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Bernd Alois Zimmermann und das symphonische Spätwerk
100
10,000
1,400
Artboard 2
LABEL
Cybele
RELEASE DATE
September 1, 2017
DURATION
03:18:23
ALBUM ARTISTS
Album TRACKS
DISC 1
1
베른트 알로이스 침머만
Concerto I. Introduzione (Dans la vallée des songes)
5:10
2
 
II. Allegro (La Fée, Don Quichotte et la sentimentale)
3:25
3
 
III. Adagio (Les trois cygnes blancs)
5:42
4
 
IV. Tempo di marcia (Les trois paladins)
1:35
5
 
V. Blues e Coda (La Fée, le violoncelle et la contrebasse)
8:44
 
6
베른트 알로이스 침머만
Musique pour les soupers du roi Ubu, "ballet noir" I. Entrée de L'Académie
1:52
7
 
II. Ubu Roi, Capitaine Bordure et ses partisans
3:11
8
 
III. Mère Ubu et ses Gardes
1:48
9
 
IV. Pile, Cotice et l'ours
1:12
10
 
V. Le Cheval à Phynances et les larbins de Phynances
1:01
11
 
VI. Pavane de Pissembock et Pissedoux
3:27
12
 
VII. Berceuse des petits financiers qui ne peuvent pas s'endormir
1:09
13
 
VIII. Marche du décervelage
4:43
 
14
 
Spoken Word
Elke Heidenreich: Sicher auf dem Seil der Musik über die Abgründe des Daseins 1. Der König ist nicht amüsiert
2:22
15
 
2. Der König versucht zu denken
5:09
16
 
3. Als ich ein Kind war, war ich glücklich
3:05
17
 
4. Der Kulturdezernent ist verwirrt
4:53
18
 
5. Die Sängerin sieht den König an und denkt: alt ist er geworden
3:02
19
 
6. Das Bankett geht dem Ende zu
2:07
20
 
7. Ich brauche mal einen Menschen zum Reden
6:30
21
 
8. Alwa ist gegangen
2:57
 
DISC 2
1
베른트 알로이스 침머만
Stille und Umkehr Stille und Umkehr - Orchesterskizzen
9:06
 
2
 
Spoken Word
B. A. Zimmermann Speaks The birth of Bernd Alois Zimmermann and the origins of his musicality
0:22
3
 
Zimmermann's student days and his early interest in new music that was forbidden
0:52
4
 
The early works: first attempts as a symphonic composer - the oboe concerto and "Alagoana". The use of collage and quotations
3:57
5
 
"The spherical shape of time" - compositional possibilities that arise from this notion of time
0:41
6
 
The significance of St. Augustine's conception of time to Zimmermann's musical thinking
5:58
7
 
Must a composer be able to describe how he composes?
0:38
8
 
Quality, formal criteria and the assessment of compositional work
2:58
9
 
Zimmermann's works - music for intellectuals but also for the ordinary man next door
2:02
10
 
How one learns a new language - "Prèsence" as an example of something apparently unplayable yet playable in the end
1:46
11
 
The development of musical ideas and their consequences
0:46
12
 
Bernd Alois Zimmermann on his opera "Die Soldaten" - differences between the original libretto by Jakob Michael Reinhold Lenz and Zimmermann's version
1:48
13
 
The first realisation of Zimmermann's opera in the staging by Hans Neugebauer at the Cologne Opera
2:41
14
 
The unclear idea of an opera of compassion
0:38
15
 
The key function of the final scene
4:11
16
 
Bernd Alois Zimmermann's ideal for how his opera Die Soldaten should be staged
0:56
 
17
 
Spoken Word
Mirjam Wiesemann in Conversation with York Heller, Part 1 First encounter with Zimmermann: acceptance into his composition class
2:59
18
 
Zimmermann's teaching style: content and role models
5:13
19
 
The spherical shape of time
1:53
20
 
Die Soldaten
1:10
21
 
Up close and personal: private lessons in Zimmermann's home
1:37
22
 
Zimmermann's personality and temperament
1:02
23
 
Rol Ubu
4:00
24
 
Zimmermann's personality (II): the last days before his suicide
3:16
25
 
Blindness of Zimmermann and Holler today there are more possibilities to carry on working
2:12
26
 
Zimmermann and his colleagues
4:16
27
 
So-called utility music: composing to make money - but what fun!
2:21
28
 
Between generations of composers: where did Zimmermann stand?
4:06
29
 
Holler and Boulez
4:33
 
DISC 3
1
 
Spoken Word
Mirjam Wiesemann in Conversation with York Holler, Part 2 Between two stools: Zimmermann's internal conflict
2:52
2
 
All to the Greater Glory of God" - was Zimmermann a religious man?
1:12
3
 
Tradition and innovation in Zimmermann's work: pluralism and clever use of quotations
4:47
4
 
Requiem for a Young Poet: disappointed with the live recording of the time
6:29
5
 
Zimmermann the teacher: he kept his own works under lock and key
6:31
6
 
Höller's own teaching: his methods are the foundation of what he imparts to the students
4:51
7
 
Zimmermann as a source of inspiration
1:47
8
 
Höller's five criteria for his own work
4:20
9
 
What remains of Bernd Alois Zimmermann?
0:44
10
 
World War II: poisoned during combat and skin problems
1:07
11
 
After Zimmermann's suicide: Höller ceases his work and his studies at the conservatory
1:38
12
 
The Turning Point by Fritjof Capra - Höller's conception of the world and its influence on his compositions
5:11
13
 
The longing for eternal peace
2:48
14
 
Höller the agnostic: does God exist?
0:30
15
 
Art's transcendental potential
1:26
16
 
I would not like to imagine a life without art
0:06
17
 
The Old Cat
1:02
 
 
ALBUM SHOUTS
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