{"id":31187,"date":"2023-11-25T12:30:26","date_gmt":"2023-11-25T12:30:26","guid":{"rendered":"https:\/\/marialindo.com\/sobre-mi\/musico\/"},"modified":"2024-01-17T14:43:11","modified_gmt":"2024-01-17T14:43:11","slug":"musico","status":"publish","type":"page","link":"https:\/\/marialindo.com\/en\/sobre-mi\/musico\/","title":{"rendered":"Musician"},"content":{"rendered":"

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The Lied and the English Horn<\/b><\/span><\/div>\n

[\/vc_column_text][vc_column_text css_animation=”bottom-to-top”]The English Horn possesses a velvety sound closely resembling the human voice, making it a natural choice for interpreting Lieder. Composers such as Eugene Bozza and Antonio Pasculli have skillfully captured the essence of this instrument, composing works based on Lieder or opera arias. Richard Wagner’s Wesendonck Lieder served as a sketch for the composer to create the opera Tristan and Isolde, which features one of the great solos for the English Horn. A three-minute melody without orchestral accompaniment resonates in the distance as Tristan recalls the song his mother used to sing to him as a child.<\/span><\/p>\n

Pasculli’s two works have a highly melodic and dramatic section with arias from operas by Bellini and Verdi, and the final part is virtuosic. The audience also delights in the marvelous virtuosity achievable with the English Horn in these works.
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