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DER FERNE KLANG (The Distant Sound) [Taster] by Franz Schreker
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- เผยแพร่เมื่อ 14 พ.ค. 2019
- pf: Gerd Albrecht cond/ Berlin Radio Symphony Orchestra
Years composed: 1903-10
Vocal score prepared by: Alban Berg ("'Lulu' would not have been possible without 'Der Ferne Klang'")
FULL CAST: www.arkivmusic...
SYNOPSIS: The storyline for Schreker’s opera covers a period of 15 years. The opera takes place in Germany and Venice circa 1900. Young composer Fritz leaves his Grete, no longer able to stand the petit bourgeois confines of his surroundings and feeling that he is destined for greater things. His plan is to return when he is famous and offer her riches, celebrity and his undying love. Grete is gambled away by her alcoholic father to a landlord and goes on the run. At the end of her tether, she is taken up by a matchmaker and agrees to follow her. After some time, Fritz - driven by a yearning for Grete - finds her again in the dance salon “La Casa di Maschere”, where she is now a courtesan called Greta. Fritz calls her a harlot and leaves again. Greta succumbs to the advances of a Count who had been wooing her for a long time in vain. Five years later, Fritz succeeds in having his opera “The Harp” premiered in a court theatre. Grete, who has since been abandoned by the Count and is now a common streetwalker called Tini, was at the performance. However, when she recognises herself in the main protagonist, she feels faint. The premiere turns into a fiasco. Grete learns that Fritz is terminally ill. The two of them meet again. However, their new-found happiness together comes too late: Fritz finds his mysterious “distant sound”, the mirage of which he has been chasing all his life, while dying in the arms of his long-lost love, Grete. (Source: www.universale...)
LIBRETTO: ?????
No subtitles this time, because I don't have an English translation of the libretto. If anybody happens to have one, please let me know.
![DIE FRAU OHNE SCHATTEN [Taster] by Richard Strauss [w/ English subtitles] (Audio + Vocal Score)](http://i.ytimg.com/vi/6VgxfeYBjRc/mqdefault.jpg)
![DIE FRAU OHNE SCHATTEN [Taster] by Richard Strauss [w/ English subtitles] (Audio + Vocal Score)](/img/tr.png)
Despite being a trained musician I had never heard of Schreker until I read a review an hour ago of a new recording of Der Ferne Klang.
I looked up this work on TH-cam and found a recording with a parallel score. For the last hour, I have been swept away by the emotion of the music and the complexity of the score.
Extraordinary.
Needless to say, I will be tracking down more recordings of his works to listen to and study.
Saw it in Frankfurt today. It‘s haunting.
A complete explosion of colours and atmospheres. Astonishing.
Welch´ein abgrundtiefes, mystisches Werk von bisher ungehörten Tönen ...
1:03:39 when you have homework on the weekends
Una meraviglia
13:58, what a modulation !
I can't disagree! The modulation you are referring to works as follows: because of Schreker's suspended tonality it's sometimes tough to unequivocally say in which key we are, but let's assume we come from B major. The E major chord 3 bars before the key change (4 bars after 84) is the IV in B and the A sharp half diminished chord that alternates between the E major triad is the VII7 in B. The chord after the key change (next slide in the video after the double bar) is A-flat major79 or better yet: E-flat major over A-flat major (polychord). A-flat is on the bottom and thus giving the most harmonic support. A sharp half diminished is the ii (mode mixture) in A flat and can function as the pivot chord.
What makes this modulation so well done, in my opinion, is that the 'pivot chord' doesn't function as such a - in a functional harmonic sense - modulatory device. We perceive this modulation more as a direct modulation (or phrase modulation): a sort of independent 'E major sound' going to an independent 'A-flat major sound.'
Early examples of that can be found in Liszt's works.
Unglaublich tolle Musik!
Wow, one of my favorite operas.
ACT I:
0:02 - Prelude
4:02 - Forest Scene
ACT II:
14:55 - Prelude (The House of Masks)
18:37 - "The Glowing Crown"
24:00 - "The Flower-Girl of Sorrento"
28:48 - Arrival of Fritz (and subsequent rejection of "courtesan" Grete)
ACT III:
34:52 - (pre-Nachtstücke)
36:52 - Nachtstücke
48:57 - Reunion & Finale
I have to hear the complete opera, but for those who are seeking an introduction to this work - or the composer, for that matter - your editing this 2+ hour opera to half its length is excellent, and one where I might get the score myself (the full orchestral score is on IMSLP) and work it in such a way where it can be done in concert with a good collegiate or advanced-level community orchestra, pending you have a conductor who has the chutzpah to program it on their concerts.
Was für eine Oper!!!
FYI: Schrecker wrote his own libretto
Interesting but FAR MORE AMAZING is "DAS WUNDER DER HELIANE" by KORNGOLD also profiled on TH-cam by the poster. Perhaps Schrecker is Korngold lite?
finally!! Thanks so much
Does anybody know how they made the bird sounds at 45:23? Was it one of those whistles you fill with water?
I wasn't aware of this recording. The Hálasz one has a weak female lead, the Kaftan one has cuts.
The Reunion excerpt is one of my all time favourite moments in all music. Those distant celesta and piano arpeggios and then when the orchestra enters... shivers everywhere.
But I have to say this recording lacks the clarity it needs. For example one cannot make out the leitmotif of the procuress as Vigelius sings "Sie brachten sie nach Venedig".
I bought a used copy of this recording (Capriccio) for 2 bucks at a yard sale. MIA - no clue where it is or what happened to it. Thank you for posting this!
Vous êtes injustement sévère avec l'enregistrement issu de la production de l'opéra de Hagen (1988). La cantatrice roumaine se défend vocalement très bien. Cette époque est le début de la renaissance de Schreker. On n'avait vu ni entendu de version du ferne Klang depuis 1976 (Graz, unique version de concert dirigée par E. Märzendorfer). La très belle production de Bruxelles était à venir (aucune version commerciale) et celle qu'on entend enregistrée à Berlin à un seul défaut : le vulgaire cri final de la cantatrice.
This recording has a few cuts too
@@zalba5710 So only Halasz remains as an option.
That's the thing about the absence of studio recordings in opera nowadays. One has to live with the cuts the production had at the time of recording.
Quotenwagner und jean-jacquessimon: la cantatrice roumaine se défend vraiment bien et plus que bien. La naiveté emouvante est au centre de son caractère, très touchante. Mais la prononciation fausse fait grand dommage! Ouir "ach" prononcé "asch" est tres terrible! Mais autrement, c'est excellent!
14:20
This ending lmao
1:03:08
15:58
31:45
Great music to a stupid plot
Because operas never have stupid plots..?
@@freewheeler8924 well I haven’t said that. But this one is something special. His later operas make in their own weird way more sense, but this one is just a random mix of opera clichees that don’t go with each other xD
@@zalba5710 For me, I really don't care what an opera's plot is about at all. Usually, I'd rather not know; it's just a distraction. I'm just in it for the music.
@@freewheeler8924 Same for me tbh, especially when listening to operas in languages I don’t understand. But German is my mother tongue so I am bound to get the plot lol
@tomekkobialka : libretto by the composer himself