Jessye Norman sings Im Abendrot (Richard Strauss) - Behind the Score (Ep. 38)
Added 2023-03-28 00:26:05 +0000 UTCThis is it...the last song in the set of 'The Four Last Songs' by Richard Strauss. Written just a year before his death and published posthumously, these songs are among the most beautiful in the entire repertoire.
Im Abendrot is performed by Jessye Norman with the Gewandhausorchester from Leipzig, Germany. Kurt Masur is the conductor.
I'll show you the full orchestral score briefly. Then, we'll dive into a piano reduction to reveal the secrets behind this masterpiece. I hope you enjoy!
Comments
Wow! I had thought that working through an hour of analysis in such 'easy' keys as CbM and Ebm might be a long hour. But it flew by as magical music was unlocked in a magical way 😀 What a beautiful experience - I have loved this piece (and the other 3 songs BTW) for a few years; they are a place of eternal beauty to go to to find solace. I have often wondered what clever harmonic moves Richard Strauss made to bring such emotional power to bear. I feel uplifted by the music and by the clarity of the insights here. Thank You.
Adie
2024-02-26 22:41:43 +0000 UTCI've not really listened to that much of Richard Strauss's music before, so for me this was a first listen of this piece. I really enjoyed it a lot!!! There are also sections of the vocal melody in this that remind me of a piece of music composed by Murray Gold for an episode of Doctor Who in 2013 (The Rings of Akhaten). Nice one Doug!!! :-D
Steven Charlton
2023-03-30 12:23:00 +0000 UTCEven though I have "no" music basics back ground, I still learn from a great teacher and enjoy what these great men created. thank you.......dk
Don K Mal 1
2023-03-29 19:36:38 +0000 UTCDitto!
David Marshall
2023-03-29 01:00:00 +0000 UTCThanks Peter! I enjoyed this one.
R. Douglas Helvering
2023-03-28 04:10:36 +0000 UTCF*cking great !! the piece, the performance, AND the analysis ! *Now* I understand why this work just reduces me to being transfixed every time I hear it. You parted the curtain and revealed the harmonic mechanics that makes this work so profound, although I’m going to have to listen to the lecture a few more times, I think, to grasp it more. Those harmonic shifts you pointed out always represented to me both, a dramatic AND a programmatic change, i.e. they compliment, strengthen and support the depth and dimension of the text, but they also depict the changing aspect of the sky during sunset. The chord sequences — they’re luminous, then dark, then glowing; they obscure and shadow, but ultimately enlighten, enfold, and create acceptance. I have recordings of Schwartzkopf, Fleming, te Kanawa, Lott, Eglen, and Price performing this. They’re all great. But Norman’s performance is just stunning; perfection in sonic form. Thanks again, Professor Helvering. Wonderful, illuminating analysis. Your hard work is *very* much appreciated.
Peter Tutak
2023-03-28 03:58:56 +0000 UTC
