BA­BETTE DORN Die Zauber­flöte: Magic on the Pi­ano (Gen­uin)

Pasatiempo - - Pasa Tempos -

As the Santa Fe Opera re­vives its charm­ing pro­duc­tion of The Magic Flute and the city again falls in love with Mozart’s in­gra­ti­at­ing score, lis­ten­ers may be in­ter­ested to hear how that opera’s melodies gave rise to works by other com­posers. The adept Ger­man pi­anist Ba­bette Dorn has pre­vi­ously re­leased CDs of con­cert para­phrases based on Don Gio­vanni and The Mar­riage of Fi­garo. Her lat­est fo­cuses on Magic Flute-in­spired pieces rang­ing from sim­ple pi­ano re­duc­tions of sec­tions of the opera (dat­ing from when the piece was new) to thor­oughly en­joy­able com­po­si­tions by such of Mozart’s im­me­di­ate fol­low­ers as Fer­di­nand Ries (a sparkling Fan­tasy on Pa­pageno’s aria “Der Vo­gelfänger bin ich ja”), Beethoven’s teacher Chris­tian Got­t­lob Neefe (widerang­ing vari­a­tions on the Act Two Priest’s Cho­rus, which here sounds sus­pi­ciously like “O Canada”), and the then-fa­mous pi­ano vir­tu­oso Jo­hann Bap­tist Cramer (whose imag­i­na­tive vari­a­tions on “Ein Mäd­chen oder Weibchen” make us wish more of his strik­ingly Mozartian mu­sic sur­vived). The most in­trigu­ing piece on her recital was the last to be writ­ten: the Im­pro­vi­sa­tions on Themes From The Magic Flute, penned in the late 19th cen­tury by Joseph Rhein­berger, the most fa­mous com­poser ever to em­anate from Liecht­en­stein. Rhein­berger’s imag­i­na­tion roams freely as he de­con­structs and re­com­bines tunes from Mozart’s opera us­ing har­monic au­dac­ity in­debted to Wag­ner and pi­anis­tic aban­don that owes much to Liszt. — James M. Keller

‘Trea­sure State’ of­fers

a cor­nu­copia of melody

and rhythm that plays

as one long suite with

many twists and turns.

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.