more>ĬD Review: Nikolai Lugansky's take on Chopin's Sonata No. The opera belongs to a period of Venetian obsession with exoticism and chinoiseries influenced by the city’s trading links.
#SCHUBERT STÄNDCHEN PIANO AND VIOLIN SCORE SERIES#
more>ĬD Review: Vivaldi's Teuzzone features in a dazzling recording from Naive Teuzzone is the twelfth opera in naïve’s Vivaldi Edition’s series and, incidentally, the first new release by Jordi Savall (Farnace was first previously on Alia Vox). Now Anthony Marwood (violin), Richard Lester (cello) and Susan Tomes (piano) are each off exploring fresh musical pastures. So this four-disc boxed set of the Beethoven Trios, each released individually. more>ĬD Review: The Florestan Trio records Beethoven's Piano Trios on Hyperion Just a few months ago, after sixteen successful years together the Florestan Trio gave their last concerts in London. While this description may sound depressing or daunting, the album presents, as the subtitle suggests, a comfort that poignantly complements the sadness. more>ĬD Review: Paul McCreesh presents an impressive album of A Song of Farewell A Song of Farewell: Music of Mourning and Consolation is, in many ways, an aural discussion of death. Whereas coronation favourites such as teacakes and sponge.
more>ĬD Review: Naive releases L'Olimpiade by a range of composers As the 2012 Olympics approach, London is bedecked with nationalist symbolism not only for the games but for the Queen’s Diamond Jubilee which would appear to have provoked us, as a nation, to rejoice in a nostalgic revisiting of 1950s taste.
#SCHUBERT STÄNDCHEN PIANO AND VIOLIN SCORE PLUS#
more>ĬD review: The Schubert Ensemble performs Brahms and Schubert The Schubert Ensemble are highly regarded for their sensitive, musical performances of the piano plus strings repertoire – especially the Schubert and Brahms masterpieces. It is a real shame, then, that on these two discs they have been let down by poor recording. But, still, the singer has his hopes and, in a final stroke of genius, Schubert ends the song in the tonic major.įor all the infinite sentimental abuse to which Ständchen has been treated, the heart of the piece - its hope even in the face of the hopeless - remains pure and strong.CD Review: Gillian Keith's Strauss recital disc (Champs Hill Records) With recordings devoted exclusively to Strauss's lieder pretty thin on the ground, Canadian soprano Gillian Keith's new release 'bei Strauss' should be welcomed by those who want to delve further into the Strauss repertoire. And then there is the song's structure of two strophically set verses followed by a climactic third verse in which the singer entreats his sweetheart to join him and "make me happy" set to music which rises to the heights of submediant minor passion only to sink back to tonic minor melancholy. And then there is the heartbreaking harmonies' movements to the relative major and then the tonic major which relapse into the tonic minor which mirror the melody's sweet melancholy. But there are so many subtleties to it: the opening line's arching rise and aching fall through the tonic minor chord, the central phrase's yearning leaps to the minor sixth of the dominant, the closing line's supple turns around the tonic. Like most of Schubert's greatest melodies, it only seems sublime in its apparent simplicity.
To start with, of course, there is the melody. Rescuing the song from its interpreters requires seeing the song for what it really is and not what decades of sentimentality have turned it into. In far too many contemporary interpretations of the song, Ständchen becomes a tear-jerking piece of sentimental puffery, a lonely swain singing of his love into the night breezes, rather than the altogether more sublte piece of sweet melancholy it is. However, its fame has all but cost the song its identity. Nevertheless Ständchen is still the most famous serenade in the world. After Lilac Time, Ständchen showed up everywhere in all sorts of arrangements: as background music, as a popular song and, perhaps most memorably, in a klezmer version. Of course, that time was after Schubert had been popularized (and sanitized) by the film Lilac Time, a film in which Richard Tauber played the composer as a jovial fat man whose most salient characteristic was his infinite sentimentality and in which Ständchen became the theme song and leitmotif of the film. There was a time when this Ständchen (Serenade) was the most famous serenade in the world.
0 kommentar(er)
