In this CD compositions from the age of classicism age are juxtaposed with contemporary works. Such stimulating contrasts point up how closely compositional means and ideas are bound up with the traditions of their period. This is all the more true when contemporary composers seek to come to terms...more
"Die Meistersinger under their conductor Klaus Beuninger are excellent, managing to perform both the Schumann and the contemporary piece as if they had been performing them all their lives. There was so sense of disjunction between the performances of the Schumann and the modern works, which is quite an achievement. This is a fascinating disc and if you are open to experiment then you are sure to find much here, especially with such confident performances." (musicweb-international.com)
In this CD compositions from the age of classicism age are juxtaposed with contemporary works. Such stimulating contrasts point up how closely compositional means and ideas are bound up with the traditions of their period. This is all the more true when contemporary composers seek to come to terms with classical works and texts, and a direct comparison becomes possible with the traditional interpretation of a classical composer. This is the case in the present CD, in which Uwe Kremp and Mark Anton Moebius turn their attention to Robert Schumann’s compositions for male-voice choir. Here original compositions by Schumann are interwoven with intensive and highly personal productions by two young composers.
The Sechs Lieder Op. 33 by Schumann serve Uwe Kremp as the textual starting-point for his Five Intermezzi “…tief im blauen Traum..” He takes up the original texts in fragments, mostly extracted from the preceeding strophe of the poem chosen by Schumann, and shortens them in the course of the intermezzi. At first whole verses are used as quotations, but these are progressively reduced to single lines or words, an isolated word broken up into its syllables, lone phonemes and finally singable vowels and percussive consonants. The use of percussion mirrors the sound aspects of consonants and noise in speech.
Mark Anton Moebius takes as his starting-point a text by Rilke which, with its apposition of man and animal, finds partners in the love of the chase evoked in Laube’s poems and in Schumann’s romantic hunting motifs. In “Fluchtpunkte eines Jägers” the use of a cor de chasse, always associated with hunting, and the cor anglais, predestined to create a bucolic atmosphere, links up with the hunting motifs in the Schumann. As regards content, Mark Anton Moebius concerns himself closely with the theme of hunting. He sets out to depict the moment when the huntsman looks into the animal’s eyes and sees himself in them: the moment in which every aspect to do with the culture of hunting disappears. For years Mark Anton Moebius has been preoccupied with natural notes, the spectres of overtones and undertones, and with an organically developing harmonic system as exemplified in this recording.
Back in the days when Michael Gielen was music director of the Cincinnati Symphony Orchestra (how I enjoyed him, and how I miss him!), he gave aMehr lesen
There's a fine men's choir at work in this program, billed as Encounters With Schumann – gorgeous accounts of the five hunting songs of Opus 137 andMehr lesen
This CD is something of a trap for the unwary, for those (like me) who put the disc on without reading the liner-notes properly. The first trackMehr lesen
Entstanden sind sie teilweise sogar zeitgleich, in Schumanns „LiederjahrMehr lesen
A veces, la historia gasta estas severas bromas: una partitura halla su comentario pertinente no en un contemporáneo del compositor correspondiente,Mehr lesen