ALEXANDER ZEMLINSKY (1871-1942)
DER TRAUMGÖRGE
Opera in Two Acts and an Epilogue-Text: Leo Feld
Opera in Two Acts and an Epilogue-Text: Leo Feld
Cast:
Prizessin: Janis Martin (Soprano)
Görge: Josef Protschka (Tenor)
Grete: Pamela Coburn (Soprano)
Hans/Kaspar: Hartmut Welker (Baritone)
Pastor (Minister) Martin Blasius (Bass)
Wirt (Innkeeper): Peter Haage (tenor)
Müller (Miller)/ Mathes: Victor Von Halem
Züngl: heinz Kruse (Tenor)
Wirtin (Innkeeper's Wife): Birgit Calm (Soprano)
Marei: Gabrielle Maria Ronge (Soprano)
Jugend Und Figuralchor des Hessischen Rundfunks
Radio-Sinfonie-Orchester Frankfurt
Gerd Albretcht (Conductor)
Der Traumgörge (Görge the Dreamer) is an opera by Austrian composer Alexander Zemlinsky. Its libretto was written by Leo Feld. Its music was composed between 1904 and 1906.
Der Traumgörge was intended for performance at the Vienna State Opera (then known as the Vienna Court Opera), where Gustav Mahler, a mentor of Zemlinsky's, was artistic director. In 1907, the same year the opera was scheduled to premiere, Mahler hired Zemlinsky to be an assistant conductor. But, shortly thereafter, Mahler abruptly resigned, and his successor, Felix Weingartner, dropped Der Traumgörge, already in rehearsal, from the schedule. Zemlinsky himself then resigned in protest.
Zemlinsky moved on to other compositional projects, and, deciding that Der Traumgörge needed revision, made little effort to further promote it. The performance materials were discovered in the archives of the Vienna State Opera in the 1970s, a period of renewed interest in Zemlinsky's music. This led to the opera's belated premiere in Nuremberg, Germany on October 11, 1980.
Zemlinsky's best-known work is the Lyric Symphony (1923), a seven-movement piece for soprano, baritone and orchestra, set to poems by the Bengali poet Rabindranath Tagore (in German translation), which Zemlinsky compared in a letter to his publisher to Mahler's Das Lied von der Erde (though the first part of Schoenberg's Gurrelieder is also a clear influence). The work in turn influenced Alban Berg's Lyric Suite, which quotes from it and is dedicated to Zemlinsky.
Other orchestral works include the large-scale symphonic poem Die Seejungfrau (The Mermaid). This work, premiered in 1905 in the same concert as Schoenberg's Pelleas und Melisande, was considered 'lost' until 1984, since when it has become one of Zemlinsky's most frequently performed scores. A three-movement Sinfonietta written in 1934, admired by Schoenberg and Berg, is written in a style comparable to contemporary works by Paul Hindemith and Kurt Weill.
Other works include eight operas (including Eine Florentinische Tragödie (1915–16) and the semi-autobiographical Der Zwerg (The Dwarf, 1919–21), both after Oscar Wilde); chamber music (including four string quartets) and the ballet Der Triumph der Zeit (1901). He also composed three psalm settings for chorus and orchestra and numerous song cycles, both with piano and with orchestra, of which the Sechs Gesänge op. 13 to texts by Maurice Maeterlinck is the best-known.
While the influence of Brahms is evoked in Zemlinsky's early works (prompting encouragement from Brahms himself), an original voice is present from the first works on, handling dissonances in a much freer manner than Brahms. Later works adopt the kind of extended harmonies that Wagner had introduced whilst also drawing influence from Mahler. In contrast to his friend Schoenberg, he never wrote atonal music, and never used the twelve-tone technique. However, late works such as the Symphonische Gesänge, Sinfonietta and third and fourth string quartets move away from post-Romanticism towards a leaner, harder-edged idiom that incorporates elements of Neue Sachlichkeit, Neo-Classicism and even jazz.
As a conductor, Zemlinsky was admired by, among others, Kurt Weill and Stravinsky, not only for his notable interpretations of Mozart, but also for his advocacy of Mahler, Schoenberg and much other contemporary music. As a teacher, his pupils included Erich Wolfgang Korngold, Hans Krasa and Karl Weigl.
Zemlinsky's music has slowly been rediscovered due to a series of performances and recordings (primarily by EMI) since the 1990s.
Der Traumgörge was intended for performance at the Vienna State Opera (then known as the Vienna Court Opera), where Gustav Mahler, a mentor of Zemlinsky's, was artistic director. In 1907, the same year the opera was scheduled to premiere, Mahler hired Zemlinsky to be an assistant conductor. But, shortly thereafter, Mahler abruptly resigned, and his successor, Felix Weingartner, dropped Der Traumgörge, already in rehearsal, from the schedule. Zemlinsky himself then resigned in protest.
Zemlinsky moved on to other compositional projects, and, deciding that Der Traumgörge needed revision, made little effort to further promote it. The performance materials were discovered in the archives of the Vienna State Opera in the 1970s, a period of renewed interest in Zemlinsky's music. This led to the opera's belated premiere in Nuremberg, Germany on October 11, 1980.
Zemlinsky's best-known work is the Lyric Symphony (1923), a seven-movement piece for soprano, baritone and orchestra, set to poems by the Bengali poet Rabindranath Tagore (in German translation), which Zemlinsky compared in a letter to his publisher to Mahler's Das Lied von der Erde (though the first part of Schoenberg's Gurrelieder is also a clear influence). The work in turn influenced Alban Berg's Lyric Suite, which quotes from it and is dedicated to Zemlinsky.
Other orchestral works include the large-scale symphonic poem Die Seejungfrau (The Mermaid). This work, premiered in 1905 in the same concert as Schoenberg's Pelleas und Melisande, was considered 'lost' until 1984, since when it has become one of Zemlinsky's most frequently performed scores. A three-movement Sinfonietta written in 1934, admired by Schoenberg and Berg, is written in a style comparable to contemporary works by Paul Hindemith and Kurt Weill.
Other works include eight operas (including Eine Florentinische Tragödie (1915–16) and the semi-autobiographical Der Zwerg (The Dwarf, 1919–21), both after Oscar Wilde); chamber music (including four string quartets) and the ballet Der Triumph der Zeit (1901). He also composed three psalm settings for chorus and orchestra and numerous song cycles, both with piano and with orchestra, of which the Sechs Gesänge op. 13 to texts by Maurice Maeterlinck is the best-known.
While the influence of Brahms is evoked in Zemlinsky's early works (prompting encouragement from Brahms himself), an original voice is present from the first works on, handling dissonances in a much freer manner than Brahms. Later works adopt the kind of extended harmonies that Wagner had introduced whilst also drawing influence from Mahler. In contrast to his friend Schoenberg, he never wrote atonal music, and never used the twelve-tone technique. However, late works such as the Symphonische Gesänge, Sinfonietta and third and fourth string quartets move away from post-Romanticism towards a leaner, harder-edged idiom that incorporates elements of Neue Sachlichkeit, Neo-Classicism and even jazz.
As a conductor, Zemlinsky was admired by, among others, Kurt Weill and Stravinsky, not only for his notable interpretations of Mozart, but also for his advocacy of Mahler, Schoenberg and much other contemporary music. As a teacher, his pupils included Erich Wolfgang Korngold, Hans Krasa and Karl Weigl.
Zemlinsky's music has slowly been rediscovered due to a series of performances and recordings (primarily by EMI) since the 1990s.
4 comments:
Hi, humbly requesting a new link for this – thank you!
New links:
https://nitroflare.com/view/219403E83542F5E/ZemlinsDerTraumgorgeCD1.rar
https://nitroflare.com/view/F35D84C68B5A684/ZemlinsDerTraumgorgeCD2.rar
Thank you vey much :)
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