Synonyms for gerettete or Related words with gerettete
Examples of "gerettete"
In programming a 2013 concert celebrating the bicentennial of Richard Wagner's birth, conductor Marin Alsop said of "Der
Rouse also described "Der
Alberich" as being "looser architecturally" than his other concerti and characterized it as "more of a fantasy for solo percussionist and orchestra on themes of Wagner, with the soloist taking on the 'role' of Alberich."
The title is derived from the god Heimdallr of Norse mythology, whose call on the Gjallarhorn was to announce the apocalyptic events of Ragnarök ("Fate of the Gods"). The events of Ragnarök were also famously depicted musically in Richard Wagner's opera "Götterdämmerung", last of his four-opera cycle "Der Ring des Nibelungen". Rouse had previously visited similar thematic material with his 1997 percussion concerto "Der
Alberich", which chronicles the exploits of the villainous dwarf Alberich following the destruction of Valhalla.
A highly awarded German language writer, Canetti won the Nobel Prize in Literature in 1981, "for writings marked by a broad outlook, a wealth of ideas and artistic power". He is known chiefly for his celebrated trilogy of autobiographical memoirs of his childhood and of pre-Anschluss Vienna ("Die
Zunge"; "Die Fackel im Ohr"; and "Das Augenspiel"), for his modernist novel "Auto-da-Fé" ("Die Blendung"), and for "Crowds and Power," a study of crowd behaviour as it manifests itself in human activities ranging from mob violence to religious congregations.
When he was 26, his first play, "It Is Written", premiered to great controversy. The story of the play revolves around a battle between a sensation-craving cynic and a religious fanatic who takes scripture literally, all of this taking place while the city they live in is under siege. The play's opening night in April 1947, caused fights and protests in the audience. Between 1948 and 1949, Dürrenmatt wrote several segments and sketches for the anti-Nazi Cabaret Cornichon in Zurich; among these, the single-act grotesque short play "Der
" ("The rescued").
Alberich" is scored for a solo percussionist and orchestra comprising piccolo, two flutes, three oboes, three clarinets, three bassoons, six French horns, three trumpets, three trombones, tuba, harp, timpani, three percussionists (chimes, antique cymbals, xylophone, castanets, tam-tam, bass drum, suspended cymbal, four tom-toms, anvil, and thunder sheet), and strings (violins I & II, violas, violoncellos, and double basses). The soloist's percussion battery consists of four wood blocks, four log drums, four tom-toms, two bongo drums, two timbales, snare drum, steel drum, marimba, two güiros, pedal-operated bass drum, and a drum kit.
To Hiller has been given the credit of being the originator of the Singspiel, the beginning of German comedy opera as distinct from the French and Italian developments. The most important of his operas were: "Lottchen am Hofe" (Lottie at court, 1760), "Der Teufel ist los" (The devil is loose, 1768), "Poltis, oder Das
Troja" (Poltis, or Troy rescued, 1782). The lyrics of all his Singspiele were of considerable musical value, and were long popular. Among his sacred compositions are: "A Passion Cantata", "Funeral Music in Honor of Hasse", a setting of the one hundredth Psalm; and a few symphonies.
Alberich is a concerto for percussion and orchestra by the American composer Christopher Rouse. The work was jointly commissioned by the London Symphony Orchestra, the Cleveland Orchestra, the Philadelphia Orchestra, and the Baltimore Symphony Orchestra. It was completed June 7, 1997, and premiered January 15, 1998 in Cleveland, Ohio with the Cleveland Orchestra under conductor Christoph von Dohnányi. The piece is dedicated to percussionist Evelyn Glennie, who performed the solo during the world premiere. Rouse composed the work as an informal musical sequel to Richard Wagner's four-opera cycle "Der Ring des Nibelungen".
Rouse conceived "Der
Alberich" as a fantasy on the adventures of villainous dwarf Alberich after the apocalyptic conclusion of Richard Wagner's "Götterdämmerung", last in the four-opera cycle "Der Ring des Nibelungen". Thus, the work freely quotes passages from "Der Ring des Nibelungen", beginning with the ending coda of "Götterdämmerung", as Alberich's exploits are musically detailed. The piece also contains a rock and roll drum solo that has been compared to the style of Led Zeppelin. In the score program notes, Rouse commented on the inception of the piece, saying:
Mark Swed of the "Los Angeles Times" praised the concerto, saying, "...Rouse has a knack for outlandish gestures, a deep and abiding love of rock 'n' roll, a competitive obsession with getting orchestras to play louder than they ever have in the past, and a sense of humor. 'Alberich,' or whatever one should call the score for short, is a riot, in more ways than one." Allan Kozinn of "The New York Times" also lauded the work, saying, "The notion of writing a sequel to Wagner's "Götterdämmerung", and casting it as a percussion concerto, may seem odd, but it is vintage Christopher Rouse. In "Der
Alberich", a virtuosic percussion line portrays the title role, supported by a rich orchestral score that quotes "Ring" motifs and Led Zeppelin." "The Philadelphia Inquirer"'s David Patrick Stearns said of the work, "Even if it's not among my favorite Rouse pieces, it displays his ever-engaging personality, with intense, eerie stillness followed by explosions seemingly inspired by Led Zeppelin, whose late drummer John Bonham cast a welcome shadow over the piece." Stearns added, "The Wagner quotes are still there - especially the music Alberich sings when he renounces love for gold - but they're twisted around, Alberich-like, firsthand expressions of the character rather than an outside observation of him. It's as if he finally nabbed the ring that will let him rule the world - and is ruling it." Tim Smith of "The Baltimore Sun" gave lukewarm praise to the work, writing, "Some of what ensues in "Der
Alberich" ('Alberich Saved') is a little obvious, even a little odd — a rock music outburst seems more tacked on than organic — but the finely structured, prismatically orchestrated piece adds up to a clever, rousing mini-epic."
Later authors appreciated Hebel's work too. Hermann Hesse once commented, "As far as I know, in no literary history do we yet read that Hebel was the greatest German novelist, as great as Keller and more confident and purer and mightier in effect than Goethe." Theodor W. Adorno lauded his essay "Die Juden" as "one of the most beautiful German prose plays in defence of the Jews". In "Die
Zunge, Geschichte einer Jugend", Elias Canetti described the influence that Hebel's "Schatzkästlein" had on him: "I never wrote a book, but that I did not secretly aspire to his style, and I began by writing everything in shorthand, the knowledge of which I owe to him alone." Marcel Reich-Ranicki wrote, "Hebel's stories are among the most beautiful in the German language", and included the "Schatzkästlein" and "Die Rose" in his "Kanon Deutscher Literatur". The first was also listed in the "ZEIT-Bibliothek der 100 Bücher".
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