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Der Schneemann: Serenade - Der Schneemann: Serenade | |
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Marchenbilder, Op. 3: No. 4. Wichtelmannchen (arr. R. Revay for violin and piano as Caprice Fantastique) - Caprice Fantastique (Wichtelmannchen from Marchenbilder, Op. 3) (arr. Rozsika Revay) | |
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Die tote Stadt, Op. 12 - Die tote Stadt, Op. 12: Gluck, das mir verblieb, "Marietta's Lied" | |
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4 Pieces from Much Ado about Nothing, Op. 11 - I. Madchen im Brautgemach | |
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4 Pieces from Much Ado about Nothing, Op. 11 - II. Holzapfel und Schlehwein | |
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4 Pieces from Much Ado about Nothing, Op. 11 - III. Gartenscene | |
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4 Pieces from Much Ado about Nothing, Op. 11 - IV. Mummenschanz | |
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Die tote Stadt, Op. 12 - Die tote Stadt: Tanzlied des Pierrot, Op. 12 | |
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String Sextet in D major, Op. 10 - I. Moderato - Allegro | |
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String Sextet in D major, Op. 10 - II. Adagio | |
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String Sextet in D major, Op. 10 - III. Intermezzo | |
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String Sextet in D major, Op. 10 - IV. Finale: Presto |
Notes & Reviews:
The sweet pain of homesickness and the will to hang on to the irretrievable past - this is not only the central motif of Erich Wolfgang Korngold's opera The Dead City, but the central theme in the composer's life. The sextet stems from 1914/15, just after the completion of "Violanta." The premiere was given in 1917 by an ensemble directed by Arnold Rosé, the famous concertmaster of the Vienna Philharmonic Orchestra. While Korngold draws on the traditional classical basis of the buoyant last dance in the final, he forms a continuously rising, dissonance-saturated tension over ten minutes, spontaneously evoking comparison to passages of the Schönberg sextet "Verklärte Nacht" ("Transfigured Night") (1899).
In Werke für Violine und Klavier, the interplay between grotesque humor and instant melodic upswings the piece demonstrates the amazing plasticity of the young Korngold's inventiveness. Korngold draws on the classical forms in Streichsextett D-Dur, but realizes them individually; the tonal harmonies are sometimes stretched to their limits, without touching their significant function; though the six voices are conceived polyphonically, they can resound orchestrally - all this is part of the trade of the ingenious adolescent.
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Works Details
Korngold, Erich Wolfgang : Serenade, for violin & piano (from Der Schneemann) - Performers: Xuesu Liu (Piano); Daniel Gaede (Violin)
- Ensemble: Berlin Philharmonic String Sextet
- Notes: Studio P4, Berlin, Germany (05/21/2011-05/22/2011)
- Running Time: 2 min. 26 sec.
- Period Time: Modern
Korngold, Erich Wolfgang : Caprice fantastique, for violin & piano (from Wichtelmännchen) (authorized arr. by Rèvay, Rózsika) - Performers: Xuesu Liu (Piano); Daniel Gaede (Violin)
- Notes: Studio P4, Berlin, Germany (05/21/2011-05/22/2011)
- Running Time: 4 min. 42 sec.
- Period Time: Modern
Korngold, Erich Wolfgang : Die tote Stadt, Op. 12 - Performers: Xuesu Liu (Piano); Daniel Gaede (Violin)
- Notes: Studio P4, Berlin, Germany (05/21/2011-05/22/2011)
- Running Time: 5 min. 54 sec.
- Period Time: Modern
- Form: Vocal
Korngold, Erich Wolfgang : Much Ado About Nothing, Four Pieces for Violin and Piano, Op. 11 - Performers: Daniel Gaede (Violin); Xuesu Liu (Piano)
- Notes: Studio P4, Berlin, Germany (05/21/2011-05/22/2011)
- Running Time: 12 min. 10 sec.
- Period Time: Modern
Korngold, Erich Wolfgang : Tanzlied des Pierrot, for violin & piano (from "Die tote Stadt") - Performers: Xuesu Liu (Piano); Daniel Gaede (Violin)
- Notes: Studio P4, Berlin, Germany (05/21/2011-05/22/2011)
- Running Time: 4 min. 35 sec.
- Period Time: Modern
Korngold, Erich Wolfgang : Sextet for strings in D, Op. 10 - Ensemble: Philharmonisches Streichsextett
- Running Time: 32 min. 28 sec.
- Period Time: Modern
- Form: Chamber Music
