Schumann: Frauenliebe- und Leben.etc_音乐专辑
Schumann: Frauenliebe- und Leben.etc
又名: 舒曼－妇女的爱情与生活/舒伯特歌曲选/阿美琳演唱
表演者: Elly Ameling, Soprano/Dalton Baldwin, piano
专辑类型: DSD remastered
介质: Audio CD
发行时间: 2004-06-01
唱片数: 1
出版者: PENTATONE CLASSICS
条形码: 0827949013164
专辑简介
On this first of three SACDs , which the Pentatone label has devoted to Elly Ameling in its RQR series, the great Dutch soprano interprets works by Robert Schumann and Franz Schubert. After studying with Jacoba Dresden-Dhont and Sem Dresden, among others, and winning the voice competitions in ′s Hertogenbosch and Geneva, the singer from Rotterdam continued her studies in Paris with Pierre Bernac. She then concentrated wholly on the concert and lied repertoire (an exception to which was her Ilia in Mozart’s Idomeneo 1973/74 in Amsterdam), in which she has since enjoyed major successes world-wide. Thanks to the “warm timbre of her voice, which she uses like an instrument”, Ameling has received great acclaim for her numerous recordings with richly varied repertoire.
Schubert and Schumann shaped the entire genre of the lied to an extraordinary degree, far surpassing various regional developments in the process. During the first two decades of his life, Schumann had almost exclusively devoted himself to the innovation and development of piano music. However, in 1840, his so-called “lieder year” (which actually commenced in the autumn of 1839), he began to work intensively on the lied, and rapidly turned out more than 120 solo songs. What was the reason for the composer’s abrupt change of heart? Schumann gave an explanation for this in 1843 in the Neue Zeitschrift für Musik, which he himself had founded. He described the “new German school of poets” headed by Eichendorff, Heine, Uhland and Rückert as the reason for his involvement with the “more artistic and deeper nature of the lied”. In Schumann’s lieder, the poems undergo a basic re-evaluation, in which they not only serve as a pure basis for the text, but are also set to music as a poetic work of art. The expression and mood of the text are reproduced in subtle musical details. The development of the melodies, preludes, interludes and postludes of the piano, the relationship between motives and the forward-driving harmony connect the individual details and bring them together to form a unity.
When he first started to concentrate on the lied, Schumann attempted to set entire poetry cycles of certain poets to music. And thus he created his Heine cycles Liederkreis, Op. 24 and Dichterliebe, Op. 48; his Liederkreis, Op. 39 based on poems by Eichendorff; as well as Frauenliebe und –leben, Op. 42, based on the work by Adelbert von Chamisso. The following lines written by a contemporary admirer of Schumann prove his extreme empathy for the highly romantic tone of Chamisso’s poem dating from 1831: “You – a man – relate to these lieder as perhaps only the most devoted of female hearts can do!” Schumann set to music eight of the nine poems, which describe a woman’s life and the different stages of love.
Franz Schubert is considered the “obstetrician” of the German romantic lied, whose first offspring Gretchen am Spinnrade, Op. 2 saw the light of day in October 1814. For the first time – as in his other lieder, which number more than 660 – the text is rigorously interpreted.
The five pieces compiled here as Lieder für Gretchen do not form a true cycle, rather they are the results of Schubert’s many years of working on the poetry of Goethe. They range from the early Gretchen am Spinnrade from October 1814, which is followed in the December of that year by the through-composed Szene aus ‘Faust’, to Der K?nig in Thule (1816, from his Liederheft für Goethe) and Gretchens Bitte, and finally to the lyrical scene Die junge Nonne dating from 1825.
The lieder Suleika I and Suleika II, based on poems by Marianne von Willemer included in Goethe’s West-?stlicher Divan, demonstrate Schubert’s own romantic interpretation and his essential intervention in the structure of the texts. Arnold Feil wrote the following: “Schubert handled the text as an opera composer would handle an aria text.”
Ellen’s Songs recorded here are taken from the lieder cycle The Lady of the Lake by Sir Walter Scott. The lieder, composed between April and July 1825, were received by the public with great acclaim, because, to quote Schubert: “Especially my new lieder [...] gave people great happiness.” Schubert’s “Ave Maria” (= Ellen’s Song III) is considered one of his most popular lieder and numerous arrangements have been made of the work. Schubert wrote the following to his father: “My devoutness, which I expressed in a hymn to the Holy Virgin, also really surprised people, and apparently stirs the emotions and gives people a feeling of spiritual awe.”
曲目
ROBERT SCHUMANN
Frauenliebe- und Leben, Op. 42
1 Seit ich ihn gesehen 2. 45
2 Er, der Herrlichste von allen 3. 00
3 Ich kann’s nicht fassen, nicht glauben 1. 46
4 Du Ring an meinem Finger 2. 30
5 Helft mir, ihr Schwestern 1. 47
6 Süsser Freund, du blickest 4. 51
7 An meinem Herzen, an meiner Brust 1. 20
8 Nun hast du mir den ersten Schmerz getan 4. 08
FRANZ SCHUBERT
Lieder für Gretchen
9 Die junge Nonne, op.42/1, D.828
(Goethe) 4. 42
10 Der K?nig in Thule, op.5/5, D.367
(Goethe) 2. 58
11 Gretchen am Spinnrade, op.2, D.118
(Goethe) 3. 43
12 Gretchens Bitte, D.564 (Goethe) 4. 13
Lieder für Ellen und Suleika
13 Suleika, D.720 (von Willemer) 5. 35
14 Suleikas zweiter Gesang D.717
(von Willemer) 4. 03
Ellens Ges?nge
15 Raste, Krieger! op.52/1, D.837 7. 55
16 J?ger, ruhe von der Jagd, op.52/2, D.838 3. 03
17 Ave Maria, op.52/6, D.839 5. 47
