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Приложение по заявкам shoro :)
Давно обещанные песни Малера:
Songs from "Des Knaben Wunderhorn" (28 Mb)
Orchestration: Harold Byrns
Bernd Weikl, Giuseppe Sinopoli, Philharmonia Orchestra
UPDATE
Six Early Songs
HENRY-LOUIS DE LA GRANGE
Frühlingsmorgen (Spring Morning)
The poem is by "Richard Leander". the literary pseudonym of a physician. Richard von Volks-mann. who published a small collection of his poems with Breitkopf in Leipzig in 1878. The title of the song was added by the composer. His choice of this poem is easy to understand, since it is close in style to the Wunderhorn collection and to his own early poems. Musically, the distant suggestion of the ländler, the simplicity of rhythm and melody, the bird trills and the fourth and fifth motifs all create, even at this date, the early 1880s. a typically Mahlerian atmosphere.
Five Wunderhorn Songs
Mahler's discovery of the "folksong" anthology Des Knaben Wunderhorn at the end of 1887 and the beginning of 1888 fulfilled all his needs as a composer at that time. In this respect one can establish a convincing parallel between, on the one hand, the almost mystical nostalgia which Mahler felt, at the end of the 19th century, for the world of childhood and the lost paradise of medieval Germany, this at a time when a severe crisis was about to give birth to the new art of the 20th century, and, on the other hand, the need evinced by the beginning of the 19th century, when the Wunderhorn anthology was compiled, to return to nature by way of the people and their spontaneous creations. This folk source had been fundamental for Mahler, right from childhood: the beauty of nature, the naive faith of a child, the cruel destiny of soldiers, exiles and victims of fate, all that was as familiar to him as the principal themes of folk poetry, which included love betrayed, oppression, revolt and homesickness.
In all he wrote 24 Wunderhorn songs, including those which figure in three of the symphonies. The first group of nine songs with piano accompaniment was written in part for the children of Karl and Marion von Weber, who were Mahler's best friends during the two years he spent at the theatre in Leipzig. These songs arc shorter and less elaborate than the large orchestral settings from his Hamburg period in the 1890s. Nevertheless, in the latter he pursued his earlier efforts to introduce all kinds of technical refinements from the art song into a musical language inspired by folksong.
Selbstgefühl (Self-esteem)
Here the stylized ländler rhythm serves to unity an otherwise extremely free composition. This last of the Wunderhom songs with piano is one of the most openly humorous. The heavy bass, in octaves, underlines the popular character of the piece and very amusingly suggests the narrator's pretentious stupidity. Later Mahler was similarly to conclude his next Wunderhom collection, with orchestra, on an entirely comic note (in the satirical song Lob des hohen Verslandes).
Nicht wiedersehen (No more seen)
This is one of Mahler's greatest early masterpieces. It is a song of rare eloquence, where the slow march rhythm symbolizes, as always in his music, the ineluctable tragedy of fate.
Zu Strassburg auf der Schanz (On the ramparts at Strasbourg)
Like Nicht wiedersehen, this is a big expressive song on a "military" subject, in slow march rhythm, with fanfare effects. The nostalgic "shawm" solo ("wie ein Schalmei", Mahler specifies, although the text speaks of an alpine horn) returns between the two verses of the last stanza. Finally the coda recalls the military character of the first stanza, to end on two drum rolls, pianissimo.
Ablösung im Sommer (Summer Replacement)
Despite the deliberately popular flavour of this piece, it is an art song of very free form. As always in Mahler, stylized birdsong is artfully integrated into the thematic material. The sequence of descending common chords, which produces a consciously archaic effect in the middle of the song must have scandalized purists at the time. Nothing in this delightful, brief song could lead one to have guessed that a few years later it would provide most of the melodic material for the huge scherzo of the Third Symphony, which was also to borrow its literary "theme" from the animal world (here the "replacement" of the cuckoo by the nightingale).
Um schlimme Kinder artig zu machen (How to make bad children good)
In this brief and humorous song. Mahler's art well concealed behind the vigour and naivety o the musical language. Nevertheless, a number of telling details reveal themselves to closer scrutiny, in particular the asymmetrical phrase structure resulting from subtle elisions as well as interpolated "echo" bars.
(Translation: Paul Griffith)
Das Klagende Lied (109 Mb)
Part 1: Waldmärchen
Giuseppe Sinopoli, Philharmonia Orchestra, Cheryl Studer, Waltraud Meier, Thomas Allen, Reiner Goldberg, Shinyukai Choir, Shin Sekiya, Wolfgang Stengel
Part 2: Der Spielmann
Part 3: Hochzeitsstück
Giuseppe Sinopoli, Philharmonia Orchestra, Cheryl Studer, Waltraud Meier, Reiner Goldberg, Shinyukai Choir, Shin Sekiya, Wolfgang Stengel
+перевыложенный материал gorus`a
Который не все успели скачать.
Березовский М.С. - Светская музыка (68 Mb)
Подробности.
Давно обещанные песни Малера:
Songs from "Des Knaben Wunderhorn" (28 Mb)
Orchestration: Harold Byrns
Bernd Weikl, Giuseppe Sinopoli, Philharmonia Orchestra
UPDATE
Six Early Songs
HENRY-LOUIS DE LA GRANGE
Frühlingsmorgen (Spring Morning)
The poem is by "Richard Leander". the literary pseudonym of a physician. Richard von Volks-mann. who published a small collection of his poems with Breitkopf in Leipzig in 1878. The title of the song was added by the composer. His choice of this poem is easy to understand, since it is close in style to the Wunderhorn collection and to his own early poems. Musically, the distant suggestion of the ländler, the simplicity of rhythm and melody, the bird trills and the fourth and fifth motifs all create, even at this date, the early 1880s. a typically Mahlerian atmosphere.
Five Wunderhorn Songs
Mahler's discovery of the "folksong" anthology Des Knaben Wunderhorn at the end of 1887 and the beginning of 1888 fulfilled all his needs as a composer at that time. In this respect one can establish a convincing parallel between, on the one hand, the almost mystical nostalgia which Mahler felt, at the end of the 19th century, for the world of childhood and the lost paradise of medieval Germany, this at a time when a severe crisis was about to give birth to the new art of the 20th century, and, on the other hand, the need evinced by the beginning of the 19th century, when the Wunderhorn anthology was compiled, to return to nature by way of the people and their spontaneous creations. This folk source had been fundamental for Mahler, right from childhood: the beauty of nature, the naive faith of a child, the cruel destiny of soldiers, exiles and victims of fate, all that was as familiar to him as the principal themes of folk poetry, which included love betrayed, oppression, revolt and homesickness.
In all he wrote 24 Wunderhorn songs, including those which figure in three of the symphonies. The first group of nine songs with piano accompaniment was written in part for the children of Karl and Marion von Weber, who were Mahler's best friends during the two years he spent at the theatre in Leipzig. These songs arc shorter and less elaborate than the large orchestral settings from his Hamburg period in the 1890s. Nevertheless, in the latter he pursued his earlier efforts to introduce all kinds of technical refinements from the art song into a musical language inspired by folksong.
Selbstgefühl (Self-esteem)
Here the stylized ländler rhythm serves to unity an otherwise extremely free composition. This last of the Wunderhom songs with piano is one of the most openly humorous. The heavy bass, in octaves, underlines the popular character of the piece and very amusingly suggests the narrator's pretentious stupidity. Later Mahler was similarly to conclude his next Wunderhom collection, with orchestra, on an entirely comic note (in the satirical song Lob des hohen Verslandes).
Nicht wiedersehen (No more seen)
This is one of Mahler's greatest early masterpieces. It is a song of rare eloquence, where the slow march rhythm symbolizes, as always in his music, the ineluctable tragedy of fate.
Zu Strassburg auf der Schanz (On the ramparts at Strasbourg)
Like Nicht wiedersehen, this is a big expressive song on a "military" subject, in slow march rhythm, with fanfare effects. The nostalgic "shawm" solo ("wie ein Schalmei", Mahler specifies, although the text speaks of an alpine horn) returns between the two verses of the last stanza. Finally the coda recalls the military character of the first stanza, to end on two drum rolls, pianissimo.
Ablösung im Sommer (Summer Replacement)
Despite the deliberately popular flavour of this piece, it is an art song of very free form. As always in Mahler, stylized birdsong is artfully integrated into the thematic material. The sequence of descending common chords, which produces a consciously archaic effect in the middle of the song must have scandalized purists at the time. Nothing in this delightful, brief song could lead one to have guessed that a few years later it would provide most of the melodic material for the huge scherzo of the Third Symphony, which was also to borrow its literary "theme" from the animal world (here the "replacement" of the cuckoo by the nightingale).
Um schlimme Kinder artig zu machen (How to make bad children good)
In this brief and humorous song. Mahler's art well concealed behind the vigour and naivety o the musical language. Nevertheless, a number of telling details reveal themselves to closer scrutiny, in particular the asymmetrical phrase structure resulting from subtle elisions as well as interpolated "echo" bars.
(Translation: Paul Griffith)
Das Klagende Lied (109 Mb)
Part 1: Waldmärchen
Giuseppe Sinopoli, Philharmonia Orchestra, Cheryl Studer, Waltraud Meier, Thomas Allen, Reiner Goldberg, Shinyukai Choir, Shin Sekiya, Wolfgang Stengel
Part 2: Der Spielmann
Part 3: Hochzeitsstück
Giuseppe Sinopoli, Philharmonia Orchestra, Cheryl Studer, Waltraud Meier, Reiner Goldberg, Shinyukai Choir, Shin Sekiya, Wolfgang Stengel
+перевыложенный материал gorus`a
Который не все успели скачать.
Березовский М.С. - Светская музыка (68 Mb)
Подробности.