DJ Abbamont & Glenn Tiedemann | Max Kowalski, Op. 11, Sechs Liebeslieder Aus Dem Rokoko

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Max Kowalski, Op. 11, Sechs Liebeslieder Aus Dem Rokoko

by DJ Abbamont & Glenn Tiedemann

Six Liebeslieder (Love Songs) from the Rokoko (Baroque) were written by Max Kowalski and published in 1921 by N. Simrock, Berlin. He dedicated these very high and lighthearted songs to the then famous coloratura opera singer, Maria Ivogun.
Genre: Classical: Romantic Era
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  Song Share Time Download
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1. Damöt
DJ Abbamont & Glenn Tiedemann
1:52 $0.99
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2. An Phyllis
DJ Abbamont & Glenn Tiedemann
0:59 $0.99
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3. Das Kind
DJ Abbamont & Glenn Tiedemann
1:01 $0.99
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4. Rosette
DJ Abbamont & Glenn Tiedemann
1:40 $0.99
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5. Die Lügenhafte Phyllis
DJ Abbamont & Glenn Tiedemann
1:30 $0.99
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6. Phyllis an Damon
DJ Abbamont & Glenn Tiedemann
2:39 $0.99
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ABOUT THIS ALBUM


Album Notes
Max Kowalski(1882-1956) was born in Kowal, Poland. His family moved the next year to Frankfort, Germany, where he grew up, studied and earned Doctorates in both Music and Law (his specialty was Copyrights). His teacher of compostition was Bernhard Sekles and voice, Alexander Heineman. In Germany from 1913 till 1931, Max Kowalski was a prolific composer of beautiful lieder in the Romantic style. Although he was Jewish, Max Kowalski wrote music of all styles and genres, from Japanese, Chinese, Danish, Arabic, French and that of many great German authors, he even wrote a Marienlieder in his Opus 12. He was friend to many other composers, artists and performers and every song cycle he wrote was quickly published until Adolf Hitler and the Third Reich took over the country. In the late 30's Kowalski was very involved with the "Kulterbund" in Frankfort, Germany and his music continued to have popularity in their orchestral concerts. He is mentioned and highlighted by his presence at the last Kulturbund concert(1938) in Martin Goldsmith's book entitled "The Inextinguishable Symphony". By the end of 1938, Kowalski was arrested and spent time in Buchenwald but within a month he was released and he fled to England where he spent the rest of his life teaching voice, singing in a Synagogue and making a humble living. Although no music of his was ever published again, he kept writing new works, 17 new song cycles in manuscripts which singers performed in concerts and on radio. Opus 1 is his first composition dated 1913 and first published by Leukart in Germany. It had been out-of-print many years until Dr. Walter Foster of Recital Publications in Huntsville, Texas took up the committment to bring as many of Max Kowalski's song cycles to the public as possible. So far, 11 of his 17 previously published cycles have been reprinted.

DJ Abbamont, Soprano: A New Jersey performer, originally from Whippany. Studies at Westminster Choir College and Montclair State were under Hye Young Choi, Susan Robinson, Alice Parker, David York, Charles Schisler, Augusta Borrois, Lois Laverty, David Randolph, Ting Ho and Martin Bate. Worked not only in the field of Oratorio (Masterwork Chorus under David Randolph) and with Contemporary Christian Music but performed in popular music venues such as “The Entertainers” a Dixieland Band. As well as being a piano and voice instructor, Abbamont’s great joy is in serving a music ministry involved in "The Jesus Story" produced by Bible Baptist Passion Play Ministries. In her own words “If by my singing these love songs, then the persecution which Max Kowalski suffered can hopefully begin to heal. “

Glenn Tiedemann, Organist, Composer, Arranger, A native of New Jersey, his musical studies included Richard Paige Eckstein (Theory), Ralph Kneeream, David Randolph (Choral Music, German Diction) and Ting Ho (Theory and Composition) Has served as Organist Choir Director for the Belleville Reformed Church, Belleville, New Jersey, Central Brick Presbyterian Church in East Orange, and Brookdale Reformed Church, Bloomfield, New Jersey. In addition to his organist/director duties, Mr Tiedemann has been a very active church member and has worked as a member of the Advisory Board for a new hymnal for use in both the Christian Reformed Church and Reformed Church in America with denominations throughout the USA and Canada. Publication date is set for 2013.

In his own words “I am a lover of the human voice; from the effortlessly floating melodies and open harmonies of Gregorian Chant thru the nearly acrobatic melodies of the Mozart Aria. I also love the rich sounds and expansive harmonies of the Romantic Symphony and Piano Concerti; such as Rachmaninoff & Mahler. Max Kowalski's Music contains elements of all of the above - a brilliant composer who is truly worthy of being remembered.”

Complete Translation of Max Kowalski’s Opus 11
1.Das Kind
Als mich die Mama Hänschen küssensah,
Strafte sie mich ab. Doch sie lachte ja,
Als ihr der Papa Heut ein Mäulchen gab.
Warum lehrt sie mich: „Mädchen!, mach's wie ich!
Sieh, was andre sind!“ Nun ich solchestu',
Schmält sie noch dazu: Ach, ich armes Kind!
Schwestern, sagt mir's fein! Ist mir, weil ich klein,
Noch kein Kuß vergönnt? Seht! Ich wach seschon,
Seit des Nachbars Sohn Mich sein Schätzchennennt.
The Child (trans)
When my mommy saw little Hans kiss me,
She punished me. But then today mommy giggled
When daddy stole a kiss from her.
Why does she lecture me saying: "Young lady!, Act the way I do!
See how others act!" Now when I do so,
She scolds me all the more: Oh, poor little me!
Sisters, say it in a delicate way! Is it to me, while I am little,
That not a kiss may be bestowed? Look! I have been growing
Since the neighbor's son called me his little sweetheart. (Friedrich von Hagedorn)
2.Damöt
Der liebens wür dige Damöt Fand neulich mich allein
Und klagte, bis des Abends spät, Mir seiner Liebes pein!
Mein höchster Wunsch, spracher, bist du...Es ließ ihm gar zuschön,
Kammein Mamachen nicht dazu, So war's um mich geschehn.
Ich wollt' ent fliehen, er stand still, Nach seufzen hört' ich ihn!
Ich blieb: wen Amor halten will, Kann der den wohl ent fliehen?
Mein höchster Wunsch, spracher, bist du...Es ließ ihm gar zuschön!
Kammein Mama chen nicht dazu, So war's um mich geschehn.
Damöt (trans)
The lovable Damöt found me all alone the other day
And complained until late in the evening, of how painful love was for him!
My highest wish, he said, is you ... It made him almost too beautiful,
Had my dear mama not come by just then, well that would have been the end of my reputation.
I wish to escape, he stood still, I heard him softly exhale a deep sigh!
I remained: for she who Cupid wants to hold, Can she very well escape?
My greatest wish, he said, is you ... It made him almost too beautiful!
Had my dear mama not come by just then, well that would have been the end of my reputation. (Johann Ludwig Wilhelm Gleim)
3.Phyllis an Damon
Ja, liebster Damon, ich bin über wunden:
Mein Geist empfindet, was ernie empfunden;
Dein Harm, von dem dein Ange sichter bleichet, hat mich erweichet.
Al sich die Hand jüngst, die dein Augedeckte,
Vorwitzig fortriß, Himmel, was erweckte
Dein schönes Auge, voller treuer tränen, mir nicht für Sehnen!
Ich floh und weinte. Wie ward mirzumute!
Ein heftig Feuer wallet mir im Blute.
Die Flammen werde nun aufhörlich währen, die mich verz ehren.
Komm, treuster Damon, den ich mir erwähle!
Auf meinen Lippen schwebt mir schon die Seele,
Um durch die deine nunter Scherz und Küssen in dich zu fließen.
Phyllis an Damon (trans)
Yes, dear Damon, I am overcome: My soul feels, what it never felt before;
Your affliction, from the deathly paleness of your face, has softened me.
When I so abruptly forced away the hand that shielded your eye
Heaven, Your beautiful eyes, full of faithful tears, I was not prepared to see!
I ran away and cried. How was it I felt. The flames which consume me will never be quenched.
Come on, most faithful Damon, I select you for me!
My soul already hovers on my lips, that through your lips among the teasing and kissing may flow into you. (Ewald von Kleist)
4.Rosette
An Rosettens Blicken hangend, Schmachtend, seuf zend und verlangend,
Fleh' ich mit ver gebner Müh': Kannst du ewig meinen Klagen,
Meinen Tränen dich versagen? Lohnst du meine Treuenie? Aber immer unbeweglich Hört das kalte Mädchen täg lich
Meine Seufzer an und spricht: Hoffnung nährt allein die Liebe!
Glaub', ich teilte deine Triebe, Wünscht' ich ihre Dauer nicht!
Rosette (trans)
On Rosette’s brief look I am hanging, languishing, sighing and wanting
I beg of her in vain: Can you ignore my complaints forever,
Do my tears fail to reach you? Never can they reward my loyalty? But always immobile, Every day the cold girl hears my sighs and says: Only hope nourishes love! Believe that I would share your feelings, if I did not wish them to be never ending! (Heinrich Christian Boie)
5.Die lügenhafte Phyllis
Mein Damon spricht: „Kind, lüge nicht!
Sonst werd' ich strafen müssen
Und strafet mich schonim voraus.
Sonst log ich nicht, Nur seiter spricht:
„Du sollst mir fein mit Küssen
Und dich zur Strafe küssen.“
Er droht mir, sieht ver drießlich aus
Die losen Lügenbüßen,“
Red' ich kein wahres Wörtchen mehr.
Nun, Schwestern, sagt, wo kömmt das her?
The Lying Phyllis (trans)
My Damon tells me: "Child, do not lie!
Otherwise I shall have to punish
“And punish you with a kiss."
He threatens me, looks morose
And punishes me before I do anything.
Otherwise I do not lie, it is only since he said:
"Your fine will be kisses, “The loose lies to atone"
I am not telling the truth again. Well, sisters, tell me
from where does this come? (Lessing)
6. An Phyllis
Phyllis, unter diesen Buchen Will ich junge Veilchen suchen.
Komm und suche sie mit mir! Müssen wir in finstern Gründen
Lange suchen, sie zufinden, Dann so ruh' ich auch mit dir.
To Phyllis (trans)
Phyllis, under these Bushes will I look for young violets.
Come on and search with me! Must we under cover of darkness
Long search to find them, Then, I shall rest with you.
(Johann Ludwig Wilhelm Gleim)
Translated by Glenn Tiedemann

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