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Meyerbeer: Struensee - Les Patineurs
 
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Meyerbeer: Struensee - Les Patineurs

1 Jan 2000 | Format: MP3

£7.49 (VAT included if applicable)
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Song Title Artist
Time
Popularity  
30
1
14:28
30
2
0:59
30
3
8:34
30
4
0:16
30
5
2:25
30
6
2:44
30
7
7:06
30
8
5:58
30
9
3:39
30
10
1:18
30
11
2:10
30
12
2:04
30
13
1:36
30
14
7:12
30
15
4:38
30
16
4:39
30
17
4:48


Product details

  • Original Release Date: 1 Jan 2000
  • Label: CPO
  • Copyright: (C) 2000 CPO
  • Total Length: 1:14:34
  • Genres:
  • ASIN: B00C3BF2AM
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 231,500 in MP3 Albums (See Top 100 in MP3 Albums)

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Most Helpful Customer Reviews

4 of 4 people found the following review helpful By Owl on 10 Oct 2011
Format: Audio CD
The incidental music, and especially the overtures to Beethoven's `Egmont', Schubert's `Rosamunde', Mendelssohn's `A Midsummernight's Dream' and Grieg's `Peer Gynt', are all favourite pieces of the Romantic repertoire. But I am sure you do not know the music Meyerbeer wrote for his short-lived youngest brother, Michael Beer's drama `Struensee' (1828)? This story about the farsighted political reformer, Johann Friedrich Struensee (1737-72), a German doctor who became the virtual dictator of Denmark and lover of the queen, Caroline Matilda, is a tale of frustrated idealism, and its destruction by the dark forces of obscurantism and reaction. His hubris, leading to betrayal, arrest and execution for treason, provides the material for powerful drama, and the music Meyerbeer provided for this play in 1846, once it had been released from political ban by King Frederick William IV of Prussia (who was related to the Danish royal family), is full of passion, grandeur and pathos.
The overture used to be a well-known concert piece until the interwar years, but then disappeared from public ken and consciousness with all Meyerbeer's music--as though this composer has enduringly been tainted with the curse of Wagnerian rejection and National-Socialist anti-Semitism. You should listen to this overture, so startling in power and beauty, with its mysterious opening theme for the harps and the cellos, and its central conflict in sonata form, between the convoluted theme Conspiracy and the fragility of Fated Love, all leading to the final triumphant peroration, where the symphonic transformation of the opening theme celebrates the spirit of human endeavour and idealism.
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