- published: 24 Jul 2015
- views: 1571
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Alma Mahler's "Sämtliche Lieder" as performed by Charlotte Margiono (soprano) and members of the Brabant Orchestra. Conducting and orchestral arrangements by Julian Reynolds.
"Die stille Stadt" (Richard Dehmel) Start
"In meines Vaters Garten" (Otto Erich Hartleben) 3:13
"Laue Sommernacht" (Gustav Falke) 9:31
"Bei dir ist es traut" (Rainer Maria Rilke) 12:16
"Ich wandle unter Blumen" (Heinrich Heine) 14:43
"Licht in der Nacht" (Otto Julius Bierbaum) 15:55
"Waldseligkeit" (Richard Dehmel) 20:14
"Ansturm" (Richard Dehmel) 22:57
"Erntelied" (Gustav Falke) 25:06
"Hymne" (Novalis) 28:34
"Ekstase" (Otto Julius Bierbaum) 34:20
"Der Erkennende" (Franz Werfel) 37:00
"Lobgesang" (Rcihard Dehmel) 40:18
"Hymne an die Nacht" (Novalis) 43:55
"Leise weht ein erstes Blühn" (Rainer Maria Rilke) 47:24
"Kennst du meine Nächte" 51:37
Bee Wilson discusses Alma Mahler's life, music, relationships and anti-semitism. Read more from Bee Wilson in the LRB: http://www.lrb.co.uk/search?q=bee+wilson&contributor;=Wilson,+Bee
ABOUT THE LRB
Since 1979, the London Review of Books has stood up for the tradition of the literary and intellectual essay in English. Each issue contains up to 15 long reviews and essays by academics, writers and journalists. There are also shorter art and film reviews, as well as poems and a lively letters page.
A typical issue moves through political commentary to science or ancient history by way of literary criticism and social anthropology. So, for example, an issue can open with a piece on the rhetoric of war, move on to reassessing the reputation of Pythagoras, follow that with articles on the situation in Iraq, the 19th-century super-rich, Nabokov’s unpublished novel, how saints got to be saints, the life and work of William Empson, and an assessment of the poetry of Alice Oswald.
- published: 02 Nov 2015
- views: 2086
5 Lieder (1910):
I. Die stille Stadt 00:00
II. In meines Vaters Garten 02:58
III. Laue Sommernacht 07:55
IV. Bei dir ist es traut 10:15
V. Ich wandle unter Blumen 12:09
Mahler, Alma (1879-1964)
Angelika Kirchschlager -mezzosoprano
Helmut Deutsch -piano
Alma played the piano from childhood and in her memoirs reports that she first attempted composing at age 9. She studied composition with Josef Labor beginning in 1895. She met Alexander von Zemlinsky in early 1900, began composition lessons with him that fall, and continued as his student until her engagement with Gustav Mahler (December 1901), after which she ceased composing. Up until that time, she had composed or sketched many Lieder, and also worked on instrumental pieces as well as a segment of an opera. She may have resumed composing after 1910, at least sporadically, but the chronology of her songs is difficult to establish because she did not date her manuscripts.
Only a total of 17 songs by her survive. Fourteen were published during her lifetime, in three publications dated 1910, 1915, and 1924; it is unclear whether she continued composing at all after her last publication. The works appeared under the name 'Alma Maria Schindler-Mahler'; the cover of the 1915 set was illustrated by Oskar Kokoschka. Three additional songs were discovered in manuscript posthumously; two of them were published in the year 2000, and one remains unpublished. Her personal papers, including music manuscripts, are held at the University of Pennsylvania, and at the Austrian National Library in Vienna.
These songs are regularly performed and recorded. Orchestral versions of the accompaniments have been produced by David and Colin Matthews, and by Jorma Panula.
Source: http://en.wikipedia.org/wiki/Alma_Mahler
Buy the CD here: http://www.amazon.com/Lieder-Angelika-Kirchschlager/dp/B0013AT5CK/ref=sr_1_1?ie=UTF8&qid;=1393778831&sr;=8-1&keywords;=kirchschlager
- published: 02 Mar 2014
- views: 7468
Alma Mahler (1879-1964): 8 Lieder nella versione orchestrale di Jorma Panula (1910/1924).
I. Die stille Stadt (1910)
II. Bei dir ist es traut (1910) [02:59]
III. Ich wandle unter Blumen (1910) [05:34]
IV. Licht in der Nacht (1915) [07:16]
V. Ansturm (1915) [08:14]
VI. Hymne (1924) [11.27]
VII. Der Erkennende (1924) [13:05]
VIII. Kennst du meine Nächte? (Opera postuma, non datata) [18:38]
Grace Echauri, soprano
Orquesta Filarmónica de la Universidad Nacional de México diretta da Jorma Panula.
***
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
- published: 01 Jan 2013
- views: 12434
"the most beautiful girl in Vienna" according to Bruno Walter. Music and lyrics by professor Tom Lehrer via link
http://www.youtube.com/watch?v=hH4J8CIBc7Q&feature;=player_embedded
ALMA
The loveliest girl in Vienna
Was Alma, the smartest as well
Once you picked her up on your antenna
You'd never be free of her spell
Her lovers were many and varied
From the day she began her beguine
There were three famous ones whom she married
And God knows how many between
Alma, tell us
All modern women are jealous
Which of your magical wands
Got you Gustav and Walter and Franz
The first one she married was Mahler
Whose buddies all knew him as Gustav
And each time he saw her he'd holler
"Ach, that is the fräulein I moost hav"
Their marriage, however, was murder
He'd scream to the heavens above
"I'm writing 'Das Lied von der Erde'
And she only wants to make love!"
Alma, tell us
All modern women are jealous
You should have a statue in bronze
For bagging Gustav and Walter and Franz
While married to Gus, she met Gropius
And soon she was swinging with Walter
Gus died, and her tear drops were copious
She cried all the way to the altar
But he would work late at the Bauhaus
And only come home now and then
She said, "What am I running, a chow house
It's time to change partners again"
Alma, tell us
All modern women are jealous
Though you didn't even use Ponds
You got Gustav and Walter and Franz
While married to Walt she'd met Werfel
And he too was caught in her net
He married her, but he was carefel
'Cause Alma was no Bernadette
And that is the story of Alma
Who knew how to receive and to give
The body that reached her embalma
Was one that had known how to live
Alma, tell us
How can they help being jealous
Ducks always envy the swans
Who get Gustav and Walter
You never did falter
With Gustav and Walter and Franz
Tom Lehrer
- published: 22 Aug 2010
- views: 30635
Gustav Mahler: http://www.gustav-mahler.eu
Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-1964
- published: 02 Jan 2016
- views: 97
Alma mahler: Laue Sommernacht (Fünf Lieder, Nummer 3)
Maria Riccarda Wesseling, mezzosoprano
Nathalie Dang, piano
- published: 10 Oct 2013
- views: 5115
Liegt eine Stadt im Tale,
Ein blasser Tag vergeht.
Es wird nicht lange dauern mehr,
Bis weder Mond noch Sterne
Nur Nacht am Himmel steht.
Von allen Bergen drücken
Nebel auf die Stadt,
Es dringt kein Dach, nicht Hof noch Haus,
Kein Laut aus ihrem Rauch heraus,
Kaum Türme noch und Brücken.
[Doch]4 als dem Wandrer graute,
Da ging ein Lichtlein auf im Grund
Und durch den Rauch und Nebel
Begann ein leiser Lobgesang
Aus Kindermund.
Il y a une ville dans la vallée,
Un jour pâle s'affaiblit,
Il ne veut pas durer plus longtemps
Tant que le lune et les étoiles
Sont dans le ciel, seulement la nuit.
Des montagnes avoisinantes
Le brouillard descend sur la ville,
Ni toit, ni cour, ni maison,
Ni son ne pénètre sa vapeur,
À peine une cloche ou un pont.
Mais quand le voyageur frissonna,
Une faible lueur apparut en bas
Et de la vapeur et du brouillard
Un chant de prière s'éleva
Des lèvres des enfants.
A town lies in the valley;
A pale day fades.
It will not be long
Before neither moon nor stars
But only night shall rule the heavens.
From all the mountaintops
Mists descend upon the town;
No roof nor yard nor house
Nor sound can pierce the smoke,
Not even a tower or a bridge.
But as the traveller felt fear
A tiny light shone below,
And through smoke and mist
And a soft song of praise began
From the mouth of a child.
Great Lied!
- published: 03 Feb 2013
- views: 958
Libro escrito por la que fuera esposa del compositor austríaco durante 9 años. El texto constituye el primer documento importante que reveló al Mahler hombre y artista.
Tras una década al frente de la Ópera de Viena, Gustav Mahler presenta su dimisión y a finales de 1907 viaja con su familia a Estados Unidos para ocupar el p uesto de Director jefe de la Ópera de Nueva York. En América permanece hasta 1911, año en el que regresa a Europa gravemente enfermo.
- published: 20 Apr 2015
- views: 755
Alma Maria Mahler Gropius Werfel (born Alma Maria Schindler; 31 August 1879 – 11 December 1964) was a Viennese-born socialite well known in her youth for her beauty and vivacity. She became the wife, successively, of composer Gustav Mahler, architect Walter Gropius, and novelist Franz Werfel, as well as the consort of several other prominent men. Musically active from her teens, she was the composer of at least seventeen songs for voice and piano. In later years her salon became an important feature of the artistic scene, first in Vienna, then in Los Angeles. Alma Schindler was born in Vienna, Austria (then Austria-Hungary), to the prominent landscape painter Emil Jakob Schindler and his wife Anna Bergen (1857-1938), in 1879. Although Alma later claimed to have grown up in a privileged environment, the family was only moderately successful. After her father's death (1892), her mother married her late husband's former pupil Carl Moll, who was a co-founder of the Vienna Secession.
- published: 20 Dec 2014
- views: 1509
Excerpts of the interactive theatre play "Alma" about Alma Mahler-Werfel, wife and muse of geniuses. Performance clips from Vienna, Venice, Lisbon, Los Angeles and Berlin.
"Alma" is one of the most unusual theater productions ever to take place in Europe, it offers a theatre performance such as has never been seen before.
It is an interactive stage-play with a very special party to celebrate in one. The play about Alma Mahler¹s life has reached cult status since its debut in 1996.
It takes place in an entire building, various scenes of Alma's life are performed simultaneously on all floors and in all the rooms which are fully equipped with furniture and props. One has to choose the events, the path, and the person to follow after each event, thus constructing one's personal version of a "theatrical journey".
Alma was the wife of composer Gustav Mahler, also married to architect Walter Gropius and poet Franz Werfel. She had fervent love affairs with the painters Oskar Kokoschka, Gustav Klimt, and several others, bringing together some of the most creative spirits of the 20th century.
When Gustav Mahler dies at half-time, his funeral can be followed interactively to his music, and the spectators are subsequently invited to a sumptuous buffet-dinner during the interval with Austrian specialities.
www.alma-mahler.com
- published: 27 Mar 2011
- views: 25793
Alma Maria Mahler Gropius Werfel (born Alma Maria Schindler; 31 August 1879 – 11 December 1964) was a Viennese-born socialite well known in her youth for her beauty and vivacity. She became the wife, successively, of composer Gustav Mahler, architect Walter Gropius, and novelist Franz Werfel, as well as the consort of several other prominent men. Musically active in her teens, she was the composer of at least seventeen songs. In later years her salon became an important feature of the artistic scene, first in Vienna, then in Los Angeles.
Alma Schindler was born in Vienna, Austria (then Austria-Hungary), to the prominent landscape painter Emil Jakob Schindler and his wife Anna von Bergen, in 1879. Although Alma later claimed to have grown up in a privileged environment, the family was only moderately successful. After her father's death (1892), her mother married her late husband's former pupil Carl Moll, who was a co-founder of the Vienna Secession.
Alma's lively social interactions in her youth included friendships with the artists of the Vienna Secession, among them Gustav Klimt. As a young woman she had a series of flirtations, including Klimt, theater director Max Burckhard and composer Alexander von Zemlinsky.
This page contains text from Wikipedia, the Free Encyclopedia -
http://en.wikipedia.org/wiki/Alma_Mahler
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Gustav Mahler (German pronunciation: [ˈɡʊstaf ˈmaːlɐ]; 7 July 1860 – 18 May 1911) was a late-Romantic Austrian composer and one of the leading conductors of his generation. He was born in the village of Kalischt, Bohemia, in what was then the Austrian Empire, now Kaliště in the Czech Republic. Then his family moved to nearby Iglau (now Jihlava) where Mahler grew up.
As a composer, he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.
Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism from Judaism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner and Mozart. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.
This page contains text from Wikipedia, the Free Encyclopedia -
http://en.wikipedia.org/wiki/Gustav_Mahler
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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57:28Alma Mahler (1879-1964) -- Complete Songs
Alma Mahler (1879-1964) -- Complete SongsAlma Mahler (1879-1964) -- Complete Songs
Alma Mahler's "Sämtliche Lieder" as performed by Charlotte Margiono (soprano) and members of the Brabant Orchestra. Conducting and orchestral arrangements by Julian Reynolds. "Die stille Stadt" (Richard Dehmel) Start "In meines Vaters Garten" (Otto Erich Hartleben) 3:13 "Laue Sommernacht" (Gustav Falke) 9:31 "Bei dir ist es traut" (Rainer Maria Rilke) 12:16 "Ich wandle unter Blumen" (Heinrich Heine) 14:43 "Licht in der Nacht" (Otto Julius Bierbaum) 15:55 "Waldseligkeit" (Richard Dehmel) 20:14 "Ansturm" (Richard Dehmel) 22:57 "Erntelied" (Gustav Falke) 25:06 "Hymne" (Novalis) 28:34 "Ekstase" (Otto Julius Bierbaum) 34:20 "Der Erkennende" (Fr -
12:37Bee Wilson: Alma Mahler, her men, music and anti-semitism
Bee Wilson: Alma Mahler, her men, music and anti-semitismBee Wilson: Alma Mahler, her men, music and anti-semitism
Bee Wilson discusses Alma Mahler's life, music, relationships and anti-semitism. Read more from Bee Wilson in the LRB: http://www.lrb.co.uk/search?q=bee+wilson&contributor;=Wilson,+Bee ABOUT THE LRB Since 1979, the London Review of Books has stood up for the tradition of the literary and intellectual essay in English. Each issue contains up to 15 long reviews and essays by academics, writers and journalists. There are also shorter art and film reviews, as well as poems and a lively letters page. A typical issue moves through political commentary to science or ancient history by way of literary criticism and social anthropology. So, for exam -
13:15Angelika Kirchschlager: The complete "5 Lieder" (Alma Mahler)
Angelika Kirchschlager: The complete "5 Lieder" (Alma Mahler)Angelika Kirchschlager: The complete "5 Lieder" (Alma Mahler)
5 Lieder (1910): I. Die stille Stadt 00:00 II. In meines Vaters Garten 02:58 III. Laue Sommernacht 07:55 IV. Bei dir ist es traut 10:15 V. Ich wandle unter Blumen 12:09 Mahler, Alma (1879-1964) Angelika Kirchschlager -mezzosoprano Helmut Deutsch -piano Alma played the piano from childhood and in her memoirs reports that she first attempted composing at age 9. She studied composition with Josef Labor beginning in 1895. She met Alexander von Zemlinsky in early 1900, began composition lessons with him that fall, and continued as his student until her engagement with Gustav Mahler (December 1901), after which she ceased composing. Up until that -
24:28Alma Mahler: 8 Lieder (1910/1924)
Alma Mahler: 8 Lieder (1910/1924)Alma Mahler: 8 Lieder (1910/1924)
Alma Mahler (1879-1964): 8 Lieder nella versione orchestrale di Jorma Panula (1910/1924). I. Die stille Stadt (1910) II. Bei dir ist es traut (1910) [02:59] III. Ich wandle unter Blumen (1910) [05:34] IV. Licht in der Nacht (1915) [07:16] V. Ansturm (1915) [08:14] VI. Hymne (1924) [11.27] VII. Der Erkennende (1924) [13:05] VIII. Kennst du meine Nächte? (Opera postuma, non datata) [18:38] Grace Echauri, soprano Orquesta Filarmónica de la Universidad Nacional de México diretta da Jorma Panula. *** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study cla -
2:59Alma Mahler ~ "The loveliest girl in Vienna was Alma, the smartest as well".wmv
Alma Mahler ~ "The loveliest girl in Vienna was Alma, the smartest as well".wmvAlma Mahler ~ "The loveliest girl in Vienna was Alma, the smartest as well".wmv
"the most beautiful girl in Vienna" according to Bruno Walter. Music and lyrics by professor Tom Lehrer via link http://www.youtube.com/watch?v=hH4J8CIBc7Q&feature;=player_embedded ALMA The loveliest girl in Vienna Was Alma, the smartest as well Once you picked her up on your antenna You'd never be free of her spell Her lovers were many and varied From the day she began her beguine There were three famous ones whom she married And God knows how many between Alma, tell us All modern women are jealous Which of your magical wands Got you Gustav and Walter and Franz The first one she married was Mahler Whose buddies all -
2:32Gustav Mahler: Interview Alma Mahler (1879-1964) about Gustav Mahler (1860-1911)
Gustav Mahler: Interview Alma Mahler (1879-1964) about Gustav Mahler (1860-1911)Gustav Mahler: Interview Alma Mahler (1879-1964) about Gustav Mahler (1860-1911)
Gustav Mahler: http://www.gustav-mahler.eu Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-1964 -
2:10Alma Mahler: Laue Sommernacht
Alma Mahler: Laue SommernachtAlma Mahler: Laue Sommernacht
Alma mahler: Laue Sommernacht (Fünf Lieder, Nummer 3) Maria Riccarda Wesseling, mezzosoprano Nathalie Dang, piano -
2:56Alma Mahler: Die Stille Stadt - Iris Vermillion, Riccardo Chailly/RCO
Alma Mahler: Die Stille Stadt - Iris Vermillion, Riccardo Chailly/RCOAlma Mahler: Die Stille Stadt - Iris Vermillion, Riccardo Chailly/RCO
Liegt eine Stadt im Tale, Ein blasser Tag vergeht. Es wird nicht lange dauern mehr, Bis weder Mond noch Sterne Nur Nacht am Himmel steht. Von allen Bergen drücken Nebel auf die Stadt, Es dringt kein Dach, nicht Hof noch Haus, Kein Laut aus ihrem Rauch heraus, Kaum Türme noch und Brücken. [Doch]4 als dem Wandrer graute, Da ging ein Lichtlein auf im Grund Und durch den Rauch und Nebel Begann ein leiser Lobgesang Aus Kindermund. Il y a une ville dans la vallée, Un jour pâle s'affaiblit, Il ne veut pas durer plus longtemps Tant que le lune et les étoiles Sont dans le ciel, seulement la nuit. Des montagnes avoisinantes Le brouillard descend s -
83:22"Recuerdos de Gustav Mahler" de Alma Mahler (Adaptación)
"Recuerdos de Gustav Mahler" de Alma Mahler (Adaptación)"Recuerdos de Gustav Mahler" de Alma Mahler (Adaptación)
Libro escrito por la que fuera esposa del compositor austríaco durante 9 años. El texto constituye el primer documento importante que reveló al Mahler hombre y artista. Tras una década al frente de la Ópera de Viena, Gustav Mahler presenta su dimisión y a finales de 1907 viaja con su familia a Estados Unidos para ocupar el p uesto de Director jefe de la Ópera de Nueva York. En América permanece hasta 1911, año en el que regresa a Europa gravemente enfermo. -
3:27Alma Mahler: Licht in der Nacht - Iris Vermillion, Riccardo Chailly/RCO
Alma Mahler: Licht in der Nacht - Iris Vermillion, Riccardo Chailly/RCOAlma Mahler: Licht in der Nacht - Iris Vermillion, Riccardo Chailly/RCO
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0:45Alma Mahler - History channel
Alma Mahler - History channelAlma Mahler - History channel
Alma Maria Mahler Gropius Werfel (born Alma Maria Schindler; 31 August 1879 – 11 December 1964) was a Viennese-born socialite well known in her youth for her beauty and vivacity. She became the wife, successively, of composer Gustav Mahler, architect Walter Gropius, and novelist Franz Werfel, as well as the consort of several other prominent men. Musically active from her teens, she was the composer of at least seventeen songs for voice and piano. In later years her salon became an important feature of the artistic scene, first in Vienna, then in Los Angeles. Alma Schindler was born in Vienna, Austria (then Austria-Hungary), to the prominent -
14:19Alma Mahler von Paulus Manker
Alma Mahler von Paulus MankerAlma Mahler von Paulus Manker
Excerpts of the interactive theatre play "Alma" about Alma Mahler-Werfel, wife and muse of geniuses. Performance clips from Vienna, Venice, Lisbon, Los Angeles and Berlin. "Alma" is one of the most unusual theater productions ever to take place in Europe, it offers a theatre performance such as has never been seen before. It is an interactive stage-play with a very special party to celebrate in one. The play about Alma Mahler¹s life has reached cult status since its debut in 1996. It takes place in an entire building, various scenes of Alma's life are performed simultaneously on all floors and in all the rooms which are fully equipped -
8:46Remebering Mahler / Souvenirs de Mahler / Erinnerungen von Mahler III
Remebering Mahler / Souvenirs de Mahler / Erinnerungen von Mahler IIIRemebering Mahler / Souvenirs de Mahler / Erinnerungen von Mahler III
Part 3: Interviews with musicians who knew/worked with Mahler. This last part includes an interveiw with Mahler's daughter Anna. Recorded by William Malloch in the 1960s. -
2:52Sarah Connolly sings: "Die stille Stadt" by Alma Mahler
Sarah Connolly sings: "Die stille Stadt" by Alma MahlerSarah Connolly sings: "Die stille Stadt" by Alma Mahler
This performance formed part of a superb recital by mezzo-soprano Sarah Connolly, accompanied by pianist Eugene Asti, which was given as the closing concert of the 10th Oxford Lieder Festival (2011). Six of the lieder performed by Sarah Connolly with Eugene Asti at this recital have been grouped in a playlist: "Sarah Connolly at the 10th Oxford Lieder Festival (2011)". http://www.youtube.com/playlist?list=PLQjFCfBvObbwgpcfntHlzyU1zPcshaqpa
- Alban Berg
- Alma (play)
- Alma Mahler
- Alma Problem
- Anna Mahler
- Anna von Bergen
- Anschluss
- Antony Beaumont
- Austria
- Austria-Hungary
- Bauhaus
- Berlin
- Bride of the Wind
- Bruce Beresford
- Carl Moll
- Colin Matthews
- David Matthews
- Diphtheria
- Emil Jakob Schindler
- Ernest Jones
- Faber and Faber
- Felix Adlon
- Franz Werfel
- Georgina Hale
- Grinzinger Friedhof
- Gustav Klimt
- Gustav Mahler
- Hugh Wood
- Jerusalem
- Jonathan Pryce
- Jorma Panula
- Josef Labor
- Joshua Sobol
- Kate Lindsey
- Ken Russell
- Leonard Bernstein
- Lisbon
- Los Angeles
- Mahler (film)
- Manon Gropius
- Marseille
- Martin Chervin
- Max Burckhard
- Max Phillips
- Mohammed Fairouz
- Oskar Kokoschka
- Paulus Manker
- Percy Adlon
- Petronell
- Polio
- Portugal
- Prague
- Pyrenees
- Robert Powell
- Sarah Wynter
- Scarlet fever
- Semmering
- Talk Alma Mahler
- Template Cleanup doc
- The Artist's Wife
- Tom Lehrer
- Varian Fry
- Venice
- Vichy French
- Vienna
- Vienna Secession
- Vincent Perez
- Walter Gropius
- Wikipedia Cleanup
- Wikipedia Persondata
- Alban Berg
- Alma Mahler
- Anna Mahler
- Antony Beaumont
- Austria
- Bruce Beresford
- Carl Moll
- Colin Matthews
- Emil Jakob Schindler
- Ernest Jones
- Franz Werfel
- Georgina Hale
- Gustav Klimt
- Gustav Mahler
- Hugh Wood
- Jonathan Pryce
- Jorma Panula
- Josef Labor
- Joshua Sobol
- Kate Lindsey
- Ken Russell
- Leonard Bernstein
- Manon Gropius
- Max Burckhard
- Mohammed Fairouz
- Oskar Kokoschka
- Paulus Manker
- Percy Adlon
- Robert Powell
- Sarah Wynter
- Tom Lehrer
- Varian Fry
- Walter Gropius
- Wikipedia Persondata
'Alma Mahler' is featured as a movie character in the following productions:
Tabu - Es ist die Seele ein Fremdes auf Erden (2011)
Actors: Bettina Ricklefs (producer), Hans-Wolfgang Jurgan (producer), Claude Ludovicy (miscellaneous crew), Dieter Pochlatko (producer), Birgit Hutter (costume designer), Nicolas Steil (producer), Christophe Vincent (miscellaneous crew), Rainer Bock (actor), Carl Achleitner (actor), Susi Stach (actress), Claude Breda (actor), Petra Morzé (actress), Lars Eidinger (actor), Patrick Hastert (actor), Haymon Maria Buttinger (actor),
Plot: The Austrian expressionist poet Georg Trakl was in love with her sister. And she loved him back. Their relationship became sexual and caused quite a stir in the local society. But when his sister asked him to flee with her to Australia where no one knew them and they could live as husband and wife, he refuse for he could not live without the beauty of the German language. Torn between his love for words and his love for Grete, Georg turned to drugs and entered a downward spiral.
Keywords: brother-sister-incest, coitus, drug-use, female-full-frontal-nudity, incest, male-frontal-nudity, male-full-frontal-nudity, male-nudity, pianist, poetGenres: Drama,
Mahler: D'un pas mesuré (2010)
Actors: Serge Feuillard (actor), Pierre-Henry Salfati (writer), Pierre-Henry Salfati (director), Marianne Anska (actress), Éric Frey (actor), Benjamin Yvert (editor), Fanny Piquet (editor),
Genres: Documentary,Mahler auf der Couch (2010)
Actors: Hans-Wolfgang Jurgan (producer), Johannes Silberschneider (actor), Eberhard Junkersdorf (producer), Karl Markovics (actor), Lena Stolze (actress), Eva Mattes (actress), Hubert von Spreti (producer), Percy Adlon (writer), Percy Adlon (director), Karl Fischer (actor), Konstantin Seitz (producer), Jochen Kunstler (editor), Caterina Czepek (costume designer), Michael Rotschopf (actor), Daniel Keberle (actor),
Genres: Biography, Drama,Alma Mahler (2001)
Actors: Alma Prica (actress), Bozidar Boban (actor), Mladen Vulic (actor), Doris Kristic (costume designer), Tomislav Zaja (director), Dubravko Jelacic-Buzimski (producer), Josip Popovac (producer), Ivana Boban (actress), Ivica Boban (writer), Maja Gregl (writer), Dusko Zubalj (actor),
Genres: Drama,Bride of the Wind (2001)
Actors: Merab Ninidze (actor), Johannes Silberschneider (actor), Josef Brandmaier (miscellaneous crew), Andreas Kispert (miscellaneous crew), Stephen Endelman (composer), Vincent Perez (actor), August Schmölzer (actor), Bruce Beresford (director), Jonathan Pryce (actor), Tim Wellburn (editor), Frank Hübner (producer), Norbert Blecha (producer), Wolfgang Hübsch (actor), Simon Verhoeven (actor), Jan Fantl (producer),
Plot: Vienna, 1902: Alma Schindler meets Gustav Mahler. She beautiful, young, plays, and composes: music is her life. She becomes Mahler's lover, then he marries her, asking that she give up composing. She has two children, works as his assistant, does his books, saves him from debt, and feels stifled. In 1910, after the death of a child, she retreats to a spa where she falls in love with Walter Gropius. Will she go with him or stay with Mahler? She conducts an affair with the tempestuous Oskar Kokoschka and is stifled in another way. Then, she marries Gropius, who proves imperious. She leaves him for Franz Werfel: he finds her compositions and insists the public hear them.
Keywords: 1890s, 1900s, adultery, archduke-franz-ferdinand, architect, art, artist, artist's-studio, baby, bare-breastsGenres: Biography, Drama, Music, Romance,
Nedovrsena simfonija (1998)
Actors: Tihomir Stanic (actor), Mira Cohadzic (costume designer), Zoran Milatovic (producer), Branimir Brstina (actor), Fedja Stojanovic (actor), Vladislava Milosavljevic (actress), Slobodan Radovic (director), Nebojsa Dugalic (actor), Varja Djukic (actress), Jelica Zupanc (writer), Branislav Godic (editor), Dusan Zaloznik (editor), Slobodan Ljubicic (actor), Slobodan Jovanovic (actor), Jovan Jovanovic (producer),
Genres: Drama,Sterben werd ich um zu leben - Gustav Mahler (1987)
Actors: Wolfgang Lesowsky (producer), Wolfgang Lesowsky (director), Erika Mottl (actress), Dana Gillespie (actress), Corinne Hochwarter (actress), Reinhard Hauser (actor),
Genres: Biography, Music,Wygasle czasy (1987)
Actors: Krzysztof Zanussi (writer), Mathieu Carrière (actor), Krzysztof Zanussi (director), Krzysztof Zanussi (actor), Wojciech Kilar (composer), Maja Komorowska (actress), Elisabeth Trissenaar (actress), Jan Biczycki (actor), Markus Vogelbacher (actor), Jacek Fuksiewicz (writer),
Genres: Documentary,Mahler (1974)
Actors: Kay Mander (miscellaneous crew), Rosalie Crutchley (actress), David Puttnam (producer), Lee Montague (actor), Miriam Karlin (actress), Ken Russell (director), Ken Russell (writer), Kenneth Colley (actor), Ronald Pickup (actor), Robert Powell (actor), Oliver Reed (actor), George Coulouris (actor), Michael Bradsell (editor), Peter Eyre (actor), Andrew Faulds (actor),
Plot: Both trifles and structure are tossed out the door by director Ken Russell in this film. Here, historical content matters not so much as metaphors, feelings, emotions, and interpretations, and pay close attention, as every word and frame is intended to be important. The film takes place on a single train ride, in which the sickly composer Gustav Mahler and his wife, Alma, confront the reasons behind their faltered marriage and dying love. Each word seems to evoke memories of past, and so the audience witnesses events of Mahler's life that explain somewhat his present state. Included are his turbulent and dysfunctional family life as a child, his discovery of solace in the "natural" world, his brother's suicide, his [unwanted] conversion from Judiasm to Catholicism, his rocky marriage and the death of their young child. The movie weaves in and out of dreams, flashbacks, thoughts and reality as Russell poetically describes the man behind the music.
Keywords: 1890s, 1900s, 19th-century, 20th-century, accordion, adultery, alma-mahler, anachronism, angel, aunt-nephew-relationshipGenres: Biography, Drama, Music,
Quotes:
Mahler: You've already wasted three minutes of my time! Now why don't you do what I do to keep the New York Philharmonic in time: beat it!Max: [laughs] I can't remember - what religion are you?::Gustav Mahler: I... am a composer.
[last lines]::Gustav Mahler: [reminded of some medications he should take] They won't be needed! We're going to live forever!
Alma Mahler
ALBUMS
Alexander Zemlinsky: Eine florentinische Tragödie / Alma Mahler: Lieder
Released 1997- add to main playlist Play in Full Screen Eine florentinische Tragödie: Ouvertüre
- add to main playlist Play in Full Screen Eine florentinische Tragödie: So lansam, Weib? (Simone)
- add to main playlist Play in Full Screen Eine florentinische Tragödie: Spinn ein Kleid, getaucht in Purpur (Simone)
- add to main playlist Play in Full Screen Eine florentinische Tragödie: Was gibt es Neues, mein Prinz? (Simone)
- add to main playlist Play in Full Screen Eine florentinische Tragödie: Wie er gleich einem schalen Krämer spricht! (Bianca)
- add to main playlist Play in Full Screen Eine florentinische Tragödie: Was ist das? (Simone)
- add to main playlist Play in Full Screen Eine florentinische Tragödie: Holdsel'ge Bianca (Guido)
- add to main playlist Play in Full Screen Eine florentinische Tragödie: Simone, jetzt muß ich nach Hause gehen (Guido)
- add to main playlist Play in Full Screen Die stille Stadt
- add to main playlist Play in Full Screen Laue Sommernacht
- add to main playlist Play in Full Screen Licht in der Nacht
- add to main playlist Play in Full Screen Waldseligkeit
- add to main playlist Play in Full Screen Bei dir ist es traut
- add to main playlist Play in Full Screen Erntelied
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Alma Mahler (1879-1964) -- Complete Songs
Alma Mahler's "Sämtliche Lieder" as performed by Charlotte Margiono (soprano) and members of the Brabant Orchestra. Conducting and orchestral arrangements by Julian Reynolds. "Die stille Stadt" (Richard Dehmel) Start "In meines Vaters Garten" (Otto Erich Hartleben) 3:13 "Laue Sommernacht" (Gustav Falke) 9:31 "Bei dir ist es traut" (Rainer Maria Rilke) 12:16 "Ich wandle unter Blumen" (Heinrich He -
Bee Wilson: Alma Mahler, her men, music and anti-semitism
Bee Wilson discusses Alma Mahler's life, music, relationships and anti-semitism. Read more from Bee Wilson in the LRB: http://www.lrb.co.uk/search?q=bee+wilson&contributor;=Wilson,+Bee ABOUT THE LRB Since 1979, the London Review of Books has stood up for the tradition of the literary and intellectual essay in English. Each issue contains up to 15 long reviews and essays by academics, writers and -
Angelika Kirchschlager: The complete "5 Lieder" (Alma Mahler)
5 Lieder (1910): I. Die stille Stadt 00:00 II. In meines Vaters Garten 02:58 III. Laue Sommernacht 07:55 IV. Bei dir ist es traut 10:15 V. Ich wandle unter Blumen 12:09 Mahler, Alma (1879-1964) Angelika Kirchschlager -mezzosoprano Helmut Deutsch -piano Alma played the piano from childhood and in her memoirs reports that she first attempted composing at age 9. She studied composition with Josef L -
Alma Mahler: 8 Lieder (1910/1924)
Alma Mahler (1879-1964): 8 Lieder nella versione orchestrale di Jorma Panula (1910/1924). I. Die stille Stadt (1910) II. Bei dir ist es traut (1910) [02:59] III. Ich wandle unter Blumen (1910) [05:34] IV. Licht in der Nacht (1915) [07:16] V. Ansturm (1915) [08:14] VI. Hymne (1924) [11.27] VII. Der Erkennende (1924) [13:05] VIII. Kennst du meine Nächte? (Opera postuma, non datata) [18:38] Grace E -
Alma Mahler ~ "The loveliest girl in Vienna was Alma, the smartest as well".wmv
"the most beautiful girl in Vienna" according to Bruno Walter. Music and lyrics by professor Tom Lehrer via link http://www.youtube.com/watch?v=hH4J8CIBc7Q&feature;=player_embedded ALMA The loveliest girl in Vienna Was Alma, the smartest as well Once you picked her up on your antenna You'd never be free of her spell Her lovers were many and varied From the day she began her beguine -
Gustav Mahler: Interview Alma Mahler (1879-1964) about Gustav Mahler (1860-1911)
Gustav Mahler: http://www.gustav-mahler.eu Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-1964 -
Alma Mahler: Laue Sommernacht
Alma mahler: Laue Sommernacht (Fünf Lieder, Nummer 3) Maria Riccarda Wesseling, mezzosoprano Nathalie Dang, piano -
Alma Mahler: Die Stille Stadt - Iris Vermillion, Riccardo Chailly/RCO
Liegt eine Stadt im Tale, Ein blasser Tag vergeht. Es wird nicht lange dauern mehr, Bis weder Mond noch Sterne Nur Nacht am Himmel steht. Von allen Bergen drücken Nebel auf die Stadt, Es dringt kein Dach, nicht Hof noch Haus, Kein Laut aus ihrem Rauch heraus, Kaum Türme noch und Brücken. [Doch]4 als dem Wandrer graute, Da ging ein Lichtlein auf im Grund Und durch den Rauch und Nebel Begann ein l -
"Recuerdos de Gustav Mahler" de Alma Mahler (Adaptación)
Libro escrito por la que fuera esposa del compositor austríaco durante 9 años. El texto constituye el primer documento importante que reveló al Mahler hombre y artista. Tras una década al frente de la Ópera de Viena, Gustav Mahler presenta su dimisión y a finales de 1907 viaja con su familia a Estados Unidos para ocupar el p uesto de Director jefe de la Ópera de Nueva York. En América permanece h -
Alma Mahler: Licht in der Nacht - Iris Vermillion, Riccardo Chailly/RCO
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Alma Mahler - History channel
Alma Maria Mahler Gropius Werfel (born Alma Maria Schindler; 31 August 1879 – 11 December 1964) was a Viennese-born socialite well known in her youth for her beauty and vivacity. She became the wife, successively, of composer Gustav Mahler, architect Walter Gropius, and novelist Franz Werfel, as well as the consort of several other prominent men. Musically active from her teens, she was the compos -
Alma Mahler von Paulus Manker
Excerpts of the interactive theatre play "Alma" about Alma Mahler-Werfel, wife and muse of geniuses. Performance clips from Vienna, Venice, Lisbon, Los Angeles and Berlin. "Alma" is one of the most unusual theater productions ever to take place in Europe, it offers a theatre performance such as has never been seen before. It is an interactive stage-play with a very special party to celebrate i -
Remebering Mahler / Souvenirs de Mahler / Erinnerungen von Mahler III
Part 3: Interviews with musicians who knew/worked with Mahler. This last part includes an interveiw with Mahler's daughter Anna. Recorded by William Malloch in the 1960s. -
Sarah Connolly sings: "Die stille Stadt" by Alma Mahler
This performance formed part of a superb recital by mezzo-soprano Sarah Connolly, accompanied by pianist Eugene Asti, which was given as the closing concert of the 10th Oxford Lieder Festival (2011). Six of the lieder performed by Sarah Connolly with Eugene Asti at this recital have been grouped in a playlist: "Sarah Connolly at the 10th Oxford Lieder Festival (2011)". http://www.youtube.com/pla -
Alma MAHLER - Bei Dir ist es traut (Rilke)
Alma MAHLER-SCHINDLER "Bei Dir ist es traut" (RILKE) 4ème des 5 premiers lieder sans opus connu. Claudie VERHAEGHE, soprano - Jean MICAULT, piano. "Bei Dir ist es traut, zage Uhren schlagen wie aus alten Tagen, kann mir ein Liebes sagen, aber nur nicht laut ! Ein Tor geht irgengwo draußen im Blütentreiben, der Abend horcht and die Scheiben, laß uns leise bleiben, keiner weiß uns so !" -
Fantasie pour Alma Mahler - Original Piece
I find Alma Mahler to be a fascinating woman, but she is unfortunately wildly misunderstood. Born in Vienna at the end of the 19th century, Alma (née Schindler) was a high society woman known for her intellect and wit. She started composing at the age of 9 and received composition lessons from Alexander von Zemlinsky. As part of the Viennese Succession artistic movement, she would frequent the -
Alma MAHLER-SCHINDLER "Der Erkennende" (Franz WERFEL)
Alma MAHLER-SCHINDLER "Der Erkennende" (Franz WERFEL) Claudie VERHAEGHE, soprano, Pierre ETCHEVERRY, piano. "Menschen lieben uns, und unbeglückt stehn sie auf von Tisch, um uns zu weinen. Doch wir sitzen übers Tuch gebückt und sind kalt und können sie verneinen. Was uns libt, wie stoßen wir es fort und uns Kalte kann kein Gram erweichen. Was wir lieben , das entrafft ein Ort, es wird hart und nich -
Alma Mahler: Erntelied - Sonja Leutwyler
Alma Mahler: Erntelied from Sieben Lieder für Mezzosopran und Orchester Sonja Leutwyler, Mezzo-soprano Slovenian Philharmonic Orchestra Uroš Lajovic, Conductor Mahler Festival Ljubljana, January 28, 2011 -
Alma Mahler " Laue Sommernacht " gesungen von Lucie Ceralova; mezzosprano
Lied von Alma Mahler-Werfel, geb. Schindler (1879-1964), gesungen von Lucie Ceralova; LIEDTEXT: Laue Sommernacht, Am Himmel stand kein Stern. Im weiten Walde suchten wir uns Tief im Dunkel, und wir fanden uns. Fanden uns im weiten Walde In der Nacht, der sternenlosen, Hielten staunend uns im Arme In der dunklen Nacht. War nicht unser ganzes Leben Nur ein Tappen, nur ein Suchen, -
ART SUNG - ALMA MAHLER
This short film is a taster for a multi-media recital which centres round the rich and diverse life and work of Alma Mahler. Excerpts from her diaries give us a fascinating insight into Viennese life at the turn of the 20th century as well as candid accounts of her relationships with various culturally eminent Viennese figures: her first discoveries of music and life through her composition teache -
Alma MAHLER-SCHINDLER Licht in der Nacht (Bierbaum)
Alma MAHLER-SCHINDLER "Licht in der Nacht" (Sans opus connu) Claudie VERHAEGHE, soprano, Jean MICAULT, piano. "Rings um dunkle Nacht, hüllt in Schwarz mich ein, zage flimmert gelb fern her ein Stern ! Ist mir wie ein Trost, eine Stimme still, die dein Herz aufruft, das verzagen will. Kleines gelbes Licht, bist mir wir ein Stern, übern Hause einst Jesu Christ, des Herrn.... und da löscht es aux ! -
Susan Anne Proctor Alma Mahler Ansturm
Concerto Omaggio alla Donna - Sale Apollinee, Gran Teatro La Fenice. ANSTURM O zürne nicht, wenn mein Begehren Dunkel aus seinen Grenzen bricht, Soll es uns selber nicht verzehren, Muß es heraus ans Licht! Fühlst ja, wie all mein Innres brandet, Und wenn herauf der Aufruhr bricht, Jä über deinen Frieden strandet, Dann bebst du aber du zürnst mir nicht. TEMPESTA Non arrabbiarti, se -
Alma Mahler: Licht in der Nacht
Heike Hallaschka singt Alma Mahler: Licht in der Nacht. Livemitschnitt vom 8. 9. 2013. Festsaal Haus Stapel, Havixbeck
Alma Mahler (1879-1964) -- Complete Songs
- Order: Reorder
- Duration: 57:28
- Updated: 24 Jul 2015
- views: 1571
Alma Mahler's "Sämtliche Lieder" as performed by Charlotte Margiono (soprano) and members of the Brabant Orchestra. Conducting and orchestral arrangements by Ju...
Alma Mahler's "Sämtliche Lieder" as performed by Charlotte Margiono (soprano) and members of the Brabant Orchestra. Conducting and orchestral arrangements by Julian Reynolds.
"Die stille Stadt" (Richard Dehmel) Start
"In meines Vaters Garten" (Otto Erich Hartleben) 3:13
"Laue Sommernacht" (Gustav Falke) 9:31
"Bei dir ist es traut" (Rainer Maria Rilke) 12:16
"Ich wandle unter Blumen" (Heinrich Heine) 14:43
"Licht in der Nacht" (Otto Julius Bierbaum) 15:55
"Waldseligkeit" (Richard Dehmel) 20:14
"Ansturm" (Richard Dehmel) 22:57
"Erntelied" (Gustav Falke) 25:06
"Hymne" (Novalis) 28:34
"Ekstase" (Otto Julius Bierbaum) 34:20
"Der Erkennende" (Franz Werfel) 37:00
"Lobgesang" (Rcihard Dehmel) 40:18
"Hymne an die Nacht" (Novalis) 43:55
"Leise weht ein erstes Blühn" (Rainer Maria Rilke) 47:24
"Kennst du meine Nächte" 51:37
wn.com/Alma Mahler (1879 1964) Complete Songs
Alma Mahler's "Sämtliche Lieder" as performed by Charlotte Margiono (soprano) and members of the Brabant Orchestra. Conducting and orchestral arrangements by Julian Reynolds.
"Die stille Stadt" (Richard Dehmel) Start
"In meines Vaters Garten" (Otto Erich Hartleben) 3:13
"Laue Sommernacht" (Gustav Falke) 9:31
"Bei dir ist es traut" (Rainer Maria Rilke) 12:16
"Ich wandle unter Blumen" (Heinrich Heine) 14:43
"Licht in der Nacht" (Otto Julius Bierbaum) 15:55
"Waldseligkeit" (Richard Dehmel) 20:14
"Ansturm" (Richard Dehmel) 22:57
"Erntelied" (Gustav Falke) 25:06
"Hymne" (Novalis) 28:34
"Ekstase" (Otto Julius Bierbaum) 34:20
"Der Erkennende" (Franz Werfel) 37:00
"Lobgesang" (Rcihard Dehmel) 40:18
"Hymne an die Nacht" (Novalis) 43:55
"Leise weht ein erstes Blühn" (Rainer Maria Rilke) 47:24
"Kennst du meine Nächte" 51:37
- published: 24 Jul 2015
- views: 1571
Bee Wilson: Alma Mahler, her men, music and anti-semitism
- Order: Reorder
- Duration: 12:37
- Updated: 02 Nov 2015
- views: 2086
Bee Wilson discusses Alma Mahler's life, music, relationships and anti-semitism. Read more from Bee Wilson in the LRB: http://www.lrb.co.uk/search?q=bee+wilson&...
Bee Wilson discusses Alma Mahler's life, music, relationships and anti-semitism. Read more from Bee Wilson in the LRB: http://www.lrb.co.uk/search?q=bee+wilson&contributor;=Wilson,+Bee
ABOUT THE LRB
Since 1979, the London Review of Books has stood up for the tradition of the literary and intellectual essay in English. Each issue contains up to 15 long reviews and essays by academics, writers and journalists. There are also shorter art and film reviews, as well as poems and a lively letters page.
A typical issue moves through political commentary to science or ancient history by way of literary criticism and social anthropology. So, for example, an issue can open with a piece on the rhetoric of war, move on to reassessing the reputation of Pythagoras, follow that with articles on the situation in Iraq, the 19th-century super-rich, Nabokov’s unpublished novel, how saints got to be saints, the life and work of William Empson, and an assessment of the poetry of Alice Oswald.
wn.com/Bee Wilson Alma Mahler, Her Men, Music And Anti Semitism
Bee Wilson discusses Alma Mahler's life, music, relationships and anti-semitism. Read more from Bee Wilson in the LRB: http://www.lrb.co.uk/search?q=bee+wilson&contributor;=Wilson,+Bee
ABOUT THE LRB
Since 1979, the London Review of Books has stood up for the tradition of the literary and intellectual essay in English. Each issue contains up to 15 long reviews and essays by academics, writers and journalists. There are also shorter art and film reviews, as well as poems and a lively letters page.
A typical issue moves through political commentary to science or ancient history by way of literary criticism and social anthropology. So, for example, an issue can open with a piece on the rhetoric of war, move on to reassessing the reputation of Pythagoras, follow that with articles on the situation in Iraq, the 19th-century super-rich, Nabokov’s unpublished novel, how saints got to be saints, the life and work of William Empson, and an assessment of the poetry of Alice Oswald.
- published: 02 Nov 2015
- views: 2086
Angelika Kirchschlager: The complete "5 Lieder" (Alma Mahler)
- Order: Reorder
- Duration: 13:15
- Updated: 02 Mar 2014
- views: 7468
5 Lieder (1910):
I. Die stille Stadt 00:00
II. In meines Vaters Garten 02:58
III. Laue Sommernacht 07:55
IV. Bei dir ist es traut 10:15
V. Ich wandle unter Blum...
5 Lieder (1910):
I. Die stille Stadt 00:00
II. In meines Vaters Garten 02:58
III. Laue Sommernacht 07:55
IV. Bei dir ist es traut 10:15
V. Ich wandle unter Blumen 12:09
Mahler, Alma (1879-1964)
Angelika Kirchschlager -mezzosoprano
Helmut Deutsch -piano
Alma played the piano from childhood and in her memoirs reports that she first attempted composing at age 9. She studied composition with Josef Labor beginning in 1895. She met Alexander von Zemlinsky in early 1900, began composition lessons with him that fall, and continued as his student until her engagement with Gustav Mahler (December 1901), after which she ceased composing. Up until that time, she had composed or sketched many Lieder, and also worked on instrumental pieces as well as a segment of an opera. She may have resumed composing after 1910, at least sporadically, but the chronology of her songs is difficult to establish because she did not date her manuscripts.
Only a total of 17 songs by her survive. Fourteen were published during her lifetime, in three publications dated 1910, 1915, and 1924; it is unclear whether she continued composing at all after her last publication. The works appeared under the name 'Alma Maria Schindler-Mahler'; the cover of the 1915 set was illustrated by Oskar Kokoschka. Three additional songs were discovered in manuscript posthumously; two of them were published in the year 2000, and one remains unpublished. Her personal papers, including music manuscripts, are held at the University of Pennsylvania, and at the Austrian National Library in Vienna.
These songs are regularly performed and recorded. Orchestral versions of the accompaniments have been produced by David and Colin Matthews, and by Jorma Panula.
Source: http://en.wikipedia.org/wiki/Alma_Mahler
Buy the CD here: http://www.amazon.com/Lieder-Angelika-Kirchschlager/dp/B0013AT5CK/ref=sr_1_1?ie=UTF8&qid;=1393778831&sr;=8-1&keywords;=kirchschlager
wn.com/Angelika Kirchschlager The Complete 5 Lieder (Alma Mahler)
5 Lieder (1910):
I. Die stille Stadt 00:00
II. In meines Vaters Garten 02:58
III. Laue Sommernacht 07:55
IV. Bei dir ist es traut 10:15
V. Ich wandle unter Blumen 12:09
Mahler, Alma (1879-1964)
Angelika Kirchschlager -mezzosoprano
Helmut Deutsch -piano
Alma played the piano from childhood and in her memoirs reports that she first attempted composing at age 9. She studied composition with Josef Labor beginning in 1895. She met Alexander von Zemlinsky in early 1900, began composition lessons with him that fall, and continued as his student until her engagement with Gustav Mahler (December 1901), after which she ceased composing. Up until that time, she had composed or sketched many Lieder, and also worked on instrumental pieces as well as a segment of an opera. She may have resumed composing after 1910, at least sporadically, but the chronology of her songs is difficult to establish because she did not date her manuscripts.
Only a total of 17 songs by her survive. Fourteen were published during her lifetime, in three publications dated 1910, 1915, and 1924; it is unclear whether she continued composing at all after her last publication. The works appeared under the name 'Alma Maria Schindler-Mahler'; the cover of the 1915 set was illustrated by Oskar Kokoschka. Three additional songs were discovered in manuscript posthumously; two of them were published in the year 2000, and one remains unpublished. Her personal papers, including music manuscripts, are held at the University of Pennsylvania, and at the Austrian National Library in Vienna.
These songs are regularly performed and recorded. Orchestral versions of the accompaniments have been produced by David and Colin Matthews, and by Jorma Panula.
Source: http://en.wikipedia.org/wiki/Alma_Mahler
Buy the CD here: http://www.amazon.com/Lieder-Angelika-Kirchschlager/dp/B0013AT5CK/ref=sr_1_1?ie=UTF8&qid;=1393778831&sr;=8-1&keywords;=kirchschlager
- published: 02 Mar 2014
- views: 7468
Alma Mahler: 8 Lieder (1910/1924)
- Order: Reorder
- Duration: 24:28
- Updated: 01 Jan 2013
- views: 12434
Alma Mahler (1879-1964): 8 Lieder nella versione orchestrale di Jorma Panula (1910/1924).
I. Die stille Stadt (1910)
II. Bei dir ist es traut (1910) [02:59]
II...
Alma Mahler (1879-1964): 8 Lieder nella versione orchestrale di Jorma Panula (1910/1924).
I. Die stille Stadt (1910)
II. Bei dir ist es traut (1910) [02:59]
III. Ich wandle unter Blumen (1910) [05:34]
IV. Licht in der Nacht (1915) [07:16]
V. Ansturm (1915) [08:14]
VI. Hymne (1924) [11.27]
VII. Der Erkennende (1924) [13:05]
VIII. Kennst du meine Nächte? (Opera postuma, non datata) [18:38]
Grace Echauri, soprano
Orquesta Filarmónica de la Universidad Nacional de México diretta da Jorma Panula.
***
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
wn.com/Alma Mahler 8 Lieder (1910 1924)
Alma Mahler (1879-1964): 8 Lieder nella versione orchestrale di Jorma Panula (1910/1924).
I. Die stille Stadt (1910)
II. Bei dir ist es traut (1910) [02:59]
III. Ich wandle unter Blumen (1910) [05:34]
IV. Licht in der Nacht (1915) [07:16]
V. Ansturm (1915) [08:14]
VI. Hymne (1924) [11.27]
VII. Der Erkennende (1924) [13:05]
VIII. Kennst du meine Nächte? (Opera postuma, non datata) [18:38]
Grace Echauri, soprano
Orquesta Filarmónica de la Universidad Nacional de México diretta da Jorma Panula.
***
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
- published: 01 Jan 2013
- views: 12434
Alma Mahler ~ "The loveliest girl in Vienna was Alma, the smartest as well".wmv
- Order: Reorder
- Duration: 2:59
- Updated: 22 Aug 2010
- views: 30635
"the most beautiful girl in Vienna" according to Bruno Walter. Music and lyrics by professor Tom Lehrer via link
http://www.youtube.com/watch?v=hH4J8CIBc7Q&f...;
"the most beautiful girl in Vienna" according to Bruno Walter. Music and lyrics by professor Tom Lehrer via link
http://www.youtube.com/watch?v=hH4J8CIBc7Q&feature;=player_embedded
ALMA
The loveliest girl in Vienna
Was Alma, the smartest as well
Once you picked her up on your antenna
You'd never be free of her spell
Her lovers were many and varied
From the day she began her beguine
There were three famous ones whom she married
And God knows how many between
Alma, tell us
All modern women are jealous
Which of your magical wands
Got you Gustav and Walter and Franz
The first one she married was Mahler
Whose buddies all knew him as Gustav
And each time he saw her he'd holler
"Ach, that is the fräulein I moost hav"
Their marriage, however, was murder
He'd scream to the heavens above
"I'm writing 'Das Lied von der Erde'
And she only wants to make love!"
Alma, tell us
All modern women are jealous
You should have a statue in bronze
For bagging Gustav and Walter and Franz
While married to Gus, she met Gropius
And soon she was swinging with Walter
Gus died, and her tear drops were copious
She cried all the way to the altar
But he would work late at the Bauhaus
And only come home now and then
She said, "What am I running, a chow house
It's time to change partners again"
Alma, tell us
All modern women are jealous
Though you didn't even use Ponds
You got Gustav and Walter and Franz
While married to Walt she'd met Werfel
And he too was caught in her net
He married her, but he was carefel
'Cause Alma was no Bernadette
And that is the story of Alma
Who knew how to receive and to give
The body that reached her embalma
Was one that had known how to live
Alma, tell us
How can they help being jealous
Ducks always envy the swans
Who get Gustav and Walter
You never did falter
With Gustav and Walter and Franz
Tom Lehrer
wn.com/Alma Mahler ~ The Loveliest Girl In Vienna Was Alma, The Smartest As Well .Wmv
"the most beautiful girl in Vienna" according to Bruno Walter. Music and lyrics by professor Tom Lehrer via link
http://www.youtube.com/watch?v=hH4J8CIBc7Q&feature;=player_embedded
ALMA
The loveliest girl in Vienna
Was Alma, the smartest as well
Once you picked her up on your antenna
You'd never be free of her spell
Her lovers were many and varied
From the day she began her beguine
There were three famous ones whom she married
And God knows how many between
Alma, tell us
All modern women are jealous
Which of your magical wands
Got you Gustav and Walter and Franz
The first one she married was Mahler
Whose buddies all knew him as Gustav
And each time he saw her he'd holler
"Ach, that is the fräulein I moost hav"
Their marriage, however, was murder
He'd scream to the heavens above
"I'm writing 'Das Lied von der Erde'
And she only wants to make love!"
Alma, tell us
All modern women are jealous
You should have a statue in bronze
For bagging Gustav and Walter and Franz
While married to Gus, she met Gropius
And soon she was swinging with Walter
Gus died, and her tear drops were copious
She cried all the way to the altar
But he would work late at the Bauhaus
And only come home now and then
She said, "What am I running, a chow house
It's time to change partners again"
Alma, tell us
All modern women are jealous
Though you didn't even use Ponds
You got Gustav and Walter and Franz
While married to Walt she'd met Werfel
And he too was caught in her net
He married her, but he was carefel
'Cause Alma was no Bernadette
And that is the story of Alma
Who knew how to receive and to give
The body that reached her embalma
Was one that had known how to live
Alma, tell us
How can they help being jealous
Ducks always envy the swans
Who get Gustav and Walter
You never did falter
With Gustav and Walter and Franz
Tom Lehrer
- published: 22 Aug 2010
- views: 30635
Gustav Mahler: Interview Alma Mahler (1879-1964) about Gustav Mahler (1860-1911)
- Order: Reorder
- Duration: 2:32
- Updated: 02 Jan 2016
- views: 97
Gustav Mahler: http://www.gustav-mahler.eu
Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-19...
Gustav Mahler: http://www.gustav-mahler.eu
Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-1964
wn.com/Gustav Mahler Interview Alma Mahler (1879 1964) About Gustav Mahler (1860 1911)
Gustav Mahler: http://www.gustav-mahler.eu
Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-1964
- published: 02 Jan 2016
- views: 97
Alma Mahler: Laue Sommernacht
- Order: Reorder
- Duration: 2:10
- Updated: 10 Oct 2013
- views: 5115
Alma mahler: Laue Sommernacht (Fünf Lieder, Nummer 3)
Maria Riccarda Wesseling, mezzosoprano
Nathalie Dang, piano...
Alma mahler: Laue Sommernacht (Fünf Lieder, Nummer 3)
Maria Riccarda Wesseling, mezzosoprano
Nathalie Dang, piano
wn.com/Alma Mahler Laue Sommernacht
Alma mahler: Laue Sommernacht (Fünf Lieder, Nummer 3)
Maria Riccarda Wesseling, mezzosoprano
Nathalie Dang, piano
- published: 10 Oct 2013
- views: 5115
Alma Mahler: Die Stille Stadt - Iris Vermillion, Riccardo Chailly/RCO
- Order: Reorder
- Duration: 2:56
- Updated: 03 Feb 2013
- views: 958
Liegt eine Stadt im Tale,
Ein blasser Tag vergeht.
Es wird nicht lange dauern mehr,
Bis weder Mond noch Sterne
Nur Nacht am Himmel steht.
Von allen Bergen drüc...
Liegt eine Stadt im Tale,
Ein blasser Tag vergeht.
Es wird nicht lange dauern mehr,
Bis weder Mond noch Sterne
Nur Nacht am Himmel steht.
Von allen Bergen drücken
Nebel auf die Stadt,
Es dringt kein Dach, nicht Hof noch Haus,
Kein Laut aus ihrem Rauch heraus,
Kaum Türme noch und Brücken.
[Doch]4 als dem Wandrer graute,
Da ging ein Lichtlein auf im Grund
Und durch den Rauch und Nebel
Begann ein leiser Lobgesang
Aus Kindermund.
Il y a une ville dans la vallée,
Un jour pâle s'affaiblit,
Il ne veut pas durer plus longtemps
Tant que le lune et les étoiles
Sont dans le ciel, seulement la nuit.
Des montagnes avoisinantes
Le brouillard descend sur la ville,
Ni toit, ni cour, ni maison,
Ni son ne pénètre sa vapeur,
À peine une cloche ou un pont.
Mais quand le voyageur frissonna,
Une faible lueur apparut en bas
Et de la vapeur et du brouillard
Un chant de prière s'éleva
Des lèvres des enfants.
A town lies in the valley;
A pale day fades.
It will not be long
Before neither moon nor stars
But only night shall rule the heavens.
From all the mountaintops
Mists descend upon the town;
No roof nor yard nor house
Nor sound can pierce the smoke,
Not even a tower or a bridge.
But as the traveller felt fear
A tiny light shone below,
And through smoke and mist
And a soft song of praise began
From the mouth of a child.
Great Lied!
wn.com/Alma Mahler Die Stille Stadt Iris Vermillion, Riccardo Chailly Rco
Liegt eine Stadt im Tale,
Ein blasser Tag vergeht.
Es wird nicht lange dauern mehr,
Bis weder Mond noch Sterne
Nur Nacht am Himmel steht.
Von allen Bergen drücken
Nebel auf die Stadt,
Es dringt kein Dach, nicht Hof noch Haus,
Kein Laut aus ihrem Rauch heraus,
Kaum Türme noch und Brücken.
[Doch]4 als dem Wandrer graute,
Da ging ein Lichtlein auf im Grund
Und durch den Rauch und Nebel
Begann ein leiser Lobgesang
Aus Kindermund.
Il y a une ville dans la vallée,
Un jour pâle s'affaiblit,
Il ne veut pas durer plus longtemps
Tant que le lune et les étoiles
Sont dans le ciel, seulement la nuit.
Des montagnes avoisinantes
Le brouillard descend sur la ville,
Ni toit, ni cour, ni maison,
Ni son ne pénètre sa vapeur,
À peine une cloche ou un pont.
Mais quand le voyageur frissonna,
Une faible lueur apparut en bas
Et de la vapeur et du brouillard
Un chant de prière s'éleva
Des lèvres des enfants.
A town lies in the valley;
A pale day fades.
It will not be long
Before neither moon nor stars
But only night shall rule the heavens.
From all the mountaintops
Mists descend upon the town;
No roof nor yard nor house
Nor sound can pierce the smoke,
Not even a tower or a bridge.
But as the traveller felt fear
A tiny light shone below,
And through smoke and mist
And a soft song of praise began
From the mouth of a child.
Great Lied!
- published: 03 Feb 2013
- views: 958
"Recuerdos de Gustav Mahler" de Alma Mahler (Adaptación)
- Order: Reorder
- Duration: 83:22
- Updated: 20 Apr 2015
- views: 755
Libro escrito por la que fuera esposa del compositor austríaco durante 9 años. El texto constituye el primer documento importante que reveló al Mahler hombre y ...
Libro escrito por la que fuera esposa del compositor austríaco durante 9 años. El texto constituye el primer documento importante que reveló al Mahler hombre y artista.
Tras una década al frente de la Ópera de Viena, Gustav Mahler presenta su dimisión y a finales de 1907 viaja con su familia a Estados Unidos para ocupar el p uesto de Director jefe de la Ópera de Nueva York. En América permanece hasta 1911, año en el que regresa a Europa gravemente enfermo.
wn.com/Recuerdos De Gustav Mahler De Alma Mahler (Adaptación)
Libro escrito por la que fuera esposa del compositor austríaco durante 9 años. El texto constituye el primer documento importante que reveló al Mahler hombre y artista.
Tras una década al frente de la Ópera de Viena, Gustav Mahler presenta su dimisión y a finales de 1907 viaja con su familia a Estados Unidos para ocupar el p uesto de Director jefe de la Ópera de Nueva York. En América permanece hasta 1911, año en el que regresa a Europa gravemente enfermo.
- published: 20 Apr 2015
- views: 755
Alma Mahler: Licht in der Nacht - Iris Vermillion, Riccardo Chailly/RCO
- Order: Reorder
- Duration: 3:27
- Updated: 08 Sep 2014
- views: 516
...
wn.com/Alma Mahler Licht In Der Nacht Iris Vermillion, Riccardo Chailly Rco
- published: 08 Sep 2014
- views: 516
Alma Mahler - History channel
- Order: Reorder
- Duration: 0:45
- Updated: 20 Dec 2014
- views: 1509
Alma Maria Mahler Gropius Werfel (born Alma Maria Schindler; 31 August 1879 – 11 December 1964) was a Viennese-born socialite well known in her youth for her be...
Alma Maria Mahler Gropius Werfel (born Alma Maria Schindler; 31 August 1879 – 11 December 1964) was a Viennese-born socialite well known in her youth for her beauty and vivacity. She became the wife, successively, of composer Gustav Mahler, architect Walter Gropius, and novelist Franz Werfel, as well as the consort of several other prominent men. Musically active from her teens, she was the composer of at least seventeen songs for voice and piano. In later years her salon became an important feature of the artistic scene, first in Vienna, then in Los Angeles. Alma Schindler was born in Vienna, Austria (then Austria-Hungary), to the prominent landscape painter Emil Jakob Schindler and his wife Anna Bergen (1857-1938), in 1879. Although Alma later claimed to have grown up in a privileged environment, the family was only moderately successful. After her father's death (1892), her mother married her late husband's former pupil Carl Moll, who was a co-founder of the Vienna Secession.
wn.com/Alma Mahler History Channel
Alma Maria Mahler Gropius Werfel (born Alma Maria Schindler; 31 August 1879 – 11 December 1964) was a Viennese-born socialite well known in her youth for her beauty and vivacity. She became the wife, successively, of composer Gustav Mahler, architect Walter Gropius, and novelist Franz Werfel, as well as the consort of several other prominent men. Musically active from her teens, she was the composer of at least seventeen songs for voice and piano. In later years her salon became an important feature of the artistic scene, first in Vienna, then in Los Angeles. Alma Schindler was born in Vienna, Austria (then Austria-Hungary), to the prominent landscape painter Emil Jakob Schindler and his wife Anna Bergen (1857-1938), in 1879. Although Alma later claimed to have grown up in a privileged environment, the family was only moderately successful. After her father's death (1892), her mother married her late husband's former pupil Carl Moll, who was a co-founder of the Vienna Secession.
- published: 20 Dec 2014
- views: 1509
Alma Mahler von Paulus Manker
- Order: Reorder
- Duration: 14:19
- Updated: 27 Mar 2011
- views: 25793
Excerpts of the interactive theatre play "Alma" about Alma Mahler-Werfel, wife and muse of geniuses. Performance clips from Vienna, Venice, Lisbon, Los Angeles ...
Excerpts of the interactive theatre play "Alma" about Alma Mahler-Werfel, wife and muse of geniuses. Performance clips from Vienna, Venice, Lisbon, Los Angeles and Berlin.
"Alma" is one of the most unusual theater productions ever to take place in Europe, it offers a theatre performance such as has never been seen before.
It is an interactive stage-play with a very special party to celebrate in one. The play about Alma Mahler¹s life has reached cult status since its debut in 1996.
It takes place in an entire building, various scenes of Alma's life are performed simultaneously on all floors and in all the rooms which are fully equipped with furniture and props. One has to choose the events, the path, and the person to follow after each event, thus constructing one's personal version of a "theatrical journey".
Alma was the wife of composer Gustav Mahler, also married to architect Walter Gropius and poet Franz Werfel. She had fervent love affairs with the painters Oskar Kokoschka, Gustav Klimt, and several others, bringing together some of the most creative spirits of the 20th century.
When Gustav Mahler dies at half-time, his funeral can be followed interactively to his music, and the spectators are subsequently invited to a sumptuous buffet-dinner during the interval with Austrian specialities.
www.alma-mahler.com
wn.com/Alma Mahler Von Paulus Manker
Excerpts of the interactive theatre play "Alma" about Alma Mahler-Werfel, wife and muse of geniuses. Performance clips from Vienna, Venice, Lisbon, Los Angeles and Berlin.
"Alma" is one of the most unusual theater productions ever to take place in Europe, it offers a theatre performance such as has never been seen before.
It is an interactive stage-play with a very special party to celebrate in one. The play about Alma Mahler¹s life has reached cult status since its debut in 1996.
It takes place in an entire building, various scenes of Alma's life are performed simultaneously on all floors and in all the rooms which are fully equipped with furniture and props. One has to choose the events, the path, and the person to follow after each event, thus constructing one's personal version of a "theatrical journey".
Alma was the wife of composer Gustav Mahler, also married to architect Walter Gropius and poet Franz Werfel. She had fervent love affairs with the painters Oskar Kokoschka, Gustav Klimt, and several others, bringing together some of the most creative spirits of the 20th century.
When Gustav Mahler dies at half-time, his funeral can be followed interactively to his music, and the spectators are subsequently invited to a sumptuous buffet-dinner during the interval with Austrian specialities.
www.alma-mahler.com
- published: 27 Mar 2011
- views: 25793
Remebering Mahler / Souvenirs de Mahler / Erinnerungen von Mahler III
- Order: Reorder
- Duration: 8:46
- Updated: 01 Feb 2011
- views: 3940
Part 3:
Interviews with musicians who knew/worked with Mahler. This last part includes an interveiw with Mahler's daughter Anna.
Recorded by William Malloch i...
Part 3:
Interviews with musicians who knew/worked with Mahler. This last part includes an interveiw with Mahler's daughter Anna.
Recorded by William Malloch in the 1960s.
wn.com/Remebering Mahler Souvenirs De Mahler Erinnerungen Von Mahler Iii
Part 3:
Interviews with musicians who knew/worked with Mahler. This last part includes an interveiw with Mahler's daughter Anna.
Recorded by William Malloch in the 1960s.
- published: 01 Feb 2011
- views: 3940
Sarah Connolly sings: "Die stille Stadt" by Alma Mahler
- Order: Reorder
- Duration: 2:52
- Updated: 26 Jul 2013
- views: 2602
This performance formed part of a superb recital by mezzo-soprano Sarah Connolly, accompanied by pianist Eugene Asti, which was given as the closing concert of ...
This performance formed part of a superb recital by mezzo-soprano Sarah Connolly, accompanied by pianist Eugene Asti, which was given as the closing concert of the 10th Oxford Lieder Festival (2011).
Six of the lieder performed by Sarah Connolly with Eugene Asti at this recital have been grouped in a playlist: "Sarah Connolly at the 10th Oxford Lieder Festival (2011)".
http://www.youtube.com/playlist?list=PLQjFCfBvObbwgpcfntHlzyU1zPcshaqpa
wn.com/Sarah Connolly Sings Die Stille Stadt By Alma Mahler
This performance formed part of a superb recital by mezzo-soprano Sarah Connolly, accompanied by pianist Eugene Asti, which was given as the closing concert of the 10th Oxford Lieder Festival (2011).
Six of the lieder performed by Sarah Connolly with Eugene Asti at this recital have been grouped in a playlist: "Sarah Connolly at the 10th Oxford Lieder Festival (2011)".
http://www.youtube.com/playlist?list=PLQjFCfBvObbwgpcfntHlzyU1zPcshaqpa
- published: 26 Jul 2013
- views: 2602
Alma MAHLER - Bei Dir ist es traut (Rilke)
- Order: Reorder
- Duration: 2:06
- Updated: 14 Sep 2010
- views: 5378
Alma MAHLER-SCHINDLER "Bei Dir ist es traut" (RILKE) 4ème des 5 premiers lieder sans opus connu. Claudie VERHAEGHE, soprano - Jean MICAULT, piano. "Bei Dir ist ...
Alma MAHLER-SCHINDLER "Bei Dir ist es traut" (RILKE) 4ème des 5 premiers lieder sans opus connu. Claudie VERHAEGHE, soprano - Jean MICAULT, piano. "Bei Dir ist es traut, zage Uhren schlagen wie aus alten Tagen, kann mir ein Liebes sagen, aber nur nicht laut ! Ein Tor geht irgengwo draußen im Blütentreiben, der Abend horcht and die Scheiben, laß uns leise bleiben, keiner weiß uns so !"
wn.com/Alma Mahler Bei Dir Ist Es Traut (Rilke)
Alma MAHLER-SCHINDLER "Bei Dir ist es traut" (RILKE) 4ème des 5 premiers lieder sans opus connu. Claudie VERHAEGHE, soprano - Jean MICAULT, piano. "Bei Dir ist es traut, zage Uhren schlagen wie aus alten Tagen, kann mir ein Liebes sagen, aber nur nicht laut ! Ein Tor geht irgengwo draußen im Blütentreiben, der Abend horcht and die Scheiben, laß uns leise bleiben, keiner weiß uns so !"
- published: 14 Sep 2010
- views: 5378
Fantasie pour Alma Mahler - Original Piece
- Order: Reorder
- Duration: 5:27
- Updated: 16 Sep 2015
- views: 171
I find Alma Mahler to be a fascinating woman, but she is unfortunately wildly misunderstood. Born in Vienna at the end of the 19th century, Alma (née Schindler...
I find Alma Mahler to be a fascinating woman, but she is unfortunately wildly misunderstood. Born in Vienna at the end of the 19th century, Alma (née Schindler) was a high society woman known for her intellect and wit. She started composing at the age of 9 and received composition lessons from Alexander von Zemlinsky. As part of the Viennese Succession artistic movement, she would frequent the salons of Adele Bloch-Bauer, where she met Gustav Mahler. The two had a tumultuous affair, and they married in 1902 under the condition that Alma stop composing. Gustav was worried that she would not be an adequate housewife if she continued to compose, and for some reason she agreed to this condition of marriage.
Only 17 of her pieces survive. They are all German Lieder for voice and piano. Here are five of them: https://www.youtube.com/watch?v=VnT8pFzWvRE
I dedicate this piece to Alma, who was passionate for life and who should have had a more prolific composition career.
Information about Alma Mahler that served as the inspiration of this song was from the book The Lady in Gold by Anne Marie O'Connor. It is probably the most fascinating, yet thrilling, non-fiction book I've read and I highly recommend it. I have not seen the movie yet.
PS - I don't mean to bash Gustav Mahler; I love his works and will always be greatly moved by his 9th Symphony. He was a product of his time, and his relationship with Alma was a very complicated one as a result.
wn.com/Fantasie Pour Alma Mahler Original Piece
I find Alma Mahler to be a fascinating woman, but she is unfortunately wildly misunderstood. Born in Vienna at the end of the 19th century, Alma (née Schindler) was a high society woman known for her intellect and wit. She started composing at the age of 9 and received composition lessons from Alexander von Zemlinsky. As part of the Viennese Succession artistic movement, she would frequent the salons of Adele Bloch-Bauer, where she met Gustav Mahler. The two had a tumultuous affair, and they married in 1902 under the condition that Alma stop composing. Gustav was worried that she would not be an adequate housewife if she continued to compose, and for some reason she agreed to this condition of marriage.
Only 17 of her pieces survive. They are all German Lieder for voice and piano. Here are five of them: https://www.youtube.com/watch?v=VnT8pFzWvRE
I dedicate this piece to Alma, who was passionate for life and who should have had a more prolific composition career.
Information about Alma Mahler that served as the inspiration of this song was from the book The Lady in Gold by Anne Marie O'Connor. It is probably the most fascinating, yet thrilling, non-fiction book I've read and I highly recommend it. I have not seen the movie yet.
PS - I don't mean to bash Gustav Mahler; I love his works and will always be greatly moved by his 9th Symphony. He was a product of his time, and his relationship with Alma was a very complicated one as a result.
- published: 16 Sep 2015
- views: 171
Alma MAHLER-SCHINDLER "Der Erkennende" (Franz WERFEL)
- Order: Reorder
- Duration: 2:23
- Updated: 13 Jun 2010
- views: 5847
Alma MAHLER-SCHINDLER "Der Erkennende" (Franz WERFEL) Claudie VERHAEGHE, soprano, Pierre ETCHEVERRY, piano. "Menschen lieben uns, und unbeglückt stehn sie auf v...
Alma MAHLER-SCHINDLER "Der Erkennende" (Franz WERFEL) Claudie VERHAEGHE, soprano, Pierre ETCHEVERRY, piano. "Menschen lieben uns, und unbeglückt stehn sie auf von Tisch, um uns zu weinen. Doch wir sitzen übers Tuch gebückt und sind kalt und können sie verneinen. Was uns libt, wie stoßen wir es fort und uns Kalte kann kein Gram erweichen. Was wir lieben , das entrafft ein Ort, es wird hart und nicht mehr zu erreichen. Und das Wort, das waltet, heißt : Allein, wenn wir machtlos zu einander brennen. Eines weiß ich : nie und nichts wird mein. Mein Besitz allein, das zu erkennen.
wn.com/Alma Mahler Schindler Der Erkennende (Franz Werfel)
Alma MAHLER-SCHINDLER "Der Erkennende" (Franz WERFEL) Claudie VERHAEGHE, soprano, Pierre ETCHEVERRY, piano. "Menschen lieben uns, und unbeglückt stehn sie auf von Tisch, um uns zu weinen. Doch wir sitzen übers Tuch gebückt und sind kalt und können sie verneinen. Was uns libt, wie stoßen wir es fort und uns Kalte kann kein Gram erweichen. Was wir lieben , das entrafft ein Ort, es wird hart und nicht mehr zu erreichen. Und das Wort, das waltet, heißt : Allein, wenn wir machtlos zu einander brennen. Eines weiß ich : nie und nichts wird mein. Mein Besitz allein, das zu erkennen.
- published: 13 Jun 2010
- views: 5847
Alma Mahler: Erntelied - Sonja Leutwyler
- Order: Reorder
- Duration: 5:24
- Updated: 10 Oct 2012
- views: 2662
Alma Mahler: Erntelied
from Sieben Lieder für Mezzosopran und Orchester
Sonja Leutwyler, Mezzo-soprano
Slovenian Philharmonic Orchestra
Uroš Lajovic, Conducto...
Alma Mahler: Erntelied
from Sieben Lieder für Mezzosopran und Orchester
Sonja Leutwyler, Mezzo-soprano
Slovenian Philharmonic Orchestra
Uroš Lajovic, Conductor
Mahler Festival Ljubljana, January 28, 2011
wn.com/Alma Mahler Erntelied Sonja Leutwyler
Alma Mahler: Erntelied
from Sieben Lieder für Mezzosopran und Orchester
Sonja Leutwyler, Mezzo-soprano
Slovenian Philharmonic Orchestra
Uroš Lajovic, Conductor
Mahler Festival Ljubljana, January 28, 2011
- published: 10 Oct 2012
- views: 2662
Alma Mahler " Laue Sommernacht " gesungen von Lucie Ceralova; mezzosprano
- Order: Reorder
- Duration: 2:06
- Updated: 15 May 2010
- views: 7824
Lied von Alma Mahler-Werfel, geb. Schindler (1879-1964),
gesungen von Lucie Ceralova;
LIEDTEXT: Laue Sommernacht,
Am Himmel stand kein Stern.
Im weiten W...
Lied von Alma Mahler-Werfel, geb. Schindler (1879-1964),
gesungen von Lucie Ceralova;
LIEDTEXT: Laue Sommernacht,
Am Himmel stand kein Stern.
Im weiten Walde suchten wir uns
Tief im Dunkel, und wir fanden uns.
Fanden uns im weiten Walde
In der Nacht, der sternenlosen,
Hielten staunend uns im Arme
In der dunklen Nacht.
War nicht unser ganzes Leben
Nur ein Tappen, nur ein Suchen,
Da in deine Finsternisse. Liebe,
fiel dein Licht, fiel dein Licht!
Alma Maria Mahler-Werfel (geb. Schindler, * 31. August 1879 in Wien; † 11. Dezember 1964 in New York, N.Y.) war eine Salonière der Kunst-, Musik- und Literaturszene in der ersten Hälfte des 20. Jahrhunderts. Bereits als Jugendliche war sie eine bekannte Schönheit und Gesellschaftsdame. Von ihrem eigenen musikalischen Schaffen sind nur einige Kunstlieder erhalten. Als Gastgeberin künstlerischer Salons scharte sie in Wien wie New York Künstler und Prominente um sich. Mahler-Werfel wurde vielfach porträtiert und musikalisch verewigt. Als Femme Fatale beschrieben und begehrt, war sie Ehefrau des Komponisten Gustav Mahler, des Architekten Walter Gropius und des Dichters Franz Werfel sowie Gefährtin des Malers Oskar Kokoschka und weiterer prominenter Männer. Während ihrer künstlerisch aktiven Zeit komponierte und entwarf Alma Schindler-Mahler-Werfel etwas mehr als hundert Lieder, verschiedene Instrumentalstücke und den Anfang einer Oper. Von ihrem Œuvre sind nur siebzehn Lieder erhalten geblieben. Die übrigen Kompositionen gingen während des Zweiten Weltkrieges verloren oder wurden von ihr selbst vernichtet. Überliefert sind nur die im Jahr 1910 erschienenen Lieder, die zwischen 1900 und 1901 komponiert wurden.
wn.com/Alma Mahler Laue Sommernacht Gesungen Von Lucie Ceralova Mezzosprano
Lied von Alma Mahler-Werfel, geb. Schindler (1879-1964),
gesungen von Lucie Ceralova;
LIEDTEXT: Laue Sommernacht,
Am Himmel stand kein Stern.
Im weiten Walde suchten wir uns
Tief im Dunkel, und wir fanden uns.
Fanden uns im weiten Walde
In der Nacht, der sternenlosen,
Hielten staunend uns im Arme
In der dunklen Nacht.
War nicht unser ganzes Leben
Nur ein Tappen, nur ein Suchen,
Da in deine Finsternisse. Liebe,
fiel dein Licht, fiel dein Licht!
Alma Maria Mahler-Werfel (geb. Schindler, * 31. August 1879 in Wien; † 11. Dezember 1964 in New York, N.Y.) war eine Salonière der Kunst-, Musik- und Literaturszene in der ersten Hälfte des 20. Jahrhunderts. Bereits als Jugendliche war sie eine bekannte Schönheit und Gesellschaftsdame. Von ihrem eigenen musikalischen Schaffen sind nur einige Kunstlieder erhalten. Als Gastgeberin künstlerischer Salons scharte sie in Wien wie New York Künstler und Prominente um sich. Mahler-Werfel wurde vielfach porträtiert und musikalisch verewigt. Als Femme Fatale beschrieben und begehrt, war sie Ehefrau des Komponisten Gustav Mahler, des Architekten Walter Gropius und des Dichters Franz Werfel sowie Gefährtin des Malers Oskar Kokoschka und weiterer prominenter Männer. Während ihrer künstlerisch aktiven Zeit komponierte und entwarf Alma Schindler-Mahler-Werfel etwas mehr als hundert Lieder, verschiedene Instrumentalstücke und den Anfang einer Oper. Von ihrem Œuvre sind nur siebzehn Lieder erhalten geblieben. Die übrigen Kompositionen gingen während des Zweiten Weltkrieges verloren oder wurden von ihr selbst vernichtet. Überliefert sind nur die im Jahr 1910 erschienenen Lieder, die zwischen 1900 und 1901 komponiert wurden.
- published: 15 May 2010
- views: 7824
ART SUNG - ALMA MAHLER
- Order: Reorder
- Duration: 6:20
- Updated: 16 Jan 2015
- views: 1852
This short film is a taster for a multi-media recital which centres round the rich and diverse life and work of Alma Mahler. Excerpts from her diaries give us a...
This short film is a taster for a multi-media recital which centres round the rich and diverse life and work of Alma Mahler. Excerpts from her diaries give us a fascinating insight into Viennese life at the turn of the 20th century as well as candid accounts of her relationships with various culturally eminent Viennese figures: her first discoveries of music and life through her composition teacher Alexander von Zemlinsky; the advances of the painter Gustav Klimt; her passionate love affair with the painter Oskar Kokoschka, and, of course, her marriage to Gustav Mahler.
Music includes songs by Beethoven, Schumann, Wagner, Mahler, Zemlinsky and Alma Mahler herself. Artwork includes masterpieces that were exhibited at the Vienna Secession by Klimt, Böcklin, Khnopff, Segantini and Mucha, as well as paintings by her stepfather Carl Moll.
wn.com/Art Sung Alma Mahler
This short film is a taster for a multi-media recital which centres round the rich and diverse life and work of Alma Mahler. Excerpts from her diaries give us a fascinating insight into Viennese life at the turn of the 20th century as well as candid accounts of her relationships with various culturally eminent Viennese figures: her first discoveries of music and life through her composition teacher Alexander von Zemlinsky; the advances of the painter Gustav Klimt; her passionate love affair with the painter Oskar Kokoschka, and, of course, her marriage to Gustav Mahler.
Music includes songs by Beethoven, Schumann, Wagner, Mahler, Zemlinsky and Alma Mahler herself. Artwork includes masterpieces that were exhibited at the Vienna Secession by Klimt, Böcklin, Khnopff, Segantini and Mucha, as well as paintings by her stepfather Carl Moll.
- published: 16 Jan 2015
- views: 1852
Alma MAHLER-SCHINDLER Licht in der Nacht (Bierbaum)
- Order: Reorder
- Duration: 3:31
- Updated: 13 Jun 2010
- views: 2926
Alma MAHLER-SCHINDLER "Licht in der Nacht" (Sans opus connu) Claudie VERHAEGHE, soprano, Jean MICAULT, piano. "Rings um dunkle Nacht, hüllt in Schwarz mich ein...
Alma MAHLER-SCHINDLER "Licht in der Nacht" (Sans opus connu) Claudie VERHAEGHE, soprano, Jean MICAULT, piano. "Rings um dunkle Nacht, hüllt in Schwarz mich ein, zage flimmert gelb fern her ein Stern ! Ist mir wie ein Trost, eine Stimme still, die dein Herz aufruft, das verzagen will. Kleines gelbes Licht, bist mir wir ein Stern, übern Hause einst Jesu Christ, des Herrn.... und da löscht es aux ! Und die Nacht wird schwer ! Schlafe Herz ! Schlafe Herz ! Du hörst keine Stimme mehr ! (BIERBAUM)
wn.com/Alma Mahler Schindler Licht In Der Nacht (Bierbaum)
Alma MAHLER-SCHINDLER "Licht in der Nacht" (Sans opus connu) Claudie VERHAEGHE, soprano, Jean MICAULT, piano. "Rings um dunkle Nacht, hüllt in Schwarz mich ein, zage flimmert gelb fern her ein Stern ! Ist mir wie ein Trost, eine Stimme still, die dein Herz aufruft, das verzagen will. Kleines gelbes Licht, bist mir wir ein Stern, übern Hause einst Jesu Christ, des Herrn.... und da löscht es aux ! Und die Nacht wird schwer ! Schlafe Herz ! Schlafe Herz ! Du hörst keine Stimme mehr ! (BIERBAUM)
- published: 13 Jun 2010
- views: 2926
Susan Anne Proctor Alma Mahler Ansturm
- Order: Reorder
- Duration: 1:56
- Updated: 07 Mar 2010
- views: 768
Concerto Omaggio alla Donna - Sale Apollinee, Gran Teatro La Fenice.
ANSTURM
O zürne nicht, wenn mein Begehren
Dunkel aus seinen Grenzen bricht,
Soll es u...
Concerto Omaggio alla Donna - Sale Apollinee, Gran Teatro La Fenice.
ANSTURM
O zürne nicht, wenn mein Begehren
Dunkel aus seinen Grenzen bricht,
Soll es uns selber nicht verzehren,
Muß es heraus ans Licht!
Fühlst ja, wie all mein Innres brandet,
Und wenn herauf der Aufruhr bricht,
Jä über deinen Frieden strandet,
Dann bebst du aber du zürnst mir nicht.
TEMPESTA
Non arrabbiarti, se il mio desiderio
cupo irrompe dai suoi confini;
spero che non ci consumi,
deve uscire alla luce!
Lo senti, come tutto il mio intimo arde,
e quando l'impeto travolge
improvvisa la tua arena
allora tremi, ma non sei più arrabbiato.
wn.com/Susan Anne Proctor Alma Mahler Ansturm
Concerto Omaggio alla Donna - Sale Apollinee, Gran Teatro La Fenice.
ANSTURM
O zürne nicht, wenn mein Begehren
Dunkel aus seinen Grenzen bricht,
Soll es uns selber nicht verzehren,
Muß es heraus ans Licht!
Fühlst ja, wie all mein Innres brandet,
Und wenn herauf der Aufruhr bricht,
Jä über deinen Frieden strandet,
Dann bebst du aber du zürnst mir nicht.
TEMPESTA
Non arrabbiarti, se il mio desiderio
cupo irrompe dai suoi confini;
spero che non ci consumi,
deve uscire alla luce!
Lo senti, come tutto il mio intimo arde,
e quando l'impeto travolge
improvvisa la tua arena
allora tremi, ma non sei più arrabbiato.
- published: 07 Mar 2010
- views: 768
Alma Mahler: Licht in der Nacht
- Order: Reorder
- Duration: 3:41
- Updated: 22 Oct 2013
- views: 329
Heike Hallaschka singt Alma Mahler: Licht in der Nacht. Livemitschnitt vom 8. 9. 2013. Festsaal Haus Stapel, Havixbeck...
Heike Hallaschka singt Alma Mahler: Licht in der Nacht. Livemitschnitt vom 8. 9. 2013. Festsaal Haus Stapel, Havixbeck
wn.com/Alma Mahler Licht In Der Nacht
Heike Hallaschka singt Alma Mahler: Licht in der Nacht. Livemitschnitt vom 8. 9. 2013. Festsaal Haus Stapel, Havixbeck
- published: 22 Oct 2013
- views: 329
-
George Ingram III - Live In Performance - Songs by Alma Mahler
George Ingram III - Live In Performance - Songs by Alma Mahler -
Susan Anne Proctor Alma Mahler Die stille Stadt
Concerto Omaggio alla Donna - Sale Apollinee, Gran Teatro La Fenice. DIE STILLE STADT Liegt eine Stadt im Tale, Ein blasser Tag vergeht. Es wird nicht [lange dauern mehr]1, Bis weder Mond noch Sterne [Nur Nacht] am Himmel steht. Von allen Bergen drücken Nebel auf die Stadt, Es dringt kein Dach, [nicht] Hof noch Haus, Kein Laut aus ihrem Rauch heraus, Kaum Türme noch und Brücken. -
Alma Mahler: Laue Sommernacht - Iris Vermillion, Riccardo Chailly/RCO
Laue Sommernacht: am Himmel Stand kein Stern, im weiten Walde Suchten wir uns tief im Dunkel, Und wir fanden uns. Fanden uns im weiten Walde In der Nacht, der sternenlosen, Hielten staunend uns im Arme In der dunklen Nacht. War nicht unser ganzes Leben So ein Tappen, so ein Suchen? Da: In seine Finsternisse Liebe, fiel Dein Licht. Douce nuit d'été, aucune étoile dans le ciel, dans les grands bo -
Alma Mahler - A Song Recital with Rhodri Hedd and David Murray
Performed at Kings Hall, Newcastle-upon-Tyne, on Tuesday 14th May 2013 This is my Final Recital at Newcastle University, from where I graduated in 2013 with a Bachelor of Music. Programme: 1. Alexander von Zemlinsky: Vier Gesänge, Op. 8 - III. 'Mit Trommeln und Pfeifen' 2. Alexander von Zemlinsky: Vier Gesänge, Op. 8 - II. 'Und hat der Tag all seine Quall' * * * * 3. Alma Mahle -
ALMA MAHLER: Liederen en Dagboekfragmenten
"Zulk een liefde uitgedrukt in stem en piano, heel mooi, vol emotie. Het gesprokene liet ons eveneens de adem inhouden. De muziek drukte de verschillende soorten spanning perfekt uit. Heel indrukwekkend ontrolde dit bijzondere leven zich voor onze ogen (en oren)". Natascha Morsink - mezzosopraan, Carolien Drewes - piano, Gepke Witteveen - actrice -
2011 - Alma Mahler - Die stille Stadt ~ Ferri-Benedetti | Bohuszewicz
Alma Mahler Die stille Stadt Flavio Ferri-Benedetti, Altus Olgierd Bohuszewicz, Piano Studio Recording - Musik-Akademie Basel January 2011 ************************** Liegt eine Stadt im Tale, Ein blasser Tag vergeht. Es wird nicht lange mehr dauern, Bis weder Mond noch Sterne Nur Nacht am Himmel steht. Von allen Bergen drücken Nebel auf die Stadt, Es dringt kein Dach, noch Hof noch Haus, Ke -
Jasper Krabbé over Kokoschka's grote liefde Alma Mahler - Opium
http://www.opium.avro.nl Kunstenaar Oskar Kokoschka werd in de steek gelaten door zijn grote liefde Alma Mahler. Hoe ging hij daarmee om? Zaterdag 21 september 2013 bezocht Jasper Krabbé de tentoonstelling 'Oskar Kokoschka - Mensen en beesten' in het Museum Boijmans van Beuningen in Rotterdam. Volg ons ook op: http://facebook.com/AVRO.Opium http://twitter.com/opiumavro -
Alma Mahler: Die stille Stadt (Dehmel) from 5 Lieder, No.1
小川明子のCD，コンサート情報は下記HPでご覧頂けます。 http://goo.gl/TTT9l9 アルマ・マーラー作曲 静かな街（デーメル詩） Akiko OGAWA (Alt) 小川明子（アルト） Hiroaki YAMADA (Piano) 山田啓明（ピアノ） Mitugu MURATA (Camera) 村田貢（撮影） 2011年7月24日，東京，王子ホール 2011. July. 24, Oji-Hall, Tokyo, JAPAN -
"Die stille Stadt" by Alma Mahler Werfel, VOX 3 Collective - Angela Young Smucker
Art song by Alma Schindler Mahler-Werfel, "Die Stille Stadt" from VOX 3's May 2009 concert, "VOX Femina." Performed by Angela Young Smucker, mezzo-soprano, and Paul Nicholson, piano. Costume by Brian von Rueden. At Bethany United Church of Christ, Chicago. For more about VOX 3 Collective, visit www.vox3.org. -
Andy Tziouras & Fudam Pierce - Alma Mahler
Tema perteneciente al EP "Cómo Desaparecer Completamente" de Andy Tziouras & Fudam Pierce Artwork por Quistes. Grabación, mezcla y mastering por IndigØ Jams. Música por Andy Tziouras. Letra y voz por Fudam Pierce. https://twitter.com/FudamPierce https://twitter.com/atziouras http://www.toskarunners.com https://www.facebook.com/ToskaRunners http://twitter.com/toskarunners https://soundcloud.com -
Alma Mahler - Laue Sommernacht - Selections from Fünf Lieder
Dr. Ana Guigui: Mezzo-Soprano Dr. Ryan Dorin: Accompanist Composer: Alma Mahler (1879-1964) Selections from Fünf Lieder Laue Sommernacht -
Gustav Mahler - Symphony No. 5, IV. Adagietto, sehr langsam (Performed live by One Found Sound)
Gustav Mahler (1860 – 1911) Symphony No. 5, IV. Adagietto, sehr langsam Performed live by One Found Sound February 7, 2014 at Salle Pianos in San Francisco onefoundsound.org The Adagietto is a proclamation of love. Gustav Mahler married Alma Schindler in 1902, and what you hear is a very deep and intimate part of their own love story. Alma herself recalled that Mahler's 5th Symphony was her “fi -
Gustav Mahler - Adagietto from 5th Symphony | Vienna Philharmonic, Leonard Bernstein [HD]
Adagietto, Sehr Langsam. Gustav Mahler - Symphony Nº 5 in C sharp minor, 1901-02. Wiener Philharmoniker, Vienna Philharmonic, Leonard Bernstein, Unitel Classics/ Deutsche Grammophon Gesellschaft, 1973. Complete Symphony No. 5 http://youtu.be/Ipte0gDlSr4 I Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt. http://youtu.be/tPpm323M_Ik II Stürmisch bewegt, mit größter Vehemenz http://you -
Gewandhausorchester & Riccardo Chailly: Gustav Mahler Symphony No. 5
As Riccardo Chailly points out, "The Fifth begins with a dark, gloomy, and tragic tone, but then is enlivened in the Scherzo and Adagietto, and eventually ends with a more positive character in the Finale -- perhaps for the last time in Mahler`s life. The Adagietto is a revelation, a spiritual oasis. It is not an expression of pain, but rather Mahler`s declaration of love to Alma -- a song without
George Ingram III - Live In Performance - Songs by Alma Mahler
- Order: Reorder
- Duration: 7:08
- Updated: 06 Apr 2010
- views: 850
George Ingram III - Live In Performance - Songs by Alma Mahler...
George Ingram III - Live In Performance - Songs by Alma Mahler
wn.com/George Ingram Iii Live In Performance Songs By Alma Mahler
George Ingram III - Live In Performance - Songs by Alma Mahler
- published: 06 Apr 2010
- views: 850
Susan Anne Proctor Alma Mahler Die stille Stadt
- Order: Reorder
- Duration: 3:11
- Updated: 07 Mar 2010
- views: 3413
Concerto Omaggio alla Donna - Sale Apollinee, Gran Teatro La Fenice.
DIE STILLE STADT
Liegt eine Stadt im Tale,
Ein blasser Tag vergeht.
Es wird nicht [la...
Concerto Omaggio alla Donna - Sale Apollinee, Gran Teatro La Fenice.
DIE STILLE STADT
Liegt eine Stadt im Tale,
Ein blasser Tag vergeht.
Es wird nicht [lange dauern mehr]1,
Bis weder Mond noch Sterne
[Nur Nacht] am Himmel steht.
Von allen Bergen drücken
Nebel auf die Stadt,
Es dringt kein Dach, [nicht] Hof noch Haus,
Kein Laut aus ihrem Rauch heraus,
Kaum Türme noch und Brücken.
[Doch] als dem Wandrer graute,
Da ging ein Lichtlein auf im Grund
Und [durch den]5 [Rauch und Nebel]6
Begann ein leiser Lobgesang
Aus Kindermund.
LA CITTÀ SILENTE
Giace una città nella valle
Un pallido giorno tramonta
Tra non molto tempo
né luna né stelle
Ma solo la notte dominerà il cielo.
Dalla cima di ogni montagna incombe
nebbia sulla città;
Essa si insinua, nessun tetto, né cortile né casa né suono
può scampare al suo fumo,
neppure torri e ponti.
Ma mentre il viandante teme,
Là in fondo spunta una piccola luce,
tra il fumo e la foschia,
e un timido canto di preghiera nasce
dalla bocca di un bambino.
wn.com/Susan Anne Proctor Alma Mahler Die Stille Stadt
Concerto Omaggio alla Donna - Sale Apollinee, Gran Teatro La Fenice.
DIE STILLE STADT
Liegt eine Stadt im Tale,
Ein blasser Tag vergeht.
Es wird nicht [lange dauern mehr]1,
Bis weder Mond noch Sterne
[Nur Nacht] am Himmel steht.
Von allen Bergen drücken
Nebel auf die Stadt,
Es dringt kein Dach, [nicht] Hof noch Haus,
Kein Laut aus ihrem Rauch heraus,
Kaum Türme noch und Brücken.
[Doch] als dem Wandrer graute,
Da ging ein Lichtlein auf im Grund
Und [durch den]5 [Rauch und Nebel]6
Begann ein leiser Lobgesang
Aus Kindermund.
LA CITTÀ SILENTE
Giace una città nella valle
Un pallido giorno tramonta
Tra non molto tempo
né luna né stelle
Ma solo la notte dominerà il cielo.
Dalla cima di ogni montagna incombe
nebbia sulla città;
Essa si insinua, nessun tetto, né cortile né casa né suono
può scampare al suo fumo,
neppure torri e ponti.
Ma mentre il viandante teme,
Là in fondo spunta una piccola luce,
tra il fumo e la foschia,
e un timido canto di preghiera nasce
dalla bocca di un bambino.
- published: 07 Mar 2010
- views: 3413
Alma Mahler: Laue Sommernacht - Iris Vermillion, Riccardo Chailly/RCO
- Order: Reorder
- Duration: 2:07
- Updated: 03 Feb 2013
- views: 528
Laue Sommernacht: am Himmel
Stand kein Stern, im weiten Walde
Suchten wir uns tief im Dunkel,
Und wir fanden uns.
Fanden uns im weiten Walde
In der Nacht, der ...
Laue Sommernacht: am Himmel
Stand kein Stern, im weiten Walde
Suchten wir uns tief im Dunkel,
Und wir fanden uns.
Fanden uns im weiten Walde
In der Nacht, der sternenlosen,
Hielten staunend uns im Arme
In der dunklen Nacht.
War nicht unser ganzes Leben
So ein Tappen, so ein Suchen?
Da: In seine Finsternisse
Liebe, fiel Dein Licht.
Douce nuit d'été,
aucune étoile dans le ciel,
dans les grands bois, nous jouions à cache-cache,
dans le noir, et nous nous trouvions.
Nous nous trouvions dans les grands bois,
dans la nuit, dans la nuit sans étoiles,
nous nous tenions, étonnés, dans nos bras
dans la nuit sombre.
Ce n'était pas toute notre vie,
nous allions à tâtons, nous cherchions,
alors dans le noir, l'amour,
éteins ta lumière, éteins ta lumière.
Balmy summer night, in Heaven
there are no stars, in the wide forests
we searched ourselves deep in darkness,
And we found ourselves.
Found ourselves in the wide forests
in the night, saviours of the stars,
Held ourselves in wonder in each other's arms
In the dark night.
Was not our whole life
Just a groping, just a seeking,
There in its darkness
Love, fell your light.
Sensual.
wn.com/Alma Mahler Laue Sommernacht Iris Vermillion, Riccardo Chailly Rco
Laue Sommernacht: am Himmel
Stand kein Stern, im weiten Walde
Suchten wir uns tief im Dunkel,
Und wir fanden uns.
Fanden uns im weiten Walde
In der Nacht, der sternenlosen,
Hielten staunend uns im Arme
In der dunklen Nacht.
War nicht unser ganzes Leben
So ein Tappen, so ein Suchen?
Da: In seine Finsternisse
Liebe, fiel Dein Licht.
Douce nuit d'été,
aucune étoile dans le ciel,
dans les grands bois, nous jouions à cache-cache,
dans le noir, et nous nous trouvions.
Nous nous trouvions dans les grands bois,
dans la nuit, dans la nuit sans étoiles,
nous nous tenions, étonnés, dans nos bras
dans la nuit sombre.
Ce n'était pas toute notre vie,
nous allions à tâtons, nous cherchions,
alors dans le noir, l'amour,
éteins ta lumière, éteins ta lumière.
Balmy summer night, in Heaven
there are no stars, in the wide forests
we searched ourselves deep in darkness,
And we found ourselves.
Found ourselves in the wide forests
in the night, saviours of the stars,
Held ourselves in wonder in each other's arms
In the dark night.
Was not our whole life
Just a groping, just a seeking,
There in its darkness
Love, fell your light.
Sensual.
- published: 03 Feb 2013
- views: 528
Alma Mahler - A Song Recital with Rhodri Hedd and David Murray
- Order: Reorder
- Duration: 34:36
- Updated: 30 Sep 2013
- views: 569
Performed at Kings Hall, Newcastle-upon-Tyne, on Tuesday 14th May 2013
This is my Final Recital at Newcastle University, from where I graduated in 2013 with a ...
Performed at Kings Hall, Newcastle-upon-Tyne, on Tuesday 14th May 2013
This is my Final Recital at Newcastle University, from where I graduated in 2013 with a Bachelor of Music.
Programme:
1. Alexander von Zemlinsky: Vier Gesänge, Op. 8 - III. 'Mit Trommeln und Pfeifen'
2. Alexander von Zemlinsky: Vier Gesänge, Op. 8 - II. 'Und hat der Tag all seine Quall'
* * * *
3. Alma Mahler: Fünf Lieder - III. 'Laue Sommernacht'
4. Alexander von Zemlinsky: Sechs Lieder und Gesänge, Op. 10 - II. 'Selige Stunde'
5. Alma Mahler: Fünf Lieder - IV. 'Bei dir ist es traut'
* * * *
6. Gustav Mahler: Lieder eines fahrenden Gesellen - I. 'Wenn mein Schatz Hochseit macht'
7. Gustav Mahler: Lieder eines fahrenden Gesellen - II. 'Ging' heut morgen über's Feld'
8. Gustav Mahler: Lieder eines fahrenden Gesellen - III. 'Ich hab' ein glühend Messer'
9. Gustav Mahler: Lieder eines fahrenden Gesellen - IV. 'Die zwei blauen Augen von meinem Schatz'
* * * *
10. Alma Mahler: Fünf Lieder - V. 'Ich wandle unter Blumen'
11. Alexander von Zemlinsky: 'Es war ein alter König'
wn.com/Alma Mahler A Song Recital With Rhodri Hedd And David Murray
Performed at Kings Hall, Newcastle-upon-Tyne, on Tuesday 14th May 2013
This is my Final Recital at Newcastle University, from where I graduated in 2013 with a Bachelor of Music.
Programme:
1. Alexander von Zemlinsky: Vier Gesänge, Op. 8 - III. 'Mit Trommeln und Pfeifen'
2. Alexander von Zemlinsky: Vier Gesänge, Op. 8 - II. 'Und hat der Tag all seine Quall'
* * * *
3. Alma Mahler: Fünf Lieder - III. 'Laue Sommernacht'
4. Alexander von Zemlinsky: Sechs Lieder und Gesänge, Op. 10 - II. 'Selige Stunde'
5. Alma Mahler: Fünf Lieder - IV. 'Bei dir ist es traut'
* * * *
6. Gustav Mahler: Lieder eines fahrenden Gesellen - I. 'Wenn mein Schatz Hochseit macht'
7. Gustav Mahler: Lieder eines fahrenden Gesellen - II. 'Ging' heut morgen über's Feld'
8. Gustav Mahler: Lieder eines fahrenden Gesellen - III. 'Ich hab' ein glühend Messer'
9. Gustav Mahler: Lieder eines fahrenden Gesellen - IV. 'Die zwei blauen Augen von meinem Schatz'
* * * *
10. Alma Mahler: Fünf Lieder - V. 'Ich wandle unter Blumen'
11. Alexander von Zemlinsky: 'Es war ein alter König'
- published: 30 Sep 2013
- views: 569
ALMA MAHLER: Liederen en Dagboekfragmenten
- Order: Reorder
- Duration: 4:55
- Updated: 05 Mar 2010
- views: 1623
"Zulk een liefde uitgedrukt in stem en piano, heel mooi, vol emotie. Het gesprokene liet ons eveneens de adem inhouden. De muziek drukte de verschillende soorte...
"Zulk een liefde uitgedrukt in stem en piano, heel mooi, vol emotie. Het gesprokene liet ons eveneens de adem inhouden. De muziek drukte de verschillende soorten spanning perfekt uit. Heel indrukwekkend ontrolde dit bijzondere leven zich voor onze ogen (en oren)".
Natascha Morsink - mezzosopraan, Carolien Drewes - piano, Gepke Witteveen - actrice
wn.com/Alma Mahler Liederen En Dagboekfragmenten
"Zulk een liefde uitgedrukt in stem en piano, heel mooi, vol emotie. Het gesprokene liet ons eveneens de adem inhouden. De muziek drukte de verschillende soorten spanning perfekt uit. Heel indrukwekkend ontrolde dit bijzondere leven zich voor onze ogen (en oren)".
Natascha Morsink - mezzosopraan, Carolien Drewes - piano, Gepke Witteveen - actrice
- published: 05 Mar 2010
- views: 1623
2011 - Alma Mahler - Die stille Stadt ~ Ferri-Benedetti | Bohuszewicz
- Order: Reorder
- Duration: 3:38
- Updated: 04 Aug 2013
- views: 793
Alma Mahler
Die stille Stadt
Flavio Ferri-Benedetti, Altus
Olgierd Bohuszewicz, Piano
Studio Recording - Musik-Akademie Basel
January 2011
****************...
Alma Mahler
Die stille Stadt
Flavio Ferri-Benedetti, Altus
Olgierd Bohuszewicz, Piano
Studio Recording - Musik-Akademie Basel
January 2011
**************************
Liegt eine Stadt im Tale,
Ein blasser Tag vergeht.
Es wird nicht lange mehr dauern,
Bis weder Mond noch Sterne
Nur Nacht am Himmel steht.
Von allen Bergen drücken
Nebel auf die Stadt,
Es dringt kein Dach, noch Hof noch Haus,
Kein Laut aus ihrem Rauch heraus,
Kaum Türme noch und Brücken.
Doch als dem Wandrer graute,
Da ging ein Lichtlein auf im Grund
Und aus dem Rauch und Nebel
Begann ein Lobgesang
Aus Kindermund.
wn.com/2011 Alma Mahler Die Stille Stadt ~ Ferri Benedetti | Bohuszewicz
Alma Mahler
Die stille Stadt
Flavio Ferri-Benedetti, Altus
Olgierd Bohuszewicz, Piano
Studio Recording - Musik-Akademie Basel
January 2011
**************************
Liegt eine Stadt im Tale,
Ein blasser Tag vergeht.
Es wird nicht lange mehr dauern,
Bis weder Mond noch Sterne
Nur Nacht am Himmel steht.
Von allen Bergen drücken
Nebel auf die Stadt,
Es dringt kein Dach, noch Hof noch Haus,
Kein Laut aus ihrem Rauch heraus,
Kaum Türme noch und Brücken.
Doch als dem Wandrer graute,
Da ging ein Lichtlein auf im Grund
Und aus dem Rauch und Nebel
Begann ein Lobgesang
Aus Kindermund.
- published: 04 Aug 2013
- views: 793
Jasper Krabbé over Kokoschka's grote liefde Alma Mahler - Opium
- Order: Reorder
- Duration: 1:35
- Updated: 20 Sep 2013
- views: 980
http://www.opium.avro.nl
Kunstenaar Oskar Kokoschka werd in de steek gelaten door zijn grote liefde Alma Mahler. Hoe ging hij daarmee om?
Zaterdag 21 septembe...
http://www.opium.avro.nl
Kunstenaar Oskar Kokoschka werd in de steek gelaten door zijn grote liefde Alma Mahler. Hoe ging hij daarmee om?
Zaterdag 21 september 2013 bezocht Jasper Krabbé de tentoonstelling 'Oskar Kokoschka - Mensen en beesten' in het Museum Boijmans van Beuningen in Rotterdam.
Volg ons ook op:
http://facebook.com/AVRO.Opium
http://twitter.com/opiumavro
wn.com/Jasper Krabbé Over Kokoschka's Grote Liefde Alma Mahler Opium
http://www.opium.avro.nl
Kunstenaar Oskar Kokoschka werd in de steek gelaten door zijn grote liefde Alma Mahler. Hoe ging hij daarmee om?
Zaterdag 21 september 2013 bezocht Jasper Krabbé de tentoonstelling 'Oskar Kokoschka - Mensen en beesten' in het Museum Boijmans van Beuningen in Rotterdam.
Volg ons ook op:
http://facebook.com/AVRO.Opium
http://twitter.com/opiumavro
- published: 20 Sep 2013
- views: 980
Alma Mahler: Die stille Stadt (Dehmel) from 5 Lieder, No.1
- Order: Reorder
- Duration: 2:54
- Updated: 31 Jan 2012
- views: 620
小川明子のCD，コンサート情報は下記HPでご覧頂けます。
http://goo.gl/TTT9l9
アルマ・マーラー作曲 静かな街（デーメル詩）
Akiko OGAWA (Alt) 小川明子（アルト）
Hiroaki YAMADA (Piano) 山田啓明（ピアノ）
Mitugu MURATA (Camera) 村田貢...
小川明子のCD，コンサート情報は下記HPでご覧頂けます。
http://goo.gl/TTT9l9
アルマ・マーラー作曲 静かな街（デーメル詩）
Akiko OGAWA (Alt) 小川明子（アルト）
Hiroaki YAMADA (Piano) 山田啓明（ピアノ）
Mitugu MURATA (Camera) 村田貢（撮影）
2011年7月24日，東京，王子ホール
2011. July. 24, Oji-Hall, Tokyo, JAPAN
wn.com/Alma Mahler Die Stille Stadt (Dehmel) From 5 Lieder, No.1
小川明子のCD，コンサート情報は下記HPでご覧頂けます。
http://goo.gl/TTT9l9
アルマ・マーラー作曲 静かな街（デーメル詩）
Akiko OGAWA (Alt) 小川明子（アルト）
Hiroaki YAMADA (Piano) 山田啓明（ピアノ）
Mitugu MURATA (Camera) 村田貢（撮影）
2011年7月24日，東京，王子ホール
2011. July. 24, Oji-Hall, Tokyo, JAPAN
- published: 31 Jan 2012
- views: 620
"Die stille Stadt" by Alma Mahler Werfel, VOX 3 Collective - Angela Young Smucker
- Order: Reorder
- Duration: 3:14
- Updated: 18 Aug 2010
- views: 5265
Art song by Alma Schindler Mahler-Werfel, "Die Stille Stadt" from VOX 3's May 2009 concert, "VOX Femina." Performed by Angela Young Smucker, mezzo-soprano, and...
Art song by Alma Schindler Mahler-Werfel, "Die Stille Stadt" from VOX 3's May 2009 concert, "VOX Femina." Performed by Angela Young Smucker, mezzo-soprano, and Paul Nicholson, piano. Costume by Brian von Rueden. At Bethany United Church of Christ, Chicago. For more about VOX 3 Collective, visit www.vox3.org.
wn.com/Die Stille Stadt By Alma Mahler Werfel, Vox 3 Collective Angela Young Smucker
Art song by Alma Schindler Mahler-Werfel, "Die Stille Stadt" from VOX 3's May 2009 concert, "VOX Femina." Performed by Angela Young Smucker, mezzo-soprano, and Paul Nicholson, piano. Costume by Brian von Rueden. At Bethany United Church of Christ, Chicago. For more about VOX 3 Collective, visit www.vox3.org.
- published: 18 Aug 2010
- views: 5265
Andy Tziouras & Fudam Pierce - Alma Mahler
- Order: Reorder
- Duration: 3:34
- Updated: 25 May 2015
- views: 708
Tema perteneciente al EP "Cómo Desaparecer Completamente" de Andy Tziouras & Fudam Pierce
Artwork por Quistes.
Grabación, mezcla y mastering por IndigØ Jams.
M...
Tema perteneciente al EP "Cómo Desaparecer Completamente" de Andy Tziouras & Fudam Pierce
Artwork por Quistes.
Grabación, mezcla y mastering por IndigØ Jams.
Música por Andy Tziouras.
Letra y voz por Fudam Pierce.
https://twitter.com/FudamPierce
https://twitter.com/atziouras
http://www.toskarunners.com
https://www.facebook.com/ToskaRunners
http://twitter.com/toskarunners
https://soundcloud.com/toska-runners
Letra:
No me reconozco a mí mismo, no.
Quizás sean secuelas, quizás el cielo ahora sea distinto,
quizás no haya quizás, quizás ahora solo quiero apariencias,
quizás nunca lo pueda aclarar...
Me da igual lo que haya detrás
Me suda la, me suda la...
Nena, tú solo tócame el arpa.
Veo una lágrima implícita
en cada uno de mis gestos desde por la mañana, ah.
Lo dije hace tiempo: Secret Window, Secret Garden.
Prendo fuego 200 hectáreas, no dejo que suene ni Wagner.
No viví calle, viví crecer sin padre.
Viví tantas hostias, viví tanta angustia, viví tantas mierdas
que me autosorprendo de mantenerme en pie, de aún poder mirarte,
de ser ignífugo mientras toda mi familia arde.
Estoy rozando el cielo con las yemas,
partiéndome la cara con las horas.
Dame una sola señal, una sola, y saltaré de mi cama,
iré a donde haga falta, a donde sea.
Que prefiero comer viendo su cara antes que viendo Los Simpsons,
dime, ¿eso no te dice nada?
No hablo de compromiso, hablo de los gorriones de mi ventana
recordándome lo largo de mis venas, mis pocas ganas.
No me idealices, yo nunca he sido nadie.
Solo tengo 4 amigos, lo siento, mi Alma Mahler.
Femme fatale, arréglame, arráncame los cordales,
me hace llorar tu piel, llévame a otros lugares, no sé,
cualquiera me vale, pero siempre lejos de aquí,
cualquiera me vale, pero siempre lejos de aquí, de mí.
Si vuelvo solo será para irme, como Chalky.
All a dream to begin with, ain't nobody ever been free.
wn.com/Andy Tziouras Fudam Pierce Alma Mahler
Tema perteneciente al EP "Cómo Desaparecer Completamente" de Andy Tziouras & Fudam Pierce
Artwork por Quistes.
Grabación, mezcla y mastering por IndigØ Jams.
Música por Andy Tziouras.
Letra y voz por Fudam Pierce.
https://twitter.com/FudamPierce
https://twitter.com/atziouras
http://www.toskarunners.com
https://www.facebook.com/ToskaRunners
http://twitter.com/toskarunners
https://soundcloud.com/toska-runners
Letra:
No me reconozco a mí mismo, no.
Quizás sean secuelas, quizás el cielo ahora sea distinto,
quizás no haya quizás, quizás ahora solo quiero apariencias,
quizás nunca lo pueda aclarar...
Me da igual lo que haya detrás
Me suda la, me suda la...
Nena, tú solo tócame el arpa.
Veo una lágrima implícita
en cada uno de mis gestos desde por la mañana, ah.
Lo dije hace tiempo: Secret Window, Secret Garden.
Prendo fuego 200 hectáreas, no dejo que suene ni Wagner.
No viví calle, viví crecer sin padre.
Viví tantas hostias, viví tanta angustia, viví tantas mierdas
que me autosorprendo de mantenerme en pie, de aún poder mirarte,
de ser ignífugo mientras toda mi familia arde.
Estoy rozando el cielo con las yemas,
partiéndome la cara con las horas.
Dame una sola señal, una sola, y saltaré de mi cama,
iré a donde haga falta, a donde sea.
Que prefiero comer viendo su cara antes que viendo Los Simpsons,
dime, ¿eso no te dice nada?
No hablo de compromiso, hablo de los gorriones de mi ventana
recordándome lo largo de mis venas, mis pocas ganas.
No me idealices, yo nunca he sido nadie.
Solo tengo 4 amigos, lo siento, mi Alma Mahler.
Femme fatale, arréglame, arráncame los cordales,
me hace llorar tu piel, llévame a otros lugares, no sé,
cualquiera me vale, pero siempre lejos de aquí,
cualquiera me vale, pero siempre lejos de aquí, de mí.
Si vuelvo solo será para irme, como Chalky.
All a dream to begin with, ain't nobody ever been free.
- published: 25 May 2015
- views: 708
Alma Mahler - Laue Sommernacht - Selections from Fünf Lieder
- Order: Reorder
- Duration: 2:03
- Updated: 16 Nov 2013
- views: 312
Dr. Ana Guigui: Mezzo-Soprano
Dr. Ryan Dorin: Accompanist
Composer: Alma Mahler (1879-1964)
Selections from Fünf Lieder
Laue Sommernacht...
Dr. Ana Guigui: Mezzo-Soprano
Dr. Ryan Dorin: Accompanist
Composer: Alma Mahler (1879-1964)
Selections from Fünf Lieder
Laue Sommernacht
wn.com/Alma Mahler Laue Sommernacht Selections From Fünf Lieder
Dr. Ana Guigui: Mezzo-Soprano
Dr. Ryan Dorin: Accompanist
Composer: Alma Mahler (1879-1964)
Selections from Fünf Lieder
Laue Sommernacht
- published: 16 Nov 2013
- views: 312
Gustav Mahler - Symphony No. 5, IV. Adagietto, sehr langsam (Performed live by One Found Sound)
- Order: Reorder
- Duration: 9:43
- Updated: 15 Feb 2015
- views: 297
Gustav Mahler (1860 – 1911)
Symphony No. 5, IV. Adagietto, sehr langsam
Performed live by One Found Sound
February 7, 2014 at Salle Pianos in San Francisco
on...
Gustav Mahler (1860 – 1911)
Symphony No. 5, IV. Adagietto, sehr langsam
Performed live by One Found Sound
February 7, 2014 at Salle Pianos in San Francisco
onefoundsound.org
The Adagietto is a proclamation of love. Gustav Mahler married Alma Schindler in 1902, and what you hear is a very deep and intimate part of their own love story. Alma herself recalled that Mahler's 5th Symphony was her “first full participation in [his] life and work.”
Willem Mengelberg (who knew Mahler) wrote in his own copy of the score that “This Adagietto was Gustav Mahler’s declaration of love for Alma! Instead of a letter, he sent her his in manuscript form; no other words accompanied it.” Not bad, Mahler, not bad.
wn.com/Gustav Mahler Symphony No. 5, Iv. Adagietto, Sehr Langsam (Performed Live By One Found Sound)
Gustav Mahler (1860 – 1911)
Symphony No. 5, IV. Adagietto, sehr langsam
Performed live by One Found Sound
February 7, 2014 at Salle Pianos in San Francisco
onefoundsound.org
The Adagietto is a proclamation of love. Gustav Mahler married Alma Schindler in 1902, and what you hear is a very deep and intimate part of their own love story. Alma herself recalled that Mahler's 5th Symphony was her “first full participation in [his] life and work.”
Willem Mengelberg (who knew Mahler) wrote in his own copy of the score that “This Adagietto was Gustav Mahler’s declaration of love for Alma! Instead of a letter, he sent her his in manuscript form; no other words accompanied it.” Not bad, Mahler, not bad.
- published: 15 Feb 2015
- views: 297
Gustav Mahler - Adagietto from 5th Symphony | Vienna Philharmonic, Leonard Bernstein [HD]
- Order: Reorder
- Duration: 12:08
- Updated: 31 Dec 2013
- views: 69960
Adagietto, Sehr Langsam. Gustav Mahler - Symphony Nº 5 in C sharp minor, 1901-02. Wiener Philharmoniker, Vienna Philharmonic, Leonard Bernstein, Unitel Classics...
Adagietto, Sehr Langsam. Gustav Mahler - Symphony Nº 5 in C sharp minor, 1901-02. Wiener Philharmoniker, Vienna Philharmonic, Leonard Bernstein, Unitel Classics/ Deutsche Grammophon Gesellschaft, 1973.
Complete Symphony No. 5 http://youtu.be/Ipte0gDlSr4
I Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt. http://youtu.be/tPpm323M_Ik
II Stürmisch bewegt, mit größter Vehemenz http://youtu.be/JwxrTsSQf0Y
III Scherzo. Kräftig, nicht zu schnell http://youtu.be/SKPlH6L5zeE
IV Adagietto. Sehr langsam. http://youtu.be/15WQNKhaCHY
V Rondo-Finale. Allegro - Allegro giocoso. Frisch http://youtu.be/U5573xP6JkU
Complete Symphony http://www.youtube.com/watch?v=tPpm323M_Ik&list;=PL81FE3FE8997EFB6A
Other Recordings:
Symphony No. 1 "Titan" http://youtu.be/dP1Ndx2p14Q
Symphony No. 10 "Adagio" http://youtu.be/vHyV8noUXC0
Adagietto represent Mahler's love song to Alma. According to a letter she wrote to Willem Mengelberg, the composer left a small poem: "How much I love you, you my sun, I cannot tell you that with words. I can only lament to you my longing and love."
"In the Fourth movement, the famous Adagietto, harp and strings alone play. The opening melody recalls two of Mahler's songs, "Nun seh' ich wohl" (from Kindertotenlieder) and the separate Ruckert setting "Ich bin der Welt abhanden gekommen". The long upbeats and expressive appoggiaturas of the melodic lines give the music a yearning, almost heart-breaking quality. The intensity that builds up inthis movement finaly assuages the darkness and doubts of the earlier movements, making the lighter mood and extrovert energy of the Rondo-Finale acceptable. Together, these two movements form the third part of the symphony. The formal function of the Adagietto is ambiguous. It acts as an introduction to the last movement, which follows without a break, and is thematically bound to it, for twice in the Finale we hear the Adagietto's main theme, now at a fast tempo. The Adagietto also functions as a slow interlude in F major, between two faster movements in D major; but is also has an expressive weight sufficient for it to stand on its own - indeed, it is often performed by itself.
Even without a text or programme, the music's emotional and referential content implies an existential dimension. Without an explicit programme or titles, we have few clues to the "meaning" of the Fifth Symphony other than the music itself. Mahler offers some guidance by grouping the five movements, which share some thematic Material, as well as an obsession with death, from the first part; the central scherzo stands alone as the second part; and the lat two movements, which are also linked thematically, form the third.
An essential aspect of Mahler's symphonies is the idea of emotional and spiritual progression, through various alternatives to a (provisional) conclusion. One important means he uses to articulate this spiritual journey is the technique of progressive tonality. In other symphonies he begins and ends movements in diferent keys, but in the Fifth each movement begins and ends in the same key; however as a whole, it moves from C sharp minor opening movement to the D major of the third and fifth movements.
One reason for Mahler's significance and influence as a composer is that he viewed his music as a means of seeking and expressing solutions to the problems of his personal, spiritual life. The Depth and seriousness of these problems naturally drew him to the largescale form of the symphony, wich he expanded in length and number of movements to unprecedented proportions.
Mahler kept revising the orchestration of this work until his death. He conducted the first performance with the Gürzenich Orchestra in Cologne on October 18, 1904. He'd begun the Fifth Symphony at Maiernegg in 1901 - writing the third, first and second movements in that order, after a death-obsessed song, "Der Tamboursg'sell," and the Kindertotenlieder cycle ("on the death of children"). After nearly bleeding to death the previous winter (from an intestinal hemorrhage), Mahler's symphonic orientation underwent a profound change. Mahler cast his Fifth Symphony in five movements that fall naturally into three parts.
Part Three begins with a seraphic Adagietto: "Very slowly" (Movement IV). This is indubitably related to the Rückert song Mahler composed in August 1901, "Ich bin der Welt abhanden gekommen" (I have become lost to the world...I live alone in my heaven, in my loving, in my song). A Rondo-Finale: "Allegro giocoso, lively" (Movement V) concludes the symphony, although Mahler devised a form far removed from classic models. While sectional, in truth episodic, this too has elements of sonata form. To weld its diverse components into a unity he wrote four "fugal episodes," with a D major chorale just before the final Allegro molto.
wn.com/Gustav Mahler Adagietto From 5Th Symphony | Vienna Philharmonic, Leonard Bernstein Hd
Adagietto, Sehr Langsam. Gustav Mahler - Symphony Nº 5 in C sharp minor, 1901-02. Wiener Philharmoniker, Vienna Philharmonic, Leonard Bernstein, Unitel Classics/ Deutsche Grammophon Gesellschaft, 1973.
Complete Symphony No. 5 http://youtu.be/Ipte0gDlSr4
I Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt. http://youtu.be/tPpm323M_Ik
II Stürmisch bewegt, mit größter Vehemenz http://youtu.be/JwxrTsSQf0Y
III Scherzo. Kräftig, nicht zu schnell http://youtu.be/SKPlH6L5zeE
IV Adagietto. Sehr langsam. http://youtu.be/15WQNKhaCHY
V Rondo-Finale. Allegro - Allegro giocoso. Frisch http://youtu.be/U5573xP6JkU
Complete Symphony http://www.youtube.com/watch?v=tPpm323M_Ik&list;=PL81FE3FE8997EFB6A
Other Recordings:
Symphony No. 1 "Titan" http://youtu.be/dP1Ndx2p14Q
Symphony No. 10 "Adagio" http://youtu.be/vHyV8noUXC0
Adagietto represent Mahler's love song to Alma. According to a letter she wrote to Willem Mengelberg, the composer left a small poem: "How much I love you, you my sun, I cannot tell you that with words. I can only lament to you my longing and love."
"In the Fourth movement, the famous Adagietto, harp and strings alone play. The opening melody recalls two of Mahler's songs, "Nun seh' ich wohl" (from Kindertotenlieder) and the separate Ruckert setting "Ich bin der Welt abhanden gekommen". The long upbeats and expressive appoggiaturas of the melodic lines give the music a yearning, almost heart-breaking quality. The intensity that builds up inthis movement finaly assuages the darkness and doubts of the earlier movements, making the lighter mood and extrovert energy of the Rondo-Finale acceptable. Together, these two movements form the third part of the symphony. The formal function of the Adagietto is ambiguous. It acts as an introduction to the last movement, which follows without a break, and is thematically bound to it, for twice in the Finale we hear the Adagietto's main theme, now at a fast tempo. The Adagietto also functions as a slow interlude in F major, between two faster movements in D major; but is also has an expressive weight sufficient for it to stand on its own - indeed, it is often performed by itself.
Even without a text or programme, the music's emotional and referential content implies an existential dimension. Without an explicit programme or titles, we have few clues to the "meaning" of the Fifth Symphony other than the music itself. Mahler offers some guidance by grouping the five movements, which share some thematic Material, as well as an obsession with death, from the first part; the central scherzo stands alone as the second part; and the lat two movements, which are also linked thematically, form the third.
An essential aspect of Mahler's symphonies is the idea of emotional and spiritual progression, through various alternatives to a (provisional) conclusion. One important means he uses to articulate this spiritual journey is the technique of progressive tonality. In other symphonies he begins and ends movements in diferent keys, but in the Fifth each movement begins and ends in the same key; however as a whole, it moves from C sharp minor opening movement to the D major of the third and fifth movements.
One reason for Mahler's significance and influence as a composer is that he viewed his music as a means of seeking and expressing solutions to the problems of his personal, spiritual life. The Depth and seriousness of these problems naturally drew him to the largescale form of the symphony, wich he expanded in length and number of movements to unprecedented proportions.
Mahler kept revising the orchestration of this work until his death. He conducted the first performance with the Gürzenich Orchestra in Cologne on October 18, 1904. He'd begun the Fifth Symphony at Maiernegg in 1901 - writing the third, first and second movements in that order, after a death-obsessed song, "Der Tamboursg'sell," and the Kindertotenlieder cycle ("on the death of children"). After nearly bleeding to death the previous winter (from an intestinal hemorrhage), Mahler's symphonic orientation underwent a profound change. Mahler cast his Fifth Symphony in five movements that fall naturally into three parts.
Part Three begins with a seraphic Adagietto: "Very slowly" (Movement IV). This is indubitably related to the Rückert song Mahler composed in August 1901, "Ich bin der Welt abhanden gekommen" (I have become lost to the world...I live alone in my heaven, in my loving, in my song). A Rondo-Finale: "Allegro giocoso, lively" (Movement V) concludes the symphony, although Mahler devised a form far removed from classic models. While sectional, in truth episodic, this too has elements of sonata form. To weld its diverse components into a unity he wrote four "fugal episodes," with a D major chorale just before the final Allegro molto.
- published: 31 Dec 2013
- views: 69960
Gewandhausorchester & Riccardo Chailly: Gustav Mahler Symphony No. 5
- Order: Reorder
- Duration: 5:08
- Updated: 30 May 2014
- views: 13470
As Riccardo Chailly points out, "The Fifth begins with a dark, gloomy, and tragic tone, but then is enlivened in the Scherzo and Adagietto, and eventually ends ...
As Riccardo Chailly points out, "The Fifth begins with a dark, gloomy, and tragic tone, but then is enlivened in the Scherzo and Adagietto, and eventually ends with a more positive character in the Finale -- perhaps for the last time in Mahler`s life. The Adagietto is a revelation, a spiritual oasis. It is not an expression of pain, but rather Mahler`s declaration of love to Alma -- a song without words." With the Gewandhausorchester, Chailly gives the piece an unsurpassed intensity of sound and emotional expression. He achieves a compelling arc of tension in which the symphony`s unique fascination unfolds. The Wiener Zeitung characterized Chailly`s interpretation as "impressive with powerful and unreserved intensity."
Recorded live at the Gewandhaus zu Leipzig 21/22 February 2013
www.gewandhaus.de
www.facebook.com/gewandhaus
www.twitter.com/gewandhaus
wn.com/Gewandhausorchester Riccardo Chailly Gustav Mahler Symphony No. 5
As Riccardo Chailly points out, "The Fifth begins with a dark, gloomy, and tragic tone, but then is enlivened in the Scherzo and Adagietto, and eventually ends with a more positive character in the Finale -- perhaps for the last time in Mahler`s life. The Adagietto is a revelation, a spiritual oasis. It is not an expression of pain, but rather Mahler`s declaration of love to Alma -- a song without words." With the Gewandhausorchester, Chailly gives the piece an unsurpassed intensity of sound and emotional expression. He achieves a compelling arc of tension in which the symphony`s unique fascination unfolds. The Wiener Zeitung characterized Chailly`s interpretation as "impressive with powerful and unreserved intensity."
Recorded live at the Gewandhaus zu Leipzig 21/22 February 2013
www.gewandhaus.de
www.facebook.com/gewandhaus
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- published: 30 May 2014
- views: 13470
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Bride Of The Wind
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"Alma - Mit der verrückten Witwe um die Welt" (2013)
1996 schufen der österreichische Theatermacher Paulus Manker und der israelische Schriftsteller Joshua Sobol mit "Alma - a Show Biz ans Ende" ein sogenanntes Polydrama: 48 parallel ablaufende Szenen aus dem Leben der berühmt-berüchtigten Künstlermuse Alma Mahler-Werfel als Theaterstück, wobei die jeweiligen Spielstätten keine einzelne, sondern viele Bühnen haben. -
Mahler - Symphony No.6 in A minor "Tragic" - I, Allegro energico ma non troppo. Heftig, aber markig
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeatedly revised). The work's first performance was in Essen, on May 27, 1906, conducted by the composer. Formally, the symphony is one of Mahler's most outwardly conventional. The first three movements are in fact relatively traditional in st -
Alejandro Dolina - Alma Mahler
Este vídeo no necesita explicación. La imagen la tomé del blog: edgeoflaw DOT blogspot DOT com el audio es del programa LVST 2013/03/07 -
Riccardo Chailly dirigiert Mahler: Symphonie Nr 6 a-Moll "Tragische"
Riccardo Chailly dirigiert das Gewandhausorchester Riccardo Chailly, beim Echo Klassik als "Dirigent des Jahres 2012" ausgezeichnet, hat sich mit seinen farbenreichen Mahler-Interpretationen bereits einen Namen gemacht und spielte bereits alle Mahler-Symphonien ein - mit dem Concertgebouw Orchestra, dem er bis 2004 als Chefdirigent vorstand. Für ARTE dirigiert der italienische Stardirigent und Ma -
Alban BERG - Concerto "à la mémoire d'un ange" - Luc HÉRY, violon
Alban Berg (1885-1935), concerto pour violon et orchestre composé en 1935 à la mémoire de Manon Gropius, fille d'Alma Mahler, morte à 18 ans la même année. Luc Héry, violon Premier violon solo à l'Orchestre National de France, professeur au CRR de Paris. Orchestre symphonique du Conservatoire (CRR de Paris) Direction: Pierre-Michel Durand 14 novembre 2014 Auditorium Marcel Landowski -
Mahler - Symphony No.6 in A minor "Tragic" - IV, Finale: Sostenuto/Allegro moderato/Allegro energico
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeatedly revised). The work's first performance was in Essen, on May 27, 1906, conducted by the composer. Formally, the symphony is one of Mahler's most outwardly conventional. The first three movements are in fact relatively traditional in str -
Mahler - Symphony No.6 in A minor "Tragic" - II & III, Scherzo: Wuchtig/Andante moderato
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeatedly revised). The work's first performance was in Essen, on May 27, 1906, conducted by the composer. Formally, the symphony is one of Mahler's most outwardly conventional. The first three movements are in fact relatively traditional in str -
Marco Pierobon & Paolo Oreni - The COMPLETE Mahler 5 for Trumpet and Organ
http://www.marcopierobon.com Gustav Mahler, Quinta sinfonia per Tromba e Organo Fuenfte Symphonie fue Trompete und Orgel Fifth Symphony for Trumpet and Organ Symphony n°5 Sinfonia 5 Symphonie 5 COMPLETE VERSION! Arrangiamento/Arrangement: Pierobon/Oreni Rappresentazione Teatrale: TrentoSpettacoli SE AMI UNA COSA PERCHE' E' BELLA Gustav e Alma Mahler: amore e solitudine con -
GUSTAV MAHLER.- Sinfonia Nº 10 Andante-Adagio
GUSTAV MAHLER.- Sinfonia Nº 10 Andante-Adagio Orquesta del Concertgebouw de Amsterdam Director: Bernard Haitink Mahler trabajó en su Décima sinfonía durante el año de 1910. A su muerte, en 1911, sólo el primer movimiento estaba terminado, aunque quedaron planteados la estructura general de la obra y esbozados los otros movimientos. Historia Mahler sólo alcanzó a completar totalmente el «Ad -
MAHLER.- Sinfonía Nº 4 en Sol mayor
MAHLER.- Sinfonía Nº 4 en Sol mayor Misurato, senza affrettare In moto tranquillo- Senza fretta Calma - Poco adagio Molto comodamente Soprano: Heather Harper Orquesta Sinfónica de la radio de Berlín Director: Lorin Maazel La Sinfonía n.º 4 de Gustav Mahler es una de sus más cortas sinfonías. Fue compuesta de julio de 1899 a agosto de 1900. Su duración es de aproximadamente cincuenta minuto -
Clara Schumann - Piano Concerto in A minor, Op. 7
- Composer: Clara Josephine Schumann {born: Wieck} (13 September 1819 -- 20 May 1896) - Orchestra: Alma Mahler Sinfonietta - Conductor: Stefania Rinaldi - Soloist: Francesco Nicolosi - Year of recording: 2004 Piano Concerto in A minor, Op. 7, written in 1833-1835. 00:00 - I. Allegro maestoso 07:07 - II. Romanze: Andante non troppo, con grazia 12:00 - III. Finale: Allegro non troppo - Allegro mol -
Alma 3/5
A love-story of ALMA MAHLER in 20c. Alma from DOLL-ISM(Cirque de blanca #2) Performanced by persona blanca. MUSIC:Copper kettle. DOLL:Ikuko MIYAZAKI Naration:Nyang-nyang TAMATORI. Writtn and Directed by Takashi SHIRAKAMI. [1] http://www.youtube.com/watch?v=m6Ml-mG3X6s [2] http://www.youtube.com/watch?v=X2RplmQOXLw [3] http://www.youtube.com/watch?v=Q3NPI6BGHWY [4] http://www.youtube -
My War Years - Arnold Schoenberg [1 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This first segment takes us through late 1908. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez -
My War Years - Arnold Schoenberg [2 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This second segment begins in late 1908 and continues through his early years in Berlin. Excerpts from live performances of Schoenberg's works are incl -
My War Years - Arnold Schoenberg [3 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky. Hanns Eisler, Egon Wellesz and Oskar Kokoschka) tell the story of the composer's life in their own words. This third segment covers Schoenberg's, Berg's and Webern's enlistment to fight in the First World War, and concludes wit -
Concerto for Violin & Orchestra, Alban Berg
Sonja Harasim, violin is featured with The Concordia Orchestra, Foster Beyers, conductor."In memory of an Angel" is dedicated to Manon Gropious, daughter of Alma Mahler-Werfel who was a victim of polio at the age of 18. Concordia College is located in Moorhead, MN. -
Gustav Mahler, Kindertotenlieder, with English Sub Titles
For mezzo-soprano and orchestra, these melancholic songs express the grief of a father whose beloved daughter has recently been lost to sickness. The text comes from poems by Friedrich Ruckert, and here Christa Ludwig with Herbert von Karajan bring out the mood with a special rare degree of poinancy, which is why I chose this recording to set the English translation on the screen. When first per -
11.01.2010 БЗК. Густав и Альма Малер
Большой зал консерватории Литературно-музыкальная композиция по письмам Густава Малера Малер Симфония №4 Соль мажор, соч.1901 г. (фрагменты) Симфония №5 до-диез минор, соч.1902 г. Автор композиции - Катя Рубина Артисты театров - Дарья Мороз, Михаил Филиппов Дирижер -- Владимир Федосеев Gustav and Alma Mahler Great Hall of Moscow Conservatory Literary and musical comp
Bride Of The Wind
- Order: Reorder
- Duration: 95:48
- Updated: 14 Jan 2013
- views: 11118
...
wn.com/Bride Of The Wind
- published: 14 Jan 2013
- views: 11118
"Alma - Mit der verrückten Witwe um die Welt" (2013)
- Order: Reorder
- Duration: 28:31
- Updated: 04 Nov 2013
- views: 2246
1996 schufen der österreichische Theatermacher Paulus Manker und der israelische Schriftsteller Joshua Sobol mit "Alma - a Show Biz ans Ende" ein sogenanntes Po...
1996 schufen der österreichische Theatermacher Paulus Manker und der israelische Schriftsteller Joshua Sobol mit "Alma - a Show Biz ans Ende" ein sogenanntes Polydrama: 48 parallel ablaufende Szenen aus dem Leben der berühmt-berüchtigten Künstlermuse Alma Mahler-Werfel als Theaterstück, wobei die jeweiligen Spielstätten keine einzelne, sondern viele Bühnen haben.
wn.com/Alma Mit Der Verrückten Witwe Um Die Welt (2013)
1996 schufen der österreichische Theatermacher Paulus Manker und der israelische Schriftsteller Joshua Sobol mit "Alma - a Show Biz ans Ende" ein sogenanntes Polydrama: 48 parallel ablaufende Szenen aus dem Leben der berühmt-berüchtigten Künstlermuse Alma Mahler-Werfel als Theaterstück, wobei die jeweiligen Spielstätten keine einzelne, sondern viele Bühnen haben.
- published: 04 Nov 2013
- views: 2246
Mahler - Symphony No.6 in A minor "Tragic" - I, Allegro energico ma non troppo. Heftig, aber markig
- Order: Reorder
- Duration: 23:42
- Updated: 04 Aug 2011
- views: 25881
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeat...
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeatedly revised). The work's first performance was in Essen, on May 27, 1906, conducted by the composer.
Formally, the symphony is one of Mahler's most outwardly conventional. The first three movements are in fact relatively traditional in structure and character, with a fairly standard sonata form first movement (which even includes an exact repeat of the exposition, most unusual in Mahler), leading to the middle movements, one slow, the other a scherzo-with-trios. However, attempts to analyze the vast finale in terms of the sonata archetype have encountered serious difficulties. As Dika Newlin has pointed out: "it has elements of what is conventionally known as 'sonata form', but the music does not follow a set pattern [...] Thus, 'expositional' treatment merges directly into the type of contrapuntal and modulatory writing appropriate to 'elaboration' sections [...]; the beginning of the principal theme-group is recapitulated in C minor rather than in A minor, and the C minor chorale theme [...] of the exposition is never recapitulated at all".
The first movement, which for the most part has the character of a march, features a motif consisting of an A major triad turning to A minor over a distinctive timpani rhythm (the chords are played by trumpets and oboes when first heard, with the trumpets sounding most loudly in the first chord and the oboes in the second); this motif, which some commentators have linked with fate, reappears in subsequent movements. The first movement also features a soaring melody which the composer's wife, Alma Mahler, claimed was representative of her; this melody is now often known as the "Alma theme". The movement's end marks the happiest point of the symphony with a restatement of the Alma theme.
The andante is a respite from the brutal intensity of the rest of the work. Its main theme is an introspective ten-bar phrase that is technically in E-flat major, though the theme alone can seem major and minor at once. The orchestration is more delicate and reserved in this movement, making it all the more poignant when compared to the driving darkness of the other three.
The scherzo marks a return to the unrelenting march rhythms of the first movement, though in a 'triple-time' metrical context. Its trio (the middle section), marked Altväterisch ('old-fashioned'), is rhythmically irregular (4/8 switching to 3/8 and 3/4) and of a somewhat gentler character. Alma's report, often repeated, that in this movement Mahler "represented the unrhythmic games of the two little children, tottering in zigzags over the sand" is refuted by the chronology: the movement was composed in the Summer of 1903, when Maria Anna Mahler (born November 1902) was less than a year old, and when Anna Justine (born July 1904) had not even been conceived. All the same, it is widely accepted by contemporary interpretors and conductors and it is usually in this playful-turned-terror-filled manner that this movement is conducted.
The last movement is an extended sonata form, characterized by drastic changes in mood and tempo, the sudden change of glorious soaring melody to deep pounded agony. The movement is punctuated by three hammer blows. Alma quotes her husband as saying that these were three mighty blows of fate befallen by the hero, "the third of which fells him like a tree". She identified these blows with three later events in Gustav Mahler's own life: the death of his eldest daughter Maria Anna Mahler, the diagnosis of an eventually fatal heart condition, and his forced resignation from the Vienna Opera and departure from Vienna. When he revised the work, Mahler removed the last of these three hammer strokes so that the music built to a sudden moment of still, mute pain as its third blow. Some modern performances restore the third strike of the hammer. The piece ends with the same rhythmic motif that first appeared in the first movement, but the chord above it is a simple A minor triad, rather than A major turning into A minor. This ending is one of the most brutal in all music, after the third 'hammer-blow' passage, the music gropes in darkness and then the trombones and horns begin to offer consolation.
wn.com/Mahler Symphony No.6 In A Minor Tragic I, Allegro Energico Ma Non Troppo. Heftig, Aber Markig
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeatedly revised). The work's first performance was in Essen, on May 27, 1906, conducted by the composer.
Formally, the symphony is one of Mahler's most outwardly conventional. The first three movements are in fact relatively traditional in structure and character, with a fairly standard sonata form first movement (which even includes an exact repeat of the exposition, most unusual in Mahler), leading to the middle movements, one slow, the other a scherzo-with-trios. However, attempts to analyze the vast finale in terms of the sonata archetype have encountered serious difficulties. As Dika Newlin has pointed out: "it has elements of what is conventionally known as 'sonata form', but the music does not follow a set pattern [...] Thus, 'expositional' treatment merges directly into the type of contrapuntal and modulatory writing appropriate to 'elaboration' sections [...]; the beginning of the principal theme-group is recapitulated in C minor rather than in A minor, and the C minor chorale theme [...] of the exposition is never recapitulated at all".
The first movement, which for the most part has the character of a march, features a motif consisting of an A major triad turning to A minor over a distinctive timpani rhythm (the chords are played by trumpets and oboes when first heard, with the trumpets sounding most loudly in the first chord and the oboes in the second); this motif, which some commentators have linked with fate, reappears in subsequent movements. The first movement also features a soaring melody which the composer's wife, Alma Mahler, claimed was representative of her; this melody is now often known as the "Alma theme". The movement's end marks the happiest point of the symphony with a restatement of the Alma theme.
The andante is a respite from the brutal intensity of the rest of the work. Its main theme is an introspective ten-bar phrase that is technically in E-flat major, though the theme alone can seem major and minor at once. The orchestration is more delicate and reserved in this movement, making it all the more poignant when compared to the driving darkness of the other three.
The scherzo marks a return to the unrelenting march rhythms of the first movement, though in a 'triple-time' metrical context. Its trio (the middle section), marked Altväterisch ('old-fashioned'), is rhythmically irregular (4/8 switching to 3/8 and 3/4) and of a somewhat gentler character. Alma's report, often repeated, that in this movement Mahler "represented the unrhythmic games of the two little children, tottering in zigzags over the sand" is refuted by the chronology: the movement was composed in the Summer of 1903, when Maria Anna Mahler (born November 1902) was less than a year old, and when Anna Justine (born July 1904) had not even been conceived. All the same, it is widely accepted by contemporary interpretors and conductors and it is usually in this playful-turned-terror-filled manner that this movement is conducted.
The last movement is an extended sonata form, characterized by drastic changes in mood and tempo, the sudden change of glorious soaring melody to deep pounded agony. The movement is punctuated by three hammer blows. Alma quotes her husband as saying that these were three mighty blows of fate befallen by the hero, "the third of which fells him like a tree". She identified these blows with three later events in Gustav Mahler's own life: the death of his eldest daughter Maria Anna Mahler, the diagnosis of an eventually fatal heart condition, and his forced resignation from the Vienna Opera and departure from Vienna. When he revised the work, Mahler removed the last of these three hammer strokes so that the music built to a sudden moment of still, mute pain as its third blow. Some modern performances restore the third strike of the hammer. The piece ends with the same rhythmic motif that first appeared in the first movement, but the chord above it is a simple A minor triad, rather than A major turning into A minor. This ending is one of the most brutal in all music, after the third 'hammer-blow' passage, the music gropes in darkness and then the trombones and horns begin to offer consolation.
- published: 04 Aug 2011
- views: 25881
Alejandro Dolina - Alma Mahler
- Order: Reorder
- Duration: 21:03
- Updated: 08 Mar 2013
- views: 1740
Este vídeo no necesita explicación.
La imagen la tomé del blog: edgeoflaw DOT blogspot DOT com
el audio es del programa LVST 2013/03/07...
Este vídeo no necesita explicación.
La imagen la tomé del blog: edgeoflaw DOT blogspot DOT com
el audio es del programa LVST 2013/03/07
wn.com/Alejandro Dolina Alma Mahler
Este vídeo no necesita explicación.
La imagen la tomé del blog: edgeoflaw DOT blogspot DOT com
el audio es del programa LVST 2013/03/07
- published: 08 Mar 2013
- views: 1740
Riccardo Chailly dirigiert Mahler: Symphonie Nr 6 a-Moll "Tragische"
- Order: Reorder
- Duration: 86:52
- Updated: 27 Nov 2015
- views: 555
Riccardo Chailly dirigiert das Gewandhausorchester
Riccardo Chailly, beim Echo Klassik als "Dirigent des Jahres 2012" ausgezeichnet, hat sich mit seinen farben...
Riccardo Chailly dirigiert das Gewandhausorchester
Riccardo Chailly, beim Echo Klassik als "Dirigent des Jahres 2012" ausgezeichnet, hat sich mit seinen farbenreichen Mahler-Interpretationen bereits einen Namen gemacht und spielte bereits alle Mahler-Symphonien ein - mit dem Concertgebouw Orchestra, dem er bis 2004 als Chefdirigent vorstand. Für ARTE dirigiert der italienische Stardirigent und Mahler-Liebhaber die 6. Symphonie in einem glanzvollen Konzert aus dem Gewandhaus Leipzig.
Als Gustav Mahler die Uraufführung seiner Sechsten im Mai 1906 in Essen dirigierte, war das nicht nur der Höhepunkt des Tonkünstlerfests des Allgemeinen Deutschen Musikvereins, das Konzert geriet auch zu einem vollen Publikumserfolg. Die Kritik hingegen war geteilter Meinung. Die einen lobten die Rückkehr zur "klassischen" Form der Sinfonie sowie die fein ausgearbeitete Instrumentierung, die anderen wetterten gegen den immer größer werdenden Orchesterapparat. "Er kennt nur noch die Blechsprache; er redet nicht mehr mit uns - er brüllt und tobt uns an, und verwundert fragt man: Wozu der Lärm?", beschwerte sich der Musikkritiker Gustav Altmann. Die von Mahler inszenierte Klanglandschaft ist in der Tat sehr weitläufig - besonders, was Blechbläser und Schlagwerk - darunter eine Kuhglocke und ein hölzerner Hammer - betrifft. Selbst für Richard Strauss war die Sinfonie "überinstrumentiert". Gustav Mahler selbst prophezeite, dass sein Werk dem Hörer wohl manches Rätsel aufgeben werde.
Ihm selbst ging es in den Entstehungsjahren 1903 und 1904 recht gut. Als Direktor der Wiener Hofoper war er hoch angesehen, als Dirigent galt er als einer der besten in Europa. Glücklich verheiratet mit Alma (geb. Schindler), gründete er eine Familie und seine beiden Töchter wurden in jenen Jahren geboren. Und doch entwickelt er in der 6. Sinfonie eine hochdramatische Rhetorik, die oft als Kampf gegen Verzweiflung und Leere interpretiert wurde. Der düstere Ton hat der Sinfonie den Beinamen "Die Tragische" beschert, eine Bezeichnung, die Mahler selbst nie bestätigt hat. Er sagte, künftige Generationen dürften sich nur an sie heranwagen, wenn sie seine ersten fünf Symphonien "in sich aufgenommen und verdaut" hätten.
Riccardo Chailly könnte das getrost von sich sagen. Schon im zarten Alter von sechs Jahren hörte er seine erste Mahler-Symphonie, als Dirigent ist er regelrecht vom "Mahler-Fieber" ergriffen: Riccardo Chailly ist bekennender Mahlerianer. So ist es folgerichtig, dass er sich der künstlerischen Herausforderung nur zu gerne stellt, das als schwierig geltende und wegen seiner Düsternis nicht so häufig aufgeführte Werk auf das Konzertpodium zu bringen. Erklärungsversuche, den tragischen Gestus der 6. als Vorausahnung kommender persönlicher Schicksalsschläge oder des aufdämmernden Ersten Weltkrieges zu erklären, lehnt Chailly ab, würden sie doch dem universalen Künstler Mahler kaum gerecht.
Schon 2001 initiierte Chailly gemeinsam mit dem Gewandhaus Leipzig ein Internationales Mahler-Festival. Zehn weltberühmte Orchester führten unter Leitung international gefragter Mahler-Dirigenten nahezu das gesamte Orchesterwerk des Komponisten auf. Riccardo Chailly interpretierte mit dem Gewandhausorchester die 2. und die 8. Symphonie. Mit der Aufführung der 6. Symphonie von Gustav Mahler setzt Riccardo Chailly gemeinsam mit dem Gewandhausorchester seine ganz persönliche Art der Interpretation des Mahlerschen Oeuvres fort. Seit September 2005 ist Chailly Chefdirigent des Gewandhausorchesters und zugleich Musikdirektor des Leipziger Opernhauses.
Drei mächtige Hammerschläge im Finale der Sechsten scheinen schicksalhafte Ereignisse vorwegzunehmen: den Tod Mahlers ältesten Tochter, den Rücktritt als Hofoperndirektor und die Diagnose seines Herzleidens. Alma Mahler schrieb später in ihren Erinnerungen: "Die Sechste ist sein allerpersönlichstes Werk und ein prophetisches obendrein. (...) Er (hat) sowohl mit den Kinder-Totenliedern als auch mit der Sechsten sein Leben 'anticipando musiziert'. Auch er bekam drei Schicksalsschläge, und der dritte fällte ihn."
wn.com/Riccardo Chailly Dirigiert Mahler Symphonie Nr 6 A Moll Tragische
Riccardo Chailly dirigiert das Gewandhausorchester
Riccardo Chailly, beim Echo Klassik als "Dirigent des Jahres 2012" ausgezeichnet, hat sich mit seinen farbenreichen Mahler-Interpretationen bereits einen Namen gemacht und spielte bereits alle Mahler-Symphonien ein - mit dem Concertgebouw Orchestra, dem er bis 2004 als Chefdirigent vorstand. Für ARTE dirigiert der italienische Stardirigent und Mahler-Liebhaber die 6. Symphonie in einem glanzvollen Konzert aus dem Gewandhaus Leipzig.
Als Gustav Mahler die Uraufführung seiner Sechsten im Mai 1906 in Essen dirigierte, war das nicht nur der Höhepunkt des Tonkünstlerfests des Allgemeinen Deutschen Musikvereins, das Konzert geriet auch zu einem vollen Publikumserfolg. Die Kritik hingegen war geteilter Meinung. Die einen lobten die Rückkehr zur "klassischen" Form der Sinfonie sowie die fein ausgearbeitete Instrumentierung, die anderen wetterten gegen den immer größer werdenden Orchesterapparat. "Er kennt nur noch die Blechsprache; er redet nicht mehr mit uns - er brüllt und tobt uns an, und verwundert fragt man: Wozu der Lärm?", beschwerte sich der Musikkritiker Gustav Altmann. Die von Mahler inszenierte Klanglandschaft ist in der Tat sehr weitläufig - besonders, was Blechbläser und Schlagwerk - darunter eine Kuhglocke und ein hölzerner Hammer - betrifft. Selbst für Richard Strauss war die Sinfonie "überinstrumentiert". Gustav Mahler selbst prophezeite, dass sein Werk dem Hörer wohl manches Rätsel aufgeben werde.
Ihm selbst ging es in den Entstehungsjahren 1903 und 1904 recht gut. Als Direktor der Wiener Hofoper war er hoch angesehen, als Dirigent galt er als einer der besten in Europa. Glücklich verheiratet mit Alma (geb. Schindler), gründete er eine Familie und seine beiden Töchter wurden in jenen Jahren geboren. Und doch entwickelt er in der 6. Sinfonie eine hochdramatische Rhetorik, die oft als Kampf gegen Verzweiflung und Leere interpretiert wurde. Der düstere Ton hat der Sinfonie den Beinamen "Die Tragische" beschert, eine Bezeichnung, die Mahler selbst nie bestätigt hat. Er sagte, künftige Generationen dürften sich nur an sie heranwagen, wenn sie seine ersten fünf Symphonien "in sich aufgenommen und verdaut" hätten.
Riccardo Chailly könnte das getrost von sich sagen. Schon im zarten Alter von sechs Jahren hörte er seine erste Mahler-Symphonie, als Dirigent ist er regelrecht vom "Mahler-Fieber" ergriffen: Riccardo Chailly ist bekennender Mahlerianer. So ist es folgerichtig, dass er sich der künstlerischen Herausforderung nur zu gerne stellt, das als schwierig geltende und wegen seiner Düsternis nicht so häufig aufgeführte Werk auf das Konzertpodium zu bringen. Erklärungsversuche, den tragischen Gestus der 6. als Vorausahnung kommender persönlicher Schicksalsschläge oder des aufdämmernden Ersten Weltkrieges zu erklären, lehnt Chailly ab, würden sie doch dem universalen Künstler Mahler kaum gerecht.
Schon 2001 initiierte Chailly gemeinsam mit dem Gewandhaus Leipzig ein Internationales Mahler-Festival. Zehn weltberühmte Orchester führten unter Leitung international gefragter Mahler-Dirigenten nahezu das gesamte Orchesterwerk des Komponisten auf. Riccardo Chailly interpretierte mit dem Gewandhausorchester die 2. und die 8. Symphonie. Mit der Aufführung der 6. Symphonie von Gustav Mahler setzt Riccardo Chailly gemeinsam mit dem Gewandhausorchester seine ganz persönliche Art der Interpretation des Mahlerschen Oeuvres fort. Seit September 2005 ist Chailly Chefdirigent des Gewandhausorchesters und zugleich Musikdirektor des Leipziger Opernhauses.
Drei mächtige Hammerschläge im Finale der Sechsten scheinen schicksalhafte Ereignisse vorwegzunehmen: den Tod Mahlers ältesten Tochter, den Rücktritt als Hofoperndirektor und die Diagnose seines Herzleidens. Alma Mahler schrieb später in ihren Erinnerungen: "Die Sechste ist sein allerpersönlichstes Werk und ein prophetisches obendrein. (...) Er (hat) sowohl mit den Kinder-Totenliedern als auch mit der Sechsten sein Leben 'anticipando musiziert'. Auch er bekam drei Schicksalsschläge, und der dritte fällte ihn."
- published: 27 Nov 2015
- views: 555
Alban BERG - Concerto "à la mémoire d'un ange" - Luc HÉRY, violon
- Order: Reorder
- Duration: 27:04
- Updated: 22 Feb 2015
- views: 4277
Alban Berg (1885-1935), concerto pour violon et orchestre composé en 1935 à la mémoire de Manon Gropius, fille d'Alma Mahler, morte à 18 ans la même année.
Luc...
Alban Berg (1885-1935), concerto pour violon et orchestre composé en 1935 à la mémoire de Manon Gropius, fille d'Alma Mahler, morte à 18 ans la même année.
Luc Héry, violon
Premier violon solo à l'Orchestre National de France, professeur au CRR de Paris.
Orchestre symphonique du Conservatoire (CRR de Paris)
Direction: Pierre-Michel Durand
14 novembre 2014
Auditorium Marcel Landowski
wn.com/Alban Berg Concerto À La Mémoire D'un Ange Luc Héry, Violon
Alban Berg (1885-1935), concerto pour violon et orchestre composé en 1935 à la mémoire de Manon Gropius, fille d'Alma Mahler, morte à 18 ans la même année.
Luc Héry, violon
Premier violon solo à l'Orchestre National de France, professeur au CRR de Paris.
Orchestre symphonique du Conservatoire (CRR de Paris)
Direction: Pierre-Michel Durand
14 novembre 2014
Auditorium Marcel Landowski
- published: 22 Feb 2015
- views: 4277
Mahler - Symphony No.6 in A minor "Tragic" - IV, Finale: Sostenuto/Allegro moderato/Allegro energico
- Order: Reorder
- Duration: 29:44
- Updated: 05 Aug 2011
- views: 23161
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeat...
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeatedly revised). The work's first performance was in Essen, on May 27, 1906, conducted by the composer.
Formally, the symphony is one of Mahler's most outwardly conventional. The first three movements are in fact relatively traditional in structure and character, with a fairly standard sonata form first movement (which even includes an exact repeat of the exposition, most unusual in Mahler), leading to the middle movements, one slow, the other a scherzo-with-trios. However, attempts to analyze the vast finale in terms of the sonata archetype have encountered serious difficulties. As Dika Newlin has pointed out: "it has elements of what is conventionally known as 'sonata form', but the music does not follow a set pattern [...] Thus, 'expositional' treatment merges directly into the type of contrapuntal and modulatory writing appropriate to 'elaboration' sections [...]; the beginning of the principal theme-group is recapitulated in C minor rather than in A minor, and the C minor chorale theme [...] of the exposition is never recapitulated at all".
The first movement, which for the most part has the character of a march, features a motif consisting of an A major triad turning to A minor over a distinctive timpani rhythm (the chords are played by trumpets and oboes when first heard, with the trumpets sounding most loudly in the first chord and the oboes in the second); this motif, which some commentators have linked with fate, reappears in subsequent movements. The first movement also features a soaring melody which the composer's wife, Alma Mahler, claimed was representative of her; this melody is now often known as the "Alma theme". The movement's end marks the happiest point of the symphony with a restatement of the Alma theme.
The andante is a respite from the brutal intensity of the rest of the work. Its main theme is an introspective ten-bar phrase that is technically in E-flat major, though the theme alone can seem major and minor at once. The orchestration is more delicate and reserved in this movement, making it all the more poignant when compared to the driving darkness of the other three.
The scherzo marks a return to the unrelenting march rhythms of the first movement, though in a 'triple-time' metrical context. Its trio (the middle section), marked Altväterisch ('old-fashioned'), is rhythmically irregular (4/8 switching to 3/8 and 3/4) and of a somewhat gentler character. Alma's report, often repeated, that in this movement Mahler "represented the unrhythmic games of the two little children, tottering in zigzags over the sand" is refuted by the chronology: the movement was composed in the Summer of 1903, when Maria Anna Mahler (born November 1902) was less than a year old, and when Anna Justine (born July 1904) had not even been conceived. All the same, it is widely accepted by contemporary interpretors and conductors and it is usually in this playful-turned-terror-filled manner that this movement is conducted.
The last movement is an extended sonata form, characterized by drastic changes in mood and tempo, the sudden change of glorious soaring melody to deep pounded agony. The movement is punctuated by three hammer blows. Alma quotes her husband as saying that these were three mighty blows of fate befallen by the hero, "the third of which fells him like a tree". She identified these blows with three later events in Gustav Mahler's own life: the death of his eldest daughter Maria Anna Mahler, the diagnosis of an eventually fatal heart condition, and his forced resignation from the Vienna Opera and departure from Vienna. When he revised the work, Mahler removed the last of these three hammer strokes so that the music built to a sudden moment of still, mute pain as its third blow. Some modern performances restore the third strike of the hammer. The piece ends with the same rhythmic motif that first appeared in the first movement, but the chord above it is a simple A minor triad, rather than A major turning into A minor. This ending is one of the most brutal in all music, after the third 'hammer-blow' passage, the music gropes in darkness and then the trombones and horns begin to offer consolation.
wn.com/Mahler Symphony No.6 In A Minor Tragic Iv, Finale Sostenuto Allegro Moderato Allegro Energico
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeatedly revised). The work's first performance was in Essen, on May 27, 1906, conducted by the composer.
Formally, the symphony is one of Mahler's most outwardly conventional. The first three movements are in fact relatively traditional in structure and character, with a fairly standard sonata form first movement (which even includes an exact repeat of the exposition, most unusual in Mahler), leading to the middle movements, one slow, the other a scherzo-with-trios. However, attempts to analyze the vast finale in terms of the sonata archetype have encountered serious difficulties. As Dika Newlin has pointed out: "it has elements of what is conventionally known as 'sonata form', but the music does not follow a set pattern [...] Thus, 'expositional' treatment merges directly into the type of contrapuntal and modulatory writing appropriate to 'elaboration' sections [...]; the beginning of the principal theme-group is recapitulated in C minor rather than in A minor, and the C minor chorale theme [...] of the exposition is never recapitulated at all".
The first movement, which for the most part has the character of a march, features a motif consisting of an A major triad turning to A minor over a distinctive timpani rhythm (the chords are played by trumpets and oboes when first heard, with the trumpets sounding most loudly in the first chord and the oboes in the second); this motif, which some commentators have linked with fate, reappears in subsequent movements. The first movement also features a soaring melody which the composer's wife, Alma Mahler, claimed was representative of her; this melody is now often known as the "Alma theme". The movement's end marks the happiest point of the symphony with a restatement of the Alma theme.
The andante is a respite from the brutal intensity of the rest of the work. Its main theme is an introspective ten-bar phrase that is technically in E-flat major, though the theme alone can seem major and minor at once. The orchestration is more delicate and reserved in this movement, making it all the more poignant when compared to the driving darkness of the other three.
The scherzo marks a return to the unrelenting march rhythms of the first movement, though in a 'triple-time' metrical context. Its trio (the middle section), marked Altväterisch ('old-fashioned'), is rhythmically irregular (4/8 switching to 3/8 and 3/4) and of a somewhat gentler character. Alma's report, often repeated, that in this movement Mahler "represented the unrhythmic games of the two little children, tottering in zigzags over the sand" is refuted by the chronology: the movement was composed in the Summer of 1903, when Maria Anna Mahler (born November 1902) was less than a year old, and when Anna Justine (born July 1904) had not even been conceived. All the same, it is widely accepted by contemporary interpretors and conductors and it is usually in this playful-turned-terror-filled manner that this movement is conducted.
The last movement is an extended sonata form, characterized by drastic changes in mood and tempo, the sudden change of glorious soaring melody to deep pounded agony. The movement is punctuated by three hammer blows. Alma quotes her husband as saying that these were three mighty blows of fate befallen by the hero, "the third of which fells him like a tree". She identified these blows with three later events in Gustav Mahler's own life: the death of his eldest daughter Maria Anna Mahler, the diagnosis of an eventually fatal heart condition, and his forced resignation from the Vienna Opera and departure from Vienna. When he revised the work, Mahler removed the last of these three hammer strokes so that the music built to a sudden moment of still, mute pain as its third blow. Some modern performances restore the third strike of the hammer. The piece ends with the same rhythmic motif that first appeared in the first movement, but the chord above it is a simple A minor triad, rather than A major turning into A minor. This ending is one of the most brutal in all music, after the third 'hammer-blow' passage, the music gropes in darkness and then the trombones and horns begin to offer consolation.
- published: 05 Aug 2011
- views: 23161
Mahler - Symphony No.6 in A minor "Tragic" - II & III, Scherzo: Wuchtig/Andante moderato
- Order: Reorder
- Duration: 28:07
- Updated: 04 Aug 2011
- views: 7263
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeat...
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeatedly revised). The work's first performance was in Essen, on May 27, 1906, conducted by the composer.
Formally, the symphony is one of Mahler's most outwardly conventional. The first three movements are in fact relatively traditional in structure and character, with a fairly standard sonata form first movement (which even includes an exact repeat of the exposition, most unusual in Mahler), leading to the middle movements, one slow, the other a scherzo-with-trios. However, attempts to analyze the vast finale in terms of the sonata archetype have encountered serious difficulties. As Dika Newlin has pointed out: "it has elements of what is conventionally known as 'sonata form', but the music does not follow a set pattern [...] Thus, 'expositional' treatment merges directly into the type of contrapuntal and modulatory writing appropriate to 'elaboration' sections [...]; the beginning of the principal theme-group is recapitulated in C minor rather than in A minor, and the C minor chorale theme [...] of the exposition is never recapitulated at all".
The first movement, which for the most part has the character of a march, features a motif consisting of an A major triad turning to A minor over a distinctive timpani rhythm (the chords are played by trumpets and oboes when first heard, with the trumpets sounding most loudly in the first chord and the oboes in the second); this motif, which some commentators have linked with fate, reappears in subsequent movements. The first movement also features a soaring melody which the composer's wife, Alma Mahler, claimed was representative of her; this melody is now often known as the "Alma theme". The movement's end marks the happiest point of the symphony with a restatement of the Alma theme.
The andante is a respite from the brutal intensity of the rest of the work. Its main theme is an introspective ten-bar phrase that is technically in E-flat major, though the theme alone can seem major and minor at once. The orchestration is more delicate and reserved in this movement, making it all the more poignant when compared to the driving darkness of the other three.
The scherzo marks a return to the unrelenting march rhythms of the first movement, though in a 'triple-time' metrical context. Its trio (the middle section), marked Altväterisch ('old-fashioned'), is rhythmically irregular (4/8 switching to 3/8 and 3/4) and of a somewhat gentler character. Alma's report, often repeated, that in this movement Mahler "represented the unrhythmic games of the two little children, tottering in zigzags over the sand" is refuted by the chronology: the movement was composed in the Summer of 1903, when Maria Anna Mahler (born November 1902) was less than a year old, and when Anna Justine (born July 1904) had not even been conceived. All the same, it is widely accepted by contemporary interpretors and conductors and it is usually in this playful-turned-terror-filled manner that this movement is conducted.
The last movement is an extended sonata form, characterized by drastic changes in mood and tempo, the sudden change of glorious soaring melody to deep pounded agony. The movement is punctuated by three hammer blows. Alma quotes her husband as saying that these were three mighty blows of fate befallen by the hero, "the third of which fells him like a tree". She identified these blows with three later events in Gustav Mahler's own life: the death of his eldest daughter Maria Anna Mahler, the diagnosis of an eventually fatal heart condition, and his forced resignation from the Vienna Opera and departure from Vienna. When he revised the work, Mahler removed the last of these three hammer strokes so that the music built to a sudden moment of still, mute pain as its third blow. Some modern performances restore the third strike of the hammer. The piece ends with the same rhythmic motif that first appeared in the first movement, but the chord above it is a simple A minor triad, rather than A major turning into A minor. This ending is one of the most brutal in all music, after the third 'hammer-blow' passage, the music gropes in darkness and then the trombones and horns begin to offer consolation.
wn.com/Mahler Symphony No.6 In A Minor Tragic Ii Iii, Scherzo Wuchtig Andante Moderato
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("Tragic"), was composed between 1903 and 1904 (rev. 1906; scoring repeatedly revised). The work's first performance was in Essen, on May 27, 1906, conducted by the composer.
Formally, the symphony is one of Mahler's most outwardly conventional. The first three movements are in fact relatively traditional in structure and character, with a fairly standard sonata form first movement (which even includes an exact repeat of the exposition, most unusual in Mahler), leading to the middle movements, one slow, the other a scherzo-with-trios. However, attempts to analyze the vast finale in terms of the sonata archetype have encountered serious difficulties. As Dika Newlin has pointed out: "it has elements of what is conventionally known as 'sonata form', but the music does not follow a set pattern [...] Thus, 'expositional' treatment merges directly into the type of contrapuntal and modulatory writing appropriate to 'elaboration' sections [...]; the beginning of the principal theme-group is recapitulated in C minor rather than in A minor, and the C minor chorale theme [...] of the exposition is never recapitulated at all".
The first movement, which for the most part has the character of a march, features a motif consisting of an A major triad turning to A minor over a distinctive timpani rhythm (the chords are played by trumpets and oboes when first heard, with the trumpets sounding most loudly in the first chord and the oboes in the second); this motif, which some commentators have linked with fate, reappears in subsequent movements. The first movement also features a soaring melody which the composer's wife, Alma Mahler, claimed was representative of her; this melody is now often known as the "Alma theme". The movement's end marks the happiest point of the symphony with a restatement of the Alma theme.
The andante is a respite from the brutal intensity of the rest of the work. Its main theme is an introspective ten-bar phrase that is technically in E-flat major, though the theme alone can seem major and minor at once. The orchestration is more delicate and reserved in this movement, making it all the more poignant when compared to the driving darkness of the other three.
The scherzo marks a return to the unrelenting march rhythms of the first movement, though in a 'triple-time' metrical context. Its trio (the middle section), marked Altväterisch ('old-fashioned'), is rhythmically irregular (4/8 switching to 3/8 and 3/4) and of a somewhat gentler character. Alma's report, often repeated, that in this movement Mahler "represented the unrhythmic games of the two little children, tottering in zigzags over the sand" is refuted by the chronology: the movement was composed in the Summer of 1903, when Maria Anna Mahler (born November 1902) was less than a year old, and when Anna Justine (born July 1904) had not even been conceived. All the same, it is widely accepted by contemporary interpretors and conductors and it is usually in this playful-turned-terror-filled manner that this movement is conducted.
The last movement is an extended sonata form, characterized by drastic changes in mood and tempo, the sudden change of glorious soaring melody to deep pounded agony. The movement is punctuated by three hammer blows. Alma quotes her husband as saying that these were three mighty blows of fate befallen by the hero, "the third of which fells him like a tree". She identified these blows with three later events in Gustav Mahler's own life: the death of his eldest daughter Maria Anna Mahler, the diagnosis of an eventually fatal heart condition, and his forced resignation from the Vienna Opera and departure from Vienna. When he revised the work, Mahler removed the last of these three hammer strokes so that the music built to a sudden moment of still, mute pain as its third blow. Some modern performances restore the third strike of the hammer. The piece ends with the same rhythmic motif that first appeared in the first movement, but the chord above it is a simple A minor triad, rather than A major turning into A minor. This ending is one of the most brutal in all music, after the third 'hammer-blow' passage, the music gropes in darkness and then the trombones and horns begin to offer consolation.
- published: 04 Aug 2011
- views: 7263
Marco Pierobon & Paolo Oreni - The COMPLETE Mahler 5 for Trumpet and Organ
- Order: Reorder
- Duration: 106:01
- Updated: 23 Oct 2011
- views: 13378
http://www.marcopierobon.com
Gustav Mahler,
Quinta sinfonia per Tromba e Organo
Fuenfte Symphonie fue Trompete und Orgel
Fifth Symphony for Trumpet and O...
http://www.marcopierobon.com
Gustav Mahler,
Quinta sinfonia per Tromba e Organo
Fuenfte Symphonie fue Trompete und Orgel
Fifth Symphony for Trumpet and Organ
Symphony n°5
Sinfonia 5
Symphonie 5
COMPLETE VERSION!
Arrangiamento/Arrangement: Pierobon/Oreni
Rappresentazione Teatrale: TrentoSpettacoli
SE AMI UNA COSA PERCHE' E' BELLA
Gustav e Alma Mahler: amore e solitudine
con Maura Pettorruso e Paolo Maria Pilosio
wn.com/Marco Pierobon Paolo Oreni The Complete Mahler 5 For Trumpet And Organ
http://www.marcopierobon.com
Gustav Mahler,
Quinta sinfonia per Tromba e Organo
Fuenfte Symphonie fue Trompete und Orgel
Fifth Symphony for Trumpet and Organ
Symphony n°5
Sinfonia 5
Symphonie 5
COMPLETE VERSION!
Arrangiamento/Arrangement: Pierobon/Oreni
Rappresentazione Teatrale: TrentoSpettacoli
SE AMI UNA COSA PERCHE' E' BELLA
Gustav e Alma Mahler: amore e solitudine
con Maura Pettorruso e Paolo Maria Pilosio
- published: 23 Oct 2011
- views: 13378
GUSTAV MAHLER.- Sinfonia Nº 10 Andante-Adagio
- Order: Reorder
- Duration: 25:08
- Updated: 28 Oct 2012
- views: 2890
GUSTAV MAHLER.-
Sinfonia Nº 10 Andante-Adagio
Orquesta del Concertgebouw de Amsterdam
Director: Bernard Haitink
Mahler trabajó en su Décima sinfonía duran...
GUSTAV MAHLER.-
Sinfonia Nº 10 Andante-Adagio
Orquesta del Concertgebouw de Amsterdam
Director: Bernard Haitink
Mahler trabajó en su Décima sinfonía durante el año de 1910. A su muerte, en 1911, sólo el primer movimiento estaba terminado, aunque quedaron planteados la estructura general de la obra y esbozados los otros movimientos.
Historia
Mahler sólo alcanzó a completar totalmente el «Adagio», es decir, el primer movimiento.El tercero, titulado "Purgatorio", se encuentra también terminado, pero sólo orquestado completamente en sus primeros compases. El resto fue objeto de reconstrucción por parte del musicólogo y estudioso de Mahler Deryck Cooke, tras persuadir a Alma Mahler de que levantara en 1960 el veto que pesaba sobre los bocetos de los movimientos restantes, dejados en su poder poco antes de la muerte de su marido.1
Anna Mahler, la hija sobreviviente del compositor, proporcionaría a Deryck Cooke —después de la desaparición de su madre— apuntes eludidos en su día por Alma al musicólogo inglés que consolidaron su laborioso trabajo de reconstrucción. Tal como lo ha relatado él mismo y La Grange en su extensa biografía, la primera oferta interpretativa del profesor recibió la emocionada acogida de Alma. Lo que estimuló al británico a efectuar dos revisiones exhaustivas. Ya en posesión de los bocetos que la hija de Mahler le proporcionó, estos apuntes celosamente custodiados vinieron a replantear el enfoque del segundo, cuarto y quinto movimientos (los menos elaborados del manuscrito) de la que se ha llamado desde entonces la Décima de Gustav Mahler.1
Existen otros intentos para hacer ejecutable esta última sinfonía. Clinton Carpenter, Joseph Weeler, Remo Mazzetti, o el director de orquesta Rudolf Barshai, plantearon su personal punto de vista. Todos estos han merecido por lo menos una —o varias, en el caso de Cooke— grabaciones correspondientes.
Análisis
El Andante-Adagio, único movimiento prácticamente terminado por Mahler, es una de sus obras más renovadoras y próximas a la vanguardia vienesa de músicos como Arnold Schoenberg o Alban Berg. En este amplio movimiento, de unos veinte minutos, predominan las armonías cromáticas, y su lenguaje se sitúa muchas veces prácticamente en la atonalidad. El uso de recursos como la inversión de los temas hace que intuya también el dodecafonismo. La estructura general del movimiento se articula en una forma sonata muy libre con tres temas: 1) Una melodía cromática y de carácter misterioso en las violas; 2) Un tema lírico muy apasionado, en los violines con acompañamiento de los trombones, seguido de su inversión; 3) Un tema con carácter de danza, compuesto por distintos motivos en los que predomina el sonido de las maderas. El desarrollo se centra en los temas tratándolos en orden inverso al de la exposición, y tras la reaparición de la melodía inicial de las violas surge de pronto, sin mediación alguna, una violenta disonancia en toda la orquesta que culmina en un fortissimo en el que suenan diez grados de la escala cromática y que por lo tanto constituye casi un acorde dodecafónico, como el que usará más tarde Alban Berg en Lulú (ópera) en el momento de la muerte de la protagonista. Sin embargo, tras este punto culminante que entra de lleno en el expresionismo, la reexposición se centra sobre el segundo tema, transformado en una melodía apacible, por lo que el movimiento termina de forma tranquila y con armonías tonales.
Los esbozos de Mahler del resto de los movimientos, algunos bastante avanzados, permiten conocer las intenciones del compositor. El "Purgatorio" es un pasaje breve e irónico, enmarcado entre dos movimientos tipo scherzo con carácter de danza, más burlesco el primero, y más nostálgico el segundo. El finale comienza con un fuerte golpe de tambor, en el que Mahler reproduce el sonido que escuchó en un cortejo fúnebre en Nueva York y que al parecer le impresionó profundamente. El final de este movimiento es de un gran lirismo, y en el manuscrito se encuentran muchas frases en las que Mahler va anotando sus emociones más íntimas. Aunque músicos como Ernst Krenek, Schoenberg o Shostakóvich, a los que les fue enseñado el manuscrito, se negaron a reconstruir la obra, la Décima sinfonía ha sido objeto de varias reconstrucciones, entre ellas la del musicólogo inglés Deryck Cooke o la del ruso Rudolf Barshai.
wn.com/Gustav Mahler. Sinfonia Nº 10 Andante Adagio
GUSTAV MAHLER.-
Sinfonia Nº 10 Andante-Adagio
Orquesta del Concertgebouw de Amsterdam
Director: Bernard Haitink
Mahler trabajó en su Décima sinfonía durante el año de 1910. A su muerte, en 1911, sólo el primer movimiento estaba terminado, aunque quedaron planteados la estructura general de la obra y esbozados los otros movimientos.
Historia
Mahler sólo alcanzó a completar totalmente el «Adagio», es decir, el primer movimiento.El tercero, titulado "Purgatorio", se encuentra también terminado, pero sólo orquestado completamente en sus primeros compases. El resto fue objeto de reconstrucción por parte del musicólogo y estudioso de Mahler Deryck Cooke, tras persuadir a Alma Mahler de que levantara en 1960 el veto que pesaba sobre los bocetos de los movimientos restantes, dejados en su poder poco antes de la muerte de su marido.1
Anna Mahler, la hija sobreviviente del compositor, proporcionaría a Deryck Cooke —después de la desaparición de su madre— apuntes eludidos en su día por Alma al musicólogo inglés que consolidaron su laborioso trabajo de reconstrucción. Tal como lo ha relatado él mismo y La Grange en su extensa biografía, la primera oferta interpretativa del profesor recibió la emocionada acogida de Alma. Lo que estimuló al británico a efectuar dos revisiones exhaustivas. Ya en posesión de los bocetos que la hija de Mahler le proporcionó, estos apuntes celosamente custodiados vinieron a replantear el enfoque del segundo, cuarto y quinto movimientos (los menos elaborados del manuscrito) de la que se ha llamado desde entonces la Décima de Gustav Mahler.1
Existen otros intentos para hacer ejecutable esta última sinfonía. Clinton Carpenter, Joseph Weeler, Remo Mazzetti, o el director de orquesta Rudolf Barshai, plantearon su personal punto de vista. Todos estos han merecido por lo menos una —o varias, en el caso de Cooke— grabaciones correspondientes.
Análisis
El Andante-Adagio, único movimiento prácticamente terminado por Mahler, es una de sus obras más renovadoras y próximas a la vanguardia vienesa de músicos como Arnold Schoenberg o Alban Berg. En este amplio movimiento, de unos veinte minutos, predominan las armonías cromáticas, y su lenguaje se sitúa muchas veces prácticamente en la atonalidad. El uso de recursos como la inversión de los temas hace que intuya también el dodecafonismo. La estructura general del movimiento se articula en una forma sonata muy libre con tres temas: 1) Una melodía cromática y de carácter misterioso en las violas; 2) Un tema lírico muy apasionado, en los violines con acompañamiento de los trombones, seguido de su inversión; 3) Un tema con carácter de danza, compuesto por distintos motivos en los que predomina el sonido de las maderas. El desarrollo se centra en los temas tratándolos en orden inverso al de la exposición, y tras la reaparición de la melodía inicial de las violas surge de pronto, sin mediación alguna, una violenta disonancia en toda la orquesta que culmina en un fortissimo en el que suenan diez grados de la escala cromática y que por lo tanto constituye casi un acorde dodecafónico, como el que usará más tarde Alban Berg en Lulú (ópera) en el momento de la muerte de la protagonista. Sin embargo, tras este punto culminante que entra de lleno en el expresionismo, la reexposición se centra sobre el segundo tema, transformado en una melodía apacible, por lo que el movimiento termina de forma tranquila y con armonías tonales.
Los esbozos de Mahler del resto de los movimientos, algunos bastante avanzados, permiten conocer las intenciones del compositor. El "Purgatorio" es un pasaje breve e irónico, enmarcado entre dos movimientos tipo scherzo con carácter de danza, más burlesco el primero, y más nostálgico el segundo. El finale comienza con un fuerte golpe de tambor, en el que Mahler reproduce el sonido que escuchó en un cortejo fúnebre en Nueva York y que al parecer le impresionó profundamente. El final de este movimiento es de un gran lirismo, y en el manuscrito se encuentran muchas frases en las que Mahler va anotando sus emociones más íntimas. Aunque músicos como Ernst Krenek, Schoenberg o Shostakóvich, a los que les fue enseñado el manuscrito, se negaron a reconstruir la obra, la Décima sinfonía ha sido objeto de varias reconstrucciones, entre ellas la del musicólogo inglés Deryck Cooke o la del ruso Rudolf Barshai.
- published: 28 Oct 2012
- views: 2890
MAHLER.- Sinfonía Nº 4 en Sol mayor
- Order: Reorder
- Duration: 58:35
- Updated: 20 Oct 2012
- views: 11701
MAHLER.-
Sinfonía Nº 4 en Sol mayor
Misurato, senza affrettare
In moto tranquillo- Senza fretta
Calma - Poco adagio
Molto comodamente
Soprano: Heather Harp...
MAHLER.-
Sinfonía Nº 4 en Sol mayor
Misurato, senza affrettare
In moto tranquillo- Senza fretta
Calma - Poco adagio
Molto comodamente
Soprano: Heather Harper
Orquesta Sinfónica de la radio de Berlín
Director: Lorin Maazel
La Sinfonía n.º 4 de Gustav Mahler es una de sus más cortas sinfonías. Fue compuesta de julio de 1899 a agosto de 1900. Su duración es de aproximadamente cincuenta minutos.
Composición
Su composición llevó bastante tiempo: el cuarto movimiento (música) "Das himmlische Leben" (la Vida Celestial) se retoma del quinto lied del Des Knaben Wunderhorn escrito en 1892. Este movimiento debía formar parte, en un principio, de la tercera sinfonía (siendo este un séptimo movimiento que luego fue suprimido). Mahler decidió, entonces, hacer de este el final de su cuarta sinfonía y concibió los tres primeros movimientos en función del que ya tenía. Su composición comenzó durante las vacaciones del verano de 1899, tomadas tras dos años de trabajo continuo como director de la ópera de Viena, lo que le había impedido componer hasta entonces. Reemprendió la composición en el verano de 1900, concluyendo la partitura en tres semanas.
Estreno
El estreno de la obra, bajo la dirección del compositor, tuvo lugar en Múnich el 25 de noviembre de 1901, con la Orquesta Kaim (predecesora de la actual Filarmónica de Múnich) y la soprano Margarete Michalek, con relativamente poco éxito. En octubre de 1904 la sinfonía se estrenó en Ámsterdam, con la Orquesta del Concertgebouw. Según las memorias de Alma Mahler, esa noche la sinfonía se interpretó dos veces, una dirigida por Mahler y otra por el director del Concertgebouw, Willem Mengelberg. En los dos años siguientes, la sinfonía se interpretó en Estados Unidos y en Gran Bretaña.
Armonía
Sus tonalidades son muy raras, empezando porque la música empieza con staccatos de la orquesta en un aparente si menor. El clarinete lleva posteriormente la tonalidad a sol mayor. Pero, ahí no queda todo. El segundo movimiento empieza en Sol menor para acabar en Do Mayor. El tercer movimiento empieza en Sol mayor, y de repente surge un corte, y un brusco cambio de tonalidad, Mi Mayor, tonalidad en la que acaba la obra. En ese sentido, es la única sinfonía de Mahler que va de más a menos, además de no presentar un claro desarrollo romántico. Sin embargo la pieza es toda una incógnita, ya que el cómo se van a desembarcar sus armonías son todo un misterio, y es un preludio a la música del siglo XX.
Análisis
La música es lírica y cercana, en cuanto al estilo, a los "viejos y buenos tiempos de Mozart y Schubert", bien lejos de las composiciones más dramáticas que le preceden y suceden.
El primer movimiento hace oír campanillas y temas de carácter de danzas campesinas. Al final del desarrollo, que cambia la tonalidad a Mi menor, "progresa" a La mayor (tema de las flautas), hasta el clímax, en que la tonalidad es Do mayor. En ese clímax podemos escuchar la llamada de la trompeta del tema principal de la Quinta como un elemento de contraste y distorsión, con el que Mahler nos recuerda que no estamos oyendo una versión más moderna de una sinfonía de Haydn o de Eine kleine Nachtmusik. El movimiento, en forma sonata, termina con la recapitulación, tanto temática como de ambiente, de la primera parte (Sol mayor).
El segundo movimiento, que hace las veces de Scherzo, es una "danza de la muerte" ternaria, en la que un violín afinado un tono más alto va desgranando los temas, con esa ironía y ese sarcasmo tan caros a Mahler. Tonalmente juega con el Si bemol, y el episodio que funciona como Trío, en Fa mayor (más una repetición en Re mayor), encomendado al clarinete y al fagot como instrumentos principales.
Con el adagio volvemos a la tónica. Es el movimiento que podemos referir a las "divinas larguras" de Schubert o más cercanamente Bruckner. De una gran amplitud, juega sobre todo sobre las cuerdas, contrariamente a las dos primeras partes. Se termina por un tutti, introduciendo el último movimiento vocal.
El texto del lied, cantado por una voz de soprano, enuncia los placeres gastronómicos del cielo. La orquesta termina por borrarse después de haber reanudado los temas campesinos del primer movimiento. Quizás el significado de la sinfonía sea el de que 50 minutos de sinfonía de los mortales no son nada al lado de dos minutos de sinfonía de los ángeles, por lo cual, la tonalidad principal de la sinfonía es de sol mayor, a excepción de la coda del final que está en mi mayor (la tonalidad del Paraíso para Mahler). Asimismo explica por qué casi toda la sinfonía es alegre y desenfadada mientras que la coda es tranquila y serena.
wn.com/Mahler. Sinfonía Nº 4 En Sol Mayor
MAHLER.-
Sinfonía Nº 4 en Sol mayor
Misurato, senza affrettare
In moto tranquillo- Senza fretta
Calma - Poco adagio
Molto comodamente
Soprano: Heather Harper
Orquesta Sinfónica de la radio de Berlín
Director: Lorin Maazel
La Sinfonía n.º 4 de Gustav Mahler es una de sus más cortas sinfonías. Fue compuesta de julio de 1899 a agosto de 1900. Su duración es de aproximadamente cincuenta minutos.
Composición
Su composición llevó bastante tiempo: el cuarto movimiento (música) "Das himmlische Leben" (la Vida Celestial) se retoma del quinto lied del Des Knaben Wunderhorn escrito en 1892. Este movimiento debía formar parte, en un principio, de la tercera sinfonía (siendo este un séptimo movimiento que luego fue suprimido). Mahler decidió, entonces, hacer de este el final de su cuarta sinfonía y concibió los tres primeros movimientos en función del que ya tenía. Su composición comenzó durante las vacaciones del verano de 1899, tomadas tras dos años de trabajo continuo como director de la ópera de Viena, lo que le había impedido componer hasta entonces. Reemprendió la composición en el verano de 1900, concluyendo la partitura en tres semanas.
Estreno
El estreno de la obra, bajo la dirección del compositor, tuvo lugar en Múnich el 25 de noviembre de 1901, con la Orquesta Kaim (predecesora de la actual Filarmónica de Múnich) y la soprano Margarete Michalek, con relativamente poco éxito. En octubre de 1904 la sinfonía se estrenó en Ámsterdam, con la Orquesta del Concertgebouw. Según las memorias de Alma Mahler, esa noche la sinfonía se interpretó dos veces, una dirigida por Mahler y otra por el director del Concertgebouw, Willem Mengelberg. En los dos años siguientes, la sinfonía se interpretó en Estados Unidos y en Gran Bretaña.
Armonía
Sus tonalidades son muy raras, empezando porque la música empieza con staccatos de la orquesta en un aparente si menor. El clarinete lleva posteriormente la tonalidad a sol mayor. Pero, ahí no queda todo. El segundo movimiento empieza en Sol menor para acabar en Do Mayor. El tercer movimiento empieza en Sol mayor, y de repente surge un corte, y un brusco cambio de tonalidad, Mi Mayor, tonalidad en la que acaba la obra. En ese sentido, es la única sinfonía de Mahler que va de más a menos, además de no presentar un claro desarrollo romántico. Sin embargo la pieza es toda una incógnita, ya que el cómo se van a desembarcar sus armonías son todo un misterio, y es un preludio a la música del siglo XX.
Análisis
La música es lírica y cercana, en cuanto al estilo, a los "viejos y buenos tiempos de Mozart y Schubert", bien lejos de las composiciones más dramáticas que le preceden y suceden.
El primer movimiento hace oír campanillas y temas de carácter de danzas campesinas. Al final del desarrollo, que cambia la tonalidad a Mi menor, "progresa" a La mayor (tema de las flautas), hasta el clímax, en que la tonalidad es Do mayor. En ese clímax podemos escuchar la llamada de la trompeta del tema principal de la Quinta como un elemento de contraste y distorsión, con el que Mahler nos recuerda que no estamos oyendo una versión más moderna de una sinfonía de Haydn o de Eine kleine Nachtmusik. El movimiento, en forma sonata, termina con la recapitulación, tanto temática como de ambiente, de la primera parte (Sol mayor).
El segundo movimiento, que hace las veces de Scherzo, es una "danza de la muerte" ternaria, en la que un violín afinado un tono más alto va desgranando los temas, con esa ironía y ese sarcasmo tan caros a Mahler. Tonalmente juega con el Si bemol, y el episodio que funciona como Trío, en Fa mayor (más una repetición en Re mayor), encomendado al clarinete y al fagot como instrumentos principales.
Con el adagio volvemos a la tónica. Es el movimiento que podemos referir a las "divinas larguras" de Schubert o más cercanamente Bruckner. De una gran amplitud, juega sobre todo sobre las cuerdas, contrariamente a las dos primeras partes. Se termina por un tutti, introduciendo el último movimiento vocal.
El texto del lied, cantado por una voz de soprano, enuncia los placeres gastronómicos del cielo. La orquesta termina por borrarse después de haber reanudado los temas campesinos del primer movimiento. Quizás el significado de la sinfonía sea el de que 50 minutos de sinfonía de los mortales no son nada al lado de dos minutos de sinfonía de los ángeles, por lo cual, la tonalidad principal de la sinfonía es de sol mayor, a excepción de la coda del final que está en mi mayor (la tonalidad del Paraíso para Mahler). Asimismo explica por qué casi toda la sinfonía es alegre y desenfadada mientras que la coda es tranquila y serena.
- published: 20 Oct 2012
- views: 11701
Clara Schumann - Piano Concerto in A minor, Op. 7
- Order: Reorder
- Duration: 23:32
- Updated: 11 Dec 2015
- views: 1191
- Composer: Clara Josephine Schumann {born: Wieck} (13 September 1819 -- 20 May 1896)
- Orchestra: Alma Mahler Sinfonietta
- Conductor: Stefania Rinaldi
- Soloi...
- Composer: Clara Josephine Schumann {born: Wieck} (13 September 1819 -- 20 May 1896)
- Orchestra: Alma Mahler Sinfonietta
- Conductor: Stefania Rinaldi
- Soloist: Francesco Nicolosi
- Year of recording: 2004
Piano Concerto in A minor, Op. 7, written in 1833-1835.
00:00 - I. Allegro maestoso
07:07 - II. Romanze: Andante non troppo, con grazia
12:00 - III. Finale: Allegro non troppo - Allegro molto
Young Clara Wieck's piano concerto, like that of her future husband Robert Schumann, is in A minor, but that's the only detail the two compositions share. Clara's concerto is the work of an independent-minded young piano virtuoso who, although she was only 13 when she began writing it, was fully aware of the most progressive tendencies of German music in the 1830s. It's true that Robert did have his fingers in this piece; the two were already showing their works in progress to each other and in fact, Robert orchestrated what would in two years become the finale of Clara's three-movement concerto. But it's more Chopin-esque than Schumann-esque. Originally, the Schumann-orchestrated movement stood alone under the titles Concert-Rondo and Concertsatz.
- The first movement, Allegro maestoso (Clara orchestrated this and the slow movement herself), begins with a serious, almost march-like orchestral introduction interrupted by a brief piano flourish; another orchestral statement follows, then an impressive keyboard cascade that surely later inspired the opening measures of Grieg's Concerto in A minor (Clara's concerto, though the work of a teenager, was quite popular through the nineteenth century). The piano takes over the thematic material with minimal orchestral support; the music has a lightness, a bittersweet flavor, and a digital complexity that suggest the influence of early Chopin and, to a lesser extent, her older Leipzig colleague Felix Mendelssohn. The piano retires, allowing the orchestra to lead the movement out of its development section, but just as it seems the piano is about to launch the traditional cadenza, it instead eases directly into...
- the slow movement, called "Romanze." This introduces a simple, graceful theme, moving upward in the manner of the main melodies of the outer movements. The piano occasionally offers a few bars of intricate filigree, and eventually it is joined by a solo cello singing the unadorned melodic line while the piano offers a more active, inventive accompaniment. (This anticipates the slow movement of Tchaikovsky's Piano Concerto No. 2, which is largely a trio for piano, cello, and violin.) Again, a few solo piano gestures lead directly into...
- the final movement, the first to be composed. This is the most outgoing music so far, but it's still rather stern. It also has something of the polonaise about it, again calling Chopin to mind. (The most obvious model, though, Chopin's Grand Polonaise Brillante, wasn't published in its orchestral form until 1835.) This movement is almost as long as the first two combined. It's cast as a rondo, although the episodes are poorly enough differentiated (and so unified by the polonaise rhythm) that the movement could as easily be regarded as a set of grimly glittering variations.
wn.com/Clara Schumann Piano Concerto In A Minor, Op. 7
- Composer: Clara Josephine Schumann {born: Wieck} (13 September 1819 -- 20 May 1896)
- Orchestra: Alma Mahler Sinfonietta
- Conductor: Stefania Rinaldi
- Soloist: Francesco Nicolosi
- Year of recording: 2004
Piano Concerto in A minor, Op. 7, written in 1833-1835.
00:00 - I. Allegro maestoso
07:07 - II. Romanze: Andante non troppo, con grazia
12:00 - III. Finale: Allegro non troppo - Allegro molto
Young Clara Wieck's piano concerto, like that of her future husband Robert Schumann, is in A minor, but that's the only detail the two compositions share. Clara's concerto is the work of an independent-minded young piano virtuoso who, although she was only 13 when she began writing it, was fully aware of the most progressive tendencies of German music in the 1830s. It's true that Robert did have his fingers in this piece; the two were already showing their works in progress to each other and in fact, Robert orchestrated what would in two years become the finale of Clara's three-movement concerto. But it's more Chopin-esque than Schumann-esque. Originally, the Schumann-orchestrated movement stood alone under the titles Concert-Rondo and Concertsatz.
- The first movement, Allegro maestoso (Clara orchestrated this and the slow movement herself), begins with a serious, almost march-like orchestral introduction interrupted by a brief piano flourish; another orchestral statement follows, then an impressive keyboard cascade that surely later inspired the opening measures of Grieg's Concerto in A minor (Clara's concerto, though the work of a teenager, was quite popular through the nineteenth century). The piano takes over the thematic material with minimal orchestral support; the music has a lightness, a bittersweet flavor, and a digital complexity that suggest the influence of early Chopin and, to a lesser extent, her older Leipzig colleague Felix Mendelssohn. The piano retires, allowing the orchestra to lead the movement out of its development section, but just as it seems the piano is about to launch the traditional cadenza, it instead eases directly into...
- the slow movement, called "Romanze." This introduces a simple, graceful theme, moving upward in the manner of the main melodies of the outer movements. The piano occasionally offers a few bars of intricate filigree, and eventually it is joined by a solo cello singing the unadorned melodic line while the piano offers a more active, inventive accompaniment. (This anticipates the slow movement of Tchaikovsky's Piano Concerto No. 2, which is largely a trio for piano, cello, and violin.) Again, a few solo piano gestures lead directly into...
- the final movement, the first to be composed. This is the most outgoing music so far, but it's still rather stern. It also has something of the polonaise about it, again calling Chopin to mind. (The most obvious model, though, Chopin's Grand Polonaise Brillante, wasn't published in its orchestral form until 1835.) This movement is almost as long as the first two combined. It's cast as a rondo, although the episodes are poorly enough differentiated (and so unified by the polonaise rhythm) that the movement could as easily be regarded as a set of grimly glittering variations.
- published: 11 Dec 2015
- views: 1191
Alma 3/5
- Order: Reorder
- Duration: 20:08
- Updated: 21 Apr 2011
- views: 715
A love-story of ALMA MAHLER in 20c.
Alma from DOLL-ISM(Cirque de blanca #2)
Performanced by persona blanca.
MUSIC:Copper kettle.
DOLL:Ikuko MIYAZAKI
Nar...
A love-story of ALMA MAHLER in 20c.
Alma from DOLL-ISM(Cirque de blanca #2)
Performanced by persona blanca.
MUSIC:Copper kettle.
DOLL:Ikuko MIYAZAKI
Naration:Nyang-nyang TAMATORI.
Writtn and Directed by Takashi SHIRAKAMI.
[1] http://www.youtube.com/watch?v=m6Ml-mG3X6s
[2] http://www.youtube.com/watch?v=X2RplmQOXLw
[3] http://www.youtube.com/watch?v=Q3NPI6BGHWY
[4] http://www.youtube.com/watch?v=5Ci6n63jDsM
[5] http://www.youtube.com/watch?v=pwVDcBDZiM8
http://boogie.xxxxxxxx.jp/cirque2010/
NEW! MASQUE "SALOME" TRAILER 映像版仮面ミュージカル『SALOME』予告編
http://www.youtube.com/watch?v=6bj0lv6XmZE
The world of IKUKO MIYAZAKI 宮崎郁子の世界
http://www.youtube.com/watch?v=9n-N0Cesc10
memoria -et fantasia 記憶と幻想
http://www.youtube.com/watch?v=bsritUxAswY
Alma1/5
http://www.youtube.com/watch?v=m6Ml-mG3X6s
Egon Schiele - Blessing -
http://www.youtube.com/watch?v=zmqV-OwXqAM
DOLLS from Egon Schiele HQ
http://www.youtube.com/watch?v=M7zzOKz3hv0
wn.com/Alma 3 5
A love-story of ALMA MAHLER in 20c.
Alma from DOLL-ISM(Cirque de blanca #2)
Performanced by persona blanca.
MUSIC:Copper kettle.
DOLL:Ikuko MIYAZAKI
Naration:Nyang-nyang TAMATORI.
Writtn and Directed by Takashi SHIRAKAMI.
[1] http://www.youtube.com/watch?v=m6Ml-mG3X6s
[2] http://www.youtube.com/watch?v=X2RplmQOXLw
[3] http://www.youtube.com/watch?v=Q3NPI6BGHWY
[4] http://www.youtube.com/watch?v=5Ci6n63jDsM
[5] http://www.youtube.com/watch?v=pwVDcBDZiM8
http://boogie.xxxxxxxx.jp/cirque2010/
NEW! MASQUE "SALOME" TRAILER 映像版仮面ミュージカル『SALOME』予告編
http://www.youtube.com/watch?v=6bj0lv6XmZE
The world of IKUKO MIYAZAKI 宮崎郁子の世界
http://www.youtube.com/watch?v=9n-N0Cesc10
memoria -et fantasia 記憶と幻想
http://www.youtube.com/watch?v=bsritUxAswY
Alma1/5
http://www.youtube.com/watch?v=m6Ml-mG3X6s
Egon Schiele - Blessing -
http://www.youtube.com/watch?v=zmqV-OwXqAM
DOLLS from Egon Schiele HQ
http://www.youtube.com/watch?v=M7zzOKz3hv0
- published: 21 Apr 2011
- views: 715
My War Years - Arnold Schoenberg [1 of 3]
- Order: Reorder
- Duration: 29:37
- Updated: 15 May 2011
- views: 23637
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily...
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This first segment takes us through late 1908. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Oliver Knussen and Michael Tilson Thomas. Featured works include Verklärte Nacht, the Gurre-Lieder and the second string quartet.
wn.com/My War Years Arnold Schoenberg 1 Of 3
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This first segment takes us through late 1908. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Oliver Knussen and Michael Tilson Thomas. Featured works include Verklärte Nacht, the Gurre-Lieder and the second string quartet.
- published: 15 May 2011
- views: 23637
My War Years - Arnold Schoenberg [2 of 3]
- Order: Reorder
- Duration: 29:57
- Updated: 16 May 2011
- views: 8568
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily...
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This second segment begins in late 1908 and continues through his early years in Berlin. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Arlene Auger, Marianne Pousseur, and Michael Tilson Thomas. Featured works include excerpts from Erwartung and Pierrot Lunaire.
wn.com/My War Years Arnold Schoenberg 2 Of 3
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This second segment begins in late 1908 and continues through his early years in Berlin. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Arlene Auger, Marianne Pousseur, and Michael Tilson Thomas. Featured works include excerpts from Erwartung and Pierrot Lunaire.
- published: 16 May 2011
- views: 8568
My War Years - Arnold Schoenberg [3 of 3]
- Order: Reorder
- Duration: 23:14
- Updated: 19 May 2011
- views: 8015
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily...
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky. Hanns Eisler, Egon Wellesz and Oskar Kokoschka) tell the story of the composer's life in their own words. This third segment covers Schoenberg's, Berg's and Webern's enlistment to fight in the First World War, and concludes with Schoenberg's disclosure to his students of his new "Method of Composing with Twelve Tones Which are Related Only with One Another." Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain with Marianne Pousseur. Featured works include excerpts from Pierrot Lunaire, the first Chamber Symphony, and the Suite for Piano, Op. 25.
wn.com/My War Years Arnold Schoenberg 3 Of 3
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky. Hanns Eisler, Egon Wellesz and Oskar Kokoschka) tell the story of the composer's life in their own words. This third segment covers Schoenberg's, Berg's and Webern's enlistment to fight in the First World War, and concludes with Schoenberg's disclosure to his students of his new "Method of Composing with Twelve Tones Which are Related Only with One Another." Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain with Marianne Pousseur. Featured works include excerpts from Pierrot Lunaire, the first Chamber Symphony, and the Suite for Piano, Op. 25.
- published: 19 May 2011
- views: 8015
Concerto for Violin & Orchestra, Alban Berg
- Order: Reorder
- Duration: 32:56
- Updated: 04 Nov 2014
- views: 1278
Sonja Harasim, violin is featured with The Concordia Orchestra, Foster Beyers, conductor."In memory of an Angel" is dedicated to Manon Gropious, daughter of Alm...
Sonja Harasim, violin is featured with The Concordia Orchestra, Foster Beyers, conductor."In memory of an Angel" is dedicated to Manon Gropious, daughter of Alma Mahler-Werfel who was a victim of polio at the age of 18. Concordia College is located in Moorhead, MN.
wn.com/Concerto For Violin Orchestra, Alban Berg
Sonja Harasim, violin is featured with The Concordia Orchestra, Foster Beyers, conductor."In memory of an Angel" is dedicated to Manon Gropious, daughter of Alma Mahler-Werfel who was a victim of polio at the age of 18. Concordia College is located in Moorhead, MN.
- published: 04 Nov 2014
- views: 1278
Gustav Mahler, Kindertotenlieder, with English Sub Titles
- Order: Reorder
- Duration: 25:52
- Updated: 08 Jun 2014
- views: 1494
For mezzo-soprano and orchestra, these melancholic songs express the grief of a father whose beloved daughter has recently been lost to sickness. The text comes...
For mezzo-soprano and orchestra, these melancholic songs express the grief of a father whose beloved daughter has recently been lost to sickness. The text comes from poems by Friedrich Ruckert, and here Christa Ludwig with Herbert von Karajan bring out the mood with a special rare degree of poinancy, which is why I chose this recording to set the English translation on the screen.
When first performed in Vienna in 1905, the composer's wife Alma was outraged: "Ruckert did did not write these harrowing elegies solely out of his imagination ... for heaven's sake, don't tempt providence!" But providence was tempted. Within three years, Mahler had lost his eldest daughter to diphtheria, adding one more grief to a life already tainted with personal loss. From childhood, he possessed a heightened consciousness of death and the evanescence of beauty, crossed by a strong awareness of the strange co-existence of love and pain. Like many a philosopher before him, he came to see love as the motivating force, striving for re-union with those things from which, in the unsettling flux of life, we have become tragically estranged. The songs were writtten over a period of three years from 1901 to 1904, whilst Mahler was busy with his tragic 6th Sympnony which depicts the three "hammer blows" of fate which can fell a man down.
The recording dates to 1975 and was issued by DGG coupled with the 5th symphony, played by the the Berlin philharmonic. The translation is credited to L. Salter, and these introductory notes are mainly extracted from comments by Richard Osborne.
wn.com/Gustav Mahler, Kindertotenlieder, With English Sub Titles
For mezzo-soprano and orchestra, these melancholic songs express the grief of a father whose beloved daughter has recently been lost to sickness. The text comes from poems by Friedrich Ruckert, and here Christa Ludwig with Herbert von Karajan bring out the mood with a special rare degree of poinancy, which is why I chose this recording to set the English translation on the screen.
When first performed in Vienna in 1905, the composer's wife Alma was outraged: "Ruckert did did not write these harrowing elegies solely out of his imagination ... for heaven's sake, don't tempt providence!" But providence was tempted. Within three years, Mahler had lost his eldest daughter to diphtheria, adding one more grief to a life already tainted with personal loss. From childhood, he possessed a heightened consciousness of death and the evanescence of beauty, crossed by a strong awareness of the strange co-existence of love and pain. Like many a philosopher before him, he came to see love as the motivating force, striving for re-union with those things from which, in the unsettling flux of life, we have become tragically estranged. The songs were writtten over a period of three years from 1901 to 1904, whilst Mahler was busy with his tragic 6th Sympnony which depicts the three "hammer blows" of fate which can fell a man down.
The recording dates to 1975 and was issued by DGG coupled with the 5th symphony, played by the the Berlin philharmonic. The translation is credited to L. Salter, and these introductory notes are mainly extracted from comments by Richard Osborne.
- published: 08 Jun 2014
- views: 1494
11.01.2010 БЗК. Густав и Альма Малер
- Order: Reorder
- Duration: 119:29
- Updated: 11 Sep 2011
- views: 1558
Большой зал консерватории
Литературно-музыкальная композиция по письмам Густава Малера
Малер Симфония №4 Соль мажор, соч.1901 г. (фрагменты)
Си...
Большой зал консерватории
Литературно-музыкальная композиция по письмам Густава Малера
Малер Симфония №4 Соль мажор, соч.1901 г. (фрагменты)
Симфония №5 до-диез минор, соч.1902 г.
Автор композиции - Катя Рубина
Артисты театров - Дарья Мороз, Михаил Филиппов
Дирижер -- Владимир Федосеев
Gustav and Alma Mahler
Great Hall of Moscow Conservatory
Literary and musical composition based on the letters of Gustav Mahler
Mahler Symphony № 4 in G major, 1901 (fragments)
Mahler Symphony № 5 in C sharp minor, 1902
Author of composition - Kate Rubin
Actors: Dariy Moroz, Mikhail Filippov
Conductor - Vladimir Fedoseyev
wn.com/11.01.2010 Бзк. Густав И Альма Малер
Большой зал консерватории
Литературно-музыкальная композиция по письмам Густава Малера
Малер Симфония №4 Соль мажор, соч.1901 г. (фрагменты)
Симфония №5 до-диез минор, соч.1902 г.
Автор композиции - Катя Рубина
Артисты театров - Дарья Мороз, Михаил Филиппов
Дирижер -- Владимир Федосеев
Gustav and Alma Mahler
Great Hall of Moscow Conservatory
Literary and musical composition based on the letters of Gustav Mahler
Mahler Symphony № 4 in G major, 1901 (fragments)
Mahler Symphony № 5 in C sharp minor, 1902
Author of composition - Kate Rubin
Actors: Dariy Moroz, Mikhail Filippov
Conductor - Vladimir Fedoseyev
- published: 11 Sep 2011
- views: 1558
-
Gustav Mahler: Alma Mahler (1879-1964) about the trophies in her house and about Gustav Mahler
Interview by Jimmy Berg in Alma's house in Manhattan, New York. Gustav Mahler: http://www.gustav-mahler.eu Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-1964 Alma Mahlers' house: http://www.gustav-mahler.eu/index.php/plaatsen/145-america/new-york-city/1522-house-alma-mahler-new-york-1952-1964-120-east-73d-street -
Interview with Andris Nelsons : Gandolfi & Mahler program by the BSO (March 26-31, 2015)
Interviewed by Brian Bell. Andris Nelsons returns for the final three of his ten enormously wide-ranging 2014-15 programs. Here he conducts the BSO's second world premiere of the season, a concerto written by Boston-based composer Michael Gandolfi for Symphony Hall's remarkable, recently restored Aeolian-Skinner organ. Gandolfi's dynamic, pattern-infused, colorful works include the earlier BSO co -
Alma - MANKER, PAULUS (2007)
Erhältlich im HOANZL Online Shop: http://www.hoanzl.at Wild und vulgär, leidenschaftlich und herrlich. Das Kultstück als Film! Sie verführte die Genies des 20. Jahrhunderts: Alma Mahler-Werfel, die letzte femme fatale, eine Frau, wie vom Gott der Libido erschaffen; schön, leidenschaftlich, stark. Der Komponist Gustav Mahler ist daran gestorben, dass er sie zu sehr geliebt hat, der Maler Oskar Kok -
Interview with Adele Mailer by Jason Howard
This is part 2 of Jason Howard's three part interview with the painter Adele Morales Mailer, best known as Norman Mailer's wife. It aired on Manhattan cable TV, Famous X 2, in 1997. Adele recently left the planet at a goodly age. She was my neighbor and friend, an interesting and kind woman, the Alma Mahler of the Beat Scene, so I figured people should meet her. RIP Adele. -
Alma Mahler, la musa del secolo
Intervista a Emliano Jesus Coltorti, regista di Alma Mahler la Musa del secolo, di Riccardo Barbera. -
Alma Mahler :: Laue Sommernacht :: Julie Boulianne & Marc Bourdeau
Alma Mahler (1879-1964) Laue Sommernacht (Falke) Julie Boulianne, mezzo Marc Bourdeau, piano Atma Classique available on iTunes :: disponible sur iTunes -
Gustav Mahler: Alma Mahler (1879-1964) arriving at Tulln airport near Vienna (1947)
Alma Mahler and Ida Gebauer (with black hat). Gustav Mahler: http://www.gustav-mahler.eu Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-1964 Ida Gebauer: http://www.gustav-mahler.eu/index.php/personen-2/1524-agnes-ida-gebauer-1895-1977 -
Mahler Symphony No. 6 in A minor ('Tragic')Thomas Sanderling St. Petersburg Philharmonic
Gustav Mahler Symphony No. 6 in A minor ('Tragic') Thomas Sanderling, conductor. St. Petersburg Philharmonic Orchestra Big Hall of the St. Petersburg Philharmonic 1. Allegro energico. Heftig, aber markig 00:00:04 2. Scherzo. Wuchtig 00:23:37 3. Andante moderato 00:36:04 4. Finale, Sostenuto - Allegro moderato - Allegro energico 00:50:57 Tony Duggan: "A great performance" One of the fine
Gustav Mahler: Alma Mahler (1879-1964) about the trophies in her house and about Gustav Mahler
- Order: Reorder
- Duration: 14:23
- Updated: 02 Jan 2016
- views: 71
Interview by Jimmy Berg in Alma's house in Manhattan, New York.
Gustav Mahler: http://www.gustav-mahler.eu
Alma Mahler: http://www.gustav-mahler.eu/index.php/fa...
Interview by Jimmy Berg in Alma's house in Manhattan, New York.
Gustav Mahler: http://www.gustav-mahler.eu
Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-1964
Alma Mahlers' house: http://www.gustav-mahler.eu/index.php/plaatsen/145-america/new-york-city/1522-house-alma-mahler-new-york-1952-1964-120-east-73d-street
wn.com/Gustav Mahler Alma Mahler (1879 1964) About The Trophies In Her House And About Gustav Mahler
Interview by Jimmy Berg in Alma's house in Manhattan, New York.
Gustav Mahler: http://www.gustav-mahler.eu
Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-1964
Alma Mahlers' house: http://www.gustav-mahler.eu/index.php/plaatsen/145-america/new-york-city/1522-house-alma-mahler-new-york-1952-1964-120-east-73d-street
- published: 02 Jan 2016
- views: 71
Interview with Andris Nelsons : Gandolfi & Mahler program by the BSO (March 26-31, 2015)
- Order: Reorder
- Duration: 4:17
- Updated: 20 Mar 2015
- views: 775
Interviewed by Brian Bell.
Andris Nelsons returns for the final three of his ten enormously wide-ranging 2014-15 programs. Here he conducts the BSO's second wo...
Interviewed by Brian Bell.
Andris Nelsons returns for the final three of his ten enormously wide-ranging 2014-15 programs. Here he conducts the BSO's second world premiere of the season, a concerto written by Boston-based composer Michael Gandolfi for Symphony Hall's remarkable, recently restored Aeolian-Skinner organ. Gandolfi's dynamic, pattern-infused, colorful works include the earlier BSO commissions The Garden of Cosmic Speculation (premiered by the Tanglewood Music Center Orchestra) and Night Train to Perugia (premiered by the BSO in 2012). Gandolfi's new work shares a program with Gustav Mahler's powerful Symphony No. 6, arguably Mahler's most heartfelt symphonic statement-his wife Alma called it "the most completely personal of his works."
Buy Tickets:
wn.com/Interview With Andris Nelsons Gandolfi Mahler Program By The Bso (March 26 31, 2015)
Interviewed by Brian Bell.
Andris Nelsons returns for the final three of his ten enormously wide-ranging 2014-15 programs. Here he conducts the BSO's second world premiere of the season, a concerto written by Boston-based composer Michael Gandolfi for Symphony Hall's remarkable, recently restored Aeolian-Skinner organ. Gandolfi's dynamic, pattern-infused, colorful works include the earlier BSO commissions The Garden of Cosmic Speculation (premiered by the Tanglewood Music Center Orchestra) and Night Train to Perugia (premiered by the BSO in 2012). Gandolfi's new work shares a program with Gustav Mahler's powerful Symphony No. 6, arguably Mahler's most heartfelt symphonic statement-his wife Alma called it "the most completely personal of his works."
Buy Tickets:
- published: 20 Mar 2015
- views: 775
Alma - MANKER, PAULUS (2007)
- Order: Reorder
- Duration: 1:35
- Updated: 02 Dec 2010
- views: 5313
Erhältlich im HOANZL Online Shop: http://www.hoanzl.at
Wild und vulgär, leidenschaftlich und herrlich. Das Kultstück als Film!
Sie verführte die Genies des 20....
Erhältlich im HOANZL Online Shop: http://www.hoanzl.at
Wild und vulgär, leidenschaftlich und herrlich. Das Kultstück als Film!
Sie verführte die Genies des 20. Jahrhunderts: Alma Mahler-Werfel, die letzte femme fatale, eine Frau, wie vom Gott der Libido erschaffen; schön, leidenschaftlich, stark. Der Komponist Gustav Mahler ist daran gestorben, dass er sie zu sehr geliebt hat, der Maler Oskar Kokoschka konnte ihren Verlust ein Leben lang nicht verwinden, der Architekt Walter Gropius war ein Spielzeug in ihren Händen, und der Dichter Franz Werfel schrieb: „Sie gehört zu den ganz wenigen Zauberfrauen, die es gibt!" Zeitgenossen nannten sie respektlos „Die Witwe der vier Künste", denn Musik, Architektur, Malerei und Literatur: Das war ein Blatt mit vier Assen.
Mit: Johanna Wokalek, Nicole Ansari, Pamela Knaack, Susi Nicoletti, Albert Kitzl, Helmut Berger, Sebastian Blomberg, Paulus Manker, Jürgen Maurer, Angelika Richter, Josefin Platt, Peter Kern, Maik Solbach, Dieter Chmelar, Georg Schuchter, Heinrich Herki, Leon Askin;
DVD 1
Teil 1: In meines Vaters Garten
Teil 2: Die Windsbraut
DVD 2
Teil 3: Auferstehung
BONUSMATERIAL:
Interview mit Alma Mahler-Werfel
Interview mit dem Autor Joshua Sobol
Zeitzeugen: Anna Mahler, Marietta Torberg, Gina Kaus, Walter Gropius, Ernst Krenek, Milan Dubrovic, Oskar Kokoschka, Franz Werfel, Alma Zsolnay, Nuria Nono Schönberg, Ernest Roberts, Susi Nicoletti
Alma in Wien (Wochenschau von 1947)
Ausschnitte aus der Theateraufführung '96
wn.com/Alma Manker, Paulus (2007)
Erhältlich im HOANZL Online Shop: http://www.hoanzl.at
Wild und vulgär, leidenschaftlich und herrlich. Das Kultstück als Film!
Sie verführte die Genies des 20. Jahrhunderts: Alma Mahler-Werfel, die letzte femme fatale, eine Frau, wie vom Gott der Libido erschaffen; schön, leidenschaftlich, stark. Der Komponist Gustav Mahler ist daran gestorben, dass er sie zu sehr geliebt hat, der Maler Oskar Kokoschka konnte ihren Verlust ein Leben lang nicht verwinden, der Architekt Walter Gropius war ein Spielzeug in ihren Händen, und der Dichter Franz Werfel schrieb: „Sie gehört zu den ganz wenigen Zauberfrauen, die es gibt!" Zeitgenossen nannten sie respektlos „Die Witwe der vier Künste", denn Musik, Architektur, Malerei und Literatur: Das war ein Blatt mit vier Assen.
Mit: Johanna Wokalek, Nicole Ansari, Pamela Knaack, Susi Nicoletti, Albert Kitzl, Helmut Berger, Sebastian Blomberg, Paulus Manker, Jürgen Maurer, Angelika Richter, Josefin Platt, Peter Kern, Maik Solbach, Dieter Chmelar, Georg Schuchter, Heinrich Herki, Leon Askin;
DVD 1
Teil 1: In meines Vaters Garten
Teil 2: Die Windsbraut
DVD 2
Teil 3: Auferstehung
BONUSMATERIAL:
Interview mit Alma Mahler-Werfel
Interview mit dem Autor Joshua Sobol
Zeitzeugen: Anna Mahler, Marietta Torberg, Gina Kaus, Walter Gropius, Ernst Krenek, Milan Dubrovic, Oskar Kokoschka, Franz Werfel, Alma Zsolnay, Nuria Nono Schönberg, Ernest Roberts, Susi Nicoletti
Alma in Wien (Wochenschau von 1947)
Ausschnitte aus der Theateraufführung '96
- published: 02 Dec 2010
- views: 5313
Interview with Adele Mailer by Jason Howard
- Order: Reorder
- Duration: 30:02
- Updated: 22 Dec 2015
- views: 34
This is part 2 of Jason Howard's three part interview with the painter Adele Morales Mailer, best known as Norman Mailer's wife. It aired on Manhattan cable TV...
This is part 2 of Jason Howard's three part interview with the painter Adele Morales Mailer, best known as Norman Mailer's wife. It aired on Manhattan cable TV, Famous X 2, in 1997. Adele recently left the planet at a goodly age. She was my neighbor and friend, an interesting and kind woman, the Alma Mahler of the Beat Scene, so I figured people should meet her. RIP Adele.
wn.com/Interview With Adele Mailer By Jason Howard
This is part 2 of Jason Howard's three part interview with the painter Adele Morales Mailer, best known as Norman Mailer's wife. It aired on Manhattan cable TV, Famous X 2, in 1997. Adele recently left the planet at a goodly age. She was my neighbor and friend, an interesting and kind woman, the Alma Mahler of the Beat Scene, so I figured people should meet her. RIP Adele.
- published: 22 Dec 2015
- views: 34
Alma Mahler, la musa del secolo
- Order: Reorder
- Duration: 3:34
- Updated: 26 Jan 2008
- views: 24072
Intervista a Emliano Jesus Coltorti, regista di Alma Mahler la Musa del secolo, di Riccardo Barbera....
Intervista a Emliano Jesus Coltorti, regista di Alma Mahler la Musa del secolo, di Riccardo Barbera.
wn.com/Alma Mahler, La Musa Del Secolo
Intervista a Emliano Jesus Coltorti, regista di Alma Mahler la Musa del secolo, di Riccardo Barbera.
- published: 26 Jan 2008
- views: 24072
Alma Mahler :: Laue Sommernacht :: Julie Boulianne & Marc Bourdeau
- Order: Reorder
- Duration: 2:15
- Updated: 13 Jul 2014
- views: 223
Alma Mahler (1879-1964)
Laue Sommernacht (Falke)
Julie Boulianne, mezzo
Marc Bourdeau, piano
Atma Classique
available on iTunes :: disponible sur iTunes...
Alma Mahler (1879-1964)
Laue Sommernacht (Falke)
Julie Boulianne, mezzo
Marc Bourdeau, piano
Atma Classique
available on iTunes :: disponible sur iTunes
wn.com/Alma Mahler Laue Sommernacht Julie Boulianne Marc Bourdeau
Alma Mahler (1879-1964)
Laue Sommernacht (Falke)
Julie Boulianne, mezzo
Marc Bourdeau, piano
Atma Classique
available on iTunes :: disponible sur iTunes
- published: 13 Jul 2014
- views: 223
Gustav Mahler: Alma Mahler (1879-1964) arriving at Tulln airport near Vienna (1947)
- Order: Reorder
- Duration: 0:59
- Updated: 03 Jan 2016
- views: 69
Alma Mahler and Ida Gebauer (with black hat).
Gustav Mahler: http://www.gustav-mahler.eu
Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generati...
Alma Mahler and Ida Gebauer (with black hat).
Gustav Mahler: http://www.gustav-mahler.eu
Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-1964
Ida Gebauer: http://www.gustav-mahler.eu/index.php/personen-2/1524-agnes-ida-gebauer-1895-1977
wn.com/Gustav Mahler Alma Mahler (1879 1964) Arriving At Tulln Airport Near Vienna (1947)
Alma Mahler and Ida Gebauer (with black hat).
Gustav Mahler: http://www.gustav-mahler.eu
Alma Mahler: http://www.gustav-mahler.eu/index.php/familie/111-generation-6/342-2-alma-maria-mahler-schindler-1879-1964
Ida Gebauer: http://www.gustav-mahler.eu/index.php/personen-2/1524-agnes-ida-gebauer-1895-1977
- published: 03 Jan 2016
- views: 69
Mahler Symphony No. 6 in A minor ('Tragic')Thomas Sanderling St. Petersburg Philharmonic
- Order: Reorder
- Duration: 81:21
- Updated: 06 Jan 2014
- views: 4515
Gustav Mahler Symphony No. 6 in A minor ('Tragic')
Thomas Sanderling, conductor.
St. Petersburg Philharmonic Orchestra
Big Hall of the St. Petersburg Philharmo...
Gustav Mahler Symphony No. 6 in A minor ('Tragic')
Thomas Sanderling, conductor.
St. Petersburg Philharmonic Orchestra
Big Hall of the St. Petersburg Philharmonic
1. Allegro energico. Heftig, aber markig 00:00:04
2. Scherzo. Wuchtig 00:23:37
3. Andante moderato 00:36:04
4. Finale, Sostenuto - Allegro moderato - Allegro energico 00:50:57
Tony Duggan: "A great performance"
One of the finest of these is easily available and is by Thomas Sanderling and the Saint Petersburg Philharmonic on RS (RS 953-0186). In an interview in "Fanfare" at the time of its release Sanderling was keen to stress that the Allegro tempo for the first movement is dictated by Mahler's sub-marking "Heftig, aber markig" ("Vehement, but pithy") to bring out a combative, "Sturm und Drang", martial tone. So he's on the slower, grimmer end of the tempo scale. Not as slow as Sir John Barbirolli, as we will see, but steady enough to make every note tell without dragging the movement down. Which is just as well because when the "Alma theme" is reached one is still aware of a broadening, with the lady emerging with ardour. I like the contrast this gives to the movement because, though the theme is treated with some warmth, Sanderling doesn't overheat the emotion, passing it as the second subject in a sonata form pure and simple...
... The Scherzo under Sanderling is, in his words, a "horror movement", a Danse Macabre with prominent xylophone and shrieking woodwind within the same steady tempo as the first movement....
A great performance will shine through the worst of sound but it's always good when the recording
is of top quality and suited to the kind of performance it records, as it does here.
Tony Duggan Recommended Recordings:Thomas Sanderling and the Saint Petersburg Philharmonic on RS (RS 953-0186)
Stereoplay, Nov.1996:
"The Best"
By Attila Csampai
There are now over 50 recordings in the catalogue of Mahler's Sixth, the darkest of his symphonies.
This is a large number which hides the fact that most of these recordings are of mediocre musical quality. Thus, Solti's demonic interpretation from 1970 has kept its reference status to this day. challenged lately possibly only by Abbado's and Chaillys performances.
Now the 54-year old Thomas Sanderling, first son of his still famous father, has enriched this ludicrously large catalogue with a perturbingly realistic and bizarrely cryptic interpretation which makes even Solti's pandemonium seem mild in comparison. Supported by a bone dry, sharply contoured recording technology Sanderling advances forward firmly, taking the bull by the horns and tearing from this desolate work any last illusions of possible 'betterment'.
We experience an eighty minute trip of total horror,
a grotesquely ominous premonition of World War I with all its atrocities, a harsh perverted picture of the feeling of doom and destruction which prevailed at the beginning of the century. And all this is done so plainly without embellishment and so contrapunctally sharpened that even Mahler himself can hardly have imagined its success.
The St. Petersburg musicians recall their old 'Leningrad' virtues, thus Mahler appears here less a nostalgic remnant from crumbling Romanticism, but rather an incredibly innovative, even prophetic, forerunner of the Russian modern age and its masters. A truly impressive start to a new Mahler cycle from this Italian label.
The New York Times / The Arts / Classical CDs
" Sanderligs Mahler Sixth "
By James R. Oestreich
Which is where Thomas Sanderling comes in, with the splendid St.Petersburg Philharmonic, in a stunning account of the Sixth Symphony (RS 953-0186; two CDs).
The St. Petersburg brasses, scarcely less powerful and much more polished than Mr. Svetlanov's, retain a characteristic Russian swagger, which suits Mahler as if tailored for the purpose. But Mr. Sanderling keeps his troops under firmer grip in a taut and compelling interpretation. Nothing, it seems, could be lovelier than the song of the strings in the Andante -- until, that is, the woodwinds pick un the tune.
It may be that like Pierre Boulez and Christoph von Dohnanyi, in whose exalted company this recording puts Mr.Sanderling, he finds the Sixth a particularly congenial work. But one hopes that his Mahlerian sympathies extend farther and he will lead this great orchestra in other symphonies as well.
wn.com/Mahler Symphony No. 6 In A Minor ('Tragic')Thomas Sanderling St. Petersburg Philharmonic
Gustav Mahler Symphony No. 6 in A minor ('Tragic')
Thomas Sanderling, conductor.
St. Petersburg Philharmonic Orchestra
Big Hall of the St. Petersburg Philharmonic
1. Allegro energico. Heftig, aber markig 00:00:04
2. Scherzo. Wuchtig 00:23:37
3. Andante moderato 00:36:04
4. Finale, Sostenuto - Allegro moderato - Allegro energico 00:50:57
Tony Duggan: "A great performance"
One of the finest of these is easily available and is by Thomas Sanderling and the Saint Petersburg Philharmonic on RS (RS 953-0186). In an interview in "Fanfare" at the time of its release Sanderling was keen to stress that the Allegro tempo for the first movement is dictated by Mahler's sub-marking "Heftig, aber markig" ("Vehement, but pithy") to bring out a combative, "Sturm und Drang", martial tone. So he's on the slower, grimmer end of the tempo scale. Not as slow as Sir John Barbirolli, as we will see, but steady enough to make every note tell without dragging the movement down. Which is just as well because when the "Alma theme" is reached one is still aware of a broadening, with the lady emerging with ardour. I like the contrast this gives to the movement because, though the theme is treated with some warmth, Sanderling doesn't overheat the emotion, passing it as the second subject in a sonata form pure and simple...
... The Scherzo under Sanderling is, in his words, a "horror movement", a Danse Macabre with prominent xylophone and shrieking woodwind within the same steady tempo as the first movement....
A great performance will shine through the worst of sound but it's always good when the recording
is of top quality and suited to the kind of performance it records, as it does here.
Tony Duggan Recommended Recordings:Thomas Sanderling and the Saint Petersburg Philharmonic on RS (RS 953-0186)
Stereoplay, Nov.1996:
"The Best"
By Attila Csampai
There are now over 50 recordings in the catalogue of Mahler's Sixth, the darkest of his symphonies.
This is a large number which hides the fact that most of these recordings are of mediocre musical quality. Thus, Solti's demonic interpretation from 1970 has kept its reference status to this day. challenged lately possibly only by Abbado's and Chaillys performances.
Now the 54-year old Thomas Sanderling, first son of his still famous father, has enriched this ludicrously large catalogue with a perturbingly realistic and bizarrely cryptic interpretation which makes even Solti's pandemonium seem mild in comparison. Supported by a bone dry, sharply contoured recording technology Sanderling advances forward firmly, taking the bull by the horns and tearing from this desolate work any last illusions of possible 'betterment'.
We experience an eighty minute trip of total horror,
a grotesquely ominous premonition of World War I with all its atrocities, a harsh perverted picture of the feeling of doom and destruction which prevailed at the beginning of the century. And all this is done so plainly without embellishment and so contrapunctally sharpened that even Mahler himself can hardly have imagined its success.
The St. Petersburg musicians recall their old 'Leningrad' virtues, thus Mahler appears here less a nostalgic remnant from crumbling Romanticism, but rather an incredibly innovative, even prophetic, forerunner of the Russian modern age and its masters. A truly impressive start to a new Mahler cycle from this Italian label.
The New York Times / The Arts / Classical CDs
" Sanderligs Mahler Sixth "
By James R. Oestreich
Which is where Thomas Sanderling comes in, with the splendid St.Petersburg Philharmonic, in a stunning account of the Sixth Symphony (RS 953-0186; two CDs).
The St. Petersburg brasses, scarcely less powerful and much more polished than Mr. Svetlanov's, retain a characteristic Russian swagger, which suits Mahler as if tailored for the purpose. But Mr. Sanderling keeps his troops under firmer grip in a taut and compelling interpretation. Nothing, it seems, could be lovelier than the song of the strings in the Andante -- until, that is, the woodwinds pick un the tune.
It may be that like Pierre Boulez and Christoph von Dohnanyi, in whose exalted company this recording puts Mr.Sanderling, he finds the Sixth a particularly congenial work. But one hopes that his Mahlerian sympathies extend farther and he will lead this great orchestra in other symphonies as well.
- published: 06 Jan 2014
- views: 4515
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57:28
Alma Mahler (1879-1964) -- Complete Songs
Alma Mahler's "Sämtliche Lieder" as performed by Charlotte Margiono (soprano) and members ...
published: 24 Jul 2015
Alma Mahler (1879-1964) -- Complete Songs
Alma Mahler (1879-1964) -- Complete Songs
- Report rights infringement
- published: 24 Jul 2015
- views: 1571
12:37
Bee Wilson: Alma Mahler, her men, music and anti-semitism
Bee Wilson discusses Alma Mahler's life, music, relationships and anti-semitism. Read more...
published: 02 Nov 2015
Bee Wilson: Alma Mahler, her men, music and anti-semitism
Bee Wilson: Alma Mahler, her men, music and anti-semitism
- Report rights infringement
- published: 02 Nov 2015
- views: 2086
13:15
Angelika Kirchschlager: The complete "5 Lieder" (Alma Mahler)
5 Lieder (1910):
I. Die stille Stadt 00:00
II. In meines Vaters Garten 02:58
III. Laue Som...
published: 02 Mar 2014
Angelika Kirchschlager: The complete "5 Lieder" (Alma Mahler)
Angelika Kirchschlager: The complete "5 Lieder" (Alma Mahler)
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- published: 02 Mar 2014
- views: 7468
24:28
Alma Mahler: 8 Lieder (1910/1924)
Alma Mahler (1879-1964): 8 Lieder nella versione orchestrale di Jorma Panula (1910/1924).
...
published: 01 Jan 2013
Alma Mahler: 8 Lieder (1910/1924)
Alma Mahler: 8 Lieder (1910/1924)
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- published: 01 Jan 2013
- views: 12434
2:59
Alma Mahler ~ "The loveliest girl in Vienna was Alma, the smartest as well".wmv
"the most beautiful girl in Vienna" according to Bruno Walter. Music and lyrics by profess...
published: 22 Aug 2010
Alma Mahler ~ "The loveliest girl in Vienna was Alma, the smartest as well".wmv
Alma Mahler ~ "The loveliest girl in Vienna was Alma, the smartest as well".wmv
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- published: 22 Aug 2010
- views: 30635
2:32
Gustav Mahler: Interview Alma Mahler (1879-1964) about Gustav Mahler (1860-1911)
Gustav Mahler: http://www.gustav-mahler.eu
Alma Mahler: http://www.gustav-mahler.eu/index....
published: 02 Jan 2016
Gustav Mahler: Interview Alma Mahler (1879-1964) about Gustav Mahler (1860-1911)
Gustav Mahler: Interview Alma Mahler (1879-1964) about Gustav Mahler (1860-1911)
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- published: 02 Jan 2016
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2:10
Alma Mahler: Laue Sommernacht
Alma mahler: Laue Sommernacht (Fünf Lieder, Nummer 3)
Maria Riccarda Wesseling, mezzosopra...
published: 10 Oct 2013
Alma Mahler: Laue Sommernacht
Alma Mahler: Laue Sommernacht
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- published: 10 Oct 2013
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2:56
Alma Mahler: Die Stille Stadt - Iris Vermillion, Riccardo Chailly/RCO
Liegt eine Stadt im Tale,
Ein blasser Tag vergeht.
Es wird nicht lange dauern mehr,
Bis we...
published: 03 Feb 2013
Alma Mahler: Die Stille Stadt - Iris Vermillion, Riccardo Chailly/RCO
Alma Mahler: Die Stille Stadt - Iris Vermillion, Riccardo Chailly/RCO
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- published: 03 Feb 2013
- views: 958
83:22
"Recuerdos de Gustav Mahler" de Alma Mahler (Adaptación)
Libro escrito por la que fuera esposa del compositor austríaco durante 9 años. El texto co...
published: 20 Apr 2015
"Recuerdos de Gustav Mahler" de Alma Mahler (Adaptación)
"Recuerdos de Gustav Mahler" de Alma Mahler (Adaptación)
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- published: 20 Apr 2015
- views: 755
3:27
Alma Mahler: Licht in der Nacht - Iris Vermillion, Riccardo Chailly/RCO
...
published: 08 Sep 2014
Alma Mahler: Licht in der Nacht - Iris Vermillion, Riccardo Chailly/RCO
Alma Mahler: Licht in der Nacht - Iris Vermillion, Riccardo Chailly/RCO
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- published: 08 Sep 2014
- views: 516
0:45
Alma Mahler - History channel
Alma Maria Mahler Gropius Werfel (born Alma Maria Schindler; 31 August 1879 – 11 December ...
published: 20 Dec 2014
Alma Mahler - History channel
Alma Mahler - History channel
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- published: 20 Dec 2014
- views: 1509
14:19
Alma Mahler von Paulus Manker
Excerpts of the interactive theatre play "Alma" about Alma Mahler-Werfel, wife and muse of...
published: 27 Mar 2011
Alma Mahler von Paulus Manker
Alma Mahler von Paulus Manker
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- published: 27 Mar 2011
- views: 25793
8:46
Remebering Mahler / Souvenirs de Mahler / Erinnerungen von Mahler III
Part 3:
Interviews with musicians who knew/worked with Mahler. This last part includes an...
published: 01 Feb 2011
Remebering Mahler / Souvenirs de Mahler / Erinnerungen von Mahler III
Remebering Mahler / Souvenirs de Mahler / Erinnerungen von Mahler III
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- published: 01 Feb 2011
- views: 3940
2:52
Sarah Connolly sings: "Die stille Stadt" by Alma Mahler
This performance formed part of a superb recital by mezzo-soprano Sarah Connolly, accompan...
published: 26 Jul 2013
Sarah Connolly sings: "Die stille Stadt" by Alma Mahler
Sarah Connolly sings: "Die stille Stadt" by Alma Mahler
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- published: 26 Jul 2013
- views: 2602
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7:08
George Ingram III - Live In Performance - Songs by Alma Mahler
George Ingram III - Live In Performance - Songs by Alma Mahler...
published: 06 Apr 2010
George Ingram III - Live In Performance - Songs by Alma Mahler
George Ingram III - Live In Performance - Songs by Alma Mahler
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- published: 06 Apr 2010
- views: 850
3:11
Susan Anne Proctor Alma Mahler Die stille Stadt
Concerto Omaggio alla Donna - Sale Apollinee, Gran Teatro La Fenice.
DIE STILLE STADT
...
published: 07 Mar 2010
Susan Anne Proctor Alma Mahler Die stille Stadt
Susan Anne Proctor Alma Mahler Die stille Stadt
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- views: 3413
2:07
Alma Mahler: Laue Sommernacht - Iris Vermillion, Riccardo Chailly/RCO
Laue Sommernacht: am Himmel
Stand kein Stern, im weiten Walde
Suchten wir uns tief im Dunk...
published: 03 Feb 2013
Alma Mahler: Laue Sommernacht - Iris Vermillion, Riccardo Chailly/RCO
Alma Mahler: Laue Sommernacht - Iris Vermillion, Riccardo Chailly/RCO
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- published: 03 Feb 2013
- views: 528
34:36
Alma Mahler - A Song Recital with Rhodri Hedd and David Murray
Performed at Kings Hall, Newcastle-upon-Tyne, on Tuesday 14th May 2013
This is my Final R...
published: 30 Sep 2013
Alma Mahler - A Song Recital with Rhodri Hedd and David Murray
Alma Mahler - A Song Recital with Rhodri Hedd and David Murray
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- published: 30 Sep 2013
- views: 569
4:55
ALMA MAHLER: Liederen en Dagboekfragmenten
"Zulk een liefde uitgedrukt in stem en piano, heel mooi, vol emotie. Het gesprokene liet o...
published: 05 Mar 2010
ALMA MAHLER: Liederen en Dagboekfragmenten
ALMA MAHLER: Liederen en Dagboekfragmenten
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- published: 05 Mar 2010
- views: 1623
3:38
2011 - Alma Mahler - Die stille Stadt ~ Ferri-Benedetti | Bohuszewicz
Alma Mahler
Die stille Stadt
Flavio Ferri-Benedetti, Altus
Olgierd Bohuszewicz, Piano
S...
published: 04 Aug 2013
2011 - Alma Mahler - Die stille Stadt ~ Ferri-Benedetti | Bohuszewicz
2011 - Alma Mahler - Die stille Stadt ~ Ferri-Benedetti | Bohuszewicz
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- published: 04 Aug 2013
- views: 793
1:35
Jasper Krabbé over Kokoschka's grote liefde Alma Mahler - Opium
http://www.opium.avro.nl
Kunstenaar Oskar Kokoschka werd in de steek gelaten door zijn gr...
published: 20 Sep 2013
Jasper Krabbé over Kokoschka's grote liefde Alma Mahler - Opium
Jasper Krabbé over Kokoschka's grote liefde Alma Mahler - Opium
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- published: 20 Sep 2013
- views: 980
2:54
Alma Mahler: Die stille Stadt (Dehmel) from 5 Lieder, No.1
小川明子のCD，コンサート情報は下記HPでご覧頂けます。
http://goo.gl/TTT9l9
アルマ・マーラー作曲 静かな街（デーメル詩）
Akiko OGAWA (Alt)...
published: 31 Jan 2012
Alma Mahler: Die stille Stadt (Dehmel) from 5 Lieder, No.1
Alma Mahler: Die stille Stadt (Dehmel) from 5 Lieder, No.1
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- published: 31 Jan 2012
- views: 620
3:14
"Die stille Stadt" by Alma Mahler Werfel, VOX 3 Collective - Angela Young Smucker
Art song by Alma Schindler Mahler-Werfel, "Die Stille Stadt" from VOX 3's May 2009 concert...
published: 18 Aug 2010
"Die stille Stadt" by Alma Mahler Werfel, VOX 3 Collective - Angela Young Smucker
"Die stille Stadt" by Alma Mahler Werfel, VOX 3 Collective - Angela Young Smucker
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- published: 18 Aug 2010
- views: 5265
3:34
Andy Tziouras & Fudam Pierce - Alma Mahler
Tema perteneciente al EP "Cómo Desaparecer Completamente" de Andy Tziouras & Fudam Pierce
...
published: 25 May 2015
Andy Tziouras & Fudam Pierce - Alma Mahler
Andy Tziouras & Fudam Pierce - Alma Mahler
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- published: 25 May 2015
- views: 708
2:03
Alma Mahler - Laue Sommernacht - Selections from Fünf Lieder
Dr. Ana Guigui: Mezzo-Soprano
Dr. Ryan Dorin: Accompanist
Composer: Alma Mahler (1879-1964...
published: 16 Nov 2013
Alma Mahler - Laue Sommernacht - Selections from Fünf Lieder
Alma Mahler - Laue Sommernacht - Selections from Fünf Lieder
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- published: 16 Nov 2013
- views: 312
9:43
Gustav Mahler - Symphony No. 5, IV. Adagietto, sehr langsam (Performed live by One Found Sound)
Gustav Mahler (1860 – 1911)
Symphony No. 5, IV. Adagietto, sehr langsam
Performed live b...
published: 15 Feb 2015
Gustav Mahler - Symphony No. 5, IV. Adagietto, sehr langsam (Performed live by One Found Sound)
Gustav Mahler - Symphony No. 5, IV. Adagietto, sehr langsam (Performed live by One Found Sound)
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- published: 15 Feb 2015
- views: 297
12:08
Gustav Mahler - Adagietto from 5th Symphony | Vienna Philharmonic, Leonard Bernstein [HD]
Adagietto, Sehr Langsam. Gustav Mahler - Symphony Nº 5 in C sharp minor, 1901-02. Wiener P...
published: 31 Dec 2013
Gustav Mahler - Adagietto from 5th Symphony | Vienna Philharmonic, Leonard Bernstein [HD]
Gustav Mahler - Adagietto from 5th Symphony | Vienna Philharmonic, Leonard Bernstein [HD]
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- published: 31 Dec 2013
- views: 69960
5:08
Gewandhausorchester & Riccardo Chailly: Gustav Mahler Symphony No. 5
As Riccardo Chailly points out, "The Fifth begins with a dark, gloomy, and tragic tone, bu...
published: 30 May 2014
Gewandhausorchester & Riccardo Chailly: Gustav Mahler Symphony No. 5
Gewandhausorchester & Riccardo Chailly: Gustav Mahler Symphony No. 5
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- published: 30 May 2014
- views: 13470
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95:48
Bride Of The Wind
...
published: 14 Jan 2013
Bride Of The Wind
Bride Of The Wind
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- published: 14 Jan 2013
- views: 11118
28:31
"Alma - Mit der verrückten Witwe um die Welt" (2013)
1996 schufen der österreichische Theatermacher Paulus Manker und der israelische Schriftst...
published: 04 Nov 2013
"Alma - Mit der verrückten Witwe um die Welt" (2013)
"Alma - Mit der verrückten Witwe um die Welt" (2013)
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- published: 04 Nov 2013
- views: 2246
23:42
Mahler - Symphony No.6 in A minor "Tragic" - I, Allegro energico ma non troppo. Heftig, aber markig
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("T...
published: 04 Aug 2011
Mahler - Symphony No.6 in A minor "Tragic" - I, Allegro energico ma non troppo. Heftig, aber markig
Mahler - Symphony No.6 in A minor "Tragic" - I, Allegro energico ma non troppo. Heftig, aber markig
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- published: 04 Aug 2011
- views: 25881
21:03
Alejandro Dolina - Alma Mahler
Este vídeo no necesita explicación.
La imagen la tomé del blog: edgeoflaw DOT blogspot DOT...
published: 08 Mar 2013
Alejandro Dolina - Alma Mahler
Alejandro Dolina - Alma Mahler
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- published: 08 Mar 2013
- views: 1740
86:52
Riccardo Chailly dirigiert Mahler: Symphonie Nr 6 a-Moll "Tragische"
Riccardo Chailly dirigiert das Gewandhausorchester
Riccardo Chailly, beim Echo Klassik al...
published: 27 Nov 2015
Riccardo Chailly dirigiert Mahler: Symphonie Nr 6 a-Moll "Tragische"
Riccardo Chailly dirigiert Mahler: Symphonie Nr 6 a-Moll "Tragische"
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- published: 27 Nov 2015
- views: 555
27:04
Alban BERG - Concerto "à la mémoire d'un ange" - Luc HÉRY, violon
Alban Berg (1885-1935), concerto pour violon et orchestre composé en 1935 à la mémoire de ...
published: 22 Feb 2015
Alban BERG - Concerto "à la mémoire d'un ange" - Luc HÉRY, violon
Alban BERG - Concerto "à la mémoire d'un ange" - Luc HÉRY, violon
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- published: 22 Feb 2015
- views: 4277
29:44
Mahler - Symphony No.6 in A minor "Tragic" - IV, Finale: Sostenuto/Allegro moderato/Allegro energico
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("T...
published: 05 Aug 2011
Mahler - Symphony No.6 in A minor "Tragic" - IV, Finale: Sostenuto/Allegro moderato/Allegro energico
Mahler - Symphony No.6 in A minor "Tragic" - IV, Finale: Sostenuto/Allegro moderato/Allegro energico
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- published: 05 Aug 2011
- views: 23161
28:07
Mahler - Symphony No.6 in A minor "Tragic" - II & III, Scherzo: Wuchtig/Andante moderato
The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische ("T...
published: 04 Aug 2011
Mahler - Symphony No.6 in A minor "Tragic" - II & III, Scherzo: Wuchtig/Andante moderato
Mahler - Symphony No.6 in A minor "Tragic" - II & III, Scherzo: Wuchtig/Andante moderato
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- published: 04 Aug 2011
- views: 7263
106:01
Marco Pierobon & Paolo Oreni - The COMPLETE Mahler 5 for Trumpet and Organ
http://www.marcopierobon.com
Gustav Mahler,
Quinta sinfonia per Tromba e Organo
Fuen...
published: 23 Oct 2011
Marco Pierobon & Paolo Oreni - The COMPLETE Mahler 5 for Trumpet and Organ
Marco Pierobon & Paolo Oreni - The COMPLETE Mahler 5 for Trumpet and Organ
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- published: 23 Oct 2011
- views: 13378
25:08
GUSTAV MAHLER.- Sinfonia Nº 10 Andante-Adagio
GUSTAV MAHLER.-
Sinfonia Nº 10 Andante-Adagio
Orquesta del Concertgebouw de Amsterdam
...
published: 28 Oct 2012
GUSTAV MAHLER.- Sinfonia Nº 10 Andante-Adagio
GUSTAV MAHLER.- Sinfonia Nº 10 Andante-Adagio
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- views: 2890
58:35
MAHLER.- Sinfonía Nº 4 en Sol mayor
MAHLER.-
Sinfonía Nº 4 en Sol mayor
Misurato, senza affrettare
In moto tranquillo- Sen...
published: 20 Oct 2012
MAHLER.- Sinfonía Nº 4 en Sol mayor
MAHLER.- Sinfonía Nº 4 en Sol mayor
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- published: 20 Oct 2012
- views: 11701
23:32
Clara Schumann - Piano Concerto in A minor, Op. 7
- Composer: Clara Josephine Schumann {born: Wieck} (13 September 1819 -- 20 May 1896)
- Or...
published: 11 Dec 2015
Clara Schumann - Piano Concerto in A minor, Op. 7
Clara Schumann - Piano Concerto in A minor, Op. 7
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- published: 11 Dec 2015
- views: 1191
20:08
Alma 3/5
A love-story of ALMA MAHLER in 20c.
Alma from DOLL-ISM(Cirque de blanca #2)
Performan...
published: 21 Apr 2011
Alma 3/5
Alma 3/5
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- published: 21 Apr 2011
- views: 715
29:37
My War Years - Arnold Schoenberg [1 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexa...
published: 15 May 2011
My War Years - Arnold Schoenberg [1 of 3]
My War Years - Arnold Schoenberg [1 of 3]
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- published: 15 May 2011
- views: 23637
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14:23
Gustav Mahler: Alma Mahler (1879-1964) about the trophies in her house and about Gustav Mahler
Interview by Jimmy Berg in Alma's house in Manhattan, New York.
Gustav Mahler: http://www....
published: 02 Jan 2016
Gustav Mahler: Alma Mahler (1879-1964) about the trophies in her house and about Gustav Mahler
Gustav Mahler: Alma Mahler (1879-1964) about the trophies in her house and about Gustav Mahler
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- published: 02 Jan 2016
- views: 71
4:17
Interview with Andris Nelsons : Gandolfi & Mahler program by the BSO (March 26-31, 2015)
Interviewed by Brian Bell.
Andris Nelsons returns for the final three of his ten enormous...
published: 20 Mar 2015
Interview with Andris Nelsons : Gandolfi & Mahler program by the BSO (March 26-31, 2015)
Interview with Andris Nelsons : Gandolfi & Mahler program by the BSO (March 26-31, 2015)
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- published: 20 Mar 2015
- views: 775
1:35
Alma - MANKER, PAULUS (2007)
Erhältlich im HOANZL Online Shop: http://www.hoanzl.at
Wild und vulgär, leidenschaftlich u...
published: 02 Dec 2010
Alma - MANKER, PAULUS (2007)
Alma - MANKER, PAULUS (2007)
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- published: 02 Dec 2010
- views: 5313
30:02
Interview with Adele Mailer by Jason Howard
This is part 2 of Jason Howard's three part interview with the painter Adele Morales Mail...
published: 22 Dec 2015
Interview with Adele Mailer by Jason Howard
Interview with Adele Mailer by Jason Howard
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- published: 22 Dec 2015
- views: 34
3:34
Alma Mahler, la musa del secolo
Intervista a Emliano Jesus Coltorti, regista di Alma Mahler la Musa del secolo, di Riccard...
published: 26 Jan 2008
Alma Mahler, la musa del secolo
Alma Mahler, la musa del secolo
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- published: 26 Jan 2008
- views: 24072
2:15
Alma Mahler :: Laue Sommernacht :: Julie Boulianne & Marc Bourdeau
Alma Mahler (1879-1964)
Laue Sommernacht (Falke)
Julie Boulianne, mezzo
Marc Bourdeau, p...
published: 13 Jul 2014
Alma Mahler :: Laue Sommernacht :: Julie Boulianne & Marc Bourdeau
Alma Mahler :: Laue Sommernacht :: Julie Boulianne & Marc Bourdeau
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- published: 13 Jul 2014
- views: 223
0:59
Gustav Mahler: Alma Mahler (1879-1964) arriving at Tulln airport near Vienna (1947)
Alma Mahler and Ida Gebauer (with black hat).
Gustav Mahler: http://www.gustav-mahler.eu
A...
published: 03 Jan 2016
Gustav Mahler: Alma Mahler (1879-1964) arriving at Tulln airport near Vienna (1947)
Gustav Mahler: Alma Mahler (1879-1964) arriving at Tulln airport near Vienna (1947)
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- published: 03 Jan 2016
- views: 69
81:21
Mahler Symphony No. 6 in A minor ('Tragic')Thomas Sanderling St. Petersburg Philharmonic
Gustav Mahler Symphony No. 6 in A minor ('Tragic')
Thomas Sanderling, conductor.
St. Peter...
published: 06 Jan 2014
Mahler Symphony No. 6 in A minor ('Tragic')Thomas Sanderling St. Petersburg Philharmonic
Mahler Symphony No. 6 in A minor ('Tragic')Thomas Sanderling St. Petersburg Philharmonic
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- published: 06 Jan 2014
- views: 4515
Gustav Mahler: Alma Mahler (1879-1964) about the t...
Interview with Andris Nelsons : Gandolfi & Mahler ...
Alma - MANKER, PAULUS (2007)...
Interview with Adele Mailer by Jason Howard...
Alma Mahler, la musa del secolo...
Alma Mahler :: Laue Sommernacht :: Julie Boulianne...
Gustav Mahler: Alma Mahler (1879-1964) arriving at...
Mahler Symphony No. 6 in A minor ('Tragic')Thomas ...
photo: AP / Anja Niedringhaus
Bill Clinton: 'Sometimes' Wish I Wasn't Married To Hillary...So I Could Speak More Freely
Edit WorldNews.com 09 Feb 2016
Former U.S. President Bill Clinton may wish he could take back the words he spoke prior to a campaign rally in Manchester, N.H., Monday when he said he wishes “sometimes” he wasn’t married to Hillary Clinton because he could speak more freely, NBC News reports ... I am happy.” – Former U.S....
photo: AP / Ugarit News via AP video
Syrian Rebels Fleeing Aleppo As Conditions Worsen With Imminent Government Invasion
Edit WorldNews.com 09 Feb 2016
Syrian civilians in opposition-held areas of besieged Aleppo are under threat of having basic food supplies cut off as the threat of a looming attack by government forces looms, The United Nations has warned ... How will we face this?" ... – WN.com, Jack Durschlag....
photo: Creative Commons / File Upload Bot (Magnus Manske)
Drunk Parents Designate 9-Year-Old Daughter To Drive Home
Edit WorldNews.com 09 Feb 2016
When Balsam Lake, Wisc. police pulled over an erratically driven truck on Jan. 31, they discovered an intoxicated couple in the car ... A deputy was able to catch up with the vehicle, jump in and stop the truck, the report said....
photo: NASA / Charles Babir
Latest North Korean Satellite 'Tumbling In Orbit,' U.S. Officials Say
Edit WorldNews.com 09 Feb 2016
North Korea has failed again to put a satellite into a stable Earth orbit, CBS News reports. The satellite sent into space over the weekend is now "tumbling in orbit," U.S. officials told CBS News correspondent David Martin ... They are described as Earth observation satellites, and weigh about 220 pounds apiece ... It's provocative ... ....
photo: Creative Commons / Zache
Huge Cruise Ship Headed Back To Port After Being Hit By Storm
Edit WorldNews.com 08 Feb 2016
One of the world’s largest and newest cruise ships was limping back to New Jersey Monday after running into a storm that damaged the vessel and injured four passengers, CNN reports. The Anthem of the Seas had turned around and headed back to Cape Liberty Cruise Port in Bayonne, N.J., with its 4,500 passengers and 1,600 crew members for safety reasons, Royal Caribbean International said Monday....
« back to news headlines
Nights Ablaze With Distant Stars
Edit Huffington Post 08 Feb 2016
Roland Strasser, Self-Portrait, 1920. Austrian-born Roland Strasser (1885-1974) was an artist, writer and world traveler who explored remote areas of Asia before the cultural transformations wrought by modern warfare and air travel forever altered their local customs ... they went nearly four years without seeing any other Caucasians ... Photo ... Upon first seeing the newly installed sculpture in 1899, socialite Alma Mahler wrote in her diary ... ....
Review: 'The Silent Woman' presented by the Kentucky Women Writers Conference
Edit Lexington Herald-Leader 06 Nov 2015
This winner of the Kentucky Women Writers Conference Prize for Women Playwrights, Lydia Blaisdell's The Silent Woman, tackles one of art history's more curious footnotes. Oskar Kokoschka's months-long affair with a human-sized doll he commissioned to look like his former lover, Alma Mahler ... The result is a show that is truly strange, jarring at times, alternatively funny and disturbing, and ultimately thought-provoking ... Hulda's ... ....
'The Silent Woman,' winner of Ky. Women Writers Conference contest, features a main character with no lines
Edit Lexington Herald-Leader 05 Nov 2015
And her role is to portray Alma Mahler, the lover who spurned Austrian expressionist painter Oskar Kokoschka while he was away fighting in World War I ... "At first I tried to write a version of the play that had Alma in the play," says Blaisdell ... Alma Mahler ends up marrying four very famous Austrian artists of different kinds, so I found whenever she was in the play, she took it over."....
‘Art is not an object, art is an experience.’
Edit The Examiner 27 Sep 2015
When you think of great passion in painting, you may visualize works like “The Bride of the Wind,” Oskar Kokoschka’s image of his stormy relationship with Alma Mahler, wife of composer Gustave Mahler - both lying in a turbulent swirl of bedsheets. Or maybe you conjure up something by Max Beckmann, whose distortions in paint were the result of horrors he witnessed as a medical corpsman in World War I ... ....
Anne-Sophie Mutter brings the New World season to an outstanding close
Edit The Miami Herald 27 Apr 2015
Violinist Anne-Sophie Mutter's first Miami performance in two decades drew a large and highly attentive audience to the New World Center Saturday night ... A glamorous presence and deeply probing artist, Mutter did not disappoint ... The score was Berg's emotional response to the death of 18-year-old aspiring actress Manon Gropius, daughter of architect Walter Gropius and Alma Mahler (composer Gustav Mahler's widow) ... ....
Israel should recognise the Armenian genocide
Edit The Independent 24 Apr 2015
Catholicism had beckoned him – it would be cynical to say conveniently – in the form of Alma Mahler, widow of Gustav Mahler, lover of Oskar Kokoschka and Walter Gropius and, later, wife to Werfel, a man she described as a “fat bow-legged Jew with bulging lips” ... And don’t forget that Alma Mahler hailed from Vienna, a city whose morbid fascination with Jews was to grow to a madness that would find peace only in Nazism....
An SFCM student impressively takes on Alban Berg’s challenging concerto
Edit The Examiner 21 Apr 2015
It was hard to resist the opportunity to listen to one of Bettina Mussumeli’s students play the entirety of Alban Berg’s violin concerto in a Violin Studio Recital last night at the San Francisco Conservatory of Music (SFCM). Subtitled “To the Memory of an Angel,” the concerto was composed following the death by polio of the eighteen-year-old Manon Gropius, the child of Walter Gropius and his wife, the former Alma Mahler ... ....
Scottish mezzo-soprano Karen Cargill soared at Washington, D.C. debut tonight
Edit The Examiner 08 Apr 2015
The Scottish mezzo glided seamlessly from Alma Mahler's "garden" to Gustav Mahler's "gentle fragrance", then his "I have become lost to the world"; and from Richard Wagner's "Agonies" to his "Dreams" that "bloom more lovely every day"; and right to Edvard Grieg's jaunty "Greeting", of bells pealing gently and sweetly their "little song of spring"....
Review: Ticciati reframes Ligeti with Philadelphia Orchestra
Edit Philadelphia Daily News 23 Feb 2015
Has Ligeti's Atmosphères lost some of its shock value in the decades since its use in 2001. A Space Odyssey? Maybe not ... Another conductor might have aped the film, pairing it with Also sprach Zarathustra ... Wagner ... An angelic presence hovers over the scene from Wagner's music, as it does in Berg's Violin Concerto, dedicated to "the memory of an angel," the daughter of Alma Mahler and Walter Gropius ... Rather, he has ideas ... ....
Bedtime in the art world
Edit The Examiner 08 Feb 2015
Themed art shows like portraiture, maritime art, landscape and history painting are a commonplace ... I’m thinking of Oskar Kokoschka’s “The Bride of the Wind” – a portrayal of his stormy relationship with Alma Mahler, wife of composer Gustave Mahler lying in a turbulent swirl of cloth. Especially noticeable are Oskar’s anxious eyes, which point to the bad ending of their story, including Alma’s choice to abort the child he fathered. ... ....
BBCNOW/De Ridder review – making Zemlinsky both fluent and expressive
Edit The Guardian 20 Nov 2014
Hoddinott Hall, Cardiff ... 3. Argued a passionate case … Andre de Ridder ... Rued Langgaard went pretty much ignored during his lifetime ... Based on the Hans Christian Andersen story, the mermaid’s anguish is actually Zemlinsky’s own pain writ large following his abortive love affair with Alma Mahler ... Knowing that Korngold, a pupil of Zemlinsky in America, dedicated his concerto to an older Alma Schindler, somehow compounded the ironies ... ....
Famed musicologist Celenza to visit APSU Nov. 12-17 (Austin Peay State University)
Edit noodls 08 Nov 2014
(Source. Austin Peay State University). CLARKSVILLE, Tenn. - In 1772, the Austrian composer Joseph Haydn decided to play a little trick on his benefactor, Prince Nikolaus Esterházy ... That summer, Haydn composed his Symphony No ... At 3 p.m ... At 5 p.m ... "She will fuse her passions of music and art with a talk about the composer Gustav Mahler and the artist Gustav Klimt and their fight over Alma Schindler (the future Alma Mahler)," Wolynec said....
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