Auf dem See - No. 2 from Eight Lieder and Songs Op. 59

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Four Songs for Voice and Piano. Five Songs for Voice and Piano. Seven Songs for Voice and Piano. Two String Quartets - No. Schicksalslied - Song of Destiny for Chorus and Orchestra. Variations for Orchestra on a Theme by Haydn. Variations for two Pianos on a Theme by Haydn. Eight Songs for Voice and Piano to texts by Daumer.

Eight Songs for Voice and Piano. Four Duets for Soprano and Alto with Piano.

Lieder und Gesänge, Op 59 - Hyperion Records - CDs, MP3 and Lossless downloads

Seven Songs for Mixed Choir. Five Duets for Soprano and Alto with Piano. String Quartet No. Symphony No. Two Motets for Mixed Chorus a cappella. Eight Piano Pieces. Violin Concerto. Violin Sonata No. Two Rhapsodies for Piano. Tragische Ouverture - Tragic Overture for Orchestra. Six Songs for Low Voice and Piano. String Quintet No.

Download PDF Auf dem See - No. 2 from Eight Lieder and Songs Op. 59

Five Songs for High Voice and Piano. Five Choruses for Mixed Chorus a cappella. Three Motets for Four and Eight-part Chorus a cappella. Thirteen Canons for Women's voices. Seven Fantasies for Piano. Three Intermezzi for Piano. Six Piano Pieces. Four Piano Pieces. Two Sonatas for Clarinet or Viola and Piano. Eleven Choral Preludes for Organ opus postum.

8 Lieder und Gesänge, Op. 59: No. 2, Auf dem See

Works Without Opus Numbers. Sanctus in A Flat Major. Benedictus in F Major. Agnus Dei in F minor. Dona nobis pacem in C Major.


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Hij geeft met zijn uitmuntende bereik die liederen van Elgar, of het nu gaat om een vroeg lied of een later werk, een internationale allure die de liederen doen aansluiten bij het grote westerse liedrepertoire. Sound and presentation are absolutely first-rate. All in all, an encouraging starts to what promises to be a fascination enterprise.

Roll on, vol. Roocroft steps over the traces of sentimentality associated with the songs to find refreshingly subtle vocal colours and shadings. Likewise Jarnot strikes the profoundly complex emotional heart of pieces often milked for surface pathos. Eloquently matched by Mees's playing.


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Als dan iedere snaar trilt, het ene aangrijpende beeld zich aan het andere rijgt en de liederen tevens grootse schilderingen zijn, is het aan de vocalist en zijn 'begeleider' hier een volkomen onjuist begrip om deze rijke aders los te beitelen en ze onopgesmukt te laten glinsteren. Als muziek al 'maniertjes' verdraagt, dan deze liederen in ieder geval niet. Roocroft en Jarnot scheppen lied na lied het unieke beeld zoals dat uit de muziek zelf voortkomt.

Schubert Songs from the Breitkopf & Härtel Complete Works

De kracht van hun vertolkingen berust alleen op hetgeen Elgar voor hen heeft uitgespreid, ze kruipen als het ware in zijn expressie, zijn gevoelens, zoals de dichtregels hem daartoe hebben genspireerd. Gedrien hebben ze gekozen voor eenheid in grote verscheidenheid en dt maakt van ieder lied op deze cd een bijzondere, ontroerende gebeurtenis. There is more to Edward Elgar's song output than Sea Pictures, as this disc, the first in a projected complete series, reminds us. That cycle appears here in a doubly unusual guise: with its original piano accompaniments and sung by a baritone.

Konrad Jarnot, tonally firm and sensitive to the words, makes a good case for this version, and Reinild Mees's resourceful piano playing makes the usual orchestral finery seem almost superfluous. Amanda Roocroft, lyrical and perceptive in her interpretations, shares with Jarnot the remaining 15 songs on this disc, which take a selective journey from Victorian drawing-room balladeer to consummate late-Romantic melodist.

Pas de doute, Elgar est entre de bonnes mains pour la suite de cette integrale, que l'on attend avec impatiebece. Comme on dit outre-Manche:. This is a fascinating disc and I look forward to the remainder of the series. The performances are strong and convincing, both singers have fine diction and convey both the music and the text in a way, which is wholly admirable and necessary in this style of song. Reinild Mees makes a good accompanist with good feeling for the orchestral nature of Elgar's piano parts. Prachtige opnamen van twintig Songs die een perfecte indruk van de liedkunst in laat-Victoriaanse Engeland schetsen, het smaakt naar mr.

Veel mr. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Felix Mendelssohn

After the arrival of the voice this mood accounts for a further 8 bars of the song. There is now a passage of major-key radiance bars 13—20 , an illustration of the rising evening star. Now, first in the right hand, and then in the left, watery semiquavers in the accompaniment represent the spreading of a shroud of mist over the lake bars 21—32 ; the music seems to feel its way through the darkness as if uncertain of its own direction.

The image of willows rustling in the waters provides a slightly more capricious vocal line supported by piano syncopations before a change of key-signature at bar Goethe tells us that a healing coolness steals into the heart through the eyes—into the depths of the heart certainly, but also perhaps into the depths of oblivion. As the boat lifts and rocks us, Light mist rises and falls, The sweet peace of heaven Lies over the radiant world.

Pounding heart, open your eyes, Look about you and be appeased; You can absorb happiness and peace From this double image of heaven. See how the waters reflect Tower and hill, woodland and town, Likewise in your songs reflect The fairest that earth has to offer. The music suggests that it is the poet-narrator who is energized by the fresh air and the scenery, and the song seems to breathe deep and exultantly—and this despite the fact that the vocal line, in typical Brahms fashion, moves up and down in arpeggios, mostly in crotchets and with never a pause for breath.

The music for the first two verses of the poem is identical, and there is a stormy middle strophe that is ideally placed in musical terms for a short outburst of passionate singing followed by an extraordinarily musical rendition of the process of softening and reconciliation described in the poem. In some respects this is all typical of the composer, but it is not quite typical in another—this is one of those songs after which listeners and performers are left feeling under a cloudless sky and glad to be alive. When oppressive summer heat Contended idly with cool freshness, And shiny leaves dripped with dew And crops turned a darker blue,.

How blissful then it was to stand With naked feet in the flow! Or to brush against the grass Or grasp the foam in both hands,.

Or to catch the cold drops On my glowing cheeks, And to bare my boyish breast To fresh-awakened scents! Cascade, rain, cascade down, Wake in me those old songs That we sang in the doorway When outside the drops resounded! The poem is divided into eight quatrains as printed above. The pianist must frequently cross hands, left over right, to play these notes in different registers of the instrument.

Robert Schumann

The rain itself is represented by the rustling quavers that gently, self-effacingly and more or less ceaselessly, pulsate in the middle region of the keyboard. The music gambols with all the energy and zest of boyhood. One is tempted to say that this is music suitable for an enthusiastic Ganymede in love with nature, although here he is a North German working-class boy rather than Trojan prince. Undoubtedly the hardest part of the song to bring off, this music abandons ceaseless movement in favour of a kind of transfixed and ecstatic contemplation.

Here Groth attempts to describe those moments that link memories of childhood, as reinterpreted by the nostalgic adult, with the secret meaning of being alive. The last page of the song is a beautiful coda—mention of innocent childlike awe softens the music into the radiance of F sharp major. There is no change of tempo in this gradual winding-down those rain-like quavers continue to pulsate in the accompaniment but the longer note values of the vocal line herald a conclusion both dreamlike and elegiac.

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