt’s circle of friends. Among them were the notable Romantic era literary figures Clemens Wenzeslaus Brentano, Novalis, Johann Ludwig Tieck, Karl Philipp Conz, Carl Ludwig Achim von Arnim, as well as Philipp Otto Runge and Karl Wetzl. The program begins with the dramatic Sei canzoni di Metastasio, songs based on historical poetry, and ends with three additional songs on Metastasio texts. Also included is a tender song text from Des Knaben Wunderhorn.
Each piece is a miniature jewel that emphasizes Reichardt’s talent for writing sweet, lyrical melodies that unite expressive, melodic text setting and demanding legato line. The pieces are graceful, elegant, delicate and charming, and display both German and Italian stylistic elements. Many of the songs are strophic, generally with modest, mid-range vocal lines. The harmonies are uncomplicated with understated accompaniments that never overshadow the voice or immediacy of the text. The songs exhibit influences of Wolfgang Amadeus Mozart, and Franz Schubert, her contemporary, whose compositional style, in turn, was also influenced by Reichardt’s own father.
Despite the glowing praise and popularity of Louise Reichardt’s work during her lifetime, she has been largely forgotten, with only a handful of her songs ever having been recorded. The tendency of history to fail to acknowledge and celebrate the accomplishments of women, including women composers, certainly failed Reichardt. However, upon hearing her songs, characterized by simplicity, lovely melodies and an unpretentious framework, listeners will find them as delightful and interesting as any by her contemporaries.
01. Sei Canzoni di Metastasio: I. Ombre amene, amiche piante
02. Sei Canzoni di Metastasio: II. Più liete imagine nell’alma aduna
03. Sei Canzoni di Metastasio: III. Semplicetta tortorella
04. Sei Canzoni di Metastasio: IV. Fra un dolce deliro
05. Sei Canzoni di Metastasio: V. Non turbar quand io mi lagno
06. Sei Canzoni di Metastasio: VI. Se non piange un infelice
07. Ruhe, Süßliebchen, im Schatten
08. Durch die bunten Rosen
09. Heimweh
10. Das Mädchen am Ufer
11. Hymnen an die Nacht (aus Geistlichen Liedern)
12. Sehnsucht nach den Vaterland
13. An Maria (aus Geistlichen Liedern)
14. Ein recht Gemüth
15. Unruhiger Schlaf
16. Durch den Wald
17. Ich wollt’ ein Sträußlein binden
18. Frühlingsblumen (aus Des Knaben Wunderhorn)
19. Die Blume der Blumen
20. Giusto Amor (Poesia)
21. Già della notte oscura (Notturno)
22. Vanne felice rio (Poesia)
Music, literature, poetry, and political discussion were all part of the household in which composer Louise Reichardt was reared. This recording celebrates the songs – Lieder and canzone – of Louise Reichardt (1779-1826), an extraordinarily influential musical figure associated with the German Romantic movement. Publishing more than ninety songs in her lifetime, some under her own name and some under the name of her composer-father, Johann Friedrich Reichardt, Louise Reichardt created a body of work that, despite its breadth and influence, has been historically neglected. With an abundant body of available, published songs written as teaching tools for her voice students, Reichardt belongs to the ever-broadening field of recently rediscovered Classical and Romantic era female composers. Her musical and personal uniqueness as an active, self-supporting and frequently published female composer may even have helped pave the way for the inclusion of later women composers, including Clara Schumann and Fanny Mendelssohn Hensel.
Reichardt’s musical lineage includes her grandfathers, both of whom served as court musicians to Frederick the Great. She was also daughter to two musicians: her mother, Juliane Benda, herself a composer and well-regarded singer who died when Louise was a small child, and her father, Johann Friedrich, whose compositional mentoring was fundamental to her musical development. Her access to continuous musical stimulation and critical thinking about music, literature and philosophy resulted from her father’s associations and his position as Kapellmeister and court composer to Frederick the Great. The Reichardt home was a hub of musical activity as well as intellectual and literary discussion, with the Reichardt’s hosting the exchange of works and ideas by contemporary leading poets, philosophers and writers.
Once in Hamburg, Reichardt ran a thriving singing studio and was a choral conductor. Reichardt, along with Johann Heinrich Clasing, the Hamburg musical associate who was her composition and conducting teacher there, formed the Hamburg women’s Choral Society, or Gesangverein. She worked tirelessly for the society, preparing chorus and soloists, and translating texts for performances of Händel and Mozart choral works, which were her particular passion. Although the gender norms of the time led to her male colleagues, particularly Clasing, ultimately conducted performances, Louise was nonetheless regarded as an essential contributor and influence in Hamburg’s musical scene.
The songs selected for this recording are grouped by the poets who formed Reichardt’s circle of friends. Among them were the notable Romantic era literary figures Clemens Wenzeslaus Brentano, Novalis, Johann Ludwig Tieck, Karl Philipp Conz, Carl Ludwig Achim von Arnim, as well as Philipp Otto Runge and Karl Wetzl. The program begins with the dramatic Sei canzoni di Metastasio, songs based on historical poetry, and ends with three additional songs on Metastasio texts. Also included is a tender song text from Des Knaben Wunderhorn.
Each piece is a miniature jewel that emphasizes Reichardt’s talent for writing sweet, lyrical melodies that unite expressive, melodic text setting and demanding legato line. The pieces are graceful, elegant, delicate and charming, and display both German and Italian stylistic elements. Many of the songs are strophic, generally with modest, mid-range vocal lines. The harmonies are uncomplicated with understated accompaniments that never overshadow the voice or immediacy of the text. The songs exhibit influences of Wolfgang Amadeus Mozart, and Franz Schubert, her contemporary, whose compositional style, in turn, was also influenced by Reichardt’s own father.
Despite the glowing praise and popularity of Louise Reichardt’s work during her lifetime, she has been largely forgotten, with only a handful of her songs ever having been recorded. The tendency of history to fail to acknowledge and celebrate the accomplishments of women, including women composers, certainly failed Reichardt. However, upon hearing her songs, characterized by simplicity, lovely melodies and an unpretentious framework, listeners will find them as delightful and interesting as any by her contemporaries.
Year 2020 | Classical | FLAC / APE
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