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Natursymphonie Hybrid SACD

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Audio-CD, Hybrid SACD, 20. Februar 2008
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Produktinformation

  • Komponist: Siegmund von Hausegger
  • Audio CD (20. Februar 2008)
  • Anzahl Disks/Tonträger: 1
  • Format: Hybrid SACD
  • Label: CPO
  • ASIN: B0013PS4AY
  • Weitere Ausgaben: Audio CD
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen 2 Kundenrezensionen
  • Amazon Bestseller-Rang: Nr. 54.911 in Musik-CDs & Vinyl (Siehe Top 100 in Musik-CDs & Vinyl)
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Titelverzeichnis

Disk: 1

  1. 1. Gehalten und mit Dehnung - Schnell
  2. 2. Langsam und gedehnt
  3. 3. Stürmisch bewegt
  4. 4. Sehr breit - Mit größter Kraft

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Format: Audio CD
Zu welchen Leistungen das WDR-Sinfonieorchester Köln in der lage ist,wissen wir schon seit den legendären Bruckner und Schubert-Einspielungen unter Günter Wand in den 70-er Jahren,aber auch die Schostakowitsch-Gesamteinspielung unter Barschai (Cannes Classical Award 2003,Prix International du Disque) wurde mehrfach ausgezeichnet.

Hier bestechen Orchester-und im Finale-auch der WDR Rundfunkchor mit einer grandiosen Leistung,dirigiert vom fleißigen und sehr umsichtigen Ari Rasilainen.Schade,dass dieser hervorragende Dirigent noch immer nicht mit den zwar prominenteren,aber nicht unbedingt besseren Kollegen seiner Zunft genannt wird.

Siegmund von Hausegger (1872-1948) überlebte die Hochblüte der K&K-Periode,dazu zwei Weltkriege,was alleine schon eine Zeitspanne umfasst,die enorm ist.Seine Zeitgenossen im alten Österreich waren Hugo Wolf,Gustav Mahler,Anton Bruckner,Emil Nicholaus von Reznicek,Ferrucio Busoni,Richard Heuberger,Robert Stolz,der späte Johann Strauß,Joseph Marx,Wilhelm Kienzl oder Dirigentenkollege und Komponist Felix von Weingärtner.Was für eine Ansammlung hochkarätiger Künstler.Nicht zu vergessen,der in Deutschland aufstrebende Richard Strauss.

Neben seiner mengenmäßig eher geringen Anzahl an Kompositionen wurde er vor allem als Dirigent und starker Fürsprecher von Anton Bruckners Werke bekannt,für deren Aufführung in der Ur-Fassung er immer wieder plädiert hat.

Die Symphonie an sich steht stilistisch,wie der Vor-Rezessent bereits treffend bemerkt hat,in der Spätromatik hin zur frühen Moderne.Das Entstehungsjahr 1911 lässt jetzt einige Vergleiche zu.
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Kommentar 3 Personen fanden diese Informationen hilfreich. War diese Rezension für Sie hilfreich? Ja Nein Feedback senden...
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Format: Audio CD
... bricht die Natur in diesem monumentalen Werk über den Hörer herein. Übermächtig und doch in Sehnsucht nach Erlösung zelebriert das überdimensionale Orchester Werden und Vergehen. Doch erst mit dem finalen Chor zu Goethes "Proömium" scheint die Hoffnung durch.
Vieles dabei mag zwar nach Mahler, mag nach Bruckner klingen, auch Assoziationen mit Schönbergs ebenfalls im Jahre 1911 vollendeten (aber erst 1913 uraufgeführten) "Gurre-Liedern" drängen sich auf. Und dennoch sucht die "Natursymhonie" ihresgleichen, entwickelt von Hausegger seinen eigenen wuchtigen, düster-aufwühlenden Stil, der dem Hörer den Atem nimmt und ihn sich fragen lässt, warum solch eine Perle derart lange in der Versenkung verschwinden musste.
WDR Runfunkchor und Sinfonieorchester unter Ari Rasilainen bewältigen die komplexe Partitur grandios. Unterstützt werden sie dabei von der herausragenden Klangtechnik dieser Hybrid-SACD. Eine längst schon überfällige Wiederentdeckung in einer großartigen Aufnahme!
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Amazon.com: 4.1 von 5 Sternen 4 Rezensionen
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen like Zemlinsky, Hausegger includes a universal human discourse 12. August 2015
Von demian d - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Unlike Mahler, the music here invites us into a world of deep mysticism without being didactic. Mahler's music talks about Mahler: like Zemlinsky, Hausegger includes a universal human discourse. For such a massive pile, overall, the effect is one of exhilaration and satisfaction. The recording is glorious. But this is not your run of the mill late Romantic bombast; again, Zemlisky comes to mind because of the economy of tonal language. I'm not a fan of this sort of hothouse plant; but when it succeeds, wow! Knock me down and call me later. Excellent!
3 von 3 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Superb performance of a very fine work 22. November 2010
Von G.D. - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Siegmund von Hausegger (1872-1948) has one of those names that seem to pop up in music encyclopedias, but until now we have had little or no opportunity to hear his music. The style is relatively predictable - gorgeous, opulent late-romanticism in the style of Richard Strauss, Mahler, Pfitzner and with a touch of Zemlinsky. His hour-long Natursymphonie is scored for a large orchestra (including harps, celesta and organ) and chorus, and is admittedly relatively sprawling. But it is also dazzling in its brilliant, dark colors and mesmerizingly swirling textures. Perhaps surprisingly, the work is not particularly pictorial - its abstract style is thus more reminiscent of a Mahler symphony (though lacking the impact).

Throughout the craftsmanship is impeccable, and despite its big, unwieldy format and huge forces, it is to Hausegger's credit that things never lapse into pomp and bombast, any more than a Mahler or Bruckner symphony does. It opens stirringly with buoyant brass writing and almost Tchaikovskian sweep. Yet it is probably the funeral march-like second movement that is the most stirring movement of them - Mahler is the obvious point of comparison, and Hausegger's attempt does not completely pale by the comparison. The third movement is appropriately dramatic (with some very fine writing for the organ - always part of and not above the orchestral textures). The finale is perhaps less interesting, but relatively effective and rising to a triumphant climax.

It is, overall, a very effective work, often enthralling and always gorgeously attractive. But there are few memorable themes here, however, and as such perhaps little to savor after the actual auditory experience is over; more problematically, Hausegger doesn't seem to care overly much for what happens to his themes - thus there is relatively little development or narrative structure in the work; it is, in short, a little static. Still, if you have any interest in gorgeous, slightly decadent late romantic music you shouldn't really afford to miss it. The performances are spirited, confident, colorful and technically immaculate, and Rasilainen whips up what sounds like the right balance of urgency and textural richness. The sound is spectacular, and as a whole this issue can be strongly recommended.
7 von 8 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Grandly scored music in search of a memorable theme 9. Juni 2011
Von dv_forever - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
The record label CPO has specialized in really out of the way repertoire and if it weren't for cottage labels like these, many of the lesser known composers would never see the light of day outside of some musical encyclopedia. Siegmund von Hausegger is another one of the hundreds of composers more or less lost to time. Time is not kind to the great majority of creative output in the arts.

Not that this Natursymphonie deserves more a few listens and only to folks who enjoy the dying years of late-romanticism. A gigantic orchestra is used to decorate material that is not very rich in content. I've tried to find something in this piece over the couple of years I've owned it but every time I return to it, my initial impressions are reinforced. What are those impressions? Well, let's say a mix of many elements. If you had Bruckner without the profundity, Richard Strauss without the thrills and energy, and Mahler without the pathos or edge, then perhaps you'd have something resembling this piece by Hausegger. I don't mean to be harsh but not every composer is profound and most obscure music remains so for a reason.

The performers here are highly dedicated. The sound quality is outstanding. The liner notes are long, pompous and tedious in the CPO tradition. The most arresting part of this symphony is perhaps it's finale. After some long instrumental movements full of nature painting mixed with Germanic symphonic development, we arrive to the conclusion. Hausegger chose to follow the Beethoven-Liszt-Mahler model in opting for a choral finale. Musically speaking, it's perhaps the least inspired part of the Natursymphonie and at the same time it's a joy to hear a chorus break up the monotony of the preceding instrumental movements. Altogether, not a bad find for listeners who just enjoy a grand, opulent orchestra moving across the landscape. But don't expect anything resembling great music or you'll be sorely disappointed. I would point people towards the Hans Rott symphony, the early Szymanowski symphonies and the first three Scriabin symphonies as much more interesting. You could also give Franz Schmidt a shot. All are more rewarding.
11 von 12 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Something New and Wonderful-- And it doesn't sound like Mahler! 17. Juli 2010
Von Richard O. Faulk - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
This is a refreshingly new piece for those who enjoy "late Romantic Period" orchestral music -- but please, let's stop the comparisons to Mahler. Hausegger is a true Romanticist, an extraordinary orchestrator, truly sensitive to delicate and massive forces, and thankfully unintimidated by the breakaway insanity of the serial movement. He's not a precursor to anything. He's simply true to himself as he pursues a tradition that he -- as well as many of us -- believe has not been exhausted.

That said, Hausegger avoids the maddening banalities that plague Mahler's music. We forgive Mahler for them, for the exasperating lack of sophistication, for those common and derivative themes that make one push the fast-forward button. Mahler certainly has some divine moments, sometimes even divine quarter hours, but wading through the ungraceful periods relegates his symphonies to the afficionado bin. So let's stop using Mahler as a standard against which all other late Romanticists must be measured. Such comparisons deprive us objectivity and too often tempt us to deem his contemporaries "derivative" before we give them an open ear.

Hausegger's experience as a conductor -- he conducted some very famous Bruckner performances in particular -- shows in his mastery of balance and diversity of the ensemble. It also allows him to build very complex sonic structures that do not overpower, obscure or overwhelm thematatic ideas and aural perceptions.

The subtle development of the "nature" theme throughout this piece rewards repeat listening, especially to those sensitive to orchestral color and tonal variety. It's a well-constructed motive that provides wide opportunites for subtle variations, and Hausegger exploits them in excellent symphonic style.

Yes, to some extent, the symphony is programatic -- especially in the incredble second movement that depicts the flight of the dead hosts -- but programs aren't always trite. Even without Hausegger's suggestions, we'd be left amazed and overwhelmed by the the devastating crescendo,the spectacular orchestral power, and the sheer emotional power of the sonic experience. After hearing the movement, surely some would ask "What in the world was he thinking when he wrote that?" And Hausegger's explanation is, under the circumstances, as satisfying as it gets.

The choral finale sets a Goethe poem that is ultimately focused on the infinite -- indeed, a walk, step by massive step, through it. The choral writing is sometimes dense, but the singing is remarkable. Only in the finale does one wish for a bit more harmonic adventure -- but perhaps there is an artistic reason underlying the relative simplicity of the final resolution. Perhaps Hausegger, consciously or subconsciously, is telling us that the power of tonality, however stretched, cannot be extinguished. Perhaps his message, a message that seeks integration and development of styles, rather than disintegration and disillusionment, more truly invokes the eternally positive human response to beauty, symetry, and consonance. If so, Hausegger's view of infinity is one we should all aspire to share.

I strongly recommend this recording. And I hope to hear more of Hausegger's music! It deserves greater exposure.
33 von 36 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Awesome piece... but the caveat is not musical 4. Oktober 2008
Von Laszlo - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
By now, we all know that there are hardly any undiscovered masterpieces in classical music. But CPO should be congratulated for unearthing obscure orchestral repertoire in excellent performances and superb sound. The recording here is extaordinary, everything is revealed with quite a punch. So, if you like a complex canvas of instrumental and orchestral sound, you will love this; just don't expect the next 'mahlerian' masterpiece, as much as this sounds like it.

My caveat is not musical at all. It lies on the liner notes. CPO has been improving its production values to achieve a status of one-of-my-favorite labels. But, sometimes, they hire this pseudo-philosophers that, in true elitist germanic fashion, ramble on meaning and lose perspective of the true value of liner-notes. The writer seems to spend more time on von Hausseger's father(!) than on the composer himself. Little is told about the piece, its historical context or time of composition. Simply ridiculous.

I hope CPO reads this. All their magnificent work is obscured by writings that defy purpose, and translations that, sometimes, verge on the laughable. Otherwise, keep up the good work, because I'll keep on buying.
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