Richard Wagner Franz Liszt: Overture to Tannhäuser: Piano: Instrumental Work

Imaginez que la musique classique vous soit contée par les plus grands méchants de son Histoire?

Tout droit issus de l?imaginaire de célèbres compositeurs, le séduisant don Giovanni, le capitaine maudit du Vaisseau Fantôme, le Diable de la tentation de Faust, une ballerine fantomatique et jusqu?à la Mort elle-même décident de raconter leurs aventures à Luna, une jeune fille solitaire dont ils hantent les nuits.

Poèmes symphoniques mystérieux, airs d?opéra passionnés, concertos brillants : les ?uvres les plus émouvantes et les plus dramatiques se mettent au service des aventures de ces anti-héros, sublimées par le génie de compositeurs d?exception : Wolfgang Amadeus Mozart, Richard Wagner, Franz Liszt, Charles Gounod, mais également Modeste Moussorgski etArrigo Boito.

Aux côtés de ces figures maléfiques hautes en couleur, découvrez la richesse sonore de leurs morceaux favoris ainsi que l?incroyable vie des compositeurs qui les ont créés. Guidé par leurs voix singulières, analysez et écoutez en mélomane éclairé des partitions intemporelles.

Cet album est destiné à tous les amoureux de l?Art Musical : lecteurs de tous âges et niveaux apprécieront de suivre en musique les aventures artistiques de ces ténébreux personnages, tandis que musiciens et amateurs éclairés souhaitant parfaire leurs connaissances de culture musicale pourront découvrir ce répertoire d?exception dans le plaisir de l?écoute.

Le CD offert permet de prolonger la découverte de ces étonnants personnages au-delà de la lecture, en un voyage sonoreallant des profondeurs du moyen-âge au lyrisme de l?époque romantique.

Mers déchaînées, airs diaboliques, fêtes infernales : embarquez musicalement dans les plus fantastiques légendes de la musique classique !


LES AUTEURS

- Vanessa Callico / Auteur

Vanessa Callico est écrivain et musicienne classique professionnelle. En hommage à la littérature sud américaine du « réalisme magique » et aux classiques de science-fiction, sa plume la porte naturellement vers des univers proches de la littérature fantastique.

Artiste musicienne et pédagogue diplômée d?état, Vanessa Callico a également réfléchi à une application musicale des méthodes des Écoles Nouvelles ( Montessori, Freinet) sur l?apprentissage des fondamentaux de la musique et la transmission de la culture artistique. Ses albums pédagogiques passent toujours par l?imaginaire comme premier vecteur de l?envie d?apprendre.

Tout en poursuivant l?écriture de ses romans et méthodes d?apprentissage, Vanessa Callico écrit également pour le théâtre. Sa prochaine production artistique combinera la transmission de savoirs musicaux au plaisir d?une intrigue mêlant poésie et imaginaire.

- Senyphine / Illustratrice

Sandrine Replat aka Senyphine, est née à Grenoble en 1978.

Elle se passionne très jeune pour le dessin, elle décroche le diplôme de graphiste de l?École Supérieure de la Création Graphique Supcrea (Grenoble) en 2000.

Au fil des ans, sa technique se singularise par l?utilisation conjointe de médiums traditionnels et de peinture numérique apportant à ses travaux une ambiance toute personnelle.

Ses personnages et décors oniriques ainsi que ses lumières irréelles s?adaptent parfaitement aux contes pour enfants mais aussi aux illustrations fantastiques.
/ Livre /

Liszt, l?un des plus grands pianistes virtuoses de son temps, transcrivit un nombre impressionnant d?oeuvres d?autres compositeurs pour son instrument de prédilection ? oeuvre clé du XIXe siècle, le Tristan et Isolde de Wagner en fit tout naturellement partie.

C?est de sa géniale transcription pour piano de la célèbre scène finale («Mild und leise, wie er lächelt») que provient par ailleurs le titre communément employé aujourd?hui de «Mort d?Isolde» ? Wagner parlait encore de «transfiguration» d?Isolde.

Nous présentons ce morceau raffiné, mais pas d??une difficulté insurmontable, dans une édition Urtext de la meilleure qualité, incluant les doigtés originaux du maître du clavier. Le texte chanté de cette scène finale du drame est par ailleurs reproduit en annexe à notre édition. / [Isoldens Liebestod / Extrait de Tristan et Isolde (Richard Wagner)] / Classique / Partition / Agrafé /

Par DENIZEAU GERARD. Une synthêse sur la vie et l'oeuvre prolifique du compositeur allemand : l'invention du leitmotiv, ses relations avec Louis II de Baviêre et Franz Liszt, sa volonté de contrôler totalement la direction de ses opéras, etc. / Broché / Livre / Livres

Arrangements pour le piano, transcriptions et paraphrases d'opéra prendre une part importante dans l'oeuvre complète de Franz Liszt. Il a même organisé des scènes de la drames musicaux de Richard Wagner. La transcription de 'Lied an den Abendstern' vient du troisième acte de l'opéra romantique du Tannhäuser und der Wartburg Sängerkrieg auf. Dans sa transcription de Liszt de 1849 conservé exactement à Wagner d'origine, mais il a divisé la scène en 'Récitatif' et 'Romance'. Il a transposé la pièce sur les touches de sol dièse mineur et la bémol majeur, qui sonnent plus chaudes sur le piano et qui permettent également un réglage plus piano facile à jouer romantique. Liszt utilise la cantilène des violoncelles dans l'original de Wagner comme point culminant tonale avec octaves dans le déchant. Une transcription qui est beau à écouter à la fois pour le pianiste et le public et convient parfaitement pour des concerts et des récitals. / Piano

Best remembered for his extraordinary advancement of Piano technique, Franz Liszt saw himself in quite a different light: as an innovative composer prepared to move beyond convention into uncharted waters. He and Richard Wagner were allies in Zukunftsmusik, the 'music of the future,' a new approach that was liberated from all prescribed rules of musical form. Liszt invented the tone poem, and this work is his most famous example. Inspired by Goethe's great verse drama, A Faust Symphony premiered in 1857. The three-movement work musically depicts the essence of Faust, Gretchen, and Mephistopheles, the characters who drive Goethe's tale. Brilliantly innovative and endlessly fascinating in its transformations of thematic materials, the work has influenced many major composers, including Strauss and Debussy, and remains frequently studied, performed, and recorded. This affordable edition was reproduced from an authoritative text and features an informative Introduction by a renowned expert on Liszt . / Orchestre

Lohengrin est considéré comme conte de fée comme opéra le plus de Wagner, ses motifs terrain entrelacement du monde de légendes et de l'histoire médiévale. L'opéra a été présenté en première au Théâtre de la Cour de Weimar le 28 Août 1850 sous la direction de Franz Liszt en l'absence du compositeur.Cette nouvelle édition Eulenburg de partition d'étude suit le Wagner Complete Edition qui est basé sur la partition autographe, représentant la première édition critique de Lohengrin. Les éditions précédentes étaient basées sur l'édition 1914 de la partition qui diffère de l'autographe de nombreux détails et a été publié par Michael Balling dans le cadre de la première édition complète qui est resté inachevé.Le texte musical original est maintenant disponible dans un format pratique pour la première fois - et est parfaitement adapté à des fins d'étude.Avec préface allemand / anglais et le rapport critique! / Choeur Et Orchestre

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie