| | Strauss: Macbeth Lieder, Etc / Schwanewilms CD Elder / Halle Orch. / Schwanewilms / Strauss, R. CDS
Anne Schwanewilms,Soprano Mark Elder/Halle Orch Strauss: Macbeth Lieder, Etc / Schwanewilms Music | List Price | $11.97 (You save $1.78) | | Label | Hallé | | All Time Sales Rank |  21358  | | CD Universe Part number | 6837823 | | Catalog number | 7508 | | Discs | 1 | | Release Date | May 24, 2005 | | Mono/Stereo | Stereo | | Recording Time | 1 8 |
Strauss: Macbeth Lieder, Etc / Schwanewilms Music Strauss: Macbeth Lieder, Etc / Schwanewilms Review
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Strauss: Macbeth Lieder, Etc / Schwanewilms Songs | 1. Don Juan, Op. 20 | | Common Name | Don Juan | | Composer | Richard Strauss (1864 - 1949) | | Conductor | Mark Elder | | Genre | Romantic Period / Tone Poem | | Date Written | 1888-1889 | | Ensemble | Halle Orchestra | | Period | Romantic | | Country | Germany | | Recording | Studio | | 2. Lieder (6), Op. 56: no 6, Die heiligen drei Konige | | Composer | Richard Strauss (1864 - 1949) | | Conductor | Mark Elder | | Performer | Anne Schwanewilms (Soprano) | | Genre | Lied / Romantic Period / Song | | Date Written | 1903-1906 | | Ensemble | Halle Orchestra | | Period | Romantic | | Country | Germany | | Recording | Studio | | 3. Lieder (8), Op. 49: no 1, Waldseligkeit | | Common Name | Waldseligkeit | | Composer | Richard Strauss (1864 - 1949) | | Conductor | Mark Elder | | Performer | Anne Schwanewilms (Soprano) | | Genre | Lied / Romantic Period / Song | | Date Written | 1901 | | Ensemble | Halle Orchestra | | Period | Romantic | | Country | Germany | | Recording | Studio | | 4. Lieder (5), Op. 41: no 1, Wiegenlied | | Composer | Richard Strauss (1864 - 1949) | | Conductor | Mark Elder | | Performer | Anne Schwanewilms (Soprano) | | Genre | Lied / Lullaby / Romantic Period / Song | | Date Written | 1899 | | Ensemble | Halle Orchestra | | Period | Romantic | | Country | Germany | | Recording | Studio | | 5. Lieder (4), Op. 27: no 4, Morgen | | Common Name | Morgen | | Composer | Richard Strauss (1864 - 1949) | | Conductor | Mark Elder | | Performer | Anne Schwanewilms (Soprano) | | Genre | Lied / Romantic Period / Song | | Date Written | 1894 | | Ensemble | Halle Orchestra | | Period | Romantic | | Country | Germany | | Recording | Studio | | 6. Lieder (4), Op. 36: no 1, Das Rosenband | | Common Name | Das Rosenband | | Composer | Richard Strauss (1864 - 1949) | | Conductor | Mark Elder | | Performer | Anne Schwanewilms (Soprano) | | Genre | Lied / Romantic Period / Song | | Date Written | 1897 | | Ensemble | Halle Orchestra | | Period | Romantic | | Country | Germany | | Recording | Studio | | 7. Lieder (6), Op. 37: no 3, Meinem Kinde | | Composer | Richard Strauss (1864 - 1949) | | Conductor | Mark Elder | | Performer | Anne Schwanewilms (Soprano) | | Genre | Lied / Romantic Period / Song | | Date Written | 1897 | | Ensemble | Halle Orchestra | | Period | Romantic | | Country | Germany | | Recording | Studio | | 8. Lieder (5), Op. 39: no 4, Befreit | | Composer | Richard Strauss (1864 - 1949) | | Conductor | Mark Elder | | Performer | Anne Schwanewilms (Soprano) | | Genre | Lied / Romantic Period / Song | | Date Written | 1898 | | Ensemble | Halle Orchestra | | Period | Romantic | | Country | Germany | | Recording | Studio | | 9. Macbeth, Op. 23 | | Composer | Richard Strauss (1864 - 1949) | | Conductor | Mark Elder | | Genre | Romantic Period / Tone Poem | | Date Written | 1888/1891 | | Ensemble | Halle Orchestra | | Period | Romantic | | Country | Germany | | Recording | Studio |
Strauss: Macbeth Lieder, Etc / Schwanewilms Music Composers on Strauss: Macbeth Lieder, Etc / Schwanewilms CD : Richard Strauss Conductors on Strauss: Macbeth Lieder, Etc / Schwanewilms CD : Mark Elder Ensembles on Strauss: Macbeth Lieder, Etc / Schwanewilms CD : Halle Orchestra Genres on Strauss: Macbeth Lieder, Etc / Schwanewilms CD : Lied, Lullaby, Romantic Period, Song, Tone Poem Performers on Strauss: Macbeth Lieder, Etc / Schwanewilms CD : Anne Schwanewilms Purchase Strauss: Macbeth Lieder, Etc / Schwanewilms To buy, Click on price to add to cart | Britten La Noël Passée / Karina Gauvin, Michael Mcmahon CD (2001)
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The symphony requires maturity in a composer. He expresses his own vision of life, his attitude to its major manifestations. Usually a symphony is a summary of a composer's experience earned over a substantial period of time. If symphonies sometimes are composed by seven-year-old children we can call them'symphonies' only conditionally. In the best case, they can only be a good imitation of a well-known pattern. The Fifth Symphony by Tchaikovsky is the work of a mature master. His model for a symphony is quite different from the original pattern of the founder of this genre - Franz Joseph Haydn. At the same time there are basic, core ideas, which stay unchanged regardless of any modifications. The symphony is the most complex, profound, versatile and philosophical genre. It commonly is represented by a symphonic cycle and consists of four movements. The focus of each movement is on a different side of the world-picture. Differences in the focus enable movements to gravitate to each other forming unity, unlike similarity which always separates things. When the duration of symphonies increased, the necessity to keep the unity of the symphonic cycle again became real. The first who established the idea of "leitmotif" was Beethoven. "Leitmotif" is a recurring theme symbolizing a character, object, or abstract idea. Romantic composers and Tchaikovsky, in particular, used "leitmotifs" which thread through the entire texture of a symphony, all its movements. "Leitmotifs" appear in different tempi, orchestration, and register; they are displayed in different clothes and circumstances. This is a way to explore the potential of characters and develop them. "Leitmotifs" bring a great deal of completion and unity to the symphonic cycle. The form of sonata allegro, commonly used in the first movement, is perfect to reflect a collision of opposite characters. There are no symphonies without sonata allegro or its equivalent. Without other movements the sonata allegro represents the genre of a symphonic poem, largely exploited by many romantic composers starting with Liszt. The content of sonata allegro can be the struggle of an individual with his fate like in the case of Fifth Symphony by Tchaikovsky. It also can only be a play of 'light and shade' expressed through the opposition of Major and Minor or a principal tonality and its dominant. The last is much easier to fulfill. That is why Haydn wrote 104 symphonies and Tchaikovsky only 6. However the idea of symphony as a genre belongs to Haydn. The second movement of Haydn's symphonic model has usually no inner conflicts and bears lyrical, philosophical character. Andante Cantabile in the Fifth Symphony by Tchaikovsky is associated with an immersion in his inward world of dreams and reflections. The horn solo perfectly expresses the character. It is another side of the world-picture, different from the first movement. The third part is usually the shortest in the symphonic cycle. This is the intermezzo, ...
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Namik Sultanov is well-known as a distinguished pianist and pedagogue with exceptional lyrical gifts and a distinctive performance style. Born in Baku, Azerbaijan, he showed extraordinary musical talent from a very early age. Playing violin and flute, he was a serious student of composition in his youth, composing more than 150 pieces that were featured at music school concerts. Although at that time a string student, he won first prize in the music school’s piano competition. At 12, deeply impressed by Van Cliburn’s stunning performance at the First Tchaikovsky International Piano Competition, he began to self-study Tchaikovsky’s First Piano Concerto. Practicing day and night, he soon played all three movements for Ahad Israfilzade, chief conductor of the Azerbaijan Philharmonic Orchestra. Mr. Israfilzade immediately asked him to play with the Philharmonic, and the triumphant concert was a big sensation in the musical life of this capital city. After this success, the Azerbaijan government sponsored Namik at Russia’s most prestigious conservatory, Moscow’s Central Special Music School. He studied under Professor Lev Naumov, a follower of the legendary Heinrich Neuhaus. Continuing his education under Professor Naumov’s supervision at the Moscow State Conservatory, he received his doctorate in performance in 1973. After graduation, he was invited to join the faculty of the Azerbaijan State Conservatory, soon appointed an associate professor with the added title “Honor Artist of the Azerbaijan Republic”. Participating in numerous national festivals throughout Eastern Europe, Dr. Sultanov represented his country at the Third International ...
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