Piano Mahnıları
Nettie Rosier
Qiymətləndirilmiş fortepiano imtahanları bacarıqların inkişafı, improvizasiya, seans-musiqii slubunda performans n meyarlar kimi xidmət edir və həvəskar pop pianoular n strukturlaşdırılmış inkişaf təklif edir.
Sizin kimi dinamik və həyəcanlı bir musiqi səyahətinə ıxmağa hazırsınız? Bu gn Pop Piano Mahnıları kolleksiyamızı araşdırın və bu gnn hitlərinin melodiyalarını bələdiniz olsun. Pop klassiklərindən tutmuş ən son qrafika zirvələrinə qədər, həqiqətən ruhunuzla rezonans doğuran musiqi ifa etməyin sevincini kəşf edin.
Yaradıcılıq yolunun başlanğıcında neoklassisizmə yaxın olmuşdur. 1930-cu illərin ortalarından onun bəstəkarlıq texnikasının əsasını dodekafoniya təşkil etmişdir. Melodiya, diatonika ("Marsia" baleti; 1948, Venesiya) və tonallıqdan tamamilə imtina etmədən Dallapikkola znn "lirik dodekafoniya" slubunu yaratmışdır. Sapfo, Alkey və Anakreontun şeirlərinə səs və instrumental ansambl n yazdığı "Yunan şeirləri" btnlklə dodekafoniya əsəridir (1945). Antifaşist ruhlu triptix ("Məhbəs mahnıları" kantatası, 1941;1949 ildə radio ilə səslənmiş birpərdəli "Məhbus" operası 1950 ildə Florensiyada tamaşaya qoyulmuşdur; "Qurtuluş nəğmələri" kantatası, 1955) və əvvəllər yazdığı musiqidən mvzuların daxil olduğu "Uliss" operası (Homerin "Odisseya" əsəri zrə z librettosu, 1968, Berlin) bəstəkarın ən məşhur əsərləridir. Musiqi tənqidisi kimi də ıxış etmişdir. K.Monteverdinin "Ulissin vətənə qayıtması" operasının (1942) və M.P. Musorqskinin "Sərgidən şəkillər" fortepiano silsiləsinin (1940) redaksiyalarını həyata keirmişdir.
The next year, after his courtship and marriage to Alma Schindler, Mahler composed another Rckert setting that was eventually added to the collection: "Liebst du um Schnheit". Unlike the other four, this was solely intended as a private gift to Alma as a proof of his love for her, due to simmering tensions between her and Mahler at the time. On 10 August, Mahler presented the song to Alma, who was deeply moved by the setting of the last line: Liebe mich immer, dich lieb' ich immer, immerdar.[9] Due to its intimate nature, Mahler never orchestrated the song,[10] and it was not performed in public in Mahler's lifetime.[11] Instead, when the full collection was published, it was orchestrated by Max Pullman, an editor at the publishing company C. F. Kahnt [de], who first published these Lieder.[12][11]
The concerts were part of a series of concerts organised by the Vereinigung schaffender Tonknstler in Wien, founded on 23 April 1904 by Arnold Schoenberg and Alexander von Zemlinsky (among others).[15] Mahler had accepted the honorary presidency of the Vereinigung,[16] and he helped to organise and perform in several of these concerts,[17] of which this Lieder concert was one. Mahler had already promised Schoenberg and Zemlinsky when he accepted the honorary presidency that he would premiere one of his own works for the Vereinigung.[18] Mahler could not premiere the 5th Symphony, as it would be too costly to perform, and in any case had already been promised to Fritz Steinbach's Grzenich Orchestra in Cologne.[18] Instead, Mahler opted to complete the Kindertotenlieder in the summer of 1904, and premiere that song cycle and the Rckert-Lieder in a Lieder concert, which was especially interesting given that most of Mahler's Lieder with orchestral accompaniment had not been performed yet.[18]
Due to demand, the final rehearsal (on 28 January, the day before the premiere) was open to the public, and the concert itself was completely sold out, with many being turned away at the door.[13] The concert was greeted with a positive reception, with Paul Stefan writing that "Mahler's Lieder touched everyone".[19] Anton Webern, who attended the premiere, was more cool, writing in his diary that the Rckert-Lieder were "less satisfactory" and even "sentimental", but still containing a "beauty of vocal expression, which is sometimes of overwhelming inwardness", singling out "Ich atmet einen linden Duft" for praise.[20] David Josef Bach noted that "With [Mahler], words do not create the atmosphere. It is more as if, in order to create it, he needs the text as much as the music".[21] Julius Korngold thought that Mahler's setting of Rckert's poetry was "noble, sensitive and poetic", though he felt that the intimacy of Rckert's poetry was not well suited to orchestral accompaniment.[21] Finally, an anonymous critic wrote:
The songs, their sequence, and their performance offered the highest state of polished refinement ... It does not matter to [Mahler] or to the listeners whether the melodies are suffused with juicy banalities or borrowed from Bruckner's Romantic [Symphony] ... He makes the accompaniment progress in the time-honoured manner, stepwise with the voice, but casts over the whole a glittering orchestral web, full of clever ideas and piquant effects.[22]
Mahler subsequently performed two of the Rckert-Lieder, namely 'Ich bin der Welt abhanden gekommen', sung by Weidemann,[29] and 'Um Mitternacht', sung by Erik Schmedes,[14][29] in a concert at the Graz Festival, on June 1, 1905.[14][30] Mahler again conducted, with the orchestra comprising 23 members of the Konzertverin Orchestra and "professors from the Steiermkischer Muisverein,"[30] as well as members of the Vienna Philharmonic that accompanied Mahler to Graz.[31] The acclaim from the audience was apparently so spontaneous that the fellow composers in the hall, as well as those who regularly criticised Mahler, booed him off in envy.[32] Again critics, even those who were biased against Mahler's work, praised this triumph,[33] with Ernst Decsey saying "Each song was incontestably a 'phenomenon' unto itself, because of the 'absolutely unprecedented [sonority] of his chamber orchestra."[34] These reports paved the way for the Neue Zeitschrift fr Musik to publish a long article about Mahler's Lieder later in 1905.[35] In 1911, the Grazer Volksblatt, reminiscing on the concert in the wake of Mahler's death, would write that "few eyes remained dry in the concert hall" and that "the audience surrounded [Mahler] with acclamation, ... gratitude, and genuine love."[32]
On February 14, 1907, Mahler accompanied Johannes Messchaert at the piano[36] in a recital at the Bsendorfer Saal in Berlin,[37] consisting of five early Wunderhorn settings, the Lieder eines fahrenden Gesellen, the Kindertotenlieder, and the same four Rckert-Lieder as at the collection's premiere.[37] An unsigned article in the Vossiche Zeitung wrote that there had been a "sizeable audience", alluded to the Graz concert, and said the Rckert-Lieder were "certainly among the best songs that Mahler had composed".[38] Paul Bekker in the Allgemeine Musik-Zeitung again repeated the criticism that the songs were occasionally "sentimental."[39] Otto Klemperer later recalled that the concert was "wonderfully compelling" and "quite unbelievable."[37] Messchaert and Mahler would later perform two of the Rckert-Lieder at a concert in Cologne on July 1, again to acclaim.[40]
The Rckert-Lieder are all settings of poems by the early 19th-century poet Friedrich Rckert. Rckert's poems are heavily influenced by his activity as a scholar of Oriental languages,[51][52] and his poems were widely read in his lifetime, being set by composers such as Robert Schumann and Franz Schubert.[53] Between 1895 and 1900 his poetry revived in popularity, but today he is generally considered a minor poet, though Mahler was not troubled by this, holding the view that masterpieces of poetry should not be set to music.[53]
The turn to Rckert's poetry has been considered conservative on Mahler's part, given his connections with modernists such as Richard Strauss,[54] the musicians of the Vereinigung,[55] and the artists of the Vienna Secession,[56][57] as well as the novelty of his own music.[54] However, Mahler himself felt no need to borrow from these early modernist trends of which he was aware.[54] Furthermore, Henry Louis de la Grange posits that Mahler was attracted to the lyricism of Rckert's poetry, and points out both of them "admired folk-art" and considered it the "living source of all poetry".[58] In addition, Rckert has also been considered a "close spiritual relative" to Gustav Fechner, an Orientalist and psychophysicist who was greatly admired by Mahler.[52][59] Mahler himself drew comparisons between the two.[60] Stephen E. Hefling has also suggested that Mahler, disappointed by the lack of popularity of his Wunderhorn settings, was drawn to setting more popular poetry in order to appeal to a wider audience, provided it met his artistic purposes.[60]
The songs exist in versions for piano and orchestral accompaniment; Mahler composed both versions simultaneously and performed the Lieder in both versions. Thus, the piano version is regarded to be as authoritative as the orchestral version.[14]
The Rckert-Lieder were never intended to be a cohesive song-cycle. The piano score and the orchestral score differ in their ordering of the songs, and when conducting the songs, Mahler frequently changed the order of the songs according to the circumstances of each performance.[14] For example, at the premiere performance on January 29, 1905, the songs were in the following order:
In addition, each of the songs requires a specific ensemble of instruments, different from one song to the next,[14] though the instrumentation of all five combined is equivalent to a standard-sized orchestra.[58] Though it has become standard to perform them in large halls with full-size orchestras, Mahler himself premiered and preferred to perform the Rckert-Lieder in a small hall with a small orchestra,[14] particularly cutting down the size of the string section.[61] The scoring of the Lieder often focus on small groups of instruments akin to chamber music, with even the voice being treated like an instrument.[62][63]
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