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René Hirschfeld
Wandlungen |
| 1 |
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Sonett V |
08:49 |
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| 2 |
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Wandlungen III |
11:24 |
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| 3 |
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Sonett XI |
12:46 |
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| 4 |
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Sommernachtsvariationen - Eröffnung |
02:18 |
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| 5 |
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- Die Liebenden |
01:24 |
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| 6 |
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- Die Handwerker |
01:21 |
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| 7 |
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- Der Wald |
03:00 |
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| 8 |
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- Oberon & Titania |
01:01 |
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| 9 |
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- Puck |
01:02 |
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| 10 |
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- Schlaflied der Elfen |
02:54 |
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| 11 |
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- Bottom der Esel |
01:36 |
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| 12 |
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- Verwirrung im Wald |
01:23 |
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| 13 |
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- Schlaflied des Puck |
02:38 |
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| 14 |
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- Erwachen |
01:49 |
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| 15 |
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- Finale: Festmusik & Tanz |
04:10 |
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| 16 |
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Nachtstück |
11:35 |
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Total Time |
01:09:10 |
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| Digital Booklet - only with album |
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| “Art can give us a sense of the infinity of existence, the singular unity of all beings and phenomena as the apparent dualism between the inner and the outer is dissolved. Art can allow us to experience what it means to be alive. It can lead us back to our own sensuality, spirituality, and emotionality - to the very core of our selves,” said Caspar René Hirschfeld. This distinctive conception of art also informs Hirschfeld’s compositions, which are probably best described as objects of immediate sense experience. That the structures of his pieces, for all their inherent complexity, never thrust themselves upon the listener may be best explained by reference to his general approach to the underlying musical material. “The structural development itself provides the material for my music,” he once said. Hirschfeld reins in such free-wheeling organic development using formal model, such as those in his sonnets, thereby creating a new dramatic sequence. Similarly, there is a predetermined sequence of events that underlies his SommerNachtsVariationen. In his Nachtstück op. 56, a suite based on themes from the variations, Hirschfeld forgoes such a sequence in favor of the atmosphere of an “enchanted night”. |
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