aus Wikipedia, der freien Enzyklopädie
Der Liederkreis Myrthen
(Op. 25) von Robert Schumann aus dem
Jahr 1840 basiert auf Lyrik zahlreicher Dichter.
●
Inhalte
Johann Wolfgang
von Goethe, Friedrich
Rückert, George Gordon Byron,
Thomas
Moore, Heinrich Heine, Robert
Burns und Julius Mosen lieferten die
Textvorlagen zu den Liedern. Wie andere Liederkreise Schumanns besteht die
Instrumentierung ausschließlich aus dem Klavier und einer Singstimme. Die
Widmung gilt „seiner geliebten Braut“, gemeint ist damit Clara
Schumann geb. Wieck, die er erst nach einem einjährigen Rechtsstreit im Jahr
1840 ehelichen konnte .
● Liedtitel, Ton- und Taktarten
| Nr. |
Titel |
Dichter |
Tonart |
Taktart |
| 1 |
Widmung |
Rückert |
As-Dur |
3/2 |
| 2 |
Freisinn |
Goethe |
Es-Dur |
 |
| 3 |
Der Nussbaum |
Mosen |
G-Dur |
6/8 |
| 4 |
Jemand dt. Gerhard |
Burns, dt. Gerhard |
G-Dur/E-Dur |
2/4 |
|
Lieder aus dem Schenkenbuch im Westöstlichen Divan (Goethe) |
| 5 |
I. Sitz’ ich allein |
|
E-Dur |
2/4 |
| 6 |
II. Setze mir nicht, du Grobian |
|
A-Dur |
6/8 |
|
|
|
|
|
| 7 |
Die Lotosblume |
Heine |
F-Dur/d-Moll |
6/4 |
| 8 |
Talismane. Aus dem Westöstlichen Divan |
Goethe |
C-Dur |
|
| 9 |
Lied der Suleika. Aus dem Westöstlichen Divan |
Goethe |
A-Dur |
|
| 10 |
Die Hochländer-Wittwe |
Burns, dt. Gerhard |
e-Moll |
6/16 |
|
Lieder der Braut aus dem Liebesfrühling von F. Rückert |
|
|
|
| 11 |
Nr. I |
|
G-Dur |
2/4 |
| 12 |
Nr. II |
|
G-Dur |
2/4 |
|
|
|
|
|
| 13 |
Hochländers Abschied |
Burns |
h-Moll |
3/8 |
| 14 |
Hochländisches Wiegenlied |
Burns |
D-Dur |
|
| 15 |
Aus den hebräischen Gesängen |
Byron |
E-Dur |
|
| 16 |
Räthsel |
Byron |
A-Dur |
|
|
Zwei Venetianische Lieder |
Moore, dt. Freiligrath |
|
|
| 17 |
Nr. I |
|
G-Dur |
2/4 |
| 18 |
Nr. II |
|
G-Dur |
2/4 |
|
|
|
|
|
| 19 |
Hauptmann’s Weib |
Burns |
e-Moll |
2/4 |
| 20 |
Weit, weit |
Burns |
a-Moll |
6/8 |
| 21 |
Was will die einsame Träne? |
Heine |
A-Dur |
6/8 |
| 22 |
Niemand |
Burns |
F-Dur |
|
| 23 |
Im Westen Burns |
Burns |
F-Dur |
6/4 |
| 24 |
Du bist wie eine Blume |
Heine |
As-Dur |
2/4 |
| 25 |
Aus den östlichen Rosen |
Rückert |
Es-Dur |
2/4 |
| 26 |
Zum Schluss |
Rückert |
As-Dur |
|
■
Jorge Bolet(1914~1990)
From Wikipedia, the free
encyclopedia
Jorge Bolet (November 15, 1914 – October
16, 1990) was a Cuban-born but mostly
American-resident pianist and teacher.
●
Life
Bolet was born in Havana, and studied at the Curtis Institute
of Music in Philadelphia, where he
himself taught from 1939 to 1942. His teachers included Leopold Godowsky, Josef
Hofmann, David Saperton, Moriz Rosenthal and Fritz
Reiner.[1]
In 1937, he won the Naumburg
Competition and gave his debut recital.[2]
In 1942 Bolet joined the US Army. He was sent to Japan as part of the Army of
Occupation. While there, he conducted the Japanese premiere of The
Mikado.[1]
He made his first recordings for Remington.
Bolet provided the piano soundtrack for
the 1960 biopic, Song Without End,
which starred Dirk Bogarde as the
legendary 19th-century piano virtuoso, Franz Liszt. (The film won
the Academy
Award for Best Music score.) However, Bolet's playing was condemned by
American music critics for decades
as being too focused on romantic virtuosity,[3]
so his recordings in the 1960s were confined to fairly small and hard-to-find
labels. only in 1974 did he come to national prominence, with a stupendous
recital in that year at Carnegie Hall, which sealed his reputation.[4]
Later Bolet became Head of Piano at the
Curtis Institute, succeeding Rudolf Serkin, but he
resigned from this to concentrate once again on his performing career. A measure
of Bolet's stature can be given by the fact that the dean of American music
critics, Harold C. Schonberg,
considered him "a kind of latter-day Josef Lhévinne".[5]
In 1984, the A&E
Network broadcast a series of three programs entitled Bolet Meets Rachmaninoff, in
which the pianist was shown giving masterclasses on the subject
of Rachmaninoff's Piano
Concerto No. 3. These masterclasses were followed on the series by a
complete performance of Bolet playing the concerto.
The Decca/London record company put him
under contract in 1978, giving the 64-year-old Bolet his first systematic
exposure to life at a major international label. Recordings of key sections of
his repertoire were made from 1978 up to his death, but there are also tapes of
many live concerts from this time, which were never commercially released but
can be found in archives, principally the International Piano Archive at
Maryland. Such performances include a specialty of his, Leopold Godowsky's
"Concert Paraphrase on Themes from Johann Strauss's Die
Fledermaus", which he studied with Godowsky during his student
years.
Bolet's health began to decline in 1988,
and in 1989 he underwent a brain operation from which he never fully recovered.
It was reported in the media that he died from heart failure in October
1990, at his home in Mountain View,
California.[6]
However, Gregor Benko states that
Bolet in fact died of complications from AIDS.[7]
● Recordings
Bolet is particularly well remembered
for his performances and recordings of large-scale Romantic music,
particularly works by Franz Liszt, César
Franck, and Frédéric
Chopin. He also specialised in piano transcriptions and unusual repertoire,
including the fiendishly difficult works of Godowsky, many of which Bolet had
studied with the composer himself. In an interview given to Elyse Mach (Great
Contemporary Pianists Speak for Themselves, Dover Books on Music), Bolet
extensively mentioned an obscure piece by Joseph Marx which was,
according to Bolet's own words, his favorite among virtuoso concertos because of
the enormous show of strength required from the soloist.
- Bach, J.S., PIANO VIRTUOSOS—CZIFFRA, MOISEIWITSCH, & BOLET,
Georges Cziffra, Benno Moiseiwitsch, & Jorge Bolet, Philharmonia Orchestra,
Charles Groves, Medici Arts 1333 DVD
- Chopin, Four Ballades, Opp. 23, 38, 47, 52; Barcarolle Op. 60; Fantaisie Op.
49. London 417 651-2. [Recorded in Walthamstow Assembly Hall, 9/1986.]
- Chopin, 24 Preludes Op. 28; Ballade No. 2 in F major Op. 28; Ballade No. 4
in F minor Op. 52; Fantasie in F minor Op. 49. Eloquence 458 172-2 CD. [Ballades
and Fantasie the same as above; Preludes recorded in 6/1987. Also issued on
DECCA Eclipse.]
- Chopin, 24 Preludes Op. 28; Nocturnes Op. 27 Nos. 1&2, Op. 55 No. 1 and
Op. 62 No. 2. London 421 363-2. [Recorded in St Barnabas' Church, London,
6/1987; piano: Baldwin].
- Chopin, Piano Concertors Nos. 1 and 2. Orchestre Symphonique de Montreal,
Charles Dutoit. London 425 859-2. [Recorded in St Eustache, Montreal, 5/1989.]
- Chopin, Jorge Bolet In Concert Vol 1 - Chopin Andante Spianato e
Grande Polonaise Op. 22; Barcarolle Op. 60; Impromptus 1, 2, & 4; Four
Scherzos; Polonaises Op. 26; Nocturnes Op. 9 No. 3, Op. 15 No. 2, Op. 27 No. 2,
& Op. 55 No. 1; Sonata No. 3 in B minor Op. 58; Chant Polonaise Op. 74 No.
12 "My Joys" (arr. Liszt); Waltz No. 14 in E minor Op. Posth., Jorge Bolet,
Marston 52035-2 CD
- Debussy, Claude, Preludes Books 1 & 2 (selections), Jorge Bolet,
Decca 425 518 2 CD
- Grieg, Edvard, Piano Concerto in A minor Op. 16, Jorge Bolet, Berlin
Radio Symphony Orchestra, Riccardo Chailly, Decca 417 112 2 CD [Recorded in May
1985]
- Liszt, Études D’Exécution Transcendante, Ensayo 9711 CD. [Recorded in
Barcelona, 1970.]
- Liszt, Bolet reDiscovered, RCA Red Seal: Liebestraum No. 3;
Gnomenreigen; Un Sospiro; Funerailles; La Campanella; Waldesrauschen; Grand
Galop chromatique; Rhapsodie Espagnole; Tannhäuser Overture. [Recorded in RCA
Studio A, 1972–73; all pieces but the last two later re-recorded for DECCA.]
- Liszt, GREAT PIANISTS OF THE 20TH CENTURY VOLUME 11: JORGE BOLET II,
Mephisto Waltz No. 1; Venezia e Napoli; Funérailles; Liebestraum No. 3; La
Leggierezza; La Campanella; Sonetto 104 del Petrarca; Harmonies du soir;
Gnomenreignen; Au bord d'une source; Consolation No. 3; Hungarian Rhapsody No.
12; Ricordanza; Réminiscences de Norma (Live), Jorge Bolet, Philips 456 814-2 CD
[Recorded in 1978-88 for DECCA]
- Liszt, Paraphrases, Ensayo CD-9742 [Recorded in 1969]. Schubert,
Die Forelle and Ständchen von Shakespeare; Chopin, Meine
Freuden and Mädchens Wunsch; Schumann, Widmung and
Frühlingsnacht; Liszt, Liebestraum No. 3; Donizetti, Reminiscences de
Lucia di Lammermoor [see Great Pianists, Vol. 10]; Wagner, Spinner-Lied
from Der fliegended Holländer; Verdi, Rigoletto Paraphrase.
- Liszt, Piano Works Vol. 1, Decca 410 257-2 CD: Hungarian Rhapsody No.
12, Liebestraum No. 3; Mephisto Waltz No. 1; Funerailles; Rigoletto - Concert
Paraphrase; La Campanella. [Recorded in Kingsway Hall, London, 2&9/1982;
piano: Bechstein].
- Liszt, Piano Works Vol. 2, Decca 410 575-2 CD: Schubert Song
Transcriptions: Die Forelle; Der Müller und der Bach; Wohin?; Lebe wohl!; Das
Wandern; Der Lindenbaum; Horch, horch, die Lerch; Auf dem Wasser zu singen; Die
Post; Aufenthalt; Lob der Tränen; Erlkönig. [Recorded in Kingsway Hall, London,
11/1981; piano: Baldwin].
- Liszt, Piano Works Vol. 3, Decca 410 115-2 CD: Sonata in B minor;
Valse Impromptu; Liebesträume Nos. 1-3; Grand galop chromatique. [Recorded in
Kingsway Hall, London, 9/1982; piano: Bechstein].
- Liszt, Piano Works Vol. 4, Decca 410 162-2 CD: Annees de Pelerinage:
Deuxieme Annee: Italie (complete, 7 pieces: Sposalizio, Il Penseroso, Canzonetta
del Salvator Rosa, Sonetti 47, 104, 123 del Petrarca, Dante Sonata). [Recorded
in Kingsway Hall, London, 9&12/1982; piano: Bechstein].
- Liszt, Piano Works Vol. 5, Decca 410 160-2 CD: Annees de Pelerinage:
Premiere Annee: Suisse (complete, 9 pieces: Chapelle de Guillaume Tell, Au lac
de Wallenstadt, Pastorale, Orage, Vallee d'Obermann, Eglogue, Le mal du pays, Le
cloches de Geneve). [Recorded in Kingsway Hall, London, 3/1983; piano:
Bechstein].
- Liszt, Piano Works Vol. 6, Decca 410 803-2 CD: Venezia e Napoli (3
pieces: Gondoliera, Canzone, Tarantella); Les jeux d'eau a la Villa d'Este;
Benediction de Dieu dans la solitude; Ballade No. 2. [Recorded in Kingsway Hall,
London, 10/1983; piano: Bechstein].
- Liszt, Piano Works Vol. VII, London 414 601-2 CD: Transcendental
Studies, S. 161 (complete): Preludio; Molto vivace; Paysage; Mazeppa; Feux
follets; Vision; Eroica; Wilde Jagd; Ricordanza; Allegro agitato molto;
Harmonies du Soir; Chasse-neige. [Recorded in St Barnabas' Church, London,
3/1985; piano: Bechstein].
- Liszt, Concert Studies, S144 and S145; Consolations S172 [all cycles
complete, 11 pieces altogether]; Reminiscences de Don Juan, S418. DECCA 417
523-2 CD. [Recorded in Kingsway Hall, London, 12/1978; except for the
Consolations: recorded in St Barnabas' Church, London, 3/1985.]
- Liszt, Totentanz S126; Malediction S121; Hungarian Fantasy S123. London
Symphony, Ivan Fischer. DECCA 417 079-2 CD. [Recorded in Walthamstow Assembly
Hall, London, 3/1984; piano: Bechstein.]
- Liszt, Piano Works, DECCA 467 801-2 9CD. London Symphony Orchestra,
London Philharmonic Orchestra, Iván Fischer, Georg Solti. All nine Liszt CDs
from above plus Liszt's orchestration of Schubert's Wanderer Fantasie (with LPO
and Solti).
- Liszt, Favourite Piano Works, Double DECCA 444 851-2 CD. Fine
selection from the DECCA years. TT 139,51 minutes. Includes the Sonata in B
minor, Reminiscences de Don Juan, Erlkönig, and many others.
- Liszt, Various works, Jorge Bolet RCA 63748-2 CD
- Rachmaninoff, Piano Concerto No. 3 in D minor Op. 30 [Recorded Live,
1969; Indiana University Symphony Orchestra]; Liszt, Die Forelle (Schubert); Des
mädchens Wunsch (Chopin); Widmung (Schumann); Réminiscences de Lucia di
Lammermoor (Donizetti); Spinnelied aus Der fliegende Holländer (Wagner);
Rigoletto Paraphrase (Verdi) [Recorded in studio, 1969]. Palexa 0503 CD.
Conductor not stated on the CD.
- Rachmaninoff, Piano Concerto No. 3 in D minor Op. 30. London Symphony, Ivan
Fischer. London 414 671-2. [Recorded in Kingsway Hall, London, 9/1982; piano:
Bechstein.]
- Rachmaninoff, Variations on a Theme of Corelli Op. 22; Preludes Op. 3 No. 2,
Op. 23 Nos. 5 and 10, Op. 32 Nos. 7 and 12; Melodie Op. 3 No. 3; Liebesleid and
Liebesfreud. London 412 061-2. [Recorded in St Barnabas' Church, London, 1/1986
(Variations) and in Walthamstow Assembly Hall, London, 1/1987 (the rest); piano:
Bechstein.]
- Schumann, Robert, Piano Concerto in A minor Op. 54, Jorge Bolet,
Berlin Radio Symphony Orchestra, Riccardo Chailly, Decca 417 112 2 CD
- Liszt, Franz, Bolet Rediscovered: Liszt Recital, Jorge Bolet, RCA
63748, 04/03/2001
- J Brahms; R Schumann: Klaus Tennstedt Jorge Bolet, London
Philharmonic Orchestra; Klaus Tennstedt, BBC Legends, BBCL42512
- GREAT PIANISTS OF THE 20TH CENTURY VOLUME 10: JORGE BOLET I.
- Live in Carnegie Hall (25/2/1974): Bach-Busoni, Chaconne; Chopin, 24
Preludes; Strauss-Tausig, Man lebt nur eimanl and Nachtfalter;
Schulz-Evler, Arabesques on The Blue Danube; Wagner-Liszt, Tannhäuser Overture;
Moszkowski, La Jongleuse; Rubinstein, Staccato Etude.
- Rachmaninoff's Transcriptions and Paraphrases (7/1973, RCA Studios, New
York): Rimsky-Korsakov, The Flight of the Bumble-bee; Kreisler,
Liebesleid and Liebesfreud; Mendelssohn, Scherzo from A
Midsummer Night's Dream; Bach, Prelude (from Violin Partita No. 3);
Mussorgsky, Hopak; Behr, Polka de W.R.; Tchaikovsky, Lullaby Op. 16 No. 1;
Bizet, Menuet from L'Arlesienne.
- Liszt-Donizzeti, Reminiscences de Lucia de Lammermoor, 'rec. date
unknown' stated, but this is the 1969 recording made for
Ensayo.
● Instruments
Throughout his career, Bolet bucked the system by
endorsing and performing on Baldwin and C.
Bechstein pianos worldwide. When other pianists aligned with the Steinway
piano, he chose a different approach and a unique broadly varied tone through
non-standard instruments. Bolet's best Decca/London recordings were made using
the Baldwin SD-10 concert grand.[8]
Some of the most celebrated, near the end of his career, were made with Charles Dutoit and the Montreal
Symphony Orchestra. Most pianophiles agree that the most perfect piano sound
and tone (through masterful piano technical preparation) was the last
Decca/London solo piano recording of Claude Debussy.[citation
needed]
