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| Артист: |
Richard Strauss |
| Альбом: |
Symphonia domestica & Suite form Le bourgeois gentilhomme, 2007 |
| Издатель: |
RCA RED SEAL / 88697-08282-2 |
| Жанр: |
classical |
| Формат файла: |
eac.log.cue.tag.wv.iso |
| Ссылка: |
CD |
| Нахождение: |
eDonkey/Kademlia |
| Примечание: |
не реквием |
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| TRACKLIST | 1. Richard Strauss Sinfonia Domestica for orchestra, Op. 53 (TrV 209) 1956. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43:54
2. Richard Strauss Der Bürger als Edelmann (Le bourgeois gentilhomme), suite from the ballet for orchestra, Op. 60-IIIa (TrV 228c): Overture 1956 . . . . . . . . . . . . . . .3:53
3. Richard Strauss Der Bürger als Edelmann (Le bourgeois gentilhomme), suite from the ballet for orchestra, Op. 60-IIIa (TrV 228c): Minuet 1956 . . . . . . . . . . . . . . . .1:28
4. Richard Strauss Der Bürger als Edelmann (Le bourgeois gentilhomme), suite from the ballet for orchestra, Op. 60-IIIa (TrV 228c): The Fencing Master 1956 . . . . . . . . . .1:45
5. Richard Strauss Der Bürger als Edelmann (Le bourgeois gentilhomme), suite from the ballet for orchestra, Op. 60-IIIa (TrV 228c): Entrance and Dance of the Tailors 1956. . .4:42
6. Richard Strauss Der Bürger als Edelmann (Le bourgeois gentilhomme), suite from the ballet for orchestra, Op. 60-IIIa (TrV 228c): Entrance of Cléonte 1956 . . . . . . .4:56
7. Performed by: Fritz Reiner, Chicago Symphony Orchestra, More Performance Details.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8. Richard Strauss Der Bürger als Edelmann (Le bourgeois gentilhomme), suite from the ballet for orchestra, Op. 60-IIIa (TrV 228c): Prelude to Act 2 (Intermezzo) 1956. . . . .3:15
9. Richard Strauss Der Bürger als Edelmann (Le bourgeois gentilhomme), suite from the ballet for orchestra, Op. 60-IIIa (TrV 228c): The Dinner 1956. . . . . . . . . . . . . .10:11
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| CODE | Composition Description by Blair Johnston
Richard Strauss once claimed that he could translate anything into musical sounds, that he could take even the events of something so mundane as the process of eating - using one utensil and then another, sampling this dish and then that one - and craft a musical equivalent. He put his own claim to the test when composing the Sinfonia Domestica, Op. 53, of 1902-1903; here is a tone poem (it is not strictly called such, but it is certainly not a real symphony either) whose subject is not a figure of legend, as in Don Juan, or the mysteries of Death and Transfiguration, or a portrait of the composer as hero, as in Ein Heldenleben, but rather a simple day in the life of a family man. The Sinfonia Domestica is a warm, tender, and often lightly humorous work, scored for a massive orchestra (Strauss even adds four saxophones to his orchestra). It received its world premiere all the way across the Atlantic Ocean during a 1904 festival of Strauss music in New York City.
Strauss originally wrote many programmatic indications in the score of the Sinfonia Domestica, but he eventually opted to take almost all of them out. Still, even without them, the "action" is easy enough to follow. An opening movement introduces us to the family as a group and then, in three sections marked Thema One, Thema Two, and Thema Three, to the father, mother, and child in turn (presumably Strauss, his wife Pauline, and their son Franz). The child's fun and games make for a fine Scherzo, but soon it is time for bed (Wiegenlied, or lullaby). A voluptuous Adagio contains a romantic interlude, but when morning comes the parents are found fighting with one another (Strauss appropriately provides an exhilarating double fugue, tempo Sehr Lebhaft). Peace is made, however, and the safety, coziness, and happiness of hearth and home are assured by a rousing F major. |
| CODE | Composition Description by Michael Rodman
By the twentieth century, the production of incidental music for pre-existing dramatic works had long proven a viable creative outlet for many composers. In fact, a good deal of this "music to order" (which originally served a function akin to that of today's film scores) boasts a secure berth in the standard orchestral repertoire. Several of Beethoven's overtures, for example, fall into this category, as does Mendelssohn's music for A Midsummer Night's Dream. Molière's play Le Bourgeois Gentilhomme (1673), despite its origins over two centuries earlier, provided Richard Strauss and his collaborator, Hugo von Hofmannsthal, with a springboard for a rather novel "experiment." The idea was that not only would Strauss provide incidental music in the standard sense for the Molière comedy, but the play itself (as adapted by Hoffmannsthal) would serve as an elaborate prologue and setup for the composer's one-act opera Ariadne auf Naxos. Hofmannsthal introduced referential plot devices into the play (including the character of a composer) that would provide an impetus and raison d'etre for Strauss' newly composed work which would follow.
Unfortunately, this idea of "play plus opera" in practice left the opening-night audience exhausted and apparently annoyed. Aside from the audience's putative "lack of culture," in the composer's own words, one unforseen hindrance was an elaborate - and lengthy - reception sponsored by King Karl of Württemburg during the intermission between the two works. This addition of wining and dining to the evening's festivities meant that the opera, itself about an hour and a half in length, didn't even commence until two and a half hours after the beginning of the play. In this respect, at least - providing a more-than-ample evening's entertainment - Strauss' Wagnerian aspirations were certainly realized.
Reacting to the impracticality of and tepid response to this innovation, Strauss discarded the staging of the Molière work from his plan for Ariadne. Rather than shelve the play's incidental music, however, he fashioned nine of the numbers into a concert suite: Overture to Act One ("Jourdain the Bourgeois"), "Minuet," "The Fencing Master," "Entrance and Dance of the Tailors," "The Menuet of Lully," "Courante," "Cleonte's Entry," Prelude to Act Two ("Intermezzo"), and "The Dinner."
The suite follows the action as the play's central character, the arriviste boor Jourdain, attempts to impress the aristocracy about whose world he knows very little. The humorous intent of Molière's work is evident as Strauss vividly illustrates the empty trappings of Jourdain's ambitions: awkward (and evidently unsuccessful) dance lessons, ungainly swordplay, pompous, self-important tailors who show him how to deport himself, and, to impress his guests at an elaborate feast, a boy who springs out of a giant omelette and begins to dance. In keeping with the original period of Molière's comedy, Strauss uses a stripped-down orchestra for the suite and incorporates into the score the music of Jean-Baptiste Lully (1632-1687) as well as "baroqueries" of his own invention. |
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NetLab -> Forums -> Music -> Super Sound -> Topic: Richard Strauss - Symphonia domestica & Suite form Le bourgeois gentilhomme
Richard Strauss - Symphonia domestica & Suite form Le bourgeois gentilhomme, RCA RED SEAL LIVING STEREO (Hybrid SACD)
