Paul Hindemith - Cardillac, Op. 39 Act III (1926 Original Version) скачать в хорошем качестве

Paul Hindemith - Cardillac, Op. 39 Act III (1926 Original Version)

Paul Hindemith (16 November 1895 – 28 December 1963) was a prolific German composer, violist, violinist, teacher and conductor. In the 1920s, he became a major advocate of the Neue Sachlichkeit (new objectivity) style of music. Notable compositions include his song cycle Das Marienleben (1923), Der Schwanendreher for viola and orchestra (1935), and opera Mathis der Maler (1938). Hindemith's most popular work, both on record and in the concert hall, is likely the Symphonic Metamorphosis of Themes by Carl Maria von Weber, written in 1943. Please support my channel: https://ko-fi.com/bartjebartmans Cardillac, Op. 39 Opera in 3 Acts (1925-26 Original Version) Librettist: Ferdinand Lion (1883-1965), after Ernst Theodor Amadeus Hoffmann (1776-1822) Das Fräulein von Scuderi Act III No.14: Musik in der Taverne und Ariette (0:00) No.15: Szene und Quartett (3:49) No.16: Duett mit Chor (9:11) No.17: Wechselgesng. Variationen (14:13) No.18: Schlußgesang (21:14) Der Goldschmied Cardillac: Dietrich Fischer-Dieskau Die Tochter: Leonore Kirschstein Der Offizier: Donald Grobe Der Goldhändler: Karl Christian Kohn Der Kavalier: Eberhard Katz Die Dame: Elisabeth Söderström Der Führer der Prévôté: Willi Nett Bass solo of the choir: Nikolaus Hillebrand Cologne Radio Symphony Orchestra and Chorus conducted by Joseph Keilberth Hindemith's first full-length opera Cardillac, Op. 39 (based on a libretto by Ferdinand Lion) is considered both the epitome and the principal work of the «New Objectivity.» The goldsmith Cardillac is, as an «autonomically» creative artist, a «negative hero», a pathological, abnormally obsessed loner who murders those who buy his jewelry in order to regain possession of it. As the creator of an art with a fatal lack of compromise, turning away from those who want to use it, he is the «victim of a holy madness» who slays the people in order to protect himself from his murderous actions. For this, Hindemith writes a virtuosic concertante music as he had developed in his series of Kammermusiken. There is no direct relationship of word to sound, no sense of empathizing, but the music is directly related to the plot in its fundamental constructive principles; there is a series of variations, a concertino for two flutes, an aria with concertante instruments, a duet worked out as a prelude and fugue and a passacaglia. In such forms, the music becomes worked out in terms of absolute music; it is sober, objective and appears uninvolved, yet is precisely related to the meaning of the scene and the context of the plot. The setting is Paris in the 17th century. Act III In a tavern, the Officer wears the chain, presenting himself as a target for the murderer. Cardillac enters and wounds the Officer, but the Officer beats back the attack and holds on to the chain. He advises Cardillac to flee. The Gold Merchant then brings on a crowd and accuses Cardillac of the murders. Cardillac is brought in, followed by his daughter. The Officer defends Cardillac, rebuts the Gold Merchant's accusation, and accuses the Gold Merchant of being the murderer's accomplice. In the ensuing ensemble, Cardillac's daughter realizes her father is the murderer. The crowd sings Cardillac's praises, but as they continue, his words make them wonder about the identity of the murderer. Finally, Cardillac reveals to the crowd that he is the murderer. They demand he repent his crimes, but he makes no such gesture. The crowd then lynches Cardillac. With his final gesture before dying, he reaches out for the chain around the Officer's neck, not his daughter. The Officer and Cardillac's daughter swear mutual devotion.