An die Königin Elisabeth, Op. 135, No. 3


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Gedichte der Königin Maria Stuart, Op. 135: No. 1, Abschied von Frankreich

The psychological and emotional complexities hinted at in the text are enacted musically. Their performance lacked something of the emotional darkness the song requires if it is to be performed with full conviction. For those who retain an antipathy to serialism, this is perhaps a point of ne plus ultra where Berg is concerned. That seems to me to capture the particular magic of these early songs.

An die Königin Elisabeth (Am)

Berg was finding a means to reconcile, at least temporarily, influences such as Wolf and even Debussy, with what he was learning and had learned from Schoenberg. These Berg songs brought an exceptional recital to a fittingly splendid close.

Mail will not be published. The insightful pianist offers a Beethoven bonanza, ranging from the mesmerizing pulse of the popular [ Before any opera purists start wringing their hands, let's remember that the year-old art f [ One of Mexico's most renowned classical composers, Ortiz's latest work was commissioned by [ The classical flutist came back from the hospital after receiving an Alzheimer's diagnosis and [ Their words all show up in a new [ Conrad Tao, wearing a black T-shirt for his first recital at the hall, inventively juxtaposed old an [ This joyous set of Beethoven's sonatas takes its place among the very best.

This sensitive, dynamic recording is a joy, and may even constitute a revelation.


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The pair exhibits a refined style on these illuminating performances. A deeply affecting experience that ought to win the opera many new admirers. Schumann constructs a clear shape to his sequence, musically speaking, so that, for example, the vocal lines in all but the first song begins with a step-like descent.

Musical Pointers

There is little that is flamboyant here, the dominant tone being subdued; the settings are predominantly slow. For reasons such as these, and perhaps because they were the last songs Schumann wrote before his final mental collapse, the sequence was long held in rather low regard, though recent years, however, has seen an increased interest in them.

The art of Lieder at something like its best. The mood changed considerably, once more, as we moved through this well-planned and various programme. There now followed four songs by Alma Mahler.

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An die Königin Elisabeth (Am)

But the overall effect is of bleakness and isolation. At points the sense of isolation seems articulated in the manner in which the piano accompaniment has relatively little apparent connection with the vocal line. It is a text which speaks of the human tendency to push away or reject the thing they love.


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  7. The psychological and emotional complexities hinted at in the text are enacted musically. Their performance lacked something of the emotional darkness the song requires if it is to be performed with full conviction. For those who retain an antipathy to serialism, this is perhaps a point of ne plus ultra where Berg is concerned.

    Love and Fate

    That seems to me to capture the particular magic of these early songs. Berg was finding a means to reconcile, at least temporarily, influences such as Wolf and even Debussy, with what he was learning and had learned from Schoenberg. These Berg songs brought an exceptional recital to a fittingly splendid close.


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    An die Königin Elisabeth, Op. 135, No. 3 An die Königin Elisabeth, Op. 135, No. 3
    An die Königin Elisabeth, Op. 135, No. 3 An die Königin Elisabeth, Op. 135, No. 3
    An die Königin Elisabeth, Op. 135, No. 3 An die Königin Elisabeth, Op. 135, No. 3
    An die Königin Elisabeth, Op. 135, No. 3 An die Königin Elisabeth, Op. 135, No. 3
    An die Königin Elisabeth, Op. 135, No. 3 An die Königin Elisabeth, Op. 135, No. 3
    An die Königin Elisabeth, Op. 135, No. 3 An die Königin Elisabeth, Op. 135, No. 3
    An die Königin Elisabeth, Op. 135, No. 3 An die Königin Elisabeth, Op. 135, No. 3

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