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The listening rocks rebound with intercontinental sound

The listening rocks rebound with intercontinental sound
redrocknews.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from redrocknews.com Daily Mail and Mail on Sunday newspapers.

Roderick Williams and Andrew West: Birdsong review – meaningful moments worth savouring | Classical music

Roderick Williams and Andrew West: Birdsong review – meaningful moments worth savouring | Classical music
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Why would any self-respecting woman perform Schumann s Frauenliebe und leben? | Classical music

Why would any self-respecting woman perform Schumann’s Frauenliebe und leben? Schumann’s song cycle seems to have little to say about the realities of a woman’s life, but its emotional depths and the music’s sheer beauty still touch us. Carolyn Sampson explains how her new recording gives its passive heroine a little more life New context: pianist Joseph Middleton and soprano Carolyn Sampson Photograph: Andy Staples New context: pianist Joseph Middleton and soprano Carolyn Sampson Photograph: Andy Staples CarolynSampson Tue 13 Apr 2021 06.11 EDT Last modified on Tue 13 Apr 2021 09.48 EDT Robert Schumann’s Frauenliebe und -leben is a song cycle that depicts, in eight poems, a woman’s love and life. Its texts, poems by Adelbert von Chamisso, sum up a woman’s life roughly as: 1. I can’t think of anything but him; 2. He’s wonderful and I am not worthy; 3. OMG – he said he loved me; 4. I am his and have the ring to prove it; 5. Gi

Schumann s Frauenliebe und -leben analysis: what is its legacy?

Schumann’s Frauenliebe und -leben analysis: what is its legacy? Schumann’s Frauenliebe und -leben is regarded as one of his great song cycles alongside Dichterliebe and the Eichendorff-Liederkreis. Natasha Loges delves into its history Published: February 24, 2021 at 3:34 pm ‘Since first seeing him, I think I am blind, Wherever I look, Him only I see’. These besotted words open Dichterliebe and the Eichendorff-Liederkreis. This cycle emerged in 1840, Robert’s ‘Liederjahr’ (‘Year of song’), during which songs flowed from him at a miraculous rate. Advertisement The 30 year-old’s inspiration was both emotional and practical. Robert was frantically in love with the supremely gifted pianist

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