Max Marschalk Vidéos
compositeur ou compositrice, musicologue
- Reich allemand
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2024-05-03
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Gustav Mahler Pierre Boulez Bauer Lechner Anna Mildenburg Max Marschalk Vpo 1895 1896 1898
Gustav Mahler Symphony No. 3 (Mahler) マーラー交響曲第3番 Mahler/Symphony No. 3 Pierre Boulez/vpo ウィーン楽友協会合唱団 ピエール・ブーレーズ指揮 交響曲第3番ニ短調(こうきょうきょくだい3ばんニたんちょう)は、グスタフ・マーラーが1895年から1896年にかけて作曲した交響曲。全6楽章からなり、第4楽章にアルト独唱、第5楽章にアルト独唱と児童合唱、女声合唱を導入している。演奏時間は約100分。マーラーの交響曲としても、また通常の演奏会で採り上げられる交響曲としても、最長の曲として、かつてはギネスブックに掲載されていた。 作曲時にマーラーは全曲及び各楽章ごとにも標題を付していたが、出版時にこれらをすべて削除している。交響曲全体の標題は、初期には「幸福な生活-夏の夜の夢」、その後「楽しい学問-夏の朝の夢」、「夏の真昼の夢」などと変遷している。各楽章に付けられていた標題(後述)も含めて、これらは作曲と平行して考えられていたものであり、音楽の内容と深く結びついている。したがって、演奏や録音の際の解説では作品理解の助けとして各楽章の標題が紹介されることが多く、交響曲の副題として「夏の交響曲」あるいは「夏の朝の夢」などとするものも一部にある。 もともと7楽章構成で構想されたが、最後の楽章は分離されて交響曲第4番の第4楽章となった。このため、第3交響曲の第5楽章と第4交響曲の第4楽章には同じ旋律素材が見られるなど、ふたつの作品には音楽的に関連がある。また、交響曲第2番も含めて、声楽の歌詞に歌曲『少年の魔法の角笛』を用いていることから、これらを「角笛三部作」と括ることがある。 In its final form, the work has six movements, grouped into two Parts: 1.Kräftig. Entschieden (Strong and decisive) [D minor to F major] 2.Tempo di Menuetto (In the tempo of a minuet) [A major] 3.Comodo (Scherzando) (Comfortably, like a scherzo) [C minor to C major] 4.Sehr langsam—Misterioso (Very slowly, mysteriously) [A minor] 5.Lustig im Tempo und keck im Ausdruck (Cheerful in tempo and cheeky in expression) [F major] 6.Langsam—Ruhevoll—Empfunden (Slowly, tranquil, deeply felt) [D major] The first movement alone, with a normal duration of a little more than thirty minutes, sometimes forty, forms Part One of the symphony. Part Two consists of the other five movements and has a duration of about sixty to seventy minutes. As with each of his first four symphonies, Mahler originally provided a programme of sorts to explain the narrative of the piece. At different times, he shared evolving versions of a program for the third symphony with various friends, including Natalie Bauer-Lechner, a close friend and confidante, Anna von Mildenburg, the dramatic soprano and Mahler's lover during the summer of 1896 when he was completing the symphony, and Max Marschalk, a music critic. In its simplest form, the program consists of a title for each of the six movements: 1."Pan Awakes, Summer Marches In" 2."What the Flowers in the Meadow Tell Me" 3."What the Animals in the Forest Tell Me" 4."What Man Tells Me" 5."What the Angels Tell Me" 6."What Love Tells Me" Mahler, however, elaborated on this basic scheme in various letters. In an 1896 letter to Max Marschalk, he called the whole "A Summer's Midday Dream," and within Part One, distinguished two sections, "Introduction: Pan awakes" and "I. Summer marches in (Bacchic procession.)"[1] In a June 1896 letter to Anna von Mildenburg, Mahler reaffirmed that he conceived the first movement in two sections: I. What the stony mountains tell me; II. Summer marches in. [2] In another letter to Mildenburg from Summer 1896, he said that "Pan" seemed to him the best overall title (Gesamttitel) for the symphony, emphasizing that he was intrigued by Pan's two meanings, a Greek god and a Greek word meaning "all." All these titles were dropped before publication in 1898.[ Mahler originally envisioned a seventh movement, "Heavenly Life" (alternatively, "What the Child Tells Me"), but he eventually dropped this, using it instead as the last movement of the Symphony No. 4.[5] The symphony, particularly due to the extensive number of movements and their marked differences in character and construction, is a unique work. T Driving 兵庫県道7号~国道176号 氷上~柏原~篠山 . "live music" tourism "Concert (TV Genre)" "Driving (Amusement Ride Theme)" Driving 兵庫県道7号 国道176号 氷上 柏原 篠山 tamba 丹波市 鐘ヶ坂トンネル
Gustav Mahler Leonard Bernstein Barbara Hendricks Christa Ludwig Schlicht Beethoven Bülow Haydn Anton Seidl Bauer Lechner Max Marschalk 1888 1891 1892 1893 1894 1895 1901
pf: New York Philharmonic cond/ Leonard Bernstein (DG) with Barbara Hendricks (soprano), Christa Ludwig (mezzo-soprano), The Westminster Choir, Joseph Flummerfelt 0:00 - 1. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck (With complete gravity and solemnity of expression) 25:06 - 2. Andante moderato. Sehr gemächlich. Nie eilen. (Very leisurely. Never rush.) 37:13 - 3. In ruhig fließender Bewegung (With quietly flowing movement) 48:36 - 4. Urlicht (Primeval Light). Sehr feierlich, aber schlicht (Very solemn, but simple) 54:54 - 5. Im Tempo des Scherzos (In the tempo of the scherzo) The Symphony No. 2 by Gustav Mahler, known as the Resurrection Symphony, was written between 1888 and 1894, and first performed in 1895. Apart from the Eighth Symphony, this symphony was Mahler's most popular and successful work during his lifetime. It was his first major work that established his lifelong view of the beauty of afterlife and resurrection. In this large work, the composer further developed the creativity of "sound of the distance" and creating a "world of its own", aspects already seen in his First Symphony. The work has a duration of around eighty to ninety minutes and is conventionally labelled as being in the key of C minor; the New Grove Dictionary of Music and Musicians labels the work's tonality as C minor–E-flat major. Mahler completed what would become the first movement of the symphony in 1888 as a single-movement symphonic poem called Totenfeier (Funeral Rites). Some sketches for the second movement also date from that year. Mahler wavered five years on whether to make Totenfeier the opening movement of a symphony, although his manuscript does label it as a symphony. In 1893, he composed the second and third movements. The finale was the problem. While thoroughly aware he was inviting comparison with Beethoven's Symphony No. 9—both symphonies use a chorus as the centerpiece of a final movement which begins with references to and is much longer than those preceding it—Mahler knew he wanted a vocal final movement. Finding the right text for this movement proved long and perplexing. When Mahler took up his appointment at the Hamburg Opera in 1891, he found the other important conductor there to be Hans von Bülow, who was in charge of the city's symphony concerts. Bülow, not known for his kindness, was impressed by Mahler. His support was not diminished by his failure to like or understand Totenfeier when Mahler played it for him on the piano. Bülow told Mahler that Totenfeier made Tristan und Isolde sound to him like a Haydn symphony. As Bülow's health worsened, Mahler substituted for him. Bülow's death in 1894 greatly affected Mahler. At the funeral, Mahler heard a setting of Friedrich Gottlieb Klopstock's Die Auferstehung (The Resurrection), where the dictum calls out "Rise again, yes, you shall rise again / My dust". "It struck me like lightning, this thing," he wrote to conductor Anton Seidl, "and everything was revealed to me clear and plain." Mahler used the first two verses of Klopstock's hymn, then added verses of his own that dealt more explicitly with redemption and resurrection. He finished the finale and revised the orchestration of the first movement in 1894, then inserted the song Urlicht (Primal Light) as the penultimate movement. This song was probably written in 1892 or 1893. Mahler initially devised a narrative programme (actually several variant versions) for the work, which he shared with a number of friends (including Natalie Bauer-Lechner and Max Marschalk). He even had one of these versions printed in the program book at the premiere in Dresden on 20 December 1901. In this programme, the first movement represents a funeral and asks questions such as "Is there life after death?"; the second movement is a remembrance of happy times in the life of the deceased; the third movement represents a view of life as meaningless activity; the fourth movement is a wish for release from life without meaning ; and the fifth movement – after a return of the doubts of the third movement and the questions of the first – ends with a fervent hope for everlasting, transcendent renewal, a theme that Mahler would ultimately transfigure into the music of his Das Lied von der Erde. As generally happened, Mahler later withdrew all versions of the programme from circulation. MORE INFO & LIBRETTO: (http•••)
Mahler Lustig Bauer Lechner Anna Mildenburg Max Marschalk 1895 1896
交響曲第3番ニ短調(こうきょうきょくだい3ばんニたんちょう)は、グスタフ・マーラーが1895年から1896年にかけて作曲した交響曲。全6楽章からなり、第4楽章にアルト独唱、第5楽章にアルト独唱と児童合唱、女声合唱を導入している。演奏時間は約100分。マーラーの交響曲としても、また通常の演奏会で採り上げられる交響曲としても、最長の曲として、かつてはギネスブックに掲載されていた。 作曲時にマーラーは全曲及び各楽章ごとにも標題を付していたが、出版時にこれらをすべて削除している。交響曲全体の標題は、初期には「幸福な生活-夏の夜の夢」、その後「楽しい学問-夏の朝の夢」、「夏の真昼の夢」などと変遷している。各楽章に付けられていた標題(後述)も含めて、これらは作曲と平行して考えられていたものであり、音楽の内容と深く結びついている。したがって、演奏や録音の際の解説では作品理解の助けとして各楽章の標題が紹介されることが多く、交響曲の副題として「夏の交響曲」あるいは「夏の朝の夢」などとするものも一部にある。 もともと7楽章構成で構想されたが、最後の楽章は分離されて交響曲第4番の第4楽章となった。このため、第3交響曲の第5楽章と第4交響曲の第4楽章には同じ旋律素材が見られるなど、ふたつの作品には音楽的に関連がある。また、交響曲第2番も含めて、声楽の歌詞に歌曲『少年の魔法の角笛』を用いていることから、これらを「角笛三部作」と括ることがある。 StructureIn its final form, the work has six movements, grouped into two Parts: Kräftig. Entschieden (Strong and decisive) [D minor to F major] Tempo di Menuetto (In the tempo of a minuet) [A major] Comodo (Scherzando) (Comfortably, like a scherzo) [C minor to C major] Sehr langsam—Misterioso (Very slowly, mysteriously) Lustig im Tempo und keck im Ausdruck (Cheerful in tempo and cheeky in expression) [F major] Langsam—Ruhevoll—Empfunden (Slowly, tranquil, deeply felt) [D major] The first movement alone, with a normal duration of a little more than thirty minutes, sometimes forty, forms Part One of the symphony. Part Two consists of the other five movements and has a duration of about sixty to seventy minutes. As with each of his first four symphonies, Mahler originally provided a programme of sorts to explain the narrative of the piece. At different times, he shared evolving versions of a program for the third symphony with various friends, including Natalie Bauer-Lechner, a close friend and confidante, Anna von Mildenburg, the dramatic soprano and Mahler's lover during the summer of 1896 when he was completing the symphony, and Max Marschalk, a music critic. In its simplest form, the program consists of a title for each of the six movements: "Pan Awakes, Summer Marches In" "What the Flowers in the Meadow Tell Me" "What the Animals in the Forest Tell Me" "What Man Tells Me" "What the Angels Tell Me" "What Love Tells Me"
Schönberg Max Kowalski Kowalski Marschalk Mark Lothar Joseph Marx Motoharu Kawashima
長島剛子・梅本実 リートデュオ・リサイタル 世紀末から20世紀へ Part XI <シェーンベルク『月に憑かれたピエロ』誕生100年を記念して> 1)シェーンベルク以外の作曲家による《月に憑かれたピエロ》 "Pierrot Lunaire" composed by composers other than Schönberg 1:10 Max KOWALSKI / 伊達男 Der Dandy 3:10 Max KOWALSKI / ピエロへの祈り Gebet an Pierrot 4:53 Maz MARSCHALK / 蒼ざめた洗たく女 Eine blasse Wäscherin 6:40 Mark LOTHAR / 月のしみ Der Mondfleck 8:33 Otto VRIESLANDER / ハープ Die Harfe 11:20 Joseph MARX / ピエロ・ダンディ Pierrot Dandy (動画中の日本語字幕の訳は長島剛子、梅本実による) Soprano : 長島剛子 Takeko NAGASHIMA Piano : 梅本実 Minoru UMEMOTO 2012年11月5日 東京文化会館 小ホール <コンサート全体の内容と解説をこちらにまとめています> (http•••) / このコンサートの他のプログラムはこちら other program of this concert 2)川島素晴/《月に憑かれたピエロ》〜シェーンベルクが書かなかった7つの詩(委嘱作品 初演) Motoharu Kawashima / "Pierrot Lunaire" Sieben Gedichte, auf die Schönberg nicht komponierte. (http•••) 3)シェーンベルク/《月に憑かれたピエロ》 Schönberg / Pierrot Lunaire (http•••) 4)アンコール Encore (http•••)
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