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Self - Insecure Sober Artist: Self Song: Insecure Sober Album: Ornament and Crime For more band/music info, Visit: (More) Artist: Self Song: Insecure Sober Album: Ornament and Crime For more band/music info, Visit: www.myspace.com Recent Activity (2005-present): Due to the difficulty getting music released and disinterest from labels and the public, the future of Self is uncertain. Lead guitarist Mike died in May 2005, and his role in the band has yet to be filled, though the remaining members played a show in his honor on October 09, 2005. They have performed since as a full band and Matt has appeared in solo ... (Less)
Franz Schreker: Die Gezeichneten - Act I prelude Deutsches Symphonie-Orchester Berlin
Kent Nagano, conductor
For Los Angeles Opera's (More) Deutsches Symphonie-Orchester Berlin
Kent Nagano, conductor
For Los Angeles Opera's "Recovered Voices" project, conductor James Conlon has slated a production of "Die Gezeichneten" for 2010.....see you there!
for the "New York Times", Jeremy Eichler wrote ("With a Disturbing Vision of Utopia Lost, a Forgotten Modernist Is Remembered", July 28, 2005)
:
Schreker's lush and sensuous musical language was built on extensions of a late-Romantic grammar. He was the rarest of musical creatures: a modernist who never got the memo on grim austerity, a progressive composer who forgot that ornament was crime. Instead, he found ways to push boundaries from within a tonal universe, stacking chords on top of one another, stretching chromaticism to its outer limits and swaddling his expressionist musical dramas in intoxicating swirls of color.
Alex Ross writes:
I wanted to write a brief description of Schreker's famous "shimmering" effects, but couldn't shoe-horn it into the piece. In the opening page of the Gezeichneten Prelude, the harmony oscillates between D major and B-flat minor, and what's really interesting is that this alternation takes place in separate layers, at different rates of speed. In the first layer, piano and harps spell out the two triads in swirling triplet arpeggios. In the second layer, celesta and second violins play in the same rhythm, but they change chords with every triplet sixteenth note, producing intermittent dissonances. The first violins, meanwhile, snake around in sinuous patterns, while bass clarinet, violas, and cellos present Alviano's yearning, ambiguous theme. It's one of the most bewitching soundscapes ever devised.
If "Der Ferne Klang" is Schreker's most inspired work—the Venetian party scene in Act II, with its layering of choruses, Gypsy bands, and singing gondoliers, is worthy of "Don Giovanni"—"Die Gezeichneten" is the one that takes you by the throat. The plot, which Schreker initially concocted for his RomanticImpressionist colleague Alexander Zemlinsky, sets up a love triangle among three habitués of Renaissance Genoa: Alviano, a hunchbacked aesthete, who builds an island utopia called Elysium; Count Tamare, handsome and heartless, who, with fellow-squires, converts Elysium into a hotbed of sexual depravity, taking the daughters of Genoa's merchant class as victims; and Carlotta, a diffident painter, who falls in love with Alviano, or at least the idea of him, only to give in to Tamare's advances.
The Schreker scholar Gösta Neuwirth has found that the scenario contains various cunning portraits of fin-de-siècle personalities. Alviano resembles the industrialist Friedrich Alfred Krupp, who built a gay pleasure den in a grotto on Capri. Tamare seems to have been based on Tamara von Hervay, an accused bigamist and witch. And Carlotta, who rightly fears that sex would kill her, is probably a stand-in for the perpetually keening Zemlinsky, as well as for the less sentimental Schoenberg, who painted in his spare time. The libretto supplies a description of Carlotta's painting of a glowing hand: it precisely resembles one of Schoenberg's pictures. The transposition of gender roles is typical of Schreker's devious psychology.
Alex Ross article here:
http://www.newyorker.com/critics/music/?050822crmu_music (Less)
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