Bettina Pahn, Christine Schornsheim - O, wie Beseligend (2022) [Hi-Res]
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BAND/ARTIST: Bettina Pahn, Christine Schornsheim
- Title: O, wie Beseligend
- Year Of Release: 2022
- Label: haenssler CLASSIC
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 44.1kHz +Booklet
- Total Time: 01:01:03
- Total Size: 264 / 543 mb
- WebSite: Album Preview
Tracklist
01. Ave Maria, H-U 20
02. 6 Lieder, Op. 13 (Excerpts): No. 3, Die Liebe sass als Nachtigall
03. Was will die einsame Träne, H-U 207
04. Zauberkreis, H-U 399
05. 6 Lieder, Op. 13 (Excerpts): No. 6, Die stille Lotosblume
06. Zwischen Capua und Gaeta
07. Lorelei, KochS WoO 19
08. 4 Songs for Piano, Op. 2 (Excerpts): No. 3 in E Major, Allegretto grazioso
09. O weh des Scheidens, das er tat, KochS WoO 20
10. 6 Lieder, Op. 1: No. 1, Schwanenlied
11. Wanderlied
12. Lebewohl, H-U 48
13. Am Strande, KochS WoO 15
14. 4 Songs for Piano, Op. 2 (Excerpts): No. 1 in G Major, Andante
15. Frühlingslied, H-U 255
16. Lieder, Op. 12 (Excerpts): No. 2, Liebst Du um Schönheit
17. Die furchtsame Träne, H-U 66
18. O, wie beseligend
19. Nacht
20. Soirées musicales, Op. 6: No. 2 in F Major, Notturno
21. Lieder, Op. 12 (Excerpts): No. 1, Er ist gekommen
22. 6 Lieder, Op. 13 (Excerpts): No. 5, Ich hab in Deinem Auge
23. Am leuchtenden Sommermorgen, H-U 212
24. Lied der Fee, H-U 73
25. Gebet in der Christnacht, H-U 63
26. Die gute Nacht, KochS WoO 17
"Oh, do it Clara darling!" said Robert Schumann to his bride Clara, strongly encouraging her to pursue composing. Although the pianist had always composed, when she married in 1840 - without being asked to - she was immediately willing to dispense with this part of her musical output: "A woman does not have to desire to compose - so far not one has been able to do so; should that be what I am destined to do?" Clara is caught up in a crisis and feels resigned: "But I cannot compose ... I lack all talent for it".
Only after the wedding did Clara return to composing. As long as her father or husband encouraged her to do so, in her consummate adaptability she did so with joy. But after Robert's death in 1856, Clara stopped composing entirely.
It does not appear that the Mendelssohns were able to enjoy Heine's kinder side. Although Heine was sometimes a visitor at their home in Berlin, somehow friendly relations did not develop. However, the poet Heine held Fanny in high regard. She had already set his poems Was will die einsame Trane and Am I euchtenden Sommermorgen to music in 1827/28. Her song setting of Heine's Schwanenlied - was her first published work, but this only happened in 1846. At first Fanny chose to set poems by her bridegroom WiIhelm to music, of which she had already composed Lebewohl the same year they met and before the wedded couple were separated for a long period. Upon getting married she, too, began a busy and fruitful artistic colIaboration that involved the daily morning ritual of Wilhelm leaving poems on the piano for her to set to music.
01. Ave Maria, H-U 20
02. 6 Lieder, Op. 13 (Excerpts): No. 3, Die Liebe sass als Nachtigall
03. Was will die einsame Träne, H-U 207
04. Zauberkreis, H-U 399
05. 6 Lieder, Op. 13 (Excerpts): No. 6, Die stille Lotosblume
06. Zwischen Capua und Gaeta
07. Lorelei, KochS WoO 19
08. 4 Songs for Piano, Op. 2 (Excerpts): No. 3 in E Major, Allegretto grazioso
09. O weh des Scheidens, das er tat, KochS WoO 20
10. 6 Lieder, Op. 1: No. 1, Schwanenlied
11. Wanderlied
12. Lebewohl, H-U 48
13. Am Strande, KochS WoO 15
14. 4 Songs for Piano, Op. 2 (Excerpts): No. 1 in G Major, Andante
15. Frühlingslied, H-U 255
16. Lieder, Op. 12 (Excerpts): No. 2, Liebst Du um Schönheit
17. Die furchtsame Träne, H-U 66
18. O, wie beseligend
19. Nacht
20. Soirées musicales, Op. 6: No. 2 in F Major, Notturno
21. Lieder, Op. 12 (Excerpts): No. 1, Er ist gekommen
22. 6 Lieder, Op. 13 (Excerpts): No. 5, Ich hab in Deinem Auge
23. Am leuchtenden Sommermorgen, H-U 212
24. Lied der Fee, H-U 73
25. Gebet in der Christnacht, H-U 63
26. Die gute Nacht, KochS WoO 17
"Oh, do it Clara darling!" said Robert Schumann to his bride Clara, strongly encouraging her to pursue composing. Although the pianist had always composed, when she married in 1840 - without being asked to - she was immediately willing to dispense with this part of her musical output: "A woman does not have to desire to compose - so far not one has been able to do so; should that be what I am destined to do?" Clara is caught up in a crisis and feels resigned: "But I cannot compose ... I lack all talent for it".
Only after the wedding did Clara return to composing. As long as her father or husband encouraged her to do so, in her consummate adaptability she did so with joy. But after Robert's death in 1856, Clara stopped composing entirely.
It does not appear that the Mendelssohns were able to enjoy Heine's kinder side. Although Heine was sometimes a visitor at their home in Berlin, somehow friendly relations did not develop. However, the poet Heine held Fanny in high regard. She had already set his poems Was will die einsame Trane and Am I euchtenden Sommermorgen to music in 1827/28. Her song setting of Heine's Schwanenlied - was her first published work, but this only happened in 1846. At first Fanny chose to set poems by her bridegroom WiIhelm to music, of which she had already composed Lebewohl the same year they met and before the wedded couple were separated for a long period. Upon getting married she, too, began a busy and fruitful artistic colIaboration that involved the daily morning ritual of Wilhelm leaving poems on the piano for her to set to music.
Year 2022 | Classical | FLAC / APE | HD & Vinyl
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