Schubert, Schumann, Brahms & Wagner: Rheinmädchen Ensemble Pygmalion

• 1 Das Rheingold, WWV 86A , Act I, Scene 1: Vorspiel Auf dem Grunde des Rheines 04:00
• 2 4 Duets, Op .78: No. 4, Wiegenlied 02:39
• 3 5 Lieder, Op. 41: I. Ich schwing mein Horn ins Jammertal 01:38
• 4 6 Romanzen für Frauenstimmen Vol. I, Op. 69: No. 5, Meerfey 03:28
• 5 Psalm 23, D.706: Gott ist mein Hirt 04:41
• 6 6 Romanzen für Frauenstimmen Vol. II, Op. 91: No. 6, In Meeres Mitten 03:34
• 7 Siegfried, WWV 86C, Act II, Scene 2: Horn Call 01:53
• 8 Volkslied, Op. 113: No. 5, Wille, wille will der Mann ist kommen! 00:59
• 9 Ständchen, D. 920 04:36
• 10 Lacrimosa son io, D. 131b 04:20
• 11 6 Romanzen für Frauenstimmen Vol. I, Op. 69: No. 6, Die Capelle 02:49
• 12 Coronach, D. 836 06:00
• 13 Götterdämmerung, Act III, Scene 2: Trauermarsch 06:00
• 14 Innsbruck, ich muss dich lassen 02:11
• 15 13 Canons, Op. 113: No. 2, Grausam erweiset sich Amor an mir 01:35
• 16 13 Canons, Op. 113: No. 8, Einförmig ist der Liebe Gram 03:20
• 17 Götterdämmerung, Act III, Scene 1: Die Rheintöchter 06:04
• 18 Four Songs, Op. 17: I. Es tönt ein voller Harfenklang 03:49
• 19 Four Songs, Op. 17: II. Lied von Shakespeare 01:39
• 20 Four Songs, Op. 17: III. Der Gärtner 03:15
• 21 Four Songs, Op. 17: IV. Gesang aus Fingal 05:48
• Total Runtime 01:14:18

Info zu Schubert, Schumann, Brahms & Wagner: Rheinmädchen

Rheinmädchen is a collection of works and scenes for female choir by Schubert, Schumann, Brahms and Wagner. Raphaël Pichon leads the Ensemble Pygmalion and internationally acclaimed mezzo-soprano Bernarda Fink through a program that is guaranteed to delight any fan of vocal music.

The story might start like this: ‘In the beginning there were three sisters guarding the golden ring of their father, the Rhine . . .’ Where and when did it originate, the legend of the Rhinemaidens, these water sprites who are sometimes nymphs, sometimes sirens? Once upon a time. And a very long time ago. As far back in time as the Germanic legends themselves, most likely.

These Rhinemaidens, this gold hidden at the bottom of the river, the ring of power stolen by a dwarf, a ring on which the fate of the earth depends . . . all of this sounds strangely familiar to our contemporary imaginations formed by the works of the great J. R. R. Tolkien. Yet all these stories were more familiar still in nineteenth-century Germany, where the fascination with ancestral legends and foundation myths enjoyed an unprecedented revival of popular and artistic interest. Two centuries after the Thirty Years War, which had led a whole famished and terri ed people to take refuge in the vast forests of Germany, the need for legends and mythical gures (just think of Goethe’s Erlkönig) was still as pressing as ever. Although posterity has selected Richard Wagner as the towering gurehead of the transposition of German myths into art, the reality is quite different. There were many composers who drank at the well of tradition. And Johannes Brahms, whom music history has always so rmly set at loggerheads with Wagner, was quite as much the worthy descendant of the Rhinemaidens as was the master of Bayreuth. In addition to their choice of poetry, one need only instance the abundant use both men made of the horn and the harp, so redolent of warlike, masculine images and of feminine, aquatic and poetic spheres respectively. …

Ensemble Pygmalion
Bernarda Fink, mezzo-soprano
Emmanuel Ceysson, harp
Raphaël Pichon, direction

Keine Biografie vorhanden.

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