Justin Heinrich Knecht: Die Aeolsharfe oder Der Triumph der Musik und Liebe - CD, Choir Coach, multimedia | Carus-Verlag

Justin Heinrich Knecht Die Aeolsharfe oder Der Triumph der Musik und Liebe

Romantische Oper in 4 Akten

Add to wishlist
Read and write feedback
(0 Customer review)
Language:
German
Duration:
150 min
To his contemporaries Justin Heinrich Knecht, today largely forgotten, was known as a music pedagogue, composer and editor. With the exception of a short, unsuccessful intermezzo at the Court of Stuttgart, he remained true his home town of Biberach. In 1807/1808, during his tenure in Stuttgart he composed the romantic opera Die Aeolsharfe oder Der Triumph der Musik und Liebe, his most extensive work. Once again it is a credit to Frieder Bernius’s reputation for rediscovering romantic masterpieces that 200 years after its composition he has presented a concertante performance of this work and snatched it from an undeserved oblivion. In his score Knecht masterfully displays the various formal possibilities of opera, ranging from the simple aria to a nonet and two extended finales. Moreover, he astounds even the expert with unusual orchestral colors, for example when he attempts to imitate the sound of the aeolian harp with the instruments. Mozart’s influence, primarily from the Zauberflöte, is often evident in Knecht’s score, but not to a degree that Knecht’s own musical originality is lessened in any way. Bernius’s committed, capable conducting, and the involvement of all the participants make this romantic opera a rewarding discovery.
Proceed to purchase
Explore
Listen (72)
  • 1. Aufzug. Ouvertüre. Larghetto – Allegro vivace
  • 1. Ouvertura
  • 2. Introduzione
  • 3. Coro
  • 4. Recitativo (Phrynis)
  • 6. Recitativo (Phrynis)
  • 7. Aria (Phrynis)
  • 8. Marcia e Coro
  • 10. Aria (Melilla)
  • 11. Coro con Recitativo e Arietta (Ephron, Hierokles, Phrynis, Melilla)
  • 15. Spiel der Aeolsharfe
  • 16. Recitativo (Hierokles)
  • 17. Arioso (Hierokles)
  • 18. Coro
  • 19. Finale
  • 20. Coro
  • 22. Aria (Bull)
  • 24. Duetto (Bull, Bulline)
  • 26. Duetto (Bull, Selim)
  • 27. Aria (Selim)
  • 28. Aria (Selim)
  • 29. Aria (Bull)
  • 30. Terzetto (Bull, Selim, Bulline)
  • 31. Quartetto (Selim, Achmet, Bull, Bulline)
  • 33. Recitativo, Spiel der Aeolsharfe mit Gesang (Melilla)
  • 34. Aria (Melilla)
  • 35. Recitativo (Melilla)
  • 36. Arietta (Melilla)
  • 37. Recitativo (Melilla)
  • 38. Finale
  • 41. Quintetto (Phrynis, Hierokles, Ephron, Mellita, Susa)
  • 42. Recitativo (Hierokles, Mellita, Susa, Ephron)
  • 43. Recitativo (Melilla)
  • 45. Recitativo (Melilla)
  • 46. Terzetto (Melilla, Mellita, Susa)
  • 47. Recitativo (Selim)
  • 48. Aria (Selim)
  • 49. Coro
  • 50. Recitativo (Selim, Bull)
  • 51. Quartetto con Coro (Selim, Achmet, Bull, Bulline)
  • 52. Coro
  • 55. Arietta (Bulline)
  • 57. Coro
  • 58. Ottetto con Coro
  • 59. Recitativo con Coro (Bulline, Ephron, Hierokles, Herold)
  • 60. Coro
  • 61. Aria (Selim)
  • 62. Coro
  • 65. Recitativo (Melilla)
  • 68. Aria (Melilla)
  • 69. Duetto (Hierokles, Bulline)
  • 70. Recitativo (Herold)
  • 71. Finale I. Nonetto
  • 72. Trauermarsch
  • 73. Trauerchor
  • 74. Finale II
  • 75. Recitativo con Coro (Selim)
  • 76. Recitativo (Selim)
  • 77. Duetto (Selim, Melilla)
  • 78. Recitativo (Melilla)
  • 80. Recitativo (Selim, Melilla)
  • 84. Recitativo (Selim, Melilla, Bull, Lysis, Bulline)
  • 86. Chorale in modo hypoceolio
  • 89. Duetto con Recitativo e Coro (Melilla, Selim, Hierokles)
  • 90. Recitativo
  • 91. Canon a 4 voci (Selim, Phrynis, Hierokles, Melilla)
  • 92. Recitativo (Melilla, Selim, Hierokles)
  • 93. Coro
  • 94. Recitativo (Phrynis)
  • 99. Coro
  • 100. Duetto (Bulline, Bull)
  • 101. Finale
more
Purchase
Print editions & CDs
Compact Disc, 3 CDs Carus 83.220/00, EAN 4009350832206 CD, digipac
available
29,90 € / copy
Additional product information
Contents (72 works) Biographical details and role Reviews Feedback

Contents

  • The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Personal details
  • The Hofkapelle Stuttgart, founded in 2006 by Frieder Bernius to complement the Barockorchester Stuttgart, concentrates on repertoire from the 19th century performed on authentic instruments. One of its main focusses is the rediscovery of music-historical treasures, particularly works from the south-west German region (by composers such as Kalliwoda, Knecht and Holzbauer). The Hofkapelle and Barockorchester Stuttgart regularly perform at international festivals (Rome, Salzburg, Göttingen, Dresden, etc.). CDs made by both groups have received many awards: the Missa Dei Patris by Jan Dismas Zelenka was nominated for the Cannes Classical Award, and the Incidental Music to Shakespeare’s Ein Sommernachtstraum [A Midsummer Night’s Dream] by Felix Mendelssohn Bartholdy was featured by Rondo magazine and awarded the Star of the Month prize by Fono Forum magazine. Mozart’s Requiem received the Diapason d’or de l’année 2003, Johann Gottlieb Naumann’s opera Aci e Galatea was named opera recording of the year in Opernwelt magazine and Bach’s Easter Oratorio included in the Quarterly Critics’ Choice of the German Record Critics’ Award. The group’s recording of Bach’s B Minor Mass was Editor’s Choice in Gramophone magazine. Personal details
  • Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Personal details
  • Whether Baroque or contemporary music, Lieder or opera, the soprano Andrea Lauren Brown is equally convincing through the brilliant lightness of her interpretations. She made her operatic debut at the age of seventeen in Libby Larsen’s A Wrinkle in Time. This was followed by studies at West Chester University, Pennsylvania, Westminster Choir College in Princeton, New Jersey and at the Mozarteum in Salzburg. Winner of numerous prizes, in Europe she has given guest performances at the Theater an der Wien, the Festspielhaus Baden-Baden, at the Schwetzingen and Ludwigsburg Festivals, Spoleto Festival and Schumann Festival in Düsseldorf. Personal details
  • The mezzo-soprano Maria van Eldik studied singing with Monika Meier-Schmid and Berthold Schmid. She continued her musical training in master-classes and opera courses with Carol Richardson, Agnes Giebel, Jessica Cash, Harry van der Kamp and Ernst Pöttgen. She has been involved in several opera projects at the Emsland Festival. She has been a member of the SWR Stuttgart Vocal Ensemble since January 2002, and also has a busy freelance schedule as a concert and song recitalist. Personal details
  • Markus Brutscher received his early musical training as a choirboy with the Regensburger Domspatzen and the Augsburg Domsingknaben, before going on to study singing in Berlin, London and Maastricht. He is in constant demand, singing with leading orchestras in Europe and America and with outstanding conductors. His extensive repertoire encompasses works from all musical periods from early Baroque to contemporary. A discography of over 50 recordings illustrates the singer’s versatility. Personal details
  • Johannes Kaleschke studied singing in Stuttgart and Mannheim, and has specialized in sacred music and oratorio. His repertoire ranges from Claudio Monteverdi’s Vespers to Mauricio Kagel’s Sankt-Bach-Passion. He also gives song recitals and appears in opera and operetta, including performing at the Ludwigsburg Schlossfestspiele and the Stauffer Festspiele in Göppingen. Personal details
  • Mark Adler studied singing in his home city of Berlin at the Hochschule der Künste with Dietmar Hackel and at the Academy of Music “Hanns Eisler” with Scot Weir. He made his debut as Tamino at the Festival d’Art Lyrique d’Aix-en-Provence in 1999. He was engaged at the Musiktheater im Revier in Gelsenkirchen from 1999–2005, specializing in Mozart and Rossini roles. Mark Adler has been a permanent member of the company at the Staatstheater Darmstadt since the 2005/06 season, where he has sung in repertoire including Monteverdi’s L’incoronazione di Poppea, Gounod’s Faust and Kalman’s Gräfin Mariza. He has given guest performances in Koblenz as Belmonte in Mozart’s Die Entführung aus dem Serail and at the Théâtre de la Monnaie in Brussels in Monteverdi’s Il ritorno d’Ulisse. He has also sung in this production at the Lincoln Center in New York, Théatre de Caen, the Grand Théâtre de la Ville in Luxembourg and the Melbourne Festival. Personal details
  • Patrick Pobeschin studied singing at the Musikhochschule Stuttgart with Dunja Vejzovic; further important influences came from Maria Sofianska, Carl Davis, Julia Hamari and Kathrin Prick. He has sung as a guest artist at the Aalto-Theater Essen, the Dortmund Theater, the Pfalztheater Kaiserslautern and at the theaters in Regensburg and Heidelberg, and is a member of the ensemble at the Staatstheater Mainz. Pobeschin also sang in the premiere of the contemporary opera Melancholia by Georg Friedrich Haas (b. 1954) at the Opéra de Paris. He also performed this role at Den Nye Opera in Stavanger, Norway. Personal details
  • Adolph Seidel studied singing with Peter Wetzler and Paul Lohmann. He specializes in music of the early and high Baroque. As well as bass roles in concert repertoire, he particularly enjoys ensemble singing. Reflecting this, since 1977 he has been a member of the Kammerchor Stuttgart, the sixteen soloists of the Kammerchor Stuttgart under Frieder Bernius and the KammerChor Saarbrücken, and has been the bass in the Orlando di Lasso-Ensemble for several years. As well as his work as a singer, he is director of the vocal ensemble VocArt, specializing in the performance of Baroque vocal music ranging from small-scale works for soloists to oratorio works. Personal details
  • Thomas E. Bauer, who today is one of the most sought-after baritones, began singing as a member of the Regensburger Domspatzen. Important performances of contemporary music have left an indelible mark on his artistic profile. He has participated in world premieres of works by Nono, Killmayer and Rihm and he was awarded the Schneider- Schott Musikpreis in 2003 for his outstanding achievements in this area. His repertoire as an opera singer encompasses great title roles, including Monteverdi’s Orfeo, Rossini’s Il barbiere di Siviglia and Berg’s Wozzeck. However, his great passion is singing lieder. He regularly gives lied recitals in Japan (Aoyama Music Award) and – together with the fortepiano specialist Jos van Immerseel – in Paris, Brugge and Brussels. Personal details
  • Der gebürtige Stuttgarter Andreas Macco begann seine musikalische Ausbildung an der Musikhochschule seiner Heimatstadt. Er setzte sein Gesangsstudium in Frankfurt und Wien unter anderem bei Walter Berry fort. Neben Festengagements an den Theatern Bremerhaven und Krefeld, der Staatsoper Hannover und der Oper Frankfurt gastierte der Bass an namhaften europäischen Opernhäusern wie der Deutschen Oper Berlin, Mailänder Scala, Staatsoper Athen und dem Opernhaus Zürich. 2007 und 2008 sang er die Rolle des Hans Schwarz in Die Meistersinger von Nürnberg bei den Bayreuther Festspielen und debütierte 2008 als Gonzalo in Frank Martins Der Sturm im Amsterdamer Concertgebouw. Zu seinem Konzertrepertoire gehören die Passionen von Johann Sebastian Bach, Oratorien von Haydn, Händel und Mendelssohn und die Requiem-Vertonungen von Mozart, Verdi und Dvor`´ák. Daneben war er in der 9. Sinfonie von Ludwig van Beethoven, in Mahlers 8. Sinfonie und in Bernd Alois Zimmermanns Ecclesiastischer Aktion zu hören. Personal details

Reviews

[...] Fazit: Bernius ist eine bedeutende Ausgrabung gelungen, [...]

Walter Schneckenburger
das Orchester, 9/09

Please log in to write a feedback.

Reviews on our website can only be submitted by customers with a registered user account. A check whether the rated products were actually purchased does not take place.

No feedback available for this product.

Frequent questions about this work

Pencil symbol There are no questions and answers available so far or you were unable to find an answer to your specific question about this work? Then click here and send your specific questions to our Customer Services!
Related categories
Opera, singspiel