Adam Geibel News
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2024-04-23
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2021-03-08 08:39:20
The undeservedly neglected lieder of Josephine Lang are at the centre of this lovely recital from Scottish-German mezzo-soprano Catriona Morison
[…] 2017-2019 she was a BBC Radio 3 New Generation Artist, and the recording is a co-production with BBC Radio 3. The recital opens with Grieg's Sechs Lieder, Opus 48; written in the late 1880s, they are the first songs that Grieg set in German since his Opus 2 and Opus 4 were published in the mid 1860s. The Opus 48 songs set quite a variety of poets, Heinrich Heine, a translation by Emanuel Geibel of a 16th century poem by Cristobal de Castillejo, Johann Ludwig Uhland, Walter von der Vogelweide, Goethe and Friedrich Martin von der Bodenstedt. 'Gruss' starts things off in a delightfully bright manner, and both Morison and Martineau have a spring in their step. 'Dereinst, Gedanke mein' (from the Spanisches Liederbuch and set also by Schumann and by Wolf) is more inward and thoughtful. 'Lauf der Welt' has an engaging charm about it whilst the […]
2019-01-15 00:06:00
Allluring Die Loreley - Max Bruch opera
[…] to the "new", heralded by Richard Wagner.Immortalized by Heinrich Heine's poem Die Lorelei (1822) the Lorelei legend epitomizes the aesthetic of the early Romantic era, where Nature spirits inhabit idyllic landscapes where humans encounter extraordinary adventures. Seduced by beauty, mortals meet their doom. The Romantic spirit wasn't "romantic", but haunted by a sense of death, mystery and inevitable change. In Heine's words, "Ich weiß nicht, was soll es bedeuten, Daß ich so traurig bin". In Geibel's account, Leonore, (sung by Michaela Kaune) daughter of Hubert, a ferryman (Sebastien Campione) who works on the Rhine, falls in love with the Pfalzgraf Otto, (Thomas Mohr) and enchants him with her singing, though he's about to marry Bertha, the Gräfin von Stahleck (Magdalena Hinterdobler). An angelic chorus sings "Ave Maria!" around Leonore, suggesting the supernatural quality of her love. Back in her father's village, a chorus of vintners and boatmen make merry, Bruch […]
2016-03-19 12:00:32
[…] German tradition. He pursued intensively, and to its limits, Brahms’s continuous development and free modulation, often also invoking, like Brahms, the aid of Bach-influenced polyphony. Reger was a prolific writer of vocal works, Lieder, works for mixed chorus, men’s chorus and female chorus, and extended choral works with orchestra such as Psalm 100 and the Requiem. He composed music to texts by poets such as Otto Julius Bierbaum, Adelbert von Chamisso, Joseph von Eichendorff, Emanuel Geibel,Friedrich Hebbel, Nikolaus Lenau, Friedrich Rückert and Ludwig Uhland. His works could be considered retrospective as they followed classical and baroque compositional techniques such as fugue and continuo. The influence of the latter can be heard in his chamber works which are deeply reflective and unconventional. In 1898 Caesar Hochstetter, an arranger, composer and critic, published an article entitled “Noch einmal Max Reger” in a music magazine (Die Redenden Künste 5 nr. 49, s. 943 […]
2014-11-23 22:45:00
Max Bruch Die Loreley - non-Wagnerian Wagner ?
Live from Prinzregententheater, Munich, Max Bruch's opera Die Loreley (op 16, 1863) on BR Klassik. The opera is rarely heard in full, and there's no complete recording, so this performance is quite a significant event. BR Klassik pulls out all the stops. The Münchner Rundfunkorchester (conducted by Stefan Blunier) joins with the Prague Philharmonic Choir (the opera was popular once in 19th century Prague). A very good cast: Michaela Kaune, Magdalena Hinterdobler, Danae Kontora,Thomas Mohr, Benedikt Eder, Jan Hendrik Rootering and Sebastian Campione. The performance has been supported with talks, podcasts etc. As to be expected, the opera, with a libretto by Emmanuel Geibel, is in the Romantic style, but is surprisingly un-Wagnerian, harking back perhaps to earlier German music theatre. Certainly the choruses suggest Wagner, but the connections to Weber and Marschner are also valid. Critics at the time used Bruch as a stick with […]
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