5 Gedichte : für eine Frauenstimme Richard Wagner

Titel (DE): Wesendonck-Lieder - Fünf Lieder für eine Frauenstimme auf Gedichte von Mathilde Wesendonck von Richard Wagner
Titel (EN): Wesendonck-Lieder - Fünf Lieder für eine Frauenstimme auf Gedichte von Mathilde Wesendonck von Richard Wagner
Titel (FR): Wesendonck-Lieder - Fünf Lieder für eine Frauenstimme auf Gedichte von Mathilde Wesendonck von Richard Wagner
Komponist / Composer: Henze, Hans Werner / Wagner, Richard
Herausgeber / Editor:
Bearbeiter / Arranger:
Illustrator:
Opus:
Werkverzeichnis:
Besetzung / Instrumentation: Alt und Kammerorchester / alto and chamber orchestra
Besetzungsdetails: 1 · Altfl. · 1 · Engl. Hr. · 1 · Bassklar. · 1 · Kfg. - 2 · 0 · 0 · 0 - Hfe. - Str. (6 · 4 · 4 · 4 · 2)
Kompositionsjahr / Date of Composition: 1976
Aufführungsdauer / Duration: 15'
Verlag / Publisher: Schott Music
Erscheindungsdatum / Date of Publishing: 08.05.1984
Ausgabe / Publication: Dirigier- und Studienpartitur - Full and study score -
- - -
Seiten / Pages: 72
Verarbeitung: Broschur - Paperback/Softcover
Schwierigkeitsgrad / Difficulty: - -
Sprache / Language: Deutsch
Reihe / Series: Musik unserer Zeit
ISMN: M-001-07569-5
ISMN-13: 979-0-001-07569-5
ISMN-EAN: 9790001075695
UPC:

During the period in which these arrangements were created, Hans Werner Henze was far from being a Wagnerite. Despite this, he deliberately set out to study Wagner's music. Tristan und Isolde was the opera Henze found most accessible and it was therefore the Wesendonck-Lieder, dating from 1858 with their clear affinity to the harmony of Tristan, which became Henze's focal point of interest. In his arrangements he was aiming 'to evoke the pre-Tristan state. For this reason, I have selected a small ensemble consisting of seven wind instruments, two horns, harp and small string orchestra to retain the preliminary study character of these Lieder. At the same time however, I am attempting to permit the Tristanesque tone which is already inherent in the piano version to unfold through harmonic separation.' - Hans Werner Henze

I Der Engel (The Angel) "In der Kindheit frühen Tagen..." - II Stehe still (Stand still!) "Sausendes, brausendes Rad der Zeit..." - III Im Treibhaus (In the Hothouse) "Hochgewölbte Blätterkronen..." - IV Schmerzen (Pains) "Sonne, weinest jeden Abend..." - V Träume (Dreams) "Sag', welch wunderbare Träume..."

[FR]
During the period in which these arrangements were created, Hans Werner Henze was far from being a Wagnerite. Despite this, he deliberately set out to study Wagner's music. Tristan und Isolde was the opera Henze found most accessible and it was therefore the Wesendonck-Lieder, dating from 1858 with their clear affinity to the harmony of Tristan, which became Henze's focal point of interest. In his arrangements he was aiming 'to evoke the pre-Tristan state. For this reason, I have selected a small ensemble consisting of seven wind instruments, two horns, harp and small string orchestra to retain the preliminary study character of these Lieder. At the same time however, I am attempting to permit the Tristanesque tone which is already inherent in the piano version to unfold through harmonic separation.' - Hans Werner Henze

I Der Engel (The Angel) "In der Kindheit frühen Tagen..." - II Stehe still (Stand still!) "Sausendes, brausendes Rad der Zeit..." - III Im Treibhaus (In the Hothouse) "Hochgewölbte Blätterkronen..." - IV Schmerzen (Pains) "Sonne, weinest jeden Abend..." - V Träume (Dreams) "Sag', welch wunderbare Träume..."