(Classical) Weill - Vom tod im Wald * Concerto for violin & wind orchestra * Das Berliner Requiem (Kooij, Laiter - La Chapelle Royale / Ensemble Musique Oblique, Herreweghe) - 2006, APE (image+.cue) lossless
Kurt Weill - Das Berliner Requiem
Vom tod im Wald * Violinkonzert
Страна-производитель диска: Austria
Год издания диска: 2006
Издатель (лейбл): Harmonia Mundi
Номер по каталогу: HMA 1951422
Дата записи: 1992
Тип рипа: image+.cue
Битрейт аудио: lossless
Источник: собственный рип
Наличие сканов в содержимом раздачи: да
Ballad for bass & 10 wind instruments, Op. 23
1. Vom tod im Wald (Death in the Forest)Concerto for violin & wind orchestra, Op. 12
2. I. Andante
3. II. Notturno
6. III. Allegro Molto, Un Poco AgitatoDas Berliner Requiem, cantata for tenor, baritone, male chorus & wind orchestra
7. Großer Dankchoral. Sostenuto
8. Ballade Vom Ertrunkenen Mädchen. Lento
9. Marterl. Andante Moderato
10. Erster Bericht Über Den Unbekannten Soldaten Unter Dem Triumph Bogen. Moderato Assai
11. Zweiter Bericht Über Den Unbekannten Soldaten Unter Dem Triumph Bogen. Rezitativ
12. Großer Dankchoral [Da Capo]
Alexandre Laiter, tenor
Peter Kooij, bass
Elisabeth Glab, Violin
Choeur de La Chapelle Royale
Ensemble Musique Oblique
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011
Содержание индексной карты (.CUE)
REM GENRE Chorus
This is rather unusual: Baroque expert, advocate of French music and of Johann Sebastian Bach's cantatas, Philippe Herreweghe took up the cause of Kurt Weill's early, neglected concert works.
Weill is among a small number of twentieth-century composers Herreweghe does conduct from time to time, Stravinsky and Schoenberg being the other main ones.
Recorded at IRCAM in 1992, Harmonia Mundi's Kurt Weill: Berliner Requiem features Weill's first collaboration with lyricist and playwright Bertolt Brecht, along with "Vom Tod in Wald," a seldom-heard single chorus resulting from their union, and Weill's early Violin Concerto, written as Weill was leaving the nest from Busoni's master class and first coming into contact with the music of Stravinsky.
"Vom Tod in Wald" is not a work of the quality whereby qualitative distinctions matter much unless it is a particularly poor performance, and this is not so.
The Berlin Requiem is a little off its game in terms of pace and timing; if Lotte Lenya's 1955 recording of the piece is to be taken as authoritative, the "Ballade vom ertrunken Mädchen" is rushed and certainly less effective than in Lenya's version.
With the Concerto for violin and wind band, Op. 12, both Herreweghe and his violin soloist Elisabeth Glab emphasize coolness, crispness, and distance over most other factors in this neo-classical concerto, though listeners experienced with this work -- it too has been available on recordings since 1955, when it was recorded by Anahid Ajemian -- might note a lack of jazzy swagger in this rather dry run of Weill's concerto.
Nevertheless, while a little uncharacteristic, it is impossible to describe this recording as "bad"; Herreweghe knows where all the notes are, puts them in the right places, and in the main, these are proficient and serviceable, rather than passionate, interpretations.
Herreweghe represents Weill at his most cool and objective, a somewhat surprising result from a conductor who is able to draw so much warmth from Bach and Rameau.
This is the original 1992 release; Harmonia Mundi has reissued this Herreweghe title at least twice, and it remains available in Harmonia's Musique d'Abord series.
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