Various Artists - Beethoven: Egmont, Op. 84 - Reicha: Lenore (2020)
Artist: Various Artists
Title: Beethoven: Egmont, Op. 84 - Reicha: Lenore
Year Of Release: 2020
Label: Orfeo
Genre: Classical
Quality: FLAC (tracks+booklet)
Total Time: 137:26 min
Total Size: 539 MB
WebSite: Album Preview
Tracklist:Title: Beethoven: Egmont, Op. 84 - Reicha: Lenore
Year Of Release: 2020
Label: Orfeo
Genre: Classical
Quality: FLAC (tracks+booklet)
Total Time: 137:26 min
Total Size: 539 MB
WebSite: Album Preview
CD1:
01. Leonora Overture No. 2, Op. 72a
02. Egmont, Op. 84: I. Overture
03. Egmont, Op. 84: Monologue 1 :Besteigt denn, von den Tönen hold geleitet:
04. Egmont, Op. 84: II. Die Trommel gerühret
05. Egmont, Op. 84: III. Entracte. Andante
06. Egmont, Op. 84: Monologue 2 :Wo Egmont wandelt, hoch auf steilem Pfade:
07. Egmont, Op. 84: IV. Entracte. Larghetto
08. Egmont, Op. 84: Monologue 3 :Die Geliebte harrt:
09. Egmont, Op. 84: V. Freudvoll und leidvoll
10. Egmont, Op. 84: VI. Entracte. Allegro
11. Egmont, Op. 84: Monologue 4 :Sorglos dem Wort des Königs trauend:
12. Egmont, Op. 84: VII. Entracte. Poco sostenuto e risoluto
13. Egmont, Op. 84: Monologue 5 :Doch jenes Mädchen:
14. Egmont, Op. 84: VIII. Clärchens Tod
15. Egmont, Op. 84: IX. Süßer Schlaf
16. Egmont, Op. 84: X. Siegessymphonie. Allegro con brio
CD2:
01. Lenore: Overture
02. Lenore, Pt. 1: Lenore fuhr uns Morgenrot
03. Lenore, Pt. 1: Er war mit König Friedrichs Macht
04. Lenore, Pt. 1: Der König und die Kaiserin
05. Lenore, Pt. 1: Ach! Aber für Lenoren
06. Lenore, Pt. 1: Die Mutter lief wohl hin zu ihr
07. Lenore, Pt. 1: O Mutter, Mutter! Hin ist hin!
08. Lenore, Pt. 1: So wütete Verzweiflung
09. Lenore, Pt. 1: Und aussen, horch! Ging's trap trap trap
10. Lenore, Pt. 1: Holla, Holla! Tu auf, mein Kind
11. Lenore, Pt. 1: Schon Liebchen schürze, sprang und schwang
12. Lenore, Pt. 1: Und hurre hurre, hop hop hop!
13. Lenore, Pt. 2: Was klang dort für Gesang und Klang:
14. Lenore, Pt. 2: Lasst uns den Leib begraben!
15. Lenore, Pt. 2: Und näher zog ein Leichenzug
16. Lenore, Pt. 2: Still Klang und Sang. Die Bahre schwand
17. Lenore, Pt. 2: Und immer wieter, hop hop hop!
18. Lenore, Pt. 2: Geistertanz. Sieh da! Sieh da!
19. Lenore, Pt. 2: Und weiter, weiter, hop hop hop!
20. Lenore, Pt. 2: Rapp'! Rapp'! Mich dünkt, der Hahn schon ruft
21. Lenore, Pt. 2: Rasch auf ein eisern Gittertor
22. Lenore, Pt. 2: Es blinken Leichensteine
23. Lenore, Pt. 2: Ha sieh! Ha sieh! Im Augenblick
24. Lenore, Pt. 2: Hoch bäumte sich, wild schnob der Rapp'
25. Lenore, Pt. 2: Geheul! Geheul aus hoher Luft
26. Lenore, Pt. 2: Pantomime und Kettentanz der Geister
27. Lenore, Pt. 2: Nun tanzten wohl bei Mondenglanz
28. Lenore, Pt. 2: Geduld! Geduld! Wenn's Herz auch bricht!
29. Lenore, Pt. 2: Gott sei der Seele gnädig!
Whereas Ludwig van Beethoven’s only opera Fidelio will remain at home timelessly on all the major stages, of the other stage music by the great composer concert audiences are usually only aware of the relevant overtures. However, the eminently appealing music to Egmont with its beautiful and catchy songs and its energetic and melodious orchestral scores might be considered Beethoven’s most interesting and worthwhile stage music after Fidelio.
Reichas dramatic cantata Lenore is the musical setting of the eponymous horror ballad by the German poet Gottfried August Bürger, famous today above all as the author of the tales concerning the Baron of the Lies, Münchhausen. In comparison with Beethoven (who is said greatly to have admired Reicha’s Lenore and even to have recommended it be performed), in musical terms Reicha’s cantata does not point into the future despite all its onomatopoetic effects, but takes its bearings audibly from the epic oratorio style of Reicha’s mentor and friend, Joseph Haydn
Reichas dramatic cantata Lenore is the musical setting of the eponymous horror ballad by the German poet Gottfried August Bürger, famous today above all as the author of the tales concerning the Baron of the Lies, Münchhausen. In comparison with Beethoven (who is said greatly to have admired Reicha’s Lenore and even to have recommended it be performed), in musical terms Reicha’s cantata does not point into the future despite all its onomatopoetic effects, but takes its bearings audibly from the epic oratorio style of Reicha’s mentor and friend, Joseph Haydn
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