When Adelaide was first published, in 1797, there was a subtitle: "a cantata for solo voice with accompaniment for piano”. We probably wouldn't call it nowadays a cantata, and it's not exactly a Lied either; it approaches the “operatic songs” that were fashionable in Vienna at the end of the 18th century. But Adelaide is usually performed in song recitals, that meaning that it can also be presented here on Liederabend, and it's always a pleasure to listen to that piece, no matter how it's classified.
This blog began in February 2012 with a Lied by Schubert (of course), and after Strauss, Schumann, Duparc, Mahler and Vaughan Williams, we heard Fauré in April. I've never planned the contents in chronological order or any kind of order, I leave that for my courses; They are songs who usually asked me to be shared, and those first posts mostly respond to the request of songs so often heard. We've heard six more works by Gabriel Fauré so far, and while preparing this article in which we're listening to the eight one, I realized that I haven't talked yet about his importance as a composer of mélodie. Maybe it's time to write some lines about because Fauré is a central [...]
This article will be posted the first week of September, but I am writing during the Schubertíada, with my mind full of music, thougts and emotions. After so many months without live music (except for two concerts at the Palau de la Música, happily enough), the immersion has caused me a strong emotional impact, a smile from ear to ear under the face mask, tears wiped by the same mask and a immense satisfaction from realizing that the joy, even the euphoria, is shared. I would say that Vilabertran is being the scene of a collective catharsis.
For music lovers, the year 2020 should had been Beethoven year, to celebrate the 250th anniversary of the birth of the composer. Every concert hall had its "Beethoven programme" and it was even discussed if we were paying too much attention to him. How were we supposed to know that 2020 would be the year that the concert halls closed their doors!
To follow the career of a singer from its early years is exciting, we’ve talked about it before; it means watching how he chooses the repertoire, how his voice evolves, how he keeps learning, the way he runs his career... This follow-up is usually done in small groups, until one day his name begins to often appear in the media and his music is widely spread. That's the time of showing off; we really like saying things such as “I heard him in his debut” or “I told you that he was good”. Well, let's anticipate the moment, because Deutsche Grammophon announced a new artist some [...]