Herbert Kegel: Gurre-Lieder (2x CD) 94724

17,85 €
(inkl. Mwst./ incl. tax)

Published by: BrilliantBrilliant


InterpretInnen / artists
Rundfunkchor Berlin, MDR Rundfunkchor Leipzig, Eva-Maria Bundschuh, Rosemarie Lang, Manfred Jung, Gert Westphal, Dresdner Philharmonie, Herbert Kegel, Wolf Appel, MDR Leipziger Radio-Sinfonieorchester, Ulrik Cold, Prague Male Chorus

Beschreibung / description
Die »Gurre-Lieder« von Arnold Schönberg (1874-1951) sind nicht, wie man ob des Titels meinen könnte, ein Liederzyklus, sondern eine rund zweistündige Kantate für Solo- Sänger, Chor und Orchester. Die Texte stammen (in der Übersetzung von Robert Franz Arnold) aus der Novelle »En cactus springer ud« des dänischen Schriftstellers Jens Peter Jacobsen. Schönbergs Werk entstand zwischen 1900 und 1911, war allerdings in wesentlichen Teilen bereits 1901 vollendet. Es ist somit der spätromantischen Phase des Wiener Komponisten zuzuordnen. Die Uraufführung am 23. Februar 1913 in Wien sollte der größte Erfolg Schönbergs zu Lebzeiten werden. Die vorliegende Doppel-CD beinhaltet die Aufnahme, die der große deutsche Dirigent Herbert Kegel Mitte der 1980er Jahre mit einer immensen Besetzung realisierte. Die Rundfunkchöre aus Berlin und Leipzig, unterstützt vom Prager Männerchor sowie die Dresdner Philharmonie, verstärkt durch Mitglieder des Rundfunk-Sinfonieorchesters Leipzig und eine Reihe exquisiter deutscher Solisten wie Eva-Maria Bundschuh (Sopran), Rosemarie Lang (Alt) und Manfred Jung (Tenor) waren an diesem Mammutprojekt beteiligt. Der Aufwand, den man damals betrieb, hat sich gelohnt: Die Aufnahme zählt bis zum heutigen Tage zu den Meilensteinen der deutschen Schallplatten-Geschichte. (Gramola Vienna)

Pressestimmen / press reviews
Anyone wanting a recording of Gurrelieder on their shelves but reluctant to pay full price for Chailly’s or Sinopoli’s readings will find that this has a lot in its favour. A satisfying sense, for a start, that the vast forces Schoenberg calls for are all there: the chorus is big, the orchestra huge and the expanded brass section (there should be 25 players) makes a magnificently rich sound. And Kegel and the recording engineers between them ensure that very little detail is obscured. In the role of Tove, all-important in Act 1, Bundschuh is splendid: she has the Wagnerian amplitude the music needs (she is especially good in the huge phrases of her fourth aria) but unlike many such voices hers retains its beauty in quiet singing. Lang seems at first a little light-voiced for the Wood Dove’s lament, but she opens out finely, and although not as movingly expressive as Chailly’s Brigitte Fassbaender (no one is, in my experience) her eloquence at the end is affecting. Cold is more concerned to act than to sing the Peasant, but Appel is an excellent character-tenor Klaus-Narr. Westphal lacks the vocal grandeur that the Speaker’s role ideally needs.
Manfred Jung as Waldemar has all the notes the part demands, even making a fair shot at those very low ones that embarrass most tenors. His voice, however, is very hard and he sings both loudly and with a guttural vehemence that robs the character of anything like ardour. Kegel’s tempos are decidedly slow: he takes 20 (!) minutes longer over the piece than Chailly, eight minutes longer than Sinopoli. As a consequence the music lumbers at times and, despite Bundschuh’s efforts, the heady passions of Part 1 only fitfully ignite. The otherwise admirable clarity of the recording, made in 1986, shows up a few imprecisions of ensemble and one or two extraneous noises. The accompanying booklet, by the way, provides no translation of the sung text. Chailly remains my first recommendation, for his combination of passion and meticulous precision and, not least, for his uniformly fine soloists. Sinopoli’s sheer voluptuousness of sound makes his account a very close second. (Michael Oliver, Gramophone 12/1997)


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