Anna Lucia Richter - Lieder - COMPACT DISCS [CD]

?With the present programme we want to explore the history of the German Lied throughout a period spanning some 800 years, from that first light of dawn represented by the earliest music scored with modern notation - courtly love songs by Walther von der Vogelweide (1170-1230) and Oswald von Wolkenstein (1377-1445) - down to such present-day emissaries of the Lied tradition as Aribert Reimann and Wolfgang Rihm. In between we find J. S. Bach, Haydn, Mozart, Schubert, Mendelssohn, F. Hensel, Wolf, Berg and Eisler.

Mezzo-soprano Anna Lucia Richter interprets Gustav Mahler's Wunderhorn Lieder and Kindertotenliederwith great emotional depth and subtle creative power - two cycles that illuminate human fate in all itsfacets like few others. In the Wunderhorn Lieder we encounter tender childhood memories and bizarre stories - a worldbetween irony, folk song and deep melancholy. The harrowing contrast is provided by theKindertotenlieder, in which Mahler sets the pain of the loss of a child to music with poignant clarity andtouching restraint. Together with the Gurzenich Orchestra Cologne under the baton of Jordan de Souza, Anna Lucia Richtergives these songs a new, very personal dimension with her highly nuanced voice.

Nicolaus Richter de Vroe, one of the strongest talents among the younger composer from Saxony, joined since the mid-eighties produced primarily with instrumental chamber music. And even in the West, he made a sudden talking point after he had won in 1985 at the Cologne Composition Competition InchYoung Generation in EuropeInch a price. Previously, Judge de Vroe had (with a major in violin) visited the Special School of Music in Dresden, the university and finally five years the famous Moscow Tchaikovsky Conservatory. There was a lot of opportunity, more modern than in Dresden perceive. Even Cage came up, and began Richter de Vroe to penetrate into the mind of Zen Buddhism. All in all predominate in pieces Judge de Vroes subversive moments against ingrained conventions of composing, playing and listening. They range from the preferred exploring the regions of noise liable - on the individual, detailed game-action (against a collective feeling generated mass al fresco) - up to the incoherent, free child, labyrinthine design of musical progressions. There are, in spite of explosive force, a predominant gestures of violence, combined with a knack for subtle, fragile and aimlessly static, what time - at least in the music of the GDR - a completely new quality possessed, but beyond all probaten forms of aggressive ideological composing differed. Album Tracks 1. Durchlässige Zonen (I) I 12 03 2. Durchlässige Zonen (I) II 3 49 3. Isole Di Rumore (Durchlässige Zonen II) I 8 29 4. Isole Di Rumore (Durchlässige Zonen II) II 7 18 5. Isole Di Rumore (Durchlässige Zonen II) Aus Weißen 16 40 6. Tetra?? III - I 2 40 7. Tetra?? III - II 3 16 8. Tetra?? III - III 3 12 9. Tetra?? III - IV 6 24 10. Tetra?? III - Lum'q'uart'inance 12 32