{"id":98733,"date":"2016-05-04T10:57:51","date_gmt":"2016-05-04T08:57:51","guid":{"rendered":"https:\/\/www.iemj.org\/melodies-prescience-conscience\/"},"modified":"2025-10-20T17:52:10","modified_gmt":"2025-10-20T15:52:10","slug":"melodies-prescience-conscience","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/de\/melodies-prescience-conscience\/","title":{"rendered":"M\u00e9lodies – Prescience, Conscience"},"content":{"rendered":"

Auf dieser vierten CD der Reihe Les musiciens et la Grande Guerre (Die Musiker und der erste Weltkrieg<\/em>) interpretieren der Bariton Marc Maurillon und Anne Le Bozec auf einem Bechstein-Klavier Werke von Halphen, Hahn, Debussy, F\u00e9vrier, J\u00fcrgens…<\/p>\n

Sie waren jung und die Zukunft schien ihnen gl\u00e4nzend. Sie waren Belgier (Devaere), Deutsche (Stephan, J\u00fcrgens), Briten (Butterworth, Farrar), Australier (Kelly) oder auch Franzosen (Debussy, Hahn, Halphen). Sie dr\u00fcckten am Vorabend des Konflikts in ihren Melodien mit einem beeindruckenden Sinn f\u00fcr Vorahnung sowohl die Sehnsucht nach einer vergangenen gl\u00fccklichen Zeit, die Konfrontation mit den ewigen Themen des Vergessens und des Todes als auch die Trostlosigkeit ihrer Leben, die verw\u00fcstet werden sollten, aus. Die \u00dcberlebenden versuchen, Bitterkeit und Traurigkeit zu \u00fcberwinden, und finden die Kraft, von der Hoffnung oder dem Frieden zu singen, den sie zu finden glaubten.<\/p>\n

Erfahren Sie mehr und bestellen Sie die CD <\/a><\/strong><\/p>\n

DETAILLIERTES PROGRAMM DER CD<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
HORTUS 704 | CD DDD \u2117 Hortus 2014 | T.T. 69’49<\/td>\n<\/tr>\n
\u00a0<\/td>\n<\/tr>\n
\u00a0<\/td>\nFernand Halphen (1872-1917)<\/td>\n<\/tr>\n
1.<\/td>\nPour Cyth\u00e8re<\/td>\n1’15<\/td>\n<\/tr>\n
\u00a0<\/td>\nHenry F\u00e9vrier (1875-1957)<\/td>\n<\/tr>\n
2.<\/td>\nLa derni\u00e8re chanson<\/td>\n4’57<\/td>\n<\/tr>\n
\u00a0<\/td>\nJ\u00fcrgens (1888-1915)<\/td>\n<\/tr>\n
3.<\/td>\nDas Treue Paar<\/td>\n2’21<\/td>\n<\/tr>\n
4.<\/td>\nDer Geworbene<\/td>\n2’22<\/td>\n<\/tr>\n
5.<\/td>\nDeh Nicht<\/td>\n1’40<\/td>\n<\/tr>\n
6.<\/td>\nFrom<\/td>\n2’46<\/td>\n<\/tr>\n
\u00a0<\/td>\nMaurice Ravel (1875-1937)<\/td>\n<\/tr>\n
\u00a0<\/td>\nTrois chansons<\/td>\n\u00a0<\/td>\n<\/tr>\n
7.<\/td>\nNicolette<\/td>\n2’04<\/td>\n<\/tr>\n
8.<\/td>\nTrois beaux oiseaux du paradis<\/td>\n3’04<\/td>\n<\/tr>\n
\u00a0<\/td>\nGeorge Butterworth (1885-1916)<\/td>\n<\/tr>\n
9.<\/td>\nOn the idle hill of summer<\/td>\n3’26<\/td>\n<\/tr>\n
10.<\/td>\nLoveliest of trees<\/td>\n2’33<\/td>\n<\/tr>\n
\u00a0<\/td>\nFrederick Septimus Kelly (1881-1916)<\/td>\n<\/tr>\n
11.<\/td>\nShall I compare Thee ?<\/td>\n3’02<\/td>\n<\/tr>\n
\u00a0<\/td>\nGabriel Faur\u00e9 (1845-1924)<\/td>\n<\/tr>\n
12.<\/td>\nC’est la paix op.114 op. 114<\/td>\n1’17<\/td>\n<\/tr>\n
\u00a0<\/td>\nErnest Farrar (1885-1918)<\/td>\n<\/tr>\n
\u00a0<\/td>\n3 pi\u00e8ces pour piano op. 23<\/td>\n\u00a0<\/td>\n<\/tr>\n
13.<\/td>\nMenuet<\/td>\n1’11<\/td>\n<\/tr>\n
14.<\/td>\nLullaby<\/td>\n3’13<\/td>\n<\/tr>\n
15.<\/td>\nCaprice<\/td>\n1’24<\/td>\n<\/tr>\n
\u00a0<\/td>\nAndr\u00e9 Devaere (1890-1914)<\/td>\n<\/tr>\n
16.<\/td>\nLa fl\u00fbte am\u00e8re de l’automne op. 1<\/td>\n2’08<\/td>\n<\/tr>\n
\u00a0<\/td>\nRudi Stephan (1887-1915)<\/td>\n<\/tr>\n
17.<\/td>\nPappel im Strahl<\/td>\n1’44<\/td>\n<\/tr>\n
18.<\/td>\nHeimat<\/td>\n3’23<\/td>\n<\/tr>\n
\u00a0<\/td>\nClaude Debussy (1862-1918)<\/td>\n<\/tr>\n
19.<\/td>\nNo\u00ebl des enfants qui n’ont plus de maison<\/td>\n2’32<\/td>\n<\/tr>\n
\u00a0<\/td>\nReynaldo Hahn (1874-1947)<\/td>\n<\/tr>\n
20.<\/td>\nLe plus beau pr\u00e9sent<\/td>\n3’11<\/td>\n<\/tr>\n
\u00a0<\/td>\nErwin Schulhoff (1894-1942)<\/td>\n<\/tr>\n
\u00a0<\/td>\n5 Ges\u00e4nge op. 39<\/td>\n\u00a0<\/td>\n<\/tr>\n
21.<\/td>\nLangsam wandle Ich<\/td>\n4’33<\/td>\n<\/tr>\n
22.<\/td>\nLass Mich<\/td>\n1’03<\/td>\n<\/tr>\n
23.<\/td>\nNun versank der Abend<\/td>\n3’00<\/td>\n<\/tr>\n
\u00a0<\/td>\nAndr\u00e9 Devaere (1890-1914)<\/td>\n<\/tr>\n
24.<\/td>\nGrave et poignant, pour piano<\/td>\n5’37<\/td>\n<\/tr>\n
\u00a0<\/td>\nRudi Stephan (1887-1915)<\/td>\n<\/tr>\n
25.<\/td>\nAbendfrieden<\/td>\n3’40<\/td>\n<\/tr>\n
\u00a0<\/td>\nGeorge Butterworth (1885-1916)<\/td>\n<\/tr>\n
26.<\/td>\nThe lads in their hundreds<\/td>\n2’10<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n
F. Halphen, Pour Cyth\u00e8re<\/a><\/div>\n\n\n\n
F.S. Kelly, Shall I compare thee?<\/a><\/div>\n\n\n\n
E. Farrar, Lullaby<\/a><\/div>\n\n\n\n
R. Hahn, Le plus beau pr\u00e9sent<\/a><\/div>\n\n\n\n
E. Schulhoff, Nun versank der Abend<\/a><\/div>\n\n\n\n
\"\"<\/figure>\n","protected":false},"excerpt":{"rendered":"

Auf dieser vierten CD der Reihe Les musiciens et la Grande Guerre (Die Musiker und der erste Weltkrieg) interpretieren der Bariton Marc Maurillon und Anne Le Bozec auf einem Bechstein-Klavier<\/p>\n","protected":false},"author":1048,"featured_media":98734,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1571,1561],"tags":[],"technique":[],"squelettes":[],"sujet":[],"formation":[],"genre":[1900],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-98733","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cd-de","category-letzte-neuerwerbungen-de","genre-klassische-musik-de"],"acf":[],"yoast_head":"\nM\u00e9lodies - Prescience, Conscience - Institut Europ\u00e9en des Musiques Juives<\/title>\n<meta name=\"robots\" content=\"index, follow, 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