Customer Reviews

Torsten Rasch: Mein Herz brennt - A Song Cycle Based on the Music of Rammstein

5 star:		(3)
4 star:		(1)
3 star:		(3)
2 star:		(1)
1 star:		(1)

 

 

Composers have, for years now, taken to adapting the work of rock bands into fully symphonic scores - with varying degrees of success. The best that can be said of most of them (even top-notch efforts, such as the London Symphony Orchestra's adaptations of Pink Floyd songs in "Us and Them: Symphonic Pink Floyd") is that they sound, well, nice. Nice and safe and thoroughly background-like. Without exactly descending to the level of muzak, these arrangements nonetheless easily sink into the background, half-heard during dinner or polite conversation.

But German composer Torsten Rasch, working with the Dresden Philharmonic, has done something decidedly beyond mere arrangement, and way beyond transcription, with his orchestral treatment of Rammstein's music. While influences from Wagner to Schoenberg are readily identifiable, his music has the immediacy of an open wound. It's not safe; it's arresting, urgent and dangerous. It gets under your skin in a way that is both lyrical and unsettling. Love or hate it, this music demands your attention, and will not leave you indifferent.

Don't think you'll escape Till Lindemann's dark, insinuating lyrics, either. They are the center of "Mein Herz Brennt" which is, after all, a song cycle. It's difficult to imagine his words sung operatically, but they are, by bass Rene Pape. His vocal interpretations lend a Pucciniesque grandeur to songs that could easily be arias from dark, romantic operas of the early Modern period. What operas they would be, if they existed! His singing of the the titular "Mein Herz Brennt" ("My Heart Burns"), which occurs about halfway through the CD, calls to mind the quasi-occult villain of Offenbach's unfinished masterpiece "Tales of Hoffman" -- a kind of evil sandman who brings nightmares. There is sadness and nobility in both his reading and Rasch's exquisite use of orchestral coloring. Pity him, it says, for the nightmares he brings are part of his nature, and they are as beautiful as they are terrifying -- which pretty much sums up this whole work.

Pape is accompanied by actress Katharina Thalbach, whose guttural, Gollum-like vocal styling in "Sehnsucht" ("Longing"), "Ich Will" ("I Want"), and "Alter Mann" ("Old Man") blur the piece into the realm of Performance Art. Hers is the voice of a demon or imp. Or perhaps the Id -- at once gleeful and tortured, in ecstasy and pain beyond mortal imagining. Her work in "Herzeleid" ("Heartbreak") is especially unnerving. Imagine the demon-posessed girl from The Exorcist singing one of those heartbroken-heroine-dying-of-consumption arias from any number of grand operas and you get the idea. The orchestration in that song is equally edgy, like an undiscovered section of Stravinsky's "Rite of Spring".

"Mein Herz Brennt" is not without consonance, as well. "Seeman" ("Sailor") , "Nebel" ("Mist") , and "Alter Mann" all contain passages of aching beauty, soaring above the pensive tone clusters and changing meters. With all of the tension and dissonance, these sonorous phrases break through the dark clouds like brilliant shafts of sunlight.

The most unusual orchestration comes in "Sehnsucht" which, like Rammstein's original version, is heavily seasoned with ethnic Middle-Eastern tonalities. It has a quiet, erotic splendor that moves from the physical to the metaphysical throughout its seven minutes.

Finally, the CD wraps up with "Stimmen aus dem Kissen" ("Voices from the pillow" - a phrase from the lyrics of "Mein Herz Brennt"), a purely orchestral work created from numerous motifs and melodies that appear throughout Rammstein's oeuvre. It's an eleven-minute tone-poem that makes for great listening by itself. It's not dinner music either, but rather a dramatic, animated concert piece vaguely reminiscent of Prokofiev's more serious works.

Which is not to say that this song cycle is unoriginal. In fact, it represents the possible stirrings of a new genre of modern orchestral music -- one which combines traditional scoring techniques with contemporary sensibilities in the same way that Rammstein's own brand of Industrial Metal combines old-school, danceable rock-and-roll with hip-hop inspired samples and metaphorical, socially-aware lyrics.

You have to have pretty eclectic musical tastes to listen fervently to both heavy metal and traditional symphonic music. My own tastes run the gamut from Albinoni to Zappa. If you are of similar temperament, this disc is for you.

I just finished listening to Rene Pape in Torsten Rasch's Orchestral Song Cycle "Mein Herz Brennt" and have yet again experienced another one of those "wow!" moments.

I'm not certain how many classical music fans are familiar with the German rock group "Rammstein" - (I absolutely love these post-Industrial Gothic metal freaks), but Herr Rasch has taken 9 of their songs and given them an uber early 20th century German expressionistic treatment and they are mind blowingly beautiful. The best description I can think of to describe them is to say it sounds as though Berg were orchestrated by Mahler (and yes, I mean it that way around). The songs are enormous in scope and sound with a certain Mahlerian/Schoenbergian/Bergian shimmer about them that alternates begween a dark intensity and and mysterious lightness (though less of the latter).

From the first song, "Mutter" I wasn't fully prepared as Pape's absolutely gorgeous voice poured forth like liquid gold through a wide range of sound and emotions pure and gloriously free.

Rasch gives more than a nod to Wozzeck throughout the cycle - yet his individual musical language still feels highly original and, for the most part, retains the feel of Rammstein's original (the melodic lines, even when slowed way down remain, mostly intact).

By the end of the cycle all I could think of (besides what a great vehicle this new work is for this singer and hopefully for others as well) was: when will Pape take on Wozzeck? Listening to this, there's not a doubt in my mind that he could - and be amazing (as well as reach some of those notes that some Baritone Wozzecks often have difficulty with).

Some of the songs alternate between Pape's gorgeous vocalism and actress Katharina Thalbach's ("The Tin Drum") nasaly, but effective 21st century Lotte Lenya-ish stridency.

John Carewe leads the Dresdner Sinfoniker and everybody involved with this project does their finest, most intense work bringing forward a new, exciting orchestral song cycle that rightfully deserves to be programmed by the world's great orchestras. (The Dresden is billed as the only major symphony orchestra which plays contemporary music exclusively and is made up of leading players from most of the German as well as many other leading European orchestras. They sound amazing).

Listening through the entire cycle one can't help but experience some sort of catharsis.

Very highly recommended.

With the trail of pre recorded tracks and ornate harmonys left behind by everyones favorite german industrial band from their use of the berlin orchestra and the spain national chior, it would seem simple to produce a classical album inspired by their works; but with the beauty of simplicity someone must always try to complicate it. The Composition of the music is georgeous, it is just too bad there was singing. The "Artist" soloists try to embilish their talents with unnessary rifts and "creative" harmonies. The Melodie is gone, completely removed from the orchestration; I assume for the purpose of allowing it for the singers, but they preceded to forget about it also. It is fairly similar to what some call hard opera. As always sample the music and come to your own conclusion, my conclusion is mearly one opinion of many.

I bought this CD after reading a review of it in Opera News magazine. I knew nothing of Rammstein, the German, heavy-metal band, nor am I a fan of that genre, but I do love the bass-baritone voice of René Pape. What a great discovery this was! I'm hoping the the composer/arranger, Torsten Rasch, will continue to create along these lines. Pape's luxurious, dark voice is very expressive of the angst-ridden lines, shaded from soft and tender to rage. The actress Katharina Thalbach employs her smoky, hair-raising voice for spoken verses over orchestra, and instantly brings to mind the demonic voice of Mercedes McCambrige in The Exorcist - something to listen to in the dark. The real show here is the incredible orchestral writing and performance by the Dresden Sinfoniker. This for me, was like distilled Schoenberg and Berg at its best. It's much more engaging than some atonal works, with hints of Parsifal, Lulu, Wozzeck, and Mahler's 10th. Although fans of heavy metal may be disappointed, I don't think Classical music listeners will be. The words sung are from the band's lyrics (in German), but set to new music. Alas, the lyrics are not included in the album, however, the German-English texts can be downloaded at [...].
I can hardly wait for more from Rasch.

Well.... It's based on rammstein right? This cd will not be for most rammstein fans. Your best bet to to listen to the CD first before you decide to buy it. Trust me on this. If you like it, good for you! If not, I do not blame you.

Try before you buy!

I put off buying this CD for a very long time. Wanted an album with Pape that was more than just one or two tracks, so finally bought it. Agree with paolo that it sounds like Berg orchestrated by Mahler. It also sounds like 'early Schoenberg' (Verklarte Nacht). I am grateful it doesn't sound anything like I would expect Rammstein to sound. It took a number of listens (maybe 10) to get where I really liked it. At the moment I don't want to listen to anything else. Rene Pape does not disappoint.

I am a huge Rammstein fan. I have all of their albums and I gladly support them. When I heard about this tribute or compilation, I had an image in my mind of what I hoped it would be. I have bought other tribute albums to bands such as, The String Tribute to Tool, and I enjoyed that very much because it stayed to the notes and almost direct parallel to the music itself. This album, Mein Herz Brennt, disappointed me. I thought it would be a classical approach to Rammstein, staying with the notes and almost exact parallel to their songs. The female vocalist does not fit for their songs. You can also barely hear the music over the vocals. It was a great try by the composer, but it just doesn't sound right. I don't recommend this album for any Rammstein fan, unless they really want to dish out +$30 to be disappointed.

This is _not_, as I first thought, an orchestral treatment of the work of german industrial rockers Rammstein. It's an operatic treatment.

Yes, Industrial Opera.

Popping in the cd and hearing "Mutter" sang by an operatic tenor was a bit jarring. I'm giving it three stars because I like opera and I like this comment, but I'm not rating it higher because it is so unlike what one would expect.

Great album if you're a fan of something a little different. If you're looking to buy this just because you like Rammstein, look someplace else.

I'm a huge fan of RAMMSTEIN. I have all of their CD's, books, and videos. I try to listen to cover versions of their songs. Sometimes it's good, sometimes I just hate it. Sadly, this album was one I hated. Don't get me wrong, it's got that dark sound staying true to RAMMSTEIN's nature, but everything else is just a little too different from what I expeted.

My thought before buying this album was that it would sound just like the original music, but heavily orchestrated (much like some of the orchestra covers for Metallica songs). Instead, the music itself is very sssssllllllooooooooowwwww and a little too long for me to fully enjoy it. Not just that, but the rhythm and beat to this album sounds nothing like the originals. The only thing that's recognizable are the lyrics. So don't expect to sing along to your favorite songs like how you used to.

But if you ignore the fact that these are cover songs, and you just enjoy listening to this kind of music, you'll definitely enjoy it. I'll listen to the genre itself every now and then, but I enjoy something that's more upbeat, for example the videogame soundtrack for Medal of Honor: Frontline (if you've heard the MoH:FL music, you'll see where I'm coming from).