SKU: BR.EB-9394
ISBN 9790004188682. 9 x 12 inches.
My lecture of the Winterreise does not demand a new expressive interpretation, but instead systematically exercises the freedom which all interpreters allow themselves intuitively, such as: instrumental dilation i. e. acceleration of the pace, transposition into other keys and elaboration of characteristic color timbres. In addition, there are further ways of reading; the music; jumping around in the text, repeating certain lines, interrupting the continuity, comparing different expressions of the same phrase ... All these new possibilities are subjected to my compositional discipline and form autonomous formal processes which are imposed on Schuberts original. The transformation of the piano tones into a multifaceted orchestra full of resonance is only one of many aspects.(Hans Zender)CDs:Hans Peter Blochwitz (Tenor), Ensemble Modern, Conductor: Hans Zender CD BMG 9026-68067-2 Christoph Pregardien (Tenor), Klangforum Wien, Conductor: Sylvain Cambreling CD Kairos 0012002KAIJulien Pregardien (Tenor), Deutsche Radio Philharmonie Kaiserslautern, Conductor: Robert Reimer2 CD's P.RHEI (2016)Bibliography:Adam-Schmidmeier, Eva-Maria von: Schubert interpretieren. Hans Zender: Schuberts Winterreise. Eine komponierte Interpretation im Unterricht, in: Musik und Unterricht Heft 96 (2009), pp. 50-56.Gruhn, Wilfried: Wider die asthetische Routine. Hans Zenders Version von Schuberts Winterreise, in: Neue Zeitschrift fur Musik 1/1997.Hebling, Harald: Kompositorische Schubertrezeption im 20. Jahrhundert, Magisterarbeit Universitat Wien 2003, especially pp. 148-157.Nonnenmann, Rainer: Vom Nutzen und Nachteil der Musikhistorie fur das Musikleben. Zur Kritik aktualisierender Interpretation am Beispiel von Hans Zenders Schuberts ,Winterreise, in: Musik und Asthetik 7, Heft 26 (April 2003), pp. 65-90.ders.: Schuberts ,Winterreise . Komponierte Interpretation von Hans Zender / Ballett von John Neumeier, in: Osterreichische Musikzeitung 60 (2005), Heft 3, p. 42f.ders.: Fremd bin ich eingezogen, fremd zieh ich wieder aus. Versuch zur Rettung der Vergangenheit Schuberts Winterreise. Eine komponierte Interpretation fur Tenor und kleines Orchester (1993) von Hans Zender, in ders.: Winterreisen. Komponierte Wege von und zu Franz Schuberts Liederzyklus aus zwei Jahrhunderten, 2 Bande (= Taschenbucher zur Musikwissenschaft, Band 150/151), Wilhelmshaven: Florian Noetzel 2006, pp. 143-205.Petersen, Birger: Neue Musik. Analysen, Berlin: Simon Verlag fur Bibliothekswissen 2013, pp. 11-24.Revers, Peter: ... Schnee, du weisst von meinem Sehnen. Aspekte der Schubert-Rezeption in Hans Zenders Winterreise (1993), in: Dialekt ohne Erde. Franz Schubert und das 20. Jahrhundert, hrsg. von Otto Kolleritsch, Wien-Graz 1998 (Studien zur Wertungsforschung, Band 34), pp. 98-120.Schafer-Lembeck, Hans-Ulrich: Gegenstrebige Fugungen. Hans Zenders Musik und seine komponierte Interpretation von Schuberts Winterreise, in: Neue Musik vermitteln. Analysen Interpretationen - Unterricht, hrsg. von Hans Bassler, Ortwin Nimczik und Peter W. Schatt, Mainz: Schott, 2004, pp. 295-307.Stahmer, Klaus Hinrich: Bearbeitung als Interpretation - Zur Schubertrezeption Gustav Mahlers, Hans Zenders und Friedhelm Dohls, in: Franz Schubert und Gustav Mahler in der Musik der Gegenwart, Mainz 1998.Zender, Hans: warum wieder die Winterreise? Hartmut Regitz im Gesprach mit dem Komponisten, in: ballet.tanz - international.aktuell, Heft 12 (2001), p. 18.World premiere: Frankfurt am Main, September 21, 1993.
SKU: HL.14034354
ISBN 9781844494170. 9.0x12.0x0.152 inches.
This book contains everything you need to progress to intermediate singing level, including over 20 songs which can be used in your ABRSM Grade 4 exam, with plenty of help and theory information throughout. There are also sections on warming-up and sight singing. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
SKU: BT.EMBZ20017A
English-German-Hungarian.
In 1845 Franz Liszt embarked on a project to compose an Italian opera based on Lord Byron’s tragedy, Sardanapalus (1821). It was central to his ambition to attain status as a major European composer, with premieres variously planned for Milan, Vienna, Paris and London. But he abandoned it half way through, and the music he completed has lain silently for 170 years. Liszt’s difficulty in obtaining a libretto meant that composition only began in April 1850. He completed virtually all the music for Act 1 in an annotated piano-vocal score of 111 pages, contained within his N4 music ‘sketch book’. The unnamed librettist was an Italian poet and political prisoner, seemingly living under house arrest, and a close acquaintance of Cristina Belgiojoso. His libretto survives as underlay in the N4 sketchbook and has been critically reconstructed and translated. Sardanapalo is Liszt’s only mature opera. While he consistently referred to it in French, as Sardanapale, the published title of the Italian opera would almost certainly have used the Italian name, hence this forms the title of the first edition. There are three solo roles and a chorus of concubines. The manuscript was previously thought to be fragmentary and partially illegible, but it was finally deciphered to international acclaim in March 2017. Liszt’s score offers a richly melodic style, with elements from Bellini and Verdi alongside glimmers of Wagner and the symphonic poems ahead: a unique mixture of Italianate pastiche and mid-century harmonic innovation. It remains quintessentially Lisztian. The opera sets Byron’s tragedy about war and peace in ancient Assyria: the last King, effeminate in his tastes, is drawn to wine, concubines and feasts more than politics and war: his subjects find him dishonourable (a ‘man queen’) and military rebels seek to overthrow him, but are pardoned, for the King rejects the ‘deceit of glory’ built on others’ suffering: this leads only to a larger uprising, the Euphrates floods its banks, destroying the castle’s main defensive wall, and defeat is inevitable: the King sends his family away and orders that he be burned alive with his lover, amid scents and spices in a grand inferno. As Byron put it: ‘not a mere pillar formed of cloud and flame, but a light to lessen ages.’ For his part, Liszt told a friend that his finale ‘will even aim to set fire to the entire audience!’ This critical edition includes a detailed study on the genesis of Liszt’s Sardanapalo in English, German, and Hungarian, the libretto in the original Italian as well as in English, German, and Hungarian translation, several facsimile pages of Liszt’s manuscript, and a detailed Critical Report.
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