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Rosamunde & Symphony No. 5

Anima Eterna

SKU: 4292

Year of release: 1992

1. Ouvertüre - Die Zauberharfe, alias - Rosamunde, D. 644 07:58
Schauspielmusik zum Drama - Rosamunde, D. 797 14:58
2. Zwischenaktmusik B Dur - Andantino 07:58
3. Ballettmusik G Dur - Andantino 06:59
Symphony No. 5 in B Dur, D. 485 24:05
4. Allegro 07:01
5. Andante con moto 07:01
6. Menuetto - Allegro molto 04:24
7. Allegro vivace 05:38
Total time: 47:02

About this album

DETAILS

1. “Die Zauberharfe” or “Rosamunde” Overture Schubert’s finest overture, and one which has become one of his most famous and most popular pieces, was written at a frenzied pace. It was originally intended to be the introduction to the incidental music for “Die Zauberharfe,” a new “Zauberspiel,” which was performed for the first time on 19th August 1820 in the “Theater an der Wien.” The performance, especially the libretto, was greeted with general indifference and the reviews were poor. The play, and consequently the wonderful music, was taken off completely after a few performances. The music, especially the overture, had met with approval on the part of the press. As the 29th August issue of the “Wiener Konversationsblatt” commented, “It is a pity, above all, because of Schubert’s wonderfull music, which has not found a more worthy subject”. The same issue also remarked on the excellence of the overture, but said that it was more “a play in itself” rather than a Zauberspiel overture, and that it was “as suited for performance as an opera “. The comments were prophetic, for the overture was adapted for different purposes, and was later performed “as a play in itself,” as indeed it still frequently is. This is as it should be: the “musical magic” which the twenty-three year old genius “conjured up” in this piece is timeless.

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Reviews

CD Review

(...) excellent, exemplary effort from one of Europes most exciting period instrument ensembles. (...) (...) rightness of period instruments for classical repertoire. Not only is the sound uncommonly rich-hued and vibrant, but the playing technique exposes and enhances the innner lines so that the harmonies seem to blossom more fully than is possible with the more homogeneous blend of modern strings and winds. This is sonority and lyricism - and sound engineering - at its finest.

Technical Specifications

Digital To Analog ConverterSony
Mastering EquimentSony digital Editor 3000
Mastering EngineerBert van der Wolf
Mixing ConsoleRens Heijnis Custom made
MicrophonesBruel & Kjaer, Schoeps
Recording FormatPCM 44.1
Analog To Digital ConverterdCS900
Recording DateApril 1992
Recording LocationRaphaelplein Kerk, Amsterdam Holland
EditingBert van der Wolf
Recording EngineerBert van der Wolf
ProducerTed Diehl