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Arte Verum | RECITAL VOCAL | ROMANTICA Y NACIONALISTA (1 CD)

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16,95 €

Gustav Mahler
Lieder


REF.: ARV 014
EAN 13: 5425019971144
24 horas: Si realiza el pedido hoy, este producto estará listo para ser enviado el viernes 25/10/2019

Poco después de su exitoso disco Blues Everywhere I Go, lanzado en 2015, Barbara Hendricks retorna a la arena del gran repertorio clásico en esta interpretación de lieder de uno de los mayores y más sensibles compositores del género: Gustav Mahler. 

FECHA DE PUBLICACIÓN
01/12/2016

INTÉRPRETES
Barbara Hendricks, soprano
Swedish Chamber Orchestra
Love Derwinger, piano y dirección

DATOS DE PRODUCCIÓN
— Total time: 63’48 — Digipak — Booklet 32 pages — Liner notes by Jean-Jacques Velly — Texts and poems in English, French and German — Recorded from 8 to 10 October and on 15 & 16 October 2010 at the Engelbrektskyrkan (Stockholm, Sweden) and on 13 & 14 May 2013 at the Temple Luthérien Saint-Pierre (Paris, France) — Producer: Nicolas Bartholomée — Recording and editing: Maximilien Ciup, Céline Grangey & Aurélie Martin

CONTENIDO
Gustav Mahler (1860-1911)

Lieder eines fahrenden Gesellen (Transcription: Arnold Schönberg)
— 1 I. Wenn mein Schatz Hochzeit macht
— 2 II. Ging heut’ morgen über’s Feld
— 3 III. Ich hab’ ein glühend Messer
— 4 IV. Die zwei blauen Augen

Rückert-Lieder
— 5 I. Ich atmet’ einen linden Duft!
— 6 II. Liebst du um Schönheit
— 7 III. Blicke mir nicht in die Lieder
— 8 IV. Ich bin der Welt abhanden gekommen
— 9 V. Um Mitternacht — 10 Der Abschied (Das Lied von der Erde) (Transcription: Arnold Schönberg)  

1 CD - DDD - 63:48

RESEÑA (La Quinta de Mahler)

— During the summer of 1968, just before the last year of my university studies in chemistry and mathematics at the University of Nebraska in Lincoln, Nebraska, I heard Gustav Mahler’s music for the first time. I was 19 and had received a scholarship to study voice with the great mezzo-soprano Jennie Tourel at the Aspen Music School and Festival in Aspen, Colorado.

— My encounter with Jennie Tourel was a turning point in my life. I had always sung solos in church and in school choirs but music was secondary to my science studies until that summer. Mr. Richard Smith, a lawyer and music lover, had heard me sing at a conference and was so impressed that he offered me the scholarship and suggested that I study with Jennie Tourel.

— For the first time in my life I was surrounded by classical music from morning to night. In addition to my lessons I also sang in the festival choir and performed in Puccini’s La Bohème and Mahler’s Second Symphony in concert with the festival orchestra. Jennie Tourel was one of the soloists. It was an unforgettable moment and the only time that I ever shared the stage with her.

— Mahler’s Second Symphony has always touched me deeply, both then and whenever I have sung it since; I made my Salzburg festival debut singing the soprano solo in 1976. I later performed it with Claudio Abbado and the London Symphony Orchestra in London and in Paris.

— I have performed the Fourth Symphony many times and have recorded it twice: with Zubin Mehta and the Israel Philharmonic and later with Esa-Pekka Salonen and the Los Angeles Symphony. I have sung all three soprano parts, albeit on different occasions, in his Eighth Symphony with Sir Georg Solti and Seiji Ozawa. — The Gustav Mahler revival began in the USA in the 1960s, but in 1916 Leopold Stokowski performed the American premiere of the Eighth Symphony and Das Lied von der Erde and he, as well as Aaron Copland, were always champions of Mahler’s music. At the beginning of the ’60s Leonard Bernstein often programmed Mahler’s symphonies with the New York Philharmonic and dedicated one of the very popular televised Young People’s Concert to Mahler, thus introducing Mahler to a much wider audience. I sang the Second Symphony with him and the New York Philharmonic in Washington DC and in New York and later recorded it with them alongside the mezzo-soprano Christa Ludwig.

— Mahler songs from Des Knaben Wunderhorn and the Rückert-Lieder became a part of my recital and orchestral repertoire early in my career. I later added Lieder eines fahrenden Gesellen and was invited to sing Abschied from Das Lied von der Erde arranged by Simon Stockhausen, the son of Karlheinz Stockhausen, in Amos Gitaï’s film Disengagement with Juliette Binoche and Jeanne Moreau. The first time that I heard Abschied, it made such a strong impression on me that I was determined to add it to my repertoire and I am so happy to include it in this recording, in the arrangement for chamber orchestra.
Barbara Hendricks

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