I love this piece from my heart :-) Even though this performance is a bit too fast for my taste, it's a work that should be played in concerts way more often!
The sense of the orchestra is fabulous. The way how cellos and altos emerge from the winds and the future evolution of this muxic is fantastic. It leads to an impressive tutti, then things become calmer again, with a quite different sonority .... and so on .... The orchestra has become a superb instrument at the end of the XIXth Century.
On peut sans doute affirmer que c'est la page la plus réussie de Franz Schreker. Pour ce qui est de la seule ouverture à son célébrissime opéra : die Gezichneten (partie de ce que l'on entend ici), il s'agit de ce qu'il y a de plus abouti dans le genre, évoquant les passages de l'œuvre dans une captatio bene volentae des plus saisissantes. C'est grâce à elle que j'ai pu découvrir ce compositeur totalement ignoré en France. Un concert de Radio-France en 1980, orchestre philharmonique dirigé par Uri Segal. Une programmation sans doute inspirée par la reprise de l'œuvre à Francfort l'année précédente et qui est à l'origine d'une formidable renaissance.
Bien des années plus tard, Michael Gielen viendra diriger plusieurs œuvres de Schreker, dont l'ouverture des Gezeichneten et le finale du premier acte avec le même orchestre philharmonique de Radio-France.
@@jean-jacquessimon6703 Je vous suis volontiers dans le domaine opératique, voire du grand orchastre. En revanche, globalement, il faut placer tr_s haut sa "Kammersymphonie" qui n'a aps à rougire devant celle de Schoenberg (quoique plus "sage" harmoniquement ni celle du compositeur martyre Roslavets.
@@gerardbegni2806 Vous avez parfaitement raison de défendre la symphonie de chambre. On pourrait aussi rappeler d'autres œuvres pour orchestre et encore une suite pour soliste dont l'une me touche particulièrement : "Sie sind so schoen..." et même la symphonie en trois mouvements redécouverte il y a quelques années. Il est vrai que j'ai eu tendance à me polariser sur les Gezeichneten qui ne cesse de me fasciner, même au détriment des autres œuvres lyriques de Franz Schreker que j'ai presque toutes vues sur scène, et même dans différentes productions : der ferne Klang, Irrelohe, der singede Teufel ...
@@jean-jacquessimon6703 Il y a une délicieuse pièce de musique de chambre sans grande prétention, mais fort bien écrite, "Der Wind, 1906-8) pour piano, violon, violoncelle, clarinette et cor, que l'on trouve sur RUclips avec partition déroulante (ruclips.net/video/0E-ZVCGJ_9Y/видео.html). Cette formation a au moins un prédécesseur très injustement méconnu, le quintette op; 42 de l'excellent compositeur tchèque Fibich (1850-1900), un de ses deux chefs d'œuvre avec sa 3° symphonie (ruclips.net/video/4o57WUx2r80/видео.html)
One could also say the Nazis gave them everything because they drove all the good european composers into american exile. Schreker would not have died in '34, his works forced into oblivion, and Korngold would not have become the influential film composer he became. It boggles the mind imagining how different the cultural landscape would have turned out in the austro-german realm.
In this impressive work by Schreker, one can discern the profound impact of Wagner on the composer's creative process. While Schreker's music differs from Wagner's in certain respects, there are also notable similarities.
Essentially he repeats the whole thing. But the second time he alters the orchestration a bit making everything a bit darker. Where the whole opera portrays things going to pieces, in this prelude we have a setup and the sequential destruction of the introduced elements until everything ends (or not ends) where it has started - with nothing. At least that‘s how I read it.
Damn it, you beat me to it!. A duel it is then! ;) I just saw this opera in Cologne last Sunday. Marvellous production. Seen it already 4 years ago. I really think Schreker's time has finally come again. Only problem is the demands to the musical forces his operas make. You need very good singers and pretty large pits to fit his orchestras into. Well Tom you finally earned yourself a sub. Keep it up!
On rêve ! Die Gezeichneten 1918 - Mahler (1860-1911) ! A moins que cet(te) internaute ne fasse référence au pseudo mal inspiré Mahler7. Et puis, à chacun son mauvais goût !
@@AndreyRubtsovRU -- "Policing"? What would YOU know about "Policing"? What to YOU know of directing a pincer movement in good weather at level terrain against an enemy that has already committed his reserves? When have YOU ever performed helicopter extractions from forward military positions, fortified bunkers and palisades of guard booths, vehicle barricades and sidewalk barriers supporting tactical operations astride HESCO bastions in garrison towns, military cantonments and citadel fortifications, enduring ambuscades and cannonades from Peshawar to Fallujah? With best Regards from STEVIE GALLO, Staff Judge-Advocate, First Marine Expeditionary Force, Marine Corps Base Camp Pendleton, Third Marine Air Wing, Camp Pendleton California 92055-5001
unbelievable orchestration
One of my favorite neo-romantic pieces. Schreker, like Korngold, was magisterial with the orchestra. Such beautiful colors!
and also harmonies
@@indigo5601 Indeed!!!
I love this piece from my heart :-)
Even though this performance is a bit too fast for my taste, it's a work that should be played in concerts way more often!
Hello Bernhard, there are two versions from Maestro Gielen ( outstanding conductor ) , the second is paired with Mahler 4th Symphony :)
I totally agree. Wonderful piece, but a bit fast but his version of the Nacht stuck from Ferne klang is perfection
The sense of the orchestra is fabulous. The way how cellos and altos emerge from the winds and the future evolution of this muxic is fantastic. It leads to an impressive tutti, then things become calmer again, with a quite different sonority .... and so on .... The orchestra has become a superb instrument at the end of the XIXth Century.
On peut sans doute affirmer que c'est la page la plus réussie de Franz Schreker. Pour ce qui est de la seule ouverture à son célébrissime opéra : die Gezichneten (partie de ce que l'on entend ici), il s'agit de ce qu'il y a de plus abouti dans le genre, évoquant les passages de l'œuvre dans une captatio bene volentae des plus saisissantes.
C'est grâce à elle que j'ai pu découvrir ce compositeur totalement ignoré en France. Un concert de Radio-France en 1980, orchestre philharmonique dirigé par Uri Segal.
Une programmation sans doute inspirée par la reprise de l'œuvre à Francfort l'année précédente et qui est à l'origine d'une formidable renaissance.
Bien des années plus tard, Michael Gielen viendra diriger plusieurs œuvres de Schreker, dont l'ouverture des Gezeichneten et le finale du premier acte avec le même orchestre philharmonique de Radio-France.
@@jean-jacquessimon6703 Je vous suis volontiers dans le domaine opératique, voire du grand orchastre. En revanche, globalement, il faut placer tr_s haut sa "Kammersymphonie" qui n'a aps à rougire devant celle de Schoenberg (quoique plus "sage" harmoniquement ni celle du compositeur martyre Roslavets.
@@gerardbegni2806 Vous avez parfaitement raison de défendre la symphonie de chambre. On pourrait aussi rappeler d'autres œuvres pour orchestre et encore une suite pour soliste dont l'une me touche particulièrement : "Sie sind so schoen..." et même la symphonie en trois mouvements redécouverte il y a quelques années. Il est vrai que j'ai eu tendance à me polariser sur les Gezeichneten qui ne cesse de me fasciner, même au détriment des autres œuvres lyriques de Franz Schreker que j'ai presque toutes vues sur scène, et même dans différentes productions : der ferne Klang, Irrelohe, der singede Teufel
...
@@jean-jacquessimon6703 Il y a une délicieuse pièce de musique de chambre sans grande prétention, mais fort bien écrite, "Der Wind, 1906-8) pour piano, violon, violoncelle, clarinette et cor, que l'on trouve sur RUclips avec partition déroulante (ruclips.net/video/0E-ZVCGJ_9Y/видео.html). Cette formation a au moins un prédécesseur très injustement méconnu, le quintette op; 42 de l'excellent compositeur tchèque Fibich (1850-1900), un de ses deux chefs d'œuvre avec sa 3° symphonie (ruclips.net/video/4o57WUx2r80/видео.html)
The expanded prelude to “ Der Gezeitnegen “
One of the most beautiful pieces of music written in the the 20th century. Thank you for sharing this
Wow....SUPERB! Bravi Tutti di San Agustinillo!
Doing the work next season..........absolutely beautiful
Stunning. Thank you for posting with scrolling score!
John Williams, JNH, Bruce Broughton, Michael Kamen, James Horner, David Arnold... Europe gave you everything!
One could also say the Nazis gave them everything because they drove all the good european composers into american exile. Schreker would not have died in '34, his works forced into oblivion, and Korngold would not have become the influential film composer he became.
It boggles the mind imagining how different the cultural landscape would have turned out in the austro-german realm.
Roumen Boyadjieff - jr f
Quotenwagnerianer yes, agree
junior o
@@Quotenwagnerianer And I fear---it beings again, only this time in the American heartland.
Late 19th century early 20th century romantic music when classical music reached its pinnacle and it has kind of gone down hill ever since.
Meticulously crafted masterpiece.
How gorgeous is this?
Splendid.
Gielen
Ravishing beyond belief❤❤❤❤
In this impressive work by Schreker, one can discern the profound impact of Wagner on the composer's creative process. While Schreker's music differs from Wagner's in certain respects, there are also notable similarities.
1:49 Alien motif ;)
The overture to die gezeichneten is 10 minutes. What did he add to the piece for this version?
Essentially he repeats the whole thing. But the second time he alters the orchestration a bit making everything a bit darker. Where the whole opera portrays things going to pieces, in this prelude we have a setup and the sequential destruction of the introduced elements until everything ends (or not ends) where it has started - with nothing. At least that‘s how I read it.
Tomekkobialka, will you marry me? xD thank for the upload!
Damn it, you beat me to it!. A duel it is then! ;)
I just saw this opera in Cologne last Sunday. Marvellous production. Seen it already 4 years ago. I really think Schreker's time has finally come again. Only problem is the demands to the musical forces his operas make. You need very good singers and pretty large pits to fit his orchestras into.
Well Tom you finally earned yourself a sub. Keep it up!
If this is only the Prelude, what was the Drama like?
ruclips.net/video/1tdzUBIXDXg/видео.html
Listen to the whole opera „die gezeichneten“, and you‘ll find out. Prepare yourself for an obscene and disturbing plot tho.
Wonderfully neurotic music.
WTF ! 'You can't see the trees for the forest'.
I can not find the score for buying! Please, help me :)
You can get it for free at imslp.org/wiki/Die_Gezeichneten_(Schreker,_Franz)
"Gezeichneten" Prelüde?
菅野茂 yes
8:46
I don't see how the 'schmalziness' of the music makes it 'terrible'. Not to your taste, maybe, but not bad.
Wonderful orchestration but bad music. Has a schmaltzy 1940's movie sound to it.
GET TOLD BY MAHLER HIMSELF
Despite being composed 30 years or so before those 1940s movies?
On rêve ! Die Gezeichneten 1918 - Mahler (1860-1911) ! A moins que cet(te) internaute ne fasse référence au pseudo mal inspiré Mahler7. Et puis, à chacun son mauvais goût !
You probably listened once.
Awful music and actually terrible orchestration. The influence of Gurre Lieder did not pay off.
nice try
Mahler7 or you had a bad headphone.
@@Tizohip -- He should check his HEAD, too.
@@steveegallo3384 stop policing people and let them have their opinions.
@@AndreyRubtsovRU -- "Policing"? What would YOU know about "Policing"? What to YOU know of directing a pincer movement in good weather at level terrain against an enemy that has already committed his reserves? When have YOU ever performed helicopter extractions from forward military positions, fortified bunkers and palisades of guard booths, vehicle barricades and sidewalk barriers supporting tactical operations astride HESCO bastions in garrison towns, military cantonments and citadel fortifications, enduring ambuscades and cannonades from Peshawar to Fallujah? With best Regards from STEVIE GALLO, Staff Judge-Advocate, First Marine Expeditionary Force, Marine Corps Base Camp Pendleton, Third Marine Air Wing, Camp Pendleton California 92055-5001