Michael Gielen

Biography

Born: July 20, 1927; Dresden, Germany  
Michael Gielen is among the best-known conductors in Germany, and is the leading European conductor of Central European avant-garde music. He is also a respected composer of complex, often twelve-tone, compositions.

Michael Andreas Gielen's father was the stage producer Josef Gielen and his uncle was the eminent Polish pianist Edward Steuermann, who was Arnold Schoenberg's first important piano interpreter. The family moved to Buenos
Read more Aires in the 1930s, where Michael studied piano and composition with Erwin Leuchter. He debuted in Buenos Aires in 1949 as a pianist. During that year, he played all of Arnold Schoenberg's piano compositions. He also worked as a coach in the Teatro Colón Opera House.

In 1950 he moved to Vienna to study with Polnauer (1950 - 1953). While there he found a position as coach in the Vienna State Opera, and in 1954 became a resident conductor on its staff, remaining there until 1960. In that year he was appointed music director of the Royal Opera of Stockholm (1960 - 1965), then as a regular conductor of the Cologne Radio Symphony Orchestra (1965 - 1969) then chief conductor of the Belgian National Orchestra in Brussels (1968 - 1973), and was director of the Dutch National Opera (1972-1975).

From 1969 he was the permanent guest conductor of the South German Radio Symphony Orchestra. By this time he was closely associated with the latest modernist trends in European music, particularly in twelve-tone idioms. Among his most important premieres were the opera Die Soldaten by Bernd Alois Zimmerman (Cologne, 1965), György Ligeti's Requiem (1965), D'un opéra de voyage by Betsy Jolas, Carré and Mixture by Karlheinz Stockhausen, Namo by Isang Yun, and Zimmermann's Requiem für einen jungen Dichter. In the meantime he continued to compose, normally dense, complex music taking its point of departure from the twelve-tone music of the time.

From 1978 to 1981 he was principal guest conductor of the BBC Symphony Orchestra in London, and from 1977 - 1987 he was chief music director of Frankfurt. Conterminously, he was music director of the Cincinnati Orchestra (1980 - 1986), a period known for its challenging programming.

He received one of his most important posts, director of the South-West German Radio Symphony in Baden-Baden, which is one of the leading orchestras in the modern music world, in 1996. There he has focused on the entire repertory from Bach to contemporary music, giving incisive performances of the complete Beethoven and Mahler symphonies. In 1999 he relinquished the post of music director, and became Permanent Guest Conductor of the orchestra. Read less
Mozart: Symphony No 39, Horn Concerto, Concertone / Sanders, Ott, Ostertag, Gielen, Et Al
Release Date: 06/10/2008   Label: Arte Nova  
Catalog: 277920   Number of Discs: 1
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Carter: Piano Concerto, Concerto For Orchestra, 3 Occasions / Oppens, Gielen
Release Date: 06/14/2005   Label: Arte Nova  
Catalog: 277730   Number of Discs: 1
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Zemlinsky: Lyric Symphony; Berg: Lyric Suite / Orsanic, Johnson, Gielen
Release Date: 10/11/2005   Label: Arte Nova  
Catalog: 277680   Number of Discs: 1
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Ravel: Daphnis Et Chloe / Gielen,  Swr Symphony Orchestra
Release Date: 11/14/2006   Label: Arte Nova  
Catalog: 636410   Number of Discs: 1
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There are 88 Michael Gielen recordings available.

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Biography

Born: July 20, 1927; Dresden, Germany  
Michael Gielen is among the best-known conductors in Germany, and is the leading European conductor of Central European avant-garde music. He is also a respected composer of complex, often twelve-tone, compositions.

Michael Andreas Gielen's father was the stage producer Josef Gielen and his uncle was the eminent Polish pianist Edward Steuermann, who was Arnold Schoenberg's first important piano interpreter. The family moved to Buenos
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WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Adagio molto - Allegro con brio
II. Andante cantabile con moto
III. Menuetto - Allegro molto e vivace
IV. Finale: Adagio - Allegro molto
I. Allegro con brio
II. Marcia funebre: Adagio assai
III. Scherzo: Allegro vivace
IV. Finale: Allegro molto
I. Adagio molto - Allegro molto
II. Larghetto
III. Scherzo
IV. Allegro molto
I. Poco sostenuto - Vivace
II. Allegretto
III. Presto
IV. Allegro con brio
I. Adagio - Allegro vivace
II. Adagio
III. Menuetto: Allegro vivace
IV. Allegro ma non troppo
I. Allegro vivace e con brio
II. Allegretto scherzando
III. Tempo di menuetto
IV. Allegro vivace
I. Allegro con brio
II. Andante con moto
III. Allegro
IV. Allegro
I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande | (Awakening of joyful feelings upon arriving in the countryside): Allegro ma non troppo
II. Szene am Bach (Scene by the brook): Andante molto mosso
III. Lustiges Zusammensein der Landleute (Cheerful gathering of country folk): Allegro
IV. Gewitter, Sturm (Thunderstorm): Allegro
V. Hirtengesang: Frohe und dankbare Gefuhle nach dem Sturm (Shepherd's song: Happy and thankful feelings after the storm): Allegretto
I. Allegro ma non troppo, un poco maestoso
II. Scherzo: Molto vivace - Presto
III. Adagio molto e cantabile
IV. Schlusschor aus Schillers Ode, "An die Freude" (Final chorus from Schiller's, "Ode to Joy") - Finale: Presto - Allegro assai - Presto - Recitative: O Freunde, nicht diese Tone
No. 1. Der Schildwache Nachtlied
No. 4. Wer hat dies Liedlein erdacht?
No. 6. Des Antonius von Padua Fischpredigt
No. 8. Lied des Verfolgten im Turm
No. 7. Rheinlegendchen
No. 10. Lob des hohen Verstandes
No. 3. Trost im Ungluck
No. 5. Das irdische Leben
No. 14. Der Tamboursg'sell
No. 9. Wo die schonen Trompeten blasen
No. 15. Das himmlische Leben
No. 2. Verlorne Muh
No. 13. Revelge
No. 12. Urlicht
I. Das Trinklied vom Jammer der Erde (The Drinking Song of Earth's Misery)
II. Der Einsame im Herbst (The Lonely One in Autumn)
III. Von der Jugend (Of Youth)
IV. Von der Schonheit (Of Beauty)
V. Der Trunkene im Fruhling (The Drunkard in Spring)
VI. Der Abschied (The Farewell)
I. Sostenuto assai
II. Scherzo
III. Adagio espressivo
IV. Allegro molto vivace
I. Lebhaft
II. Scherzo: Sehr massig
III. Nicht schnell
IV. Feierlich
V. Lebhaft
Part I: Introduction et danse religieuse
Part I: Danse generale
Part I: Danse grotesque de Dorcon
Part I: Danse legere et gracieuse de Daphnis
Part I: Danse de Lycenion
Part I: Danse lente et mysterieuse des nymphes
Part II: Introduction
Part II: Danse guerriere
Part II: Danse suppliante de Chloe
Part III: Lever du jour
Part III: Pantomime
Part III: Danse generale
I. Vorspiel: Molto moderato
II. Die Prinzessin: Allegretto scherzando
III. Der Wald: Assai moderato
IV. Arbeitslied des Prinzen: Allegro
V. Der Bach: Andante
VI. Tanz des holzgeschnizten Prinzen: Allegro
VII. Nachspiel: Moderato
I. Introduzione: Andante non troppo - Allegro vivace
II. Giucco delle Coppie: Allegretto scherzando
III. Elegia: Andante non troppo
IV. Intermezzo interrotto: Allegretto
V. Finale: Pesante - Presto
Part I: Orchestral Prelude
Part I: Nun dampft die Dammrung jeden Ton (Waldemar)
Part I: O, wenn des Mondes Strahlen leise gleiten (Tove)
Part I: Ross! Mein Ross! Was schleichst du so trag! (Waldemar)
Part I: Sterne jubeln, das Meer, es leuchtet (Tove)
Part I: So tanzen die Engel vor Gottes Thron nicht (Waldemar)
Part I: Nun sag' ich dir zum ersten Mal (Tove)
Part I: Es ist Mitternachtszeit (Waldemar)
Part I: Du sendest mir einen Liebesblick (Tove)
Part I: Du wunderliche Tove! (Waldemar)
Part I: Orchestral Interlude
Part I: Tauben von Gurre! Sorge qualt mich (Voice of the Wood Dove)
I. quarter note = 160
II. Andante
III. Con moto
I. Moderato alla breve
II. Larghetto concertante
III. Allegretto
IV. Largo - Tempo giusto, alla breve
I. Exaudi orationem meam, Domine (Psalm 39, 12-13)
II. Expectans expectavi Dominum (Psalm 40, 1-3)
III. Alleluia. Laudate Dominum (Psalm 150)
I. Allegro con brio
II. Andante
III. Poco Allegretto
IV. Allegro
I. Allegro non troppo
II. Andante moderato
III. Allegro giocoso - Poco meno presto
IV. Allegro energico e passionato - Piu allegro
I. Allegro non troppo
II. Adagio non troppo
III. Allegretto grazioso (quasi andantino) - Presto ma non assai - Tempo I
IV. Allegro con spirito
Chorale St. Antoni: Andante
Variation I: Poco piu animato
Variation II: Piu vivace
Variation III: Con moto
Variation IV: Andante con moto
Variation V: Vivace
Variation VI: Vivace
Variation VII: Grazioso
Variation VIII: Presto non troppo
Finale: Andante
I. Un poco sostenuto - Allegro
II. Andante sostenuto
III. Un poco allegretto e grazioso
IV. Finale: Adagio - Piu andante - Allegro non troppo, ma con brio
I. Preludio: Moderato
II. Scherzo: Allegro
III. Intermezzo: Moderato
IV. Marcia funebre: Maestoso
I. Andante sostenuto
II. Allegro giocoso
I. Andante tranquillo
II. Allegro
III. Adagio
IV. Allegro molto
Act I Prologue: Prelude
Act I Prologue: Roi Laios, en ta maison (Women, High Priest, Warriors, Shepherds, Creon)
Act I Prologue: Les Dieux ont beni l'enfant (High Priest, Jocasta, Laius, Tiresias, Chorus)
Act II Scene 1: Mais l'exil eternel! (Oedipus, Phorbas, Chorus)
Act II Scene 1: Pourquoi trembler, mon fils? (Merope, Oedipus)
Act II Scene 2: Est-ce deja le Roi? (Shepherd, Oedipus, Laius)
Act II Scene 3: De l'aurore a l'aurore (Watchman, Oedipus, Sphinx)
Act II Scene 3: Ho! Ho! Reveillez-vous, Thebains! (Watchman, Oedipus, Thebans, Chorus)
I. Andante: Adagio
II. Scherzo: Schnelle Viertel - Plotzlich viel langsamer - Gemachliches Landler-Tempo - Tempo I
III. Purgatorio: Allegretto moderato
IV. (Scherzo): Allegro pesante - Nicht zu schnell - Bedeutend langsamer - Schattenhaft
V. Finale: Einleitung - Langsam, schwer - Allegro moderat o - Andante (Tempo des Anfanges der Sinfonie) - Adagio
I. Langsam. Schleppend - Immer sehr gemachlich
II. Kraftig bewebt, doch nicht zu schnell
III. Feierlich und gemessen, ohne zu schleppen
IV. Sturmisch bewegt
I. Luttes (Battles)
II. Voluptes (Voluptuousness)
III. Jeu Divin (Divine Game)
I. Andante - Allegro ma non troppo - Piu moto
II. Andante con moto
III. Scherzo. Allegro vivace
IV. Finale. Allegro vivace
I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt
II. Sturmisch bewegt, mit grosster Vehemenz
III. Scherzo. Kraftig, nicht zu schnell
IV. Adagietto. Sehr langsam
V. Rondo-Finale: Allegro
I. Andante comodo
II. Im Tempo eines gemachlichen Landlers. Etwa tappisch und sehr derb
III. Rondo: Burleske - Allegro assai - Sehr trotzig
II. Tres vif: Strident
I. Nun will die Sonn' so hell aufgeh'n
II. Nun seh' ich wohl, warum so dunkle Flammen
III. Wenn dein Mutterlein
IV. Oft denk' ich, sie sind nur ausgegangen
V. In diesem Wetter
I. Bedachtig. Nicht eilen
II. In gemachlicher Bewegung. Ohne Hast
III. Ruhevoll
IV. Sehr behaglich
I. Moderato
II. Vivace - Adagio - Vivace
III. Adagio
IV. Allegretto con grazia (Vivace)
Violin Concerto No. 2 in B minor Sz112: I. Allegro non troppo
Violin Concerto No. 2 in B minor Sz112: II. Andante tranquillo
Violin Concerto No. 2 in B minor Sz112: III. Allegro molto
I. Allegro energico, ma non troppo. Heftig, aber markig
II. Scherzo. Wuchtig
III. Andante moderato
IV. Finale. Allegro moderato
I. Langsam - Allegro risoluto, ma non troppo
II. Nachtmusik I - Allegro moderato
III. Scherzo. Schatternhaft
IV. Nachtmusik II - Andante amoroso
V. Rondo - Finale


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