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2024-05-05
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Bernard Haitink Gösta Winbergh Nancy Gustafson Catherine Wyn Rogers Herbert Lippert Gwynne Howell Thomas Allen John Tomlinson Sachs Alasdair Elliott Anthony Michaels Moore Moore Dickson Dobson Crook Simon Wilding Geoffrey Moses Covent Garden 1997
Gösta Winbergh (tenor), Walther Nancy Gustafson (soprano),. Eva Catherine Wyn-Rogers (contralto). Magdalene Herbert Lippert (tenor),. David Gwynne Howell (bass),. Pogner Thomas Allen (baritone). Beckmesser , John Tomlinson (bass), Sachs Alasdair Elliott (tenor), Richard Lloyd Morgan (bass), Anthony Michaels-Moore (baritone). Kothner , Grant Dickson (tenor), Robin Leggate (tenor), John Dobson (tenor), Paul Crook (tenor), Simon Wilding (baritone), Geoffrey Moses (bass) Michael Druiett (bass) Royal Opera House Covent Garden, Royal Opera Chorus Bernard Haitink, conductor Recorded: 12 July 1997 Live recording, Royal Opera House, Covent Garden, London, England, United Kingdom.
Gustav Mahler Deryck Cooke Thomas Dausgaard Bruno Walter Ernst Krenek Schalk Berthold Goldschmidt Goldschmidt Alma Mahler Seattle Symphony Orchestra New Philharmonia Orchestra London Symphony Orchestra 1861 1910 1911 1919 1924 1960 1962 1963 1964 1967 1972 1976
Seattle Symphony Orchestra conducted by Thomas Dausgaard I - Adagio: 0:00 II - Scherzo I. Schnelle Vierteln: 23:15 III - Purgatorio. Allegretto moderato: 34:21 IV - Scherzo II. Allegro pesante - Nicht zu schnell: 38:26 V - Finale. Langsam, schwer: 49:29 Mahler's tenth symphony was started in the summer of 1910 but was never finished, as h Mahler died may 18 of 1911. The only movement fully orchestrated was the first, the adagio. The third was quite complete and the rest of the movements were in a schematic phase, but with their design finished. Bruno Walter claimed that Mahler had asked him to destroy the score if it was not finished on the day of his death. He had never left a score unfinished, before he destroyed them, in the same way he did with his youthful works. If today we can have the pleasure of listening to part of Mahler's posthumous work, we owe it to his wife Alma, who in 1924 authorized the Viennese publisher Paul Zsolnay to publish the copy of the manuscript, with the surprise of finding a totally planned symphony, comprising five movements. Composer Ernst Krenek completed the instrumentation of the first and third movements, those that were more advanced, and premiered them at the Vienna Opera, performed by the Philharmonic under the direction of Franck Schalk. Finally in 1964, the Mahler Gesellschaft Foundation definitively corrected the Adagio's score. Deryck Cooke, an English musicologist born in Leicester in 1919 and specialized in Mahler, was working on the BBC staff when he was commissioned to do a job to celebrate the centenary of Mahler's birth in 1960. On December 19, 1960, the BBC in London made a broadcast of the symphony with the two incomplete scherzos, performed by the Philharmonia Orchestra conducted by Berthold Goldschmidt. But Cooke was not satisfied with this version and continued to work with the manuscripts left by Mahler, discovering that they said more. He made a new version of the complete work, but without correcting any of Mahler's musical ideas. Its only function was to complete what was missing, to make it an executable work. But then Alma Mahler emerged again, wanting her husband's wishes to be respected. He strictly prohibited the work to be performed again. It seems that he was influenced by Bruno Walter, who also supported this idea. In 1962, conductor Harold Bryns convinced Alma to listen to a tape recording of Cooke's first version of 1960's performance. Neither she nor Bruno Walter had ever listened to it. Walter had died when Mrs. Mahler listened to the aforementioned recording with emotion. The work moved her in such a way that she bursted into tears. Now she understood what her dead husband had meant and could not help leaving the world without being able to hear that music. The result was that on May 8, 1963, the ban was lifted. It could be freely interpreted anywhere on the planet. The completed and corrected version was performed by the London Symphony Orchestra, also conducted by Goldschmidt, on August 13, 1964 and published in 1967. But it would still undergo a new correction. The premiere of the definitive version was held on October 15, 1972 with the New Philharmonia Orchestra conducted by Wyn Morris and would be published in 1976. The first movement is built in the classical sonata form, but interpreted in a new way, which gives more importance to thematic variation than to the strength of contrast between the themes, as understood in its classical sense. It begins with a slow introduction by violas, presenting an austere theme. The first theme of the movement is followed by the first violins, accompanied by the rest of the high strings and the trombone. A melody of great intensity. The theme increases its expression, until the appearance again of the theme of the introduction. The themes are modified during their development, using clearly expressionist techniques. The themes fragment and undergo, what the German musicologist Tyll Rohland quite rightly calls, a morphological variation. In the classical variation, the morphology of the theme remains, something that now, as will be seen later in modern music, the themes are built and disintegrated, to be joined again later, but made of different wood, as for example it would be doing it inverted. This creates a movement with an almost unreal music, with the use of instruments in their extreme registers. The music culminates in a great climax, with sharp metal chords, dissonant chords from the string, and a shrill call from the trumpet, leading to the last section. [Description continued in the comments section] Picture: "Dante and Virgil in the Ninth Circle of Hell" (1861) by the French painter Gustave Doré. Source: (http•••)
Seele Heil Katharine Fuge Rensburg Stephan Loges Monteverdi John Eliot Gardiner Monteverdi Choir English Baroque Soloists 1536 1703 1716 1723 2022
Ärgre dich, o Seele, nicht, BWV 186 for the Seventh Sunday after Trinity "실족하지 말라, 영혼아" (삼위일체주일 후 일곱째 주일) Erster Teil (제일부 - 설교 전) 00:00 1. Coro: Ärgre dich, o Seele, nicht 03:41 2. Rezitativ B: Die Knechtsgestalt, die Not, der Mangel Nach der Predigt: 05:14 3. Aria B: Bist du, der mir helfen soll 08:02 4. Rezitativ T: Ach, daß ein Christ so sehr 10:20 5. Aria Tenor: Mein Heiland läßt sich merken 13:08 6. Chorale: Ob sichs anließ, als wollt er nicht Zweiter Teil - Nach der Predigt (제이부 - 설교 후) 15:36 7. Rezitativ T: Es ist die Welt die große Wüstenei 17:03 8. Aria S: Die Armen will der Herr umarmen 20:22 9. Rezitativ A: Nun mag die Welt mit ihrer Lust vergehen 21:52 10. Aria SA: Laß, Seele, kein Leiden 25:16 11. Choral: Die Hoffnung wart' der rechten Zeit Ärgre dich, o Seele, nicht ("실족하지 말라, 영혼아"), BWV 186은 삼위일체주일 후 일곱째 주일을 위한 칸타타로서 해당 주일이었던 1723년 7월 11일에 라잎치히에서 연주되었습니다. (오늘날 개정된 교회력으로는 오순절 후 여덟째 주일에 해당되며 2022년의 경우에는 7월31일 주일에 해당됩니다.) 이 칸타타는 바흐가 바이마르에 재직할 당시인 1716년에 대림절을 위해 작곡한 원작인 칸타타 BWV 186a를 확대개작한 것입니다. 가사는 전체적으로 잘로모 프랑크가 쓴 대본을 사용하며 이전 주일 칸타타와 동일한 루드비히 헬름홀트의 코랄 Es ist das Heil uns kommen her을 사용합니다. 칸타타의 성서적 배경인 라잎치히 교회 성서일과의 서신서는 로마서 6.19-23로서 사도는 "죄의 삯은 사망이며 하나님의 은사는 그리스도 예수 우리 주 안에 있는 영생이니라"(23)라고 말합니다. 복음서 본문은 마가복음 8.1-9의 이적 이야기 즉 예수께서 보리빵 일곱 덩이와 생선 두 마리로 사천명을 먹이신 사건에 대한 기록입니다. 칸타타는 이 두 가지 성서 본문의 주제를 융합하여, 가난하고 보잘것없는 모습을 스스로 취하신 하나님의 아들을 따라 그리스도인들이 세상의 부귀와 영화와 쾌락을 추구하는 죄악된 생활을 버리고, 가난과 고생과 배척 가운데서도 하나님의 말씀을 신뢰하며 그분의 구원의 약속를 믿고 그때를 기다리라고 그리스도인들을 격려합니다. 그리스도인들에게 세상은 마치 광야와도 같으며 그리스도께서는 그의 말씀 속에 영의 양식을 내리시며, 그의 가르침을 믿고 따르는 신실한 삶을 통하여 그리스도인은 최후에 그리스도께서 예비하신 삯으로 영생 즉 영화로운 생명의 관을 머리에 받아 쓰게 될 것입니다. (제목의 ärgern은 오늘날 일반적으로 '화나게 하다' 혹은 '화내다'라는 사전적인 뜻을 갖습니다. 루터 성경과 옛 문서들에서의 용례는 '실족하다', '당황하다', '반감을 갖다', '(병 등이) 악화되다' 등의 다양한 뜻을 보여줍니다. 국어 성경에서 "실족하다"라는 말은 기대와 크게 다른 무엇에 대해 큰 실망을 느끼고 낙담에 빠지거나 혹은 더 나아가 분개나 반감을 느낀다는 의미로 사용되며, 영어로는 scandalize에 해당합니다. 이 칸타타의 맥락에서도 이 말은, 하나님의 아들이 성육신이 인간적 기대와는 딴판인 초라한 신분의 연약하고 가난한 모습인 것에 당황하고 실망할 뿐 아니라 반감을 느끼게 되는 것을 뜻하는 것으로서 '실족하다'로 옮기는 것이 적절할 것입니다.) 삼위일체주일 후 일곱째 주일을 위한 또 다른 칸타타 Widerstehe doch der Sünde (죄악에 맞서라) BWV 54는 다음 링크를 참고하세요 : (http•••) 연주 / 캐터린 푸게 Katharine Fuge 리처드 로버츠 Richard Wyn Roberts 코비 반 렌스부르크 Kobie van Rensburg 스티븐 로지스 Stephan Loges 몬테베르디 합창단 Monteverdi Choir 잉글리시 바로크 솔로이스츠 English Baroque Soloists 존 엘리엇 가디너 John Eliot Gardiner 배경 그림 / 디에고 벨라스케스, "그리스도인의 영혼이 바라보는 그리스도의 모습" 베르나르도 스토로찌, "빵과 생선의 기적" 야콥 빌렘스 데 베트, "만나를 거두는 이스라엘" 발레스 레알, "요셉에게 영관을 씌우는 그리스도"
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- chronologie: Artistes lyriques. Interprètes.
- Index (par ordre alphabétique): W...