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Walter Braunfels:
MARLIS PETERSEN · KONRAD JARNOT · ERIC SCHNEIDER
Sechs Gesänge / Six Songs op. 1 (1902)
Fragmente eines Federspiels op. 7 (1904)
Sechs Gesänge / Six Songs op. 4 (1905)
Neues Federspiel op. 7 (1904)
Musik zu Shakespeares Komödie Was Ihr wollt, op. 11 (1908)
Music To Shakespeare’s Comedy What You Will, Op. 11
Klärchen-Lieder op. 29 (1916)
Nachklänge Beethovenscher Musik op. 13 (1910)
Herbstgefühl (1917)
An die Parzen op. 27 Nr. 1
Zwei Lieder / Two Songs op. 44 (1932)
Walter Braunfels is a composer whose music died twice: Once when the Nazis declared his music “degenerate art”. Then again when post-war Germany had little use for the various schools of tonal music; when the arbiters of taste considered any form of romantic music – almost the whole pre-war aesthetic – to be tainted. Post-war Europe had experienced (or rather: been prescribed) an aesthetic paradigm shift. Walter Braunfels had a hand at drama and his operas demonstrate his careful consideration of texts. This also shines through in his songs, with which he learned his craft and all but two of which he composed prior to The Birds. Marlis Petersen, whose fascination with Braunfels’ “unique tonal language of a totally transparent structure and large late-romantic nature” began with two songs she got to sing earlier in her career, considers the Federspiele to be “real jewels of the art of Lied: simple, deeply touching airs.”
