Duisburger Philharmoniker, Jonathan Darlington - Living Concert Series - Schoenberg & Fauré: Pelleas & Melisande (2013) [Hi-Res]

Tracklist

01. Pelleas und Melisande, Op. 5: I. —
02. Pelleas und Melisande, Op. 5: II. —
03. Pelleas und Melisande, Op. 5: III. —
04. Pelleas und Melisande, Op. 5: IV. —
05. Pelleas und Melisande, Op. 5: V. —
06. Pelleas und Melisande, Op. 5: VI. —
07. Pelleas und Melisande, Op. 5: VII. —
08. Pelleas und Melisande, Op. 5: VIII. —
09. Pelleas und Melisande, Op. 5: IX. —
10. Pelleas und Melisande, Op. 5: X. —
11. Pelleas und Melisande, Op. 5: XI. —
12. Pelleas und Melisande, Op. 5: XII. —
13. Pelleas und Melisande, Op. 5: XIII. —
14. Pelleas und Melisande, Op. 5: XIV. —
15. Pelleas und Melisande, Op. 5: XV. —
16. Pelleas und Melisande, Op. 5: XVI. —
17. Pelleas und Melisande, Op. 5: XVII. —
18. Pelléas et Mélisande Suite, Op. 80: I. Prélude. Quasi adagio
19. Pelléas et Mélisande Suite, Op. 80: II. Fileuse. Andantino quasi allegretto
20. Pelléas et Mélisande Suite, Op. 80: III. Sicilienne. Allegretto molto moderato
21. Pelléas et Mélisande Suite, Op. 80: IV. Mort de Mélisande. Molto adagio

The Sound of Late-Romanticism: Arnold Schönberg’s Symphonic Poem. It was Richard Strauss (1864-1949) who drew the attention of Arnold Schönberg, ten years his junior, to Maurice Maeterlinck's drama 'Pelléas et Mélisande'. Strauss, whose great operatic successes were still ahead of him, nevertheless recommended this material as a basis for an opera. Without knowing about Debussy's project, Arnold Schönberg did not write an opera, but a symphonic poem. By this he stepped into closer competition with Richard Strauss rather than with Claude Debussy. 'Pelleas und Melisande' is Arnold Schönberg’s first large orchestral work. The Neo-Classical Atmospheric Pictures of Gabriel Fauré’s Incidental Music.

Gabriel Fauré wrote his incidental music 'Pelléas et Mélisande' for the English-language première of Maeterlinck’s play on the 21st June 1898 at the Prince of Wales Theatre in London. The original incidental music consists of a total of nineteen musical numbers, for which the composer repeatedly reused existing material. Then in 1900 Fauré arranged three of the longer orchestral pieces into a Suite, extended the orchestral forces, and added a Sicilienne. Still in its three-movement version the Suite op. 80 was first heard on the 3rd February 1901 in Paris. Thus Fauré’s music had arrived both in the theatre and in the concert hall.

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