Clemens Weigel - Die Geschopfe des Prometheus - COMPACT DISCS [CD]
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Ludwig van Beethoven and the stage this is the story of a predominantly unhappy love affair with an unexpected happy ending - the late breakthrough of Fidelio. If this paean to husbandly love had not triumphed at the third attempt, there would be little more left in the dramatic field, apart from some very fragmentary operatic attempts, than the festival music for The Ruins of Athens and King Stephen, Hungary's First Benefactor, which Marcus Bosch and the Capella Aquileia have already recently recorded for cpo. Of course, the InchmoreInch also includes two pieces for dance theatre the cute music for a knight's ballet written in Bonn's time and - far more weighty - the extensive score for the work by the famous choreographer and dancer Salvatore Viganò, which premiered under the title The Creatures of Prometheus at Vienna's Burgtheater on 28 March 1801. What the audience saw was a rather idyllic excerpt from the wildly eventful life of the disobedient titan. He has just formed his creatures out of clay, but they cannot get beyond mindless emotions. In his anger, Prometheus at first wants to stomp them out, but then he takes them to Parnassus, where the Muses teach them basic knowledge and artistic behavior under the eyes of Apollo. A general dance performance brings the predominantly cheerful, charming event to a close.
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- GenreClassicalDescriptionLudwig van Beethoven and the stage this is the story of a predominantly unhappy love affair with an unexpected happy ending - the late breakthrough of Fidelio. If this paean to husbandly love had not triumphed at the third attempt, there would be little more left in the dramatic field, apart from some very fragmentary operatic attempts, than the festival music for The Ruins of Athens and King Stephen, Hungary's First Benefactor, which Marcus Bosch and the Capella Aquileia have already recently recorded for cpo. Of course, the InchmoreInch also includes two pieces for dance theatre the cute music for a knight's ballet written in Bonn's time and - far more weighty - the extensive score for the work by the famous choreographer and dancer Salvatore Viganò, which premiered under the title The Creatures of Prometheus at Vienna's Burgtheater on 28 March 1801. What the audience saw was a rather idyllic excerpt from the wildly eventful life of the disobedient titan. He has just formed his creatures out of clay, but they cannot get beyond mindless emotions. In his anger, Prometheus at first wants to stomp them out, but then he takes them to Parnassus, where the Muses teach them basic knowledge and artistic behavior under the eyes of Apollo. A general dance performance brings the predominantly cheerful, charming event to a close.ArtistClemens WeigelTitleDie Geschopfe des PrometheusFormatCDLabelCpo Records
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Album Tracks 1. Ludwig Van Beethoven 2. The Creature of Prometheus, Op. 43 3. Coriolan - Overture, Op. 62 4. Leonore Overture No. 1, Op. 138 5. Leonore Overture No. 3, Op. 72A 6. Egmont - Overture, Op. 84 7. Symphony No. 8 in F Major, Op. 93 8. The Ruins of Athens, Op. 113 9. Franz Schubert 10. Marche Militaire in D Major, Op. 51, No. 1 (D. 733) 11. Rosamunde Overture (Die Zaubertharfe) (D. 644)
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Beethoven was commissioned to write his first stage work- a ballet score for Die Geschopfe des Prometheus ('The Creatures of Prometheus')- for the dancer and choreographer Salvatore Vigano, nephew of composer Luigi Boccherini. In the myth, Prometheus is punished by Zeus for stealing fire for the benefit of mankind; in the allegorical ballet, Prometheus brings Enlightenment ideas of art and science to humanity. The overture remains popular and the finale- the theme of which Beethoven was later to use in his 'Eroica' Symphony- offers a heroic conclusion. Album Tracks 1. Die Geschöpfe Des Prometheus, Op. 43 ('The Creatures of Prometheus') (1801) 2. Ouverture Adagio - Allegro Molto Con Brio 3. Introduzione, 'La Tempesta' Allegro Non Troppo 4. Act I 5. No. 1. Poco Adagio 6. No. 2. Adagio - Allegro Con Brio 7. No. 3. Allegro Vivace 8. Act II 9. No. 4. Maestoso - Andante 10. No. 5. Adagio - Andante Quasi Allegretto 11. No. 6. Un Poco Adagio - Allegro 12. No. 7. Grave 13. No. 8. Allegro Con Brio - Presto 14. No. 9. Adagio - Allegro Molto 15. No. 10. Pastorale Allegro 16. No. 11. Coro Di Gioja Andante 17. No. 12. Solo Di Gioja Maestoso - Allegro 18. No. 13. Terzetto I Grotteschi Allegro - Comodo 19. No. 14. Solo Della Cassentini Andante - Adagio - Allegro - Allegretto 20. No. 15. Coro E Solo Di Viganò Andantino - Adagio - Allegro 21. No. 16. Finale Allegretto - Allegro Molto
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In 1778 Mozart attested Inchthe most wonderful effectInch to the melodrama Medea (1775) of his contemporary Georg Anton Benda (1722-1795). Indeed, the combination of spoken texts with dramatic music unfolds a high emotional intensity here. Especially when a voice as incisive as that of the famous actress Katharina Thalbach breathes life into the text. The fast, delicate interplay of text and music makes it possible to develop a conflict-laden and contradictory character psychogram with an unusual presence. Marcus Bosch and the cappella aquileia accompany this new discovery of classical music theater with their usual precise and transparent sound. Album Tracks 1. Medea, melodrama~Eingang 2. Medea, melodrama~Erster Auftritt. Vertrauter Wohnsitz! 3. Medea, melodrama~Zweyter Auftritt. Marsch von ferne 4. Medea, melodrama~Dritter Auftritt. Wie er auf diesem Wagen thronte! 5. Medea, melodrama~Vierter Auftritt. Kommt, meine Geliebten! Der Augenblick ist günstig. 6. Medea, melodrama~Fünfter Auftritt. O, meine Kinder! 7. Medea, melodrama~Sechster Auftritt. Und das elendeste der geschaffnen Wesen! 8. Medea, melodrama~Siebender Auftritt. Wo bin ich? 9. Medea, melodrama~Achter Auftritt. Jason!
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