Jakob Brenner, Robert-Schumann-Philharmonie - Zieritz: Orchestral Works (2024) [Hi-Res]
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BAND/ARTIST: Jakob Brenner, Robert-Schumann-Philharmonie
- Title: Zieritz: Orchestral Works
- Year Of Release: 2024
- Label: haenssler CLASSIC
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:03:42
- Total Size: 325 mb / 1.08 gb
- WebSite: Album Preview
Tracklist
01. Japanische Lieder: No. 1, Freunde
02. Japanische Lieder: No. 2, Sommerduft
03. Japanische Lieder: No. 3, Fern von dir
04. Japanische Lieder: No. 4, Erinnerung
05. Japanische Lieder: No. 5, Am heiligen See
06. Japanische Lieder: No. 6, Das Alter
07. Japanische Lieder: No. 7, Komm einmal noch
08. Japanische Lieder: No. 8, Rückblick
09. Japanische Lieder: No. 9, Einsamkeit
10. Japanische Lieder: No. 10, Japan
11. Le violon de la mort: I. Entrée. Mit rhythmischer Vehemenz
12. Le violon de la mort: II. Marche des Ombres. Nicht zu schnell!
13. Le violon de la mort: III. Valse. Langsam, etwas gravitätisch abgezirkelt beginnen!
14. Le violon de la mort: IV. Lamentation. Langsam und traurig
15. Le violon de la mort: V. Cancan phantastique. Allegro
16. Concerto for 2 Trumpets & Orchestra: I. Allegro con brio
17. Concerto for 2 Trumpets & Orchestra: II. Notturno. Larghetto
18. Concerto for 2 Trumpets & Orchestra: III. Allegro assai
This CD - significantly only the second CD dedicated exclusively to von Zieritz - presents a longitudinal section of her oeuvre. It begins with the Japanese Songs, written in 1919, here in the version for soprano and chamber orchestra from the 1980s. The centrepiece is Le Violon de la Mort, composed in 1953 for violin and piano and arranged for violin, piano and orchestra in 1957, as well as the trumpet double concerto of 1975, the final piece and, as it were, a satyr play.
Like Hans Bethge' s collection Die chinesische Flote (The Chinese Flute) from 1907, the poetic model of the Japanese Songs belongs to the context of interest in exotic art of the fin de siecle. Gustav Mahler made Bethge's poems the basis for a large symphonic work; Grete von Zieritz took the opposite approach with the Japanese Songs. These are a kaleidoscopic sequence of the briefest miniatures. It would hardly be possible to do otherwise, since the Japanese models are not song texts in the European sense, but poetically condensed sayings that defy conventional song settings. Aphoristic brevity was the order of the day.
01. Japanische Lieder: No. 1, Freunde
02. Japanische Lieder: No. 2, Sommerduft
03. Japanische Lieder: No. 3, Fern von dir
04. Japanische Lieder: No. 4, Erinnerung
05. Japanische Lieder: No. 5, Am heiligen See
06. Japanische Lieder: No. 6, Das Alter
07. Japanische Lieder: No. 7, Komm einmal noch
08. Japanische Lieder: No. 8, Rückblick
09. Japanische Lieder: No. 9, Einsamkeit
10. Japanische Lieder: No. 10, Japan
11. Le violon de la mort: I. Entrée. Mit rhythmischer Vehemenz
12. Le violon de la mort: II. Marche des Ombres. Nicht zu schnell!
13. Le violon de la mort: III. Valse. Langsam, etwas gravitätisch abgezirkelt beginnen!
14. Le violon de la mort: IV. Lamentation. Langsam und traurig
15. Le violon de la mort: V. Cancan phantastique. Allegro
16. Concerto for 2 Trumpets & Orchestra: I. Allegro con brio
17. Concerto for 2 Trumpets & Orchestra: II. Notturno. Larghetto
18. Concerto for 2 Trumpets & Orchestra: III. Allegro assai
This CD - significantly only the second CD dedicated exclusively to von Zieritz - presents a longitudinal section of her oeuvre. It begins with the Japanese Songs, written in 1919, here in the version for soprano and chamber orchestra from the 1980s. The centrepiece is Le Violon de la Mort, composed in 1953 for violin and piano and arranged for violin, piano and orchestra in 1957, as well as the trumpet double concerto of 1975, the final piece and, as it were, a satyr play.
Like Hans Bethge' s collection Die chinesische Flote (The Chinese Flute) from 1907, the poetic model of the Japanese Songs belongs to the context of interest in exotic art of the fin de siecle. Gustav Mahler made Bethge's poems the basis for a large symphonic work; Grete von Zieritz took the opposite approach with the Japanese Songs. These are a kaleidoscopic sequence of the briefest miniatures. It would hardly be possible to do otherwise, since the Japanese models are not song texts in the European sense, but poetically condensed sayings that defy conventional song settings. Aphoristic brevity was the order of the day.
Year 2024 | Classical | FLAC / APE | HD & Vinyl
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