Wesendonck-Lieder, Fünf Lieder für eine Frauenstimme auf Gedichte von Mathilde Wesendonck von Richard Wagner, alto and chamber orchestra, conductor's and study score

Wesendonck-Lieder, Fünf Lieder für eine Frauenstimme auf Gedichte von Mathilde Wesendonck von Richard Wagner, Dirigier- und Studienpartitur

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

CONTENIDO:

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...