Richard Wagner - Lohengrin

"Act I. A plain on the banks of the River Scheldt, near Antwerp. King Henry ('the Fowler') of Saxony has come to Antwerp to persuade the Brabantines to join him in defending Germany against an imminent attack by the Hungarians. Realising that there is tension among the Brabantines, the King calls on Telramund, a noble, to explain its cause. He says that the previous Duke of Brabant, on his deathbed, entrusted his two children to Telramund's care. The son, Gottfried, disappeared one day when he and his sister Elsa were alone. Telramund has accused Elsa of having killed her brother so that she can claim the dukedom; he has therefore renounced Elsa's hand and married Ortrud, through whose noble descent he claims to be ruler. The King orders a trial and Elsa is summoned. 

"Elsa cannot answer the King's questions but she describes a dream in which a knight in shining armour came to her aid. The King rules that the case will be resolved by combat between Telramund and whoever will be Elsa's champion. The King's herald twice sounds a summons, but no one steps forward. A swan appears, drawing a boat in which stands a knight; he steps ashore, bids farewell to the swan and offers to fight on Elsa's behalf. If he wins, they will many, but on condition that she promises never to ask him his name or origin. The knight overpowers Telramund but spares his life. Everyone except Telramund and Ortrud applaud his success. 

"Act II. In the fortress of Antwerp. Telramund blames Ortrud and her evil sorcery for his loss of honour and banishment from Brabant. Ortrud tells him that the knight's power can be overcome only if Elsa can be induced to ask him the forbidden questions or if he is wounded. The couple swear vengeance. 

"Elsa appears on a balcony. Ortrud sends Telramund away and appeals to Elsa's friendship. While Elsa is coming down to talk to her, Ortrud calls on profane gods for help. Gradually she sows seeds of distrust in Elsa's mind, undermining Elsa's faith in the knight.

"A herald announces that Telramund is banished and that the knight will many Elsa, become the Protector of Brabant and lead his men to battle in Germany. Four disaffected nobles (friends of Telramund), angry at the prospect, conceal Telramund.

"The wedding processions assemble. As Elsa is about to enter the minster, Ortrud comes forward and angrily claims that Elsa is taking Ortrud's rightful place. She taunts Elsa for not knowing the knight's name and lineage and accuses him of having defeated Telramund by supernatural means. The knight arrives with the King and tries to comfort Elsa. Telramund rushes forward, repeats Ortrud's accusation and demands to know the knight's name. The knight refuses to answer and sees that Elsa is disturbed. Ortrud and Telramund exult in her anguish; Elsa expresses her desire to know the knight's secrets; the knight prays to heaven for Elsa's protection. He drives Telramund and Ortrud away. The people hail Elsa, and the bridal couple proceed to the minster. As she enters, Elsa sees Ortrud making a threatening gesture.

"Act III. The bridal chamber. The knight and Elsa are led in by ladies and nobles. Alone, they express their love; but when the knight calls Elsa by her name she is saddened by not knowing his. Her torment increases. Hearing that her husband has forsaken happiness in his previous life, she fears he will want to return to it. In spite of his pleas, she demands to know his name. 

"At that moment, Telramund and his four followers break in and the knight kills Telramund with a single blow. He tells Elsa that their happiness is now lost, orders that Telramund's body be taken to the king and instructs that Elsa should be led to him too; there he will reveal his secret.

"A plain on the banks of the River Scheldt. The King and nobles are assembling to march to battle. Telramund's four accomplices bear his body in; Elsa arrives, followed by the knight. He tells the King that he cannot lead the army to war and that Elsa has broken her vow. He reveals that he is a knight of the Holy Grail, from Monsalvat; its guardian knights have supernatural powers provided their identity remains unknown. His father was Parsifal and his own name is Lohengrin. He reproaches Elsa, who begs him to stay, and predicts victory for the German armies. Her pleas are echoed by the King and the people. 

"The swan approaches, drawing the boat. Lohengrin bids Elsa farewell and hands her his sword, horn and ring, to give to Gottfried should he return. Suddenly Ortrud appears. She tells Elsa it was she who transformed Gottfried into a swan, the one now drawing Lohengrin's boat; had Lohengrin been able to stay he could have returned Gottfried to human form. Lohengrin falls to his knees in prayer. Suddenly a white dove descends over the boat. The swan submerges and reappears as Gottfried, whom Lohengrin proclaims the Duke of Brabant. The dove tows Lohengrin's boat away. As Elsa watches him disappear, she sinks lifeless to the ground in her brothers arms." (Alison Latham. From the liner notes.)

Performers: Orchester und Chor der Bayreuther Festspiele, Andris Nelsons, George Zeppenfeld, Klaus Florian Vogt, Annette Dasch, Jukka Rasilainen, Petra Lang, Samuel Youn

1.1. Vorspiel
1.2. Aufzug I, Szene I: 'Hört, Grafen, Edle, Freie Von Brabant!'
1.3. Aufzug I, Szene I: 'Dank, König, Dir, Dass Du Zu Richten Kamst!'
1.4. Aufzug I, Szene I: 'Welch' Fürchterliche Klage Sprichst Du Aus!'
1.5. Aufzug I, Szene II: 'Seht Bin! Sie Naht, Die Hart Beklagte!'
1.6. Aufzug I, Szene II: 'Einsam In Trüben Tagen'
1.7. Aufzug I, Szene II: 'Friedrich, Du Ehrenwerter Mann'
1.8. Aufzug I, Szene II: 'Des Bitters Will Ich Wahren'
1.9. Aufzug I, Szene II: 'Wer Hier Im Gotteskampf Zu Streiten Kam'/Szene III: 'Gegrüßt, Du Gottgesandter Held'
1.10. Aufzug I, Szene III: 'Nun Sei Bedankt, Mein Heber Schwan!'
1.11. Aufzug I, Szene III: 'Heil, König Heinrich!'
1.12. Aufzug I, Szene III: 'Wenn Ich Im Kampfe Für Dich Siege'
1.13. Aufzug I, Szene III: 'Nun Hört Euch, Volk Und Edlen, Mach' Ich Kund'
1.14. Aufzug I, Szene III: 'Nun Höret Mich, And Achtet Wohl'
1.15. Aufzug I, Szene III: 'Mein Herr Und Gott, Nun Ruf' Ich Dich'
1.16. Aufzug I, Szene III: 'Durch Gottes Sieg Ist Jetzt Dein Leben Mein'
1.17. Aufzug I, Szene III: Applaus
1.18. Aufzug II: Einleitung
1.19. Aufzug II, Szene I: 'Erhebe Dich, Genossin Meiner Schmach'
1.20. Aufzug II, Szene I: 'Was Macht Dich In So Wilder Klage Doch Vergeh'n?'

2.1. Aufzug II, Szene I: 'Entsetzlich! Wie Tönt Aus Deinem Munde Furchtbar Der Name'
2.2. Aufzug II, Szene I: 'Du Wilde Seherin! Wie Willst Du Doch'
2.3. Aufzug II, Szene I: 'Der Rache Werk Sei Nun Beschworen'
2.4. Aufzug II, Szene II: 'Euch Lüften, Die Mein Klagen'
2.5. Aufzug II, Szene II: 'Elsa!'/'Wer Ruft? Wie Schauerlich Und Klagend Ertönt Mein Name Durch Die Nacht?'
2.6. Aufzug II, Szene II: 'Entweihte Götter! Helft Jetzt Meiner Rache!'
2.7. Aufzug II, Szene II: 'Ortrud, Wo Bist Du?'
2.8. Aufzug II, Szene II: 'Du Ärmste Kannst Wohl Nie Ermessen'
2.9. Aufzug II, Szene II: 'So Zieht Das Unheil In Dies Haus!'
2.10. Aufzug II, Szene III: Morgenlied/'Im Früh’n Versammelt Uns Der Ruf'
2.11. Aufzug II, Szene III: 'Des Königs Wort Und Will’ Tu’ Ich Euch Kund'
2.12. Aufzug II, Szene III: 'Nun Hört! Dem Lande Will Er Uns Entführen?'
2.13. Aufzug II, Szene IV: Prozession/'Gesegnet Soll Sie Schreiten'
2.14. Aufzug II, Szene IV: 'Zurück, Elsa! Nicht Länger Will Ich Dulden'
2.15. Aufzug II, Szene V: 'Heil! Heil Dem König!'
2.16. Aufzug II, Szene V: 'O König! Trugbetörte Fürsten! Haltet Ein!'
2.17. Aufzug II, Szene V: 'Welch’ Ein Geheimnis Muß Der Held Bewahren?'
2.18. Aufzug II, Szene V: 'Mein Held Entgeg’ne Kühn Dem Ungetreuen!'
2.19. Aufzug II, Szene V: 'In Deiner Hand, In Deiner Treu’ Liegt Alles Glückes Pfand!'

3.1. Aufzug III: Vorspiel
3.2. Aufzug III, Szene I: 'Treulich Geführt, Ziehet Dahin'
3.3. Aufzug III, Szene II: 'Das Süße Lied Verhallt, Wir Sind Allein'
3.4. Aufzug III, Szene II: 'Wie Hehr Erkenn’ Ich Unsrer Liebe Wesen!'
3.5. Aufzug III, Szene II: 'Atmest Du Nicht Mit Mir Die Süssen Düfte?'
3.6. Aufzug III, Szene II: 'Ach, Könnt Ich Deiner Wert Erscheinen!'
3.7. Aufzug III, Szene II: 'Höchstes Vertrau’n Hast Du Mir Schon Zu Danken'
3.8. Aufzug III, Szene II: 'Hilf Gott, Was Muss Ich Hören!'
3.9. Aufzug III, Szene II: 'Hörtest Du Nichts? Vernahmest Du Kein Kommen?'
3.10. Aufzug III, Szene II: 'Tragt Den Erschlagnen Vor Des Königs Gericht!'
3.11. Aufzug III, Szene III: Sonnenaufgang/'Heil, König Heinrich!'
3.12. Aufzug III, Szene III: 'Was Bringen Die? Was Tun Sie Kund?'
3.13. Aufzug III, Szene III: 'Mein Herr Und König, Laß Dir Melden'
3.14. Aufzug III, Szene III: 'In Fernem Land, Unnahbar Eu’ren Schritten'
3.15. Aufzug III, Szene III: 'Mir Schwankt Der Boden! Welche Nacht!'
3.16. Aufzug III, Szene III: 'Mein Lieber Schwan!'
3.17. Aufzug III, Szene III: 'Weh! Weh! Du Edler, Holder Mann!'

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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 Wagner - Tannhäuser

"The minstrel Heinrich von Ofterdingen, known as Tannhäuser, has been living as a willing captive and lover of Venus. Following the bacchanalian orgy, in which his desires are finally satiated, Tannhäuser wakes from his dream; he longs for freedom and the simple joys of earthly life. Reproaching him for his ingratitude, the love goddess urges him to sing his hymn to Venus, but at the end of both stanzas Tannhauser pleads to be allowed to leave. Venus tries to charm him into staying, but he only pleads harder and she eventually reluctantly yields, prophesying that he will one day return to her in desperation. Tannhauser declares that his salvation lies only in the Virgin Mary; Venus and her domains vanish. 

"Tannhäuser finds himself in the vicinity of the Wartburg, the residence of the Landgrave. A young shepherd's simple greeting to the spring is followed by the chant of an advancing procession of pilgrims; the shepherd greets them, and Tannhauser, inspired, praises the wonders of God. As the procession passes, Tannhäuser begins to feel the weight of his own sin. The Landgrave and his companions arrive. Upon recognising Tannhäuser, they are unsure how to greet him — does he return as friend or foe? Wolfram quickly dismisses their uncertainty, however, and the group joyfully welcomes their long-lost comrade. Tannhauser wishes to continue on his journey, but the others plead him to stay, with Wolfram's cry of 'Bleib bei Elisabeth!' stopping Tannhäuser in his tracks. Explaining that Tannhauser's song has won the heart of Elisabeth, the Landgrave's beautiful niece, who has suffered greatly during his absence, Wolfram and the others successfully persuade Tannhäuser to return to The Hall of Song, the Wartburg Elisabeth rejoices over Tannhäuser's imminent return, joyfully greeting the hall, which she has not entered since his departure. Wolfram enters with Tannhäuser; Elisabeth recalls Tannhäuser's earlier minstrelsy, describing the conflicting emotions that his song aroused in her and reliving the pain of his departure. Tannhäuser, enraptured, hails the power of love, and the two ecstatically sing God's praises. 

"Tannhäuser and Wolfram depart. The Landgrave arrives, welcoming his niece back to the Hall but finding her unwilling to reveal her feelings to him. Guests assemble for the song contest and the minstrels enter. The Landgrave announces that the challenge of the contest is to fathom the true essence of love - the worthiest contender will receive his prize from Elisabeth herself. Wolfram is the first to try, delivering an idealized tribute to Elisabeth and comparing the purity of love to a fountain which should never be sullied, but Tannhäuser, whose soul is still possessed by Venus, retorts that the highest love in fact resides in the pleasure of the senses. Walther then tries his luck, then Biterolf, then Wolfram again, but Tannhäuser scorns each of their attempts with heightened passion answering Wolfram's second invocation with his hymn to Venus. The guests are incensed, but Elisabeth intervenes dramatically with 'Haltet ein!', imploring mercy and atonement for Tannhäuser. Tannhäuser is overcome with remorse, and Elisabeth's intervention is likened to that of an angel. The Landgrave tells Tannhäuser that his only hope of salvation is to join the band of pilgrims preparing to journey to Rome. 

"Elisabeth prays for Tannhäuser's salvation, with Wolfram observing her unnoticed. Both are alerted by the pilgrims' return from Rome — Elisabeth searches among them for Tannhäuser, but he is not there. Broken, she prays to the Virgin to receive her soul in heaven so that she might intercede for her beloved. Wolfram asks if he might not bear her company, but she silently communicates that she must fulfil her duty alone. She returns to the Wartburg, and Wolfram, seized by a presentiment of her death, asks the evening star to guide her on her way.

"Tannhäuser staggers in, ragged and exhausted. Wolfram, who at first mistakes him for a wandering pilgrim, questions why he returns unpardoned to the Wartburg, and Tannhäuser narrates his pilgrimage to Rome: that, in spite of his abject penitence, the Pope refused to grant him absolution, explaining that Tannhäuser's time in the Venusberg means he can no more be forgiven than the Pope's staff can sprout leaves. Tannhäuser now intends to retum to the Venusberg, and Venus herself appears, tempting him back to her realm. Wolfram is horrified, and a struggle for Tannhäuser's soul ensues, with Wolfram's cry of 'Elisabeth!' breaking the enchantment. At that moment a procession enters bearing Elisabeth's body; Venus disappears and Tannhäuser falls to the ground. As he lies dying, calling on the saint to intercede for him, a chorus of pilgrims enter and recount a miracle: the Pope's staff has blossomed. Tannhäuser's soul is saved." (Synopsis by WLP, Ltd. From the liner notes.)

Performers: Orchester und Chor der Bayreuther Festspiele, Axel Kober, Torsten Kerl, Camilla Nylund, Michelle Breedt, Markus Eiche, Kwangchul Youn

1.1. Ouvertüre
1.2. Aufzug I, Szene I: 'Naht Euch Dem Strande!'
1.3. Aufzug I, Szene II: 'Geliebter, Sag’, Wo Weilt Dein Sinn?'
1.4. Aufzug I, Szene II: 'Dir Töne Lob! Die Wunder Sei’n Gepriesen'
1.5. Aufzug I, Szene II: 'Dank Deiner Huld! Gepriesen Sei Dein Lieben!'
1.6. Aufzug I, Szene II: 'Geliebter, Komm! Sieh Dort Die Grotte'
1.7. Aufzug I, Szene II: 'Stets Soll Nur Dir, Nur Dir Mein Lied Ertönen!'
1.8. Aufzug I, Szene II: 'Zieh Hin, Wahnsinniger, Zieh Hin!'
1.9. Aufzug I, Szene II: 'Ach, Schöne Göttin, Lebe Wohl!'
1.10. Aufzug I, Szene III: 'Frau Holda Kam Aus Dem Berg Hervor'
1.11. Aufzug I, Szene III: 'Zu Dir Wall’ Ich, Mein Jesus Christ'
1.12. Aufzug I, Szene IV: 'Wer Ist Dort In Brünstigem Gebete?'
1.13. Aufzug I, Szene IV: 'Als Du In Kühnem Sange Uns Bestrittest'

2.1. Aufzug II: Orchestereinleitung/Szene I: 'Dich, Teure Halle, Grüß’ Ich Wieder'
2.2. Aufzug II, Szene II: 'Dort Ist Sie; Nahe Dich Ihr Ungestört!'/'Der Sänger Klugen Weisen Lauscht’ Ich Sonst Gern Und Viel'
2.3. Aufzug II, Szene II: 'Den Gott Der Liebe Sollst Du Preisen'
2.4. Aufzug II, Szene III: 'Dich Treff ’ich Hier In Dieser Halle, Die So Lange Du Gemieden?'
2.5. Aufzug II, Szene IV: Einzug Der Gäste
2.6. Aufzug II, Szene IV: 'Freudig Begrüßen Wir Die Edle Halle'
2.7. Aufzug II, Szene IV: 'Gar Viel Und Schön Ward Hier In Dieser Halle Von Euch, Ihr Lieben Sänger, Schon Gesungen'
2.8. Aufzug II, Szene IV: 'Blick’ Ich Umher In Diesem Edlen Kreise'
2.9. Aufzug II, Szene IV: 'Auch Ich Darf Mich So Glücklich Nennen Zu Schaun, Was, Wolfram, Du Geschaut!'
2.10. Aufzug II, Szene IV: 'Den Bronnen, Den Uns Wolfram Nannte, Ihn Schaut Auch Meines Geistes Licht'
2.11. Aufzug II, Szene IV: 'O Walther, Der Du Also Sangest, Du Hast Die Liebe Arg Entstellt!'
2.12. Aufzug II, Szene IV: 'Heraus Zum Kampfe Mit Uns Allen!'
2.13. Aufzug II, Szene IV: 'O Himmel, Lass Dich Jetzt Erflehen, Gib Meinem Lied Der Weihe Preis!'
2.14. Aufzug II, Szene IV: 'Ha, Der Verruchte! Fliehet Ihn!'
2.15. Aufzug II, Szene IV: 'Der Unglücksel’ge, Den Gefangen'
2.16. Aufzug II, Szene IV: 'Weh! Weh Mir Unglücksel’gem!'
2.17. Aufzug II, Szene IV: 'Ein Furchtbares Verbrechen Ward Begangen'
2.18. Aufzug II, Szene IV: 'Versammelt Sind Aus Meinen Landen Bußfert’ge Pilger'

3.1. Aufzug III: Orchestereinleitung ('Tannhäusers Pilgerfahrt')
3.2. Aufzug III, Szene I: 'Wohl Wußt’ Ich Hier Sie Im Gebet Zu Finden (Wolfram, Ältere Pilger, Elisabeth)
3.3. Aufzug III, Szene I: 'Beglückt Darf Nun Dich, O Heimat, Ich Schauen'
3.4. Aufzug III, Szene I: 'Allmächt’ge Jungfrau, Hör Mein Flehen!'
3.5. Aufzug III, Szene II: 'Wie Todesahnung Dämmrung Deckt Die Lande'
3.6. Aufzug III, Szene II: 'O Du, Mein Holder Abendstern'
3.7. Aufzug III, Szene III: 'Ich Hörte Harfenschlag, Wie Klanger Traurig!'
3.8. Aufzug III, Szene III: 'Inbrunst Im Herzen, Wie Kein Büßer Noch Sie Je Gefühlt'
3.9. Aufzug III, Szene III: 'Dahin Zog’s Mich, Wo Ich Der Wonn’und Lust So Viel Genoss An Ihrer Warmen Brust!'
3.10. Aufzug III, Szene III: 'Willkommen, Ungetreuer Mann!'/'Der Seele Heil, Die Nun Entflohn'
3.11. Aufzug III, Szene III: 'Heil! Heil! Der Gnade Wunder Heil!'

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Othmar Schoeck - Notturno

"Othmar Schoeck (1886-1957) was one of a troika of Swiss composers (the others being Frank Martin and Arthur Honegger) who were instrumental in establishing Switzerland as a force to be reckoned with on the European music scene. He was born in Brunnen on the banks of Lake Lucerne, a stunning spot that in fact out-idylls just about anywhere else in the land. He studied first at the Zurich Conservatory, went to Leipzig in 1907 to spend a year writing reams of counterpoint exercises under Max Reger, then returned to Zurich, never to leave again except for concert engagements and holidays. Schoeck made his living primarily as an orchestral conductor and as a piano accompanist, but it was as a composer that he attained real significance. His oeuvre comprises eight operas, some four hundred songs, and just a few minor instrumental works. The dominance of the word in his oeuvre has not made it easy for his music to gain recognition beyond the linguistic boundaries. Even his Expressionist operatic masterpiece 'Penthesilea' (1923-5), which has enjoyed two recordings and over a dozen productions in the past quarter-century, has only once been performed outside the German-speaking world. 

"Nor is Schoeck's music always immediately easy on the ear—the idyllic was not a register he employed often. Ironically, his essentially late-Romantic style was after the Second World War nevertheless considered 'too accessible' at a time when the avant-garde was noisily sweeping all before it. Schoeck was simply a composer who managed to fall between all possible stools. But in his day, his music was admired by Alban Berg, Wilhelm Furtwängler, Paul Hindemith and many others, while his staunchest champion among performers was Dietrich Fischer-Dieskau. And if there is one work of Schoeck's to prove how well-founded was their admiration, it is surely the 'Notturno for string quartet and voice' of 1931-3. It was by no means the first-ever vocal work with string quartet accompaniment, though it is particularly remarkable for the virtuosity with which it merges vocal and instrumental forms (and is in this reminiscent of Alban Berg's opera Wozzeck, which Schoeck knew well). It was first performed on 18 May 1933 in Zurich by Felix Loeffel and the Zürcher Streichquartett. Despite its immense technical difficulties, it has proven one of Schoeck's more often-performed works — not least thanks to the persistence of Dietrich Fischer-Dieskau, who recorded it and kept it in his repertoire for over a decade. 

"The Notturno sets ten poems in five movements. The inner movements have one poem each, while the first has four, the last three. All the poems except the tenth are by the German Romantic poet Nikolaus Lenau (1802-50), one of Schoeck's favourite authors. There is no 'story' in this cycle, which is unified instead by its overall tenor of darkness (hence the title). While there is no doubt that Schoeck was troubled by the political developments to the north of the Swiss borders in the early 1930s, the dark night of the soul depicted in the 'Notturno' is in fact of purely personal origin. This is reflected in the music fabric itself by the use of a specific, recurring musical theme. It first appears in the opening movement, at the line 'Der immer naht, ihr immer doch zu fehlen' ('He approaches but never does he reach her'), then forms the basis of a subsequent sonata-form interlude for quartet alone, and returns later to dominate the final movement of the work." (Chris Walton. From the liner notes.)

Performers: Rosamunde Quartett, Christian Gerhaher

1. Notturno, Op. 47: I. Ruhig
2. Notturno, Op. 47: II. Presto
3. Notturno, Op. 47: III. Unruhig Bewegt
4. Notturno, Op. 47: IV. Ruhig Und Leise
5. Notturno, Op. 47: V. Rasch Und Kräftig (Quasi Recit.)

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Paul & Linda McCartney - RAM

Credited both to Paul McCartney and his wife Linda (they married two years prior), this album is the genesis of the former's band Wings as well as a stunning start to his solo career. Linda McCartney's co-credit here speaks perhaps more to the strength of their relationship than her actual contributions, but her vocals alongside her husband are stunning and give the music a tremendous lift. Paul has recalled: "I gave her a hard time, I must say, but we were pleased with the results. Elton John later said somewhere that he thought it was the best harmonies he’d heard in a long while. It was very much the two of us against the world at that point." 

There are many stunning songs here revolving around themes of family, love and happiness. The exuberant ditty "Ram On" becomes our theme, repeated twice in equally charming variations, while the phenomenal "Uncle Albert/Admiral Halsey" is a swirling musical journey that still manages to be catchy and complete. Love songs like "Eat at Home", "Heart of the Country" and "Long Haired Lady" are surely enough to make even the most embittered man smile (away), and Paul's vocal performance on the roaring "Monkberry Moon Delight" is definitely rival to "Helter Skelter" in its sheer energy.

1. Too Many People
2. 3 Legs
3. Ram On
4. Dear Boy
5. Uncle Albert/Admiral Halsey
6. Smile Away
7. Heart Of The Country
8. Monkberry Moon Delight
9. Eat At Home
10. Long Haired Lady
11. Ram On
12. The Back Seat Of My Car

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Vincenzo Bellini - Il Pirata

"Sicily, late-thirteenth century. Fortune has turned against the outlaw Gualtiero, whose pirate fleet has been defeated by the forces of Ernesto on behalf of King Charles. As the people of Caldora look anxiously to sea during a storm, Gualtiero and his crew are cast ashore. He is recognized by his old tutor, Goffredo, who now lives as a hermit. Gualtiero asks what has become of Imogene, whom he still loves. Goffredo is reluctant to answer, but when the people say the local duchess-Imogene herself-is on her way to help the shipwreck victims, he urges Gualtiero not to let himself be discovered by his enemies.

"Imogene arrives at the beach and greets the survivors. Questioning Gualtiero's friend Itulbo, she learns to her distress that the pirate captain may have been lost during the recent sea battle. As an aside to her companion, Adele, Imogene confides a recent dream in which she imagined Gualtiero wounded and dying upon a beach; her husband accused her of causing the man's death and dragged her away. Gualtiero, briefly stepping outside the hermit's hut, recognizes Imogene. When the sound of his voice stirs further memories of her lost love, her companions see how upset she is and lead her back to her nearby castle of Caldora.

"That night, outside the castle, the shipwreck victims have been enjoying the duchess's hospitality. Itulbo, afraid their identify will be discovered, wants them to quiet down, but they share more drinks before returning to the castle. Imogene emerges, having sent Adele to find the mysterious stranger whose voice she heard on the beach. Gualtiero approaches, unrecognized at first, and answers her solicitous questions about his misfortunes, which she compares to her own. When he reveals his identity and accuses her of betraying him, she replies that she had to marry Ernesto in order to save her aged father from death in prison. They are interrupted by ladies-in-waiting, who bring Imogene's child. Gualtiero seizes his enemy's son, threatening to do away with him. At the sight of Imogene's distress, he relents and gives the boy back to her, then hurries away.

"Scarcely has Imogene breathed a sigh of relief when word comes that her husband has returned triumphant from the sea battle. His soldiers march in, singing of their exploits. Ernesto joins them-and cannot understand why Imogene seems depressed at such a glorious moment. Her anxieties are justified when Ernesto sends for the leader of the shipwrecked crew and proceeds to question him. Itulbo answers in Gualtiero's stead, saying they are from Liguria, "where all strangers are welcome." Ernesto notes that the Ligurians sheltered his enemy, Gualtiero, and provisioned the pirates, so he orders the crew held until he can find out more about them. Upon Imogene's intercession, however, he agrees to let them leave, if they will do so the next morning. Aside, Gualtiero threatens Imogene with dire consequences if she will not meet him one more time, while Ernesto wonders why he mistrusts these strangers. Because Imogene is afraid to meet with him, Gualtiero starts to throw himself on Ernesto, but Itulbo and Goffredo restrain him. Imogene swoons, revives, and is led away, while Ernesto fears for her sanity. Gualtiero, recklessly longing for revenge, is dragged away by his restraints.

"Imogene's ladies-in-waiting express concern for her as she rests in her chamber. When they have left, Adele tells her she may now go to meet Gualtiero, who has sworn not to leave without seeing her. Ernesto enters, however, challenging her indifference. She admits she still loves Gualtiero, "but as one loves a man dead and buried." Then Ernesto receives a note saying Gualtiero lives and is present in the castle. Imogene warns of sure bloodshed, but Ernesto, furious, dashes from the chamber.

"On the castle terrace toward daybreak, Gualtiero refuses to be persuaded by Itulbo that they should make their escape immediately, as Ernesto stipulated. Gualtiero wants to defy Ernesto, risking his own men's lives if necessary. Itulbo leaves as Imogene arrives for a final rendezvous with Gualtiero, who delivers an ultimatum: Either she flees with him, thereby punishing Ernesto, or Gualtiero stays and fights. Refusing to dishonor her marriage vows, no matter how unwelcome, she asks Gualtiero to forgive her and to flee from Ernesto's wrath. As she bids him farewell, Ernesto draws near and sees their last embrace, then bursts forth to challenge his rival. Both men are spoiling for a fight and ignore Imogene's pleas to kill her instead. They rush off. With Adele, who has arrived to comfort her, Imogene heads after the men, hoping to stop them.

"In the castle later that day, the duke's followers form a funeral procession and swear to avenge his death at the hand of Gualtiero. To their surprise, Gualtiero enters. He throws down his sword and says he is ready for vengeance, but they reply he must first be condemned by a tribunal. Turning to Adele, he asks her to carry his final farewell to Imogene, in the hope that she will pray for him in death. He leaves with the knights to face his fate. Imogene wanders in, distracted, imagining she has saved her son from assassins and brought him to his dying father. When the boy actually arrives, she speaks consolingly to him until a trumpet sounds from the Council Chamber, announcing Gualtiero's condemnation. Realizing, despite her madness, that he is about to die, she envisions the scaffold and declares herself ready to die too, of grief." (Synopsis from the Metropolitan Opera, via Opera News. Available here.)

Performers: Orchestra e Coro del Maggio Musicale Fiorentino, Erasmo Ghiglia, Flaviano Labò, Montserrat Caballé, Piero Cappuccilli, Giuseppe Baratti, Ugo Trama, Flora Rafanelli

1.1. Ouverture
1.2. Atto I: 'Ciel! Qual Procella Orribile'
1.3. Atto I: 'Io Vivo Ancor'
1.4. Atto I: 'Nel Furor Delle Tempeste'
1.5. Atto I: 'Sorgete; È In Me Dover'
1.6. Atto I: 'Lo Sognai Ferito'
1.7. Atto I: 'Viva! Allegri'
1.8. Atto I: 'Ebben?'
1.9. Atto I: 'Se Un Giorno'
1.10. Atto I: 'Pietosa Al Padre'
1.11. Atto I: 'Bagnata Dalle Lagrime'
1.12. Atto I: 'Più Temuto, Più Splendido Nome'
1.13. Atto I: 'Si Vincemmo... Ma Che La Vostra È La Mia Gloria'
1.14. Atto I: 'Mi Abbraccia, O Donna...'

2.1. Atto I: 'Parlarti Ancora'
2.2. Atto I: 'Ebben; Cominci, O Barbara'
2.3. Atto I: 'Ah! Partiamo, I Miei Tormenti'
2.4. Atto II: 'Che Rechi Tu'
2.5. Atto II: 'Tu M'apriste In Cor Ferita'
2.6. Atto II: 'Che Rechi?'
2.7. Atto II: 'Lasciame Forza Umana'
2.8. Atto II: 'Vieni: Cerchiam Pe' Mari'
2.9. Atto II: 'Cedo Al Destin Orribile'
2.10. Atto II: 'Lasso! Perir Così'
2.11. Atto II: 'Giusto Cielo! Gualtier'
2.12. Atto II: 'Tu Vedrai La Sventurata'
2.13. Atto II: 'Oh! S'io Potessi... Col Sorriso D'innocenza'

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George Enescu - Oedipe

"The history of 20th-century opera is replete with problematic masterpieces which have taken several decades to establish themselves: the operas of Zemlinsky and Schreker, those of Busoni and most of the operas of Janáček, Pfitzner's 'Palestrina', Szymanowski's 'King Roger' and Martinů's 'Juliette' come immediately to mind. Georges Enescu's single opera 'Oedipe' is equal to the best of these yet unlike them it has not yet managed to gain the secure footing on the international operatic stage that it so clearly deserves. This is puzzling: it is based upon a well-known myth, is highly stageworthy, strongly dramatic and full of sumptuously beautiful music. True, it has no formal setpiece arias, and the title role is demanding - Oedipus is scarcely ever off the stage after the start of Act II. Yet the vocal parts are brilliantly characterised and offer a fine range of opportunities: the heroic dignity of Oedipus, the demented wailing of the Sphinx, two major soprano roles - Jocasta and Antigone -and some exciting and lyrical choral music give Oedipe all you could want to show off the talents of a major opera house. 

"The present recording has probably done more than anything else to further Oedipe's reputation. Made in 1989 with a star cast on top form, a world-class opera orchestra and conducted by Lawrence Foster, whose understanding of Enescu's special musical word is immediate and total, it is notable especially for the magnificent interpretation of José Van Dam, who brings to the title role that perfect balance of nobility and passion which caused Olivier Messiaen to cast him in the lead for his opera 'Saint-Francois d'Assise' a few years earlier. So this reissue is a timely reminder of the vital beauties of 'Oedipe': let's hope more opera houses take it up. During his lifetime, Enescu's compositions had to compete with his international reputations as virtuoso violinist, conductor and pianist - with his phenomenal memory and natural musicianship, there wasn't much Enescu couldn't do. There's no doubt that this versatility harmed his composing. For a public that likes to settle people into clear categories, Enescu the virtuoso eclipsed Enescu the composer. And all this activity, while financially more lucrative, left him little time to compose. He completed no more than 33 works with opus number before his death in 1955. Two major symphonies were left unfinished, and many pieces were worked over for years. Not least 'Oedipe': conceived and partly sketched as early as 1910, the opera's piano-score was written by 1922, but the orchestration was not finished until 1931. According to Enescu's pupil Yehudi Menuhin, the score accompanied Enescu everywhere during this period, even on long tours, the composer working on it before, after and between concerts, depriving himself of sleep in order to bring the work to completion.

"[...] The true source of Enescu's style is the folk musics of his native Romania — musics which were equally important to the work of his friend Béla Bartók. Both in the music of the lautari (the many itinerant violinists, Gypsy or not) and the intricate melodic patterns of Romanian genres such as the doing ('lament') or the hora lunga ('long song'), Enescu found in his native folk music an endless resource and lasting inspiration for melodic flexibility and rhythmic innovation. Other elements go into the mix: the limpidly modal music of his teacher Gabriel Fauré, the clarity and colour of early Ravel, and the fantastical early ballets of Stravinsky. There is more than one echo in 'Oedipe' of both 'The Firebird' and 'The Rite of Spring'. Indeed the opening of Part II of The Rite was audibly influential on the haunting Sphinx music in Act II of Oedipe. But these influences are identifiable only in passing: 'Oedipe' is a musical and operatic world quite unlike any other, a world of perpetually shifting melody, harmony, colour and light which envelops the listener from first to last." (Peter Quantrill. From the liner notes.)

Performers: Orchestre Philharmonique de Monte-Carlo, Lawrence Foster, José Van Dam, Barbara Hendricks, Brigitte Fassbaender, Marjana Lipovšek

1.1. Prélude
1.2. Acte I: 'Roi Laïos, En La Maison'
1.3. Acte I: 'Thèbes, Chante, Des Sept Portes'
1.4. Acte I: 'Enfant Divin, Royal Enfant'
1.5. Acte I: Danse Des Bergers
1.6. Acte I: 'J'apporte De Délos La Flamme D'Appolon'
1.7. Acte I: 'Enfant, Mon Enfant, Comment T'appeler'
1.8. Acte II: 'Adonis, Couché Sur La Poupre Et L'or'
1.9. Acte II: 'Oepide, O Fils De Polybos'
1.10. Acte II: 'Ah! Goûtez Sans Moi'
1.11. Acte II: 'Pourquoi Trembler, Mon Fils?'
1.12. Acte II: 'Et Je Me Couvrirai'
1.13. Acte II: 'Est-ce Déjà Le Roi?'
1.14. Acte II: 'Où Suis-je?... Le Corbeau Crie...'
1.15. Acte II: 'Mais Si C'était Un Piège Du Dieu...'
1.16. Acte II: Interlude
1.17. Acte II: 'De L'aurore À L'aurore'
1.18. Acte II: 'Il Est Un Breuvage'
1.19. Acte II: 'Je T'attendais'
1.20. Acte II: 'Ho! Ho! Réveillez-vous!'
1.21. Acte II: 'Evohé! Evohé!'

2.1. Acte III: 'Oh! Oh! Hélas! Hélas!'
2.2. Acte III: 'De L'antique Kadmos'
2.3. Acte III: 'Créon! Créon! Voici Créon'
2.4. Acte III: 'Divin Tirésias, Très Cher'
2.5. Acte III: 'Qu'entends-je, Oedipe'
2.6. Acte III: 'Reconnais-tu Cet Homme?'
2.7. Acte III: 'Voyez, Thébains, Voyez'
2.8. Acte III: 'Père! Père'
2.9. Acte III: 'Il Faut Partir, Oedipe'
2.10. Acte III: 'Je Marcherai Dans Les Ténebres'
2.11. Acte IV: 'Bienveillantes! Bienfaisantes!'
2.12. Acte IV: 'Déesses Qui Veillez?'
2.13. Acte IV: 'Lumière De Mes Yeux'
2.14. Acte IV: 'Nous Sommes Arrivés...'
2.15. Acte IV: 'Père! Père! Créon! Je Vois Créon!'
2.16. Acte IV: 'Pouvais-je Penser'
2.17. Acte IV: 'Oedipe!'
2.18. Acte IV: 'Adieu, Douce Antigone'

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Franz Krommer - Three Partitas; Six Marches

"Franz Vincenz Krommer was born (as František Vincenč Kramář) at Kamenice u Trebíče in Moravia on 27 November 1759 (not quite four years after Mozart); he was the son of an innkeeper, Jiří Kramář, who later became Mayor of Kamenice. Between 1773 and 1776 he studied the violin and the organ with his uncle, Antonín Matthias Kramář, in Turán (near Brno), and became organist there in about 1777. In 1785 he went to Vienna, and a year later joined the orchestra of the Duke of Styrum at Simontornya in western Hungary, as a violinist. At about this time he was also musical director and composer for Count Károly’s regimental bands. In 1790 he was appointed Kapellmeister of the cathedral at Pécs, also in western Hungary, and two or three years later entered the musical establishment of Prince Anton Grassalkovich de Gyarak. Krommer returned to Vienna in 1795 and became Kapellmeister to Duke Ignaz Fuchs in 1798. In 1808 he applied, unsuccessfully, for a position as a violinist in the Hofkapelle, but in 1810 he was appointed Ballettkapellmeister at the Hoftheater. In 1815 he was given the post of Kammertürhüter (Chamberlain) to Emperor Franz I, and in this capacity accompanied him to Paris, Milan, Verona, Padua and Venice. Three years later he succeeded his compatriot Leopold Kozeluch as the last official director of chamber music and court composer to the Habsburg emperors, and retained the position until his death in Vienna on 8 January 1831.

"Krommer was one of the most successful and influential of the many Czech composers active in Vienna at the turn of the nineteenth century. The extent of his reputation is indicated by the rapid spread of his published compositions in reprints and arrangements by German, French, Italian, Danish and even American publishers, and by his honorary membership of musical institutions in Vienna, Innsbruck, Paris, Milan, Venice and Ljubljana. His three-hundred-odd works include at least nine symphonies, a score of concertos for various instruments, over seventy string quartets and a similar number of pieces for other chamber music combinations. He also left an impressive body of Harmoniemusik – music for wind band. The bulk of these are Partiten for pairs of oboes, clarinets, horns and bassoons, often with (as in this recording) ad libitum parts for a contrabassoon to strengthen the bass-line, and for a trumpet to impart a dash of martial colour to the music (and to bring the ten-part ensemble up to the standard complement of Austrian military bands – a shrewd piece of salesmanship). The most important of these Partiten are thirteen works issued as Krommer’s Opp. 45, 57, 67, 69, 71, 73, 76, 77, 78, 79 and 83, first published between 1803 and 1810, and in many cases subsequently reissued, often by different publishers. They were preceded by a number of similar works ascribed (not always with absolute certainty) to Krommer, some of which may date from his days with Count Károly’s bands. The title is misleading. A partita is a suite of dance movements (like Bach’s) or a set of variations; Krommer’s Partiten (or Harmonien, as he and his publishers also called them) are symphonies for wind instruments, in four movements, only one of which (the second or the third) is in dance-form: a minuet." (Robin Golding. From the liner notes.)

Performers: Academy of St. Martin-in-the-Fields Wind Ensemble, Bastiaan Blomhert

1. March, Op. 31 No. 1
2. Partita In B-Flat Major, Op. 45 No. 1: I. Allegro Vivace
3. Partita In B-Flat Major, Op. 45 No. 1: II. Andante
4. Partita In B-Flat Major, Op. 45 No. 1: III. Menuetto: Allegro - Trio
5. Partita In B-Flat Major, Op. 45 No. 1: IV. Rondo
6. March, Op. 31 No. 6
7. March, Op. 31 No. 5
8. Partita In E-Flat Major, Op. 45 No. 2: I. Allegro
9. Partita In E-Flat Major, Op. 45 No. 2: II. Romance: Allegretto
10. Partita In E-Flat Major, Op. 45 No. 2: III. Menuetto - Trio
11. Partita In E-Flat Major, Op. 45 No. 2: IV. Rondo
12. March, Op. 31 No. 3
13. March, Op. 31 No. 4
14. Partita In B-Flat Major, Op. 45 No. 3: I. Allegro
15. Partita In B-Flat Major, Op. 45 No. 3: II. Adagio
16. Partita In B-Flat Major, Op. 45 No. 3: III. Menuetto - Trio
17. Partita In B-Flat Major, Op. 45 No. 3: IV. Rondo
18. March, Op. 31 No. 2

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Nikolai Myaskovsky - Symphony No. 6

"Myaskovsky is a composer of two centuries in the full sense of the word — of the 19th and 20th centuries. Being an adherent to the ideals of 'the old art' with his interest in the realm of the human soul, Myaskovsky could become a modern artist: his language and style in music are both rather independent and synthetic at the same time. They combine many elements — from expressiveness of the late Scriabin up to linearity and serial in the music of the 1920s.

"Twenty-seven symphonies created in the period from 1908 to 1950 is a grand chronicle, a reflection of the unique artist's experience in the epoch of downfall of the ideals of 'old art' with its thoughts on the fate of the man and the universe. S. Rogovoi used an apt turn of the phrase: 'The habit of composing symphonies is equal to the habit of living.'

"The word is called for help only twice – in the Sixth and the Twenty-Sixth symphonies. Only in the Sixth symphony, that word is pronounced. However, there exist two equal in rights author's versions of the finale — with the chorus and without it. The Sixth symphony in E-flat minor Op. 23 narrates about a tragedy that undermines the foundations of the existence. 'Autobiographical notes on the creative life' (1936) were censored and cannot reflect the real content of the symphony; Myaskovsky failed to resist the developing canon of studying his own creative life and chose the lesser of two evils: he told about himself. 'Autobiographical notes' is a story of the 'reconstructed' modernist. The Sixth symphony is presented here as a chaotic and neurasthenic conception inspired by the scenes of the deserted and cold Petrograd, Myaskovsky's lonely house, memories about the deceased aunt. Emil Verharn's drama 'Dawn' also proclaimed the motif of the revolutionary sacrifice. The symphony is a requiem, a cry from the heart on his father, General Myaskovsky who was shot by a revolutionary soldier before his son's very eyes in 1918.

"Being an independent and large scaled the Sixth symphony is a finale of the huge super cycle that includes the Fourth and Fifth symphonies. The Fourth symphony is some kind of an Allegro of the super cycle: the immediate war memories saturate it because Myaskovsky was a first lieutenant of the field — engineer company during the WWI. The Fifth symphony is a 'quiet' Andante that leads us through the pages of the Petersburg opera classics. The main idea that unites these three symphonies is Dies Irae: the first times of the Fourth symphony make it, then it runs through Andante of the Fifth symphony, finally penetrates the entire Sixth symphony rushing to the finale. There it is compared with the theme of the spiritual verse. These 'finale' qualities of the Sixth symphony defined that extraordinary diversity of the themes that was peculiar for Myaskovsky. For example, there are eight themes in the finale.

"[...] The Sixth symphony became a symphony of 'the survived in Russia'. Its first night on May 4, 1924 was accompanied by the stunning success; many of the listeners could not help but shed tears.

"The Sixth symphony became Myaskovsky's principal message to Man and World." (M. Segelman. From the liner notes.)

Performers: Moscow Philharmonic Orchestra, Kirill Kondrashin

1. Symphony No. 6 In E-Flat Minor, Op. 23: I. Poco Largamente Ma Non Allegro. Allegro Feroce
2. Symphony No. 6 In E-Flat Minor, Op. 23: II. Presto Tenebroso
3. Symphony No. 6 In E-Flat Minor, Op. 23: III. Andante Appassionato
4. Symphony No. 6 In E-Flat Minor, Op. 23: IV. Allegro Molto Vivace

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Othmar Schoeck - Summer Night

"The time of absolute music is over, declared Othmar Schoeck in 1927: 'Perhaps it was altogether only a mistake [...] all music [...] is song.' Such pronouncements—which he made at regular intervals throughout his working life—should not surprise us unduly, coming from a composer whose oeuvre includes some three hundred songs for voice and piano, several song cycles with ensemble or orchestra, and eight operas. But in fact, Schoeck only ever uttered such criticism of instrumental music when he was secretly writing some himself. He was so uncertain about his compositional gifts outside the realm of vocal music that he felt a need to lower expectations in advance whenever he was about to write a sonata, a quartet or an orchestral work. But he needn’t have worried. While his instrumental output is relatively small, these works have in fact become among his most popular and most-often recorded.

"The most successful of Schoeck’s orchestral works is 'Sommernacht', Op. 58 ('Summer Night'), a small tone poem for strings. In the spring of 1945, just days after the end of the Second World War, the Bernese Music Society asked Schoeck to write a new work for the local symphony orchestra. He hesitated–not least because he had suffered a debilitating heart attack a year earlier that had seriously undermined his health. Then, one day, his twelve-year-old daughter Gisela came home from school, gushing about a poem by Gottfried Keller her class had just read: 'Sommernacht'. Schoeck knew it well. He had even considered setting it to music a few years earlier, though it had resisted musical treatment at the time. Now, however, he used it as the program for a 'pastoral intermezzo' for string orchestra which he composed with ease.
 
"The poem tells of an ancient custom according to which the young men of a village help harvest the field of a widow or orphans who are unable to do the work themselves. Keller’s visual imagery—the shimmering fireflies, the silvery glittering of the scythes—was transformed by Schoeck into aural experiences. Thus we hear the chirping of crickets, the 'happy cries' of the peasants, the strains of the accordion, and the birdsong of the early morning (in which the 'Forest Murmurs' from Wagner’s Siegfried are never far away). The arrival and departure of the country folk in the fields also provide Schoeck with the opportunity to tell his tale in a three-part form with a neat recapitulation. The musical language of 'Sommernacht' is thoroughly tonal. On the whole, it seems to endeavor to evoke a pristine, untouched, ideal world, far-removed from the horrors that had only just come to an end across the Swiss border. There may be orphans and widows in this work, but here they have happy, grateful peasant friends to stand by them. No one is left to suffer alone; loss finds its compensation; and no one questions his place in the scheme of things. 'Sommernacht' was given its first performance in Bern under Luc Balmer on December 17, 1945. It was performed in Winterthur and Zurich in the following weeks, and has since become Schoeck’s most often-performed instrumental work, both at home and abroad." (Chris Walton. From the liner notes.)

Performers: Chamber Orchestra I Tempi, Gevorg Gharabekyan, Christoph Croisé

1. Suite In A-Flat Major, Op. 59: I. Andante Maestoso
2. Suite In A-Flat Major, Op. 59: II. Pastorale Tranquillo
3. Suite In A-Flat Major, Op. 59: III. Tempo Di Marcia Allegro
4. Suite In A-Flat Major, Op. 59: IV. Poco Adagio
5. Suite In A-Flat Major, Op. 59: V. Presto
6. Cello Concerto, Op. 61: I. Allegro Moderato
7. Cello Concerto, Op. 61: II. Andante Tranquillo – Più Lento – Tempo 1
8. Cello Concerto, Op. 61: III. Presto
9. Cello Concerto, Op. 61: IV. Lento – Molto Allegro
10. Pastoral Intermezzo, Op. 58 'Sommernacht'

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Vincenzo Bellini - I Puritani

"Together with Donizetti and Rossini, Vincenzo Bellini stands as one of the great masters of operatic composition during the first half of the nineteenth century. Whereas Rossini sought vocal agility and Donizetti dramatic vigour or unrestrained musical high spirits, Bellini was a painstaking craftsman whose seriousness of purpose and sincerity of utterance gave his works a unique character unmatched by those of his rivals. Born in Catania in Sicily in November 1801, Bellini studied at the Conservatory in Naples. Here one of his teachers, Zingarelli, encouraged him to concentrate on melody, the origin of his fondness for long, beautifully moulded vocal lines set above a simple orchestral accompaniment, Two operas written in Naples were sufficiently successful for Bellini to gain a commission from La Scala in Milan to compose his first mature opera, 'Il Pirata' (1827). After two less successful works, he then composed the operas on which his reputation was founded: 'I Capuleti e I Montecchi' (1830), 'La Sonnambula' (1831), 'Norma' (1831), 'Beatrice di Tenda' (1833), and 'I Puritani' (1835). He died unexpectedly in Paris in September 1835, of an internal inflammation.
 
"'I Puritani' was commissioned by the Théâtre Italien in Paris in 1834. This new work was to be based upon the play 'Têtes rondes et cavaliers' by two French authors Ancelot and Boniface, itself based upon Old Mortality by Sir Walter Scott, whose novels were then very much in vogue. The libretto was supplied by Count Carlo Pepoli, replacing Bellini’s usual partner Felice Romani, with whom the composer had temporarily fallen out. First performed on 25th January 1835, 'I Puritani' was an immediate success, overshadowing another work new to Paris, Donizetti’s 'Marino Faliero'. The action of 'I Puritani' takes place in the middle of the seventeenth century, towards the end of the English Civil War. England is divided between the Royalists, faithful to the Stuart monarchy and leaning towards Catholicism, and the Roundheads, the supporters of Oliver Cromwell and siding with Puritan religious views. King Charles I has been executed and his wife Queen Henrietta has escaped in disguise. The setting is Plymouth, a Puritan stronghold.

"In July 1952 the head of artists and repertoire of EMI’s Columbia label, Walter Legge, signed the latest operatic sensation in Italy, Maria Callas, to a contract with his company, although she was also to make two recordings during the next fifteen months with the Italian company CETRA, of Ponchielli’s 'La Gioconda' and Verdi’s 'La Traviata'. She quickly entered the recording studios for EMI, initially during February 1953 in Florence with Donizetti’s 'Lucia di Lammermoor'. This was quickly followed in March and early April of the same year with this recording of 'I Puritani'. Both these recordings were produced by Dino Olivieri, and 'I Puritani' was to be the first of the many recordings in which Legge arranged for Callas to record with the choral and orchestral forces of La Scala, Milan, Italy’s pre-eminent opera house, and itself a stroke of marketing genius which benefited all concerned. The recording was notable for many reasons: it was both the first recording of this opera, and the first operatic set to be issued with Callas on EMI’s new label Angel in the USA, appearing two months before the Florence 'Lucia'. It represented the start of the rediscovery on record of the bel-canto repertoire, which took place partly as a result of the development of the long-playing record, and partly through the totally new character which Callas gave to the operas of this repertoire with her smoky tone, vocal agility and dramatic intensity. Previously bel-canto had been viewed in terms of coloratura sopranos, epitomised for instance by the Italian soprano Toti dal Monte and the French diva Lily Pons, the Metropolitan Opera’s Lucia for many years. Finally this recording and the earlier 'Lucia' reunited Callas with her constant mentor, the conductor Tullio Serafin, who had encouraged her to sing the role of Elvira for the first time in extraordinary circumstances several years earlier." (David Patmore. From the liner notes.)

Performers: Orchestra del Teatro alla Scala, Coro del Teatro alla Scala, Tullio Serafin, Maria Callas, Giuseppe di Stefano, Rolando Panerai, Nicola Rossi-Lemeni

1.1. Sinfonia
1.2. Atto I, Scena I: 'All'erta! All'erta!'
1.3. Atto I, Scena I: 'O Di Cromvell Guerrieri'
1.4. Atto I, Scena I: 'A Festa!'
1.5. Atto I, Scena I: 'Or Dove Fuggo Io Mai?'
1.6. Atto I, Scena I: 'Ah! Per Sempre Io Ti Perdei'
1.7. Atto I, Scena I: 'T'appelan Le Schiere... Bel Sogno Beato'
1.8. Atto I, Scena II: 'O Amato Zio, O Mio Secondo Padre!'
1.9. Atto I, Scena II: 'Sai Com'Arde In Petto Mio'
1.10. Atto I, Scena II: 'Odi... Qual Suon Si Desta?'
1.11. Atto I, Scena II: 'Ad Arturo Onore'
1.12. Atto I, Scena II: 'A Te, O Cara'
1.13. Atto I, Scena II: 'Il Rito Augusto, Si Compia Senza Me'
1.14. Atto I, Scena II: 'Cavalier!... Se Ti È D'uopo Di Consiglio'
1.15. Atto I, Scena II: 'Son Vergin Vezzosa'
1.16. Atto I, Scena II: 'Sulla Virginea Testa'
1.17. Atto I, Scena II: 'Ferma. Invan Rapir Pretendi'
1.18. Atto I, Scena II: 'Dov'è Arturo?'
1.19. Atto I, Scena II: 'Oh Vieni Al Tempio: Fedele Arturo'
1.20. Atto I, Scena II: 'Ma Tu Già Mi Fuggi?'

2.1. Atto II: 'Ah... Dolor! Ah, Terror!'
2.2. Atto II: 'Qual Novella?'
2.3. Atto II: 'Cinta Di Fiori E Col Bel Crin Disciolto'
2.4. Atto II: 'E Di Morte Lo Stral Non Sarà Lento'
2.5. Atto II: 'O Rendetemi La Speme'
2.6. Atto II: 'Qui La Voce Sua Soave'
2.7. Atto II: 'Vien, Diletto, È In Ciel La Luna!'
2.8. Atto II: 'Il Rival Salvar Tu Dêi'
2.9. Atto II: 'Se Tra Il Buio Un Fantasma Vedrai'
2.10. Atto II: 'Riccardo! Riccardo!'
2.11. Atto II: 'Suoni La Tromba'
2.12. Atto III: 'Son Salvo, Alfin Son Salvo'
2.13. Atto III: 'A Una Fonte Afflito E Solo'
2.14. Atto III: 'Qual Suon! Alcun S'appressa'
2.15. Atto III: 'Son Già Lontani!'
2.16. Atto III: 'Fìni... Me Lessa'
2.17. Atto III: 'Ch'ei Provò Lontan Da Me?'
2.18. Atto III: 'Vieni Fra Queste Braccia'
2.19. Atto III: 'Alto Là! Fedel Drapello'
2.20. Atto III: 'Credeasi, Misera!'
2.21. Atto III: 'Suon D'araldi?'

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Francesco Cavalli - Artemisia

"The fierce competition between the opera houses in Venice is probably the main reason why the Venetian opera model dominated in Italy and indeed in all of Europe for a long time. Librettists and composers were well aware that their work would be measured against that of others. The success of an opera was judged not least by its financial success, so that the audiences were the decisive factor. What pleased them was repeated and copied; what displeased them was dropped and forgotten.

"Political undertones had been more or less overtly present in Venetian opera ever since public performances began. One theme interested the Venetians in particular: the excellence of the city’s constitution. In contrast to almost all the other realms at that time, Venice was a republic, one whose constitution and laws were considered perfect by Venetians and also by others. In the operas, this situation was mostly reflected by monarchies being depicted as degenerate and corrupt – everyone likes to see others' faults pilloried on stage. (The often encountered assertion that these operas exclusively reflected the libertine spirit of Venice is a modern myth with which the so-called 'funloving society' seeks to establish a link with supposedly historical models).

"Political statement is central to the opera Artemisia, although it is not in the foreground of the action. The problem of power in a monarchy is closely interwoven with love and honour. In the person of Artemisia we have a character who undergoes an important inner change in the course of the opera. At the beginning of the drama we meet her as a queen brought up from childhood by her teacher Indamoro to be aware of her own superiority. Her love for King Mausolus, though sincerely felt, was no more than a ritual. After his death Artemisia takes drastic action to affirm the picture she has of herself. She has a mausoleum (one of the seven wonders of the world) built for her dead husband, drinks his ashes and vows revenge on Meraspe, his supposed murderer. The love she feels for the supposed servant 'Clitarco' – who is actually none other than her deadly enemy Meraspe – not only hinders her sorrow but also represents a genuine loss of power when she finds that she has no control over her own feelings. She moreover feels positively insulted by the fact that the man she adores seems to be of low birth. She initially tries to defend herself by forbidding love affairs at her court, by wishing that her heart would turn to stone and by dedicating herself to conducting wars.

"But the old, not entirely successful devices with which she had demonstrated her mourning now fail completely; she is powerless against her feelings. The ban on love works only in fighting jealousy, her prayers for a heart of stone are not heard and the impending war turns into a complete farce when she sees that it enables Alindo, her general, to seize power. In this way Artemisia learns that her old means of exercising power no longer work, and she surrenders to her fate. It is not important that 'Clitarco' turns out to be of noble birth, nor that he was her deadly enemy. The problem now is rather that she had promised King Mausolus' avenger the right to decide over her wedding. So long as it was only about finding a worthy king, she felt no loss of power; but now that love has come into play, the thought of a stranger holding sway over her is intolerable. The problem can only be solved from outside, and there lies the true loss of power. As the action clearly shows, the state in a monarchy is subject to the ruler’s vacillating emotions; in consequence, Artemisia's loss of power at the same
time signifies great damage to the commonweal.
 
"Meraspe on the other hand constantly veers between hope and despair. The dilemma of his love causes him to lose individuality – the queen cannot love him, not as 'Clitarco' because of his social standing, not as Meraspe because of what he has done. He sees himself as a passive victim, not able to act; indeed, he never even attempts to extricate himself from the dilemma. 

"Divided into pairs, the other characters primarily exemplify an individual principle. Oronta and Alindo represent honour, Artemia and Ramiro love. The women are stronger here, with the men seeking to make up for their weakness by acting unscrupulously. Oronta follows Alindo because he has injured her honour through his betrayal, and she succeeds in deceiving him through disguise and ends up pulling all the strings, so that she can solve the problems almost in the manner of a deus ex machina. Alindo on the other hand strives so much for the honour of being king that he resorts to untoward means, particularly after he has realized that the queen is not as dignified as he thought. His attempt to force her back into the old convention fails, and he returns to Oronta when he realizes that that is what his honour demands.

"Ramiro is so helpless against his love that he does not shrink from blackmailing Artemia and thus betraying Meraspe, his master. Artemia submits to this blackmail out of strength, because she is unwilling to endanger her love, but that is tragically just what causes her to lose her love, for she must obey the command of her beloved Meraspe after already having done so much for him.

"The characters in the comical subplot are intended to contrast with the serious action. Niso and Eurillo make fun of the old nursemaid Erisbe, who stands for the old conditions at the court. Niso even nurtures the hope of marrying
the queen himself; her loss of power could not be symbolized more aptly.
 
"It is only on the surface that this opera reaches a lieto fine, a happy end. While the couples are all united, it is clear that the principles of power and love are mutually exclusive. Indeed, it is even possible for power to hold sway over love. Love is ultimately subordinate to power. This cynical view was hardly calculated to send audiences home with a satisfied feeling, and yet it seems to have been what the Venetian expected, since many other operas of the time end in similar fashion. At all events, to judge by the popularity of this opera throughout Italy between 1657 and 1663, Eurillo's direct request at the end that the audience applaud the work cannot have fallen on deaf ears all too often." (Hendrik Schulze, tr. J. & M. Berridge. From the liner notes.)

Performers: La Venexiana, Claudio Cavina, Francesca Lombardi, Roberta Mameli, Valentina Coladonato, Maarten Engeltjes

1.1. Sinfonia: 'Dure Selci'
1.2. Atto I: 'Ecco Il Mio Vago'
1.3. Atto I: 'Dubbia M'appar'
1.4. Atto I: 'Che Saetti Ed Incateni'
1.5. Atto I: 'Son Le Luci Ch'adoro'
1.6. Atto I: 'Quando Il Cor'
1.7. Atto I: 'Amori, Eh?'
1.8. Atto I: 'Pur Andò L'importuno'
1.9. Atto I: 'Gl'artefici O Regina'
1.10. Atto I: 'Su L'April'
1.11. Atto I: 'Zeffiretti Placidetti'
1.12. Atto I: 'Hor Che Soli Restiamo'
1.13. Atto I: 'Clitarco Prenditi Un Fior'
1.14. Atto I: 'Gran Favor! Gran Mercede!'
1.15. Atto I: 'Ardo, Sospiro, E Piango'
1.16. Atto I: 'Già Del Vostro Nettuno'
1.17. Atto I: 'Cari, Cari Vegetabili'

2.1. Atto II: 'S'Amor Vuol Così'
2.2. Atto II: 'Che Sospiri Clitarco?'
2.3. Atto II: 'Ver Me Un Sol Fiato'
2.4. Atto II: 'Perdon Ti Chiedo'
2.5. Atto II: 'Di Trombe Guerriere'
2.6. Atto II: 'Niso, Niso!'
2.7. Atto II: 'Cara, Cara De Gl'occhi Miei'
2.8. Atto II: 'Ella È Qui'
2.9. Atto II: 'Hor Vieni Ad Abbellirmi'
2.10. Atto II: 'Se Meraspe Crudel'
2.11. Atto II: 'Altri È Gradito'
2.12. Atto II: 'Che Gratie!'
2.13. Atto II: 'Dir, Ch'io V'amo'
2.14. Atto II: 'Indamoro!'
2.15. Atto II: 'Se Tu Vuoi Ch'io T'ami'

3.1. Atto III: 'Ch'io Peni Così'
3.2. Atto III: 'Artemia?'
3.3. Atto III: 'Dammi Morte'
3.4. Atto III: 'Ecco Il Mio Bene'
3.5. Atto III: 'Servi, Ò Là'
3.6. Atto III: 'Dite Il Vero, Son Nera?'
3.7. Atto III: 'Cor Mio Che Sarà'
3.8. Atto III: 'E Che Fia Mai Quel Foglio?'
3.9. Atto III: 'Veggio Venir Clitarco'
3.10. Atto III: 'Hor Siate À Preghi Miei'
3.11. Atto III: 'Al Fin Vuole Il Mio Fato'
3.12. Atto III: 'Non Oso Alzar Le Ciglia'
3.13. Atto III: 'Respiri, Chiudete'
3.14. Atto III: 'Ma' Sen Viene Artemisia'
3.15. Atto III: 'Regina?'
3.16. Atto III: 'Ecco Alindo'

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The Doobie Brothers - Minute by Minute

A milestone in the careers of both The Doobie Brothers as a unit and new found frontman Michael McDonald, who replaced Tom Johnston in 1975 until the band's eventual separation in 1982. While all the material here is stunning, this is clearly a band in transition: McDonald penned R&B-esque numbers like "What a Fool Believes" and "You Never Change" sit snugly alongside the likes of the country and western instrumental "Steamer Lane Breakdown" and rock-n-rolling "Sweet Feelin'". Aside from sounding inspired and in stellar form musically, it's perhaps this dichotomy that makes this the band's best collection of material; here we get the best of both worlds. 

1. Here To Love You
2. What A Fool Believes
3. Minute By Minute
4. Dependin' On You
5. Don't Stop To Watch The Wheels
6. Open Your Eyes
7. Sweet Feelin'
8. Steamer Lane Breakdown
9. You Never Change
10. How Do The Fools Survive

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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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Return of Gomikawa Fumio

Japanoise supergroup comprised of legends Kohei Gomi (Pain Jerk) and Fumio Kosakai and Toshiji Mikawa (Incapacitants). This is virulent and strikingly dynamic noise, without being grating. It follows no rhythm and there is a sense of improvisation, mastery and sonic diversity. The title is perhaps deceptive as there is sadly no other release from these three together. Perhaps 'the return' refers to unrecorded live shows. Released as a CD on the Japanese noise/experimental label Alchemy Records in 2002. 

1. Mixed Human Franken Jam
2. Howling Wolves Scream For More
3. Satan's Tail, Santa's Head
4. Amps For Nonsense

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Othmar Schoeck - Lieder

"'I still have a strong desire to sing his songs, even though every performance outside of Switzerland seems to meet with misunderstanding or a condescending failure of appreciation ('Helvetism', 'Provincialism').' This declaration by Dietrich Fischer-Dieskau strikes to the heart of a problem. touching on a particularly sore point. Throughout his lifetime Othmar Schoeck suffered from a diminution in stature to that of an imitator — relegated to the rank of a footnote to such earlier giants as Schumann. Brahms and Wolf. His critics looked down on him as someone who had largely failed to recognize the signs of his time or, at least, had failed to play an active pad in it. Instead, they regarded him as having his view directed backwards to the past. as being stuck in the Romantic world of 19th-century song. 

"In Fischer-Dieskau's words, the singer must 'invest more in his assignment than he can hope to effect in its external presentation'. Singing Schoeck presupposes extensive experience with Schubert, Schumann, Brahms and Wolf. but simultaneously it requires a clear understanding of early 20th-century music, with its melancholy, fin-de-siecle awareness of loss and alienation in a new world. 

"Keller's poem 'Ein Tagewerk I' ('A Day's Work I') focuses on this sense of loss: 'Jedoch mein Lied — es rang sich nicht zu Tee' ('But my song — it did not come to light'). The time is past when one could find one's song in the Romantic forests! Meyer's Reisefantasie longs for a return to the Middle Ages of castles and fortresses. For stalwart chivalry and a potent backdrop to life, instead of a weary zeitgeist that weighed down Meyer's feeling of aliveness to the point of depression. Many aspects of Schoeck reveal a spiritual affinity with this poet; or was it purely coincidental that he ended his Eichendorff cycle op. 20 with 'Nachruf' ('Obituary'), whose central strophe reads: 'Was wollen wir nun singen / hier in der Emsamkeit, / wenn alle von uns gingen, / die unser Lied ertreutl?' ('What is now the point of singing here and in solitude, when all have departed from us who took pleasure in our song?'). 

"No other interpreter could compare with Fischer-Dieskau in his ability to recapture the Romantic worlds of Eichendorff and Mörike and, simultaneously, to express the awareness of the loss of these worlds that resonates in Schoeck's lieder. Romanticism, insofar as it appears in these works as carefree happiness, is never taken by Fischer-Dieskau at face value; rather it is approached with a differentiated declamation that questions Romanticism's contradictory nature: an approach inclined to passionate outbursts, to the engagement of his whole artistic personality, to recreating emotional upheaval and blissful assuagement. The sound of his voice here takes on an unaccustomed brightness and softness, in combination with a suggestive lightness of articulation. There is nothing superficial to distract the attention — on the contrary, this is internalized singing, so to speak, that concentrates on the finest nuances of colour, on text-responsive diction, on carefully controlled vocal and verbal gestures. The sense is always perceptible behind the vocal timbre, a feeling not only for beauty or melancholy but also for its underlying poetic foundation." (Werner Pfister, tr. Richard Evidon. From the liner notes.)

Performers: Dietrich Fischer-Dieskau, Margrit Weber, Karl Engel

1. Ein Tagewerk I, Op. 55 No. 23/I
2. Ein Tagewerk I, Op. 55 No. 23/II
3. Frühgesicht, Op. 55 No. 17
4. Reisefantasie, Op. 60 No. 3
5. Das Ende Des Festes, Op. 60 No. 15
6. Nachruf, Op. 20 No. 14
7. Jugendgedenken, Op. 24b No. 10
8. Peregrina II, Op. 17 No. 4
9. Auf Ein Kind, Op. 20 No. 1
10. Dämmrung Senkte Sich, Op. 19a No. 2
11. Ach, Wie Schön, Op. 33 No. 1
12. Nachklang, Op. 19b No. 1
13. Höre Den Rat, Op. 19b No. 5
14. Venezianisches Epigramm, Op. 19b No. 13
15. Jetzt Rede Du, Op. 60 No. 28
16. Auskunft, Op. 8 No. 3
17. Aus Zwei Tälern, Op. 8 No. 2
18. Kennst Du Das Auch?, Op. 24b No. 4
19. Ravenna I, Op. 24b No. 9
20. Das Ziel, Op. 24b No. 8
21. Keine Rast, Op. 24b No. 7
22. Kindheit, Op. 31 No. 2
23. Im Kreuzgang Von Santo Stefano, Op. 31 No. 3
24. Liederzyklus, Op. 44: I. Nachtgefühl
25. Liederzyklus, Op. 44: II. Magie Der Farben
26. Liederzyklus, Op. 44: III. Verwelkende Rosen
27. Liederzyklus, Op. 44: IV. Abends
28. Liederzyklus, Op. 44: V. Mittag Im September
29. Liederzyklus, Op. 44: VI. Blauer Schmetterling
30. Liederzyklus, Op. 44: VII. Pfeifen
31. Liederzyklus, Op. 44: VIII. Sommernacht
32. Liederzyklus, Op. 44: IX. Für Ninon
33. Liederzyklus, Op. 44: X. Vergänglichkeit

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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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Carl Heinrich Graun - Montezuma

"Together with Johann Adolf Hasse, Carl Heinrich Graun is the chief representative of Italian opera in Germany in the 18th century. Through his musical genius and the favor of King Frederick II, which was based on a lasting friendship, Carl Heinrich Graun became chief of the circle of Berlin composers which, around the middle of the 18th century, developed a special Italianized but polyphonically saturated style. To this belonged, among others, J.G. Graun, F. Benda, C.P.E. Bach, F.W. Marpurg, Kirnberger and, not least, Frederick the Great. In C.H. Graun's opera Demofoonte (1746) alone, for example, there are three arias composed by Frederick II. All Graun's textual drafts were supervised by the King; to a great extent they emanated from him himself.

"The Story accords with the historical fate of the last ruler of the Aztecs, Montezuma II (1502-1520). Who, following mythical prophecies, saw the arrival of the Spaniards under Cortés as the return of the divine Toltec King Quetzalcoatl. So without resistance he let himself be captured, and was killed during an Aztec revolt against the Spaniards.
 
"The text is by Frederick ll, who wrote it in French prose. For the requirements of opera this pattern was put into Italian verse by the Berlin court poet P. Tagliazucchi.

"Montezuma is one of Graun's last operas. Here a shortening of the recitative and the employment of the modern cavatina creates a tightening of the form, a more compulsive dramatic treatment. The Seven Years' War (1756-63) put an end to further attempts at reform in the field of opera. Montezuma can be seen as Frederick's countersignature to his own face, which made him into a martial war-prince. The good, peaceful Montezuma as victim of an intolerant, conquest-craving time, the heathen prince proves to be the more humane ruler, in comparison with the civilized Christian Spaniards. For the enlightened Frederick II this model is the ironic
balance to his own Ideals.

"Montezuma shows Frederick II in a field of tensions; thus the artistically-minded idealistic prince became the royal practical politician, if justice is to be seen to be done to life's reality, Montezuma must die.

"Montezuma is more than just a work of Baroque opera. This opera can allude to the history of its own nation, shown by Germany re-united in an especially sensitive area, that of Prussia's struggle for German hegemony. Thus the opera Montezuma in many respects points to history, it directs our ear to the destiny of America and the destiny of Prussia, to the German's view, 200 years ago, of America, and American history as the mirror of its own.

"It makes sense to perform the opera Montezuma again, because the music-dramatic language of pre-revolutionary
Europe is not familiar to us, it shows us the facts from a new angle. It conveys the scruples that many European princes also had in their relations with the peoples of the New World. And it conveys how disparate these cultures were, that of the peaceful heathen Montezuma and that of the enlightened Frederick II of Prussia, the Great, condemned to warfare, who had once commented 'It must be hoped that another enlightened century will come in which loyalty and faith will be awarded their due glory.'" (Matthias Schwarzer, tr. Lionel Salter. From the liner notes.)

Performers: Deutsche Kammerakademie, Johannes Goritzki

1.1. Sinfonia: Allegro - Andante - Allegro
1.2. Atto I, Scena I: 'Si, Mio Tezeuco, Il Messico È Felice'
1.3. Atto I, Scena I: 'Somiglia Il Buon Monarca'
1.4. Atto I, Scena I: 'Io Ti Domando, Amico'
1.5. Atto I, Scena I: 'Non Saprei Curare Il Vanto'
1.6. Atto I, Scena II: 'Ecco, Signor, Ch'io Torno Fedele'
1.7. Atto I, Scena III: 'È Ver Quanto Narrai Incredibil Rassembra'
1.8. Atto I, Scena III: 'Vegga, Che Alfin Gl'impone'
1.9. Atto I, Scena IV: 'Regina, A Che Si Mesta'
1.10. Atto I, Scena IV: 'Godi L'amabile Presente Instante'
1.11. Atto I, Scena V: 'Leggiadra Eupaforice'
1.12. Atto I, Scena V: 'Ah Immaginar Non Puoi'
1.13. Atto I, Scena VI: 'Ah! Signor, Che Deluso Àn Que Stranieri'
1.14. Atto I, Scena VII: 'Imperatore, Il Valoroso E Forte Duce'
1.15. Atto I, Scena VII: 'Vedrai Fra Queste Mura'
1.16. Atto I, Scena VIII: 'Qual Fierezza À Costui'
1.17. Atto I, Scena IX: 'Or Tu Vedi, Erissena'
1.18. Atto I, Scena IX: 'Non Àn Calma Le Mie Pene'
1.19. Atto II, Scena I: Introduzione
1.20. Atto II, Scena I: 'Eccoci Alfine, Grazie Al Cielo'
1.21. Atto II, Scena II: 'Vinite Intrepidi Stranieri Eroi'
1.22. Atto II, Scena II: 'Vieni, Illustre Stranier'
1.23. Atto II, Scena III: 'Passaggero, Che Tenta La Sorte Sovra Un Legno'
1.24. Atto II, Scena IV: 'Qual Fatal Sicurezza!'
1.25. Atto II, Scena IV: 'Erra Quel Nobil Core'
1.26. Atto II, Scena V: 'Si, Del Soggiorno Imperial'
1.27. Atto II, Scena V: Sinfonia Guerriera. Allegro

2.1. Atto II, Scena VI: 'D'onde Vengon Quei Tuoni?'
2.2. Atto II, Scena VII: 'Ecco La Tua Riconoscenza!'
2.3. Atto II, Scena VII: 'Benche Superbo E Vano, Renditi Al Vincitor'
2.4. Atto II, Scena VII: 'No, Che Un Nume Non Sei'
2.5. Atto II, Scena VII: 'Del Mio Destin Tiranno Tutto L'orrore'
2.6. Atto II, Scena VIII: 'M'ingannate, Occhi Miei?'
2.7. Atto II, Scena IX: 'Deh, Lascia Un Prence Omai'
2.8. Atto II, Scena IX: 'Barbaro, Barbaro'
2.9. Atto II, Scena IX: 'Secondin Gli Dei Si Giusto Disegno'
2.10. Atto II, Scena IX: 'L'onor Del Soglio Offende'
2.11. Atto III, Scena I: 'Qual Orribil Destino'
2.12. Atto III, Scena I: 'Ah, D'inflessibil Sorte'
2.13. Atto III, Scena I: 'Ma Qual Rumore Mi Risuona All'orecchio'
2.14. Atto III, Scena I: 'Ah Sol Per Te, Ben Mio'
2.15. Atto III, Scena II: 'Ah Scoperti, O Regina'
2.16. Atto III, Scena III: 'Ahime! Tutto, O Regina, Che Barbaro Destin'
2.17. Atto III, Scena IV: 'Empio, Cadrai Trafitto'
2.18. Atto III, Scena V: 'Signor, Qui Moctezuma Ti Traggo E La Regina'
2.19. Atto III, Scena V: 'Si, Per La Rea Congiura'
2.20. Atto III, Scena V: 'T'inganni, Egli Non Fu'
2.21. Atto III, Scena V: 'Si, Corona I Tuoi Trofei'
2.22. Atto III, Scena V: 'Ah, Mio Sposo Adorato'
2.23. Atto III, Scena V: 'Deh, Qual Rabbia Ostinata!'
2.24. Atto III, Scena V: 'Oh Cielo! Ahi Giorno Orribile'

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