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Wydawnictwo: Challenge Classics
Nr katalogowy: CC 72637
Nośnik: 2 SACD
Data wydania: lipiec 2014
EAN: 608917263725
na zamówienie
Nasze kategorie wyszukiwania

Epoka muzyczna: współczesna
Obszar (język): niemiecki
Rodzaj: opera

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Hartmann: Simplicius Simplicissimus

Challenge Classics - CC 72637
Netherlands Radio Philharmonic Orchestra / Marcus Stenz
Nagrody i rekomendacje
Gramophone Editor's Choice
Hartmann completed the original version of Simplicius between 1934 and 1936, and revised the work in 1957. It was his friend, the conductor and contemporary music advocate, Hermann Scherchen (b. 1891, d. 1966), who had prevailed upon the young Hartmann to write the opera. Scherchen felt the theme lent itself perfectly to a political parody of Nazism. Hartmann did not want to write an opera historicizing the Thirty Years War which had raged in Germany from 1618 to 1648. On the contrary, his aim was to hold up a ruthless mirror to the world of the emerging Third Reich. Simplicius is also unambiguously autobiographical. One of the central themes, in fact, is the dichotomy between turning away from society and being fully engaged in and with it - the former leading to inner peace and reflection, the latter to rebelling against oppression and defending the victims. The Hermit, who first makes his appearance in the second scene, can be seen to embody a distinct aspect of Hartmann's own personality. In a letter he wrote to the publisher Ludwig Strecker in 1956, Hartmann says that his main reason for revising Simplicius was that the libretto's political message was too obvious. The result is that the political commentary in the revised version is more universal in scope. Although the original version of Simplicius leaves a desolate impression, the affirmative postlude (Apotheosis) to the second version is admittedly dramatic, but also genuinely optimistic. Here the symphonist and indeed the creator of the exciting, motorically driven finales of the Sixth and Seventh Symphonies (dating from 1953 and 1958 respectively) truly shines. Hartmann himself said, 'Should one hold up a mirror to the world so that it can behold its hideous face, it may once again choose a better way. Despite all political storm clouds, I believe in a better future; it is this that the closing apotheosis of my Simplicius is supposed to express.'

SUMMARY A native of Munich, Karl Amadeus Hartmann (b. 1905, d. 1963) ranks among the leading German composers of the twentieth century. A substantial portion of his ouvre, which includes eight symphonies and chamber works, had its origins in one of the darkest periods in world history - from 1933 to 1945 - when the Nazis were in power. This period, in which Hartmann gradually withdrew from public life and which eventually culminated in his own innere Emigration (inner emigration), represented a decisive turning point in his creative development. Before that time, Hartmann had adopted a playful, neoclassical style influenced by jazz and Dadaism with which he had hardly distinguished himself from his contemporaries. With no prospect of a performance of his work in sight, he subsequently created a musical language which, besides bearing the influences of Bach, Bruckner and Beethoven, was also highly indebted to those composers whose music the Nazis had banned, such as Mahler, Berg, Stravinsky, Prokofiev and Bartók. He employs this language not only in his symphonies and many of his chamber works, but also in his opera Simplicius Simplicissimus, based on the 1669 novel Der abenteuerliche Simplicissimus by Hans Jakob Christoffel von Grimmelshausen. The full title of the second version, presented here, is Simplicius Simplicissimus: drei Szenen aus seiner Jugend.

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