The aching loveliness of Die zwei blauen Augen has seldom been so feelingly caught, those dragging rhythms so well judged. Indeed, elegance is a good description of Woods’ approach to these songs he coaxes glorious sounds from his players and, thanks to a good recording and quiet audience, every nudge and nuance is easily heard. Newcomers to this arrangement will be pleased to hear that it’s anything but desiccated, Ich hab’ ein glühend Messer, a fine example of late-Romantic blush contained in a score of remarkable economy and elegance. The real pleasure resides in Schoenberg’s masterly arrangement, which preserves the mood and manner of Mahler’s originals while condensing his sound-world to its bare, ear-pricking essentials. The pizzicati in that Mahlerian ur-tune Ging heut’ morgen übers Feld are a joy to hear, although it’s Stout’s subtle, feeling response to this song that really catches the ear and gladdens the heart. The overall sound is wonderfully aerated, perfect for music that’s so artfully distilled, the lower strings especially rich and vibrant. Diction is good, and the balance between orchestra and soloist seems just right. The soloists on the SOMM recording are all unfamiliar, but seconds into the first of the Wayfarer songs – Wenn mein Schatz hochzeit macht – I was more than contented with David Stout’s steady, characterful baritone. The latter performance, from a conductor I don’t usually warm to, is rather splendid, helped in no small measure by a reach-out-and-touch recording and the presence of a near-ideal tenor, Hans Peter Blochwitz. There are several recordings of the Schoenberg-Riehn score, Osmo Vänskä (BIS), Kent Nagano (Sony) and Philippe Herreweghe (Harmonia Mundi) among them. Among his Mahler arrangements are the Lieder eines fahrenden Gesellen – written for a concert in 1920 – and Das Lied von der Erde which, apart from the first song, had to be fleshed out by the conductor Rainer Riehn in 1983. Little wonder that Schoenberg felt the need for such a group which, although it folded in 1921, had a substantial worklist and held regular concerts. One only has to read contemporary accounts of the premiere of Schoenberg’s Second String Quartet in 1908 and see the caricatures published in Die Zeit to be reminded of just how toxic the Austrian capital was for Mahler, Schoenberg and their forward-thinking allies. To promote and present the work of modern composers to sympathetic Schoenberg’s Society for Private Musical Performances (Vereinįür musikalische Privataufführungen) set up in Vienna in 1918 It seemed a good idea to tackle the two Schoenberg arrangementsĪs played by this curiously-titled orchestra and their principal Lied von der Erde from Houston (Naxos 8.572498) Starring Hugh Grant and Ben Whishaw, the series received multiple Golden Globe and Primetime Emmy Award nominations in 2019, earning a Golden Globe win for Whishaw.Having just reviewed a fine performance of the original Das Treadwell-Collins most recently produced A Very English Scandal series for the BBC and Amazon, written by Russell T Davies and directed by Stephen Frears. “What an amazing and exciting opportunity for an author to revisit his characters once again, and to continue the journey and to be blessed on such an enterprise with the innovative and creative calibre of Dominic Treadwell-Collins and the team at Happy Prince and Marc Helwig of Miramax.” Blethyn was nominated for an Academy Award for the role and Caine won the Golden Globe for his performance. The film adaptation starred Jane Horrocks in the title role, alongside Brenda Blethyn and Michael Caine. The original production was directed by Sam Mendes and premiered at the National Theatre in London in 1992, transferred to the West End and eventually to Broadway in 1994. The Rise and Fall of Little Voice won the Laurence Olivier Award for Best New Comedy in 1992. “We are thrilled to partner with Dominic Treadwell-Collins and ITV Studios to make LV’s bold and beautiful voice heard on television screens around the globe.” “Jim Cartwright’s classic, big-hearted play is a timeless and uplifting tale about finding your voice in a noisy world and standing your ground against the odds in overwhelming and confusing times,” said Marc Helwig, Miramax Head of Worldwide Television. Shraga As Head Of Business & Legal Affairs
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