Carl Frühling News
Austrian composer
- piano
- classical music
- Austria
- composer, pianist
Last update
2024-04-24
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2024-01-19 09:51:00
Made in Switzerland: tenor Daniel Behle & pianist Oliver Schnyder combine musicality & intelligence in their recital for Lucerne's Le Piano Symphonique
[…] he wrote his Four Last Songs. Whilst we associated Strauss's songs with the female voice, he worked with men too including tenor Julius Patzak who was the only person Strauss recorded Morgen with. We first heard Daniel Behle and Oliver Schnyder in Strauss' Ständchen, a lovely reference back to the Schubert/Liszt sequence earlier. Behle was ardent, his tenor voice perhaps more robust than a soprano's with a lovely contrast with Schnyder's piano. And so onto the Four Last Songs. Frühling began with a sense of dark foreboding, though the storminess was kept in check. The way Behle used his head voice to lighten the texture was fascinating, though sometimes he did not seem quite at ease with Strauss' highly chromatic vocal line. However, Behle brought a superb sense of line to September over Schnyder's lovely, detailed piano part. The two gave a finely concentrated performance that ended in a finely hushed manner. There was a quiet […]
2023-10-26 06:37:00
Stories in music in Oxford: visual inspirations from the Mendelssohn siblings, William Blake in song & image, vivid story-telling from Wolf & Mörike
[…] sober, a sophisticated song that was far more than just melody and accompaniment. A second Lenau setting, Abendlied (Burns) was rather flowing and swayed entrancingly, whilst Im Herbe (Fisher) featured elegant melancholy that Fisher intensified to a real climax. The final one, Bergeslust (Burns), setting Eichendorff, was surprisingly perky, with Burns performing with engaging rapture, no hint of what was to come.Felix's Six Songs, Op. 71 span the period before and after Fanny's death. Tröstung (Fisher) was all flowing melancholy, with Frühlingslied (Burns) contrasting with engaging joy, Burns having a real spring in her step. An die Entfernte (Fisher) wasn't at all downbeat, this had a lyrical melody with a catchy rhythm in the piano. Schilflied (Burns), setting Lenau, was dark yet barcarolle-like though growing more and more serious. This led to Auf der Wanderschaft (Fisher), also setting Lenau and written after Fanny's death. Almost Schubertian, the piano part featured a sombre, steady tread as Fisher wove a […]
2022-07-01 13:40:00
Wigmore Hall Verborgenheit; Erstes Liebeslied eines Mädchen; Das verlassene Mägdlein; Lied eines Verliebten; Bei einer Trauung; Ein Stündlein wohl vor Tag; Zitronenfalter im April; In der Frühe; Er ist’s; An den Schlaf; Im Frühling; Auf einer Wanderung; Um Mitternacht; Peregrina I; An eine Aölsharfe; Peregrina II; Begegnung; Denk’ es, o Seele!; Auf ein altes Bild; Auf eine Christblume I; Schlafendes Jesuskind; Auf eine Christblume II; Karwoche; Seufzer; Wo find ich Trost?; An die Geliebte; Gesang Weylas; Der Tambour; Die Geister am Mummelsee; Der Jäger; Nixe Binsefuss; Der Feuerreiter; Lied vom Winde. Anna Prohaska (soprano)Christian Gerhaher (baritone)Ammiel Bushakevitz (piano) A decidedly superior Liederabend, in terms of verse, musical setting, and performance. Hugo Wolf remains a connoisseur’s composer: slightly perplexing, perhaps, but then there is no playing to the gallery, no folkish dalliance, nothing that might strain toward the evidently popular. This is song born above all in verse and perhaps, […]
2022-05-08 19:04:00
Kožená/Staples/LPO/Gardner - Birtwistle and Mahler, 6 May 2022
[…] the brushstrokes—it was in turn succeeded in contrast by an expressive ‘Von der Schönheit’ from Kožená. A vivid orchestral parade could have been a little sharper, but resonances with earlier works made their point: another ‘endless parade’. Within the song, moreover, Kožená characterised with keen sense of drama contrasts between outer sections and more volatile middle, the steed’s mane tossed in frenzy. Staples and Gardner forged a sense of touching intimacy in ‘Der Trunkene im Frühling’, as if the forest Siegfried had finally attained the capacity to reflect. Throughout, we heard intriguing contrasts and much lovely detail; slightly lacking, whether by default or design, was that symphonic guiding thread. The dark opening chords of ‘Der Abschied’ brought, in context, momentary remembrance of Deep Time, but more so, a sense of fate so as necessarily to introduce oboe and other solos. It was time for a long farewell, Kožená’s entry thoughtfully […]
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