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Wydawnictwo: Bis
Nr katalogowy: BISSACD 2166
Nośnik: 1 SACD
Data wydania: październik 2015
EAN: 7318599921662
na zamówienie
Nasze kategorie wyszukiwania

Epoka muzyczna: romantyzm
Obszar (język): niemiecki
Rodzaj: koncert, uwertura

SACDHybrydowy format płyty umożliwia odtwarzanie w napędach CD!

Mendelssohn-Bartholdy: A Midsummer Night’s Dream

Bis - BISSACD 2166
Camilla Tilling, soprano
Magdalena Risberg, soprano
Swedish Radio Choir
Swedish Chamber Orchestra / Thomas Dausgaard
Nagrody i rekomendacje
Joker Crescendo
Das Märchen von der schönen Melusine (The Fair Melusine) - Concert Overture No.4, Op.32
Ein Sommernachtstraum (A Midsummer Night’s Dream) - incidental music to the play by Shakespeare, Op.61
Die Hebriden (The Hebrides) - Concert Overture No.2, Op.26
Following a series of acclaimed recordings of 19th-century music including complete cycles of the symphonies by Schubert and Schumann, Thomas Dausgaard and his Swedish Chamber Orchestra turn to Felix Mendelssohn. The team’s latest offering unites three of the composer's four celebrated concert overtures, written between 1826 and 1835 and setting new standards for this emerging genre: Mendelssohn’s overtures are also tone poems, combining a Classical conception with Romantic expressivity. The earliest of the three – A Midsummer Night’s Dream – Mendelssohn composed at the age of seventeen, and his sister Fanny later remarked how Shakespeare's play had been a constant presence at their home, and ‘how at various ages we had read all the different roles, from Peaseblossom to Hermia and Helena…’ The overture immediately became one of Mendelssohn’s signature pieces, and seventeen years later he returned to it, composing additional incidental music for a stage production of the play. Written for soloists, women's choir and orchestra, the complete Midsummer Night score is included here. The disc opens with the last of the four overtures to be composed, however: The Fair Melusine, which Mendelssohn wrote after having heard an opera based on the old French tale of the water spirit Mélusine and her sad fate. Actively disliking the opera, Mendelssohn was provoked into his own musical setting of the subject matter in the form of a concert overture. Water – and its depiction in music – also plays an important role in The Hebrides, the closing work on the present recording. Inspired by the poems by Ossian – which captured the imagination of an entire generation at the beginning of the Romantic era – Mendelssohn visited Scotland and the Hebrides in 1829, and already during this trip he sent a postcard to his family, with the overture's famous opening written down in a four-part setting.

Zobacz także:

  • CHAN 20122(2)
  • CRC 3434
  • HC 17052
  • SWR 19505
  • TXA 18113
  • CDA 68242
  • CDA 68276
  • GEN 19650
  • TXA 18117
  • COV 91805