HINDEMITH, P.: Marienleben (Das) (revised version, 1948) (Isokoski, Viitasalo) | ClassicsOnline Classical Music CD mp3 downloads | Free preview streaming

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ClassicsOnline Home » HINDEMITH, P.: Marienleben (Das) (revised version, 1948) (Isokoski, Viitasalo)

		Work/Track Title			Time		USD Price		MP3 Tracks
		HINDEMITH, P.: Marienleben (Das) (revised version, 1948) (Isokoski, Viitasalo)			1:11:42

Das Marienleben, Op. 27 (revised version, 1948)

No. 1. Geburt Maria

3:13

0.99

No. 2. Die Darstellung Maria im Tempel

6:24

1.99

No. 3. Maria Verkundigung

4:57

0.99

No. 4. Maria Heimsuchung

2:32

0.99

No. 5. Argwohn Josephs

2:07

0.99

No. 6. Verkundigung uber die Hirten

6:37

1.99

No. 7. Geburt Christi

4:38

0.99

No. 8. Rast auf der Flucht nach Agypten

4:06

0.99

No. 9. Von der Hochzeit zu Kana

7:44

1.99

No. 10. Vor der Passion

5:45

1.99

No. 11. Pieta

3:27

0.99

No. 12. Stillung Maria mit dem Auferstandenen

2:23

0.99

No. 13. Vom Tode Maria I

7:15

1.99

No. 14. Vom Tode Maria II

7:31

1.99

No. 15. Vom Tode Maria III

3:03

0.99

Total Selected Album Items ( 0 ) Sub-Total Amount ( 0 )

Users' Reviews

By JD88992
31-Jan-2010

Who's afraid of Hindemith?

Although I was familiar with the names of the composer and singer, I knew nothing about this music itself when I first put the CD in my player. Sometimes, you hear a contemporary work, and wonder how the performers ever memorized it (or why they bothered). Not here: The vocal line in 'Das Marienleben' is angular without being forbidding, and the piano part is more than mere accompaniment. I was soon quite absorbed, and encourage anyone with a hankering to investigate 20th century vocal music to give it a try. Isokoski and Viitasalo are fine performers, and the balance between voice and piano seems ideal, with neither obscuring the other. The booklet includes all the texts (by Rainer Maria Rilke) and translations, as well as notes on the history of the work.
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Published Reviews

By Guy Rickards
Gramophone
01-Feb-2010

A beautifully sung rendition of Hindemith’s early masterpiece

Das Marienleben is a masterpiece of the song-cycle genre, one of few 20th-century examples to rank with the greatest from the 19th…Isokoski and her recital partner of 22 years, Marita Viitasalo, like so many opt for Hindemith’s later version. They produce the most beautifully sung account I have heard in years, with perfect intonation throughout, something which has eluded many competitors, whether Meyer-Topsøe’s fine version or even Janowitz (Jecklin – nla), hitherto the most compelling account set down. Ondine’s superb sound is also the finest on offer, exquisitely balanced between voice and piano, with depth and just the right degree of

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By David Hurwitz
ClassicsToday.com
01-Jan-2010

There have been too few recordings of this magnificent song cycle, so it doesn’t mean as much as it should to say that this is easily the finest of them. Hindemith recognized the importance of this music, and it haunted him throughout his life. The opening bars announcing the birth of Mary occur not only throughout the work (most notably in The Birth of Christ and On the Death of Mary III) but in many other pieces as well—such as the slow movement of the Cello Concerto and the Symphony in E-flat. They became Hindemith’s personal leitmotif. And then of course, there’s Rilke’s gorgeous poetry, lovely in the original German, and grotesque in R.G.L. Barrett’s 1923 translation (included in the booklet). I mean, when the last two words of The Birth of

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