Tölzer Knabenchor performs Franz Schubert's Mirjams Siegesgesang "Song of Triumph" D. 942. This is the repeat of the theme and final fugue.soloist: Ludwig Mittelhammerpianist: Christian Brembeckconductor: Gerhard Schmidt-Gadenstudio concert in Japan, 2000.Drum mit Zimbel und mit Saiten Laßt den Hall es tragen weit, Groß der Herr zu allen Zeiten, Heute groß vor aller Zeit. "Miriam’s Song of Victory" attains symphonic dimensions as Miriam leads the women of Israel in rejoicing. Franz Schubert’s cantata centers on an aria in classic A-B-A’ form: flight from Egypt, perilous sea passage, land of freedom. The text by Schubert’s friend, the playwright Franz Grillparzer, is almost a melodrama: vividly imagined sea-monsters, glassy walls of the parting sea, sounds of the advancing enemy, a furious storm raised by Divine hand, Pharoah bobbing in the sea and sinking into the abyss. A victory dance introduces the story and is repeated at its close, swelling into a fugue: great is our Lord in all ages. Schubert, ill and desperately poor, created the work in early1828 for the sisters Fröhlich, who supported themselves as musicians and by taking in lodgers (including Grillparzer). Anna Fröhlich sponsored a performance the next year, shortly after Schubert’s death. Critically praised, Mirjams Siegesgesang was first published 10 years later. Franz Lachner’s orchestral setting in 1873 contributed to a revival of interest in Schubert’s music.
Tölzer Knabenchor performs Franz Schubert's Mirjams Siegesgesang "Song of Triumph" D. 942. This ...
