Schönberg: Gurrelieder, Audio-CD

Marke: Various

Variante: Audio-CD

Eigenschaften:

PRODUKTBESCHREIBUNGEN KURZBESCHREIBUNG Spätromantisches Mammutwerk Im Jahr 1900 begann Schönberg mit der Arbeit an einem Liederzyklus für Sopran, Tenor und Klavier. Als die Komposition abgeschlossen war, hatte sie sich zu einer gewaltigen spätromantischen Kantate für fünf Solisten, einen Sprecher, drei Männerchöre zu je vier Stimmen, einen achtstimmigen gemischten Chor sowie ein rund 150-köpfigen Orchester ausgewachsen. So sehr das Werk auch eine logistische und künstlerische Herausforderung sein mag, sie wird immer wieder gerne angenommen. In der Einspielung von Markus Stenz und dem Gürzenich-Orchester Köln können Schönbergs Gurrelieder ihre ganze überwältigende Wirkung entfalten. The Gürzenich-Orchester of Cologne has a pedigree second to nonecounting Gustav Mahler and Richard Strauss among those who have entrusted it with premieres of their worksand when you hear this new recording the reasons for this are clear. Devastating brass combines with melliuous winds and strings in a performance of Schoenberg's late Romantic masterpiece. Markus Stenz conducts a ne line-up of soloists and marshals the massed choirs in this most epic of works. REZENSION It shines a new light on this fascinating piece and has a fierce conviction and integrity all its own. I can't imagine anyone interested in the work will want to be without it. GRAMOPHONE EDITORS CHOICE --Gramophone, Aug'15 Schoenberg's vast Gurre-Lieder began life in 1900 as a modest song cycle for soprano, tenor and piano, its texts drawn from Danish poetry. He suspended work on the piece in 1903, returning to it in 1910 by which time his musical style had radically changed. As had the scale of the piece, which ideally needs between 300 and 400 performers, six vocal soloists and over 100 minutes. Not forgetting the ratchet and some iron chains. The extravagant forces are used with admirable restraint, and performances remain an expensive rarity. Schoenberg was dismayed by the cantata's positive reception when it was first performed in 1913 and refused to face the audience understandably irked that it was received more positively than his more radical later music. Economics dictate that most modern recordings are made live. Not here this radiant new Gurre-Lieder was recorded over four days in June 2014. The gains are immense; Markus Stenz's theatrical nous never lets things sprawl, and the playing and singing are faultless. Crucially, no-one ever sounds on the point of collapse, and the closing chorus blazes. Schoenberg's prelude, seven minutes of delectable minimalist twinkling, is extraordinary. Brandon Jovanovich's and Barbara Haveman excel as Waldemar and Tove, and there's a wonderful cameo from Claudia Mahnke as the Wood Dove at the close of Part One. Part Three's rattling coffin lids are judged to perfection, and there's a nice turn from Thomas Bauer as the Peasant. Stenz's male chorus, often a weak link, are heroic. The final melodrama's modernism is startling, taking us from early Mahler to expressionist, mature Schoenberg. It s some of the spookiest music ever composed. Johannes Martin Kränzle's sprechtstimme is neatly handled, before the unexpectedly radiant final minutes. All judged to perfection, and Hyperion's sound has impact, warmth and plenty of detail. Essential listening if you've a weakness for late-romantic blockbusters, and this recording is among the best. --ArtsDesk, 15/8/15 A vivid and spacious overall impression thanks to the alternately measured and passionate sway of Markus Stenz and the golden tones of the Gurzenich Orchestra. Performance **** Recording **** BBC Music Magazine, Oct'15 /// Critics' Choice --Gramophone, Dec'15

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