Rating: - German Melodies for pure pleasure
Like a fine coffee or rare tea this recording needs no translation. The Man's voice and the melodies tell it all. I will be purchasing more of this gentlemans' records. I understand not one word of German BUT I enjoy listening and tapping my foot along with the beat. Mr. Kunz' voice is phenomenal and I hope to add many more recordings, of his, to my collection.
Rating: - Superb renditions of lesser-known German songs
By the time Kunz and his Vienna State Opera forces had reached this 3rd volume, much of the really popular songs had been used up in the earlier two--and by all means grab Vol. 1 as soon as you can. "Tannenbaum" is an exception, as is the ever-popular Goethe lyric "Heidenroslein." So if this collection suffers at all, it does so only in comparison with the earlier releases in the series, and it still is miles above any other recording of similiar material.
Rating: - Superb renditions of lesser-known German songs
By the time Kunz and his Vienna State Opera forces had reached this 3rd volume, much of the really popular songs had been used up in the earlier two--and by all means grab Vol. 1 as soon as you can. "Tannenbaum" is an exception, as is the ever-popular Goethe lyric "Heidenroslein." So if this collection suffers at all, it does so only in comparison with the earlier releases in the series, and it still is miles above any other recording of similiar material.
His works include a number of operas: Die Rolands-knappen (1826 opera), Der Zauberer (1827), Die Bettlerin (1828), and Abu Kara (1831), to name but a few. His best known opera is probably Die Nibelungen (1854). Dorn also composed symphonies, cantatas, operettas, and some church music.
Life
Dorn was a student of law at Konigsberg in 1823, but was more interested in a music career and went to Berlin to study under L. Berger, Zelter, and B. Klein (piano). For a while, he taught in Frankfort, becoming Kapellmeister of the Konigsberg Theatre in 1828. He met young Wagner in Leipzig in or about 1829. Later, as music director of St. Peter’s in Riga, Dorn became an outspoken critic of Wagner. For many years, he participated in music festivals as organizer and conductor. In 1845, Dorn founded the Rheinische Musikschule, which later became known as the Cologne Conservatory. He wrote many articles on musical criticism, became the music editor for the Berliner Post and other publications. His autobiography, Aus meinem Leben is in 6 parts and was published in 1879. Dorn further developed a reputation in his musical criticism for being a champion of the music of Anton Bruckner.
