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Emil Nikolaus von Reznicek: Der Sieger

3 étoiles sur 5 1 commentaire client

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Détails sur le produit

  • Interprète: Beate Koepp (Alto) - Chour de la Wdr de Cologne - Orchestre Symphonique de la Wdr de Cologne - Michail Jurowski
  • CD (20 septembre 2004)
  • Nombre de disques: 1
  • Label: Cpo
  • ASIN : B0002ONAGK
  • Moyenne des commentaires client : 3.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 291.183 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Der Aufstieg Und Die Gefahrtin - Ascent, and Female Companion - Emil Nikolaus Von Reznicek
  2. Der Tanz Um Das Goldene Kalb - The Dance Around The Gold Calf - Emil Nikolaus Von Reznicek
  3. Der Tod - The Death - Emil Nikolaus Von Reznicek

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Par Antoine Martin TOP 500 COMMENTATEURS le 13 décembre 2012
Achat vérifié
Du para-Strauss mais pas Johann comme le ferait penser une de ses oeuvres les moins oubliées, la sémillante ouverture Donna Diana mais Richard, le quasi contemporain .
Cuivres triomphants, thèmes lyriques s'entrechoquant, marches et fragments de valse, pas mal de redondance et pas trop de "schéma directeur " dans ce "plum pudding" germanico-bavarois. Dernier mouvement énigmatique sans la luxuriance précédente, se terminant sur la brève interprétation d'une mezzo-soprano. Fin abrupte et déconcertante ou on s'attendait à un final somptueux voire introspectif: il s'agit quand meme de la mort du "vainqueur"!!!
La lecture de l'interessant livret donne de très curieuses informations sur la genèse de l'oeuvre qui aurait été composée en réaction à celles de Richard Strauss!? Interprétation psychanalytique d' Eckhardt van den Hoogen qui semble un "initié" de l'oeuvre de Reznicek: amour/haine Strauss-Recnicek, l'un ayant rapidement rencontré un succès planétaire alors que Recnicek aura toute sa vie des problèmes.
Signification ambigue du titre de l'oeuvre: der sieger = le vainqueur !!!! Ceci explique peut etre la désolation à tous les sens du terme du dernier mouvement ???
Malheureusement le verdict de l'histoire est cruel: der sieger est grossièrement contemporain de la symphonie domestique de Richard Strauss. Qui est le vainqueur?
Belle interprétation du remarquable orchestre de la WDR de Cologne et de son chef russe Michael Jurowski.
Louanges à CPO et à son insatiable curiosité
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Amazon.com: HASH(0xa2bfbe28) étoiles sur 5 5 commentaires
24 internautes sur 24 ont trouvé ce commentaire utile 
HASH(0xa2c30c24) étoiles sur 5 Satire or Masterpiece? Both. Simply Outstanding! 24 novembre 2004
Par J Scott Morrison - Publié sur Amazon.com
If you're like me, the only music you've known by Emil Nikolaus von Reznicek (1860-1945) is his overture to 'Donna Diana,' which used to be played a lot, but frankly I can't remember the last time I heard it. (It may be familiar to some as the theme song for the old radio program 'Sgt. Preston of the Yukon.') And if that's all you know of him, you're in for a big surprise with this CD. This is high-octane stuff. Not only is Reznicek a superb orchestrator, he's got big ideas, and he is able to pull them off. But first some background: Reznicek, a near-contemporary of Richard Strauss, was unlucky in life. Where Strauss went from triumph to triumph, Reznicek fell prey to all sorts of bad luck--his first wife and two children died, he lost fine positions through no fault of his own, his music was praised and then ignored. He wrote three tone poems that bear on all this. The first, 'Schlemihl,' is more or less a self-portrait. (For those of you who don't know, a schlemiel is, according to Leo Rosten, a 'born loser,' the fellow who is 'always knocking things off the table.') The second, Der Sieger' ('The Winner' or 'The Victor') is the subject of this tone poem. The third, apparently now lost, is 'Frieden' ('Peace'), about which little is now known, although it apparently had its première in 1915; perhaps the score and parts were lost in WWI.

'The Winner' is almost certainly a satire on the life and music of Richard Strauss. Although the two men were friends, it is quite likely that 'Der Sieger' was written with more than a touch of jealousy and bile. This 48 minute piece has three large movements: 'Ascent, and Female Companion,' 'The Dance around the Golden Calf,' and 'The Death.' In the first, the hero ('Heldenleben,' get it?) is described in a written introduction by Reznicek as cold and hard and accompanied by a female companion of the same ilk (Strauss and his wife, the notably ambitious and difficult soprano, Pauline de Ahna?). He goes from victory to victory. And in II greed and ambition become the main focus. Finally, in III, the hero becomes ill, his companion decamps and the 'winner' faces a lonely death. This all sounds incredibly vicious and heartless, but indeed the music is humorous at the same time it mimics Strauss's orchestral style to a T. One doesn't know whether to chuckle, to tsk, or to simply gape in admiration at the quality of the music qua music. I finally found myself primarily doing the latter. I could be amused and a little scandalized by the human aspects of this score, but mostly I became more and more smitten by the raw quality of the writing. This is superb stuff here, fully the equal of Strauss but with a quality all its own. Indeed, if I had to characterize the music I'd say that it is somewhere in between Strauss and Mahler (and in the death scene, with some aspects of Bruckner). The irony and sarcasm (oh, those E flat clarinets!) are really more Mahlerian. The melodic ideas are first-rate, counterpoint flows like water and is only noticeable as such when one really listens carefully, the orchestration is absolutely on a par with the two other masters, the form is clear and yet complex enough to intrigue, the harmonies chromatic without being tortured.

Of course, one thing Reznicek is satirizing here is the use by Strauss of aspects of his own life for artistic purposes as well as publicity. It makes one think of the use current-day celebrities make of their own personal lives (Madonna, say?). Strauss was doing, or would do, something that almost no one before him had done in such tone poems as 'Sinfonia domestica' and 'Alpensinfonie' or, most obviously, his opera 'Intermezzo,' which reenacts scenes from Strauss's life complete with termagant wife and skat games. Here, finally, in the closing moments, when contralto soloist and chorus are introduced, there is a verbal context for the whole thing that underlines Reznicek's own resignation to life: 'If a world's wealth for you is lost/Don't feel regret about it, it's nothing./And if a world's wealth you've won,/Don't be happy about it, it's nothing./Pains and pleasures pass on,/Pass by in the world, it's nothing.'

The performance here is smashing. Michail Jurowski (himself the son of a composer and father of a rising conductor, Vladimir Jurowski) is in utter control of his forces. The West German Radio Orchestra (Cologne), expanded by extra brass and woodwinds and a huge string complement, are fully up to the task of this big score. Alto Beate Koepp and the Symphony Chorus do their small bit admirably as well.

The only drawback to this recording--and I don't think it's that much of one--is the short timing: 48'26". These same musicians have recorded Reznicek's 'Schlemihl' (along with the 'Raskolnikov' overture) but I've not heard it. I intend to rectify that. The excellent booklet notes by Eckhardt van den Hoogen (inelegantly and occasionally inaccurately translated by Susan Marie Praeder--cpo really ought to find a more graceful German/English translator) make a plea to anyone who might have information about any surviving score or parts for the lost 'Frieden' to contact him or the producer of the CD.

Reznicek, although known to me as a name and as the composer of a piece atypical of his larger output, is a real find. I'm eager for more.

[Postscript: I just learned that Classicstoday.com has given this disc one of its 'Classical Internet Awards 2004' citations.]

Scott Morrison
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0xa2c42aa4) étoiles sur 5 Very entertaining 11 août 2012
Par pohjola - Publié sur Amazon.com
Achat vérifié
My level of enthusiasm is only slightly lower than some of the other reviewers here. This is a wonderful piece, with memorable melodies, spectacular orchestration, bracing harmonies. To put the work in context, Mahler threw everything but the kitchen sink into a work, and considered the result to be a symphonic world unto itself. Richard Strauss (in his orchestral works) made no pretense of being anything other than an orchestral magician, and used a more conventional, highly polished technique. Von Reznicek strikes me as a mixture of the two, creating tone poems similar in spirit to those of Strauss using the orchestral toolkit and sense of sarcasm of Mahler. The result is highly entertaining, though perhaps not as deep as the best symphonic music.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0xa2c55ee8) étoiles sur 5 Reznicek the Master 20 février 2011
Par Stephen Adams - Publié sur Amazon.com
Once again, Scott Morrison hits the bull's eye. Der Sieger is an enormous Straussian tone-poem in three parts - presented by the all-too-arch liner notes as a monstrous parody of Strauss, particularly Heldenleben and Sinfonia Domestica, and in Part 3, Tod und Verklärung. But simple parody is far too reductive for a huge 49' piece with vast orchestra. Strauss himself was an ironist, a Romantic ironist, and Reznicek here forebodes the post-war expressionist grotesque. The middle movement is a dance round the golden calf (think Schoenberg) that super-inflates the Viennese waltz with hints of Dies irae. Der Tod is atmospheric - Death is revealed brassily - a Mahlerian off-kilter cortege - the solo violin tries to cheer things up - Mahlerian heavens open - an alto soloist and choir appear out of nowhere to sing a prayer, a nihilistic prayer. What a puzzling, detailed, intellectually complex, entertaining masterpiece! Michail Jurowski's performance leaves nothing to be criticize. Yes, the timing of the CD is short, but it gives plenty of value for the money. The entire CPO Reznicek series is a revelation.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0xa2c55f30) étoiles sur 5 Riveting 18 octobre 2011
Par G.D. - Publié sur Amazon.com
CPO's series of music by Emil Nikolaus von Reznicek has been very welcome, and this release of his symphonic poem (sort of) Der Sieger may just be the high point. Reznicek's style is the very epitome of fin-de-siècle late romanticism, reminiscent of the music of his friend Richard Strauss (although things suggest the friendship may have been ambivalent) but Reznicek sometimes takes the overblown drama and pathos even further (and he rarely attempts to capture Strauss's classical elegance). So yes, this is music of crushing waves of sound, glittering textures, brilliant, heaven-storming climaxes and unbridled drama; but Reznicek adds an element generally absent from most music written in comparable styles: humor. Indeed, much of his music - including Der Sieger - contains satirical comments on Richard Strauss's works (and it is successful) as well as his own and late romantic music in general (it may be relevant that Reznicek's half-brother was a famous caricaturist).

Der Sieger is a sequel to the symphonic poem Schlemihl (also available from CPO) but whereas Schlemihl is interesting and enjoyable, Der Sieger is a masterpiece. It is scored for alto, chorus and a huge orchestra, and the scoring is absolutely brilliant. It opens, in the manner of Strauss's Heldenleben (an obvious source of satire) with a stirring and engaging Ascent and Female Companion, but the core of the work is the second part, the Dance Around the Golden Calf. Rarely if ever will you have heard a more extravagantly dramatic, brilliant depiction of saturnalia. Wild and uninhibited, gloriously orchestrated and utterly captivating, completely and intentionally over the top, even the melodic material is thoroughly memorable, and Reznicek rams it into the maelstrom with utter ingenuity. Quite simply fabulous.

The final movement is - obviously - Death. After a dramatic development launching some final outbursts of power, we get an exaggeratedly tender and beautifully decadent coda in which the soloist and choir declare the meaninglessness of all and everything in a manner that appears to combine irony and earnestness in a delightfully fin-de-siècle manner to conclude a truly spectacular work. The WDR Symphony Orchestra and Choir do a superb job of it all, with textural splendor and momentum realized equally convincingly under Michail Jurowski (they'll easily pass as a world-class orchestra in this recording at least). The singers are thoroughly satisfying and the CPO recording absolutely first-class. In short, this is a magnificent release that no one who has ever reacted positively to late romantic orchestral music, Strauss in particular, can afford to pass over. A seminal release.
2 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0xa2c55c6c) étoiles sur 5 Bravura and sarcasm combined 24 mars 2012
Par Ralph Moore - Publié sur Amazon.com
This symphonic poem by Reznicek is his combined homage to and mockery of the life, career and musical style of his friend Richard Strauss. It is more sustainedly and assertively expressionistic than anything Strauss wrote but we instantly recognise how indebtedness its musical idiom is to Strauss's tone poems - especially "Don Juan", "Till Eulenspiegel" and, of course, "Ein Heldenleben". I do not find it as unified or consistently absorbing as any of those celebrated masterpieces and tire of the restless spikiness but it is brimful of splashy, colourful orchestration and offers a succession of beguiling melodies - rather too many, in fact.

Whereas Strauss often stands convicted of shameless bombast in his music, Reznicek here has the excuse that he is satirising that very tendency in his much more worldly and successful contemporary and thus enjoy the luxury of throwing everything - bawling brass, clattery timpani, squawking woodwind - into a gloriously overheated amalgam and disingenuously take refuge behind his satirical purpose of deliberately exaggerating Strauss's idiom. This is the companion piece to his earlier "Schlemihl" (roughly "Loser" in Yiddish) and both should be heard in tandem as a pair; there is a fine recording from the same stable with Jurowski again in the saddle.

The gamut of musical styles incorporated is almost bewildering, from the Tchaikovskian stuttering flutes in the middle waltz section of the central, wickedly named "Golden Calf" movement to the sardonic Mahlerian bravura of "Der Tod"; Reznicek's kaleidoscopic virtuosity is startling. The entrance of the alto as Sybil at the end, providing a final, didactic comment, comes as a surprise.

Despite being somewhat short measure at under 50 minutes, this disc deserves to be in any Strauss-lover's collection both as an orchestral tour de force and as an ironic commentary of great historical and musical curiosity value.
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