Masterpieces - National Book Network

Transcription

 Masterpieces 
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A century in words, pictures and music
Lucid, informative and entertaining
The most important paintings and musical compositions
C. 100 coloured photographs and 4 Music CDs in each book
The earBOOKS “Masterpieces” series provides a compact overview of music and painting through the
centuries. Each volume presents the most important artworks and musical compositions of the relevant
period. Background details and points of particular interest in relation to nearly each painting or piece
of music are conveyed through concise and illuminating commentaries. A comprehensive introduction
sets the scene, expanding on the century’s historical connection to the art of the period.
Music CDs: A wealth of musical highlights from the particular century can be enjoyed on the four CDs
accompanying the book.Top-class artists guarantee performances of the highest order.
Contact:
Edel Germany GmbH
– earBOOKS –
Neumühlen 17
D-22763 Hamburg/Germany
Jos Bendinelli Negrone
(International Distribution)
e-Mail: [email protected]
Tel. +49 (0) 890 85 -433
Fax +49 (0) 890 85 -9433
www.earBOOKS.net
Masterpieces
Masterpieces
Masterpieces
• featuring paintings by Bruegel,
Caravaggio, Gaulli, Poussin,
Rembrandt, Rubens, Vermeer etc.
• featuring paintings by Canaletto,
Belotto, Tiepolo, David, Goya,
Guardi and Boucher etc.
• featuring paintings by Coubet,
Delacroix, Degas, Friedrich,
Munch, Renoir, van Gogh etc.
• 4 CDs with musical works e.g.
by Monteverdi, Frescobaldi,
Scarlatti, Purcell, Praetorius,
Schütz and Sweelinck
by Vivaldi, Handel, J.S. Bach,
Hadyn, Mozart, Telemann,
J.C. Bach and Couperin
by Beethoven, Brahms, Chopin,
Puccini, Schumann, Tchaikovsky
and Verdi
132 pages · Hardcover
94 colour photos · Size: 28 x 28 cm
4 Music CDs · Text: English/German
ISBN 978-3-940004-74-1
Publishing Date: October 2009
100 colour photos · Size: 28 x 28 cm
ISBN 978-3-940004-75-8
c. 70 colour photos · Size: 28 x 28 cm
ISBN 978-3-940004-76-5
1600-1700
1700-1800
1800-1900
Baroque
a style conquers the world
U
Brazil, all in the service of various European dynasties and the
Catholic Church.
p until the 19th century, artists were not mere creatures
of exceptional talent, they were first and foremost
contractors. Painters, like musicians, sculptors and
architects, generally worked to order. Even Michelangelo,
Leonardo and Dürer were considered artisans, expected to
translate the musings and wishes of their contractors into visual
language. They were in great demand: the courts, nobility and
affluent citizens required representative images of their dominance, scenes of battle to preserve their memory, portraits of
distant marriage candidates to ease the selection process, along
with mythological depictions as loosely disguised reflections of
the magnitude and honour of their own dynasties. The largest
and most important commissioner of works remained, how
ever, the Church, whose appetite for new building, altars, holy
representations, clerical portraits and ‘painted prayers’ knew
no bounds. Yet, as the Reformation spread, the 16th century
saw the solid structure of the Catholic Church begin to shudder,
whilst discoveries by Kepler and Galileo added momentum to
the burgeoning critical faculties of natural science. The Popes
retaliated with an unparalleled cultural offensive. In 1563, the
Council of Trent redefined the means and objectives of art: faith
should be taught and sustained through simplicity. Art would
thus become a consciously deployed instrument of ecclesiastic
propaganda, proclaiming the authority of the Catholic doctrine
throughout the entire world. Consequently, Baroque set about
conquering the globe, from India to Mexico, from England to
{
4
1600
Giordano Bruno is burned
as a heretic in Rome
} {
1605
First permanent theatre
in Germany
} {
1609
Kepler’s first and second laws
of planetary motion
Rome
The Eternal City was the epicentre of the intellectual and
artistic world in the 17th century. Eleven rival families gave
the century its popes, each one with its own entourage of artists,
whose virtuous creations not only afforded educated connois
seurs aesthetic pleasure, but also had a significant political
role to play. In the overheated climate of the Tiberian metro
polis, catalysed by intrigues, competitive tendencies and
power struggles, a new style took shape. Out of the wellproportioned, measured style of the Renaissance vocabulary,
influenced by antiquity, passing through Mannerism, grew an
unusually dramatic form of expression: opulent, theatrical
and extreme, rich in pathos, these works of art were designed
to elicit emotional rather than rational responses, passion
overshadowing reason. Many effects of the Baroque could
be traced back to the theatre, the complete art form which
appealed to all of the senses. In Italy it was Caravaggio,
more than anyone, who caused a stir in the early part of the
century with his use of stark light, vulgar models and hyperreal
compositions. Those who commissioned his artistically and
morally daring paintings were also generally men of the cloth.
Artists converged in droves on Rome to inspect Caravaggio’s
}
{
1618
Beginning of the
Thirty Years’ War
}
pictures. In faraway Holland, fervent admirers of the revolutionary who died so young came together in the school of art
known as “Utrecht Caravaggism”, Terbrugghen among them
(page 108). Caravaggio himself was deeply impressed by the
vitality he found in the paintings of the Carracci family (page
18-21), who had enjoyed great success since the late 16th
century. One of Annibale Carracci’s scholars was Reni (page
30-32, 35) from Bologna, whose sentimental compositions
also appealed to the individual devotions of the public. There
were others, Guercino (page 26, 27), known as the “squinter”
and, somewhat later, the “fast working” Luca “Fà-presto”
Giordano (page 29) among them, who strove to impress upon
believers the supreme, undisputed legitimacy of the Catholic
Church through rousing large-scale artwork. High drama
was the order of the day, from naturalistic depictions of
imagined scenes such as The Assumption of Mary to brutal
rep resentations of human suffering, enough to make any
observer’s blood freeze. These new compositions, bright colours
and unusually large formats could not be missed by even
the most distant spectator inside the vast church structures
of the cities. Altar superstructures rose up to the “Theatrum
sacrum”, the “Holy Theatre”, where figures and flourishes
aplenty combined with calculated effects of the light to
present a highly emotional spectacle. Last but not least,
the ceilings, awash with colour, were the source of further
surp rise, with heavenly creatures residing in the architectural
{
1633
Galileo’s
Inquisition Trial
}
{
elements and complex perspectives creating the illusion of the
church roof opening up to eternity (page 16-17, 25).
Dependent on Rome:
Spain, France, Southern Netherlands
The great courts of 17th century Europe established their
own schools of painting which reflected Roman art history in
various guises. In Spain, mythological themes, genre paintings
and landscapes fell victim to strict censorship. Painters like
Ribera and Zurbarán (page 38-41) intensified their efforts to
create a visual language which would shock through asceticism
and concentration rather than opulence. El Greco arrived from
Greece and honed a style so idiosyncratic that he soon lost
his official commissions. Forging a career for himself as court
painter to the committed patron of the arts Philip II was an
astute psychologist and nonchalant virtuoso of the brushes.
His name was Diego Velázquez and his fame would extend
far beyond his own century (page 14, 44-48, 54). France too
imported Italian Chiaroscuro painting via Caravaggisti such
as de la Tour, Vouet and Poussin (page 66-71). Yet, under
the absolutist rule of Louis XIII and Louis XIV (page 73),
there was a movement away from Roman paradigms towards a
less referential, more composed style, not only in painting and
sculpture but also in architecture. In the history of art, this would
become known as Baroque Classicism. The per
1637
First public
opera house in Venice
}
{
1648
End of the
Thirty Years’ War
} {
1648
End of the
Dutch Revolt
}
5
Left/above (detail)
Andrea Pozzo (1642-1709): Saint Ignatius Being Received into Heaven, 1691/94
Fresco, 17 x 36 m (Church of Sant’Ignazio, Rome)
Links/oben (Ausschnitt)
Andrea Pozzo (1642-1709): Himmelfahrt des Heiligen Ignatius von Loyola, 1691/94
Fresko, 17 x 36 m (Sant’Ignazio, Langhausgewölbe, Rom)
Next page
Annibale Carracci (1560-1609): Bacchus’ Triumph, 1595
Fresco (Palazzo Farnese, Rome)
The scene is inspired by reliefs on ancient sarcophagi, but the view of the open landscape, the combination
of two-dimensionally arranged groups of figures and perspective space is new. The unbridled energy of the
god of wine’s triumphal procession far exceeds that of ancient works. It is clear that Carracci painted from
live models.
Nächste Seite
Annibale Carracci (1560-1609): Triumph des Bacchus, 1595
Fresko (Palazzo Farnese, Rom)
Angeregt ist die Szene durch Reliefs auf antiken Sarkophagen: Aber der Blick in die Weite der Landschaft,
die Kombination von flächig arrangierter Figurengruppe und perspektivischem Raum, ist neu. Auch die
wilde Energie, die diesen Triumphzug des Weingottes begleitet, übertrifft das antike Vorbild bei weitem.
Hier wird deutlich, dass Carracci nach lebendigen Modellen gearbeitet hat.
17
Jan Vermeer (1632-1675): A Lady Drinking and a Gentleman, c. 1660
Oil on canvas, 66,3 x 76,5 cm (Gemäldegalerie, Berlin)
Jan Vermeer (1632-1675): Herr und Dame beim Wein, um 1660
Öl auf Leinwand, 66,3 x 76,5 cm (Gemäldegalerie, Berlin)
78
Jan Vermeer (1632-1675): Girl with a Pearl Earring, c. 1665
Oil on canvas, 44,5 x 39 cm (Mauritshuis, The Hague)
Jan Vermeer (1632-1675): Das Mädchen mit der Perle, um 1665
Öl auf Leinwand, 44,5 x 39 cm (Mauritshuis, Den Haag)
Vermeer’s use of light on different surfaces is quite masterful. Eyes, mouth, skin,
material: against a dark background, the young girl’s whole face lights up like the
large pearl she wears in her ear. The identity of this captivating beauty, her mouth
ever so slightly open, remains a mystery. Her striking turban was a popular accessory
of the period.
Meisterhaft beschreibt Vermeer die Wirkung des Lichts auf den verschiedenen Oberflächen. Auge, Mund, Haut, Stoff: Vor dem dunklen Hintergrund leuchtet das ganze
Gesicht wie die große Perle am Ohr des jungen Mädchens. Mit leicht geöffnetem Mund
spricht es den Betrachter direkt an. Bis heute ist die Identität der Schönen nicht geklärt.
Der auffällige Turban jedenfalls war ein beliebtes Accessoire seiner Zeit.
79
Left/above (detail)
Rembrandt Harmenszoon van Rijn (1606-1669): The Night Watch, 1642
Oil on canvas, 359 x 438 cm (Rijksmuseum, Amsterdam)
A company of the civic guard allows itself to be portrayed. Unlike many of his colleagues, Rembrandt
does not paint the individual figures in orderly rows, instead capturing their movement in a single
moment. They are all about to set out together in coherent, dynamic action. Reinventing the group
portrait thus was a masterstroke of scenography, owing much to theatrical presentation.
Rembrandt Harmenszoon van Rijn (1606-1669): Die Nachtwache, 1642
Öl auf Leinwand, 359 x 438 cm (Rijksmuseum, Amsterdam)
Eine Schützenkompanie, die sich selbst darstellen lässt: Rembrandt beschränkt sich nicht wie viele seiner
Kollegen darauf, die einzelnen Personen in braver Reihung abzumalen, sondern zeigt eine Momentaufnahme. Der Augenblick vor dem Aufbruch ist gemeint, in dem alle Personen Teil einer gemeinsamen,
dynamischen Aktion werden. Die Neuerfindung des Gruppenporträts ist eine Meisterleistung der dem
Theater abgeschauten Inszenierungskunst.
111
CD 1
Spiritual and Secular – The Vatican and Italy · Kirche und Welt – der Vatikan und Italien
C l a u d i o M o n t e v e r d i (1567-1643)
Vespro della Beata Vergine (1610)
Marienvesper · Vespers of the Blessed Virgin Mary
1 „Ave Maria, gratia plena“ – Magnificat 18:38
Dresdner Kreuzchor
Capella Fidicinia
Martin Flämig
P 1984 VEB Deutsche Schallplatten Berlin
G i r o l a m o F r e s c o b a l d i (1583-1643)
3
Partite XIV sopra l’Aria della Romanesca (Publ. 1657)
12:46
Isolde Ahlgrimm, Cembalo · harpsichord
P 1972
4
Toccata F-Dur · in F major
4:52
Christian Collum
Orgel · organ
The “Magnificat” is the grandiose finale of Claudio Monteverdi’s “Marienvesper”.
At the same time, he composed a mass for six voices in the conservative style of
Palestrina in a vain attempt to enter papal service. His relatively modern “Marien
vesper” has, nevertheless, become a milestone of church music and is thus accorded
the opening slot in our musical collection of the 17th century.
His junior by sixteen years, Girolamo Frescobaldi succeeded where Monteverdi
failed: he secured a post at The Vatican, that of organist in St Peter’s Basilica, a task
he performed with success, to the admiration of his contemporaries. He also enjoyed
a fine reputation as a talented exponent of the harpsichord, whilst also composing
early forms of the suite. His improvisational skills are thought to have been even
greater than the works he bequeathed to history.
Das „Magnificat“ ist das grandiose Schlussstück der „Marienvesper“ von Claudio
Monteverdi. Parallel komponierte er eine sechsstimmige Messe im konservativen
Palestrina-Stil und versuchte damit vergeblich, in päpstliche Dienste aufgenommen
zu werden. Die vergleichsweise moderne „Marienvesper“ hat sich jedoch als
kirchenmusikalischer Meilenstein herausgestellt und steht daher am Anfang der
Zusammenstellung über die Musik des 17. Jahrhunderts.
Was Monteverdi nicht gelang, erreichte der sechzehn Jahre jüngere Girolamo
Frescobaldi: Er erlangte ein Amt im Vatikan, das des Organisten am Petersdom, und
übte es, bewundert von seinen Zeitgenossen, erfolgreich aus. Auch als Virtuose am
Cembalo erlangte er großen Ruhm, und als Komponist erarbeitete er Vorformen der
Suite. Seine Improvisationskunst soll die überlieferten Werke noch in den Schatten
gestellt haben.
Claudio Monteverdi
B e n e d e t t o M a r c e l l o (1686-1739)
„Orfeo“ (1607)
2 „Ecco pur ch’a voi ritorno“ 3:11
Peter Schreier Tenor
Kammerorchester Berlin
Helmut Koch
Anyone who earns the accolade of an entire Rowohlt monograph dedicated to his
works can safely be said to have made his mark on history. Claudio Monteverdi
(vol. 348) is one of the most brilliant figures of Baroque music, whose beginnings are
so closely linked to his name. The 17th century played host to opera in its infancy,
even though the first work of the genre, “Dafne” by Jacopo Peri, was premiered in
1598. It was Monteverdi, however, who delivered the first operatic masterpiece in
1607 with “Orfeo”. Its original mix of such different forms and genres is as sur
prising as the use of symphonic preludes, interludes and postludes.
Wem in der renommierten Reihe der Rowohlt-Monographien ein eigener Band
gewidmet wurde, der hat es geschafft. Und Claudio Monteverdi (Bd. 348) gehört
zu den wesentlichen Lichtgestalten des musikalischen Barock, dessen Beginn mit
seinem Namen verknüpft ist. Das 17. Jahrhundert gilt als zeitliche Wiege der Oper
– auch wenn das erste Werk der Gattung, „Dafne“ von Jacopo Peri, schon 1598
uraufgeführt wurde. In der neuen Gattung schrieb Monteverdi 1607 mit „Orfeo“ das
erste Meisterwerk. Es enthält eine originelle Mischung unterschiedlichster Formen
und Genres und überrascht mit der Verwendung sinfonischer Vor-, Zwischen- und
Nachspiele.
120
„L’usignolo che il suo duolo“
Kantate für Alt und B. c. · Cantata for alto and b. c.
5 1. „L’usignolo che il suo duolo“ (aria) 4:43
6 2. „Se tu lo chiedi“ (recitativo) 1:13
7 3. „Quando l’alba il mondo innalba“ (aria) 2:45
Britta Schwarz Alt · alto
Stefan Maass Laute · lute
A co-production with Deutschlandradio
P 2000 edel records GmbH
Benedetto Marcello, a jurist by profession, composed some 348 secular solo cantatas
as well as numerous other works (spiritual music and instrumental concerts). They
often took the form of dramatic stories in miniature.
Benedetto Marcello, von Beruf Jurist, komponierte neben manchen anderen Werken
(geistliche Musik und Instrumentalkonzerte) 348 weltliche Solokantaten. Sie ent
wickeln sich oft zu einzelnen kleinen dramatischen Geschichten.
A l e s s a n d r o S c a r l at t i (1660-1725)
„Mi ha diviso il cor“
8 1. „Mi ha diviso il cor“ (aria) 3:08
9 2. „Mi sparisti da gl’occhi“ (recitativo) 0:41
10 3. „Pur dal mio petto ancora“ (aria) 2:34
11 4. „E diviso dal mondo“ (recitativo) 0:35
12 5. „Era poco al mio povero petto“ (aria) 2:37
Britta Schwarz Alt · alto
Stefan Maass Laute · lute
A co-production with Deutschlandradio
As if Marcello’s solo cantata output were not prolific enough, the number of
Alessandro Scarlatti’s secular cantatas beggars belief. 799 is a conservative estimate,
as more have certainly been lost. Three or four arias generally alternate with
recitatives. The plot is commonly based on mythological events.
Wem die Menge von Marcellos Solokantatenproduktion groß vorkommt, dürfte
bei der Nennung der Anzahl von Alessandro Scarlattis weltlichen Kantaten aus
dem Staunen kaum herauskommen: Es handelt sich um mindestens 799, wobei
nur die tatsächlich erhaltenen Kantaten gezählt werden können. Es wechseln sich
typischerweise drei oder vier Arien mit Rezitativen ab; die Handlung basiert meist auf
mythologischen Geschehnissen.
P e t r o n i o F r a n c e s c h i n i (ca. 1650-1680)
13 Sonata für zwei Trompeten, Streicher und B. c. D-dur (1680)
Sonata for 2 trumpets, strings and Continuo in D major
Grave – Allegro – Adagio – Allegro 6:04
Ludwig Güttler, Trompete · trumpet I
Mathias Schmutzler, Trompete · trumpet II
Virtuosi Saxoniae
Ludwig Güttler
A l e s s a n d r o S c a r l at t i
„Pirro e Demetrio“ (1694)
14 „Rugiadose, odorose, violette graziose“ 3:08
Helmut Koch
According to the man himself, Alessandro Scarlatti wrote 115 operas, although none
of them features very often in operatic guides. “Pirro e Demetrio” was written for the
theatre in Naples and enjoyed a highly successful premiere there in 1694, another in
Braunschweig two years later and again in London in 1708.
Nach seiner eigenen Zählung soll es 115 Opern von Alessandro Scarlatti gegeben
haben, von denen es jedoch keine in gängige Opernführer schaffen konnte. „Pirro e
Demetrio“, für das Theater in Neapel geschrieben, wurde dort 1694 sehr erfolgreich
uraufgeführt und schon zwei Jahre später in Braunschweig sowie 1708 in London
nachgespielt.
F r a n c e s c o G a s pa r i n i (1668-1727)
„Importuno Cupido“ (ca. 1700)
15 „Primavera che tutt’amorosa“ (aria) 3:55
Helmut Koch
Francesco Gasparini, Benedetto Marcello’s tutor, composed more than fifty
operas. He was a protagonist of the Roman school of opera, which could not
match the international reputation of the more successful Neopolitan school.
Francesco Gasparini, Lehrer von Benedetto Marcello, komponierte mehr als fünfzig
Opern und gilt als Vertreter der römischen Opernschule, die neben der erfolgreichen
neapolitanischen jedoch keine Weltgeltung erlangen konnte.
P 1992 Deutsche Schallplatten Berlin GmbH
In the year 1675, the excellent cellist Petronio Franceschini successfully applied for a
coveted post at the San Petronio Basilica in Bologna. He would play there until shortly before his death in October 1680, having been summoned to Venice by the Abbate
Vincenzo Grimani to compose the “Dioniso” opera. After completing the first act,
Franceschini fell ill and died. His short life was celebrated in a remembrance service
on 25th January, 1681 which, paid for by his friends, revealed the measure
of Franceschini’s stature. This sonata for two trumpets, strings and continuo was
composed in the last year of his life for the Basilica in Bologna, where trumpets
sound as marvellous today as they did centuries ago.
Als ausgezeichneter Cellist bewarb sich Petronio Franceschini 1675 erfolgreich um
den begehrten Posten an der Basilika von San Petronio in Bologna. Bis kurz vor
seinem Tod im Oktober 1680 hatte er die Stelle inne, dann berief ihn der Abate
Vincenzo Grimani nach Venedig und beauftragte ihn mit der Komposition der Oper
„Dioniso“, wobei Franceschini nach Vollendung des ersten Aktes erkrankte und
starb. Ein feierlicher Trauergottesdienst am 25. Januar 1681 auf Kosten seiner
Freunde zeigt die Achtung, die Franceschini in seinem kurzen Leben erworben hatte.
Die Sonate für zwei Trompeten, Streicher und B. c. aus seinem letzten Lebensjahr ist
eine Komposition für die Basilika in Bologna, in der Trompetenklänge damals wie
heute besonders gut zum Tragen kommen.
121
M a s t e r p i e c e s 1600-1700 – A century in words, pictures and music – lucid, informative and entertaining.
www.earbooks.net
ISBN 978-3-940004-74-1
The earBOOKS “Masterpieces” series provides a compact overview of music and painting through the centuries. The “1600-1700”
volume presents the most important artworks and musical compositions of the 17th century. Background detail and points of
particular interest in relation to each painting or piece of music are conveyed through concise and illuminating commenta ries.
A compreh ensive introduction sets the scene, expanding on the century’s historical connection to the art of the period.
Music CDs: A wealth of musical highlights from the 17th century can be enjoyed on the four CDs accompanying the book. Performers like Britta Schwarz,
Christoph Genz, Ludwig Güttler, the Dresdner Kreuzchor, The Harp Consort with Andrew Lawrence King and the Schütz Akademie, directed by Howard
Arman guarantee top-class performances.
9<HTOJPA=a eheb>
M e i s t e rw e r k e 1600-1700 – Ein Jahrhundert in Wort, Bild und Musik – fachkundig, leicht verständlich und unterhaltsam.
Die earBOOKS-Serie „Meisterwerke“ präsentiert einen kompakten Überblick über die Malerei und die Musik verschiedener Jahrhunderte. Der Band „1600-1700“
stellt die bedeutendsten Gemälde und musikalischen Werke des 17. Jahrhunderts vor. Kurze, informative Kommentare vermitteln Hintergrundwissen über die
Gemälde und die Musik. Eine umfassende Einleitung stellt das Jahrhundert in seinen Charakteristika dar und beleuchtet Zusammenhänge zwischen Geschichte
und Kunst dieser Zeit. Musik-CDs: Die beiliegenden vier CDs präsentieren die musikalischen Höhepunkte des 17. Jahrhunderts. Namhafte Interpreten wie Britta
Schwarz, Christoph Genz, Ludwig Güttler, der Dresdner Kreuzchor, The Harp Consort mit Andrew Lawrence King und die Schütz Akademie unter Howard
Arman bürgen für höchste Qualität.
CD 1
CD 2
CD 3
CD 4
The Vatican and Italy
Der Vatikan und Italien
Baroque in France and England
Barockes Frankreich und England
German Sacred Vocal Music
Geistliche deutsche Vokalmusik
Instrumental Highlights
Höhepunkte der Instrumentalmusik
C laudio M onteverdi (1567-1643)
Vespro della Beata Vergine (1610)
Marienvesper · Vespers of the Blessed Virgin Mary
1 „Ave Maria, gratia plena“ – Magnificat 18:38
„Orfeo“ (1607)
2 „Ecco pur ch’a voi ritorno“ 3:11
J acques C hampion
de C hambonnières (1601-1672)
Suite F-Dur · in F major
1 1. Allemande 2:26
2 2. Courante 1:05
3 3. Courante 0:57
4 4. Sarabande 2:10
5 5. Canaries 1:31
M ichael P raetorius (1571?-1621)
D ietrich B uxtehude (1637-1707)
„Herzlich lieb hab ich dich“ 3:27
„Mit Fried und Freud ich fahr dahin“ 0:53
3 „Hört auf mit Weinen und Klagen“ 1:13
(Musae Sioniae VIII, 1610)
H ans L eo H a ß ler (1564-1612)
J ohannes C hristoph D emantius
N icolaus B ruhns (1665-1697)
(1567-1643)
4 Threnodia „Quis dabit oculis“ (1611) 11:06
J ohann J akob F roberger (1616-1667)
G irolamo F rescobaldi (1583-1643)
3
4
Partite XIV sopra l’Aria della Romanesca 12:46
Toccata F-Dur · in F major 4:52
B enedetto M arcello (1686-1739)
„L’usignolo che il suo duolo“
5 1. „L’usignolo che il suo duolo“ (aria) 4:43
6 2. „Se tu lo chiedi“ (recitativo) 1:13
7 3. „Quando l’alba il mondo innalba“ (aria) 2:45
A lessandro S carlatti (1660-1725)
„Mi ha diviso il cor“
8 1. „Mi ha diviso il cor“ (aria) 3:08
9 2. „Mi sparisti da gl’occhi“ (recitativo) 0:41
10 3. „Pur dal mio petto ancora“ (aria) 2:34
11 4. „E diviso dal mondo“ (recitativo) 0:35
12 5. „Era poco al mio povero petto“ (aria) 2:37
P etronio F ranceschini (ca. 1650-1680)
13 Sonata für zwei Trompeten, Streicher und B. c.
D-Dur (1680) · Sonata for 2 trumpets, strings
and Continuo in D major 6:04
A lessandro S carlatti
„Pirro e Demetrio“ (1694)
14 „Rugiadose, odorose, violette graziose“ 3:08
F rancesco G asparini (1668-1727)
„Importuno Cupido“ (ca. 1700)
15 „Primavera che tutt’amorosa“ (aria) 3:55
Peter Schreier · Britta Schwarz · Isolde Ahlgrimm
Ludwig Güttler · Mathias Schmutzler · Christian
Collum · Stefan Maass · Dresdner Kreuzchor
Kammerorchester Berlin · Virtuosi Saxoniae
Capella Fidicinia · Martin Flämig · Helmut Koch
M arin M arais (1656-1728)
6 Les Folies d’Espagne (ca. 1685 / Publ. 1701) 12:30
Thema und Variationen · Theme and variations
L ouis C ouperin (1626-1661)
1
2
5
Threnus (1617) 4:48
J ohn D owland (1563-1626)
S amuel S cheidt (1587-1654)
W illiam L awes (1602-1645)
Fantasy suite 7:20
Fantasy – Almain – Gaillard – Close
12 H enry P urcell (1659-1695)
„Music for a while“ (1692) 3:23
14 „Now that the sun sah veil’d
bis light“ (1688) 3:15
15 „If music be the food of love“ (1692-95) 4:01
16 „Bess of Bedlam“
(„From silent shades“, 1683) 4:47
13 Christoph Genz · Jörg Becker · Eckart Haupt
Monika Rost · Michael Freimuth · The Harp Consort
Andrew Lawrence-King
3
4
5
6
6
Ich glaub und weiß SSWV 327 (1637) 3:32
Paduane à 4 SSWV 572 (1621-25) 1:31
Lobet, ihr Himmel, den Herrn
SSWV 225-227 (1634) 9:41
8
9
10 H einrich S chütz
Schwanengesang (1662-71)
10 „Zeige mir, Herr, den Weg“ SWV 484 5:53
11 „Ich rufe von ganzem Herzen“ SWV 491 7:06
12 „Meine Seele erhebt den Herrn“ SWV 494 6:35
Passacaglia d-Moll · in D minor BuxWV 161 7:13
Canzon (1601) 1:59
Präludium e-Moll · in E minor 5:32
Tombeau 3:40
J ohann P achelbel (1653-1706)
H einrich S chütz (1585-1672)
„Die mit Tränen“ SWV 378 3:15
7 „Das ist je gewißlich wahr“ SWV 388 4:08
(Geistliche Chormusik 1648)
The Right Honourable Robert,
Earl of Essex, His Galliard
für Laute solo · for solo lute 1:58
10 „Sorrow stay“ 3:04
11 „Fine knacks for Ladies“ 2:41
2
J ohann H ermann S chein (1586-1630)
Suite d-Moll · in D minor
7 1. Prélude 6:56
8 8. Chaconne 3:25
9
1
Fantasia g-Moll · in G minor 2:39
Toccata c-Moll · in C minor 2:29
M oritz L andgraf
H essen
J an P ieterszoon S weelinck
(1562-1621)
8 „Mein junges Leben hat ein End“ 6:33
G iuseppe T orelli (1658-1709)
9
Sonata D-Dur für Trompete, Streicher und
B. c. · Sonata in D major for trumpet, strings
and b. c. (1690) 9:20
M atthias W eckmann (1619-1674)
10 Jochen Kowalski · Werner Marschall
Capella Sagittariana Dresden · Mitglieder des
Rundfunk-Kinderchores Berlin · Berliner Solisten
Schütz-Akademie · Stadtsingechor Halle
Berolina Quartett · Dorothea Köhler
Dietrich Knothe · Howard Arman
von
(1572-1632)
7 Canzona 1:58
Fantasia d-Moll · in D minor 5:57
A lessandro P oglietti (? - 1683)
11 Aria Allemagna con alcuni Variazioni
sopra l’Età della Maestà Vostra (1677) 9:08
J ohann P achelbel
12 Canon per 3 Violini e Basso
(Kanon und Gigue) D-Dur · in D major 5:58
Isolde Ahlgrimm · Ludwig Güttler · Robert Köbler
Hans Otto · Hans Heintze · Christoph Krummacher
Blechbläserensemble Ludwig Güttler
Virtuosi Saxoniae · Dresdner Philharmonie
Kurt Masur
The Age of Enlightenment
F
rom the Late Baroque to the French Revolution, from
Rococo to Classicism, from Jesuit drama to pastoral
poetry: the 18th century was an era of radical change
and sharp contrasts. Art faced unfamiliar challenges as the
European balance of power shifted, the influence of religion
waned and a new philosophy, more aligned with the laws of
nature, emerged. There were, of course, particularly in the
Catholic countries, churches to be furnished, altars and tombs
to be fitted, portraits of rulers ordered and residencies to be
decorated. In German-speaking countries, artists like Franz Anton
Maulbertsch, Paul Troger and Johann Michael Rottmayr (page
14-17) added lustre to the art of the Late Baroque, through
the great fresco programmes in particular and the way they
combined colour, stucco, perspective and allegory into an art
form of extravagant beauty. But the 18th century also saw the
institution of the church grow more distant. Rome surrendered its
status as the focal point of European artistic activity. Traditionally
renowned for innovation in art, this role passed to another
Italian city: Venice.
Venice
La Serenissima may have fallen out of favour with the great
powers in 17th century Europe, but the lagoon city, detached
from the mainland, was to hold a magnetic fascination for
travellers from all over the world. Particularly at carnival time,
the entire European high nobility congregated here, masks
providing them with cover for clandestine indulgences which
{
4
1701-1714
War of
Spanish Succession
}
{
convention, familial concerns or censorship repressed at home.
In no other place did so many prostitutes ply their trade,
nowhere else could adventures of love be so readily arranged.
Venice became the capital of libertine festivals, theatre, fairs
and musical life, enriched by Vivaldi – and the centre of the
European art market. Venetian painting itself also developed
into a significantly successful export commodity. As early as the
16th century, Giorgione, Titian, Tintoretto and Veronese had
been instrumental in creating a recognized, independent school
of art, characterized by Venetian colore, the glowing depth of
their coloured shading. Whilst the works of Sebastiano Ricci
(page 24-25) embraced both tradition and modernity, Piazetta
and Tiepolo (page 18-21, 23), would inject new impulses into
Venetian painting in the 18th century. The latter especially
was soon celebrated throughout Europe for his illusionist magic
tricks and dextrous compositions, his festive use of colour
and a cheerful lightness borrowed from theatrical scenery; the
decoration of the Würzburg Residenz is a perfect example of
his art in all its finery (page 18-20). The 18th century also
saw the veduta and capriccio become specialities of Venetian
painting. Giovanni Antonio Canal (known as Canaletto)
(page 32-33) painted topographically exact reproductions of
resplendent waterways, squares pulsating with life and intricate
facades, all following strict, tectonic design. The architectural
representations of the second great veduta painter, Francesco
Guardi (page 26-29, 31), could not have been more different,
with freer imaginative perspective and softer contours. It fell
to Canaletto’s nephew, Bernardo Bellotto (page page 36-39),
1715
Death of Louis XIV, “Sun King” of France
Louis XV becomes King of France
First excavations of Pompeii
}
to enrich the compositional principles of veduta painting with
glimpses of everyday life and scenery for export to the Court
of Dresden. Rosalba Carriera (page 34), found herself one of
a select few women to prosper on the art market, her works
commissioned by figures of princely stature. Her exquisitely
elegant and psychologically engaging miniatures and pastel
portraits enjoyed considerable international popularity. The
success of Venetian painting was attributable in no small
measure to foreign patrons of the arts or agents who actively
built up collections. Their number included the English banker
and consul Joseph Smith and, in the service of the Serenissima,
General Matthias Graf von der Schulenburg.
France
Following the War of the Spanish Succession, which ended in
1714, France became the dominant political and economic force
in Europe. Its supremacy extended to the cultural atmosphere
of the continent. French was spoken at all of the courts, French
cuisine was served up on European dining tables, fashion was
led by Parisian couture and the salons could be heard discussing
authors whose beliefs in the laws of nature, in tolerance, reason
and humanity touched a chord with the audience in a most
personal way: Montesquieu and Diderot, Voltaire and Rousseau.
In the country itself, a change in taste occurred around
1720 with the emergence of “style rocaille”, referring to the
arrangement of stones in natural forms like shells, known as
Rococo. Under Louis XV, gaudy, official representation à la
{
1740
Frederick II (Frederick the Great)
becomes King of Prussia, Marie-Thérèse Queen
of Austria-Hungary
} {
Versailles was superseded by more personal and intimate forms
of expression, smaller in scale and addressing those subtle
nuances of feeling which gave the era its name: the Age of
Sensibility. Out of academic Versailles Baroque Classicism,
influenced by the rules of Antiquity, arose a decorative system
rich in asymmetry and sweeping lines which echoed nature’s
growth and randomness. As the French aristocracy increasingly
sought decorative images to hang on their own walls, painters
like Watteau (page 51-55), Fragonard (page 45-49), Nattier
(page 56) and Boucher (page 41-43) obliged with ornate
works of a sometimes frivolous lightness. Antoine Watteau
in particular, born one year before Bach and Handel in 1684,
succeeded in combining poetry and melancholy with a musical
sense of balanced harmony in his mythical island of Cythera.
By the mid-18th century, the ideas of the Enlightenment began
to bear fruit, challenging social equality and the sheen of
stylization prevalent in courtly life. Rousseau’s “back to nature”
call instigated a new trend, typified by Marie Antoinette’s
peasant village at Versaille, where she dressed as a shepherdess.
A whole new concept of landscape gardening spread from
England to the continent, in which nature was no longer
subj ected to geometric constraints, but allowed to roam as
freely as in the “natural” landscapes painted by artists such
as Claude Lorrain. Championed by Diderot, the artist Chardin
(page 58, 60, 70) depicted bourgeois scenes and characters
and composed aesthetic still lifes of pots and barrels. Meanwhile in Paris, the price of bread trebled, with discontent and
opposition to the crown growing accordingly. After the fall of
1748
The Bayreuth
Opera House opens
} {
1750
Jean-Jacques Rousseau: Discourse on
the Arts and Sciences (French philosophy
on the “back to nature” theme)
} {
1751
Diderot and Alambert:
The first volumes of the encyclopaedia
are published
}
5
Canaletto (Giovanni Antonio Canal) (1697-1768):
The Bucintoro at the Molo on Ascension Day, c. 1732
Oil on canvas, 58,3 x 101,8 cm
(Dulwich Picture Gallery, London)
Canaletto’s representative panorama contains all manner
of tourist attractions: the Palazzo Ducale, San Marco,
Campanile, the Column of St Theodore, Venice Clock Tower,
the Biblioteca and, of course, picturesque gondolas. A red flag
flying against a blue background draws attention to the actual
subject of the painting: the Doge’s state ship, the “Bucintoro”.
Canaletto (Giovanni Antonio Canal) (1697-1768):
Der Bucintoro an der Mole am Himmelfahrtstag, um 1732
Öl auf Leinwand, 58,3 x 101,8 cm
(Dulwich Gemäldegalerie, London)
Canalettos auf Repräsentation angelegtes Panorama enthält
touristische Attraktionen aller Art: Dogenpalast, San Marco,
Campanile, die Säule mit dem Heiligen Theodor, Uhrenturm,
die Biblioteca sowie malerische Gondeln. Die rote Flagge
vor blauem Hintergrund kündigt jedoch mit kräftiger Signalwirkung die eigentliche Hauptsache an: den „Bucintoro“,
das Prachtschiff des Dogen.
32
33
Ètienne Liotard (1702-1789): The Chocolate Girl, 1744/45
Pastel on parchment, 82,5 x 52,5 cm
(Old Masters Picture Gallery, Dresden)
The graceful demeanour of the young servant girl with a
delicate complexion and clad in fine materials guaranteed
the painting by the Franco-Swiss artist lasting admiration.
A charming Meissner porcelain cup with exquisite drink
completes this miniature cultural history of taste.
Ètienne Liotard (1702-1789):
Das Schokoladenmädchen, 1744/45
Pastell auf Pergament, 82,5 x 52,5 cm
(Gemäldegalerie Alte Meister, Dresden)
Die anmutige Haltung der jungen Serviererin, die Delikatesse des Kolorits und die Kostbarkeit der Stoffe sichern
dem Gemälde des französisch-schweizerischen Malers die
anhaltende Bewunderung des Publikums. Zusammen mit
dem exquisiten Getränk und der erlesenen Tasse im Meissner
„Tischchen“-Dekor entfaltet es eine kleine Kulturgeschichte
des Geschmacks.
Right
Jean-Honoré Fragonard (1732-1806): The Swing, 1767
Oil on canvas, 81 x 64 cm (Wallace Collection, London)
Rechts
Jean-Honoré Fragonard (1732-1806): Die Schaukel, 1767
Öl auf Leinwand, 81 x 64 cm (Wallace Collection, London)
44
Next page
Francisco de Goya (1746-1828):
The Nude Maja (detail), c. 1797
Oil on canvas, 97 x 190 cm
(Prado Museum, Madrid)
Nächste Seite
Die nackte Maja (Ausschnitt), um 1797
Öl auf Leinwand, 97 x 190 cm
(Prado-Museum, Madrid)
The Duchess of Alba, 1795
(Collection of the Duchess of Alba, Madrid)
Goya painted the Duchess of Alba more often than
any other woman. In the ranking order of the Spanish
court, her position was immediately behind the queen.
Were the Duchess and the artist lovers? Perhaps the
way she points at the little dog – a classical symbol of
faithfulness – offers a clue.
Die Herzogin von Alba, 1795
(Sammlung Gräfin von Alba, Madrid)
Keine Frau hat Goya öfter dargestellt als die Herzogin
von Alba, die in der Rangfolge der spanischen Hof
gesellschaft gleich hinter der Königin firmierte. Ob sie
ein Liebesverhältnis mit dem Maler verband, ist bis
heute ungeklärt. Auffällig ist zumindest die Geste, mit
der sie auf den kleinen Hund weist: Er ist das klassische
Symbol der Treue.
The Duke of Alba, 1795
(Prado Museum, Madrid)
Der Herzog von Alba, 1795
(Prado-Museum, Madrid)
Right/above (detail)
Joseph Wright of Derby (1734-1797): An Experiment on a Bird in an Air Pump, 1768
Oil on canvas, 183 x 244 cm (Tate Gallery, London)
The Enlightenment becomes socially acceptable. One of the decisive images of the 18th
century may owe much to the tradition of the Utrecht Caravaggisti, but is the first to
concern itself with a scientific experiment. This attempt to prove the phenomenon of
a vacuum is quite likely to have had fatal consequences for the imprisoned cockatoo.
Observers are drawn into the tension of the artfully created scene.
Rechts/oben (Ausschnitt)
Joseph Wright of Derby (1734-1797):
Das Experiment mit dem Vogel in der Luftpumpe, 1768
Öl auf Leinwand, 183 x 244 cm (Tate Gallery, London)
Die Aufklärung wird gesellschaftsfähig: Eines der Schlüsselbilder des 18. Jahrhunderts
ist zwar in der Tradition der Utrechter Caravaggisten gemalt, aber es gilt erstmals einem
wissenschaftlichen Experiment. Nachgewiesen werden soll das Phänomen des Vakuums,
das möglicherweise den eingesperrten Kakadu das Leben kosten wird. Die kunstvoll
inszenierte Spannung bezieht auch den Betrachter mit ein.
90
CD 1
Baroque Highlights · Höhepunkt des Barock
A n t o n i o V i va l d i (1678-1741)
Die vier Jahreszeiten · The Four Seasons
Concerto Nr. 1 „Der Frühling“ E-Dur, RV 269
Concerto No. 1 “Spring” in E major, RV 269
1 1. Allegro 3:07
2 2. Largo 1:36
3 3. Allegro 3:25
Concerto Nr. 2 „Der Sommer“ f-Moll, RV 315
Concerto No. 2 “Summer” in G minor, RV 315
4 1. Allegro non molto 4:57
5 2. Adagio – Presto 1:30
6 3. Presto 2:31
Concerto Nr. 3 „Der Herbst“ F-Dur, RV 293
Concerto No. 3 “Autumn” in F major, RV 293
7 1. Allegro 4:21
8 2. Adagio molto 2:27
9 3. Allegro 2:38
Concerto Nr. 4 „Der Winter“ f-Moll, RV 297
Concerto No. 4 “Winter” in F minor, RV 297
10 1. Allegro non molto 3:05
11 2. Largo 1:14
12 3. Allegro 2:52
Thomas Zehetmair
Camerata Bern
Violine & Künstlerische Leitung · Violin & artistic director
331 years ago, most probably in Venice, one of the most important composers of
Italian Baroque was born: Antonio Vivaldi. His father taught him to play the violin
before, aged fifteen, the boy prepared himself for a life in the priesthood. Ordained
in 1703, he would read Mass in Oleo for the next two years, but was forced to retire
from his post “due to an illness which has plagued me since childhood” (asthma).
Thereafter, Vivaldi, known as “Il prete rosso” (the red priest) on account of his red
hair, was enlisted as violin tutor and conductor at the “Ospedale della Pièta”, an
orphanage for illegitimate children and physically handicapped girls, where he took
charge of the house orchestra. Vivaldi threw himself into his work with great energy,
empathy and pedagogical ability, teaching his pupils to practice and perform
instrumental music. Under his direction, they developed into a first-rate orchestra,
playing a number of works composed by their mentor. Aside from a few professional
intermezzi, Vivaldi remained at the “Ospedale” until 1740. By this time, his own
compositions were aired primarily in Amsterdam and Italy.
From 1725, Vivaldi’s “Il Cimento dell’ Armonia e dell’ Inventione” (The Contest
between Harmony and Invention) became available in Amsterdam as “Opus 8”.
Comprising a dozen violin concerti consisting of three movements, the first four
concertos are collectively known as “Le Quattro Stagione” (The Four Seasons). The
other concerti carry titles such as “Il Piacere” (Pleasure), “Il Sospetto” (Suspicion),
“L’Amoroso” (The Lover) or “Il Gardellino” (The Goldfinch).
Each of the “Four Seasons” concerti is accompanied by a sonnet, a “Sonetto
Dimostrativo”, widely believed to be the work of the composer himself, designed to
“explain the music more simply”, as Vivaldi wrote in his dedication. The score was
120
accentuated with lines of text and capital letters to guide the listener through the
structural mood of the piece.
The 1086 bars of “Il Quattro Stagione” begin, naturally enough, with “II Primavera”
(Spring), a concerto in E major. Its story opens with birdsong, subsequently interrupted by the first storm of the season. Later, in the largo movement, a shepherd can
be heard sleeping, his “faithful dog at his side”, followed by nymphs and shepherds
dancing “under the glorious spring sky” in the pastoral third movement.
“L’Estate” (Summer), a concerto in G minor, is largely concerned with southerly
climes and the weather’s effect on nature: the “relentless heat”, “scorched pines”;
enter the cuckoo, the dove, the goldfinch. This time, a northerly wind disturbs the
proceedings of the first movement. In the adagio, a shepherd slumbers as a summer
storm approaches then crashes into life in the closing presto, sweeping impressively
through the strings as “thunder and lightning and hailstones”, the accompanying
text tells us, “destroy lavender and corn”.
Autumn (“L’Autunno”) arrives as the peasantry celebrate “with song and dance
the harvest safely gathered in”. Joy in F major is drowned in alcohol, bringing on
deep slumber. The adagio movement, in a particularly charming style (“Il cembalo
arpeggio”) heralds the “peaceful time coming”, an invitation to “sleep without a
care” – which clearly does not apply to all living creatures, as the hunters emerge
to harry and terrorize their “quarry”. It is not slaughtered, however, but “dies...
harried...by the horns and cries”, as depicted by the strings.
“L’Inverno” (Winter) offers in its first movement a musical depiction of snow, cold
wind and chattering teeth. Pizzicati raindrops played by violins land on windows in
the largo, whilst the concluding movement warns of the dangers of treading on the
ice and the wind, “bellowing in the stovepipe”.
Vor 331 Jahren wurde, wahrscheinlich in Venedig, einer der bedeutendsten Komponisten des italienischen Barock geboren: Antonio Vivaldi. Nachdem er den ersten
Violinunterricht bei seinem Vater hinter sich hatte, bereitete sich der Fünfzehnjährige
auf die Priesterlaufbahn vor. Die Priesterweihe erhielt er 1703, las anschließend zwei
Jahre in Oleo die Messe, musste dieses Amt aber „wegen einer Krankheit, die mich
seit frühester Kindheit belastet“ (Asthma) niederlegen. In der Folgezeit leitete Vivaldi,
den man seiner Haarfarbe wegen „Il prete rosso“ (Der rote Priester) nannte, als
Violinlehrer und Dirigent das Hausorchester der „Ospedale della Pièta“, ein Waisen
haus für unehelich geborene oder körperlich behinderte Mädchen. Vivaldi löste seine
Aufgabe, mit ihnen Instrumentalmusik zu üben und aufzuführen, mit Engagement,
Einfühlungsvermögen und pädagogischer Erfahrung. Es entwickelte sich unter seiner
Leitung ein erstklassiges Orchester, für das er diverse Werke komponierte. Von
wenigen beruflichen Intermezzi abgesehen, verbrachte Vivaldi bis 1740 seine Zeit
am „Ospedale“. Derweil erschienen vor allem in Amsterdam und in Italien seine
kompositorischen Werke.
Als „Opus 8“ konnte man ab 1725 zunächst in Amsterdam Vivaldis „Il Cimento
dell’ Armonia e dell’ Inventione“ (Der Wettstreit zwischen Harmonie und Einfall)
erwerben. Es handelt sich dabei um insgesamt ein Dutzend dreisätziger Violin
konzerte, von denen die ersten vier die sogenannten „Le Quattro Stagione“ (Die vier
Jahreszeiten) darstellen. Die übrigen Konzerte tragen Namen wie „Il Piacere“ (Das
Vergnügen), „Il Sospetto“ (Der Argwohn), „L’Amoroso“ (Der Liebhaber) oder auch
„Il Gardellino“ (Der Distelfink).
Für alle „Vier Jahreszeiten“-Konzerte existiert ein auf das jeweilige Werk zuge
schnittenes Sonett, dessen Verfasser eigentlich unbekannt ist, so dass man sich
schließlich geeinigt hat, den Text dem Komponisten zuzuschreiben. Diese „Sonetto
Dimostrativo“ sollen den Sinn haben, „die Musik leichter (zu) erklären“, wie es in
Vivaldis Widmung heißt. In die Partitur wurden Textzeilen und Großbuchstaben
übernommen, so dass der Leser/Hörer die Stimmungsgebilde mitverfolgen kann.
Die insgesamt 1086 „Il Quattro Stagione“-Takte beginnen naturgemäß mit „II
Primavera“ (Der Frühling), einem Konzert in E-Dur. Die Geschichte beginnt mit
Vogelgesang, unterbrochen von einem ersten Gewitter. Später, im Largo-Satz hört
man einen Hirten schlummern, „den treuen Hund zur Seite“, im dritten Satz
abgelöst von einem pastoralen Nymphen- und Hirtentanz „unter dem leuchtenden
Frühlingshimmel“.
„L’Estate“ (Der Sommer), ein Konzert in g-Moll, berichtet von südländischen Klima
verhältnissen und deren Folgen für die Natur: Die Rede ist von „lastender Hitze“,
„versengten Pinien“; es treten auf Kuckuck, Taube und Stieglitz. Diesmal stört ein
Nordwind das Geschehen des ersten Satzes. Im Adagio schläft ein Schäfer dem
Sommergewitter entgegen, das im abschließenden Presto, einem musikalisch besonders
beeindruckenden Stück, durch das Streichorchester fegt, und „Donner und Blitze und
Hagelschauer“, so der begleitende Text, „vernichten Lavendel und Getreide“.
Der Herbst („L’Autunno“) sieht zunächst die landwirtschaftliche Bevölkerung „mit
Tanz und Gesang die gute Ernte“ feiern. Die F-Dur-Freude wird im Alkohol ertränkt,
was einen soliden Rausch nach sich zieht. Im Adagio-Satz, ein durch besondere
Spielweisen („Il cembalo arpeggio“) reizvolles Stück Musik, lädt „die beginnende
friedliche Zeit“ ein „zu süßem Ruhen“ – was sich freilich nicht auf alle Lebewesen
bezieht, denn anschließend machen sich die Jäger auf, „das Wild“ zu jagen, zu
erschrecken und zu verwunden. Es wird aber nicht getötet, sondern „stirbt“,
„ermattet vom Lärm der Flinten und Hörner“, dargestellt durch ein Streichorchester...
„L’Inverno“ (Der Winter) schildert im ersten Satz, musikalisch nachvollziehbar,
Schnee, Kälte, Wind und Zähneklappern. Im Largo werden an Fensterscheiben
klopfende Regentropfen durch Pizzicati in den Violinen nachgeahmt. Der ab
schließende Satz berichtet von Gefahren auf dem Eis sowie von Winden, die sich
diesmal „im Ofenrohr balgen“.
J o h a n n D av i d H e i n i c h e n (1683-1729)
Concerto F-Dur für zwei Querflöten, zwei Oboen, zwei Fagotte, Solovioline,
zwei Violoncelli, Streicher (zwei Oboen) und B. c.
Concerto in F major for two flutes, two oboes, two bassoons, solo violin,
two violoncellos, strings and b. c.
13 1. Allegro 2:35
14 2. Andante 2:13
15 3. (ohne Bezeichnung) 2:23
Eckart Haupt · Ulrich Philipp Flöte · flute
Andreas Lorenz · Guido Titze Oboe · oboe
Hans-Peter Steger · Bernd Rose Fagott · bassoon
Roland Straumer Violine · violin
Joachim Bischof · Günther Müller Violoncello
Virtuosi Saxoniae · Ludwig Güttler
Author of a treatise on the basso continuo, Heinichen was one of the most important
musical scholars of his day. Following his studies at the Thomasschule in Leipzig, he
travelled to Weißenfels and Italy before accepting the post of Hofkapellmeister at the
court of Augustus the Strong in 1717. The same title was refused his great con
temporary Johann Sebastian Bach in nearby Leipzig in 1733, in spite of his offering
of the magnificent Kyrie and Gloria score from his Mass in B minor. Around thirty of
Heinichen’s works have survived.
Heinichen war als Verfasser einer Generalbasslehre einer der bedeutendsten Musiktheoretiker seiner Zeit. Der Leipziger Thomasschüler kam über Weißenfels und
Italien nach Dresden und führte am Hofe Augusts des Starken ab 1717 einen
Hofkapellmeistertitel, um den sich sein im benachbarten Leipzig wirkender großer
Zeitgenosse Johann Sebastian Bach 1733 mit der Widmung der genialen Partitur des
Kyrie und Gloria seiner h-Moll-Messe vergeblich bemühte. Aus Heinichens Konzertproduktion sind rund dreißig Beiträge erhalten geblieben.
F r a n ç o i s C o u p e r i n (1668-1733)
Pièces des Clavecin, 2. Buch, 11. Ordre, Nr. 1-5
„Les Fastes de la Grande et Ancienne Mxnxstrxndxsx“
16 1. Les Notables, et les Jurés 1:17
17 2. Les Viéleux, et les Gueux 2:09
18 3. Les Jongleurs, Sauteurs, et Saltinbanques: avec les Ours, et les Singes 1:00
19 4. Les Invalides: ou gens Estropiés au service de la grande Mxnxstrxndxsx 2:05
20 5. Désordre, et déroute de tout la troupe:
cause par les Yvrognes, les Singes, et des Ours 2:22
Hans Pischner
Cembalo · harpsichord
Couperin was organist and musical director at the court of Louis XIV. Centrepiece of
his creative output were over 240 richly ornamented works for harpsichord, which
he collected into 27 suites (“Ordres”).
Couperin war Organist und Musiklehrer am Hofe Ludwigs des XIV. Im Mittelpunkt
seines Schaffens stehen über 240 reich verzierte Cembalowerke, die er zu 27 Suiten
(„Ordres“) zusammenfasste.
G e o r g P h i l i pp T e l e m a n n (1681-1767)
Konzert für Trompete und Streicher (2 Oboen, Fagott) und B. c. D-Dur
Concerto for trumpet, strings (2 oboes, bassoon) and b. c. in D major
21 1. Adagio 1:56
22 2. Allegro 1:45
23 3. Grave 1:30
24 4. Allegro 1:29
Bearbeitung · Arranged by:
Ludwig Güttler
Virtuosi Saxoniae
Basso continuo:
Joachim Bischof Violoncello
Werner Zeibig Kontrabass · double bass
Friedrich Kircheis Cembalo · harpsichord
Ludwig Güttler Solist und Leitung · Soloist and conductor
Some 105 concertos composed by Telemann have been preserved – just one part of
a monumental oeuvre containing over 3600 works, including 1750 cantatas and
46 Passions.
Aus Telemanns Feder haben sich 105 Konzerte erhalten – im Rahmen einer insgesamt
quantitativ gigantischen Produktion von mehr als 3600 Werken, darunter 1750
Kirchenkantaten und 46 Passionen.
121
www.earbooks.net
M a s t e r p i e c e s 1700-1800 : The 18th century in words, pictures and music. The second volume in the earBOOKS
ISBN 978-3-940004-75-8
“Masterpieces” series presents a compact overview of painting and music of the 18th century. In the spotlight are the most
significant works of art and music of the period. Concise, informative commentaries illuminate the most interesting aspects
of the paintings and musical works included. A detailed foreword examines the key factors which influenced cultural development throughout the century. Music CDs: Four discs showcase the musical highlights of the 18th century. Top-class
artists such as Peter Schreier, Christine Schornsheim, Katrin Scholz, Thomas Zehetmaier, Ludwig Güttler, the Berlin Chamber Orchestra, the Camerata Bern,
Kurt Masur and Otmar Suitner guarantee performances of the highest order.
9<HTOJPA=a ehfi>
M e i s t e r w e r k e 1700-1800 : Das 18. Jahrhundert in Wort, Bild und Musik. Der zweite Titel der earBOOKS-Serie „Meisterwerke“ präsentiert einen
kompakten Überblick über die Malerei und die Musik des 18. Jahrhunderts. Vorgestellt werden die bedeutendsten Gemälde und musikalischen Werke dieser Zeit.
Kurze, informative Kommentare weisen auf Wissenswertes über die Gemälde und die Musik hin. Ein umfassendes Vorwort erläutert die wichtigsten Einflussfaktoren
auf die kulturelle Entwicklung dieses Jahrhunderts. Musik-CDs: Die beiliegenden vier CDs präsentieren die musikalischen Höhepunkte des 18. Jahrhunderts.
Hochkarätige Interpreten wie Peter Schreier, Christine Schornsheim, Katrin Scholz, Thomas Zehetmaier, Ludwig Güttler, das Kammerorchester Berlin, die Camerata
Bern, Kurt Masur oder Otmar Suitner verbürgen höchstes künstlerisches Niveau.
CD 1
CD 2
CD 3
CD 4
Baroque Highlights
Höhepunkt des Barock
German & English High Baroque
Deutsch-Englischer Hochbarock
Early Classical Period
Vorklassik
Viennese Classicism
Wiener Klassik
A ntonio V ivaldi (1678-1741)
Die vier Jahreszeiten · The Four Seasons
J ohann S ebastian B ach (1685-1750)
J oseph H aydn (1732-1809)
Sinfonie Nr. 8 G-Dur „Le Soir“, Hob.I:8
Symphony Nr. 8 in G major, Hob.I:8
1 1. Allegro molto 3:55
2 2. Andante 6:19
3 3. Menuetto 4:45
4 4. La Tempesta. Presto 3:14
W olfgang A madeus M ozart
- 3 Concerto Nr. 1 „Der Frühling“ E-Dur
Concerto No. 1 “Spring” in E major, RV 269 8:08
1
4 - 6 Concerto Nr. 2 „Der Sommer“ f-Moll
Concerto No. 2 “Summer” in G minor, RV 315 8:58
- 9 Concerto Nr. 3 „Der Herbst“ F-Dur
Concerto No. 3 “Autumn” in F major, RV 293 9:26
7
- 12 Concerto Nr. 4 „Der Winter“ f-Moll
Concerto No. 4 “Winter” in F minor, RV 297 7:11
10
J ohann D avid H einichen (1683-1729)
13 - 15 Concerto F-Dur für zwei Querflöten, zwei
Oboen, zwei Fagotte, Solovioline, zwei Violoncelli,
Streicher (zwei Oboen) und B. c.
Concerto in F major for two flutes, two oboes,
two bassoons, solo violin, two violoncellos,
strings and b. c. 7:11
F rançois C ouperin (1668-1733)
Pièces des Clavecin, 2. Buch, 11. Ordre, Nr. 1-5
„Les Fastes de la Grande et Ancienne
Mxnxstrxndxsx“
16 1. Les Notables, et les Jurés 1:17
17 2. Les Viéleux, et les Gueux 2:09
18 3. Les Jongleurs, Sauteurs, et Saltinbanques:
avec les Ours, et les Singes 1:00
19 4. Les Invalides: ou gens Estropiés au service
de la grande Mxnxstrxndxsx 2:05
20 5. Désordre, et déroute de tout la troupe:
cause par les Yvrognes, les Singes, et des Ours 2:22
Toccata und Fuge d-moll, BWV 565
(um 1706) · Toccata and fugue in D minor,
BWV 565 (c. 1706) 9:02
1
J ohann S ebastian B ach
Weihnachtsoratorium, BWV 248
Christmas Oratorio, BWV 248
2 „Jauchzet, frohlocket“
(Eingangschor · Opening chorus) 7:25
J ohann S ebastian B ach
Brandenburgisches Konzert Nr. 5 D-Dur,
BWV 1050 · Brandenburg Concerto No. 5
in D major, BWV 1050
3 1. Allegro 11:05
4 2. Affettuoso 6:05
5 3. Allegro 5:48
G eorg F riedrich H ändel (1685-1759)
Ouvertüre zu „Atalanta“, HWV 35
für Trompete, zwei Oboen, Streicher und B. c.
Overture to “Atalanta”, HWV 35
for trumpet, two oboes, strings and b. c.
6 1. (ohne Bezeichnung) 1:44
7 2. Allegro 2:21
8 3. Andante 2:01
G eorg F riedrich H ändel
Orgelkonzert A-Dur, op. 7 Nr. 2
Organ concerto in A major, op. 7 No. 2
9 1. Ouvertüre. (Grave –) A tempo ordinario 7:03
10 2. Organo ad libitum 2:46
11 3. Allegro 5:54
J ohann J oachim Q uantz (1697-1773)
Konzert für Flöte, Streicher und B. c. Nr. 161
G-Dur, QV 5:174 · Concerto for flute, strings
and b. c. No. 161 in G major, QV 5:174
5 1. Allegro assai 5:32
6 2. Arioso e mesto 5:46
7 3. Presto 4:40
J ohann C hristian B ach (1735-1782)
Sinfonie D-Dur, op. 18 Nr. 4
Symphony in D major, op. 18 No. 4
8 1. Allegro con spirito 4:03
9 2. Andante 3:28
10 3. Rondo: Presto 2:39
C arl P hilipp E manuel B ach
(1714-1788)
Konzert F-Dur für zwei Cembali, zwei Hörner,
Streicher und B. c., Wq A6
Concerto in F major for two harpsichords,
two horns, strings and b. c., Wq A6
11 1. Allegro 8:57
12 2. Largo 8:38
13 3. Allegro assai 5:08
21 - 24 Konzert für Trompete und Streicher
(2 Oboen, Fagott) und B. c. D-Dur
Concerto for trumpet, strings (2 oboes, bassoon)
and b. c. in D major 6:40
G eorg F riedrich H ändel
Der Messias · Messiah, HWV 56
12 „Halleluja“ (Chor) 4:07
Sinfonie Nr. 45 fis-Moll, Hob.I:45
Symphony No. 45 in F sharp minor, Hob.I:45
„Abschiedssinfonie“ · “Farewell Symphony”
14 4. Finale. Presto – Adagio 7:08
Thomas Zehetmair · Eckart Haupt · Ulrich Philipp
Andreas Lorenz · Guido Titze · Hans-Peter Steger
Bernd Rose · Roland Straumer · Joachim Bischof
Günther Müller · Hans Pischner · Werner Zeibig
Friedrich Kircheis · Virtuosi Saxoniae
Camerata Bern · Ludwig Güttler
Ludwig Güttler · Petra Meining · Lothar Seyfarth
Johannes-Ernst Köhler · Andreas Lorenz
Edward Power Biggs · Virtuosi Saxoniae
Kammerorchester Berlin · Thüringisches Kammer
orchester · Concentus Vocalis Wien · Helmut Koch
Katrin Scholz · Christine Schornsheim
Raphael Alpermann · Johannes Walter
Staatskapelle Berlin · Kammerorchester Berlin
Akademie für Alte Musik Berlin
Dresdner Kammersolisten · Günther Herbig
G eorg P hilipp T elemann (1681-1767)
(1756-1791)
Serenade Nr. 13 G-Dur · in G major, KV 525
„Eine kleine Nachtmusik“ · “A Little Night Music”
1 1. Allegro 4:30
2 2. Romanze. Andante 5:56
3 3. Menuetto. Allegretto 2:17
4 4. Rondo. Allegro 3:50
Klavierkonzert Nr. 21 C-Dur, KV 467
Piano Concerto No. 21 in C major, KV 467
5 2. Andante 6:16
6
7
8
9
Das Veilchen, KV 476 2:42
Sehnsucht nach dem Frühlinge, KV 596 2:45
Der Zauberer, KV 472 2:13
Abendempfindung, KV 523 5:13
Sinfonie Nr. 40 g-Moll, KV 550
Symphony No. 40 in G minor, KV 550
10 1. Molto allegro 8:08
Sinfonie Nr. 94 G-Dur „Paukenschlag“, Hob.I:94
Symphony No. 94 in G major “The Surprise”,
Hob.I:94
11 2. Andante 6:17
J oseph H aydn
Die Schöpfung · The Creation, Hob.XXI:2
12 1. Einleitung 8:00
(Die Vorstellung des Chaos)
„Im Anfange schuf Gott Himmel und Erde“
Rezitativ (Raphael)
13 2. „Nun schwanden vor dem heiligen Strahle“
Arie (Uriel), Chor 4:07
Erika Köth · Peter Schreier · Theo Adam
Annerose Schmidt · Wolf-Dieter Hauschild
Günther Weißenborn · Staatskapelle Dresden
Rundfunk-Solistenvereinigung Berlin
Rundfunkchor Berlin
Rundfunk-Sinfonie-Orchester Berlin
Dresdner Philharmonie
Kurt Masur · Otmar Suitner · Günther Herbig
The Discovery of “Modern Life”
France
Questions of power are also questions of style: in the first half
of the nineteenth century, France shaped both the political and
cultural history of Europe. The jubilation engendered by the
Revolution’s ideals of freedom, as celebrated in Beethoven’s opera
“Fidelio”, premiered in 1805, nevertheless gave way to a more
sombre mood. A year earlier, the “Little Corsican” Napoleon
Bonaparte’s imperial coronation reinstalled the monarchy as
head of state. To legitimize his precarious position of power, he
institutionalized art in the style of Imperial Rome, adopting its
forms of representation. The Empire style, an evenly balanced,
sober and austere French variation on Classicism, spread
through Napoleon’s occupied territories, as well as taking hold
in Russia. Artists switched camps: the committed Republican
Jacques-Louis David (page 15-19) now prospered as a court
painter. More than anyone else, he was adept at translating the
stately gestures of the imperial arriviste into timeless images of
glacial grandeur. Yet the consequences of the Napoleonic drive
for expansion, the millions of victims as he waged war across
Europe, also left their mark on the art of the period. Initially,
heroic scenes of battle or depictions of martyrdom were prevalent.
In the wake of Napoleon’s demise and once the Bourbon
monarchy had been reinstated, a general sense of disillusionment
pervaded the land. Slowly but surely, individual misery, the lot
of the lone soldier, entered the artist’s field of vision. Glorified
exaggerations of reality faded as a retreat into a more private
sphere manifested itself. Genre and landscape representations
grew more common, as did portrait painting. At the same time,
{
4
1804
Napoleon I
becomes Emperor
of France
} {
1806
Emperor Francis II
abdicates, dissolving the
Holy Roman Empire
}
{
1815
Napoleon’s
final defeat at
Waterloo
the flow of official commissions dried up, compelling artists to
offer their works more frequently on the free market. Echoes
of past movements, notably the High Renaissance and the
Golden Age of Dutch Painting, can be detected in many works
of the period. Even Géricault’s major work, “The Raft of the
Medusa” (page 20-21), based on actual events, owed much to the
monumental painting of Italian Baroque, whilst still containing
a measure of criticism of the Restoration. Artists like JeanDominique Ingres (page 26-28): led the way: David’s prize
student and admirer of Raphael looked to classicist ideals for
his inspiration, values distilled from the observation of nature,
in static, hermetic forms. In the vanguard of the other notable
and contrasting movement, grounded in the Romantic tradition,
was Ingres’ younger rival Eugène Delacroix (page 22-23, 30-31),
already spanning a bridge to modernity. Here, a subjective,
spontaneous approach to painting favoured emotion over
classical balance, individual expression over perfection of form,
colour over drawing. The musical counterpart to the aesthetics
of Delacroix could be found in the compositions of his great
friend Frédéric Chopin. Nevertheless, when an artist like
Delacroix commented on the politics of the day, he did so
through the medium of allegory. His portrayal of the Revolution
of 1830 was founded on personification, the central symbolic
figure applicable to both past and future contexts. “Liberté,
guidant le Peuple” aroused passionate memories of 1789 and
represented a political stand against the Bourbons, going on to
become a symbol of freedom per se. In spite of fierce resistance
from the Academy, however, “modern life” was finding its way
into the world of art, albeit hesitantly. The phenomenon of the
}
{
1824
The National
Gallery in London
is founded
}{
1825
The first stretch of railway
between two towns is opened
(Stockton to Darlington)
}
city, the effects of industrialization, the lives and travails of the
less privileged social classes all found themselves topics worthy
of depiction. Coined “Realism”, the new style’s main protagonist
was Gustave Courbet (page 29, 32-33, 80), whose works
dispensed with all traditional forms, simply showing “what
he saw”. Around the turn of the century, painters like Millet,
Daumier and Caillebotte (page 34-35) discovered a new subject:
the world of hard, physical labour. Their “Social Realism”
consciously sought to highlight social ills, with Toulouse-Lautrec
and Degas (page 36-38, 112, 114-115). continuing their
critique in the latter part of the century. Symbolism developed
as a reaction to the dichotomy of reality versus a world of
sensation. This new art form understood objective reality as
a symbol of an ulterior domain. Gustave Moreau (page 39) in
France, Fernand Khnopff in Belgium, along with Franz von
Stuck and Arnold Böcklin (page 66-67) in Germany created an
otherworldly, mythical cosmos, legitimizing irrationality in art.
Spain
As elsewhere in Europe, Spanish art also had modernization
thrust upon it under pressure of the Napoleonic Wars of
Liberation. It was no longer inconceivable for a portrait of a
ruler to display signs of human weakness. As Napoleon’s
troops marched across the border, throwing political relations
into disarray, artists again found themselves compelled to
redefine their own remit. Francisco de Goya, deaf by this time,
took it upon himself to create a series of etchings documenting
{
1830
July Revolution in Paris /
Uprisings in Warsaw
and Brussels
} {
1837
The sixty-four-year
reign of Queen
Victoria begins
} {
1838
Invention
of photography
the horrors of the ongoing war (page 41). The work was not
a commission, it was his own grim satire, universalized to the
extent that the accusation of “unpatriotic behaviour” hung in
the air. Goya would not live long enough to see Los Desastres
de la Guerra published. The first edition appeared in 1863.
Germany
Napoleon’s Wars of Liberation first sent a wave of new national
spirit through Germany. In literature, the visual arts and music,
German Romanticism was preoccupied with themes such
as fatherland, devotion to nature, infinitude and sublime
consciousness. By engaging with nature so intensely, Caspar
David Friedrich (page 42-48) discovered the validity and force
of expression in the unspectacular landscape of his homeland.
He distilled it into metaphorical spaces of the imagination.
Philipp Otto Runge (page 49-50) likewise saw nature as the
only medium which could express the “deepest mysticism
of religion”. As liberal hopes of political reform were soon
extinguished, Friedrich elegized the reestablishment of the old
order in the Restoration with the harrowing image of a ship
wreck in an arctic wasteland. The reinvigorated monarchies
of Bavaria and Prussia held firm to the stabilizing ideals of
classical antiquity, as testified by the paintings and buildings of
Friedrich Schinkel (page 52-53).
As a reaction to the profane, largely protestant Neoclassicism of
the north, a group of artists calling themselves the “Nazarenes”,
after the followers of Jesus, came into existence. Operating
}
{
1843
Mendelssohn
establishes Leipzig
Conservatory
} {
1848
Revolutions in Paris, Germany, Vienna /
Marx and Engels:
The Communist Manifesto
}
5
Right/above (detail)
Caspar David Friedrich (1774-1840): The Sea of Ice (The Wreck of Hope), c. 1823/24
Oil on canvas, 96,7 x 126,9 cm (Kunsthalle Hamburg)
A ship runs aground amidst thick sheets of ice. Based on a true incident, Friedrich created an epic image of
nature’s overwhelming supremacy over the travails of man. Today, “The Sea of Ice” is commonly interpreted
in political terms, seen as an expression of shattered aspirations with regard to civil liberties and liberal
reform in Germany.
Rechts/oben (Ausschnitt)
Caspar David Friedrich (1774-1840): Das Eismeer (Die gescheiterte Hoffnung), um 1823/24
Öl auf Leinwand, 96,7 x 126,9 cm (Kunsthalle Hamburg)
Mitten in einem Gebirge aus Eisschollen kentert ein Schiff. Angeregt durch eine wahre Begebenheit, hat
Friedrich hier ein monumentales Bild für die Übermacht der Natur gegenüber dem Mühen des Menschen
geschaffen. Meist wird das „Eismeer“ heute als politisches Sinnbild gedeutet, das den gescheiterten
Hoffnungen auf Bürgerfreiheit und liberale Reformen in Deutschland Ausdruck verleiht.
44
John Everett Millais (1829-1896): Ophelia, 1852
Oil on canvas, 76,2 x 111,8 cm (Tate Gallery, London)
John Everett Millais (1829-1896): Ophelia, 1852
Öl auf Leinwand, 76,2 x 111,8 cm (Tate Gallery, London)
Right
Dante Gabriel Rossetti (1828-1882):
Lady Lilith, 1866-68 (altered 1872-73)
Oil on canvas, 38 x 33,5 cm
(Delaware Art Museum, Wilmington/DE)
Rechts
Dante Gabriel Rossetti (1828-1882):
Lady Lilith, 1866-68 (1872-73 geändert)
Öl auf Leinwand, 38 x 33,5 cm
(Delaware Art Museum, Wilmington/DE)
72
Left/above (detail)
Pierre-Auguste Renoir (1841-1919): Dance at Moulin de la Galette, Montmartre, 1876
Oil on canvas, 131 x 175 cm (Orsay Museum, Paris)
Renoir’s artful dispersion of light creates a bustling, lively atmosphere. This marvellous painting
actually owes its apparent spontaneity to meticulous techniques of composition. Nevertheless,
Renoir’s masterpiece of modernity was too much for his public, who found it hard to see beyond
the “violet blue storm clouds” which covered the ground.
Pierre-Auguste Renoir (1841-1919): Moulin de la Galette, Montmartre, 1876
Öl auf Leinwand, 131 x 175 cm (Orsay-Museum, Paris)
Kunstvoll gesetzte Lichtreflexe erzeugen eine Bewegung voller Atmosphäre und Leben. Renoirs
so spontan wirkendes, monumentales Gemälde ist jedoch ein sorgfältig komponiertes Meisterwerk
der Moderne. Das in seinen Sehgewohnheiten herausgeforderte Publikum zeigte sich von einem
Erdboden, der „blauvioletten Gewitterwolken gleicht“, irritiert.
99
Edgar Degas (1834-1917): The Star, 1876/77
Pastel, 58 x 42 cm (Orsay Museum, Paris)
Edgar Degas (1834-1917): Der Star, 1876/77
Pastell, 58 x 42 cm (Orsay-Museum, Paris)
Edgar Degas (1834-1917): The Dance Class, 1873-75/76
Oil on canvas, 85 x 75 cm (Orsay Museum, Paris)
Edgar Degas (1834-1917): Die Tanzklasse, 1873-75/76
Öl auf Leinwand, 85 x 75 cm (Orsay-Museum, Paris)
Movement was at the heart of Degas’ artistic oeuvre, and ballet, with its array of
graceful poses, provided him with a wealth of motifs. Yet the painter did not restrict
himself to the decorative aspect of the balletic art. His images regularly drew attention
to the physical and psycholigical demands of the dancer’s profession, whilst also
highlighting the low social standing of ballet girls.
Degas künstlerisches Interesse galt der Bewegung, und das Ballett mit seinen zahl
reichen graziösen Posen bot ihm eine Fülle von Motiven dafür. Doch hat sich der Maler
nicht auf die dekorativen Seiten der graziösen Kunst beschränkt. Immer wieder thematisiert er in seinen Bildern nicht nur die physischen und psychischen Zumutungen
des Tänzerinnenberufs, sondern auch den niedrigen sozialen Rang der Ballettmädchen.
115
CD 1
Viennese Transition · Wiener Übergang
Ludwig
va n B e e t h o v e n (1770-1827)
Sinfonie Nr. 5 c-Moll, op. 67 (1807-08)
Symphony No. 5 in C minor, op. 67
1 1. Allegro con brio 8:05
Ludwig
Staatskapelle Dresden
Herbert Blomstedt
Klaviersonate Nr. 14 cis-Moll, op. 27 Nr. 2 „Mondscheinsonate“ (1801)
Piano Sonata No. 14 in C sharp minor, op. 27 No. 2 “Moonlight”
2 1. Adagio sostenuto 5:35
3 2. Allegretto 2:02
4 3. Presto agitato 6:56
Dieter Zechlin
A musical journey through the 19th century has to begin with Ludwig van Beethoven.
Born and raised in Bonn but adopting Vienna as his home, he honed his talent for
composition in the Austrian capital, probably meeting Wolfgang Amadeus Mozart
in the process and studying under Joseph Haydn. From 1800 onwards, he created
works of seminal genius in every form of music he turned his hand to, from string
quartets to solo concertos and his only opera, “Fidelio”. His nine symphonies were
to have an especially far-reaching effect on later composers. The Fifth Symphony
was the key, its four-tone opening motif giving rise to everything that follows. It can
be found in each of the four movements on the way to “durch Nacht zum Licht”
(a typical romantic inflection). The first movement hints at a shift towards modernity,
certainly embracing the 19th century, already in progress, without losing sight of the
Viennese tradition.
Eine musikgeschichtliche Reise durch das 19. Jahrhundert hat mit Ludwig van
Beethoven zu beginnen. Eigentlich ein Zugereister, weil in Bonn geboren und aufgewachsen, erweiterte er in Wien über die (vermutliche) Bekanntschaft mit Wolfgang
Amadeus Mozart und des Studiums bei Joseph Haydn sein kompositorisches Talent.
Dabei schuf er nach 1800 in allen Bereichen der Tonkunst Genial-Wegweisendes,
sei es das Streichquartett, die einzige Oper („Fidelio“) oder das Solokonzert. Als
besonders nachhaltig erwiesen sich für alle nachfolgenden Komponisten seine neun
Sinfonien, von denen die Fünfte eine Schlüsselstellung einnimmt. Das viertönige
Grundmotiv wird zur Keimzelle des Geschehens; alles Weitere geht aus ihm hervor,
es lässt sich in allen vier Sätzen wiederfinden, auf dem Weg „durch Nacht zum Licht“
(einer typisch romantischen Wendung). Der erste Satz klingt wie ein Aufbruch in
die Moderne, zumindest in das angebrochene 19. Jahrhundert – ohne die Wiener
Tradition zu verhehlen.
va n
Beethoven
Klavier · piano
Beethoven’s progressiveness was already apparent at the turn of the century. His
“Moonlight Sonata” sweeps aside many classical notions of composition, its delicate
opening in contrast to the two ensuing movements.
Schon um die Jahrhundertwende zeichnete sich Beethovens Fortschrittlichkeit ab.
Seine „Mondscheinsonate“, die nur für den ersten Satz einen zarten Charakter gelten
lässt, fegt bereits manche klassische Tradition aus dem Notenbild.
Ludwig
va n
Beethoven
Sinfonie Nr. 9 d-Moll, op. 125 (1822-24)
Symphony No. 9 in D minor, op. 125
5 4. Presto – Schluss · conclusion „Freude, schöner Götterfunken“ 11:25
Helena Doese Sopran · soprano
Marga Schiml Alt · alto
Theo Adam Bass
Rundfunkchor Leipzig
Chor der Staatsoper Dresden
Herbert Blomstedt
Beethoven’s introduction of vocal parts defied the conventional form of a symphony
as a purely orchestral work. The final movement is based on Friedrich Schiller’s “Ode
to Joy”. Over an hour long in total, this symphony marks the end of the classical era
in music – new values would now come into play.
Mit der Verbindung zum gesungenen Wort sprengt Beethoven die Vorgabe, eine
Sinfonie habe aus reiner Orchestermusik zu bestehen. Der Schlusssatz seiner mehr als
einstündigen Sinfonie auf der Grundlage von Friedrich Schillers „Ode an die Freude“
ist musikalischer Endpunkt der Klassik – ab sofort gelten andere Werte.
122
F r a n z S c h u b e rt (1797-1828)
F r a n z S c h u b e rt
Klavierquintett A-Dur, D 667 „Forellenquintett“ (1819)
Piano Quintet in A major, D 667 “Trout”
6 4. Thema (Andantino) und sechs Variationen 7:40
Theme (Andantino) and six variations
Siegfried Lorenz
Norman Shetler
Peter Rösel Klavier · piano
Karl Suske Violine · violin
Dietmar Hallmann Viola
Jürnjakob Timm Violoncello
Rainer Hucke Kontrabass · double bass
Also in Vienna, working in Beethoven’s shadow, Franz Schubert was the archetypal
“romantic” composer, living more or less completely for his art. He never had the
financial means to be fully independently of benevolent friends and patrons.
His creative output spanned just twenty years, yielding around one thousand
compositions. Most of them were in song form, but he also wrote symphonies,
a few operas and no small amount of chamber music. His famous “Trout Quintet”
contains a movement which is a set of variations on the melody of his earlier song
“Die Forelle“/ “The Trout” (D 550). It was written for Silvester Paumgartner,
who no doubt suggested the idea, along with advising the composer of his preferred
instrumentation (including contrabass) for a piano quintet.
Im Schatten Beethovens entwickelte Franz Schubert in Wien den Typus des
„romantischen“ Komponisten, der fast nur noch für seine Kunst lebte. Nie hatte
er genug Geld, um unabhängig von wohlmeinenden Freunden und Gönnern
seine schöpferische Arbeit zu verrichten. Entstanden sind in knapp zwanzig Jahren
etwa eintausend Werke, darunter überwiegend Lieder, aber auch sinfonische Werke,
einige Opern und reichlich Kammermusik. Das berühmte „Forellenquintett“ enthält
einen Variationssatz auf die Melodie des zuvor komponierten Liedes „Die Forelle“
(D 550); wahrscheinlich hatte der Auftraggeber, Silvester Paumgartner, dies parallel
zu konkreten Besetzungsvorgaben (Kontrabass) zur Bedingung für einen Klavier
quintettauftrag gemacht.
7
„Erlkonig“, D 328 (1815)
4:21
Bariton · baritone
Klavier · piano
Schubert was only eighteen years old when he composed this marvellous song using
words from a Johann Wolfgang von Goethe poem. Charged with tension, it unveiled
a new technique of piano accompaniment – with a narrative function at the heart
of the action.
Auf Johann Wolfgang von Goethes Gedicht schrieb der achtzehnjährige Schubert ein
großartiges Lied, dessen spannungsgeladene Effekte sich auch aus einer neuartigen
Verwendung der Klavierbegleitung ergeben – bis hin zur kommentierenden Mit
wirkung im Geschehen.
F r a n z S c h u b e rt
Sinfonie Nr. 7 h-Moll, D 759 „Die Unvollendete“ (1822)
Symphony No. 7 in B minor, D 759 “The Unfinished”
8 1. Allegro moderato 10:50
9 2. Andante 12:16
Peter Schreier
Schubert wrote the most famous “unfinished” piece in the history of music. He
completed the andante, but only sketches of a third scherzo movement exist. The
dramatic theatre of the first movement is followed by the lyricism and a sudden surge
in energy in the second, before matters are calmly resolved – can it really be said that
something is missing, just because the classical, faster final movement is not in place?
Das berühmteste „unvollendete“ Musikstück der Geschichte stammt von Schubert.
Es existieren zwar Skizzen zu einem dritten (Scherzo-)Satz, aber nach Vollendung
des Andante komponierte er diese Sinfonie nicht „zu Ende“. Erst die Dramatik des
ersten Satzes, dann Lyrik und jäher Ausbruch mit versöhnlichem Ende im zweiten
Satz – ob wirklich etwas fehlt, nur weil der klassische Abschluss, ein schneller Satz,
nicht komponiert wurde?
123
www.earbooks.net
M a s t e r p i e c e s 1800-1900 – A cent u r y in words, pict u res and music. “180 0 -190 0”, another volu me in the
ISBN 978-3-940004-76-5
“Masterpieces” series, provides a compact overview of the music and art of the 19th century. The most important paintings and
musical works are presented with concise and informative notes. A comprehensive introduction details the most significant
events of the century and examines their influence on painting and music. Music CDs: Four discs guide the listener through the
outstanding musical achievements of the period. First class performances come courtesy of Peter Schreier, Theo Adam, Karl Suske,
Norman Shetler, the Staatskapelle Berlin and its Dresden counterpart, the Leipzig Gewandhaus Orchestra and Otmar Suitner, amongst others.
9<HTOJPA=a ehgf>
M e i s t e r w e r k e 1800-1900 – Das 19. Jahrhundert in Wort, Bild und Musik. „1800-1900“, ein weiterer Titel aus der earBOOKS-Serie „Meisterwerke“,
vermittelt einen kompakten Überblick über die Malerei und die Musik des 19. Jahrhunderts. Dieser Band präsentiert die bedeutendsten Gemälde und musikalischen Werke mit jeweils kurzen, informativen Begleittexten, die auf Wissenswertes der einzelnen Werke hinweisen. Eine ausführliche Einleitung geht auf die
wichtigsten Ereignisse des Jahrhunderts und deren Einfluss auf die Malerei und die Musik dieser Zeit ein. Musik-CDs: Die beiliegenden vier CDs präsentieren
einen Querschnitt musikalischer Highlights. Interpreten wie Peter Schreier, Theo Adam, Karl Suske, Norman Shetler, die Staatskapelle Berlin und Dresden,
das Gewandhausorchester Leipzig oder Otmar Suitner stehen für hochkarätige Interpretationen.
CD 1
CD 2
CD 3
CD 4
Viennese Transition
Wiener Übergang
German Romanticism
Deutsche Romantik
The World of Opera
Opernwelt
National Schools
Nationale Schulen
L udwig
F elix M endelssohn B artholdy
(1809-1847)
Sinfonie Nr. 3 a-Moll, op. 56 „Schottische“
Symphony No. 3 in A minor, op. 56 “Scottish”
1 2. Vivace non troppo 4:22
C arl M aria von W eber (1786-1826)
„Der Freischütz“
1 Was gleicht wohl auf Erden dem
Jägervergnügen 2:33
F rédéric C hopin (1810-1849)
„Lieder ohne Worte“ für Klavier: „Venezianische
Gondellieder“ · “Songs without Words” for piano:
“Venetian Gondola Songs”
2 Andante sostenuto, op. 19 Nr. 6 2:16
3 Allegretto tranquillo, op. 30 Nr. 6 2:52
4 Andante con moto, op. 62 Nr. 4 2:36
„Der Wildschütz“
2 A, B, C, D 4:47
van B eethoven (1770-1827)
Sinfonie Nr. 5 c-Moll, op. 67
1 1. Allegro con brio 8:05
Klaviersonate Nr. 14 cis-Moll, op. 27 Nr. 2
„Mondscheinsonate“
Piano Sonata No. 14 in C sharp minor,
op. 27 No. 2 “Moonlight”
2 1. Adagio sostenuto 5:35
3 2. Allegretto 2:02
4 3. Presto agitato 6:56
A lbert L ortzing (1801-1851)
G aetano D onizetti (1797-1848)
F ranz S chubert (1797-1828)
Sinfonie Nr. 3 Es-Dur, op. 97 „Rheinische“
Symphony No. 3 in E flat major, op. 97 “Rhenish”
6 4. Feierlich 5:33
„Tristan und Isolde“
5 Vorspiel zum ersten Aufzug · Prelude act I 11:44
„Erlkonig“, D 328 4:21
Sinfonie Nr. 7 h-Moll, D 759 „Die Unvollendete“
Symphony No. 7 in B minor, D 759
“The Unfinished”
8 1. Allegro moderato 10:50
9 2. Andante 12:16
Helena Doese · Marga Schiml · Peter Schreier
Siegried Lorenz · Theo Adam · Norman Shetler
Dieter Zechlin · Peter Rösel · Karl Suske
Dietmar Hallmann · Jürnjakob Timm
Staatskapelle Dresden · Herbert Blomstedt
„Ein deutsches Requiem“, op. 45
“A German Requiem”, op. 45
7 5. „Ihr habt nun Traurigkeit“ 6:46
Trio für Klavier, Violine und Waldhorn Es-Dur,
op. 40 · Trio for piano, violin and hunting horn
in E flat major, op. 40
8 3. Adagio mesto 7:28
- 11 Drei Intermezzi für Klavier, op. 117
Three intermezzos for piano, op.117 14:13
9
A nton B ruckner (1824-1896)
- 16 „Te Deum“ für Soli, Chor und Orchester
“Te Deum” for soloists, chorus and orchestra 23:36
12
Anna Tomowa-Sintow · Magdalena Hajossyova
Renate Schorler · Rosemarie Lang
Peter-Jürgen Schmidt · Hermann Christian Polster
Norman Shetler · Amadeus Webersinke
Peter Rösel · Manfred Scherzer · Peter Damm
Staatskapelle Berlin · Gewandhausorchester Leipzig
Hartmut Haenchen · Franz Konwitschny
Helmut Koch · Heinz Rögner
4
Die Moldau · Vlatva 12:47
Sinfonie Nr. 9 e-Moll, op. 95 „Aus der
Neuen Welt“ · Symphony No. 9 in E minor,
op. 95 “From the New World”
5 2. Largo 11:26
V incenzo B ellini (1801-1835)
„Il Pirata“
4 Col sorriso d’innocenza 3:25
7
B edř ich S metana (1824-1884)
A ntonín D vořák (1841-1904)
R obert S chumann (1810-1856)
„Kinderszenen“ für Klavier, op. 15
“Scenes from Childhood”, op. 15
5 Nr. 7 „Träumerei“ · “Reverie” 3:22
J ohannes B rahms (1833-1897)
2
„Lucia di Lammermoor“
3 Chi mi frena in tal momento? 3:43
Sinfonie Nr. 9 d-Moll, op. 125
Symphony No. 9 in D minor, op. 125
5 4. Presto – Schluss · conclusion
„Freude, schöner Götterfunken“ 11:25
Klavierquintett A-Dur, D 667 „Forellenquintett“
Piano Quintet in A major, D 667 “Trout”
6 4. Thema (Andantino) und sechs Variationen
Theme (Andantino) and six variations 7:40
Fantasie-Impromptu cis-Moll
in C sharp minor, op. 66 5:02
Polonaise Nr. 6 As-Dur
in A flat major, op. 53 7:19
3 Mazurka Nr. 2 cis-Moll
in C sharp minor, op. 6 Nr. 2 2:33
1
R ichard W agner (1813-1883)
G iuseppe V erdi (1813-1901)
„Nabucco“
6 Va pensiero, sull’ ali dorate 4:21
G iuseppe V erdi
„Aida“
7 A te grave cagion m’adduce, Aida 9:00
G eorges B izet (1838-1875)
„Carmen“
8 Près des remparts de Seville 4:27
P eter T schaikowsky (1840-1893)
„Nussknacker“-Suite · “The Nutcracker”, op. 71a
6 1. Overture miniature 3:08
7 2. Marche 2:27
M odest M ussorgsky (1839-1881)
„Bilder einer Ausstellung“
“Pictures at an Exhibition”
8 Die Hütte der Baba-Yaga
The Hut on Fowl’s Legs 3:01
9 Das große Tor von Kiew
The Great Gate of Kiev 4:58
E dvard G rieg (1843-1907)
P eter T schaikowsky (1840-1893)
Peer Gynt, Suite Nr. 1, op. 46
10 3. Anitras Tanz · Anitras Dance 3:34
„Eugen Onegin“, op. 24
9 Puskaj pagibnu ja, no prezhde 12:31
C amille S aint -S aëns (1835-1921)
G iacomo P uccini (1858-1924)
„La Bohème“
10 Che gelida manina 4:40
Lucia Aliberti · Evelyn Lear · Anna Tomowa-Sintow
Georgine Resick · Ute Trekel-Burckhardt
Thomas Stewart · Eberhard Büchner
Anton de Ridder · Hans Sotin · Chor der Deutschen
Staatsoper Berlin · Staatskapelle Berlin
Gewandhausorchester Leipzig · Marcello Viotti
Giuseppe Patané · Heinz Fricke · Heinz Rögner
Bernhard Klee · Siegfried Kurz · Kurt Masur
Sinfonie Nr. 3 c-Moll, op. 78 „Orgelsinfonie“
“Organ Symphony”
11 4. Maestoso – Allegro – Pesante 7:28
C laude D ebussy (1862-1918)
12 „Prélude à l’après-midi d’un faune“ 9:27
Peter Rösel · Elfrun Gabriel · Joachim Dalitz
Gewandhausorchester Leipzig
Staatskapelle Dresden · Berliner Sinfonie-Orchester
Rundfunk-Sinfonie-Orchester Berlin
Claus Peter Flor · Václav Neumann
Heinz Rögner · Otmar Suitner
www.earBOOKS.net

Masterpieces - National Book Network

Transcription

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