Hundreds of years before the birth of Christ, a collection of love songs grew up. Under the title of the “Most beautiful of songs”, they found a home in the Old Testament-it was Martin Luther who first gave them the name of “Song of songs”-and since that time they have inspired and fascinated a vast number of theologians, mystics, philosophers, poets, painters, and, last but not least, composers. Particularly during the Baroque period, these poetic, sensual, vividly descriptive texts were set over and over again to music, and they inspired librettists to expand on the original texts.
A quinze ans, Harry entre en cinquième année à Poudlard, mais il n'a jamais été aussi anxieux. L'adolescence, la perspective des examens et ces étranges cauchemars…
A full 25 favorites from this institution of a singer-songwriter, whose songs have been borrowed by Clapton, Santana, Skynyrd and so many others. You get Cocaine; After Midnight; Lies; Call Me the Breeze; Sensitive Kind; Magnolia; Crazy Mama; Cajun Moon, and more!
Although highly productive and respected in his lifetime as a composer of Lieder, Robert Franz (1815–92) has since become a peripheral figure in music history. One reason may be that he avoids dramatic contrasts and instead aims at an emotional ambiguity: ‘My representation of joy is always tinged with melancholy, whilst that of suffering is always accompanied by an exquisite sensation of losing oneself’, he once wrote to Liszt. As a consequence his music appeals to those who are able ‘to admire the nuances of a charcoal drawing without longing for the colours of a painting’, to quote from Georges Starobinski’s liner notes to this recording. As they began to explore the songs of Franz, Starobinski and the baritone Christian Immler were moved by their findings to devise a programme which includes 23 of the composer’s often quite brief songs. Using the poet Heinrich Heine as their guiding star, they present these – all Heine settings but from different opus groups – in the form of two ‘imagined’ song cycles.