Alban Berg Der Wein Videos
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2024-04-21
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Ingo Metzmacher Seele Alban Berg Christine Schäfer Nina Stemme Christian Gerhaher Schillings Charles Dutoit Martha Argerich Weber Schumann Rachmaninoff Ravel Debussy Hindemith Camilla Nylund Georg Zeppenfeld Mojca Erdmann Erdmann Ingeborg Danz Werner Güra Stefan Parkman Schreker Schönberg Daniel Hope Nobuko Imai Vivier Mozart Philharmonie Berlin Rundfunkchor Berlin 2009 2010
Versuchung In all Ihren Schattierungen und Spielarten lockt sie mit Tabubruch, verheißt Genüsse, erweckt die Sehnsucht nach Unerreichbarem und Unerhörtem, führt gleichzeitig in die tiefsten Abgründe der menschlichen Seele und der Menschheitsgeschichte: Versuchung ist Triebkraft und Topos der Künste zugleich. In sechs Konzertprogrammen wird sie von verschiedenen Seiten beleuchtet. Ihr musikalischer Meister war Alban Berg. Wie kaum ein anderer hat er das »Triebleben der Klänge« erforscht, hat seiner Musik Zeichen sehnlichster Wünsche eingeschrieben. Ingo Metzmacher präsentiert die ›Versuchungs‹-Konzerte mit einer erstklassigen Solistenriege, u. a. mit den weltweit geschätzten Sopranistinnen Christine Schäfer und Nina Stemme, mit Bariton Christian Gerhaher und mit Schauspieler Klaus Maria Brandauer, der als Sprecher in Schillings ›Hexenlied‹ auftritt. Ein Konzert der Themenreihe dirigiert Charles Dutoit, Solistin ist keine Geringere als Martha Argerich. Mo 5. Oktober 2009 | 20 Uhr Philharmonie Berlin Ingo Metzmacher Christine Schäfer Sopran BERG ›Lyrische Suite‹ ›Der Wein‹ ›Altenberg-Lieder‹ ›Lulu-Suite‹ Do 19. + Fr 20. Nov. 2009 | 20 Uhr Philharmonie Berlin CHARLES DUTOIT Martha Argerich Klavier WEBER ›Aufforderung zum Tanz‹ SCHUMANN Klavierkonzert a-Moll RACHMANINOFF ›Symphonische Tänze‹ RAVEL ›La valse‹ Di 15. Dezember 2009 | 20 Uhr Philharmonie Berlin INGO METZMACHER Nina Stemme Sopran DEBUSSY ›Le martyre de Saint Sébastien‹ Symphonische Fragmente HINDEMITH ›Mathis der Maler‹ STRAUSS ›Tanz der sieben Schleier‹ und Schlussgesang aus ›Salome‹ Fr 26. + Sa 27. Febr. 2010 | 20 Uhr Philharmonie Berlin INGO METZMACHER Christian Gerhaher Bariton Camilla Nylund Sopran Georg Zeppenfeld Bass Mojca Erdmann Sopran Ingeborg Danz Mezzosopran Werner Güra Tenor Rundfunkchor Berlin Stefan Parkman Staats- und Domchor Berlin Kai-Uwe Jirka SCHUMANN ›Szenen aus Goethes »Faust«‹ Di 18. Mai 2010 | 20 Uhr Philharmonie Berlin INGO METZMACHER Klaus Maria Brandauer Sprecher SCHREKER ›Vorspiel zu einem Drama‹ SCHILLINGS ›Das Hexenlied‹ SCHÖNBERG ›Pelleas und Melisande‹ Mo 31. Mai + Di 1. Juni 2010 | 20 Uhr Philharmonie Berlin INGO METZMACHER Daniel Hope Violine Nobuko Imai Viola VIVIER ›Orion‹ MOZART ›Sinfonia Concertante‹ Es-Dur für Violine, Viola und Orchester VIVIER ›Zipangu‹ MOZART Symphonie Nr. 41 C-Dur ›Jupiter‹
Berg Annelies Kupper Hermann Scherchen Herlinger Seele Fuchs Schoenberg 1929 1930 1957
Annelies Kupper (soprano), Hermann Scherchen conducting the Bavarian Radio Orchestra, recorded 1957. n.b. Hermann Scherchen was the conductor for the premiere of this work in 1930 with Ružena Herlinger. 1. Die Seele des Weines (The Soul of Wine) 2. Der Wein der Liebenden (The Wine of Lovers) 3. Der Wein des Einsamen (The Wine of the Solitary) Programme note by Matthew Rye, accessed at (http•••) Berg twice interrupted work on his second opera, Lulu, a project he was destined never to complete. Most famously he took time out to write his Violin Concerto, but he also responded to a request for a concert aria from the Czech soprano Ružena Herlinger. For the text of this commission he turned to the poetry of Charles Baudelaire, in Stefan George's German translations, an example of which had earlier furnished the secret, unpublished vocal line accompanying part of his Lyric Suite. The coded programme behind that work was a reflection on Berg's affair with Hanna Fuchs-Robettin, the wife of a Prague industrialist. But the concert aria, too, seems to dwell on the aftermath of this liaison in Berg's choice of three poems from Baudelaire's cycle Le vin, a celebration of wine as a means of escape from the everyday world. They are set broadly in the shape of a musical palindrome, to reflect the growth of love and a return to solitude, a symbolism that the composer said reflected his own situation. Composed quickly (by Berg's standards) in the spring and summer of 1929, Der Wein shares the musical ambience of its much bigger sister, Lulu, with its prominent use of the alto saxophone and allusions to the tango and waltz. Like the opera, too, it is written using Berg's own idiosyncratic, tonally weighted interpretation of Schoenberg's 12-tone system. Here the tone-row extends from a D minor scale and is heard most clearly in the soprano's opening phrase to 'Die Seele des Weines' (The Spirit of Wine). The tempo picks up for the central poem, 'Der Wein der Liebenden' (The Wine of Lovers), but after the soloist sings her last word, 'Land', time seems to stand still for a moment and a dull thud from the piano marks the point at which the music of the song / without singer this time / winds its way backwards. The soloist's reappearance with 'Der Wein des Einsamen' (The Wine of the Solitary) aborts the strict palindrome but here the music returns to the ruminating bassoons of the very opening and, like a sonata movement, reprises that of the first song, with a short orchestral postlude finding an uneasy repose on an unsettling final chord.
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