Richard Wagnersche Klavierlieder for two vocalists (mezzo soprano and baritone), mixed chorus and orchestra
Instrument: 2 soloists, mixed choir and orchestra
Publisher: Schott Music
Song List:
1. I Gruß seiner Treuen an Friedrich August den Geliebten bei seiner Rückkunft aus England den 9. August 1844 Im treuen Sachsenland... (Text: Richard Wagner) - II Der Knabe und der Tannenbaum Der Tannenbaum steht schweigend... (Text: Georg Scheurlin)2. Sieben Kompositionen zu Goethes Faust:I Lied der Soldaten Burgen mit hohen Mauern... - II Gretchen am Spinnrade Meine Ruh ist hin... - III Branders Lied Es war eine Ratt... - IV Lied des Mephistopheles Es war einmal ein König... - V Zweites Lied des Mephistopheles Was machst du mir vor Liebchens Tür... - VI Melodram Ach neige... - VII Bauer unter der Linde Der Schäfer putzt sich zum Tanz...3. Acht französische Lieder:I Berceuse Dors entre mes bras... (anonym) - II Extase J'étais seule près des flots... (Victor Hugo; aus Les Orientales) - III Attente Monte écureuil... (Victor Hugo) - IV La tombe dit à la rose (Victor Hugo; aus Les Voix intérieures) - V Mignonne (Pierre de Ronsard) - VI Tout n'est qu'images fugitives [Soupir] (Jean Reboul) - VII Les deux grenadiers Longtemps captifs chez le Russe lointain... (Heinrich Heine; übers. von François-Adolphe Loeve-Veimar) - VIII Adieux de Marie Stuart Adieu, charmant pays de France... (Pierre Jean de Béranger)
When Hans Werner Henze received a commission to instrument early lieder by Richard Wagner at the end of the 1990s, he realised that he could not simply recreate the piano part in a scoring for classical-romantic orchestra. ’It was not only my wish but also a necessity to progress much further than the path I had taken in my Wesendonck arrangements if this operation was not to prove to be an entirely superfluous exercise. Numerous changes have therefore presented themselves during this process, not arbitrarily, but out of a certain artistic curiosity: for example changes of metre, tonal and tessitura transformations and the realisation and completion of the two fragments ’Extase’ and ’La tombe dit à la rose’. I have added subsidiary voices and all manner of things, frequently concealed in the piano part, which corresponded to my intentions of focusing a spotlight on the often only allusively detected fineness of this music, thereby permitting it to unfold to its full extent of richness and radiance.’ (Hans Werner Henze)