Richard Strauss - Also Sprach Zarathustra

"It was as an obedient pupil of his father, the celebrated horn player Franz Strauss, that Richard Strauss began his musical career – entirely in the spirit of the classics and early Romantics, with proven forms and traditional genres. Strauss senior loathed Richard Wagner’s monstrous music dramas as well as the achievements of the 'New German School' around Franz Liszt, with its avant-garde tone poems and extra-musical programmes. As Richard grew up, he shared his father’s views unquestioningly – but then found a mentor in Hans von Bülow, who, of all people, had once worked together very closely with Wagner. In 1885, Bülow engaged the 21-year-old Strauss as conductor of the Meiningen Court Orchestra. Its concert master, the radical Wagnerian Alexander Ritter, took the young man under his wing and acquainted him with the blessings of 'progressive music' – with the result that Richard Strauss soon began composing symphonic poems himself.

"Strauss’s devotion to this new genre was unquestionably an act of rebellion with which he freed himself from his father’s influence. Fittingly, almost all of the nine tone poems written by Strauss up to 1915 revolve around the theme of self-actualisation, with their protagonists having to assert themselves against hostile forces. The composer initially chose subjects with complex plots from world literature, such as 'Macbeth', 'Don Juan' and 'Till Eulenspiegel', before turning to a philosophical text for the first time: Friedrich Nietzsche’s 'Thus Spoke Zarathustra'. The initial impetus for this project dates back to the winter of 1892/1893, when Strauss was on an extended Mediterranean cruise recovering from a severe bout of pneumonia. He had a lot of time to read, spending much of it in intensive study of Nietzsche’s oeuvre – and in the concept of unlimited self-determination, as propagated by Zarathustra, he found exactly what he was looking for.

"Curiously, Strauss’s enthusiasm for 'Zarathustra' was very similar to his fondness for 'Till Eulenspiegel', the legendary rogue and practical joker from North German folklore. The composer styled his hero as a fighter against all those living in the past, and as an intellectual to put narrow-minded members of the bourgeoisie in their place. For Strauss, the newly-converted advocate of progress, this Till must have been every bit as much of a kindred spirit as the philosopher Nietzsche, who seemed to him to be an anarchical troublemaker par excellence: an opponent of Wilhelminian constraints, 'backworldsmen' and philistines. Nietzsche had broken with the church, and wrote fierce diatribes in support of a new ideal – the creative act of self-overcoming and self-perfection by humanity. The figure of the free-thinking Zarathustra, descending from the mountains after ten years as a hermit to manifest his wisdom to humanity, was an ideal with which Strauss could readily identify.

"It did of course come across as very daring to deal with such philosophical concepts within the framework of a musical work of art. This had never been done before, not even by Franz Liszt, the founding father of the symphonic poem. When Wagner’s widow Cosima read about Strauss’s 'Zarathustra' project, she initially believed it to be a newspaper hoax. And one critic went so far as to ask Strauss whether his upcoming plans included setting Kant's 'Critique of Pure Reason' to music as well. Strauss had planned ahead here, however, having wisely added the subtitle 'freely adapted from Friedrich Nietzsche' to his work, which was composed between February 1894 and August 1896. He did indeed take several liberties: even though he assigned the original titles of selected chapters from Nietzsche’s work to the eight sections of his score following the introduction, he changed their order. Strauss explained that his main intention had been to portray 'the evolution of the human race from its origins, through its various stages of development (religious and scientific)'. 

"And since nature in its unadulterated state stands at the beginning of existence, Strauss begins the tone poem with a scene from nature: a sunrise. It is perhaps the most famous piece of music he ever wrote. The first sound – a sustained contra-octave C played on the organ, joined by contrabassoon, and double-bass and bass drum, both playing tremolo – is so deep to be almost inaudible and is transmitted more by vibration than by sound. This C is so low that it cannot be played on a piano keyboard, and conveys a sense of primordial matter. Then, above it, the trumpets sound the elementary intervals of the natural overtone series: the fifth and the fourth, C-G-C, openly and without defining any mode. This fanfare sounds three times, first in the minor, before finally dissolving into a radiant C major chord. It is easy to imagine the sun gradually rising behind the mountain, its rays penetrating the clouds until it fills the sky with all its splendour and magnificence. The prophet can now appear, bringing his wisdom down from the high mountains to the people below.

"This opening to Strauss’s Zarathustra is a stroke of genius – no wonder it has been adapted so often in film music or advertisements. C major, the pure, unadulterated key without any sharps or flats that Strauss presents at the very start, is an apt symbol for nature. Yet the key he uses to characterize human beings is a long way from here in the circle of fifths: it is B major, marked or 'contaminated' by its five sharps. In Zarathustra, man and nature also appear as opposites, and remain irreconcilable until the end of the work. It is as if Strauss wanted to pick up on Nietzsche’s concept of 'eternal recurrence' – the possibility of everything happening again from the very beginning, and the
possibility of the development process portrayed in the course of the work not being sustainable, but man being incorrigible – that possibility is addressed by this constellation.

"In the eight sections of his tone poem, Strauss takes the various options for self-actualisation that are offered to people and puts them to the test. Baptised as a Catholic but having lost his faith early in life, Strauss begins with the backworldsmen, presenting them as God-fearing Christians and having them sing the Gregorian 'Credo in unum Deum' or intoning the Magnificat. True desires and dreams, described by Strauss with an ascending motif in broken triads, will not allow themselves to be fulfilled in this way. Unnbridled indulgence in passion, marked by bold leaping tenths, or the gloomy depths of the 'Song of the Grave' with its plaintive oboe melody, bring no solution either. Strauss’s portrayal of the sciences is utterly satirical: he distorts the nature theme from the beginning of the work into an eerie-sounding fugue and unmasks this compositional principle, the model of musical erudition, as something brittle and dry.

"So what is left for a person who has lost his faith and is disgusted by things academic? The convalescent takes refuge in the joy of dancing – and here Strauss gives a friendly nod to his namesake Johann, the Viennese waltz king. The wild dance swells up ever higher before finally subsiding into the night – and, at the end, Zarathustra vanishes into distant worlds of the beyond, where an answer to the riddle of existence might perhaps have really been found." (Wolfgang Stähr, tr. David Ingram. From the liner notes.)

Peformers: Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

1. Also Sprach Zarathustra, Op. 30, TrV 176: I. Einleitung
2. Also Sprach Zarathustra, Op. 30, TrV 176: II. Von Den Hinterweltlern
3. Also Sprach Zarathustra, Op. 30, TrV 176: III. Von Der Großen Sehnsucht
4. Also Sprach Zarathustra, Op. 30, TrV 176: IV. Von Den Freuden Und Leidenschaften
5. Also Sprach Zarathustra, Op. 30, TrV 176: V. Das Grablied
6. Also Sprach Zarathustra, Op. 30, TrV 176: VI. Von Der Wissenschaft
7. Also Sprach Zarathustra, Op. 30, TrV 176: VII. Der Genesende
8. Also Sprach Zarathustra, Op. 30, TrV 176: VIII. Das Tanzlied
9. Also Sprach Zarathustra, Op. 30, TrV 176: IX. Nachtwandlerlied

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Richard Strauss / Richard Wagner / Charles Gounod - Recital

"Montserrat Caballé's career, which began with a legendary lucky break, would eventually make her one of Spain's greatest sopranos -- equaled in status and reputation only by fellow Barcelonian Victoria de los Angeles.

"Her full birth name was Maria de Montserrat Viviana Concepción Caballé i Folch. She was named after the famous Catalan monastery of Montserrat. It is said that her parents feared that they would lose her and vowed that if she were born alive and well they would christen her with the monastery's name. She learned singing at her convent school; at the age of eight, she entered the Conservatorio del Liceo in Barcelona. Her most important teachers were Eugenia Kenny, Conchita Badea, and Napoleone Annovazzi. When she graduated in 1954, she won the Liceo's Gold Medal.

"Caballé made her professional debut in Madrid in the oratorio El pesebre (The Manger) by the great Catalan cellist Pau (Pablo) Casals. She then went to Italy, where she received a few minor roles at various houses. In 1956, she joined the Basel Opera; she was working her way through the smaller roles when one of the principal singers took ill and she took over the role of Mimì in Puccini's 'La Bohéme.' Her unqualified success in that part led to promotion to starring roles, including Pamina ('The Magic Flute'), Puccini's 'Tosca', Verdi's 'Aïda', Marta in Eugene d'Albert's 'Tiefland', and the Richard Strauss roles of Arabella, Chrysothemis ('Elektra'), and Salome. She steadily gained a European reputation, singing in Bremen, Milan, Vienna, Barcelona, and Lisbon, taking such diverse roles as Violetta ('La Traviata'), Tatiana ('Yevgeny Onegin'), Dvorák's 'Armida' and 'Rusalka,' and Marie in Berg's 'Wozzeck.' She debuted at La Scala in 1960 as a Flower Maiden in 'Parsifal.' She sang in Mexico City in 1964 as Massenet's 'Manon.'

"In April 20, 1965, on extremely short notice, she substituted for the indisposed Marilyn Horne in a concert performance in Donizetti's 'Lucrezia Borgia', achieving a thunderous success and "overnight" superstardom. She became one of the leading figures in the revival of interest in the bel canto operas of Bellini and Donizetti, many of which were staged especially for her. Caballé's performances as Elizabeth I ('Roberto Devereux') and that monarch's rival Mary Queen of Scots ('Maria Stuarda') are legendary. In 1971, she sang a memorable concert performance of 'Maria Stuarda' in which her fellow Barcelonian José Carreras made his London debut, and after that she helped advance his career. She made her Metropolitan Opera debut in 1965 as Marguerite in 'Faust.' Caballé's career centered around Verdi's important dramatic roles, but also embraced the Marschallin ('Der Rosenkavalier'), the Countess ('Marriage of Figaro'), and Queen Isabella (in the premiere of Leonardo Balada's 'Cristobál Colón' in Barcelona in 1989)." (Biography by Joseph Stephenson for AllMusic. Available in full here.)

Performers: Orchestre Philharmonique de Strasbourg, Alain Lombard, Montserrat Caballé

1. Richard Strauss - Vier Letzte Lieder: Frühling
2. Richard Strauss - Vier Letzte Lieder: September
3. Richard Strauss - Vier Letzte Lieder: Beim Schlafengehen
4. Richard Strauss - Vier Letzte Lieder: Im Abendrot
5. Richard Wagner - Tristan Und Isolde: Isoldes Tod
6. Richard Wagner - Tannhäuser: 'Froh Grüß'ich Dich, Geliebter Raum!'
7. Richard Wagner - Tannhäuser: 'Almächt'ge Jungfrau-hör Mein Flehen!'
8. Charles Gounod - Faust: 'Il Était Un Roi De Thulé'
9. Charles Gounod - Faust: Récitatif
10. Charles Gounod - Faust: 'Ah! Je Ris De Me Voir Si Belle'

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Richard Strauss - Vier Letzte Lieder

"Richard Strauss was a boy of six when he wrote his first song, and an old man of 84 when he completed his last. In the intervening years he made a hugely successful career as a composer of symphonies, songs and operas, a master orchestrator and conductor. But it was the marriage of music and poetry – especially with the sound of the soprano voice in mind – to which he always returned, and his gloriously serene and transcendent Four Last Songs, written a year before his death, was to be his epitaph. 

"In 1948, Strauss felt himself slowing down. There was a new world order, he was old, and he felt tainted by the tribulations of the Second World War and the unfortunate appropriation of his music by the Third Reich. His individual, lushly Romantic style of composition was increasingly seen as old-fashioned in a post-war musical world that had rejected tonality. He’d even gone as far as making the self-deprecating remark: 'I may not be a first-rate composer, but I am a first-class second-rate composer!'

"However, he was not yet ready to put down his pen – his imagination had been caught by a piece by the lyric poet Josef von Eichendorff, 'Im Abendrot' ('In the Evening Glow'), and he set to work turning it into an orchestral song. It was to be the final song in the set that became known as the 'Four Last Songs', and within five months it was followed by 'Spring', 'September' and 'Going To Sleep'. 

"Into them Strauss poured the most fundamental aspects of his musical personality – a rainbow of orchestral colour, radiant lyricism and his life-long love affair with the soprano voice. And it was as if his life had come full circle: during 'Im Abendrot', he quotes from his tone-poem 'Tod Und Verklärung' ('Death And Transfiguration'), written in his 20s. A year later, as he lay fatally ill from a series of heart attacks, he calmly claimed, 'Dying is just like I composed it in 'Tod und Verklärung'.' 

"Strauss’s last wish was that his swansong should be premiered by the Wagnerian soprano, Kirsten Flagstad. Sadly, he died eight months before his wish came true. The 'Four Last Songs' was first heard in London in May 1950, performed by Flagstad, the Philharmonia and Wilhelm Furtwängler. It is the apotheosis of Strauss’s life and work: a man who, having lived to the full, contemplates eternity with perfect equanimity." (From the Classic FM website. Link here.)

Performers: Berliner Philharmoniker, Herbert von Karajan, Anna Tomowa-Sintow

1. Vier Letzte Lieder: Frühling
2. Vier Letzte Lieder: September
3. Vier Letzte Lieder: Beim Schlafengehen
4. Vier Letzte Lieder: Im Abendrot
5. Die Heiligen Drei Konige Aus Morgenland, Op. 56 No. 6
6. Cappricio, Op. 85: Mondschein-Musik
7. Cappricio, Op. 85: Monolog Der Gräfin

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Richard Strauss - Capriccio

"The action takes place in maytime in a rococo château near Paris at the time Gluck was beginning his opera reforms there. About 1775. The birthday of the young widowed Countess, Madeleine, is to be celebrated. Flamand, a composer, and Olivier, a poet, are listening to the rehearsal of Flamand's sextet. written for the occasion, while the theatre director, La Roche, is asleep. While listening, Flamand and Olivier discover that they are both in love with the Countess. What will impress her more: Flamand's music or Olivier's poetry? Prima la musics, dopo le parole, or prima le parole, dopo la musics? They agree to let the Countess decide. La Roche awakens and joins the argument, Neither poetry nor music, he says, is the greatest of the arts. His own, the art of theatrical production, overshadows them both and uses them as its servants. He believes in entertainment: splendid decor, top notes and beautiful women, such as the actress Clairon, who has recently had an affair with Olivier. La Roche reveals that she is on her way to the chateau to play opposite the Count in Olivier's play. Flamand, Olivier and La Roche leave to prepare for the rehearsal in the theatre. 

"The Count and Countess enter. They engage in a discussion about the merits of music and poetry. The Count admits that music leaves him cold, that words will always be superior to music. He teases his sister about her interest in the composer Flamand. She, in turn, brings up the name of Clairon. He admits he is interested in the actress, but praises a life of quickly-won, quickly-lost attachments. 

"La Roche and his proteges return, and Clairon arrives for the rehearsal She and the Count read a scene from Olivier's play, which ends with the Count's declamation of a passionate sonnet. He is congratulated, and La Roche leads them both off to rehearsal, leaving Flamand and Olivier alone with the Countess. Olivier remarks that the Count addressed the sonnet to the wrong person: it was written for the Countess, and he recites it again to her. Flamand rushes off to set it to music. In Flamands absence, Olivier declares his love to the Countess.

"Flamand returns to sing the sonnet he has just set. Olivier and Flamand quarrel about the true authorship of the sonnet, but the Countess decides the issue: it is now hers! La Roche takes Olivier away to rehearsal. 

"Flamand in his turn is able to declare his love to the Countess. He asks her to decide: music or poetry. Flamand or Olivier? She promises that he shall have the answer the next morning at eleven o'clock. The Countess is left alone with her thoughts and the sounds of the rehearsal next door. She orders refreshments for the company. 

"When the rehearsal is over the Count and his sister discuss the progress of their love affairs. The other participants return. While refreshments are served, La Roche introduces a ballerina who performs for the company. Flamand and Olivier resume their argument of words versus music. The others join in. The Count ridicules opera — all operal La Roche introduces a pair of Italian singers who perform a duet. Then he tells of the spectacle he has planned for the Countess's birthday: The Birth of Pallas Athena and The Fall of Carthage. The company make cruel fun of his grandiose and traditional ideas, while the Italian singers worry whether they will be paid and stuff themselves with food. La Roche finally gets a chance to speak for himself and bitterly assails his attackers, expressing his intense faith in the theatre. He wants drama to show human beings in all their aspects as creatures of flesh and blood, and orders Flamand and Olivier to create good new works that speak for their time. His listeners are deeply moved and, as a sign of their reconciliation, Olivier and Flamand agree to write an opera. The Count has a very original idea: write an opera on the events of that very day at the chateau, depicting the company as its characters. The suggestion is accepted by everyone. 

"When the company has broken up, eight servants enter and comment on the events of the afternoon from their point of view 'backstage' as they put it — for isn't the whole world playing at theatre? The major-domo gives them the night off. Then appears Monsieur Taupe, the prompter, who had fallen asleep during the rehearsal. He tells the major-domo that, in fact, he is the most important person in the theatre because without him the show couldn't go on. But now he has been left behind. The major-domo offers to help in his predicament.

"The Countess enters, followed by the major-domo, who gives her two messages that her brother will not be home for dinner that evening. and that Olivier will call the next morning at eleven to hear from her the ending of the opera. The Countess exclaims that since the sonnet, the composer and the poet are fated to be inseparable — now they will both wait on her tomorrow at the same time! She sings two verses of the sonnet to herself. Which of the two men does she love? After an agony of indecision and self searching, she gazes at herself in the mirror and wonders if she can find an ending to the opera 'that is not trivial'. The major-domo solves the problem by announcing that dinner is served." (From the liner notes.)

Performers: Wiener Philharmoniker, Ulf Schirmer, Kiri Te Kanawa, Håkan Hagegård, Uwe Heilmann, Olaf Bär, Victor von Halem, Brigitte Fassbaender, Werner Hollweg, Hans Hotter

1.1. Einleitung
1.2. Szene I: 'Bezaubernd Ist Sie Heute Wieder!'
1.3. Szene I: 'Bei Sanfter Musik Schläft Sich's Am Besten'
1.4. Szene II: 'Der Strom Der Töne Trug Mich Fort'
1.5. Szene III: 'Die Bühne Ist Fertig'
1.6. Szene IV: 'Sie Ist Doch Gekommen! Du Hast Es Erreicht'
1.7. Szene IV: 'Ihr Geht. Entließ Euch Schon Die Macht'
1.8. Szene IV: 'Kein Andres, Das Mir So Im Herzen Loht'
1.9. Szene V: 'Lassen Sie Ihn Gewähren'
1.10. Szene VI: 'Kein Andres, Das Mir So Im Herzen Loht'
1.11. Szene VI: 'Wie Schön Die Worte, Kaum Kenn' Ich Sie Wieder!'
1.12. Szene VII: 'Verraten Hab' Ich Meine Gefühle!'
1.13. Szene VII: 'Sie Erzählten Beredsam Von Eurem Empfinden'
1.14. Szene VIII: 'Welch' Köstliche Begegnung!'
1.15. Szene IX: 'Wir Kehren Zurück In Die Welt Des Salons'
1.16. Szene IX, Tanz: I. Passepied ('Was Sagt Ihr?')
1.17. Szene IX, Tanz: II. Gigue ('Ich Bin Fest Entschlossen, Auf Keinen Fall Mehr')
1.18. Szene IX, Tanz: III. Gavotte

2.1. Szene IX: 'Eure Kunst Entzückt Und Begeistert Mich'
2.2. Szene IX: 'Tanz Und Musik Stehn Im Bann Des Rhythmus'
2.3. Szene IX: 'Eine Oper Ist Ein Absurdes Ding'
2.4. Szene IX: Duett Der Italienischen Sänger. 'Addio Mio Vita'
2.5. Szene IX: 'Darf Ich Sie Nach Paris Zurückbringen'
2.6. Szene IX, Oktett: Teil I. Lach-Ensemble ('Sie Lachen Ihn Aus')
2.7. Szene IX, Oktett: Teil II. Streit-Ensemble ('Aber So Hört Doch!')
2.8. Szene IX: 'Hola! Ihr Streiter Im Apoll!'
2.9. Szene IX: 'La Roche, Du Bist Groß! La Roche, Du Bist Monumental!'
2.10. Szene IX: 'Das Ist Mehr Als Eine Versöhnung'
2.11. Szene IX: 'Wählt Doch Einen Vorwurf, Der Konflikte Schildert, Die Auch Uns Bewegen'
2.12. Szene X: 'Gut In Eure Mäntel Gehüllt'
2.13. Szene XI: 'Das War Ein Schöner Lärm'
2.14. Szene XII: 'Herr Direktor...'
2.15. Szene XIII: Andante Con Moto (Mondscheinmusik)
2.16. Szene XIII: 'Wo Ist Mein Bruder?'
2.17. Szene XIII: 'Kein Andres, Das Mir So Im Herzen Loht'
2.18. Szene XIII: 'Du Spiegelbild Der Verliebten Madeleine'

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Richard Strauss - Ariadne auf Naxos

"In 1942 Richard Strauss, then approaching his eightieth birthday, recalled that the original intention behind 'Ariadne auf Naxos' was as a grateful offering to the theatre director Max Reinhardt (1873-1943). It was to form an epilogue to a comedy by Molière, 'Le bourgeois gentilhomme'. The original concept had been a half-hour long opera for a small chamber orchestra. This was later expanded to the play, which Hofmannsthal had reduced from five acts to two, followed by a ballet concluding with a commedia dell'arte. The resulting premiere took place at the Kleines Haus of the Hoftheater in Stuttgart on 25th October 1912 under the composer. The reception was decidedly mixed, with the audience obviously unhappy with the excess of spoken dialogue in the Molière play to which Strauss had added incidental music, and with only a single act of total music. The performance of this version was both costly and ineffective in that a double cast of actors and singers was involved. 

"In July 1916 composer and librettist decided to recast Ariadne by prefacing the revised version with a Prologue of some forty minutes which explained the circumstances in which an eighteenth-century opera sena came to be performed simultaneously with its comic interlude. They also omitted the spoken play altogether, and removed the character of Monsieur Jourdain, transferring the setting from Paris to Vienna. The resulting work is an opera of considerable sophisticated lyrical charm, Strauss continuing to write in his Mozartian manner that he had first used so successfully in 'Der Rosenkavalier' in 1911. Furthermore, in the Prologue the composer displays some of his idea about music and drama that would come to culmination in 'Capriccio' in 1942. 

"[...] This recording of 'Ariadne auf Naxos' was the first to be made in the studio (an earlier one, made live in Vienna in June 1944, commemorated the composer's eightieth birthday). This studio one, made in London only five years after Strauss's death in 1949, is significant in that most of the artists had been active during the composer's later years and some had even met Strauss in the last ten years of his life. Thus it has a particular historic feel. Masterminded by EMI recording producer and impresario Walter Legge (1906-1979) it contained some of the finest singers of the day and used Legge's own orchestra, the Philharmonia. The Gramophone magazine, when first reviewing the recording in October 1955, thought 'the opera is perfectly cast, magnificently performed, and very well recorded'. The orchestra was praised for its brilliance, while the singers were also judiciously commented upon. 'Schwarzkopf brings the dark tone that is needed for Ariadne's sorrows, and all the rapture called for at the end'. As the Composer Irmgard Seefried was thought to display great variety of tone, the Zerbinetta of Rita Streich displayed no technical difficulties whatsoever, and the Bacchus of Rudolf Schock sang 'with heroic tone and sufficient nuance to make one believe in the youthful god'. Of Karajan: 'his genius has never been more apparent in the [Bacchus-Ariadne] scene'." (Malcolm Walker. From the liner notes.)

Performers: Philharmonia Orchestra, Herbert von Karajan, Elisabeth Schwarzkopf, Rita Streich, Irmgard Seefried, Rudolf Schock

1.1. Prolog: Ouverture
1.2. Prolog: 'Mein Herr Haushofmeister!'
1.3. Prolog: 'Lieber Freund! Verschaffen Sie Mir Die Geigen'
1.4. Prolog: 'Erst Nach Der Oper Kommen Wir Daran'
1.5. Prolog: 'Meine Partner! Meine Erprobten Freunde!'
1.6. Prolog: 'Ihnen Allen Habe Ich Eine Plötzliche Anordnung
1.7. Prolog: 'Ich Weiß Nicht Wo Mir Der Kopf Steht'
1.8. Prolog: 'Kindskopf! Merkt Auf, Wir Spielen Mit In Dem Stück Ariadne Auf Naxos'
1.9. Prolog: 'Ein Augenblick Ist Wenig - Ein Blick Ist Viel'
1.10. Prolog: 'Auf Ihre Plätze, Meine Damen Und Herrn!'
1.11. Ouverture
1.12. 'Schläft Sie!'
1.13. 'Ach! Wo War Ich?'
1.14. 'Ein Schönes War, Heiß Theseus - Ariadne'
1.15. 'Ach, So Versuchet Doch Ein Kleines Lied!'
1.16. 'Es Gibt Ein Reich, Wo Alles Rein Ist'
1.17. 'Die Dame Gibt Trüben Sinn'
1.18. 'Großmächtige Prinzessin, Wer Verstünde Nicht'

2.1. 'Noch Glaub' Ich Dem Einen Ganz Mich Gehörend'
2.2. 'Hübsch Gepredigt! Aber Trauber Ohren!'
2.3. 'Ein Schönes Wunder!'
2.4. 'Circe, Circe, Kannst Du Mich Hören?'
2.5. 'Du Schönes Wesen!'
2.6. 'Bin Ich Ein Gott, Schuf Mich Ein Gott'
2.7. 'Gibt Es Kein Hinüber?'
2.8. Capriccio: 'Morgen Mittag Um Elf!'
2.9. Capriccio: 'Ihre Liebe Schlägt Mir Entgegen'
2.10. Capriccio: 'Das Spiegelbild Der Verliebten Madelaine'

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