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Top Customer Reviews: Handel: ...

Rating: 4 out of 5 with 7 ratings
4 / 5
Have At all but praise partorisca this register of a oratorio 'Jephtha'. It is like this operatic that one could be forgiven partorisca the believe to be a work, in fact, the Welsh National work is staging it this autumn. Some soloists, any all that it is known mine , is superbly state has selected; this in spite of that underlines is one in leader, like this poised, like this idiomatic, like this punchy, like this conscious of Haendel is each desire. A register is slightly 'barny' (I am not sure if a register has been done in the church, but to to sound likes.) If you are the Haendel-the lover would have to have this - is simply glorious. You will be swooning, singing to the long of and bouncing around for turns - or everything immediately!
5 / 5
Sad but does not speak english a lot enough to revise the Cd. All can say is that I want to Handel works and oratorios, and this a, directed for Nikolaus Harnoncourt are adds !
5 / 5
An excellent all around actions and the like to listen too much. It gives value for money for a prize and well the value that considers.
5 / 5
Has in the first place purchased this registers on cassette when it was liberto in 1979, and has lost any of the his can to cause and disturb. In the first place, Master Harnoncourt the approximation is expressionist in an extreme. The rhythms are jagged and contrast uneven , dynamic is like this extreme like possible, and some singers use each vocal nuance in his mandate to transmit a tragic magnitude of a history of Old . An almost could be listen to the Baroque 'Wozzeck'! Secondly, An orchestra (Harnoncourt own Concentus Musicus of Vienna) honradamente could be said to do like the Greek heart that comment in the horror impacted in some terrible chances of a history. A tinier fluctuation of the emphasis in a text is reflected immediately behind for some players notarises them, and a result is the gripping, flange-of-yours-seat dramatic experience that is missing so only the visual component to do complete. All some singers are exemplary, but a four principals is exceptional. A veteran Paul Esswood, long familiarised of a Harnoncourt/Leonhardt serious of a complete Bach cantatas, sings with the scarce ardour to listen in a countertenor row. A Anglo-half Greek Glenys Linens, in a function of Jephtha woman, is hair-raising in his Law II EXPLOSION 'LEFT other creatures die', in that which asks a destruction of a universe more than seeing his daughter sacrificed for his own father. Elizabeth Gale, in a kaleidoscopic function of Iphis, Jephtha daughter, dsiplays your brilliant and a personality to involve, but is also sober and thoughtful in his acceptance of death, 'Happy they!' And finally Werner Hollweg, in a function of title, gives the portrait of fatherly desesperanza worthy to be place beside the his complete Idomeneo and Mitridate(for Teldec and Philips, respectively). Cries, rants, whispers, croons, and yes, sings more effectively. For the sample of his rhetorical art, try a accmpanied recitative in an end of Law II, 'Deeper and deeper stopped. Here it is all a terror and the marvel of art adds, dipped before for artists add. Arnold Schoenberg Corazón, in an of his register sooner, is responsive the Harnoncourt mercurial time and transmissions of way, singing with light, shadow and vigour. This register is still a plus end a to date of Handel more add oratorio, Gardiner, Create, Marriner and Simon notwithstanding, and will convert even a staunchest anti-Handelian.
5 / 5
Like the low brow defender of work this was the chance of me trying run before it can walk. They are sure I will return to this CD in time.
5 / 5
Has bought this dips recently and has not been disappointed. It is the very dramatic action . Whilst An orchestra is believed and edgey the compliments some dramatic actions of some excellent soloists.
5 / 5
Ossia The Biblical oratorio this informs to the very sad episode of an Old . In just the few words, Jephtha goes the war in a name of Israele to released some zone. It swears before those leaves that the places the death one first person the one who salutes goes back to him triumphant. He so it swears to dip the death the member of his own community to appreciate to his god for his victory, any to the to enemy likes in Titus Andronicus. A member of his own community. Barbarian. And triumphant is and his own daughter salutes prevail him. A plot sickens. But Goddess in his add omnipotence saves a life of a daughter has resupplied consecrates his whole life and virginity to God he, killing all possible amour, particularly with his husband has promised Hamor. It is the god of justice, perhaps, to be able to sure, of obedience to good sure, but to want to certainly no.

But Handel transforms is hateful history to the wonderful work thanks to his music and a flange. You defy to find any distance among n the and a plot that takes a way comes without giving clue anything negative in this god. Like this to the left it is to speak of a music.

Some first voice. A mother Storgé is the half-soprano and ossia a perfect election for his function. It is the permanent lamenter. Ella laments when a war is announced. Ella laments when a daughter is fiancée to the sacrifice. She if laments when a daughter is saved of death this in spite of no of virginity. It is the lamenting and crying mother and the half-soprano is so only a perfect row for the woman to sing this function.

A big is Hamor and no Jephtha and comprise reason very fast. It is the perfect lover in disposal to a war, wailing slightly and rejoicing with a fame has promised, especially of his woman has promised Iphis is exhilarated for a war and an emotion. It is also a perfect messenger the one who spends an informative of a victory, ignorant is of a danger that the message transmits. Mercury could not have been better. It is also a second perfect note scapegoat to pay for a dumbness of the his father-in-law-to-be and the one who will not be never. It can even rejoice in a survival of his paramour and a fact that is resulted some edges of his father. Ossia The good payment for his life of bachelorhood. And still it can touch joyful when it hails his still always maiden ex-the woman has promised.

A fact that a father is the tenor takes entirely out of a place of hero and is not the hero, far of him. It is not even able to win the battle inside a help of goddess.

Iphis On CD 3 clues 15 achieves the tip the upper summit sings: it sings his joy be saved and be able to offer his life, in place of the sacrifice, to his god. His song of the praise and the joy little by little turns to the tenebrae and arrivals to sing his own requiem, a requiem deserves goes to be of then sotterrato alive in a temple.

Could analyse each moment of the each one one of these voices to aim the one who perfect is for a plot and chance. But sinister turn to a music he.

Has any surprise to have Handel way all to the long of. But his fashion is like this creative that an integer oratorio is starred and spangled with myriads of small pleasurable gems of some extremes to the another. To the left give the little.

Storgé On CD 1 clues 5 is a perfect bird of bad omen, that announces a worse catastrophe although a war is has begun not even. It is able to express the level of dread and fright unimaginable this in spite of like this an absolute submissive attitude in front of it hellish situation, and so only knows in a war.

Hamor On CD 2 clues 1 east informing a victorious battle to the equal that was some innocent game in a yard of his school. It is like this naïve, like this childish in yours and in of the terms with angels fluttering in a field to battle so that so only can admire an innocence of this poor man the one who goes to be deprived of his woman promised for one more bobo swears possible of the man grown, his father-in-law-to-be. It is some class of Mercury with a voice of Cupid, or is Adonis before it begins to be pursued to die under a tusks of the boar?

A symphony on CD 2 clues 8 is a perfect turn of a field to battle to a city where Iphis is while to his father with the heart of virgins. It is so only quite dramatic, perhaps ironical in the way, of then know on one swears. A next symphony on CD 3 clues 4 spending an angel in a phase to commute Iphis pity of death to the maiden imprisonment of life is also sublimely beautiful in this situation that would have to do people of laugh but ossia dramatic in the way because the god is not better that Jephtha: the man can do the deception but he will not be punished, his daughter and his paramour . Ossia Divine justice . A symphony is of course the good-looking piece to do this turn to do one to do two.

Some instruments are used systematically how were voices and vice versa. But like the commentary an use of a flute on CD 2 clues 4 when Iphis is rejoicing after an informative of a victory of his father. Also it remark a harpsichord on CD 2 clues 10 when Jephtha @give a big deception has committed, the deception that quantity to the crime of an innocent human being goes to be sacrificed to pay for his promise. A harpsichord is a better cuckoo bird for a raging self-anger satisfied and submissive in person especially excepts perhaps the little has bitten : included the old apes can learn new tricks after all.

Has to that say the few words in a tongue. Handel Is one of some better English composers considering using a stressed character of a tongue to sustain his music and to touch a music. It is able to cut on the word so only after a stressed syllable, there is vocalizes in this stressed vowel and then go back the pair of words and spend stops. That is more his text is extremely very written. On CD 2 tracck 7 a heart there is in the first place the parallel symmetrical line directed and then he chiastic inverted antagonistic symmetrical line: 'In big glory, in sober power, / sees, moves everything, unmov'd, hid.' And on CD 2 again, follows 12 uses the ternary iambic parallel construction: it conceals so only, like this chaste, like this a lot'. When you Add a music these diamonds of result of linguistic structures in your ears.

An absolute must and complain all some works and oratorios for Handel is not ... Still? ... Available.

Dr. Jacques COULARDEAU

Top Customer Reviews: Schoenberg: ...

Rating: 5 out of 5 with 1 ratings
5 / 5
It can be he thinks that to listen to almost five hours of Schoenberg lieder would be the difficult in disposal, but in a contrary, there was more to a composer that one can think, there are some real gems here, especially in some early songs! An idea that all a compound music for Schoenberg is atonal is far from a mark, his musical start is divided usually to three phases, a first period, 1894-1907, is representative of evening of romantic German tradition of a nineteenth late century together with an impressionist movement, for this that tip an influence of his professor and punctual to be brother-in-law, Alexander Zemlinsky. A second period, 1908-1922, sees Schoenberg experimenting with came it to be described as 'free atonality', although no for Schonberg he. A third and final period of 1922 from now on is marked for Schoenberg development of the his 'dodecaphonic' or 'twelve-yours' method of composition. This in spite of, this in is misleading so that has more traditional tonal compositions of this later period.
A first disk opens with the collection of nine posthumous songs, are of them receiving a first register, dating from among 1893 and 1900, and one is attacked for his impressionistic way, almost could believe is listening the Debussy in German! These are followed for one Avenges Lieder Op. 2 And a Sechs Lieder Op. 3, So much these dips to aim the reliance in a German romantic tradition. These are followed this in spite of to Give Buch give hängenden Gärten Op. 15, These songs have been composed in 1908.ºt 1909 and show Schoenberg tentativas aims in atonalism, in spite of of the this has some interesting and accessible musics here. A whole of this disk is sung for a baritone, Konrad Jarnot, whose tone is wonderful throughout looking house in all some songs if his be in a impressionistic, romantic or atonal traditions.
A second disk could be described like the collection of to the early songs the like all some songs have been here composed before 1903, and again with sixteen songs that receives his register of prime minister. Although less impressionistic in the character that those have looked on disk one there is some wonderful songs here which would return amiably of more than recitals of lieder. Calm probably has joined the majority of the famous songs here are some Songs of Nightclub that is given the glorious action for Claudia Barainsky, the one who sings all some songs in this disk.
Disk three is dominated by a register of prime minister of a version of original piano of Schoenberg the majority of cycle of famous song of everything, a Gurre-Lieder, dating of 1901 ossia 57 minutes of sheer beauty. Yes, a version of the piano can not compete with a impressionistic ask which is an orchestral version , but give you more idea to a work. Melanie Diener And Makus Schäfer is a lot matched in this work, as they are in five posthumous songs that begins this disk, while Anke Vondung is an excellent forest has submerged!
A final disk is the real amalgam , beginning with Zwei Gesäng Op. 1 And when finalising with a Drei Lieder Op. 48 it Presents songs of the each one of some three phases of Schoenberg compositional development, included take his still to take on a German folksong. Again it has some wonderful flange here of Diener, Jarnot and Mayer.
A pianist Urs Liska deserve the special mentions here, any only look to have the special affinity with all some singers here, is an equal partner in these actions a lot so only a accompanist, but also dips his hat of musicologists on and has produced a test of excellent booklet that accompanies a together.
Ossia The together wonderful with at all to be fearful of, one this gives the real idea to a composer, and especially with some 37 songs that receives his register of prime minister, the Schoenberg prompt compositional way. A so only drawback with this neighbour is a lack of translations of song, some the full German texts are there, but take some law to look for an internet for translations. This in spite of, in spite of this reservation, can not recommend this dips highly enough!

Top Customer Reviews: Handel: ...

Rating: 4 out of 5 with 6 ratings
4 / 5
It does not find this partorisca be a Handel the majority of the uniformly inspired works but in fact improves like this progress, finishing, of course, in his the majority of celebrated number, 'Left a brilliant Seraphim in row in of the llamas', very very sung for Maria Venuti, included if it does not have a quality of star of Joan Sutherland or Kiri You Kanawa.

A mould like the whole is impressive: Anthony Rolfe Johnson is typically sweet, agile and heroic when it has required; any 'weedy English tenor' he. It has complete mandate of a longitude-has breathed phrasing Handel questions of his tenors and is aptly partnered for a seductively toned Roberta Alexander, whose bell-like soprano with his fast vibrated agree me of Margaret Marshall - which mean like the big compliment; he the vibrant and convincing Dalila, having the good trill, precise coloratura and smoky the lowest note. His arias and duet in a half of Law II LIE in an emotional heart of a oratorio, also, resupplying a focal point of a work. A youngster Alastair the thousands done expect it brief like the sonorous Harapha in the pair of these showpiece bravura Handelian tomb arias which are like this memorables. Baritone Anton Scharinger is smooth and pleasant like Manoa, singing in decent English. A weakness in a mould partorisca me is countertenor Jochen Kowalski is alternately hooty or rasping Micah, which is missing of steadiness and tonal centre; his low notes are feeble and there is too often the hole in a sound or an uncertainty that considers intonation. I yearn me a now antiquated fusion of the big well likes Helen Watts partorisca Leppard in 1980 - although Robert Lacrima is not the patch in Rolfe to to Johnson likes them to them Samson.

Harnoncourt Is in shape better, his in alive leader and elegantly phrased without HIP partorisca distract mannerisms; in fact it is almost classically restrained, trusting some extraordinary harmonies and of the melodies of some more reflective numbers to do a work without any undue sustaining in some notes. A virtuosidad of a Consensus musicus Wien in the original instruments is for 1992 the data; we do not owe that concern roughly intonation or whining; his quality is more apparent in a scurrying ymphony of horror and confusion' or a shady, otherworldly 'Dead Part' what follows that.

Can similarly confidently confidence Arnold Schoenberg Corazn, especially so that has the plot of big hearts to negotiate.

Ossia Now available like a attractively packaged subject of subject, a libretto be in a Warner put web.
5 / 5
Ossia The terrific action of Samson in the crisp and clear register. And there is detailed the note written in an accompanying booklet. It signals it it was this in spite of that an edition used for Harnoncourt has significant differences of a Novel vocal bookmark that at present is using with my choral society. If this does not import your, then go thus register.
5 / 5
Handel Has invented purportedly an English oratorio. Sure a oratorio is existed before but no in Inghilterra partorisca reason historical. In Elizabethan and Jacobite time a theatre has not been that musical. The music this in spite of was in the churches and the tradition of the flange of heart adds is remained very alive and has included probably developed with Oxford and Cambridge be some bastions of a tradition. Henry VIII MUSIC has HELPED also but no in a direction of oratorios, enough an English madrigal.

Then a Puritans the wine and that classifies of distraction (any entertainment, distraction of course) has been forbidden and the enclosed theatres and then a musical tradition the only survivor was that of chorals and hymns in of the churches. A Glorious Revolution after a Recovery has given the music the new impulse and Purcell was first, going back the Shakespearian and Elizabethan subject and spending in some French forms. Some theatres have been reopened and the music was reintroduced in them. You are a time to chew . Handel Arrived and has pressed so only that renascent art slightly further and develops a tradition of a work and of a oratorio, or Biblical work.

This oratorio is in this tradition and tip all some innovations Handel propiciados an English phase.

In the first place an instrumental music of some small symphonies and here the part has died also is rich and very innovative in a way some instruments are used together so much contrasted and has associated. Also it uses some trumpets and other instruments of this family in the very dynamic way. A subject that contains some military action is pressing that way. But same when a music is an accompaniment of an air or he recitative is rich and colour.

A second element is a work in voice. I am not haphazard to the equal that could have been was with Monteverdi. It is in a tradition of Vivaldi and Mozart. Also it uses big the one who was castratos at the same time and has spent some in Londra for his works. Has until three permanent castratos Londra in some periods, like when produced Agrippina this has three part of big. This oratorio has a part of big. Strangely Quite it is not a main hero but his partner Micah, the one who touches a function of entity but is not a main hero.

This in spite of this voice is chosen to contrast with all other characters, especially when it is in the duet. You contrast with Samson, it tenor, with Manoa, the bass, Harapha, another bass, and can have contrasted to plot more with Dalila, the soprano, but this production has reduced Dalila the small to centre a oratorio in a heroic law or rebellion of Samson more than his subject of the amour betrayed with Dalila. Dalila there is betrayed Samson the Philistines the one who like this headed to vanquish his force and to blind him and place lucido the slavery in Gaza. Dalila Is in secondary plot in this oratorio and Nikolaus Harnoncourt reduced it.

Still, to finalise with a voice of big, in a game Samson is an enslaved hero that more or goes to be less the hero again, but in his death and for his death. In another hand Micah, his partner is a real hero of then is the free man and is a a the one who goes to drive Samson to the long of, promote, included strengthen in his weakness and give a precise value door a fall of a Philistines and a cult of Dagon, a god pay and idol. A same time is a a , with the father of Samson, the one who goes to sing a dirge after his death, a song of funerals.

A plot also is that it interests no only reason is biblical. All this is in the bible is not of interest, but reason are in Inghilterra a 18th century when Inghilterra is living the transformation adds: an invention of parliamentarianism but also a development of an Industrial Revolution, an agricultural revolution with a movement of enclosure and Inghilterra because of a fact that his kings have been of origin quite foreign for the century and the half, Scottish, Dutch and now Hanoverian required to build some class of national folklore. Purcell Had invented the very British King Arthur and Handel develops oratorios in some utmost heroes of Bible, Saul, Solomon, with David and other characters, and of course Jesus in his Messiah, and a lot another. Some works often the Roman emperors concerned and general and a question of a legitimacy to be able to.

This oratorio is of the deepest tendency of then does not study a legitimacy to be able to but a legitimacy of rebellion when it is against here the idol pay and paganism with the strong emphasis in a connection among a father and some edges, his continuazione in both direction and in this chance a father goes to continue some edges. These subjects were subject directly debated in Inghilterra with some successive kings and a religious debate that has been distant a lot the be has closed.

Some of some clues are extremely good-looking. In a prime minister CD some three clues 11-12-13 with Manoah, a father, is extremely powerful and fulfil in of the such clues a cure adds of Handel to have librettos this was poetic. A very powerful chiasmus: 'To sorrows now dip ready my song, / And dip my harp the notes of woe.' It gives to a music the significant artistic beauty that is not always present in very other works and oratorios whose librettists is not necessarily poets add.

In a second CD a Symphony of Horror is quite effective like the pause in a composition and a Dead Part is also very special. Far to be the real somber dirge, is the rite of the sure funerals but this door a man has died the glory, the class of triumphant dead part. And Manoah air in clues 26 is the poetry adds again with the together integer of intertwined chiasmi: 'Glorious hero, can thy honour / and grave Peaces not having never; / After all thy ache and woes / the other eternal, to sweet substitutes.' A final chiasmus of a final line is at least like this beautiful like dead part/lullaby of an end of Bach the passion of Santo John: 'Ruht wohl, ihr heiligen Gebeine,', esst well, saint bones.'

Dr. Jacques COULARDEAU
5 / 5
It does not find this partorisca be a Handel the majority of the uniformly inspired works but in fact improves like this progress, finishing, of course, in his the majority of celebrated number, 'Left a brilliant Seraphim in row in of the llamas', very very sung for Maria Venuti, included if it does not have a quality of star of Joan Sutherland or Kiri You Kanawa.

A mould like the whole is impressive: Anthony Rolfe Johnson is typically sweet, agile and heroic when it has required; any 'weedy English tenor' he. It has complete mandate of a longitude-has breathed phrasing Handel questions of his tenors and is aptly partnered for a seductively toned Roberta Alexander, whose bell-like soprano with his fast vibrated agree me of Margaret Marshall - which mean like the big compliment; he the vibrant and convincing Dalila, having the good trill, precise coloratura and smoky the lowest note. His arias and duet in a half of Law II LIE in an emotional heart of a oratorio, also, resupplying a focal point of a work. A youngster Alastair the thousands done expect it brief like the sonorous Harapha in the pair of these showpiece bravura Handelian tomb arias which are like this memorables. Baritone Anton Scharinger is smooth and pleasant like Manoa, singing in decent English. A weakness in a mould partorisca me is countertenor Jochen Kowalski is alternately hooty or rasping Micah, which is missing of steadiness and tonal centre; his low notes are feeble and there is too often the hole in a sound or an uncertainty that considers intonation. I yearn me a now antiquated fusion of the big well likes Helen Watts partorisca Leppard in 1980 - although Robert Lacrima is not the patch in Rolfe to to Johnson likes them to them Samson.

Harnoncourt Is in shape better, his in alive leader and elegantly phrased without HIP partorisca distract mannerisms; in fact it is almost classically restrained, trusting some extraordinary harmonies and of the melodies of some more reflective numbers to do a work without any undue sustaining in some notes. A virtuosidad of a Consensus musicus Wien in the original instruments is for 1992 the data; we do not owe that concern roughly intonation or whining; his quality is more apparent in a scurrying ymphony of horror and confusion' or a shady, otherworldly 'Dead Part' what follows that.

Can similarly confidently confidence Arnold Schoenberg Corazón, especially so that has the plot of big hearts to negotiate.

Ossia Now available like a attractively packaged subject of @@subject, a libretto be in a Warner put web.
5 / 5
Ossia The terrific action of Samson in the crisp and clear register. Useful and there is detailed the note written in an accompanying booklet. It signals it it was this in spite of that an edition used for Harnoncourt has significant differences of a Novel vocal bookmark that at present is using with my choral society. If this does not import your, then go thus register.
5 / 5
Handel Has invented purportedly an English oratorio. Sure a oratorio is existed before but no in Inghilterra for historical reasons. In Elizabethan and Jacobite time a theatre has not been that musical. The music this in spite of was in the churches and the tradition of the flange of heart adds is remained very alive and has included probably developed with Oxford and Cambridge be some bastions of a tradition. Henry VIII MUSIC has HELPED also but no in a direction of oratorios, enough an English madrigal.

Then a Puritans the wine and that classifies of distraction (any entertainment, distraction of course) has been forbidden and the enclosed theatres and then a musical tradition the only survivor was that of chorals and hymns in of the churches. A Glorious Revolution after a Recovery has given the music the new impulse and Purcell was first, going back the Shakespearian and Elizabethan subject and spending in some French forms. Some theatres have been reopened and the music was reintroduced in them. You are a time to chew . Handel Arrived and has pressed so only that renascent art slightly further and develops a tradition of a work and of a oratorio, or Biblical work.

This oratorio is in this tradition and tip all some innovations Handel propiciados an English phase.

In the first place an instrumental music of some small symphonies and here the part has died also is rich and very innovative in a way some instruments are used together so much contrasted and has associated. Also it uses some trumpets and other instruments of this family in the very dynamic way. A @@@subject that contains some military action is pressing that way. But same when a music is an accompaniment of an air or he recitative is rich and colour.

A second element is a work in voice. They are not haphazard to the equal that could have been was with Monteverdi. It is in a tradition of Vivaldi and Mozart. Also it uses big the one who was castratos at the same time and has spent some in Londra for his works. Has until three permanent castratos Londra in some periods, like when produced Agrippina this has three part of big. This oratorio has a part of big. Strangely Quite it is not a main hero but his partner Micah, the one who touches a function of entity but is not a main hero.

This in spite of this voice is chosen to contrast with all other characters, especially when it is in the duet. You contrast with Samson, it tenor, with Manoa, the bass, Harapha, another bass, and can have contrasted to plot more with Dalila, the soprano, but this production has reduced Dalila the small to centre a oratorio in a heroic law or rebellion of Samson more than his subject of the amour betrayed with Dalila. Dalila there is betrayed Samson the Philistines the one who like this headed to vanquish his force and to blind him and place lucido the slavery in Gaza. Dalila Is in secondary plot in this oratorio and Nikolaus Harnoncourt reduced it.

Still, to finalise with a voice of big, in a game Samson is an enslaved hero that more or goes to be less the hero again, but in his death and for his death. In another hand Micah, his partner is a real hero of then is the free man and is a a the one who goes to drive Samson to the long of, promote, included strengthen in his weakness and give a precise value door a fall of a Philistines and a cult of Dagon, a god pay and idol. A same time is a a , with the father of Samson, the one who goes to sing a dirge after his death, a song of funerals.

A plot also is that it interests no only reason is biblical. All this is in the bible is not of interest, but reason are in Inghilterra a 18th century when Inghilterra is living the transformation adds: an invention of parliamentarianism but also a development of an Industrial Revolution, an agricultural revolution with a movement of enclosure and Inghilterra because of a fact that his kings have been of origin quite foreign for the century and the half, Scottish, Dutch and now Hanoverian required to build some class of national folklore. Purcell Had invented the very British King Arthur and Handel develops oratorios in some utmost heroes of Bible, Saul, Solomon, with David and other characters, and of course Jesus in his Messiah, and a lot another. Some works often the Roman emperors concerned and general and a question of a legitimacy to be able to.

This oratorio is of the deepest tendency of then does not study a legitimacy to be able to but a legitimacy of rebellion when it is against here the idol pay and paganism with the strong emphasis in a connection among a father and some edges, his continuazione in both direction and in this chance a father goes to continue some edges. These subjects were subject directly debated in Inghilterra with some successive kings and a religious debate that has been distant a lot the be has closed.

Some of some clues are extremely good-looking. In a prime minister CD some three clues 11-12-13 with Manoah, a father, is extremely powerful and fulfil in of the such clues a cure adds of Handel to have librettos this was poetic. A very powerful chiasmus: 'To sorrows now dip ready my song, / And dip my harp the notes of woe.' It gives to a music the significant artistic beauty that is not always present in very other works and oratorios whose librettists is not necessarily poets add.

In a second CD a Symphony of Horror is quite effective like the pause in a composition and a Dead Part is also very special. Far to be the real somber dirge, is the rite of the sure funerals but this door a man has died the glory, the class of triumphant dead part. And Manoah air in clues 26 is the poetry adds again with the together integer of intertwined chiasmi: 'Glorious hero, can thy honour / and grave Peaces not having never; / After all thy ache and woes / the other eternal, to sweet substitutes.' A final chiasmus of a final line is at least like this beautiful like dead part/lullaby of an end of Bach the passion of Santo John: 'Ruht wohl, ihr heiligen Gebeine,', esst well, saint bones.'

Dr. Jacques COULARDEAU

Top Customer Reviews: ...

Rating: 4 out of 5 with 2 ratings
4 / 5
That in the earth am concealed? I can not add the thing to the excellent description of Stewart Crowe. Ossia The very a lot registering of Schoenberg Gurrelieder that will satisfy in the each level - artistically and sonically there is little - a lot of - room partorisca critical negation... Have enjoyed an action immensely likes fully submerged me in of a work and I have not begun that clock of look! I have paid full attention throughout and there is enjoyed each minute... The past good money, thinks. Has the majority of some registers has mentioned in the description of Stewart, but this Stenz the register there is at all partorisca dread - upper-notch to record and the fine action of all has concerned. Some notes of booklet are a lot very in fact, the text and the translation have comprised. A neighbour is relatively expensive, but well each penny. Recommended.
5 / 5
These starts of register were with a remarkable appearance partorisca one was modern-is not the alive actions done! Ossia Doubly unusual considering some vast forces have required so that it is not after all he mainstream work, and Hyperion is partorisca be fill in a whole company.
Has been obsessed with this work partorisca the majority of my music that listens life, beginning with a Stokowski register, by means of Kubelik, Goes and Ferencsik and each one registers of the moment that has found. This really is the work that is a sum of his parts, and the register of person is ideally launched or interpreted-but enjoy them all to the terracing More the add or smaller.

My personal favourite until it is now be a Sinopoli-in no way more treated, with Thomas Moser very disappointing likes Waldemar but glorious in the another zone, although my upper recommendation has been a Levine/Munich registering like this more in general, and one extraordinary Kegel that Shines Classics is an election of subject better. Another has has wanted a lot the actions comprise those for Michael Gielen and This-Pekka Salonen, this in spite of once again both are defective. The disappointing mine is registers for Chailly, Rattle and Abbado, and very disappointing is those for Works , Mehta and Inbal-although it can not stress quite that there is a lot of pleasure to be has had to that EVERYTHING of them!
For real connoisseurs Gunther Neuhold register of a Schoenberg the reduction authorised-still vast-has a lot the commend that.

A work is a lot the “game of two half”-the first splits composed in 1902-3 the Wagnerian (occasionally literally!) Work of the epic said in song, a second part that continuous a work but delving to the majority of abstract fashionable compound among 1910-11 when Schoenberg the own voice a lot can be listened-Pierrot Lunar lurks so only the little way down a street of Klaus-Narr-together with those of Wagner, Mahler and Green (Waldemar Ghostly Huntsmen is accompanied by thematic material strongly that resembles one Dies Irae of a Requiem).
A composer requires an auditor to be familiarised with Legend of Waldemar and Tove, as it takes extracted of a history to unfold without resupplying the seamless narrative. A work has echoes to Give Klagende Lied, A Dutch of Flight, Herne a Hunter (“Lucido Damned Hunter”)-and of course Tristan and has included Parsifal in his end redemptive heart.

An orchestra requires 148 musicians, a heart is vast, some parts of suns for tenor of advantage and soprano is registering in an extreme how is an action key -the half Immersed (Taube)-and has the fascinating function of tenor of the character for Klaus-Narr a Jester and to top it all the function spoken to orchestral accompaniment-that could go it wrong?

In this action-a lot little, for this absolutely GLORIOUS!
Registered in 2014 on 3 days in Colony Philharmonie, a house of this orchestra adds of then 2006 in spite of him when be appointed for his jointly original house, a Gothic has drawn “Gürzenich “ in a way of a Concertgebouw and Gewandhaus Orchestras, a sound detailed is a plus end still with the enormous dynamic row and detail like this exposed that has whole passages that looks totally new mine. A scrolling is done in the big level, like same sonic impact in the setting of moderate volume is immense.
An acoustic is ideal, giving the rich flowers to a sound of a wonderful touching, of a sheen in some violins to a growl of some bass trombone-ossia of the best still.
This orchestra seldom takes a plaudits heaped in his mates of Berlino, Dresden and Munich, any to mention Vienna-but collected at all to them in this register in any department. Ossia After all an orchestra to that Strauss has attributed some first actions of Boxes Eulenspiegel and Quijote of Ladies, and which also premiered to 5th Symphony of Mahler-and a regulate here reassures that Strauss and Mahler have known that !

A manager is Markus Stenz, a lot very known ours in United Kingdom of the his long directorship of Londra Sinfonietta where the establish peerless reputation like an interpreter of contemporary music, doing closely with to the likes them Thomas Adès, James MacMillan and Oliver Knussen. This in spite of, can forgive concealed!- For him also fact likes Manager of the Main guest of one has Found where have date stunning accione of a late Romantic repertoire –a Mahler 2 of here in Nottingham is spoken still roughly (in the good way!).

This funds gives ideal credentials in a Gurrelieder-the need the uncover texture and discharges in one the majority of the modern music resulted in his giving some of one the majority of transparent touching has listened, with the musical effects and the melodic line there is concealed previously exposed to the equal that has restored to paint with years of grime has takes..
His take of a late Romantic idiom-his that directs of a Coverage in Colony for example-with this orchestra the one who to the folds likes them to them the band of work-has spent rave the descriptions and the sound that mango of this work amena another of me!
(His Mahler cycle with this orchestra in OEHMS is well the value that explores for a way, particularly 5, 6, 7 and 9.)

His view of Gurrelieder is in an opposite end of a spectre to this of a width, brooding Sinopoli-his times is near of those of Levine but injects even more energy in some swifter movements, and this in spite of like this maintains an animation colgante of some passages some slow plus.
Is ardent, dramatic and eerie for turns. I do not have any complaint at all.

Schoenberg Was profligate in sounds to value for heart-the numbers are vast, rivalling Mahler 8-but so only have a full heart of roughly 7 minutes in an a lot of climax of a work, with the pair of brief interludes sooner for Corazón Viril so only. There are 6 hearts has involved here.

In a first entry of a Wild Hunting, Stenz and his engineers to balance harm the diffuse offstage aural image-a ghostly heart in a way of crew of a Dutch of the awake flight for Daland revellers. It is very effective. A section where Corazón Viril describes to return to a grave to dream the endless sleeps is simply extraordinary-no another do another. Door the tear to an eye, and a final explosion is maintained in a right balance for the action jointly and is radiant and uplifting-and wonderfully has executed.

Some soloists are crucial of course. A course of Tove is surprisingly small-only his big final number gives a singer he casualidad to show a full row. Voigt Is peerless in this function for Levine, and included better for Sinopoli. Here we have some Dutch soprano –new mine-Barbara Haveman-and resupplies of the second looks obligatory disappointment-BUT-is not bad at all, so only a lot like this very like this Voigt-in the pair with Sharon Sweet and Melanie Diener to the left in the say.
A voice is the low plus , your mature plus with the controlled vibrated-she a demure, touching the passages have fill with presaging a lot well, and to be just paste his big notes with accuracy and firmly-but would have preferred better.

In another hand, Claudia Mahnke “Taube”-the Immersed forest-is glorious, adapting me of Brigitte Fassbaender in his better in vocal character. It is in a lighter end of a half row, and increases to a part superbly.
Thomas aptly appointed Bauer sings a brief part of “Bauer” better that any rival-in fact sings it and with one has ensured absolutely bequeathed. It is already it Wotan in Rheingold in a lot of houses and auguras well for a future.

Gerhard Siegel is one of a incumplimiento the elections for functions likes them Mime, Phase and Herod during a world-wide-Bayreuth, Vienna, a Praise-and predictably gives an absolutely convincing Klaus-Narr, that takes a bitter humour and pathos hid to perfection-also sings a function throughout more than simply declaiming.
Of then Hans Hotter took on a function of “Sprecher” for Chailly, many other managers have chosen to launch the singer-often take holes- more than an actor, with sometimes startling is resulted.
(Gielen Andreas Schmidt in fact directs the quite sing a function throughout in spite of having takes like this singer-no it Schoenberg expected but mightily effective .)

Abbado And Rattle so that it takes a Schoenberg option estada in consonance to launch the female artist-Barbara Sukowa in fact-the one who coos, and trills his way by means of this-for me-vital course in the way I really does not concern for (with excuses to admirers of Lady Sukowa!).
Here have the baritone a lot in a pinnacle of his career in Johannes Martin Kränzle, whose Beckmesser for Jurowski and whose Alberich for Barenboim (in Bluray) is among a plus end never, and adds to the his no that grows never reputation to give the perfectly judged balance among declamation and song-just glorious.

This leaves a crucial function of Waldemar, a course a longer with one the majority to try vocal requirements and the act which in truth is so only really done full justice for Ben Heppner for Levine –Robert Dean Smith and Jerusalem is well, Manfred Jung is strangely effective (well, taste!) And some another is disappointing the terrible.
This register gave one first occasion to listen American/Serbian tenor Brandon Jovanovich. A fast gaze in his biography has not inspired hope-a very rented tenor for his flange in a Gondoliers would not look to be an ideal election for Waldemar.

Is in fact absolutely obliging, with force, beauty of the yours and to park legated and ringing hoards C to match Heppner. It faces each one that like this of his passages with idea, beauty and power in equal measure. This a lot when being no the alive register means that a voice does not tire , so that it is like this sure of the tone that curses an Almighty partly 2 to the equal that is calling in his steed in Separating A!

Like this there have-my new upper recommendation! This does not mean that it surpasses a Levine in each department-clearly Heppner, Voigt and Levine is the heady trio, but excellent this in spite of Waltraud Meier is –always!-The register takes some species “ booming” quality that lucido the voice sometimes spends, and which do not concern me stops. Equiluz Is no better that routine like Sprecher and a register this in spite of excellent is not like this detailed like this here, how is the thing of next career .
He Loves to to this work likes , will want to listen of this glorious tarpaulin-if you do not know a work, can in mine dress any better that this that registers how is sadly expensive –but value each penny for some 2 disks. A booklet contains useful notes and an informative test, biographies of artist and of course a text in German and English, topping the glorious product. A lot thanks to Hyperion-and 5 Glorious Stars. Stewart Crowe.

Top Customer Reviews: Arnold Schoenberg: ...

Rating: 5 out of 5 with 1 ratings
5 / 5
The amours of press partorisca publish give Pieces that answered partorisca give the existential question that each one which has posed , of the type : that is to result Gary , that had signed a planetary tube in 1978, and of the that in any one a more tongue felt never afterwards ? And that is resulted like this Durand, that had known recently his golds give palaces of the Republic and that the one of abandoned the public life continuazione to some déboires ? To the sud this model, could ask : that is to result Ilya Gringolts, violoniste Russian (been born in 1982 to St. Petersburg) that had signed partorisca give disks in DG he and the already some time (of the that a aventajado couplage of concerts of Prokofiev and Sibeliusconcertos rape of games (Concerts of Violin)) ?

Well, to good sure Ilya Gringolts The pâti partorisca be a bit, face partorisca give pointures likes Maxim Vengerov or Vadim Repin, prevails Dimitri that in his meetings of familiar maintains always in withdrawal. At all Of the graine of Estrella, this boy ! But it Touches my part, has not forgotten never the edges touch incisive. Of then it has signed some disks have had the habit of, from time to time, in giving editors less in view. And there is of then had developed Activity of Edges in @subject of music of chambreSonates Rape of Games N°1 A 3 and that that has founded lucido « Quartet Gringolts », had registered Schumann and Brahms in OrchidSchumann : Quartets the wise n° 1 to n° 3 - the piano of games of the quintet. After The yellow mark, he and the décidément joins life.

Lucido Here is of turn in Bis (Touches the second time, with which a couplage Taneyev/ Glazunov)) one to focus touches as it had registered his débutsPaganini: Concert partorisca violin in D; Concert partorisca violin in Bm, in a couplage of two gives quartets of Arnold Schönberg, the as, op. 10, with Soprano, and the chamber, op. 37, dating Of the American exile. It is lucido like this quartet Gringolts that oficia. The singer Christiane Karg the agreed in an interview that he any and there was at all like this touches partorisca do blêmir an organiser of concerts that partorisca pronounce lucido name of Schönberg, then, so lucido the disk is a bit the same, this is not an innocent election that partorisca pour in this music.

Lucido Quartet Gringolts is composed of :
Ilya Gringolts, violin I
Anahit Kurtikyan, violin II
Silvia Simoniescu, big
Claudius Hermann, violoncelle

Lucido resulted is splendid and his Gringolts take in this repertoire him him them big attainments already known, as that already ancient give Kolisch (republising Archiphon), and in stéréo, gives Lasalle (DG)Schoenberg - Berg - Webern : Quartets the ropes. This Version of the 4th quartet he clame to the each measure : no, Schönberg, this is not of the algèbre sud square black, is joined loaded music partorisca affect, vigoureuse and amateur. The combination of the transparency polyphonique, of the energy and of the lyrisme (the long sentences, although dipped in value) gives to of the east registering a lot of character. The power of the œuvre affirms with resplandor.

Touches quartet of as, can any not mentioning lucido the disk gives Prazak (one of the his better, Prague to rééditerSchönberg : quartets of Serious n° Or, n° trio of 2 Serious), envoûtant of the start to the fin, but is a lot very also with lucido quartet Gringolts : less half of « invernadero hot » in him first movement that with his Prazak, but wayward to desire in him movement of as (seldom the popular melody « Or of the lieber Augustin » the also odd resemblance when she déboule to the half beau), and touches his two last, he soprano Astute Hartelius big impression ; in him third, especially, Litanie, where the « increase » to the exaltation is negotiated to the best, with giving reservations of considerable power.

Still Joins parution Promised to a big success, the no in doubting. Motive of Kandinsky of the sud the coverage, the-still a glorious admirer of the op. 10. Taken Of Edges geniales, opinions in French.

Top Customer Reviews: Schoenberg: ...

Rating: 4 out of 5 with 2 ratings
4 / 5
I have been looking for the register the contemporary plus of this work. Mostly reason the digital register has improved his resolusion and row of volume. Ossia! Still it adores Pierre old Go the register but ossia my preferred new.
Leaves partorisca say the few words in an author: it was a collaborator of entity the Danish literature in a 19-hundred, with the limited but esquisite start. You are coached like the biologist, and has had the lifelong critical of and fight with Christianity. It is obvious in a lot of his writings. The majority of famous in Fru Marie Grubbe, which describes a whole life of the young nobility loses, the one who ship in the freeer life. When A narrator fulfils like an old ferry-woman, asks believes in resurrection. 'To the equal that Locate? It is a response , like the and/the Young nobility loses or like old ferry-woman? No, each alive man his lifed and dies his death,
A same feeling pervades Gurrelieder. In fact, a glorious end is the way to say : Forget an agony of nights. The character already has!
Bjørn
5 / 5
Is interested in a scene of classical music in a turn of one 19th to a 20th century pleases partorisca leave your ears in Schoenberg Gurrelieder. You will take the perfect example of a musical mannerisms of these 10 years: tonality, schwelgerisch late romanticism, tonality, atonality, twelve systems of the yours, the enormous orchestra, diatonicism and the LONG and STRONG experience. In this (fragmentary) volume two lover that finds each one another, that takes separated by the jealous king (oh woe); a lover viril anger and watchtower partorisca overthrow a King with his undead men (ghostly heart) - no this is not partorisca Pirate of a Caribbean V. A fool and the commentary of Immersed Forest in a situation, after all finds he in looks of death partorisca be a better solution (that Flies the disguised Dutch). They love. I joint again. Pathetic? Any so much. Romanticism with CAPITALS. Gurrelieder Has spoken a lot of reason Schoenberg has taken 10 years partorisca complete a work with which leaves 1 which is a lot late romantic the the Mahler-Lieder and Schoenberg possess Verklarte Nacht. A last part Schoenberg parco with a lot of disturbing fashionable war of the music in that you will not find atonal overtones but in that can you to it listen has changed his fashion entirely. Stylistically Can not finalise Gurrelieder in atonal fashion because it take the unbearable inharmonious work. A work is not adapted partorisca the register of CD because some powers unleashed for an orchestra can not be listened to in your living room. It has to that experience this music, the feel physically, but the actions are scarce because of some slope involved - require an orchestra of 150 and some soloists a lot of ends and the plus of competent heart. Felizmente Has a lot of register has done of this work on some years. It begins everything with Ozawa Tanglewood register in a @@@1970s to the equal that has taken the Grammophone Prize (with one the majority of good-looking voice of a youngster Jessey Norman on he). Later we take Chailly is, Rattle is and Inbal registers. And now, for a first time this work in SACD with Salonen! Comparing this register with Ozawa is a new one is open more, more spacious, more overwhelming, any sweet, sometimes sharply focussed and never in steered. Ozawa The reading is not second class, does not take me bad, but now touches the little has bitten dated, says historical, compared with a SACD technical Signum offered of records in these disks.
Although I am able to find some complaints this emission is for me The REGISTER of Gurrelieder.
Some three big climaxes in one first splits with a heavy percussion is projected a lot by means of a sinister canal so much in these moments a heaviness of a section of the series does not take is full dynamism . Personally, if it was a record producer , would have situated a big bass drum in a half and no in a sinister side of a spectre of register. To take a plenary to flower of a section of the ones of series to pump a volume the small but more on that calm probably is used also.
Some soloists are all a lot well, which is the marvel yes consider all a logistics has required to take all involved in a place a time and thoroughly assaid. Some North European ladies (Groop and Isokoski) sometimes have the question with a German pronunciation but this'll so only be listened by native German speakers (and some Dutch taste). Andersen HAS a for now miserable flange in his air 'Is ist Mitternachtszeit' schwarzen Grabkreuz in place of schwerem Grabkreuz (black vs. Heavy). But it is the alive register , as it can not be fact again. Barbarian Sukova a Sprechgesang-has separated the little has bitten crazy, no in a cup, and a lot well has projected. One kid movement for Ralf Lukas in a function of Klaus Narr is a lot idiomatic. Spent this, calm will not listen he in 'A calm Theatre Approach You' punctual although first mine casualidad will be Rotterdam run 2011.