Carl Schatz News
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2024-03-25
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2021-11-12 08:57:14
Intimate and intense: Mahler with just voice and piano, Alice Coote, Stuart Jackson and Julius Drake at Temple Song
[…] of the score, so there was an even greater level of directness. Mahler's Lieder eines fahrenden Gesellen was written in the mid-1880s, in the wake of an unhappy love affair, but the songs were much revised and in the 1890s Mahler orchestrated them, so their textual history is complex. The words, much influenced by the folk poetry of Des Knaben Wunderhorn is by Mahler himself. Here they were sung by Stuart Jackson. 'Wenn mein Schatz Hochzeit macht' was serious and almost trenchant, we could feel the anger beneath the sorrow. The speed wasn't fast, and both Jackson and Drake used the time to develop real character. In all four songs, Jackson gave the strong feeling of the protagonist talking directly to us, without ever pushing the music towards operatic scene. This was dramatically characterful song, and whilst the colours in this first one were largely dark, the pastoral episode […]
2021-11-12 08:57:14
Intimate and intense: Mahler with just voice and piano, Alice Coote, Stuart Jackson and Julius Drake at Temple Song
[…] of the score, so there was an even greater level of directness. Mahler's Lieder eines fahrenden Gesellen was written in the mid-1880s, in the wake of an unhappy love affair, but the songs were much revised and in the 1890s Mahler orchestrated them, so their textual history is complex. The words, much influenced by the folk poetry of Des Knaben Wunderhorn is by Mahler himself. Here they were sung by Stuart Jackson. 'Wenn mein Schatz Hochzeit macht' was serious and almost trenchant, we could feel the anger beneath the sorrow. The speed wasn't fast, and both Jackson and Drake used the time to develop real character. In all four songs, Jackson gave the strong feeling of the protagonist talking directly to us, without ever pushing the music towards operatic scene. This was dramatically characterful song, and whilst the colours in this first one were largely dark, the pastoral episode […]
2021-10-29 15:18:43
Schatz had previously worked with the orchestra of the Vienna State Opera and the Vienna Philharmonic when she joined the ensemble on a temporary contract — travelling with them in 2019. Her official tutti role began just last month and Schatz will become a full member of the orchestra after a three-year trial period. […] The post appeared first on The World's Leading Classical Music News Source. Est 2009..
2021-07-23 15:08:00
[…] of that hope we have learned to call by its mediaeval name, ‘respair’. The final question, might happiness now begin, and negative response, no it can never bloom for me, hit home all the more strongly in such heart-stopping guise. ‘Ich hab’ ein glühend Messer’ received hochdramatisch treatment, very much on a knife-edge, and pivoting in truly Mahlerian fashion to hallucinogenic new vistas, through not against form. The closing ‘Die zwei blauen Augen von meinem Schatz’ seemed very much to speak to our recent (and current) trauma, uncertain rebuilding, and further illusion and hope. A mirage? Perhaps, yet what else do we have? Haunting was the mot juste. Webern’s arrangement (1922-3) of Schoenberg’s First Chamber Symphony completed the programme. Unsurprisingly, Webern seems especially concerned to play up Schoenberg’s constructivism of fourths at the opening—or is it that one wants to hear that, knowing who it is? That was how it […]
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