CD Richard Strauss - Sanderling - orchestra di Torino

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Don Juann

Nacbeth

Tod und Verklarung

 

Strauss Richard

(1864-1949)

Figlio di musicisti, si mise in mostra come compositore già nel 1881, a Monaco, quindi a Vienna e a New York nell'84. Conobbe Hans von Bulow che, dopo aver scoperto anche le sue doti di direttore, lo nominò suo assistente e maestro del coro. Conclusa l'esperienza a Meiningen accanto a Bulow, dall'86 all'89 si trasferì all'Opera di Monaco come terzo direttore e maestro del coro. Trascorse poi 5 anni alla corte di Weimar (1889-1894), debuttò a Bayreuth, quindi passò di nuovo a Monaco e, nel '98, a Berlino, come direttore dell'Orchestra reale prussiana.

Dal 1919 si trasferì all'Opera di Vienna, ma dal '25 abbandonò ogni impegno direttoriale per dedicarsi esclusivamente alla composizione. Dal '33 al '35 fu presidente della Camera musicale del Reich, e questo gli costò il processo di Norimberga, dal quale però uscì pienamente assolto. Spostatosi in Svizzera dopo la caduta del nazismo, tornò a Garmisch pochi mesi prima della morte. Compose Opere, balletti, 2 Sinfonie e vari poemi sinfonici, Concerti per corno, per oboe, per violino, lavori per pianoforte e orchestra, pagine pianistiche, vocali, liederistiche. Il catalogo di musica da camera comprende un Quartetto per archi, una Sonata per violoncello e pianoforte, un Quartetto con pianoforte, una Sonata per violino e pianoforte, altri pezzi minori.

Sanderling Thomas

Thomas Sanderling è nato in Russia nel 1942. Dopo aver studiato a San Pietroburgo e a Berlino, ha debuttato come direttore d’orchestra nel 1962, percorrendo in pochi anni una folgorante carriera. Nel 1969 Dmitri Shostakovich, dopo aver assistito ad un suo concerto con l’Orchestra di Stato di Mosca, gli affidò la prima esecuzione tedesca delle sue Sinfonie n. 13 e n. 14: da allora Sanderling è internazionalmente considerato uno dei massimi interpreti della musica del celebre compositore russo.

Dirige regolarmente molte fra le più importanti orchestre del mondo: la London Symphony Orchestra, la Philharmonia Orchestra, la Royal Philharmonic, la St. Petersburg Philharmonic Orchestra, la Staatskapelle Dresden, il Gewandhaus Leipzig, la Staatsoper Wien... Invitato a partecipare ai più prestigiosi festivals internazionali, ha ottenuto in questi ultimi anni un particolare successo dirigendo il repertorio operistico mozartiano; di assoluto rilievo le rappresentazioni de Il Flauto Magico al Teatro La Fenice di Venezia (ultima produzione di Jean-Pierre Ponelle).

Nel campo operistico sono altresì da segnalare le importanti collaborazioni con la Bayerische Staatsoper, la Frankfurter Oper, la Deutsche Oper Berlin, la Staatsoper Hamburg, la Komische Oper... Nel 1992 è stato nominato Principal Conductor e Music Director della Osaka Symphony Orchestra in Giappone. Per la "RS", etichetta discografica con la quale ha un contratto d'esclusiva, ha avviato la registrazione integrale delle Sinfonie di Gustav Mahler con l’Orchestra Filarmonica di San Pietroburgo. Ha inoltre inciso Don Juan, Macbeth eTod und Verklärung di Richard Strauss con l’Orchestra Filarmonica di Torino e il Concerto Pathétique, la Malédiction e la Polonaise brillante di Franz Liszt con la Philharmonia Orchestra ed il pianista Claudio Crismani.

English

 

Strauss Richard

(1864-1949)

His father, a professional horn player, gave him a musical grounding exclusively in the classics, and he composed copiously from the age of six. He went briefly to university, but had no formal tuition in composition. He had several works given in Munich, including a symphony, when he was 17, and the next year a wind serenade in Dresden and a violin concerto in Vienna. At 20, a second symphony was given in New York and he conducted the Meiningen Orchestra in a suite for wind. In 1885 he became conductor of that orchestra, but soon left and visited Italy. He had been influenced by Lisztian and Wagnerian thinking; one result was Aus ltalien, which caused controversy on its premiere in 1887. By then Strauss was a junior conductor at the Munich Opera. Other tone poems followed: Macbeth, Don Juan and Tod und Verklärung come from the late 1880s. It is Don Juan that, with its orchestral brilliance, its formal command and its vivid evocation of passionate ardour (he was in love with the singer Pauline von Ahna, his future wife), shows his maturity and indeed virtuosity as a composer. With its premiere, at Weimar (he had moved to a post at the opera house there), he was recognized as the leading progressive composer in Germany. He was ill during 1891-3 but wrote his first opera, Guntram, which was a modest success but a failure later in Munich. His conducting career developed; he directed many major operas, including Wagner at Bayreuth, and returned to Munich in 1896 as chief conductor at the opera. To the late 1890s belong the witty and colourful Till Eulenspiegel, a portrait of a disrespectful rogue with whom Strauss clearly had a good deal of sympathy, the graphic yet also poetic and psychologically subtle Don Quixote (cast respectively in rondo and variation forms) and Ein Heldenleben, "a hero's life", where Strauss himself is the hero and his adversaries the music critics. There is more autobiography in the Symphonia domestica of 1903; he conducted its premiere during his first visit to the USA, in 1904.

Strauss was now moving towards opera. His Feuersnot was given in 1901; in 1904 Salome was begun, after Wilde's play. It was given at Dresden the next year. Regarded as blasphemous and salacious, it ran into censorship trouble but was given at 50 opera houses in the next two years. This and Elektra (given in 1909) follow up the tone poems in their evocation of atmosphere and their thematic structure; both deal with female obsessions of a disordered, macabre kind, with violent climaxes involving gruesome deaths and impassioned dancing, with elements of abnormal sexuality and corruption, exploiting the female voice pressed to dramatic extremes. Strauss did not pursue that path. After the violence and dissonance of the previous operas, and their harsh psychological realism, Strauss and his librettist Hofmannsthal turned to period comedy, set in the Vienna of Maria Theresa, for Der Rosenkavalier; the score is no less rich in inner detail, but it is applied to the evocation of tenderness, nostalgia and humour, helped by sentimental Viennese waltzes. Again the female voice - but this time its radiance and warmth is exploited, in the three great roles of the Marschallin, Octavian and Sophie. It was given at Dresden in 1911 with huge success and was soon produced in numerous other opera houses. Strauss followed it with Ariadne auf Naxos, at first linked with a Moliere play, later revised as prologue (behind the scenes at a private theatre) and opera, mixing commedia dell'arte and classical tragedy to a delicate, chamber orchestral accompaniment. The two versions were given in 1912 and (in Vienna) 1916.

Strauss had been conducting in Berlin, the court and opera orchestras, since 1908; in 1919 he took up a post as joint director of the Vienna Staatsoper, where his latest collaboration with Hofmannsthal, Die Frau ohne Schatten, was given that year: a work embodying much symbolism and psychology, opulently but finely scored, and regarded by some as one of Strauss's noblest achievements. His busy, international conducting career continued in the inter-war years; there were visits to North and South America as well as to most parts of Europe in the 1920s, which also saw the premieres of two more operas, both at Dresden, the autobiographical, domestic comedy Intermezzo and Die ägyptische Helena. His last Hofmannsthal opera, Arabella, an appealing re-creation of some of the atmosphere of Rosenkavalier, followed in 1933. Of his remaining operas, Capriccio (1942), a "conversation-piece" in a single act set in the 18th century and dealing with the amorous and artistic rivalries of a poet and a musician, is the most successful, with its witty, graceful, serene score. During the 1930s Strauss, seeking a smooth and quiet Iife, had allowed himself to accept - without facing up to their full import - the circumstances created in Germany by the Nazis. For a time he was head of the State Music Bureau and he once obligingly conducted at Bayreuth when Toscanini had withdrawn. But he was frustrated at being unable to work with his Jewish librettist, Stefan Zweig (Hofmannsthal had been part-Jewish), and he protected his Jewish daughter-in-law; during the war years, when he mainly lived in Vienna, he and the Nazi authorities lived in no more than mutual toleration. When Germany was defeated, and her opera houses destroyed, Strauss wrote an intense lament, Metamorphosen, for 23 solo strings; this is one of several products of a golden "Indian summer", which include an oboe concerto and the Four Last Songs, works in a ripe, mellow idiom, executed with a grace worthy of his beloved Mozart. He died in his Garmisch home in 1949.

Sanderling Thomas

Thomas Sanderling was born in Russia in 1942. He studied in St. Petersburg and Berlin. He made his début as a conductor in 1962 and could ely on a successful career within a few years. In 1969 Dmitri Shostakovich attended one of his concerts with the Moscow State Orchestra and entrusted him with the first German performance of his own Symphonies No. 13 and No. 14. Since then Sanderling has been internationally regarded as one of the greatest performers of the famous Russian composer’s music. He has frequently conducted many of the most important orchestras in the world, namely the London Symphony Orchestra, the Philharmonia Orchestra, the Royal Philharmonic, the St. Petersburg Philharmonic Orchestra, the Staatskapelle Dresden, the Gewandhaus Leipzig, the Staatsoper Wien, etc.

He has been invited to participate in the most renowned international festivals and, over the last few years, he has met with great success conducting some of Mozart’s operas; his performances of "The Magic Flute" at "La Fenice" Theatre in Venice (Jean-Pierre Ponelle’s latest production) were absolutely outstanding. As regards operas, his fruitful contributions to the Bayerische Staatsoper, the Frankfurter Oper, the Deutsche Oper Berlin, the Staatsoper Hamburg, the Komische Oper, etc., should also be stressed. In 1992 he has been appointed Principal Conductor and Music Director of the Osaka Symphony Orchestra in Japan. For "RS" - a label that offered him an exclusive contract - he has started to record the integral edition of Gustav Mahler’s Symphonies with the St. Petersburg Philharmonic Orchestra.

He also recorded Don Juan, Macbeth and Tod und Verklärung by Richard Strauss with Turin Philharmonic Orchestra and the Pathétique Concert, Malédiction and the Polonaise brillante by Franz Liszt with the Philharmonia Orchestra featuring the pianist Claudio Crismani.

Deutsch

Sanderling Thomas

Thomas Sanderling wurde 1942 in Rußland geboren. Nach Studien in St. Petersburg und Berlin debütierte er 1962 als Dirigent und machte in wenigen Jahren eine erstaunliche Karriere. 1969 wohnte Dimitrij Schostakowitsch einem seiner Konzerte bei und vertraute ihm daraufhin die deutsche Erstaufführung seiner Sinfonien Nr. 13 und Nr. 14 an: seit damals wird Sanderling international als einer der wichtigsten Interpreten der Musik des großen russischen Komponisten angesehen.

Er dirigiert regelmäßig die größten Orchester der Welt: London Symphony Orchestra, Philharmonia Orchestra, Royal Philharmonic Orchestra, St. Petersburger Philharmonisches Orchester, Staatskapelle Dresden, Gewandhaus Leipzig, Wiener Staats-oper... Oft ist er Gast bei international berühmten Festspielen, konnte in den letzten Jahren außerordentliche Erfolge als Dirigent von Mozart-Opern erringen; ganz besonders bemerkenswert die "Zauberflöte" am Theater "La Fenice" in Venedig (letzte Produktion von Jean-Pierre Ponelle). Hervorzuheben bei seiner Tätigkeit als Operndirigent auch bedeutende gemeinsame Arbeiten mit der Bayrischen Staatsoper, der Frankfurter Oper, der Deutschen Oper Berlin, der Staatsoper Hamburg, der Komischen Oper...

1992 wurde er zum Chefdirigenten und Musikalischen Direktor des Osaka Symphony Orchestra in Japan bestellt. Für "RS", mit der ein Exklusivvertrag besteht, hat er die Aufnahme der Sinfonien von Gustav Mahler mit dem St. Petersburger Philharmonischen Orchester begonnen. Er hat auch Don Juan, Macbeth und Tod und Verklärung von Richard Strauss mit den Turiner Philharmonikern sowie das Konzert Pathétique, Malédiction und die Polonaise brillante von Franz Liszt mit dem Philharmonia Orchestra und dem Pianisten Claudio Crismani aufgenommen.

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  • Condition: Nuovo
  • Genere: Classica e Lirica
  • Sottogenere: Musica da camera
  • Formato: Singolo
  • EAN: 8018595101707

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