Stuart Skelton

Ben Folds withthe West Australian Symphony Orchestra

Asher Fisch

Shining Knight

Allmächt'ger Vater, blick herab

In fernem Land, unnahbar euren Schritten

Winterstürme wichen dem Wonnemond

Amfortas! Die Wunde!

Nur eine Waffe taugt

1. Der Engel

2. Stehe still

3. Im Treibhaus

4. Schmerzen

5. Träume

1. The Lament Of Ian The Proud

2. Thy Dark Eyes To Mine

3. The Rose Of The Night

Sure On This Shining Night, Op. 13, No. 3

Bavarian Radio Symphony Orchestra/Chorus

James Rutherford

Alwyn Mellor

Listen to the live performance of the Texas All-State 6A Concert Band at the 2019 Texas Music Educators Association (TMEA)

Wagner: Die Walküre, WWV 86B (Live)

Gun-Brit Barkmin

Ekaterina Gubanova

Boaz Daniel

Tristan Und Isolde (Live)

Düsseldorfer Symphoniker

Adam Fischer

Anna Larsson

Mahler: Das Lied von der Erde

Magdalena Kozená

馬勒

Mahler’s "Das Lied von der Erde” (The Song of the Earth) is subtitled “A symphony for tenor, alto (or baritone) voice and orchestra". It examines the border between two different genres: the Lied, in its extended form as a song cycle, and the symphony. And as ever in Mahler’s music, that border is anything but black and white. The work certainly differs radically from a mere song cycle: the Lieder are permeated by symphonic techniques and some symphonic movements are built up from huge stanzas. Interludes expand to become development sections in which important things happen. Indeed, the thematic events take place in the orchestra, and, in a certain sense, the soloists also form a part of the interwoven orchestral texture. The sequence of movements also follows that of a symphony: In the weighty outer movements one clearly notices sonata form shining through the stanza structures, and symphonic processes are obviously taking place. Two inner movements take the place of the slow movement and sarcastic scherzo. The entire work is spanned by a taut arc, culminating – in accordance with the principle of intensification – in a huge final movement lasting as long as all the others together, and entitled Der Abschied (The Farewell). Here, Mahler is continuing the genre of the “Finale Symphony”, and the brightening of C minor to C major is even reminiscent of his usual apotheoses. In this symphony, as in his others, Mahler wanted to "create a world using all existing technical means.” The formal design of the work is unique, and the demands it places on its performers are extreme. It requires two highly experienced Lied singers, who in combination with the huge orchestral apparatus have to be able to perform as soloists while blending into the symphonic structure as concert voices. An excellent and well-coordinated body of sound is needed here, and of course a highly competent conductor to ensure cohesion and to give spirit and soulfulness to such a large-scale work.


Mahler: Das Lied von der Erde (Live)

Comprising four separate operas, Der Ring des Nibelungen (The Ring of the Nibelung) is one of the supreme works in the history of music. Part II of the tetralogy, Die Walküre, centres on the young lovers Siegmund and Sieglinde, whose relationship angers Fricka, goddess of marriage, and on the disobedience of the Valkyrie Brünnhilde who is sent to carry out Fricka’s wishes. Performed by an all-star international cast, the work features thrilling set-pieces such as Wotan’s Farewell and the Ride of the Valkyries. The Prologue, Das Rheingold, can be heard on Naxos 8.660374-75, selected as ‘Album of the Week’ by The Sunday Times of London, which praised its ‘thrilling sense of drama’.

Michael Tilson Thomas

San Francisco Symphony

Thomas Hampson

https://image.joox.com/JOOXcover/0/dc94b12332731718/300

Shining Knight

歌曲列表

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