Moser: Rahel und Pauline

$20.99
Label
Solo Musica
Release Date
May 10, 2024
Format
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    Featuring ⌄
    • COMPOSER
      Roland Moser
    • PERFORMER
      Desiree Meiser, Jeannine Hirzel, Viviane Chassot, Kathi Gohl Moser, Marcus Weiss, Stephan Schmidt, M
    Product Details ⌄
    • RELEASE DATE
      May 10, 2024
    • UPC
      4260123644529
    • CATALOG NUMBER
      SM452
    • LABEL
      Solo Musica
    • NUMBER OF DISCS
      1
    • GENRE
      Orchestral & Symphonic
    Works ⌄

    1. Part I, "Berlin 1804-1811": Liebe Ralle (Pauline)

      Composer: Roland Moser

      Performer: Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    2. Part I, "Berlin 1804-1811": Scherzo 1 (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    3. Part I, "Berlin 1804-1811": Scena: O, Ralle, was macht (Pauline)

      Composer: Roland Moser

      Performer: Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    4. Part I, "Berlin 1804-1811": Zum Leiden ist ihr starkes Herz (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    5. Part I, "Berlin 1804-1811": Erfurt, den 11.12.1805 (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot

      Conductor: Frances Prat

    6. Part I, "Berlin 1804-1811": Aria: Der Krieg (Pauline)

      Composer: Roland Moser

      Performer: Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    7. Part I, "Berlin 1804-1811": Schicke Geld, ich habe keinen Sou (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    8. Part I, "Berlin 1804-1811": Marcia funebre (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Käthi Gohl Moser, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    9. Part II, "Karlsruhe/Murten, spring 1818": Karlsruhe, Montag den 28. März 1818 (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    10. Part II, "Karlsruhe/Murten, spring 1818": Liedchen der Rahel (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Stephan Schmidt, Matthias Würsch

      Conductor: Frances Prat

    11. Part II, "Karlsruhe/Murten, spring 1818": Die Pläne fest im Kopf" (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    12. Part II, "Karlsruhe/Murten, spring 1818": Ariette, capricciosa (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    13. Part II, "Karlsruhe/Murten, spring 1818": Endlich warmes schönes Wetter (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    14. Part II, "Karlsruhe/Murten, spring 1818": Wir mussten uns um 10 Jahre verfehlen (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    15. Part II, "Karlsruhe/Murten, spring 1818": Aria trasognata (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    16. Part II, "Karlsruhe/Murten, spring 1818": Ou étiez vous Samédi (Pauline)

      Composer: Roland Moser

      Performer: Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    17. Part II, "Karlsruhe/Murten, spring 1818": Basel, den 26.1.1819 (Pauline)

      Composer: Roland Moser

      Performer: Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    18. Part III, " Berlin/Paris, Baden-Baden c. 1820-1830": Berlin, Donnerstag vormittag (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    19. Part III, " Berlin/Paris, Baden-Baden c. 1820-1830": So bin ich provisorisch (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    20. Part III, " Berlin/Paris, Baden-Baden c. 1820-1830": Zwischenspiel (Zeitsprung) (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    21. Part III, " Berlin/Paris, Baden-Baden c. 1820-1830": Lied der Rahel (Aber darin) (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    22. Part III, " Berlin/Paris, Baden-Baden c. 1820-1830": Kleine Revolutionsmusik

      Composer: Roland Moser

      Performer: Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    23. Part III, " Berlin/Paris, Baden-Baden c. 1820-1830": Was sahen Sie zu die Nachrichten (Pauline)

      Composer: Roland Moser

      Performer: Jeanine Hirzel, Marcus Weiss, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    24. Part III, " Berlin/Paris, Baden-Baden c. 1820-1830": Je metais sur tout (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Matthias Würsch

      Conductor: Frances Prat

    25. Part III, " Berlin/Paris, Baden-Baden c. 1820-1830": il est admirable (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Matthias Würsch

      Conductor: Frances Prat

    26. Part III, " Berlin/Paris, Baden-Baden c. 1820-1830": car il est 11 heure (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Stephan Schmidt, Viviane Chassot

      Conductor: Frances Prat

    27. Part III, " Berlin/Paris, Baden-Baden c. 1820-1830": Duettino (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    28. Part III, " Berlin/Paris, Baden-Baden c. 1820-1830": Berlin, den 27. Februar (Rahel, Pauline)

      Composer: Roland Moser

      Performer: Desiree Meiser, Jeanine Hirzel, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat

    29. Nachspiel

      Composer: Roland Moser

      Performer: Desiree Meiser, Marcus Weiss, Käthi Gohl Moser, Stephan Schmidt, Viviane Chassot, Matthias Würsch

      Conductor: Frances Prat


Why is the early 19th century still so vividly present in literature, philosophy, music, and art? Why do Beethoven and Schubert continue to dominate many concert programs as well as a considerable volume of contemporary music journalism? German Romanticism was never an arcane hideout for other-worldly escapists; rather, it has to this day remained one of the most popular wellsprings of activity and discussion. So how does Rahel Varnhagen fit into this? From 1790 to 1832, she hosted a famous salon in which she had discussions with and inspired eminent figures in the fields of literature, theater, philosophy, music, politics, and science. Her chains of somewhat unconventional correspondence span thousands of pages. Since Hannah Arendt’s groundbreaking book on Rahel (1933/58), her historical significance as a “pariah”, as an outsider who was constantly in the spotlight, as a woman of Jewish descent and as a (non-publishing) writer has been brought into ever-sharper focus. Pauline, the daughter of a banker by the name of César, was from a very early age admired by many on account of her beauty. She soon went her own way, bore the child of a Russian officer, and became the lover of Prince Louis Ferdinand of Prussia, who was also a composer and was later killed in battle, leading his men against the forces of Napoleon. So how can such an exchange of letters work as a stage production? Pauline writes in the way she presumably spoke, constantly switching between her Berlin dialect, a distinctive form of standard German, and a highly adventurous Prussian French with her own spelling rules. Portrayed here by a concert singer, Pauline is allowed to be extravagant, whereas Rahel, who leans more towards straight theatre, is rather more rigid in her spoken and sung idiom. The scenes allow answers to be given straightaway even though the two protagonists do not actually meet until the epilogue. Born in 1943 in Bern (Switzerland), Roland Moser studied composition with Sándor Veress and has degrees in piano and music theory from Bern. In Germany, he undertook further studies in Freiburg and Cologne. From 1969 to 1984, he taught theory and new music at the Winterthur Conservatorium. Until his retirement, he was subsequently professor of composing, orchestration, and music theory at the City of Basel Music Academy. From 1968 onwards, he gained experience with experimental music in the Ensemble Neue Horizonte Bern, most of whose members also compose.