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Franz Schubert: The String Quartets (Melos Quartett)

indicating of Schubert's string quartets, the number of Schubert researchers Otto Erich German with "about twenty" are three to be lost: two in D major, starting, but in varying tones of 1811 and 1812 (D 19 and 19A ) and another in E-flat major of 1813 (D 40, but perhaps the same as the E-flat Quartet D 87 of the same year).

Four of the remaining seventeen quartets are incomplete or only in individual records obtained, of which figure two (D 68 and D 703) as No. 5 and No. 12 in the complete works of Schubert, series V, in 1890 at Breitkopf & Härtel appeared in Leipzig. A third fragment (Grave and Allegro in C minor, D 103, April 1814), the manuscript of the Vienna Friends of Music Society has been published in 1939 by the Universal Edition in Vienna (Editor Alfred Orel). The fourth (incomplete sketch of a first rate, probably created in around 1812, D 998) is stored in the Schubert autograph collection Taussig in Malmö.

These recordings are based largely on the old Gesamtausgabe (AGA), Series V of 1890, the Eusebius Mandyczewski and Joseph Hellmesberger worried, and after the first editions.

CD 1 Track 03: String Quartet No. 1 D 18 - III Andante


String Quartet D 18 (No. 1)
in different keys
(1810/1811)

Schubert wrote this and eight other quartets, including the two got close previous D 19 and 19A, during his boarding school in Vienna City Seminary, (autumn 1808 to Autumn 1813), where he was thoroughly trained as a choirboy (soprano) of the Imperial Court Chapel - not only in musical disciplines such as voice, piano, violin, counterpoint, figured bass, but also in the usual high school subjects. As early as eight years old he had received from his father's first lessons in violin and orchestra students in the seminary, he soon played the first violin. Occasionally He also represented the founder and conductor of the orchestra Wenzel Ruzicka conducting. The exercise and Musizierstunden the Institute offered ample opportunity to familiarize themselves with the contemporary repertoire and compositional techniques of orchestral and chamber music. At home, during the short fall break, took over in the Schubert family string quartet the viola: His father played the cello (not very good, as is reported), the brothers Ignaz and Ferdinand violin.

Ferdinand Hodler: The Lauterbrunner Breithorn I, 1911, Kunstmuseum St. Gallen

String Quartet in E flat major, D 87
post op 125 No 1 (No. 10)
(1813)

"It was only published after Schubert's death, and the manuscript, a fragment, only came during the First World War to light. One of the most extraordinary failure of a composition dating Schubert is the attribution of this early quartet, dating to 1824 ... the error persisted through the nineteenth centuries. It is a delicious work with one of the best finals, which Schubert composed until 1819. But how could experts like Schubert Kreissl up to Grove and continued into the twentieth century can be fooled in such a way that classified work of the youth in the works of man - the quartet in E flat major in a to make connection with the great in A minor, Op 29? Schubert himself published this in E flat major quartet not, and the classification of the Scherzo as the second movement is an arbitrary act of the publisher and the composer was completely orthodox in the internal order of the four-movement form schema. At the time, when the string was their turn to appear in the total output, doubts about the date 1824 were created: one was the quartet the preliminary dating of c. 1817, that was certainly plausible. When the manuscript finally came to light, they found the quartet as the November 1813 dated. "Brown, Schubert, p. 23 f.

String Quartet in G minor, D 173 (No. 9) (1815)

More than in other quartets of the time Schubert has stressed in this (his first minor quartet) the "classical" aspect (tight outline form, contrapuntal detailed work, thematic linking of sentences). Even the melodic tone sometimes recalls "Classic" in the so of Beethoven's Quartet Op 18, No. 2 (Final) in the first set and Mozart's G minor Symphony (a favorite Schubert) Minuet.

That Schubert put in the instrumental record since his early quartets more emphasis on volume and scale propagation of the sound than on drawing transparent lines, is often observed, and just as often criticized been (as the intimate genre of the string quartet inappropriate "orchestral" style). Two examples of this typical Sehubertschen quartet set (which is inextricably linked to the prevailing development of the harmonic dimension) also provides that in G minor Quartet. In the implementation of the first set, the cantabile second theme in the first violin continues, while the three other voices deliver held chords or chords tremolando services targeted to spatial harmonic priming effect. And in the Schubert Andantino can first violin and cello - perform a kind of dialogue in motivic an exchange of words - with predominant triplet of the inner parts.

Ferdinand Hodler: Eiger, Mönch and Jungfrau, 1908, Musée Jenisch Vevey

String Quartet in E major, D 353, Op
post 125 No. 2 (No. 11)
(1816)

Czerny - Haslinger find one of the first publishers who sought to Schubert's estate - was the quartet, along with other works, acquired in December 1828th That this work by Schubert's biographer of the 19th Century has also been dated to 1824, also refers to the coupling of the two quartets in E flat major and E major, op 125 Czerny as spending. Stylistically, the E-flat major Quartet is the G minor of 1815, much closer.

Quartettsatz C minor, D 703
(String Quartet No. 12)
(1820)

The manuscript of the C-minor Quartet (formerly owned by Brahms, now in the Vienna Society of Friends of Music) also contains the fragment (41 bars) , an Andante, 3 / 4, A flat major, which is printed in the audit report of the total output.

CD 6 Track 01: String Quartet movement in C D 703

"No bridge leading to it [the quartet movement] of the earlier quartets, not even from that in E-flat major of 1816, the only time stands between him and the house-quartets. Neither of the Beethoven Quartet in C minor, Op 18 No 4 (or any his other quartets). For Schubert's C minor is not pathetic, but incredibly, the eeriness is enhanced by the almost continuous tremolo in the company or the topic itself, the contrast or the complement of this C minor, not C major or E flat major, like a classical masters, but As, the key of the cantabile (dolce) of the second subject. After the implementation does not veiled as it is Reprise;. It appears the beginning of the sentence toward the end as to his recovery, making his thinning destroyed "- Einstein, Schubert, p. 188

" For the first time in Schubert the cello is so free, so independent, so brilliantly in the art as the other three string partner. been the quartet movement leads to the conclusion that the composition nicbt performed determined by the Schubert family quartet was, that the composer did not have to feel no longer bound to the limited capabilities of his father's cello playing. "
Brown, Schubert S., 100

Ferdinand Hodler: The Geneva Lake from Chexbres, 1905, Basel, Kunstmuseum

String Quartet in A minor, D 804,
Op 29 No. 1 (No. 13)
(1824)

"In songs I've done little that is new, however, I tried in several instrumental stuff for I composed on two quartets for violins, viola and violoncello and one octet, and still want to write a Quartetto, in general I want to pave the way for this kind of great symphony. "
Schubert Leopold Kupelwieser (letter of March 31, 1824)

are with the "two quartets," the A-minor Quartet and in March 1824 also launched in D minor meant. Both these and the planned third op should make 29, however, printed, only the A minor quartet Op 29 No 1, it was the only one that appeared in Schubert's lifetime.

"The quartet was performed by Schubert, in his opinion a little slow, but very pure and delicate. It is on the whole very soft, but the kind that is like a melody of songs, the very feeling and very pronounced. There was much applause, especially the minuet, which is extremely soft and natural. A Chinese man next to me, it was affected and without style. I would like to see Schubert once affected. Hear what this is for our one, only for such a note eaters. Then came the famous Septet of Beethoven. "
Moritz von Schwind to Franz von Schober (letter of 14 March 1824)

" New Quartet by Schubert. This composition must be heard more often in order to account properly for the same judge. "
Other Musical Newspaper. Vienna, 27 März 1824th

"The 14th March in the afternoon, in the premises of the music club: 12tes subscription quartet of the Lord Schuppanzigh: 1 Quartet by Schubert;. Primogeniture as not to despise "
Allgemeine Musikalische Zeitung. Leipzig, 29 April 1824th
(The error of the Leipzig reviewers is understandable, of Schubert's string quartets, this was the first to be played in public.)

CD 4 Track 06: String Quartet in A D 804 Rosamunde - II Andante


The theme The Andante is a self-quotation, Schubert took them from the Entr'acte No. 3 Wilhelmina of Chézys Drama "Rosamunde, Princess of Cyprus" (D 797) and used again later (935 D) as a variation theme in the piano-Impromptu Op post 142, No. 3. The main theme of the minuet is from a Schubert song of 1819 ("Beautiful world, where you are" on a fragment from Schiller's poem The Gods of Greece ", D 677).

Ferdinand Hodler: Landscapes of Lake Geneva, 1906, Neue Pinakothek Munich

String Quartet in D minor, D 810 (No. 14)
"Death and the Maiden"
(1824)

Josef Barth , tenor singer of the court orchestra, had since 1819 repeatedly to the Performance of Schubert's vocal quartets involved, his men were devoted to quartets op 11th The first performance of the D minor Quartet at Barth on 1 February 1826 were two samples on 29 and 30 January preceded, the performers Karl Hacker and Joseph Hauer (violin), were Joseph Hacker (viola) and Hofoperncellist Bauer. During rehearsals Schubert corrected the (recently advertised) votes, passed a portion of the first set and changed other posts. Another private performance of the quartet, presumably also in February 1826, held under Franz Lachner in the Vienna suburb highway. Lachner, who since 1822 was one of Schubert's friends, reported it:

"... The quartet, which charmed the world and is currently ranked among the greatest creations of its kind, found no means unanimous approval. The first violinist Sch. [Probably Ignaz Schuppanzigh ], which was not grown because of his age to such a task, said after playing through to the composer: "Brüderl, which is not something to be, leave it, you will stay with your songs," to which Schubert, the music leaves quietly packed up and locked forever in his desk. "Franz Lachner," Memories of Schubert and Beethoven. " in: Die Presse. Vienna. 1. November 1881

his nickname, "Death and the Maiden" quartet owes the Andante, a series of variations on the same Schubert song of 1817 on a text by Matthias Claudius (Op. 7, No. 3, D 531).

Ferdinand Hodler: The scenic form of rhythm on Lake Geneva, 1909

String Quartet in G major, D. 887, Op
post 161 (No. 15)
(1826)

Also this quartet was probably first performed in private, namely: Lachner on 7 March 1827 (from Lachner, Schubert, the violinist Josef Slawjk and an unknown fourth). Gives an indication Schubert's letter to Lachner of 5 March 1827: "Sey so well with the bearer of my Quartet in G major, together with score to pass out the written votes by Slawik promised Wednesday night to come to you"

The concert on the 26th. March 1828 in the local music club "The Red Hedgehog" (Tuchlauben No. 558) - the first and only thing that Schubert hosted on their own and to their own advantage - was also financially successful, the net income was 800 florins. In the program, the only "pieces of music contained on the Composition of the Concert encoder," figured in the first sentence of the G major Quartet, first as No. In place of the diseased Schuppanzigh violinist played Josef Böhm the first violin, and his Quartet partners were Charles Wood (violin), Franz Weiss (viola) and Josef Linke (cellist).

"On 26 was Schubert's concert. Tremendous applause, good income. "
From the diary Cover of field. März 1828th

CD 6 Track 04: String Quartet DG 887 - III Scherzo



Source: Monika Lichtenfeld, the booklet, cut very much

 
  TRACKLIST 
 
 FRANZ SCHUBERT 
 (1797 -1828) 
 
 The String Quartet The String Quartets 
 
 LES QUATUOR À CORDES 
 
 MELOS  QUARTETT   
 Wilhelm Melcher - Gerhard Voss 
 Hermann Voss    - Peter Buck 
  
  
   CD 1                                              70'07   
  
 String Quartet (in various keys), D 18 (No. 1)    17'30 
 (in verschiedenen Tonarten - en diverses tonalités) 
  
 [01] 1. Andante - Presto vivace                    6'27 
 [02] 2. Menuetto                                   3'52 
   [03] 3. Andante                                    4'09   
 [04] 4. Presto                                     3'02 
  
 String Quartet in C major, D 32 (No. 2)           17'15 
 C-dur - en ut majeur 
  
 [05] 1. Presto 4'39 
 [06] 2. Andante 4'08 
 [07] 3. Menuetto. Allegro 2'54 
 [08] 4. Allegro 5'34 
 
 String Quartet in B flat major, D 36 (No. 3) 26'15 
 B-dur - en majeur is Bemol 
 
 [09] 1. Allegro 9'36 
 [10] 2. Andante 4'47 
 [11] 3. Menuetto. Allegro ma non troppo 5'01 
 [12] 4. Allegretto 6'51 
 
 Quartet Movement in C minor, D 103 
 c-moll - en ut mineur 
 
 [13] Grave - Allegro 8'20 
 
 
  CD 2 58'36  
 
 String Quartet in C Major, D 46 (No. 4) 21'36 
 C-dur - in C major 
 
 [01] 1. Adagio - Allegro con moto 8'22 
 [02] 2. Andante con moto 4'22 
 [03] 3. Menuetto. Allegro 4'41 
 [04] 4. Allegro 4'11 
 
 String Quartet in B flat major, D 68 (No. 5) 13'52 
 B-dur - in B flat major 
 
 [05] 1. Allegro 7'07 
 [06] 2. Allegro 6'45 
 
 String Quartet in D Major, D 74 (No. 6) 22'39 
 D-dur - in D major 
 
 [07] 1. Allegro ma non troppo 7'35 
 [08] 2. Andante 5'39 
 [09] 3. Menuetto. Allegro 4'30 
 [10] 4. Allegro 4'55 
 
 
  CD 3 68'55  
 
 String Quartet in D Major, D 94 (No. 7) 18'30 
 D-dur - in D major 
 
 [01] 1. Allegro 6'50 
 [02] 2. Andante con moto 5'35 
 [03] 3. Menuetto. Allegro 2'52 
 [04] 4. Presto 3'13 
 
 String Quartet in B flat major, D 112 (No. 8) 26'34 
 B-dur - en majeur is Bemol 
 
 [05] 1. Allegro ma non troppo 8'52 
 [06] 2. Andante sostenuto 8'09 
 [07] 3. Menuetto. Allegro 6'05 
 [08] 4. Presto 3'28 
 
 String Quartet in G minor, D 173 (No. 9) 23'18 
 g-moll - en sol mineur 
 
 [09] 1. Allegro con brio 6'03 
 [10] 2. Andantino 6'59 
 [11] 3. Menuetto. Allegro vivace 4'09 
 [12] 4. Allegro 6'07 
 
 
  CD 4 62'35  
 
 String Quartet in E flat major, 24'48 
 on. post. 125 no.1, D 1987 (No. 10) 
 Es-dur - and E flat major 
 
 [01] 1. Allegro moderato 9'16 
 [02] 2. Adagio 6'18 
 [03] 3. Scherzo. Prestissimo 
 1'52 [04] 4. Allegro 7'22 
 
 String Quartet in A minor, Op. 29 No. 1, 804 37'19 
 D (No. 13) "Rosamunde" 
 a-moll - en la mineur 
 
 [05] 1. Allegro ma non troppo 14'12 
  [06] 2. Andante 7'31  
 [07] 3. Menuetto. Allegretto 7'58 
 [08] 4. Allegro moderato 7'38 
 
 
  CD 5 62'46  
 
 String Quartet in E major, op. post. 125 no. 2 22'43 
 D 353 (No. 11) 
 E-dur - en mi majeur 
 
 [01] 1. Allegro con fuoco 7'14 
 [02] 2. Andante 6'45 
 [03] 3. Menuetto. Allegro vivace 3'15 
 [04] 4. Rondo. Allegro vivace 5'29 
 
 String Quartet in D minor, D 810 (No. 14) 
 39'44 "Death and the Maiden" 
 d-moll Der Tod und das Mädchen "
 in D minor" and the Maiden Death "
 
 [05] 1. Allegro 12'22 
 [06] 2. Andante con moto 13'55 
 [07] 3. Scherzo. Allegro molto 3'53 
 [08] 4. Presto 9'34 
 
 
  CD 6 55'57  
 
 Quartet Movement in C minor, D 703 (No. 12) 
 c-moll - En ut mineur 
 
  [01] Allegro assai 9'57  
 
 String Quartet in G major, op. post. 161, 45'45 
 D 887 (No. 15) 
 G-dur - en sol majeur 
 
 [02] 1. Allegro molto moderato 15'07 
 [03] 2. Andante 12'21 
  a slight motion [04] 3. Scherzo. Allegro vivace - Trio. Allegretto 6'43  
 [05] 4. Allegro assai 11'34 
 

Ferdinand Hodler: Leissingen von Thun, Private Collection Christie's Images

 
 chronologische Die Reihenfolge in this compact disc edition 
 was not always met exactly for the sake of playing time. 
 
 The dates of his string quartets are given by: 
  Otto Erich German, Schubert. Thematic list of his works in chronological order 
. Kassel, Basel. Bärenreiter 1978th  
 
 The number in brackets corresponds to the numbering of the quartets 
 old complete edition series V, 1890, ed. E. Mandyczewski and 
 J. Hellmesberger. 
 
 Recordings: Stuttgart, songs Hall, Mozart Hall, 11/1971 (D 18,32,36), 
 5 / 1972 (D 46), 10/1972 (D 94), 4 / 1973 (D 68,87,112), 4 / 1974 (D 353), 
 10/1974 (D 74), 12/1974 (D 703, 804, 810, 887), 2 / 1975 (D 103), 
 3 / 1975 (D 173) 
 
 Production: Dr Rudolf Werner 
 Recording Producers: Dr. Rudolf Werner, Heinz Jansen (D 18,32,36) 
 mixer (Balance Engineer): Heinz Wild Hagen, Hans-Peter Schweigmann 
 (D 68,87,112), Wolfgang Mitlehner (173.353 D), Henno Quasthoff (D 18,32,36 ) 
 
 (P) 1973 (D 18,32,36) / 1975 
 ADD 
 

Speaker: Mathias Wieman

Abendlied

Matthias Claudius

The moon has risen,
the golden stars shine
the sky bright and clear;
the forest is dark and silent,
is rising from the meadows and the white mist
wonderful.

is the world so silent
and the veil of twilight
so quietly and so gently
quiet as a chamber, where you shall
while forgetting the day
and misery.

you see the moon up there?
He is only half visible
and yet it is round and beautiful!
are probably some things we laugh at
confidently
because our eyes can not see them.

We proud human beings are vain

poor sinner and do not know much,
we spin webs
air and sought out many
come and further from the target.

God, let thy salvation look to build on
is transitory,
not rejoice vanity us
let's be silly
and before you here and happy to be pious on earth
like children.

finally want special
grief out of this world take us
by a gentle death,
and if you have taken us, let us
in Heaven,
you, our Lord and our God!

Therefore take sets as their brothers,
down in God's name!
cold is the evening breeze.
spare us, O God, with penalties
and let us sleep well
and our sick neighbor too!

(This poem was set to music by Johann Friedrich Reichard, Othmar Schoeck and Franz Schubert)

That Matthias Claudius the most successful German poem of all time has written, and this in the perspective of the dawn of the third Millennium is amazing. The style of his poetry, and his personal character of the derivation are anachronistic, and they were already outmoded in his lifetime. On 15 August 1740 in Holstein Reinfeld, born on 21 Claudius died in January 1815 in Hamburg was not a scout, his hope for the overcoming of superstition by continuous spread of the "reason" was. Instead, he could - at least for themselves - combine many aspects: personal faith and public advocacy for these, enthusiasm, pragmatism (which he used to call as the "mind of the good house father"), openness and learning (though without an academic degree) .

'The moon is up, "Do not like it here and there appears to be misunderstood as a lullaby. The folksy tone - and another Claudius proposes Never - transported philosophical, talking about melancholy, folly, vanity, and yet is free from any physical or spiritual enemy allusion. The author of this world, affirms the existence and thanked his God for it, and asks, "to" a gentle death. integrated Distinctive, but in the intellectual elite of his time, a powerful spirit and incorruptible critic, he edited for four years, from 1771 to 1775, the "wall Becker Bothen," but the name of the magazine has become synonymous with his own His little literary tricks he did afterwards in eight parts appear to 1812th
took
With advancing age, his religiosity still, "the popularity of his" Evening song was the 19th during the Century progressive secularization and the party struggles of the 20th Century not . Harm Since the self-inflicted catastrophe of nationalism and racism, the poem is more popular than ever. The voice of conscience and the starry sky above the main map are everlasting, for contemplation: Both Claudius can be here to speak.

CD Info & Scans (tracklist, cover, booklet, Music Samples, Bonus Pictures), 169 MB, 2 parts
Schubert - String Quartets INFO.rar Part 1
Schubert - String Quartets INFO.rar Part 2
Read the file "Download links.txt" for links to the Ape + Cue-Log Files

Good Slow Dance Songs

Franz Schubert: Lieder on poems by Johann Wolfgang Goethe

As Dietrich Fischer-Dieskau and recorded Gerald Moore 1966-1972 all Lieder Franz Schubert for male voice to 29 LPs, this was not only the high point of the existing since 1949 co-operation between the Deutsche Grammophon and singer, but also a bold and epoch-making enterprise:
Since then
is Dietrich Fischer-Dieskau as the German lieder singer par excellence, since Schubert's songs are new and different one. Kenneth S. Whitton writes in his biography of the artist, "Fischer-Dieskau has perhaps done for Schubert similar to Rubinstein Frédéric Chopin , both with the work of a composer of sweetness and free of sentimentality, "

Dietrich Fischer-Dieskau grew up in Berlin as the son of a school teacher. The humanist parents left important marks on his artistic path. Fischer-Dieskau was never a pure vocal virtuoso, but he understood the work of a singer much wider: he worked on numerous books and intellectually with the music, so in his readable book on Schubert, shall also emerged as a conductor and cultivates his talent for drawing and painting. His voice was the perfect base for his art: "The sound spectrum was rich and beautifully modulated. In height it was beautiful iridescent-mixed head tones "to admire, writes Jürgen Kesting . In particular, the highly differentiated and fine-usable dynamic range that the voice from the softest piano could swell to Forte, the "free and easy, effortless and natural voice production, so Kesting, predestined Fischer-Dieskau song artist, but also the repertoire of classical music , Romanticism and the modern.

Fischer-Dieskau's career began at almost the same as an opera and concert singer. In December 1947 he sang for the first time for broadcasting Schubert's Winterreise, and almost a year later, on 18 November 1948, he made his debut at the age of 23 years at the Metropolitan Opera in Berlin . Just two years later He came on in the opera houses of Munich and Vienna, and took in the fifties, both as an opera and lieder singers of international concert stages.

fascinated Fischer-Dieskau Schubert's songs since his youth. Typical of him, that at the beginning of his discussion was the Schubert's Winterreise. He was fascinated by the depth and inner conflict of the Schubert songs. In them he discovered the whole cosmos of human emotion and human thought, which is why he also called for by the most versatility: Italian bel canto of Rossini for the affected agencies, a musical comedy with songs for voice and a declamatory character volksliedartigem vote for the Ballad. Fischer-Dieskau was highly involved with the rhythm of the songs, which he worked out clearly.

Dietrich Fischer-Dieskau

This emphasis of rhythm was a key clip, Fischer-Dieskau and his decades-long accompanist Gerald Moore combined. "It corresponds to his rank, he is probably the only song in the world pianist who has played all the Schubert songs. It turns out "above all his rhythmic impetus as a trait to give a Schubert interpretation can not, said Fischer-Dieskau. Moore, who was often as "King of the companion" was known, 26 years older as Fischer-Dieskau, had extensive experience gained through his work, for example, with Pablo Casals, Fyodor Chaliapin , Elisabeth Schumann or Hans Hotter and brought them in to the brilliant song interpretation with Fischer-Dieskau. For him, the recordings of the Schubert songs with Fischer-Dieskau a sum of his artistic work. »Fischer-Dieskau's interpretation is more than the intellect from feeling drawn. He can speak from Schubert through extreme accuracy what is a delight to the ear. Tones and intervals are precisely made, the Gesangsfluß never breaks down, the articulation is always carefully and the beautiful voice is excellent, "was in 1952 in the Times.

humanist and Fischer-Dieskau was marked, he not only Schubert's compositions, but as the set texts seriously, dealt with the literary, textual, historical and social dimensions. He cherished a special admiration for Goethe's poems that he "saw as the beginning and end of the art of song."

Besides Gerald Moore worked Dietrich Fischer-Dieskau with Sviatoslav Richter, Daniel Barenboim, Wolfgang Sawallisch and Aribert Reimann together, to name just a few of the attendants at the piano. A delightful and artistically very human Schatt fertile friend connected him with the three years younger Austrian pianist Jorg Demus . The 28 years of interaction between the two artists come from such an exemplary record productions such as Brahms 'Four Serious Songs of 1958, a selection of Liszt's songs three years later, Strauss' Krämerspiegel 1964 and the following year Schumann's Dichterliebe and the winter trip, which some critics think Fischer-Dieskau's best recording of Schubert's melancholic cycle. "He added," Joerg Demus wrote about his friend, "probably the first time shown in real accomplishment, that it is possible, content in its full depth and meaning mediate and thereby to serve the poet, while at the same time the human voice - as said before Schumann -. the finest musical instrument remains and can be realized as such all the inspiration and intuitions of the musicians "

The German gramophone records made history for the Schubert recordings . In their case, what was written in 1971 New York : "If you did not hear Mr. Fischer-Dieskau, you have something crucial failure in your life,"

Source: Franz Peter Messmer, the booklet



Track 1: wanderer Night Song ID 224

Wandrers night

The song you are from heaven,
all still suffering and pain,
the one who is doubly wretched
you fill twice with refreshment
alas, I am weary!
What all this pain and pleasure?
Sweet peace,
come, oh come into my heart!

The poem "Night Song wanderer" Johann Wolfgang Goethe added a letter to Charlotte von Stein at, with the date "on the slope of Ettersberg , d. 12th Feb. 76 ". (1776). For in 1789 in Goschen published edition of his works, he replaced the the time chosen phrases "all joy" with "all suffering" (2nd line) or "spoiled" by "the pain" (6.Zeile).

"wanderer's Night Song" shares with its counterpart in third place the "most famous German poems" what to read at the end of this post more.

Track 2: wanderer's Night Song II D 768

An Equal

is peace over all peaks
'
felt in every treetop
you
hardly a breath;
the birds in the trees .
waiting balde only
you rest well.

Goethe house. Photo R. Bechstein. Text of the poem. German text. Verso: No. 20 III. Thuringian art publisher Rudolf Bechstein. Sitzendorf i. Schwarzatal. The stamp area: Real photography. Not used.

The Kickelhahn (Gickelhahn), one of the highest mountains in the Thuringian Forest , southwest of Ilmenau is closely related to Goethe's famous, at its height in the night of 6 7th September 1783 written poem, "Over all the summits is" peace. It was written on the wall of the cottage there, standing boards.

On 27 August 1831 Goethe visited the hut for the last time. accompanied in the records of the mountain inspector Johann Christian Mahr , of Goethe, it says:

"said On entering the upper room he:" I have in earlier times in this room with my servants in the summer of eight days lived and at that time a little verse written on the wall here. Well I want to see this verse again, and when the day is noted below, on which it happened, so you can record me such kindness. "I immediately took him to the southern window of the room," [in pencil next to which the poem without heading, but signed "D. 7. September 1783rd Goethe. " written. stood]

Goethe left to those few verses, and tears flowed down his cheeks. Slowly he drew his snow-white handkerchief from his dark brown cloth coat, wiped his tears and spoke in a gentle, melancholy tone: "Yes, just wait soon you will rest too," was silent for half a minute, looked again through the window into the dark pine forest, and turned out to me, saying, "Now we want to go again."

Goethe in Ilmenau in the Kickelhahn W. FREDERICK Goethe on the Kikelhahn in Ilmenau. A 1382nd Text of the poem. Verso: FA Ackermann's Art Publishing House, Munich. 108 Series: Goethe's life (12 cards). (Keep this.) Non-ran. - The entire sequence of Woldemar Friedrich refers to Goethe's life, the Goethe-time portal at this URL .

Since this representation Mahr is associated with Goethe's poem the idea of the venerable old man on the Kickelhahn, full of sadness and premonitions of death in the sight of the evening's nature is lost. To worship developed the "Goethe-house", as Ilmenau was raised in 1838 to the seaside resort, created as a way for the swimmers, topographic maps and descriptions were made and lithographed by Bernhard Arnswaldt and appeared colored leaves on memory and its surroundings Ilmenau (The first of which was the Kickelhahn-house with Goethe verses). destroyed by fire in 1870, the cottage has been faithfully recreated from drawings and in 1874 inaugurated. A facsimile of the inscription was mounted under glass.

There is also a photograph from 1869, which documented the barely legible text in the state he had 90 years after its creation. The photo also shows saw marks: A tourist had tried in vain to cut the text from the wall.

This description and two pictures of the house are from the Goethe- "Goethe time portal" : Jutta Assel and George Hunter: places and times in Goethe's life .

Track 11: with silence on the moon D 296

To the moon

refill Busch and Dale
misty glow,
at last set once
my soul intact, broadest

on my fields
soothes your eyes, like the friend

eyes gently over my fate.

every echo of my heart feels
happy and troubled times,
walk between joy and pain
in solitude.

Flow, flow, dear river!
Never shall I be happy!
Thus merriment and kiss
and loyalty Sun

I possessed once
what is so delicious!
that, to his agony
never forget it!

Murmur, river, along the valley, rush
without ceasing,
whisper to my song
melodies

if you Furiously in the winter night
,
or to the splendor of spring
bathe young buds.

Blessed is he who shuts himself off from the world without hatred
,
holding a friend to his heart and enjoys the
,

what, people do not know
not or considered
wanders through the maze of breast
in the night .

Caspar David Friedrich (1774-1840): Morning fog in the mountains, 1808, Rudolstadt, Castle Museum Heidecksburg.

is reprinted in anthologies, not the early version of the poem from the period 1776/78, which was found between letters to Charlotte von Stein, but the version of 1789, which was probably only after the return from the trip to Italy, and is number 5 of the "most famous German poems."

Seminar on "To the Moon" (with two versions of a text, content playback, analysis and interpretation)

 
  TRACKLIST 
 
 
 FRANZ SCHUBERT 
 (1797-1828) 
 
 
 Songs on Poems by / to poems by / d'après poèmes de 
 of Johann Wolfgang von Goethe 
  
  01 Wandrers Night Song ID 224 [1'47]  
 "You who are of heaven" 
 
  02 Wanderer's Night Song II D 768 [2'33]  
 "Above all is peace summits" 
 
 03 Ganymed D 544 [4'42] 
 
 04th Hunter's Evening Song D 368 [2'32] 
 
 05th An Schwager Kronos D 369 [3'06] 
 
 06th Calm Sea D 216 [2'25] 
 
 07th Prometheus D 674 [5'34] 
 
 songs of the Harper 
 from Goethe's Wilhelm Meister: 
 
 08th Harp player ID 478 [4'28] 
 "Who is the solitude," 
 
 is 09th Harpist III D 480 [4'57] 
 "Who never ate his bread with tears" 
 
 10th Harp player / D 479 [2'10] 
 "on the bag I will sneak" 
 
  11th on the moon D 296 [4'53]  
 
 12th at the Lake D 543 [3'32] 
 
 13th First Loss D 226 [1'56] 
 
 The 14th Muse son D 764 [2'02] 
 
 15th Restless Love D 138 [1'22] 
 
 16th Close to the beloved D 162 [3'27] 
 
 17th Heidenröslein D 257 [1'46] 
 
 18th Delight of melancholy D 260 [1'05] 
 
 19th Erlkönig D 328 [4'19] 
 
 20th The King in Thule D 367 [3'00] 
 
 21st Secret D 719 [1'48] 
 
 22nd Limits of the human D 716 [8'06] 
 
 23rd The river D 766 [1'13] 
 
 24th Welcome and Farewell D 767 [3'17] 
 
 TT [76'00] 
 
 Dietrich Fischer-Dieskau, baritone 
 Jörg Demus (01-14) - Gerald Moore, piano 
 
 ADD 
 ® 1960 (01-14) / 1969 (21-24) / 1970 (15-20) 
 © 1999 
 Executive Producer: Prof. Schiller Eisa (01 - 14), Otto Gerdes 
 Recording Producer: Hans Weber (01-14), Rainer Brock 
 mixer (Balance Engineer): Harald Gaudi (01-20), Hans Peter Schweigmann 
 Cover Illustration: Irmgard Seidat 
 

The most famous German poems. determined

Based on 200 collections of poetry and compiled by Hans Braam. With a foreword by Helmut Schanze.

Alfred Kröner Verlag Stuttgart , 2004, ISBN 3-520-84001-4

The canon is booming. After decades of abstinence are presented for almost all areas of anthologies, the muster, depending on the criteria of selecting, in each case the most famous and important texts of the same genus. The present selection of the most famous poems in the German language is another way: neither they will lay claim, on its own normative force objective judgments about the tradition decent meet, yet they will trust to the contrary, the subjective taste and knowledge of an individual publisher. It is based rather on the 200-year tradition of self Anthologisierens Only the best was in each of the various collections of poems for school and home use recording found. Then this band appeals to the assembled expertise of a period of time from the beginning of the "reading book" in the 18 Century, in the rich forms of reading an anthology of 19th and last century to the threshold of our day. And it is the sum of the selection decisions of 200 editors and publishers collectives, which gives the poems included here its canonical weight.

ranking of 'most famous poems "to copy frequency - 1 Page

As much as the evaluated collections in order to converge on the temporal seem so much in their time-related trends, fashions and preferences reflected found. Far the bow is drawn, from the Vienna School Father Jais and Munster high school director Zumkley about the poet Friedrich Matthisson and Germanists Philip and Wilhelm Wackernagel, the collector and poet Gustav Schwab and the teacher Theodor Real Mayer, including his ten successors in the publication of his famous anthology; on Stifter and Storm to Hans Bender, Karl Otto Conrady and Marcel Reich-Ranicki - to name a few. Nearly four decades claimed the sighting of the best-inventory, a database of over 75 000 documents came together here, based on 34 000 different poems by more relate than 3,000 authors. A first limitation is now led from the point that a larger number of anthologists for the same text has decided. More than 20,000 "ephemeral" were assigned only once. The text, which were at least four times included in anthologies, formed a pre-selected poems of 4000 - although in order to maintain equality of opportunity, the threshold for younger, born from 1844 authors, has been reduced from four to three documents. In book form this elite would still filled volumes 10-12. Consequently, further restrictions were necessary.

A canon is always determined by forgetting and remembering, loss of tradition and tradition of education, each Epoch creates its own, much is discarded in the following, some newly discovered from the past. To provide an overview of the various phases of this process, the evaluated collection was divided into four periods, each with about the same number of anthologies, from the beginning, in the 18th Century until 1850, 1851-1900, from 1901 to 1950 and finally from 1951 to 2004th The last section represents our current view of the stock was therefore: only what is in at least ten of the period represented in this edited anthologies, meets the criteria for inclusion in the most famous poems - 239 texts have been determined in this way. For what Collections this essence has been extracted, how many impressions the individual poems as a whole and have experienced within the individual time periods, is documented in the appendix. The reader will also find a ranking of the most famous poems by number of total impressions in the analyzed collections.

The genus, the selection decisions due to the present volume characterized him at the same time itself: it is the "reader." And how reading books in the rule to the history of literature as a whole belong, is also a panorama of German Poetry in its essential examples shown. As for the origin and evolution of the texts, is the author of a kind source of the poem in its highly personal art form as well as in the emphatic sense owes. It should come as no surprise who is represented here by identification of the statistics most often: of course the "classics" in general - Goethe. He leads the list with the total number of documents. Amazingly may see to find Matthias Claudius on the front seats - except with his evening song, he is nevertheless still present with four other poems.

ranking of 'most famous poems "to copy frequency - 2 Page

In poetry transcends the personal interview is an "I" to that of the species being "Man". This representation is basic and the result of the wide distribution of selected poems. The long runs, which saw the evaluated textbooks and anthologies over the centuries, have stabilized the canon in a way that leaves only a small modification scope. What comes once in a perpetual supply of that "silver load", can be so easily not erase from memory. Not change the often overlooked time-bound conceptions and programs of reading any more than their obvious bookmakers optation by ideology and politics. Not least, based on this the often startling reminder of the value of these poems Collection: on an all intergenerational reception process - the students have to memorize them, and the elderly, protecting them as a unique vocabulary and often well into advanced age.

And yet the species. the anthology and the (school) read the book and in terms of change to consider the new and re-writing. It is less about the finish of the single poem "ad usum delphini," but his escape from cycles, contexts and work units. For example, Goethe's Wanderers Night Song in the work related to a "same" is connected, the poem is all about peaks rest. Since it is the second, it has the poet A provided the title match. This non-title is omitted in most textbooks, but also so that the cross-reference to genre and theme. Such detachment - it is not an isolated case - changed the character of a poem often so radical that its meaning is overgrown by a new interpretation of the anthology. Each recording of a poem in a collection is therefore an alienation same. at least the great author may have the idea of an original work relationship can be assumed, that possibility does not apply to lesser-known poets who nevertheless contribute in no small way to the canon.

"To the Moon" - the text of both versions as a word cloud (created by http://www.wordle.net/ )

What is with the suggestion of continuity and consistency certainly paid off well, the Depending on the political and ideological premises of anthologists. Only those personal memories of the readers who identify themselves as a collective memories are retained as a reference. There is no doubt reinforced this frame of reference of the collective memory resources by the work on the canon. But what if, as here, the collected power of the modern reader Kanonbildner suddenly confronts? Will he be in his freedom not feel restricted when you scroll in the anthology only of importance, indeed, the significant ever met? Against a single publisher and his arbitrary acts like you can not defend themselves, even against a meeting of the "Prussian school men" or an institution such as the Frankfurter Allgemeine Zeitung. What, though, if each individual approach is drowned out the different voices of poetry by the statistical consensus of the flavor carrier in the last two centuries?

is now the essence of the German poem, as it is presented here, nothing that should never, ever change, on the contrary. With each Occurrence of another anthologists can get news on the quantitative threshold, which was drawn here. The door into the treasure house in which the supply of Indifference, to be kept open. This distinguishes this collection of those anthology companies from which it feeds on: that they would not seek an absolute stability, but was content to be resultant of a multidimensional classification process. What has sediment in it, is a pluralism of opinions and judgments - on the hand so that the reference to contexts of all kinds free again. The chorus of seemingly impeccable taste in support so it can be shown is by no means a harmonious, it is full of discord and gross errors. Whether the time had healed all wounds lyrical memory of the Germans, that was the verdict of the readers to this new anthology of anthologies, one can see more detail, not basking in the power of its many editors will, but only their modest contribution to the development a collective memory selected.

victories in spring 2004
Helmut Schanze


Of the 24 gathered at the Goethe-Lieder Schubert CD includes 15 of the "most famous German poems", and not less than 10 of them on to the the first page printed top group of the top 36:

(73 x) Erlkönig
(71 x) Wandrers night song I
(71 x) wanderer's Night Song II
(69 x) To the Moon
(55 x) Prometheus
(50 x) boundaries of humanity
(47 x ) The King of Thule
(44 x) Heidenröslein
(44 x) Welcome and farewell
(43 x) Calm Sea

CD Info & Scans (tracklist, cover, booklet, Music Samples, Bonus Pictures), 70 MB
Schubert - Goethe Lieder INFO.rar
Read the file "Download links.txt" for links to the Ape + Cue-Log Files

98 Ski Doo Won't Start

Quator Calvet and Quator Pro Arte: Historical photos

In the first half of the 20th Century have played string quartets from the French-speaking countries in the world league. Apart from the Belgian Pro Arte Quartet, these were mainly the Krettly Quartet, the Franco-Belgian Flonzaley Quartet, the Capet Quartet Calvet and . The latter was in the thirties, probably the most controversial French string quartet.

dominant figure was on 8 October 1897 born Joseph Calvet , who studied at Conservatiore of Toulouse, in 1914 at the Conservatoire in Paris. In 1919 he takes over in 1909 by the famous violinist Marcel Chailley based quartet with personnel reshuffles. In his first band was the Quatuor Calvet from the violinist Joseph Calvet and Georges Mignot, violist Leon Pascal and cellist Paul Mas . Mignot left the quartet in 1930 and was succeeded by Daniel Guilevitch . The quartet was able to hold him over the entire 30 years, his excellent artistic standards and began 1931 with the first recordings. When war broke out it did initially but, after the occupation of France had to flee Guilevitch as a Jew. He emigrated to the United States, changed its name to Guilet 1941 and founded his own quartet. In 1955 he was a founder of the Beaux Arts Trio, with whom he played until 1969. His departure marked the end of the Calvet Quartet.

Gabriel Fauré (1845-1924)

The violist Leon Pascal introduced in 1942 on his own quartet, which was used after the war as an official ensemble of the French radio and recorded several records, including a Beethoven cycle. He also taught from 1950 at Consevatoire in Paris. Calvet himself wrote in the war years, mainly working with young musicians and established after the war a second, named after him Quartet. However, it could not connect to the successes of the prewar years. 1950 Calvet withdrew and concentrated on its educational activities. He died in May 1984 in Paris. During his

golden age in the 20s and 30s was the Quartet for a number of world premieres, in particular the Franco-Belgian music, responsible, eg, Guy-Ropartz String Quartets Nos. 3 and 4, the sextet of Vincent d'Indy, works by Delannoy, Reynaldo Hahn and Jean Francaix. In 1928 it played in concerts the first Beethoven cycle. Records it played a predominantly for Columbia and HMV. In addition, numerous recordings were made with the Viennese classical music for Telefunken.

César Franck (1822-1890)

"Unlike the Capet Quartet, whose style is still the traditions of the 19th Century was committed and by the minimal use vibrato sounded slightly old-fashioned, Calvet and his colleagues created a modern sound. Anyone who listened to their recordings must take the expressive portamento tacitly accepted in which satisfied the customs of the time. But even today it seems as if the music of Debussy or Ravel's wrong without this stylistic device sounds. As strange as that may seem to today's listeners also portamento, with excellent musicians such as which has the Calvet Quartet is often a structural feature that connects certain phrasing and interpretation of cohesion are " (Tully Potter)

source. Robert Stuhr in the Tamino Classical Forum

Gabriel Fauré (1845-1924)

Piano Quartet No. 1 in C minor, Op. 15

His special appeal is the first piano quartet composed in 1879 Fauré by the peculiar tension that emerges from the confrontation between traditionalism and free, individual form. On the one hand, the whole system has to romantic classical forms: four movements, sonata form in the outer movements, in three parts of the middle movements. On the other hand, Fauré was within this self-imposed limits to most freely and individually with his clay material. The first movement, with its two contrasting themes follows a moving and lively Scherzo. Resting point of Piece is the meditative Adagio, followed by a contrapuntal crafted finale, the coda the piece in pure major act.

Claude Debussy (1862-1918)

César FRANCK (1822-1890)

String Quartet in D major

In contrast to César Franck's Violin Sonata, composed in 1889, his String Quartet in D major largely unknown. The work was created by Franck detailed study of Beethoven's quartets. Franck turned here, as in his other chamber music works, a trick, it leads to a unit of the whole work: all subjects of the four sets have affinities or at least very strong similarities. The slow introduction introduces the topic, which is below the first movement Allegro artistically worked with contrapuntal means. Both in the following scherzo, and the third set - the Larghetto - Beethoven's influences are felt. In the last sentence that the Theme of the preceding sentences for another melodic idea and be opposed to this and ultimately connected.

CLAUDE DEBUSSY (1862-1918)

String Quartet in G minor

Claude Debussy's string quartet composed in 1893 as the G minor, such as sovereign bypassing traditional forms with the composer: he rejected the four-movement structure and the best sequence of characters not set. Behind these large forms in the interior of the individual sentences, Debussy was however without the detailed engineering of the classic-romantic tradition. Rather, are shown in Impressionist style, a few basic ideas in new lights. These deviations from the usual led to a failure at its premiere on 29 December 1893.

Maurice Ravel (1875-1937)

MAURICE RAVEL (1875-1937)

String Quartet in F major, Ravel's String Quartet

was built between 1902 and 1903 and on 5 March 1904 in Paris premiered. The audience this concert reacted very negatively to the new composition. The turmoil of the first performance prevented Ravel's participation in the competition for the Rome Prize of 1905. In retrospect, the rejection and can hardly understand the confusion: Ravel's composition is very clear structure, the structures are simple and understandable. Thematic connections link the four movements of the work and produce an effective unit. So clearly lacking in individuality and the shape of the piece is so convincing is the embodiment of everything: new ideas are brought together imaginatively and yet everything remains, despite this diversity, transparent.

Introduction et Allegro

Ravel composed his most charming piece for harp, flute, clarinet and string quartet 1905th As in the string quartet also create common issues a close relationship of the two sets to one another. The piece offers delicious combinations of sounds in the mysterious first movement and in the floating-rhythmic Allegro. Much of this piece has the later formed "Valses nobles et sentimentale" out.


Source: Anonymous, in the booklet

 
  TRACK LIST Disc 1 
 
 
 
 
 Gabriel Fauré (1845-1924)  
 
 Piano Quartet No. 1 in C minor, 
 Op 15 Quartet for Piano and Strings No.1 in C minor, op.15 
 
  1. I: Allegro molto 8:45  
 2. II: Scherzo 5:30 
 3. III: Adagio 7:19 
 4. IV: Allegro molto 7:19 
 
 Robert Casadesus, Klavier / piano 
 Joseph Calvet, Violine / violln 
 Pascal Leon, Viola / Viola 
 Paul Mas, cello / cello Recorded in 1935 
 
 
 
  
 CESAR FRANCK (1822 - 1890)  
 
 Streichquartett D-Dur / String Quartet in D major 
 
 5. I: Poco Lento, Allegro 
 17:10 6. II: Scherzo (Vivace) 4:39 
 7. III: Larghetto 11:59 
 8. IV: Finale (Allegro molto) 1:23 p.m. 
 
 Quator Pro Arte: Alphonse 
 Onnou, Violine / Violin 
 Laurent Halleux, Violine / Violin 
 Germaln Prevost, Viola / Robert Maas 
 viola, Cello / Cello 
 Recorded in 1933 
 
 Total Time: 76:21 CD 2 
 
  
 
 
 CLAUDE DEBUSSY (1862-1918)  
 
 Quartet g-moll / Quartet in G minor 
 
 1. I: Animated and very decided 
 6:00 2. II: Quite lively and well paced 3:39 
 
 3. III: Andantino (8:20 
 Gently expressive) 
 4. IV: Very moderate 6:46 
 
 Quator Calvet: 
 Joseph Calvet, Violine / Violin 
 Daniel Guilevitch, Violine / violln 
 Leon Pascal Viola / Paul Mas 
 viola, Cello / Cello 
 Recorded in 1931 
 
 
  
 MAURICE RAVEL (1875 - 1937)  
 
 Quartett F-Dur / Quartet in F Major 
 
 5. I: Allegro moderato 8:04 
 (Very mild) 
 6. II: Quite bright and very rhythmic 
 
 6:10 7. III: Very slow 
 8:50 8. IV: Vif and stirred 4:40 
 
 Quator Calvet: 
 Joseph Calvet, Violine / Daniel Guilevitch 
 violin, Violine / Violin 
 Leon Pascal Viola / Viola 
 Paul Mas, cello / cello 
 Recorded in 1936 
 
 9th Introduction et Allegro flute, 10:57 
 
 Lily Laskine, harp / harp 
 Marcel Moyse, flute / 
 Ulysse Delecluse, clarinet / clarinet 
 
 Calvet Quator: 
 Joseph Calvet, violin / violin Daniel 
 Guilevitch, violin / violin 
 Leon Pascal, viola / viola 
 Paul Mas, cello / cello 
 
 Recorded in 1938 
 
 Total Time: 63:43 
 
 (P) + (C) 2002 
 

Georges Seurat: A Sunday Afternoon on the Island of La Grande Jatte, 1884-86, Art Institute of Chicago
To begin
Georges Seurat (1859-1891)

This atmosphere of art fight [to the Salon of the Independent ] led Seurat a more comprehensive work, with more figures, while he drove away the ocher colors of the palette and based his technique on the "purity of the spectral ", in other words, he wanted to use only the pure colors of the solar spectrum in the image. End of May 1884, on Ascension Day, he began simultaneously with the picture of the series of preparatory studies. He wanted to show a Sunday Afternoon on the Island of La Grande Jatte , that his island in Neuilly , while the Paris came on a sunny day with the whole family to recover. Seurat explored the area with his paint box, is impressed upon the light conditions, not only laid down the exact location of the recreation scene, but the whole environment. One of the first croquetons, the Seine is in the spring, just as they looked at the Grande Jatte, other sections in the near or further from shore edges or undergrowth followed.

croquetons Seurat developed to a real shorthand of light, its colors are usually dashed, but they have sometimes the appearance of stains that set the tone, and he does not hesitate a parasol carried by a round pad, fishing lines . To suggest He discovered the area piece by piece, here is a background view paints with a group, where a panorama of one man, then a study with some figures in shadow, partly in the sun, sitting or standing. Seurat searched out the figures for his image, one after another in the course of many observations, and he chose from all backgrounds. After Jules Christophe can be found there: "young girl, a nurse, a grandmother with character head under the hood, a lanky rower, smoking a pipe, without special feature, the bright pants goes down by strong sunlight, a dark purple dog, a fox red butterfly a young mother and her daughter in white with salmon-colored belt, two cadets in uniform, and then young girls, one of which is a bunch of maps, a child with red hair in the blue dress, a family with a nanny with the baby, and out right most indecent, scandalous couple, a young elegant, of its dolled attendant works the arms, leading to a lead a yellowish red exotic monkeys "

Georges Seurat. Boats at low tide, Grand Camp, 1885, Lefevre Gallery, London

The final image of the Grande Jatte was ready for the exhibition of the Independent in March 1885, but since the exhibition could not take place, went on to other work Seurat. During his summer holiday residence in Grand Camp, a fishing village on the English Channel, he painted his first seascapes and enjoyed it, to describe the vastness of sky and sea. He painted the pure nature without the people living there. »Sunset Grand Camp" is strip of sky and ground straps to today. "Seascape Grand Camp" links heaven and earth and sea into a single impression of endless solitude. Sailing ships and revive the seascapes, but people are nowhere to be seen; the three boats on the beach at the "Location in Grand Camp" are similar to the remains of dead crabs, and boats and fishing boats in the flood, "is he focuses on the contrast between horizontal and vertical. Generally believed that poetry was a matter of a feverish, agitated man who expresses himself in poetry in exclamation style in painting and confusion. Seurat but gives us the example of a cool lyric. He is fascinated by what he sees, but he refuses to spread this enthusiasm: he hides under the mask of the geometry.

The marine pictures of Grand Camp are evidence for the study of harmonic triangular arrangement. In the "roads of Grand Camp" (Collection of Mr. and Mrs. David Rockefeller, New York) is offset a green triangle in the center front of the triangles the sails, in "Grand Camp in the evening" is a triangular area of land as opposed to the stairs that rise at an angle from a horizontal base. For "The Top of Hoc," the typical image of this series, there was a preliminary study with no visible horizon and two black triangles in front of the sea on the right. In the final version of heaven is much higher, the crag crowned reinforced by a seagull flying in Y-shape, tension and balance of the rock block. The variety of color patches is also typical of the seascapes of Grand Camp: swabs for the bottom, vertical lines for the rocks, level surface for the sea, etc. In "Boats at low tide, Grand Camp" as in "The Top of Hoc" you can discover something new: the Pointillage.

Georges Seurat: The Top of Hoc, 1885, Tate Gallery, London

As Grand Camp Seurat returned to Paris, he had expanded his knowledge of the pictorial element is a new discovery: the point. He takes "La Grande Jatte" and again in order to be reviewed after all of his now full method, for now he possessed what he called the "two roots" (aesthetics and technology). Throughout the winter, took him into the finest detailed work of pointillism claim, she changed the atmosphere and characters Work. These points, which have the purpose to distribute the light better, give the picture the solemn spectacle of frescoes in the tombs of Karnak at Thebes. When such a large area Auspunkten Seurat had instinctively feel hypnotic vertigo, similar to that of the medium Joseph Crepin, which covered 1939 to 1948 own pictures with "paint nails," and it reached the rate of 1500 points per hour.

soon spread among his friends the rumor that he divided the color by using a brush stroke, which is quite different from the comma stroke of the Impressionists. His studio neighboring Signac takes over from him this revolutionary Art of painting. Pissarro, Seurat, in October of the meets starts since the beginning of 1886 pointillistic pictures to paint, his son Lucien and his friend Louis Hayet follow him. It was decided that Seurat, Signac and Pissarro father and son together would show their works in the same room at the Eighth Exhibition of the Impressionists, Degas in the first floor of the Maison Dorée organized in the Rue Laffitte . As Renoir, Monet, Sisley, and Caillebotte heard the nature of the image was intended to exhibit the Seurat, they withdrew from the show, they called on Pissarro, to do likewise, but he refused. Now wanted the organization Degas take no longer under the wing of Impressionism, and found a new name VIII exhibition of painting. She was reserved united drawings by Odilon Redon, and landscapes of Estoppey Zandomeneghi, pastels by Degas, various works by Gauguin, Guillaumin, Forain, Berthe Morisot, Mary Cassatt, and then you came to the corner, Seurat, Signac, Pissarro, father and son . But Paris saw the whole of this show only one image, keeping only one name: Seurat.

Georges Seurat: Woman walking with monkeys. Study for "A Sunday Afternoon on the Island of La Grande Jatte". 1884, Smith College Museum of Art, Northampton, Massachusetts

"La Grande Jatte," which was exhibited in a room where you could not withdraw, between "The Top of Hoc" and "The harbor of Grand Camp," causing annoyance. The crowd marched continuously around it and made fun of how the picture was painted and the wooden figures, the couple attracted attention with the monkey merriment. Even the naturalist writers, Manet had defended against all turned against the innovator. Huysmans indignant: "Too much process, system, not shiny enough flame, not enough life," Octave Mirbeau mourned: "I do not have the courage to laugh in front of his huge, horrible image that looks like an Egyptian imagination. "Fortunately, a few enthusiastic visitors, including Félix Fénéon , twenty-five years old, clerk in the War Department and chief editor of the Revue Independante. He was a phlegmatic, self-willed, with a hat like a chimney on her head and a small chin beard, he played a Yankee, such as the caricature of Uncle Sam. He was enthusiastic about the painting with dots, in which he "a technically fruitful reform" and looked and found his caustic wit at the service of Seurat (who wrote him on June 24, 1890: "In 30 articles, call me an innovator, count I was six of you ").

In the same year a group of poets in Paris began against the naturalism of Zola and fight the Goncourts , and they founded the symbolist school, even before Jean Moréas published the manifesto of Symbolism . On 18 September 1886 referred the magazine La Vogue "at the request of Gustave Kahn to this new trend. Now supported the naturalists, the pioneers of Impressionism and Seurat damn, it found the Symbolists do quite naturally, the opposite. Fénéon criticized in the June issue of "La Vogue" the diehards, which the "Impressionism clinging, as it could be seen on the previous shows," and analyzed the boldness of the Grande Jatte, also praised the pointillist landscapes and stated: "Of great and novel interest is the exhibition in the Rue Laffitte ;. that light-filled room, where in white frame the sky limitless and flaming "After the praise of Seurat in" La Vogue "that shortly after the " published illuminations " of Rimbaud , it is not surprising that the painter once a poet has been identified.

Georges Seurat: angler on the banks of the Seine. Study for "A Sunday Afternoon on the Island of La Grande Jatte". 1884-85, private collection

also another art viewer Émile Verhaeren , who had just finished his first book "The Flemish published" La Grande Jatte enthusiastic. He says: "The unexpected first at this art spurred my curiosity. Not for a moment I doubted the sincerity and complete the essential novelty, as it obviously is argued before me. I spoke of the evening with artists, you gave me with laughter and derision, "Verhaeren was not discouraged". The next day I went back to the Rue Laffitte. La Grande Jatte struck me as a crucial Step in the search for the real light. Nothing disturbs uniform atmosphere, the transition without hindrance from one level to another, and especially the astonishing transparency of the air "

source. Sarane Alexandrian : Seurat (Translated by Arnim Winkler), Gondrom Verlag GmbH, Bayreuth, 1994, ISBN 3-8112-1151-X, page 29 et seq

CD Info & Scans (tracklist, cover, booklet, Music Sample, Bonus Pictures), 51 MB
Faure Franck Debussy Ravel - Chamber Music INFO.rar
Read the file "Download links.txt" for links to the Ape + Cue Files

Sample:
Track 1: Gabriel Fauré: Piano Quartet No. 1 in C minor, Op. 15 - I. Allegro Molto