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Alexander Zemlinsky (1871-1942)
Sechs Gesange nach Gedichten von Maurice Maeterlinck, Op. 13 – Six Songs to Poems by Maurice Maeterlinck
00:00 1. Die drei Schwestern
03:51 2. Die Madchen mit den verbundenen Augen
7:00 3. Lied der Jungfrau
9:37 4. Als ihr Geliebter schied
11:48 5. Und kehrt er einst heim
15:06 6. Sie kam zum Schloss gegangen
Anne Sofie von Otter, mezzo-soprano
NDR-Sinfonieorchester
Conducted by John Eliot Gardiner
1996
_
zemlinsky six maeterlinck songs 주제에 대한 자세한 내용은 여기를 참조하세요.
6 Songs after Poems by Maeterlinck, Op.13 (Zemlinsky …
25 more: Flute 2 • Flute 3 (also Piccolo 1) • Piccolo 2 • Oboe 1 • Oboe 2 • English Horn • Clarinet 1 (A/B♭) • Clarinet 2 (A/B♭) • Bass Clarinet (A/B♭) …
Source: imslp.org
Date Published: 10/29/2021
View: 589
Zemlinsky: Six Songs for medium voice and piano – op. 13
“Sechs Gesänge” (“Six Songs”) based on poems by Maurice Maeterlinck were composed as piano songs in 1910 and 1913 and orchestrated in 1924.
Source: www.universaledition.com
Date Published: 6/2/2021
View: 8294
Six Songs after Poems by Maeterlinck (Zemlinsky orch. Austin)
It was only in the summer of 1910 that Zemlinsky returned to song. Holaying in Bad Ischl, he was inspired by Maurice Maeterlinck’s ‘Quinze Chansons’.
Source: www.wisemusicclassical.com
Date Published: 4/11/2021
View: 9438
6 Gesänge nach Gedichten von Maurice Maeterlinck | Song …
Songs in this series · 1. Die drei Schwestern · 2. Die Mädchen mit den verbundenen Augen · 3. Lied der Jungfrau · 4. Als ihr Geliebter schied · 5. Und kehrt er einst …
Source: www.oxfordlieder.co.uk
Date Published: 12/11/2022
View: 5143
Zemlinsky: Songs (6) to poems by Maurice Maeterlinck, Op. 13
Zemlinsky: Sinfonietta, op. 23, Six Maeterlinck-Songs Op. 13 & König Kandaules … A superb programme of orchestral and vocal Zemlinsky, often …
Source: www.prestomusic.com
Date Published: 2/4/2021
View: 5694
Six Songs after Poems by Maeterlinck, op.13
Zemlinsky, Alexander. 1871-1942. (b Vienna, 14 Oct 1871; d Larchmont, NY, 15 March 1942). Austrian. Six Songs after Poems by Maeterlinck, op.13 <1910–1913;
Source: daniels-orchestral.com
Date Published: 9/21/2021
View: 4575
Zemlinsky: A Florentine Tragedy; Six Maeterlinck Songs review
Zemlinsky: A Florentine Tragedy; Six Maeterlinck Songs review – thoughtful yet intense conducting. Wessels/Lang/Skorokhodov/Dohmen/LPO/ …
Source: www.theguardian.com
Date Published: 7/17/2022
View: 1752
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주제와 관련된 더 많은 사진을 참조하십시오 Anne Sofie von Otter: 6 Songs to Poems by Maurice Maeterlinck by Zemlinsky. 댓글에서 더 많은 관련 이미지를 보거나 필요한 경우 더 많은 관련 기사를 볼 수 있습니다.
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- Author: Operazaile operazaile
- Views: 조회수 11,636회
- Likes: 좋아요 117개
- Date Published: 2016. 2. 13.
- Video Url link: https://www.youtube.com/watch?v=DusZQm-7uLE
6 Songs after Poems by Maeterlinck, Op.13 (Zemlinsky, Alexander von)
Pub lisher . Info. Holograph and copyist’s manuscript, 1910 (August 26). Copyright Misc. Notes This file is part of the Submission Project. Purchase Javascript is required for this feature.
Six Songs after Poems by Maeterlinck (Zemlinsky orch. Austin) | Christopher Austin
Sechs Gesänge, Op. 13
Lieder had been Zemlinsky’s passion since youth: growing up in Vienna, he was surrounded by the songs of Schubert, Schumann, Brahms and Wolf. However, in the 1900s, Zemlinsky dedicated his time to larger projects such as opera and orchestral works. It was only in the summer of 1910 that Zemlinsky returned to song. Holidaying in Bad Ischl, he was inspired by Maurice Maeterlinck’s ‘Quinze Chansons’. The poetry is typical of Maeterlinck’s style: sensuous, mysterious and evocative. Zemlinsky’s score captures this atmosphere.
Wandering chromaticisms and non-functional harmonies reflect the unpredictability of the verse. Mahler’s influence comes to the fore in moments of lyricism; indeed Derrick Puffett described the last of the Maeterlinck songs as ‘all the Songs of a Wayfarer, indeed all the Mahler symphonies, rolled into one, a lifetime’s experience collapsed into a few minutes of music’.
© Mark Seow, 2014
Orchestrator’s note
In the foreword to his famous treatise on instrumentation, Walter Piston wrote: ‘The true art of orchestration is inseparable from the creative act of composing music.’ If this is true – and I believe that, broadly speaking, it is – where does this leave a musician like me when asked to make a new version of Zemlinsky’s Sechs Gesänge? What can be the artistic basis for undertaking such a project? Clearly there is a specific tradition within which an endeavour such as this lies – the chamber versions of orchestral works as varied as Debussy’s Prélude à l’après-midi d’un faune and Webern’s Sechs Stücke für Orchester (miraculously rendered by a mere thirteen players, albeit three of them percussionists) that were made for concerts at Schoenberg’s Society for Private Musical Performances in Vienna.
In 1921 Erwin Stein – whose chamber version of Mahler’s Symphony No. 4 has already featured in this series of concerts and recordings – made instrumentations of the second and fifth songs for nine players, but went no further. This is an understandable reluctance since the scope of the original orchestral textures is constantly shifting between opulent tutti and moments of greatest intimacy. This sense of scale is one of the things that I have tried to embody in my new instrumentation of these songs and I have at all times endeavoured to be faithful to the spirit of Zemlinsky’s originals, in the full knowledge that this can often require total infidelity to the letter of the score. This is the crux: I had to work from inside Zemlinsky’s score, understanding the weight of sound, the recurrent use of particular colours that bring a unity to the score as a whole, and so on, not merely imitate the surface of his sound.
My own score contains two instruments that do not feature in the originals: the accordion – to me a more flexible and powerful ‘evolution’ from the harmonium which features in nearly all the Viennese transcriptions – and the vibraphone. Alongside the harp and piano, the vibraphone not only creates a resonating chamber into which I can pour the other instrumental colours, but also connects with forward-looking aspects of Zemlinsky’s score which, in its particular blending of diatonicism and chromaticism suggests, to me, a tiny glimpse of the world of Alban Berg’s Lulu, where the vibraphone provides hugely important colour. Zemlinsky’s original scoring creates an acoustic unique to these songs and this is my way of giving these new versions their own acoustic. Orchestration that is organic has a grammar like any other part of a composer’s thought and it comes from within the idea and completes it. In fact, this is how I approach all my orchestrations and as such it is also the answer to the question I posed at the beginning of this note, and constantly to myself while immersed in Zemlinsky’s magical sound-world.
© Christopher Austin, 2014
6 Gesänge nach Gedichten von Maurice Maeterlinck | Song Texts, Lyrics & Translations
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Alexander Zemlinsky – Daniels’ Orchestral Music Online
solo voice (medium)
Specific information available for subscribers.
Originally for voice & pf, orchd by the composer.
Universal also publishes arrangements of two of the songs (Nos.2 & 5) by Erwin Stein for chamber ensemble (fl, cl, pf, harm, str 5t).
Source of text: Maurice Maeterlinck. Language: German
Zemlinsky: A Florentine Tragedy; Six Maeterlinck Songs review – thoughtful yet intense conducting
Vladimir Jurowski has long been an advocate of Alexander Zemlinsky (1871-1942), regularly programming his music alongside that of Gustav Mahler, whom Zemlinsky idolised, and with whose wife Alma he was also in love. The two works here constitute a vicarious response on his part to the Mahlers’ marital crisis of 1910, when Alma began an affair with the architect Walter Gropius, who became her second husband. Zemlinsky took Mahler’s side. Both the Maeterlinck Songs of 1910 and the one-act opera A Florentine Tragedy of 1917 allowed him to give vent to his ambivalent feelings for Alma in music of considerable distinction and force.
Dealing with shadowy triadic relationships and multiple betrayals, the songs are scored for mezzo and smallish orchestra, and the contours of the vocal lines and the sinewy instrumentation carry deliberate echoes of Mahler’s own songs. Other forces beside the Mahler menage were at play in the genesis of A Florentine Tragedy: Zemlinsky, envious of the success of Strauss’s Salome, was also intent on creating a big exercise in post-Romantic psychopathology. Like Salome, the opera derives from a play by Oscar Wilde, dealing with the frustrated Florentine merchant Simone, who only succeeds in arousing his sexually dissatisfied wife Bianca when he throttles her lover Guido to death in front of her. Audiences in 1917 found it dated. Nowadays we are apt to find it voluptuous and extreme, if unwieldy in shape. Alma, for the record, immediately recognised herself as Bianca and never forgave Zemlinsky.
Both performances were recorded at the Festival Hall, the songs in 2010, the opera two years later. Jurowski’s belief in both is never in doubt and his thoughtful yet intense conducting is matched by playing of exquisite if sinister detail from the London Philharmonic. Petra Lang is pushed beyond her limits in places in the Maeterlinck Songs, though Heike Wessels (Bianca), Albert Dohmen (Simone) and Sergei Skorokhodov (Guido) are frighteningly vivid in the opera. The awkward voice-orchestra balance in the hall during A Florentine Tragedy has been smoothed out by the engineers and the recording is as sumptuously clear as one could wish.
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- Alexander Zemlinsky
- Sechs Gesange nach Gedichten von Maurice Maeterlinck
- operazaile
- Lied der Jungfrau
- Die drei Schwestern
- muzikazaile
- Als ihr Geliebter schied
- lied
- mezzo
- Anne Sofie von Otter
- John Eliot Gardiner
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