laohu
11-01-2013, 04:22 AM
Carl Orff – Antigonae (2010, FLAC)
(http://imageshack.us/photo/my-images/43/5f95.jpg/)
Tracks:
Cd1
01. Act I - Gemeinsamschwesterliches!-o Ismenes Haupt! [0:03:56.53]
02. Act I - Bedenke, Schwester, wie der vater, von uns [0:05:06.76]
03. Act I - Interlude [0:01:48.86]
04. Act I - O Blick der Sonne, du sch�nster [0:04:43.49]
05. Act I - Ihr m�nner, w�r's die Stadt allein [0:05:22.60]
06. Act I - Mein K�nig, diesmal plaudr' ich nicht [0:04:30.02]
07. Act I - Zuletzt, als weiter nichts zu forschen war, spricht einer [0:01:14.72]
08. Act I - Mein K�nig, lange r�t, es m�chte g�ttlich [0:05:34.58]
09. Act II - Ungeheuer ist viel [0:05:36.86]
10. Act II - Wie Gottes Versuchung aber steht es vor mir [0:05:25.04]
11. Act II - Du also, die zu Erde neigt das Haupt [0:03:38.52]
12. Act II - Doch weisst du wohl, dass allzu spr�de sprach [0:04:03.89]
13. Act II - Aber jetzt kommt aus dem Tor Ismene [0:05:42.64]
14. Act III sc. I - Gl�ckselige solcher Zeit, da man nicht schmecket das �bel [0:06:42.56]
15. Act III sc. I - Bald haben wohl, o Sohn, mehr als die Seher [0:04:14.32]
16. Act III sc. I - Als wie von Gott, himmlisch kommt die Besinnung [0:04:22.74]
17. Act III sc. I - Mein K�nig, billig ist es, wenn er an der Zeit Spricht [0:05:17.81]
Cd2
01. Act III sc. II - Geist der Liebe, dennoch Sieger [0:03:41.98]
02. Act III sc. II - Jetzt aber komm ich, eben, selber [0:08:04.73]
03. Act III sc. II - O Grab! O brautbett! [0:07:03.32]
04. Act IV - O des Landes Thebes v�terliche Stadt [0:01:01.28]
05. Act IV - Der Leib auch Danaes musste [0:03:38.12]
06. Act IV - Ihr F�rsten Thebes! miteinander kommen [0:06:43.41]
07. Act IV - O Alter! alle, wie auf eines Sch�tzen Ziel [0:07:18.44]
08. Act IV - Der Mann, mein K�nig, ging viel prohezeihend [0:01:49.17]
09. Act V - Namenssch�pfer, der du von den Wassern, welche Kadmos [0:02:40.30]
10. Act V - O ihr des Kadmos Nachbarn und Amphios [0:03:52.02]
11. Act V - O all ihr B�rger! eine Rede merkt' ich [0:01:27.86]
12. Act V - Ich liebe Frau, sag es, als Augenzeuge [0:05:44.97]
13. Act V - Wie nimmst du dies? Die Frau ging wieder weg [0:01:04.20]
14. Act V - Jo! Unsinnige Sinne! [0:05:47.34]
15. Act V - Weh! Weh! Weh! Weh! Mich befl�gelt die Furcht [0:04:00.20]
16. Act V - Um viels ist das Denken mehr [0:01:42.69]
performers:
Symphony-Orchester/Chor des Bayerischen Rundfunks – Wolfgang Sawallisch
Martha M�dl – mezzo-soprano
Marianne Radev – mezzo-soprano
William Dooley – baritone
Carlos Alexander – bass
Paul Kuen – tenor
Fritz Uhl – tenor
Josef Traxel – tenor
Kurt B�hme – bass
Lilian Benningsen - soprano
Link is Dead
---------- Post added at 03:22 AM ---------- Previous post was at 03:21 AM ----------
This austere music drama could not be further removed from Orff’s popular Carmina Burana.
The booklet does not contain the libretto. However, it’s easy to find if you look for H�lderlin’s translation of the ancient play from Sophocles; according to the booklet, Orff followed this text word for word.
With this work Orff drew a line in his musical output, setting up a demarcation between pre-Antigonae and post-Antigonae style. H�lderlin's translation into lines of ecstatic German inspired the declamatory technique Orff uses for the first time in much of Antigonae. It pre-dates a similar style of the minimalist school by about 50 years. In this way Orff creates unusual sound effects that captures both the dramatic and psychological setting of the original Greek tragedy with emotional color ranging from the ecstatic to the orgiastic. Much of the singing is performed a cappella.
Frequently an ostinato in the orchestra builds up an almost unbearable tension which is resolved only in the final bars of the piece. Orff frequently uses the technique called Singstimmen, which is half way between singing and speaking, somewhat like Sch�nberg's Sprechgesang, but still within the tonal language of work.
The sense of antiquity is often enhanced when the text is treated psalmodically in a manner resembling Gregorian Chant. Another early device found in Antigone is the melisma, where many notes are assigned to a single syllable, which is found as well in the music of other ancient and modern cultures.
The structure of the work, its heavy emotional content, its novel fabrics of sound, all demand more of the listener than required in the usual opera performance. While Antigone has never been very popular, it has set new standards for the orchestra, the singers and the committed listener.
(http://imageshack.us/photo/my-images/43/5f95.jpg/)
Tracks:
Cd1
01. Act I - Gemeinsamschwesterliches!-o Ismenes Haupt! [0:03:56.53]
02. Act I - Bedenke, Schwester, wie der vater, von uns [0:05:06.76]
03. Act I - Interlude [0:01:48.86]
04. Act I - O Blick der Sonne, du sch�nster [0:04:43.49]
05. Act I - Ihr m�nner, w�r's die Stadt allein [0:05:22.60]
06. Act I - Mein K�nig, diesmal plaudr' ich nicht [0:04:30.02]
07. Act I - Zuletzt, als weiter nichts zu forschen war, spricht einer [0:01:14.72]
08. Act I - Mein K�nig, lange r�t, es m�chte g�ttlich [0:05:34.58]
09. Act II - Ungeheuer ist viel [0:05:36.86]
10. Act II - Wie Gottes Versuchung aber steht es vor mir [0:05:25.04]
11. Act II - Du also, die zu Erde neigt das Haupt [0:03:38.52]
12. Act II - Doch weisst du wohl, dass allzu spr�de sprach [0:04:03.89]
13. Act II - Aber jetzt kommt aus dem Tor Ismene [0:05:42.64]
14. Act III sc. I - Gl�ckselige solcher Zeit, da man nicht schmecket das �bel [0:06:42.56]
15. Act III sc. I - Bald haben wohl, o Sohn, mehr als die Seher [0:04:14.32]
16. Act III sc. I - Als wie von Gott, himmlisch kommt die Besinnung [0:04:22.74]
17. Act III sc. I - Mein K�nig, billig ist es, wenn er an der Zeit Spricht [0:05:17.81]
Cd2
01. Act III sc. II - Geist der Liebe, dennoch Sieger [0:03:41.98]
02. Act III sc. II - Jetzt aber komm ich, eben, selber [0:08:04.73]
03. Act III sc. II - O Grab! O brautbett! [0:07:03.32]
04. Act IV - O des Landes Thebes v�terliche Stadt [0:01:01.28]
05. Act IV - Der Leib auch Danaes musste [0:03:38.12]
06. Act IV - Ihr F�rsten Thebes! miteinander kommen [0:06:43.41]
07. Act IV - O Alter! alle, wie auf eines Sch�tzen Ziel [0:07:18.44]
08. Act IV - Der Mann, mein K�nig, ging viel prohezeihend [0:01:49.17]
09. Act V - Namenssch�pfer, der du von den Wassern, welche Kadmos [0:02:40.30]
10. Act V - O ihr des Kadmos Nachbarn und Amphios [0:03:52.02]
11. Act V - O all ihr B�rger! eine Rede merkt' ich [0:01:27.86]
12. Act V - Ich liebe Frau, sag es, als Augenzeuge [0:05:44.97]
13. Act V - Wie nimmst du dies? Die Frau ging wieder weg [0:01:04.20]
14. Act V - Jo! Unsinnige Sinne! [0:05:47.34]
15. Act V - Weh! Weh! Weh! Weh! Mich befl�gelt die Furcht [0:04:00.20]
16. Act V - Um viels ist das Denken mehr [0:01:42.69]
performers:
Symphony-Orchester/Chor des Bayerischen Rundfunks – Wolfgang Sawallisch
Martha M�dl – mezzo-soprano
Marianne Radev – mezzo-soprano
William Dooley – baritone
Carlos Alexander – bass
Paul Kuen – tenor
Fritz Uhl – tenor
Josef Traxel – tenor
Kurt B�hme – bass
Lilian Benningsen - soprano
Link is Dead
---------- Post added at 03:22 AM ---------- Previous post was at 03:21 AM ----------
This austere music drama could not be further removed from Orff’s popular Carmina Burana.
The booklet does not contain the libretto. However, it’s easy to find if you look for H�lderlin’s translation of the ancient play from Sophocles; according to the booklet, Orff followed this text word for word.
With this work Orff drew a line in his musical output, setting up a demarcation between pre-Antigonae and post-Antigonae style. H�lderlin's translation into lines of ecstatic German inspired the declamatory technique Orff uses for the first time in much of Antigonae. It pre-dates a similar style of the minimalist school by about 50 years. In this way Orff creates unusual sound effects that captures both the dramatic and psychological setting of the original Greek tragedy with emotional color ranging from the ecstatic to the orgiastic. Much of the singing is performed a cappella.
Frequently an ostinato in the orchestra builds up an almost unbearable tension which is resolved only in the final bars of the piece. Orff frequently uses the technique called Singstimmen, which is half way between singing and speaking, somewhat like Sch�nberg's Sprechgesang, but still within the tonal language of work.
The sense of antiquity is often enhanced when the text is treated psalmodically in a manner resembling Gregorian Chant. Another early device found in Antigone is the melisma, where many notes are assigned to a single syllable, which is found as well in the music of other ancient and modern cultures.
The structure of the work, its heavy emotional content, its novel fabrics of sound, all demand more of the listener than required in the usual opera performance. While Antigone has never been very popular, it has set new standards for the orchestra, the singers and the committed listener.