Eliland - Alexander Von Fielitz. Concert Performance скачать в хорошем качестве

Eliland - Alexander Von Fielitz. Concert Performance

Concert performance at The Purcell Room, Southbank Centre, London. 1985 Sung by Jeffrey Benton (Baritone) With Robert Sutherland (Piano) WORDS BY K. STIELER ENGLISH VERSION BY JEFFREY BENTON Sung in English -    • ELILAND - SONG OF CHIEMSEE. A SONG CYCLE B...   Introduction by Philip Rodden I hold the theory that no composer has ever had a vogue in his day without having done something to deserve it. When rummaging through dusty old scores by some nigh forgotten composers one sometimes comes across the odd Edelstein such as Alexander von Fielitz’s song cycle Eliland. A contemporary of Hugo Wolf and Brahms, (1860 - 1930 ), he studied composition with Edmund Kretschmer and piano with the Czech virtuoso Schulhoff - a protege of Chopin - in Dresden. He wrote piano pieces and two operas which were staged throughout Germany. He worked with Nikisch and conducted in the USA and at the Theatre des Westerns in Berlin where Caruso appeared as a guest in 1906. He also held teaching posts in Chicago and at the prestigious Berlin Sternscher Singakademie. His fame as a composer rests mainly on his song output especially his settings of Eichendorf, von Gilm, Lenau, and the ten Kaspar Stieler poems which constitute the Eliland cycle. Stieler (1632-7707) was a prolific writer of verse much of which has religious undertones, two of his poems are to be found in the Penguin book of Lieder. The songs of von Fielitz were popular fare with many great concert singers at the turn of the century including such giants of Lieder singing as the tenor Raimund von Zur-Muhlen and the baritone Ludwig Wullner. The latter used to sing regularly at the Sunday Evening Mennigen Concerts at which he, accompanied by Brahms, sang Lieder by the Master. In the Eliand songs we detect in von Fielitz's style a cross section between Grieg and Schumann discernible in such songs as "Heimliche Grusse", or (ah Irmingard mv fairest love), and Kinderslimmen', (With our returning fishermen). This world premiere recording is welcome for two very important reasons. Firstly, the songs would make a worthy group for inclusion in any recital programme by those singers ever in search of the unusual. Secondly Blomberg's unliteral, Victorian English translation of 1902, is greatly superseded by this present one.