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CHAN 7133
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CHAN 7133
Symphonic Poems, Vol 3

Strauss, R: Symphonic Poems, Vol. 3

The Classical Shop
release date: August 2000

Originally recorded in 1999

Artists:

Royal Scottish National Orchestra


Neeme Jarvi



Venue:

Caird Hall, Dundee



Producer:

Brian Couzens



Engineer:

Ralph Couzens



Record Label
Enchant

Genre:

Orchestral & Concertos




Total Time - 67:36
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Symphonic Poems, Vol 3

 

RICHARD STRAUSS

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Aus Italien, Op. 16

41:22  
  Symphonic Fantasy  
1 I Auf der Campagna: Andante 8:26
2 II In Roms Ruinen: Allegro molto con brio 11:15
3 III Am Strande von Sorrent: Andantino 12::26
4 IV Neapoilitanisches Volksleben: Allegro molto 9:13
   
5 

Metamorphosen

26:16
  A Study for 23 Solo Strings  
   
 Neeme Jarvi
   
  Aus Italien: 16-18 August 1988  
  Metamorphosen: 13 August 1989  
A reissue, from Järvi’s golden years with Chandos.

Two pieces from each extreme pf Richard Strauss’s creative career. The carefree ‘Aus Italien’ from a young composer/conductor who had the world at his feet and ‘Metamorphosen’, a funeral hymn for German music and culture from a composer who lived through two terrible world wars.

This new coupling is available at mid-price and complements volumes one (CHAN 7009/10 2-CD set) and two (CHAN 7011/2 2-CD set)


Classifiable as something between a suite and a symphonic poem, ‘Aus Italien’ records the impressions of a visit to Italy which Strauss made in the summer of 1886 when he was twenty-two, shortly before taking up the post of conductor of the Munich Court Opera. It was sketched while he was still in Italy and completed in Munich on 12 September 1886. He called it a ‘symphonic fantasy’ and dedicated it to the conductor Hans von Bülow. The first performance, conducted by the composer on 2 March 1887, received a mixed reaction which seems to have pleased Strauss who wrote to a friend: ‘all tremendous fun… The opposition have pronounced me half-crazy, talk about going astray and all that kind of rubbish. I felt immensely proud: the first work to have met with the opposition of the multitude. That proves it must be of some significance’.

In the last eighteen months of the Second World War Strauss witnessed, with increasing distress, the destruction of the German culture in which he had been nurtured. He was particularly saddened by the destruction of great opera houses and theatres. On 2 October 1943 the Munich National Theatre was destroyed by bombing a place particularly sacred to him as it was where Wagner’s operas had been first performed, and he was moved to sketch a few bars of ‘Mourning for Munich’. On the 13 March 1945 the Dresden Opera House was destroyed; he returned to these bars and within a month had composed his ‘Metamorphosen’, an elegy for what the Nazis had done to his beloved homeland. He had been asked by Paul Sacher for a work in September 1944 for his Zurich chamber orchestra, and it was first performed by them in Zurich on 25 January 1946.


‘Järvi and the SNO are in lively form throughout, and the recording is wide-ranged and full…’
Gramophone

‘Järvi takes a spacious view of the work [Aus Italien] and his recorded sound is full-‘bodied, with a natural perspective, and there is plenty of warmth.’
‘The Penguin Complete Guide’



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