Seelewig (豆瓣)

介质: Audio CD
发行时间: 2004-02-17
出版者: Cpo Records
唱片数: 1
条形码: 0761203990528

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简介 · · · · · ·

　　with complete scans + infos
　　http://rapidshare.com/files/147270567/Seelew.part1.rar
　　http://rapidshare.com/files/147270569/Seelew.part2.rar
　　http://rapidshare.com/files/147271391/Seelew.part3.rar
　　http://rapidshare.com/files/147271392/Seelew.part4.rar
　　In the first decades of the 17th century, Italy was the place to be for many musicians from all over... (展开全部) 　　with complete scans + infos
　　http://rapidshare.com/files/147270567/Seelew.part1.rar
　　http://rapidshare.com/files/147270569/Seelew.part2.rar
　　http://rapidshare.com/files/147271391/Seelew.part3.rar
　　http://rapidshare.com/files/147271392/Seelew.part4.rar
　　In the first decades of the 17th century, Italy was the place to be for many musicians from all over Europe. The birth of the 'seconda prattica' was a development which shook the musical world. And Germany was one of the countries whose composers crossed the Alpes to listen and learn. Once they returned their heads were full of the new concepts they had got acquainted with in Italy. One of the features of the ‘new style’ was the emergence of the opera. As keen as many composers were to imitate the newest trends in instrumental and vocal music in Italy, apparently the opera was a much more difficult phenomenon to copy. One German composer who was strongly influenced by Italian music was Heinrich Schütz. It is generally thought that it was he who, with 'Dafne' in 1627, wrote the first German opera. But since the music is lost it is impossible to be sure that his work can really be considered an opera.
　　Due to the loss of 'Dafne' it is 'Seelewig' by Sigmund Theophil Staden which is now considered the first German opera. It was first performed in Nuremberg in 1644. The composer didn't call it an opera, though. Its title is, translated: 'The Sacred Wood Poem or Comedy, called Seelewig, set in singing style in the Italian manner'. It is a morality play in which it is shown "how the evil enemy seeks to ruin pious souls in many various ways and how these, however, are kept from eternal damnation by God's word, through conscience and reason."
　　The subject of this moral drama is not unlike that of Emilio de' Cavalieri's 'Rappresentazione di Anima e di Corpo', which was first performed in 1600. It is not known whether the librettist of Seelewig, Georg Philipp Harsdörffer (1607 - 1658), was aware of De' Cavalieri's work, but he travelled to Italy in 1627, so he must have been aware of what was going on out there. On the other hand, this kind of moral dramas were pretty common in those days, and also used by the Jesuits to promote the ideals of the Counter-Reformation. As usual in pieces like this the characters are symbolic: Seelewig (pronunciated 'seel-ewig') means 'eternal soul', symbolising any pious person. She is threatened by Satan, here called Trügewalt (this name refers to the German verb ‘trügen’, to deceive), who uses Seelewig's companion Sinnigunda (Sensuality) to achieve his goal. He also convinces three shepherds - Künsteling, Ehrelob and Reichimuth - to work for him. The opposing forces are Herzigilt (Reason) and Gwissulda (Conscience).
　　Although the title refers to 'the Italian manner' one shouldn't expect anything like the operas by Monteverdi (whose Il ritorno d'Ulisse in patria and L'incoronazione di Poppea date from 1641 and 1642 respectively). The story develops through short dialogues of the protagonists, but these can't be considered recitatives. The mostly strophic songs are relatively simple and very close to the early 17th century German secular song. At the end of the second act Eitelkeit sings a song – ‘Lied über die Eitelkeit’-, which doesn't belong to Seelewig, and which stylistically isn't any different from the music in the ‘opera’.
　　This doesn’t mean there are not connections to the Italian opera at all. These are in particular the use of instruments to support specific characters, and also the practice of echo-effects. These are used to strongly dramatic effect in the third act, in the exchange between Seelewig, Sinnigunda and Trügewalt (who, otherwise singing in bass range, uses the falsetto to deceive Seelewig).
　　Whereas I think Monteverdi's operas can be heard without any staging or acting, I have the feeling this is more difficult with Seelewig. While listening I often thought something was missing. That is partly due to the performance, though. The music as such is good enough to listen to, but there seems to be a lack of real interaction between the singers. I also feels the tempi are a little slowish. A bit more involvement and passion wouldn't harm.
　　In general the singing and playing is rather good. In particular Monika Mauch, Hans Jörg Mammel and Ulrich Maier stand out in portraying their characters. I wondered why Franziska Gottwald is listed as a mezzosoprano, since she sounds more like a deep contralto. The part of Gwissulda is quite low; in a live performance in the Holland Festival of 1975 this part was sung by a high tenor.
　　In regard to repertoire this is a very important recording, and one wonders why it has taken so long before this work has been recorded. And as far as I know it is hardly ever performed, although I am sure it would make a very good piece of theatre. From that perspective it is disappointing that the interpretation is good, but not entirely satisfying. With a little more flair and imagination it could have been much better. And it is also a shame that some cuts have been made. Perhaps the attention Seelewig deserves will only come through a staged performance on DVD.
　　Johan van Veen

曲目 · · · · · ·

Prelude

Mein Hoher Adel Stand Lasst Mich Nicht

Zerfliesender Spiegel und Silberne Fluth

Kunsteling, Ich Muss Dir Klagen

Der Schatten Grossert Sich

Die Guldene Sonne Schwebt Uber Dem Meer

Lasset Uns Auch Mit Spatzieren

Sol Das Mich Nicht Recht Betruben

Dantzpiel - Dance Music With Violins

Es Ist Ein Groser Lust

Meine Gefertin, Wir Wollen Beschauen

Mit Rubinen Und Safiren

Horstu Was Die Schafer Singen?

Schau, Den Gebranden Thon

Wiltu Gei Diesem Fluss Vertreiben Deine Zeit

Ob Keine Gnade Gleich

Hertzigilt, Du Hast Vernommen

Nicht Das, Was Nur Beliebt

Ihr Schwestern Horet Mich

Wann Du Dich, Seelewig

Sopra La Chiccona - Gewittermusik - Storm Music

Dustere Wolken

Was Kann Unsern Sinn Betruben

Du Schnoder Menschen Sinn

Ist Sie So Bald Wendig Worden?

Schnell Eilende Wellen

Die Schwankende Nachtigal

Wann Dein Erfreulichs Wort

Wer Kann Denn Trosten Mich?

Hort, Was uns Trugewald Befohlen

Caccia D'amore - Questa Dolce Sirena

Beschau, Was Du Verblend'

Ach, Wungerstarker Gott

Nun Jauchtzet, Ihr Heiligen

Ist Die Liebes Trew Nunmehr Gantz Erkaltet

我来说两句

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