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Topic: Schwanengesang

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	Schwanengesang - Wikipedia, the free encyclopedia
		Schwanengesang ("Swan song") is the title of a posthumous collection of songs by Franz Schubert.
		Schwanengesang has the number D 957 in the Deutsch catalogue.
		While the song should not be considered part of Schwanengesang, it is considered to be Schubert's last lied.
	en.wikipedia.org /wiki/Schwanengesang (533 words)

	Schwanengesang at Künstlerhaus Mousonturm Plateaux Festival
		Der 'Schwanengesang' ist in der griechischen Mythologie ein Ausdruck der besagt, dass Schwäne vor ihrem Tode noch einmal mit trauriger und wunderschöner Stimme ein letztes Lied anstimmen.
		Formally with Schwanengesang, we wanted to reverse the viewer/art-object dynamic, while allowing also a statement to be generated and examined by the audience itself.
		With Schwanengesang the Centre of Attention functions as a pseudopodia reaching tentatively for Frankfurt, with the reminder that you must die.
	www.thecentreofattention.org /exhibitions/mousonturm.html (361 words)

	first edition facsimiles (Site not responding. Last check: 2007-10-09)
		Schwanengesang: Facsimiles of the Autograph Score and Sketches, and Reprint of the First Edition, Franz Schubert, Martin Chusid...
		Schwanengesang: Facsimiles of the Autograph Score and Sketches, and...
		Schwanengesang: Facsimiles of the Autograph Score and Sketches, and Reprint of the First Edition, Trouver les prix les plus bas...
	www.facsimile.fax-1.com /facsimile/9/first-edition-facsimiles.html (313 words)

	[No title] (Site not responding. Last check: 2007-10-09)
		Schwanengesang, or Swan Song, is a quasi-song cycle that was published and first performed posthumously.
		Schwanengesang is a unique song cycle because it was not originally written as a cycle, e.g.
		In retrospect, Schwanengesang is the ultimate insult: Swansong is defined as the last work of an artist especially, a poet, before his death.
	www.wabash.edu /mxi/Ish6.doc (3554 words)

	Music Reviews (Site not responding. Last check: 2007-10-09)
		The baritone was in Brussels at the time, gracuiysky speaking at midnight after concluding a rehearsal of Beethoven’s An die ferne Geliebte and Schubert’s Schwanengesang with pianist Alfred Brendel.
		It’s not possible to say that the Schwanengesang mean more to me than the Wunderhorn songs, because they’re so different.
		Schwanengesang isn’t a cycle; it’s a collection of songs left unpublished at the time of Schubert’s death.
	www.sdinfo.com /volume_10_1/music-interview-matthias-goerne-3-2003.html (3255 words)

	Classics Today.com - Your Online Guide to Classical Music
		Fischer-Dieskau "had only to sing one phrase before I knew I was in the presence of a master", wrote accompanist Gerald Moore (in his autobiography, Am I too loud?), referring to the first of his many recording sessions with Fischer-Dieskau in October 1951, a session that produced a number of the tracks on this recording.
		Their earliest documentation of Schubert's Schwanengesang (the first of Fischer-Dieskau's five) was assembled piecemeal from songs taped during four widely-spaced sessions held between 1951 and 1958.
		The recording itself may be said to have been a compilation, but then as John Steane points out in his booklet note, so is the cycle itself, drawing as it does on texts by six different authors.
	www.classicstoday.com /review.asp?ReviewNum=3138 (326 words)

	WWUH Articles: Sunday Afternoon at the Opera March/Arpil 2000 (Site not responding. Last check: 2007-10-09)
		Both musical compositions are called in German Schwanengesang or "Swan Song." At least one of the recordings is a world premiere on disc.
		To be precise, the Schuetz Schwanengesang is a setting for two choirs with organ accompaniment of Psalm 119, the longest one in the Psalter, Psalm 100 and the German language Magnificat.
		As part of his many musical duties in the city of Hamburg George Philipp Telemann (1681-1767) was called upon to compose funeral cantatas for five of the city’s mayors.
	wwuh.org /program/articles/marap00/opera.htm (2098 words)

	Amazon.co.uk: Telemann - Funeral Music for Garlieb Sillem: Music (Site not responding. Last check: 2007-10-09)
		Schwanengesang 1733, Funeral Music For The Hamburg Mayor Garlieb Sillem: Chor: Ach, Wie Nichtig...
		Schwanengesang 1733, Funeral Music For The Hamburg Mayor Garlieb Sillem: Dictum: Der Mensch...
		Schwanengesang 1733, Funeral Music For The Hamburg Mayor Garlieb Sillem: Aria: Mocht Ein Mensch...
	www.amazon.co.uk /exec/obidos/ASIN/B000001RWQ (642 words)

	AfricasGateway.com - Store - Schwanengesang; Vier Ernste Gesange (Site not responding. Last check: 2007-10-09)
		This combination of works is unique on disc, surprisingly since it is a very logical one; both are late works, both represent the composer's valediction to the genre, and both are ideally suited to the baritone voice.
		There has been much discussion of late as to whether or not "Schwanengesang" ought to be performed as though it were a "cycle," or as two or even three separate sets of songs.
		The latter approach was taken in the Hyperion edition, not entirely successfully, but Quasthoff brushes aside these considerations; such is the magnetic power of his singing that one rarely imagines that these songs could be performed in any other way.
	www.africasgateway.com /amazon-buy-B00005AAFB.html (952 words)

	The Edinburgh Festival 2001 - Song Cycles Review
		They teamed it with Beethoven's An die ferne Geliebte, the first genuine song cycle ever to be composed, written in 1816 at a time of great personal turmoil for Beethoven due to the disputed guardianship of his nephew.
		The final song, with voice and piano equal partners, closed the loop using the opening music and finishing on the same chord leaving us feeling the heartache of lost love.
		Schwanengesang, composed in 1828, is not a true song cycle, being settings of two poets: Rellstab and Heine and telling no real story but sharing great emotional intensity with the Beethoven.
	www.edinburghguide.com /festival/2001/eif2001/review_songcycles.shtml (403 words)

	The Centre of Attention at the 51st Venice Biennale
		For Swansong (Schwanengesang) the gallery space meets the chapel of rest in a work that offers the audience an opportunity to rehearse one's own funeral.
		Formally with Swansong (Schwanengesang), we wanted to reverse the viewer/art-object dynamic, while allowing also a statement to be generated and examined by the audience itself.
		With Swansong (Schwanengesang), the Centre of Attention functions as a pseudopodia reaching tentatively for Venice, with the reminder that you must die.
	www.thecentreofattention.org /exhibitions/vtcoa.html (277 words)

	\|\| San Francisco Performances \|\| (Site not responding. Last check: 2007-10-09)
		On texts by Rellstab, Heine, and Seidl, these songs were gathered early in 1829 "as the final fruits of his noble genius" by the publisher Tobias Haslinger, who published them under the name Schwanengesang ("Swan Song"), a name the composer never heard or imagined.
		From the Schwanengesang collection are two songs on texts by Ludwig Rellstab (1799-1860), a German poet and early music critic.
		Liebesbotschaft ("Love's Message") is a gentle love song, addressed to the brook as a messenger between lovers—the quiet sound of the stream rustles throughout the song in the shimmer of the pianist's 32nd-notes.
	www.performances.org /encores_note/bonney.asp (1216 words)

	\|\| San Francisco Performances \|\| (Site not responding. Last check: 2007-10-09)
		Where a song-cycle like Winterreise sets the work of only one poet and sustains one mood across the span of twenty-four songs, the fourteen songs of Schwanengesang are not nearly so unified, and the term cycle—with its implication of relatedness and direction—may be too strong a word for Schwanengesang.
		Faced with this situation, performers have adopted a fluid approach to Schwanengesang, often choosing to select from them and to arrange their own sequence.
		Despite confusions about details of publication and the composer's own intentions, certain ideas run through the poems Schubert chose to set, and some of the most prominent seem to be right out of Winterreise, composed in 1827: lost love, loneliness, and the pain of separateness.
	www.performances.org /encores_note/quasthoff.asp (2049 words)

	Gracenote: Search CDDB
		Dietrich Fischer-Dieskau :baritone /Gérald Moore : Piano / Schubert: Schwanengesang, D957 and 7 Lieder
		Thomas Quasthoff, Bariton; Justus Zeyen, Piano / Schubert: Schwanengesang; Brahms: Vier ernste Gesänge
		Schwanengesang D957, Fruhlingssehnsucht (Rellstab); Dietrich Fischer-Dieskau/ Alfred Brendel
	www.gracenote.com /xm/search?q=Fruhlingssehnsucht&f=track (109 words)

	Guardian \| Schubert: Die Schöne Mullerin; Winterreise; Schwanengesang; Gesange des Harfners: Christian Gerhaher/ ... (Site not responding. Last check: 2007-10-09)
		The baritone, Christian Gerhaher, is one of the remarkable new generation of German lieder-singers who have so strongly enriched the tradition carried to a peak by Dietrich Fischer-Dieskau.
		Gerhaher's rendering of Die Schöne Mullerin is both youthfully fresh and finely detailed, exploiting the heady freedom of his voice at the top, while Winterreise is naturally darker, exploiting the widest range of tone and expression, with words exceptionally clear.
		In the less co-ordinated posthumous cycle, Schwanengesang, the range of mood is wonderfully caught, with no hint of roughness even under pressure.
	www.guardian.co.uk /print/0,3858,4943990-110430,00.html (191 words)

	[No title]
		Pupils in Loretto School Crumlin and members of the Goethe Institute Choir which she directed for 30 years are mindful of the debt they owe her for the inspiration and knowledge she imparted to them.
		This is part of a lovely poem Schwanengesang (Swansong) which was written for her by Redmond O'Hanlon who sang with her for 25 years, and it sums up her dedication to and love of choral music beautifully.
		The Goethe Institute Choir will be performing in the National Concert Hall on 8th December with their new conductor John Dexter, and this concert will be dedicated to her memory.
	www.geocities.com /Vienna/Choir/7231 (1136 words)

	Bryn Terfel - Schubert: Schwanengesang (Site not responding. Last check: 2007-10-09)
		Bryn Terfel's 1991 recording of Schubert's Schwanengesang is a must for all fans of the incredible Welsh bass-baritone, as well as collectors of recordings of this famous song cycle.
		Recorded in Wales just as he was beginning to receive great acclaim on the opera stages of the world, this CD demonstrates the great power and expressiveness of Bryn Terfel.
		In less than ten years, Bryn Terfel built a career which puts him at the pinnacle of opera singers.
	www.marquisclassics.com /257_schu.asp (78 words)

	Schwanengesang (Site not responding. Last check: 2007-10-09)
		Schwanengesang 1098265971 1098309600 Frankfurt am Main Germania Pierre Coinde http://www.thecentreofattention.org pierre@thecentreofattention.org 1098276007.jpg 1098655199 o Kunstlerhaus Mousonturm Schwanengesang (Swansong) Exhibition: 21 October to 24 October 2004, 19.00 till late as part of Plateaux, international platform for young theatre directors at Künstlerhaus Mousonturm, Waldschmitstr.
		This is the Centre of Attention second exhibition in Germany after Künstlerhaus Bethanien, Berlin in January 2003.
		For more information or images on Schwanengesang, contact Pierre Coinde or Gary O’Dwyer on 07792 582 386 Featured in the Art Newspaper, Frontrow and Resonance FM, our other current exhibition, Boyle Family: London Sound Study continues until 7th November 2004 on the website.
	www.undo.net /artinpress/1098309600.1098265971.html (445 words)

	Schwanengesang: Facsimiles Of The Autograph Score And Sketches, And Reprint Of The First Edition; Author: Schubert, ...
		Schwanengesang: Facsimiles Of The Autograph Score And Sketches, And Reprint Of The First Edition; Author: Schubert, Franz; Editor: Chusid, Martin; Hardback; Book
		Schwanengesang: Facsimiles Of The Autograph Score And Sketches, And Reprint Of The First Edition
		It features a facsimile of the composer's autograph score, Schubert's extant sketches for three songs, and a reproduction of the rare and authoritative first edition issued in Vienna in 1829.
	www.netstoreusa.com /mubooks/030/0300083939.shtml (212 words)

	Amazon.com: Franz Schubert: Lieder, Vol. 3: Music (Site not responding. Last check: 2007-10-09)
		However, the first two titles show off the performers' craft to particularly wonderful effect, simply because their narrative thread makes particularly gruelling demands on their sense of mood and pacing.
		Schwanengesang is not a true song-cycle - it represents a collection of unconnected settings put together posthumously by Schubert's publisher.
		However, unlike the unmitigated gloom of the two earlier works, Schwanengesang boasts an astonishing range of emotions from the dread of Kriegers Ahnung (Warrior's Foreboding) to the despair of Doppelganger (it means what it says) to the frivolous joy of Taubenpost (Pigeon Post).
	www.amazon.com /exec/obidos/tg/detail/-/B000001GHF?v=glance (992 words)

	Powell's Books - A Companion to Schubert's Schwanengesang: History, Poets, Analysis, Performance by Martin Chusid
		Schwanengesang, collected as a song "cycle" and published shortly after Schubert's death, is one of the composer's most beloved works.
		In this book Martin Chusid and other distinguished Schubert scholars and performers — Edward T. Cone, Walther Durr, Walburga Litschauer, and Steven Lubin — provide a rich appreciation of the musical and literary qualities of these miniature masterpieces.
		Also included in the volume is the complete original German poetry with a new English translation, a critical examination of the existing literature about each song, a list by Richard LeSueur of all the complete recordings of the cycle on LP and CD, and an extensive bibliography.
	www.powells.com /cgi-bin/partner?partner_id=719&cgi=product&isbn=0300072899 (189 words)

	The Schubert Song Transcriptions for Solo Piano / Series III: The Complete Schwanengesang by Schubert, Franz and Liszt, ... (Site not responding. Last check: 2007-10-09)
		The-foremost pianist-composer of his day, Franz Liszt also promoted the achievements of other composers with his inspired transcriptions for solo piano of their work.
		This volume is the third in Dover's popular series of Schubert song transcriptions; it features all 14 songs in the Schwanengesang series, including such masterpieces as "Das Fischermadchen, " "Am Meer, " "Abschied, " "Standchen, " "Fruhlings-Sehnsucht, " "Der Doppelganger, " and other famed lieder.
		These dazzling transcriptions, reproduced from extremely rare early editions overseen by Liszt himself, retain the lyric beauty and emotional depth of the original works and reflect Liszt's incomparable mastery of the keyboard Pianists and music lovers will prize this modestly priced collection of hard-to-find gems.
	www.parable.com /gs/item_0486406229.htm (214 words)

	Benedict Carpenter: News : Sculpture News : Commissions and Exhibitions (Site not responding. Last check: 2007-10-09)
		The Centre of Attention are mounting an exhibition at Künstlerhaus Mousonturm, Frankfurt, Germany called Schwanengesang.
		Pierre Coinde of the Centre of Attention writes: "For Schwanengesang the gallery space meets the chapel of rest in a work that offers the audience an opportunity to rehearse one's own funeral.
		Schwanengesang features works by Emi Avora, Benedict Carpenter, Simon Faithfull and Jasper Joffe." Link (1/10/04)
	www.3ene.com /benedictcarpenter.htm (943 words)

	Amazon.com: Schubert: Schwanengesang; 4 Lieder: Music (Site not responding. Last check: 2007-10-09)
		Schwanengesang (Swan Song), song cycle for voice & piano, D. Composed by Franz Schubert
		Brahms said that there was something to be learned from every one of Schubert's 606 solo songs, prompting a slightly flippant remark from Tovey that in some cases one would have to be Brahms to know what it was.
		How many hundreds of them I myself know (perhaps also how many Tovey really knew) I'm not sure, but there are no blanks in the Schwanengesang.
	www.amazon.com /exec/obidos/tg/detail/-/B00005AVMP?v=glance (1200 words)

	Classical Net Review - Schubert/Brahms - Schwanengesang/Vier ernste Gesänge
		Schubert wrote the songs of Schwanengesang ("swan-song") in his last year.
		Schwanengesang in particular takes a great interpreter just to keep up.
		I heard Hermann Prey do these in recital roughly thirty years ago - a tremendous performance that nevertheless didn't quite reach the mark of the songs.
	www.classical.net /~music/recs/reviews/d/dgg71030a.html (1388 words)

	Schubert Lieder 7CD collection [KM]: Classical Reviews- November 2001 MusicWeb(UK) (Site not responding. Last check: 2007-10-09)
		While none of these recordings are the best that any of the individual singers have made, some of them are truly excellent.
		John Shirley-Quirk is an excellent singer of Schwanengesang, his baritone fitting very well with this music.
		His deep voice is very reminiscent of Fischer-Dieskau, yet it has a darker sound.
	www.musicweb-international.com /classrev/2001/Nov01/Schubert_Lieder-Collection.htm (828 words)

	The Hyperion Schubert Edition - Index (Site not responding. Last check: 2007-10-09)
		After the D number is shown the poet ('trs' indicates a translator).
		The songs from the cycles 'Winterreise' and 'Die schöne Müllerin' and the set 'Schwanengesang' are listed under their individual titles.
		Every song issued in the series to date shows the name of the singer and the volume number of the compact disc on which it appears (sometimes more than one).
	www2.hyperion-records.co.uk /schubert_index.asp (1484 words)

	Island of Freedom - Franz Schubert
		In them, he established an equal partnership of piano and voice to portray the inner meaning of the text and set a model that subsequent composers would follow.
		Schubert's principal songs include settings of poems by Goethe, two song cycles--Die schone Mullerin (Fair Maid of the Mill, 1823) and Die Winterreise (The Winter's Journey, 1827)--and his last 12 songs (1828), published after his death as Schwanengesang (Swan Song).
		His best-known piano works include the intimate Moments musicaux (1823-27) and Impromptus (1827); the Wanderer Fantasy (1822); the Fantasy in F Minor for piano duet (1828); and his last three piano sonatas.
	www.island-of-freedom.com /SCHUBERT.HTM (513 words)

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