Johann Rudolf Zumsteeg News
German composer
- cello
- opera
- Holy Roman Empire
- composer, conductor, university teacher, concertmaster, cellist
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2024-04-25
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2016-06-19 01:00:00
Johann Rudolph Zumsteeg (1760-1802) Die Geisterinsel (Opera in Three Acts-1797) Frieder Bernius, Hofkapelle Stuttgart (Period Instruments) Carus 83.229 (2011) Three discs [Flac & Scans]
2015-06-19 15:36:35
[…] fringes of the German-speaking world. He discovered the early Romantics (Heine, Rückert, Platen, Uhland) and immortalised them: he followed Goethe along new paths into passion instead of rhetoric, feeling instead of either reason or bathos: he championed the world-view that led beyond music to Goya and Turner. The origins of a tradition which comes to opulent Romantic flower in Strauss’s ‘Four Last Songs’ lie in the cheap musical browsings of Schubert’s childhood. There he found Zumsteeg, the South German composer who in 1791 had set Ossian and revealed for the first time the potential of song as a vehicle for dramatic and psychological revelation. Two North Germans composing around 1800, Reichardt and Zelter, explored in their own Lieder a new freedom of form, an expressive richness of mood. All this was anathema to the sophisticated Viennese, who trounced it into obscurity. But Schubert knew of it, and it created the […]
2013-07-16 05:05:08
Hi, honey, I’m gnome
[…] end, after Anne’s purity breaks the spell that enslaves Erli. After an orchestral interlude and a reunion of the mortals the concluding chorus describes humans wandering blindly through life’s dark waves and praises an “unknown power” that people can trust. The score is redolent of late Mozart with more chromaticism, lively orchestration and pleasant, if not always memorable, melodies. This release joins Bernius’ other “opera recoveries,” as Carus puts it, including Schubert’s Sakontala, Johann Rudolph Zumsteeg’s Die Geisterinsel and Justin Heinrich Knecht’s Die Aeolsharfe. The excellent Kammerchor and original instrument Hofkapelle Stuttgart deliver a committed yet wonderfully unforced reading, injecting a great deal of personality into Danzi’s sometimes foursquare phrases. The choristers’ individual vocal colorings are especially effective set against the accompaniment of winds in moments like the gnomes’ Act 2 chorus “Zage night.” The orchestra is well-balanced and contributes a glowing account of the brief musical interlude portraying the […]
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