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Playlist of Alexander von Zemlinsky

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  • Zemlinsky: Die Seejungfrau - Chailly / Royal Concertgebouw Orchestra

    41:23

    Alexander von Zemlinsky: Die Seejungfrau, Fantasie für Orchester (The Mermaid, Fantasy for Orchestra)

    I. Sehr mäßig bewegt (00:00)
    II. Sehr bewegt, rauschend (15:44)
    III. Sehr gedehnt, mit schmerzvollem Ausdruck (28:01)

    Royal Concertgebouw Orchestra
    Riccardo Chailly, conductor

    October 24, 1986
    Grote Zaal, Concertgebouw, Amsterdam

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  • Alexander von Zemlinsky - EINE FLORENTINISCHE TRAGÖDIE, Op.16.

    58:59

    Alexander von Zemlinsky, Eine florentinische Tragödie, Op. 16.
    Orchestre Philharmonique de Radio France, Armin Jordan.
    Iris Vermillon - Victor Lutsiuk - Albert Dohmen.
    HERE IS THE TRANSLATION OF THE LIBRETTO.

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  • Zemlinsky: Sinfonietta ∙ hr-Sinfonieorchester ∙ Andrés Orozco-Estrada

    22:02

    I. Sehr lebhaft ∙
    II. Ballade. Sehr gemessen, doch nicht schleppend ∙
    III. Rondo. Sehr lebhaft ∙

    hr-Sinfonieorchester – Frankfurt Radio Symphony ∙
    Andrés Orozco-Estrada, Dirigent ∙

    Alte Oper Frankfurt, 11. Dezember 2015 ∙

    Website: ∙
    Facebook:

  • Alexander von Zemlinsky: The Mermaid, fantasy for orchestra after Andersen

    47:50

    Critical version by Antony Beaumont; Storgårds, Helsingin kaupunginorkesteri

    Sehr mässig bewegt • 15:48 Sehr bewegt, rauschend • 33:04 Sehr gedehnt, mit schmerzvollem Ausdruck

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  • Alexander von Zemlinsky : Die Seejungfrau, symphonic poem-fantasy

    40:33

    I. Sehr mässig bewegt
    II. Sehr bewegt, rauschend
    III. Sehr gedehnt, mit schmerzvollem Ausdruck.
    Performed by the Berlin Radio Symphony Orchestra conducted by Riccardo Chailly.

  • Alexander von Zemlinsky : Symphony No. 2 In B-flat major

    45:01

    I. Sostenuto. Allegro
    II. Scherzando
    III. Adagio
    IV. Moderato.
    Performed by the Berlin Radio Symphony Orchestra conducted by Riccardo Chailly.

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  • Alexander von Zemlinsky - Clarinet Trio op. 3 With score

    26:51

    -Composer: Alexander von Zemlinsky (14 October 1871 – 15 March 1942)
    -Performers: Wolfgang Meyer (Clarinet), Mischa Meyer (Cello), Markus Hadulla (Piano)

    Trio for Clarinet, Cello and Piano in d minor, op. 3, written in 1895-96

    00:07 - I. Allegro ma non troppo
    13:14 - II. Andante
    21:31 - III. Allegro

    The Trio for piano, clarinet & cello in D minor, Op. 3, from 1896, of the Austrian composer Alexander von Zemlinsky is a work of conservative Romanticism modeled on Brahms' own trio scored for the same instruments of 1892. Indeed, the closing Allegro in D minor of Zemlinsky's Trio takes its main theme directly from the main theme of the parallel movement in Brahms' Trio. Nor is Brahms the only influence apparent in Zemlinsky's work: the opening Allegro ma no troppo in D minor sounds distinctly Slavic with echoes of Tchaikovsky and Dvorák in its themes and the central Andante's big sentimental tune in D major recalls the gestures of the passionate second theme of the closing movement of Mahler's First Symphony. Despite these imitations, Zemlinsky's Trio is an appealing and well-made work by a minor master of the fin de siècle.
    [allmusic.com]

  • Zemlinsky: A Ray of Light

    1:16

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    Composer: Alexander von Zemlinsky
    Artists: Emanuele Torquati

    A friend of Brahms and teacher of Schoenberg, Alexander Zemlinsky was a composer who straddled the divide of the 20th century, signalling the end of the Romantic period and the beginning of a marked upswing in experimentation. For the most part, however, the piano music on this disc is still firmly in the tradition of the great Romantic composers, composed as it was early on in his career. The Ländliche Tänze, or ‘Rustic Dances’, are a collection of light, pastoral dances, with nods to Schumann and Brahms. More melancholy and mournful are the Balladen (‘Ballades’) and Erinnerungen aus Wien (‘Memory of Vienna’), the latter referencing Wagner in its use of the ‘Tristan’ chord; these are works filled with the emotion and sensitivity one would expect from the tail end of this dramatic period, hinting at the developments that were to mark the following century. The lack of attention Zemlinsky’s oeuvre has received until now is sadly not surprising; a combination of the composer’s own attitude to his works – he was more interested in writing than selfpromotion – his life coinciding with dramatic historical events and his cultivation of a certain modesty of style (making him averse to dramatic emphasis and sensational effects in his music) meant that for a long time his output remained neglected. Emanuele Torquati is an acclaimed pianist, having performed at various prestigious concert venues across the globe. His recital at Columbia University in the USA garnered critical acclaim, with the New York Times praising him as a “thoughtful” and “insightful” musician, noting his sensitivity and skill at conveying to the listener how he thinks and feels about the music. This release complements his previous recordings for Brilliant, which include Brahms and Schumann: his interpretation of Zemlinsky’s works rounds off this period of Romanticism perfectly.

    Tracklist

    00:00:00 Ländliche Tänze Op. 1: No. 1, mit Wärme
    00:01:03 Ländliche Tänze Op. 1: No. 2, Flüchtig
    00:02:45 Ländliche Tänze Op. 1: No. 3, Träumerisch
    00:04:37 Ländliche Tänze Op. 1: No. 4, Sehr schnell und leicht
    00:06:00 Ländliche Tänze Op. 1: No. 5, Hinträumend
    00:07:38 Ländliche Tänze Op. 1: No. 6, Energisch
    00:08:36 Ländliche Tänze Op. 1: No. 7, Sehr zart
    00:10:17 Ländliche Tänze Op. 1: No. 8, Heiter
    00:11:06 Ländliche Tänze Op. 1: No. 9, Ländler-Tempo
    00:12:19 Ländliche Tänze Op. 1: No. 10, Gut betont
    00:13:20 Ländliche Tänze Op. 1: No. 11, Sehr sanft, No. 12 Sehr lebhaft

    00:15:50 Ballade No. 1: Archibald Douglas
    00:20:05 Ballade No. 2: Der König von Thule
    00:22:11 Ballade No. 3: Der Wassermann
    00:25:06 Ballade No. 4: Intermezzo

    00:29:25 Albumblatt (Erinnerungen aus Wien)
    00:32:00 Skizze

    00:34:38 Fantasien über Gedichte von Richard Dehmel Op. 9: No. 1, Stimme des Abends
    00:37:05 Fantasien über Gedichte von Richard Dehmel Op. 9: No. 2, Waldseligkeit
    00:40:54 Fantasien über Gedichte von Richard Dehmel Op. 9: No. 3, Liebe
    00:43:42 Fantasien über Gedichte von Richard Dehmel Op. 9: No. 4, Käferlied

    00:45:28 Menuett aus Das Gläserne Herz
    00:46:39 Ein Lichtstrahl

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  • Alexander Zemlinsky: Sonata for cello and piano

    25:28

    I Mit Leidenschaft
    II Andante 09:52
    III Andantino 18:00

    Anssi Karttunen, cello
    Nicolas Hodges, piano

    recorded at Fundación Juan March, Madrid, 22.5.2019

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  • Alexander von Zemlinsky - Piano Trio op. 3 in d minor LIVE

    23:19

    Alexander von Zemlinksy - Piano Trio op. 3 in d minor

    I. Allegro ma non troppo 0:00:00
    II. Andante 0:10:28
    III. Allegro 0:17:42

    Sequoia Trio: Marie Schreer (violin), Lily Thornton (cello), Nathan Tinker (piano)

    Recorded live at St Peter's Church, Notting Hill (London, UK) on 13th February 2012

    Click here for the rest of the programme:
    Grieg - Peer Gynt Suite No. 1:
    Schubert - Nottorno D879:


  • Alexander von Zemlinsky : Das gläserne Herz, Ballet - Ein Tanzpoem für Orchester

    35:31

    Derived from Act II from incomplete ballet, Der Triumph der Zeit.

    I. Massig bewegt (Feierlich)
    II. Mässig 2. Szene
    III. Sehr schnell (Presto)
    IV. Langsames Marsch - Zeitmass.
    Performed by the Cologne Philharmonic Orchestra conducted by
    James Conlon.

  • Alexander von Zemlinsky - Lyrische Symphonie, Op. 18

    42:47

    Alexander von Zemlinsky - Lyrische Symphonie, Op. 18 (1923)

    1. Ich bin friedlos, ich bin durstig nach fernen Dingen - 0:00
    2. O Mutter, der junge Prinz - 9:47
    3. Du bist die Abendwolke - 16:59
    4. Sprich zu mir, Geliebter - 22:55
    5. Befrei mich von den Banden deiner Süße, Lieb - 29:11
    6. Vollende denn das letzte Lied - 31:15
    7. Friede, mein Herz - 35:35

    Source of Audio (with performance information) -

  • Alexander von Zemlinsky - Albumblatt - Silke Avenhaus

    2:46

    Silke Avenhaus, piano
    Rec. 2003

  • Concertgebouworkest - Die Seejungfrau - Zemlinsky

    1:9:58

    Wednesday 27 May we stream Zemlinsky's Die Seejungfrau, conducted by Vladimir Jurowski. Before the concert, you can watch an interview with Jurowski about the piece. The stream is introduced by clarinettist Hein Wiedijk.
    We stream concerts every Monday, Wednesday and Friday at 4 pm CEST. This is the programme for the rest of the week:
    - 29 May: Strauss - Ein Heldenleben conducted by Mariss Jansons; introduction by Johan van Iersel (cello)

  • Maiblumen blüten überall by Alexander Zemlinsky

    10:36

    Maiblumen blüten überall (1898) by Alexander Zemlinsky. James Conlon, Conductor; Erica Brookhyser, soprano; Movses Pogossian and Saschka Haberl, violins; Matthew Maffett and Sarah Harball, violas; Benjamin Lash and Mindy Park, cellos. April 12, 2010. Zipper Hall, Los Angeles, California.

  • Jacek Kaspszyk conducts Alexander von Zemlinskys Die Seejungfrau

    44:28

    0:55 I. Sehr mässig bewegt
    16:57 II. Sehr bewegt, rauschend
    29:15 III. Sehr gedehnt, mit schmerzvollem Ausdruck
    Jacek Kaspszyk - dyrygent/conductor
    Orkiestra Filharmonii Narodowej
    Warsaw Philharmonic Orchestra
    koncert zarejestrowano 9 grudnia 2016 w sali koncertowej Filharmonii Narodowej
    recorded at Warsaw Philharmonic Concert Hall, December 9, 2016

  • Alexander von Zemlinsky - Die Seejungfrau

    8:25

    Alexander Zemlinsky was life's punching bag. After initial successes that pointed to an accomplished career for the young Zemlinsky - a prize-winning first opera, a second opera accepted by Gustav Mahler for the Vienna Court Opera, and a star pupil in the person of Arnold Schoenberg - things started to go wrong. A failed love-affair turned him into a laughing-stock, a miscalculated refusal of a post at the Berlin Opera didn't help his career (it was the same post Strauss had held), and the rise of the Nazis forced him into exile, first in Switzerland, and then in New York. The Mermaid was the first in a series of musical attempts to grapple with the demons of defeat - his opera Der Traumgörge (Goerge the Dreamer) and Der Zwerg (The Dwarf), both rife with autobiographical elements, were part of this process. Together, they are works that, in their bittersweet lyricism and moments of defiant exuberance, provide ample proof that no matter what life dealt him, Zemlinsky never lost confidence in his gifts as a composer.

    We have a failed love affair to thank for The Mermaid. Zemlinsky met Alma Schindler at a dinner party in February 1900 and was immediately captivated by her glamour and brilliance; her admission that Tristan und Isolde was her favorite opera was the icing on the cake. Her initial impression of him was slightly less rapt - she described him as chinless, small, with bulging eyes and as dreadfully ugly - but she began going to him for lessons anyway. After pursuing her for nearly two years, Zemlinsky was rejected by Alma, who had decided instead to marry Gustav Mahler, the composer-conductor who was director of the Vienna Court Opera at the time.

    As Antony Beaumont has pointed out in his study of Zemlinsky, the composer wrote The Mermaid as part of a psychological process meant to exorcise the trauma of Alma's marriage to Mahler. Zemlinsky turned to Hans Christian Andersen's mermaid story because of its resonance with his own situation at the time. In Andersen's story, a Mermaid saves a Prince from drowning and falls in love with him in the process. She goes to the Mer-witch, who, in exchange for her voice (the Witch cuts out the Mermaid's tongue), makes her human. But the bargain is perilous, for if the Mermaid fails to win the Prince, she will die. When the Prince marries another, the Mermaid's sisters go to the Mer-witch to try and save her. The Witch says that the Mermaid must kill the Prince, but she cannot bring herself to do it. Heartbroken, she plunges into the sea, but, instead of dying, is transformed into a Daughter of the Air and given another chance to regain her immortal soul. According to Beaumont, the composer saw himself as the Mermaid, with Alma as the Prince. In his musical setting of Andersen's tale, Zemlinsky was able to express his pain.

    The Mermaid opens with a musical depiction of the first lines of Andersen's tale: Far out in the ocean, where the water is as blue as the prettiest cornflower, and as clear as crystal, it is very, very deep; so deep, indeed, that no cable could fathom it. Many church steeples, piled one upon another, would not reach from the ground beneath to the surface of the water above. There dwell the Mer-king and his subjects. The movement is the most literal in its adherence to Andersen's narrative. Zemlinsky tells the story musically through a series of motives; an ascending figure depicting the bottom of the ocean, and the Mermaid's theme, introduced by solo violin, are among the motives heard at the outset of the first movement. The middle of the movement, which functions like a development section after the lengthy thematic exposition that precedes it, portrays the turbulent storm during which the Prince falls overboard; just as the music seems poised to reach its climax, we hear a sweet, extremely lyrical version of the Mermaid's theme.

  • Alexander von Zemlinsky Maiblumen blühten überall for soprano and string sextet

    9:25

    2019 Jerusalem - Budapest - Reconnection The Art of Chamber Music
    Students from the Liszt Academy, Budapest and from the Jerusalem Academy of Music and Dance
    Dalia Besprovzani - soprano
    Concert at the Jerusalem Academy of Music and Dance, 20/2/2019, Hall 221

  • Alexander von Zemlinsky : Cymbeline, selections from the incidental music

    16:13

    I. Vorspiel (Kraftvoll und mässig bewegt)
    II. Imogen und Pisanio (Sehr langsam)
    III. Einleitung zum 4. Akt (Mässig, nicht schleppend)
    IV. Einleitung zum 5. Akt (Energisch bewegt).
    Performed by the Cologne Philharmonic Orchestra conducted by
    James Conlon.

  • Barbara Hannigan; Frühlingstag; op. 2; Alexander von Zemlinsky

    1:45

    Barbara Hannigan--soprano
    Reinbert de Leeuw--piano
    2018
    ===================
    A third of the album’s songs draw on poems by Richard Dehmel, who saw love and sex everywhere he looked — something reflected in the sensuous beauty of Hannigan’s voice as she traces the vocal lines’ leaps and bounds, always pure in tone. De Leeuw’s piano playing, gently crisp and penetrating, casts its own spell, enhanced by the sympathetic recording.; The TImes; September 2018
    =======================
    Hannigan’s luminous voice perfectly suits this music. She conveys the uneasy, almost unhinged feel of the fin de siècle not only in her lyric singing, but also in her crooning, swopping, sliding, whispering and weeping. Reinbert de Leeuw matches her with his delicate touch, and his sense of layering in the carefully terraced accompaniments…’Frühlingstag’ is exquisitely, unforgettably beautiful. BBC nMusic Magazine; Christmas 2018

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  • Alexander von Zemlinsky - Sinfonietta op.23 - I movement

    9:14

    The Austrian composer and conductor Alexander von Zemlinsky was born in Vienna in 1871. His reputation has to some extent been overshadowed by the controversial and influential achievements of his brother-in-law Arnold Schoenberg, with Alban Berg and Anton Webern, on the one hand, and by those of his older contemporary Gustav Mahler. Zemlinsky continues the tradition of Viennese classicism, the influence of Wagner never leading him to abandon tonality. In some measure he represents a generation of Viennese composers who were able to combine the apparently divergent tendencies of Brahms and Wagner.

    Zemlinsky was trained at the Vienna Conservatory, where he was a composition pupil of Johann Nepomuk Fuchs, himself a pupil of Sechter, who had taught Schubert briefly, and of Bruckner, in the intervals of writing his daily fugue. Always a fine craftsman, Zemlinsky was able to instruct Schoenberg, whom he met in the amateur orchestra Polyhymnia in 1895, in counterpoint, and gave him advice on his earlier work. He was to remain for some time a strong influence both on Schoenberg and on younger composers in Vienna. He also taught Alma Schindler, later the wife of Mahler, who in 1897 became conductor at the Court Opera in Vienna

    Zemlinskys close association with Schoenberg, a relationship strengthened when the latter married Zemlinskys sister Mathilde, brought early collaboration in the opera Sarema, for which Schoenberg assisted with the libretto. Both men were indebted to Mahler for practical encouragement. It was Mahler who presented Zemlinskys second opera Es war einmal at the Court Opera in 1900, and accepted his next opera Der Traumgörge for performance. Later operas included two works based on Oscar Wilde, Eine Florentinische Tragödie, and Der Zwerg, a version of The Birthday of the Infanta.

    In addition to these and other stage works, Zemlinsky wrote songs, chamber music and four symphonies. The last of these, the Lyrische Sinfonie of 1923, using a text from Rabindranath Tagore, was quoted by Berg in his own Lyric Suite, as a sign of respect and affection.

    Zemlinskys career was essentially in opera. In 1899 he became Kapellmeister at the Carltheater in Vienna, and later conducted also at the Volksoper, where he was Kapellmeister from 1906 until 1911, with a break during Mahlers last season, 1907-08, when he conducted at the Court Opera. From 1911 until 1927 he was conductor at the Deutsche Landestheater in Prague, where he employed Schoenbergs pupils Webern, Jalowetz and Karl Horowitz. This period was followed by appointment as Kapellmeister at the Kroll Theatre in Berlin, under Klemperer, and the continuation of his work as a teacher, which he had carried out in Prague, at the Berlin Musikhochschule. At the accession to power of Hitler in 1933, Zemlinsky made his escape to Vienna, and at the Anschluss in 1938 moved first to Prague and then to the United States, where he died in 1942. (naxos.com)

  • Alexander Zemlinsky - A talk by Antony Beaumont

    1:8:34

    Zemlinsky's biographer, Antony Beaumont, talks about the composer's life and music.
    Recorded live at the Austrian Cultural Forum, London, in 2013.
    1:30 Introduction
    2:40 Father's family
    3:37 Mother's family
    4:40 Leopoldstadt, Vienna, in the mid 19th century
    5:50 Anti-semitism in Vienna
    6:48 Parents' marriage
    7:30 Father's career
    8:17 Did Zemlinsky consider himself Jewish?
    10:32 Zemlinsky's response to the Nazi anschluss
    11:22 The five periods of Zemlimsky's life
    11:27 1) Vienna (1871-1911)
    13:04 2) Prague (1911-1927)
    13:15 3) Berlin (1927-1933)
    13:45 4) Vienna (1933-1938)
    14:05 5) New York (1938-1942)
    14:42 Zemlinsky & Numerology
    17:30 Numerology in his music
    20:16 Arnold Schoenberg & Mathilde Zemlinsky
    23:52 String Quartet No 1
    25:30 Symphonic Poem The Mermaid
    26:05 Turnwachterlied
    26:32 Die Seejungfrau
    27:33 Schoenberg's Chamber Symphony
    27:54 Musical education
    28:10 - Robert Fuchs
    30:00 - Variative Development
    30:17 Clarinet Trio
    32:37 Influence of Wagner
    32:58 First opera : Sarema
    34:23 Second opera : Es war einmal
    34:58 Third opera : Der Traumgoerge
    38:45 Last opera : Der Koenig Kandaules
    40:00 Fourth opera : Kleider machen Leute
    41:28 Songs after poems by Maurice Maeterlinck
    41:44 Psalm 23
    42:23 Life in Prague
    46:32 Prague compositions
    46:55 Lyric Symphony
    49:25 Death of Mathilde & break with Schoenberg
    50:12 String Quartet No 3
    53:07 Death of first wife
    53:16 Symphonische Gesange Op 20
    54:45 Seventh opera : Der Kreidekreis
    57:29 Psalm 13
    58:08 Bach's Art of Fugue
    59:18 Death of Berg & String Quartet No 4
    1:00:37 Last years in New York
    1:04:30 Death & obscurity
    1:07:20 End credits

  • Alexander von Zemlinsky – Morská panna, fantázia pre orchester

    5:06

    Slovenská filharmónia a Streamboyz pozývajú na výnimočný hudobný zážitok!

    Milí diváci, máte jedinečnú možnosť počuť a vidieť naživo veľkolepé symfonické dielo, ktoré sa často nehráva!

    Slovenská filharmónia uvádza fantáziu pre orchester Alexandra von Zemlinského „Morská panna“. Orchester SF diriguje Rastislav Štúr.

    Piatok, 26. 2. 2016 o 19 h v Koncertnej sieni Slovenskej filharmónie.

    Vstupenky hodinu pred koncertom
    Pokladnica SF
    Nám. Eugena Suchoňa 1

    Info:

    Alexander von Zemlinsky bol jedným z reprezentantov zložitej epochy fin de siécle. Jeho verzia rozprávky Hansa Christiana Andersena je sladkobôľnym hudobným príbehom prebiehajúcim v kvetnatom inštrumentačnom opare.

    Ukážka je záznamom koncertu, ktorý sa konal vo štvrtok, 25. 2. 2016.

    Na koncerte okrem Zemlinského úžasného diela ešte zaznie takisto málo známy Koncert pre husle a orchester č. 1 c mol, op. 88, Josefa Bohuslava Foerstera v podaní René Kubelika a predohra Oberon Carla Mariu von Webera.

    Záznam a túto pozvánku pre vás pripravil tím Streamboyz SF
    Vašo Frkal – zvuk, svetlá
    Stano Beňačka – kamery, strih
    Marek Piaček – réžia

    Tešíme sa na vašu návštevu!

    PS od Streamboyz: Je to naozaj výnimočné dielo! Treba vidieť naživo!

  • Alexander von Zemlinsky Clarinet Trio d-minor op. 3 Mai Klassik Festival 2018

    30:33

    Alexander von Zemlinsky
    Clarinet Trio d-minor op. 3
    Martin Spangenberg, Clarinet
    Hans-Christian Schweiker, Violoncello
    Hyun Jung Kim-Schweiker, Piano
    Mai Klassik Festival 2018
    4.5.2018 Energeticon Alsdorf, Germany

  • Christiane Karg; Frühlingstag; Alexander von Zemlinsky

    2:14

    Christiane Karg--Soprano
    Burkhard Kehring--Piano
    2009

  • Alexander von Zemlinsky - Trio d-Moll Opus 3, für Klarinette, Violoncello und Klavier

    23:55

    Alexander von Zemlinsky (1871-1942)
    Trio d-Moll Opus 3, für Klarinette, Violoncello und Klavier

    Allegro ma non troppo
    Andante
    Allegro

    Klavier: Suji Lee
    Klarinette: Pei-Jung Wu
    Violoncello: Isabel Gehweiler

    Mittwoch, 14. Januar 2015, 19.30 Uhr
    Konzertsaal 1, Zürcher Hochschule der Künste

  • Alexander von Zemlinsky - Psalm 83

    12:31

    Alexander von Zemlinsky (1872-1942)
    Psalm 83 (1900)

    Slovak Philharmonic Choir
    Wiener Philharmoniker
    Riccardo Chailly

  • Alexander von Zemlinsky – Der Zwerg

    2:04

    ‘The Dwarf’ opera in one act, Op. 17 (1921)

    Based on Oscar Wilde’s story ‘The Birthday of the Infanta,’ Zemlinsky’s single-act opera Der Zwerg is the tragic tale of a dwarf who is presented at court, falls in love with the beautiful Donna Clara, but is ultimately forced to see himself as others see him and to die of a broken heart. Preceded by Schoenberg’s ‘Accompaniment to a Cinematographic Scene,’ Op. 34, Zemlinsky’s Romantic score is full of psychological intrigue. Is Der Zwerg a critique of society’s superficiality? Is it the composer’s self-portrait in his doomed affair with Alma Schindler? Director Tobias Kratzer’s stunning, transparent production creates a space in which each character is thrown into sharp relief in this ‘fine, noble and melancholy work’. (Bachtrack.com)

    As Prologue
    Arnold Schoenberg
    Begleitungsmusik zu einer Lichtspielscene (1930)

    Alma Schindler – Adelle Eslinger-Runnicles, Piano
    Alexander von Zemlinsky – Evgeny Nikiforov, Piano

    Donna Clara – Elena Tsallagova, Soprano
    Ghita – Emily Magee, Soprano
    Der Zwerg – David Butt Philip, Tenor
    Der Zwerg – Mick Morris Mehnert, Actor
    Don Estoban – Philipp Jekal, Baritone

    Chorus and Orchestra of the Deutsche Oper Berlin
    Conductor – Donald Runnicles

    Stage Director – Tobias Kratzer
    Video Director – Götz Filenius
    Filmed on 27 and 30 March 2019 at the Deutsche Oper Berlin, Germany

    A Naxos production in co-operation with the Deutsche Oper Berlin

    Buy
    DVD 2.110657 -
    Blu-ray NBD0108V -

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  • Alexander Zemlinsky: Quartetto per archi n.3 op. 19

    26:18

    Alexander Zemlinsky (1871-1942): Quartetto per archi n. 3 op. 19 (1924) -- Schoenberg Quartet ---

    I. Allegretto. Gemächlich, innig bewegt
    II. Thema mit Variationen
    III. Romanze. Sehr mäßige Achtel. Andante sostenuto
    IV. Burleske. Sehr lebhaft. Allegro moderato


    --- cover image by Lovis Corinth ----


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  • DIE WELT VON GESTERN - Alexander von Zemlinsky: Fantasien über Gedichte von Richard Dehmel, Op. 9

    13:04

    Video direction: Julie De Clercq
    Buy here:

    Die Welt von Gestern, Toon Fret and Veronika Iltchenko’s second album, alludes to the culture of well-to-do pre-war Europe, whose end was so dramatically captured in Stephan Zweig’s book of the same name. The pieces selected for this recording present a varied picture of 75 years of German and Austrian culture, including works by composers as stylistically different as Schumann, Reinecke, Karg-Elert and Zemlinsky. These compositions cover a wide timespan ranging from Schumann’s Drei Romanzen (1849), composed in a newly post-revolutionary Germany, to Niemann’s Aus einem alten Patrizierhaus (1933), written on the cusp of the darkest period in German history, which would mark the end of Zweig’s World of Yesterday.

    Toon and Veronika’s second album can be seen as a natural successor to their first CD, Le Temps retrouvé, which was devoted to the music of the French Belle Epoque and received warm praise from audiences and critics alike.

  • Barbara Hannigan; Empfägnis; op. 2; Alexander von Zemlinsky

    3:05

    Barbara Hannigan--soprano
    Reinbert de Leeuw--piano
    2018
    ===================
    A third of the album’s songs draw on poems by Richard Dehmel, who saw love and sex everywhere he looked — something reflected in the sensuous beauty of Hannigan’s voice as she traces the vocal lines’ leaps and bounds, always pure in tone. De Leeuw’s piano playing, gently crisp and penetrating, casts its own spell, enhanced by the sympathetic recording.; The TImes; September 2018
    =======================
    Hannigan’s luminous voice perfectly suits this music. She conveys the uneasy, almost unhinged feel of the fin de siècle not only in her lyric singing, but also in her crooning, swopping, sliding, whispering and weeping. Reinbert de Leeuw matches her with his delicate touch, and his sense of layering in the carefully terraced accompaniments…’Frühlingstag’ is exquisitely, unforgettably beautiful. BBC nMusic Magazine; Christmas 2018

  • Alexander von Zemlinsky - Sinfonietta op.23 - II movement

    7:18

    The Austrian composer and conductor Alexander von Zemlinsky was born in Vienna in 1871. His reputation has to some extent been overshadowed by the controversial and influential achievements of his brother-in-law Arnold Schoenberg, with Alban Berg and Anton Webern, on the one hand, and by those of his older contemporary Gustav Mahler. Zemlinsky continues the tradition of Viennese classicism, the influence of Wagner never leading him to abandon tonality. In some measure he represents a generation of Viennese composers who were able to combine the apparently divergent tendencies of Brahms and Wagner.

    Zemlinsky was trained at the Vienna Conservatory, where he was a composition pupil of Johann Nepomuk Fuchs, himself a pupil of Sechter, who had taught Schubert briefly, and of Bruckner, in the intervals of writing his daily fugue. Always a fine craftsman, Zemlinsky was able to instruct Schoenberg, whom he met in the amateur orchestra Polyhymnia in 1895, in counterpoint, and gave him advice on his earlier work. He was to remain for some time a strong influence both on Schoenberg and on younger composers in Vienna. He also taught Alma Schindler, later the wife of Mahler, who in 1897 became conductor at the Court Opera in Vienna

    Zemlinskys close association with Schoenberg, a relationship strengthened when the latter married Zemlinskys sister Mathilde, brought early collaboration in the opera Sarema, for which Schoenberg assisted with the libretto. Both men were indebted to Mahler for practical encouragement. It was Mahler who presented Zemlinskys second opera Es war einmal at the Court Opera in 1900, and accepted his next opera Der Traumgörge for performance. Later operas included two works based on Oscar Wilde, Eine Florentinische Tragödie, and Der Zwerg, a version of The Birthday of the Infanta.

    In addition to these and other stage works, Zemlinsky wrote songs, chamber music and four symphonies. The last of these, the Lyrische Sinfonie of 1923, using a text from Rabindranath Tagore, was quoted by Berg in his own Lyric Suite, as a sign of respect and affection.

    Zemlinskys career was essentially in opera. In 1899 he became Kapellmeister at the Carltheater in Vienna, and later conducted also at the Volksoper, where he was Kapellmeister from 1906 until 1911, with a break during Mahlers last season, 1907-08, when he conducted at the Court Opera. From 1911 until 1927 he was conductor at the Deutsche Landestheater in Prague, where he employed Schoenbergs pupils Webern, Jalowetz and Karl Horowitz. This period was followed by appointment as Kapellmeister at the Kroll Theatre in Berlin, under Klemperer, and the continuation of his work as a teacher, which he had carried out in Prague, at the Berlin Musikhochschule. At the accession to power of Hitler in 1933, Zemlinsky made his escape to Vienna, and at the Anschluss in 1938 moved first to Prague and then to the United States, where he died in 1942. (naxos.com)

  • Alexander von Zemlinsky - Sinfonietta op.23 - III movement

    5:41

    The Austrian composer and conductor Alexander von Zemlinsky was born in Vienna in 1871. His reputation has to some extent been overshadowed by the controversial and influential achievements of his brother-in-law Arnold Schoenberg, with Alban Berg and Anton Webern, on the one hand, and by those of his older contemporary Gustav Mahler. Zemlinsky continues the tradition of Viennese classicism, the influence of Wagner never leading him to abandon tonality. In some measure he represents a generation of Viennese composers who were able to combine the apparently divergent tendencies of Brahms and Wagner.

    Zemlinsky was trained at the Vienna Conservatory, where he was a composition pupil of Johann Nepomuk Fuchs, himself a pupil of Sechter, who had taught Schubert briefly, and of Bruckner, in the intervals of writing his daily fugue. Always a fine craftsman, Zemlinsky was able to instruct Schoenberg, whom he met in the amateur orchestra Polyhymnia in 1895, in counterpoint, and gave him advice on his earlier work. He was to remain for some time a strong influence both on Schoenberg and on younger composers in Vienna. He also taught Alma Schindler, later the wife of Mahler, who in 1897 became conductor at the Court Opera in Vienna

    Zemlinskys close association with Schoenberg, a relationship strengthened when the latter married Zemlinskys sister Mathilde, brought early collaboration in the opera Sarema, for which Schoenberg assisted with the libretto. Both men were indebted to Mahler for practical encouragement. It was Mahler who presented Zemlinskys second opera Es war einmal at the Court Opera in 1900, and accepted his next opera Der Traumgörge for performance. Later operas included two works based on Oscar Wilde, Eine Florentinische Tragödie, and Der Zwerg, a version of The Birthday of the Infanta.

    In addition to these and other stage works, Zemlinsky wrote songs, chamber music and four symphonies. The last of these, the Lyrische Sinfonie of 1923, using a text from Rabindranath Tagore, was quoted by Berg in his own Lyric Suite, as a sign of respect and affection.

    Zemlinskys career was essentially in opera. In 1899 he became Kapellmeister at the Carltheater in Vienna, and later conducted also at the Volksoper, where he was Kapellmeister from 1906 until 1911, with a break during Mahlers last season, 1907-08, when he conducted at the Court Opera. From 1911 until 1927 he was conductor at the Deutsche Landestheater in Prague, where he employed Schoenbergs pupils Webern, Jalowetz and Karl Horowitz. This period was followed by appointment as Kapellmeister at the Kroll Theatre in Berlin, under Klemperer, and the continuation of his work as a teacher, which he had carried out in Prague, at the Berlin Musikhochschule. At the accession to power of Hitler in 1933, Zemlinsky made his escape to Vienna, and at the Anschluss in 1938 moved first to Prague and then to the United States, where he died in 1942. (naxos.com)

  • Anton von Zemlinsky : Quatuor à cordes n° 2 op. 15 par le Quatuor Hanson

    41:27

    Wolfgang Rihm : Quatuor à cordes n° 4 par le Quatuor Hanson, extrait filmé du concert enregistré en public au studio 106 de la Maison de la radio, le 15 octobre 2016 - Emission Plaisirs du Quatuor à réécouter dans son intégralité sur France Musique :

  • A Florentine Tragedy • Alexander Zemlinsky • Livermore Valley Opera

    59:39

    Eine florentinische Tragödie • Alexander von Zemlinsky
    A Florentine Tragedy • Alexander Zemlinsky

    ~ ~ ~
    Livermore Valley Opera
    Artistic Director, Erie Mills
    Music Director, Alex Katsman
    Stage Director, Layna Chianakas

    Recorded in March 2020
    ~ ~ ~

    SYNOPSIS

    Florence, Italy, 1917. Bianca is the young and beautiful wife of a wealthy, but elderly merchant in Florence. She is unhappy with her husband, and takes a lover: a young Florentine aristocrat. The action takes place in Simone’s home, full of bolts of luxurious materials. Simone arrives home early from a business trip, suspecting that he will catch his wife with a lover. When he finds Bianca and Guido together, he pretends to believe that Guido has come to buy cloth. Guido pretends to fall in love with this idea, and is happy to be shown various samples. He agrees to buy a damask cloth and then a velvet robe, with payment being sent the following day. The exchanges become on the surface light-hearted, but it is clear that there is serious animosity developing, as the men goad one another. Bianca’s hatred of her husband also becomes clear as she begins to support Guido’s side. A fight ensues, as Bianca initially supports Guido against the loathsome husband, and the younger man succeeds in wounding the merchant. However in the hand-to-hand struggle that follows the older man’s physical strength prevails. Bianca has seen, in his raw physical strength, an attractive side to her husband she had not been aware of before, and Simone realizes his wife’s beauty.

    Source: Scottish Opera

    ~ ~ ~
    CAST
    Robert Mellon – Simone
    Anush Avetisyan – Bianca
    Michael Day – Guido Bardi
    ~ ~ ~

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  • Alexander von Zemlinsky: DER ZWERG

    35:41

    Dramaturge Sebastian Hanusa is taking you by the hand and guiding you through an opera evening with Alexander von Zemlinskys opera DER ZWERG (The dwarf) and the prologue BEGLEITMUSIK ZU EINER LICHTSPIELSCENE FÜR ORCHESTER by Arnold Schönberg: Directed by Tobias Kratzer, conducted by Donald Runnicles and performed by Elena Tsallagova, Emily Magee, David Butt Philip, Mick Morris Mehnert, Philipp Jekal, Flurina Stucki, Amber Fasquelle, Maiju Vaahatoluoto, Adelle Eslinger-Runnicles, Evgeny Nikiforov, chorus and orchestra at Deutsche Oper Berlin .

    In the new video series „Introduction“, the Deutsche Oper Berlin is taking a closer and deeper look onto his repertoire operas: What about the composers, their intentions to write, the basic ideas behind stagings and other things you were are always wondering about? Our dramturges are welcoming you to a detailed dive into the heart of our repertoire program.

    With friendly support by Naxos
    Video by Chris and the FATSOX

    ***
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  • Alexander von Zemlinsky - Eine florentinische Tragödie Vorspiel.wmv

    4:58

    Alexander von Zemlinsky (1871 1942)
    Eine florentinische Tragödie (Una tragedia fiorentina)
    Vorspiel
    RSO Berlin
    Gerd Albrecht
    Rec. 1984

  • ALEXANDER VON ZEMLINSKY Symphony in B-Flat Edgar Seipenbusch

    42:17

    Alexander von Zemlinsky Symphony in B-Flat Major
    1. Movement Sostenuto
    2. Movement Scherzo
    3. Movement Adagio
    4. Movement Moderato
    Slovak Philharmonic Orchestra
    Edgar Seipenbusch, conductor
    recorded : XI. 1985

  • Alexander von Zemlinsky : Two Psalms for chorus and orchestra

    24:58

    I. Psalm XXIII for chorus and orchestra Op. 14 (1910) 00:00-11:00
    II. Psalm XIII for chorus and orchestra Op. 24 (1935) 11:00-24:50

    Performed by Kammerchor Ernst Senff and the Berlin Radio Symphony Orchestra conducted by Riccardo Chailly.

  • Alexander von Zemlinsky. Trio in D Minor, Op.3. I. Allegro ma non troppo

    13:49

    Jean-David Coen (piano) • Gary Gray, (clarinet) • Stephen Green, (cello) performs at Beverly Hills International Music Festival

  • Barbara Hannigan; Imelin Rose; op. 7; Alexander von Zemlinsky

    2:59

    Barbara Hannigan--soprano
    Reinbert de Leeuw--piano
    2018
    ===================
    A third of the album’s songs draw on poems by Richard Dehmel, who saw love and sex everywhere he looked — something reflected in the sensuous beauty of Hannigan’s voice as she traces the vocal lines’ leaps and bounds, always pure in tone. De Leeuw’s piano playing, gently crisp and penetrating, casts its own spell, enhanced by the sympathetic recording.; The TImes; September 2018
    =======================
    Hannigan’s luminous voice perfectly suits this music. She conveys the uneasy, almost unhinged feel of the fin de siècle not only in her lyric singing, but also in her crooning, swopping, sliding, whispering and weeping. Reinbert de Leeuw matches her with his delicate touch, and his sense of layering in the carefully terraced accompaniments…’Frühlingstag’ is exquisitely, unforgettably beautiful. BBC nMusic Magazine; Christmas 2018

  • A. von Zemlinsky: 3 Pieces for Cello and Piano

    20:02

    Live at Spazio Teatro 89, Andrea Landi and Alba Gentili-Tedeschi play rare chamber music of Alexander von Zemlinsky

  • Alexander von Zemlinsky

    7:34

    Alexander von Zemlinsky (1871-1942) (Austria)
    « A Dance Poem » in one act, part I : Feierlich (1901)
    Dir : James Conlon

    Pour qui voudrait s'initier à la musique de la première école de Vienne, qui fit connaître notamment Richard Strauss et Joseph Marx, la première partie « Feierlich/Solennellement » du « Poème Dansé en un acte » (1901-1904) d'Alexander von Zemlinsky serait une bonne introduction. On trouve dans ce court mouvement la science orchestrale si caractéristique de cette école, mise au service d'un romantisme qui unit le grandiose au bucolique. Zemlinsky, qui aida son beau-frère Arnold Schönberg à se faire connaître en Autriche, dut fuir durant la Seconde Guerre mondiale aux Etats-Unis où son opulente musique n'eut hélas guère l'occasion de s'exprimer.

    LIST OF UPLOADS OF COLLECTIONCB, COLLECTIONCB2, COLLECTIONCB3, COLLECTIONCB4
    and
    IDEAL DISCOTHEQUE OF MORE THAN 1,500 ORCHESTRAL WORKS OF FEELINGS :

  • Alexander Zemlinsky Lyric Symphony - Michael Gielen 1994

    41:16

    01[00:00] 02[09:24] 03[16:01] 04[24:48] 05[28:16] 06[30:10] 07[34:10]

    Alexander Zemlinsky (1871 - 1942)
    Lyrische Symphonie op.18

    Michael Gielen
    James Johnson / baritone
    Vlatka Oršanić / soprano
    SWR Sinfonieorchester
    SWR Hans-Rosbaud-Studio February 21 & 23 1994

  • Imerlin Rose Op. 7 No. 4 - Alexander von Zemlinsky - Brianna Weckerly , Soprano

    3:00

    Imerlin Rose Op. 7 No. 4
    Music by Alexander von Zemlinsky

    Brianna Weckerly , Soprano
    Erika Switzer, Piano (MMF Faculty)

    MOSTLY MODERN FESTIVAL
    Skidmore College, Arthur Zankel Music Hall
    Saratoga Springs, New York (USA)
    6/15/2019

    Recorded by Arts Laureate

    LINKS


  • Alexander von Zemlinsky - Drei Stücke für Cello und Klavier - Humoreske

    3:01

    Probe 05.09.2015 Stuttgart

  • Alexander von Zemlinsky Der Geburtstag der Infantin

    5:37

    Alexander von Zemlinsky
    Der Zwerg (Il Nano)
    O Aniversário da Infanta (O Anão)
    Alexander von Zemlinsky Der Geburtstag der Infantin (Der Zwerg)
    Ópera em 1 Ato Primeira Audição na América Latina

  • Trio for Clarinet, Cello and Piano, Op. 3 - Alexander von Zemlinsky

    7:55

    Brandon Mosley, Clarinet
    Minyung Suh, Cello
    Jungim Ha, Piano
    Vianden Castle, Luxembourg
    Saturday, August 17, 2013

  • Alexander von Zemlinsky - Allegro ma non troppo

    13:19

    Trio in D Minor, Op. 3

    Alexander von Zemlinsky -

    Walter Boeykens -
    Roel Dieltiens -
    Robert Groslot -

  • Thomas Hampson; Das bucklichte Männlein; Alexander von Zemlinsky

    3:05

    Thomas Hampson--baritone
    Geoffrey Parsons--piano
    1989

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