Thomas Arne - Artaxerxes

"Thomas Arne was one of the great survivors of eighteenth-century theatrical life. His career began brilliantly. In his early twenties he put on an unauthorized production of 'Alcis and Galatea' that prodded Handel into taking English seriously as a language for theatrical works. A few years later his own masues 'Comus' and 'Alfred' established him as the leading English theatrical composer, a reputation that was confirmed by the delightful incidental music he wrote in the early 1740s for Shakespeare's plays; his settings are the ones most people associate with 'Blow, blow thou winter wind', 'Where the bee sucks' or 'Under the greenwood tree'. Thereafter, for one reason or another, Arne did not have a major success for nearly twenty years. He wrote an immense amount of theatre music of all types during this period, but most of it was a failure and was never printed, and is therefore lost today. He was dogged by his quarrelsome disposition, the failure of his marriage (his wife Cecilia was his leading lady), and his tendency to write his own librettos - he was no writer. By the late 1750s he was short of money and resorted to publishing some of the music he had written over the two previous decades.

"With this is in mind, we can appreciate the scale of his achievement at the beginning of the next decade. Things began to look up in 1759 when he received a doctorate from Oxford University and launched the stage career of his pupil and mistress Charlotte Brent. In the next three years he had three smash hits in a row, each an original masterpiece that effectively created a new genre. 'Thomas and Sally', produced at Covent Garden on 28 November 1760, was an imitation of 'La serva padrona' and the other all-sung Italian burlettas that had been presented so successfully by Italian troupes all over northern Europe in the 1750s; it was, in effect, the first English comic opera. 'Artaxerxes', produced at Covent Garden on 2 February 1762, was the serious equivalent of 'Thomas and Sally'. It was the first attempt to set a full-blown 'opera seria' libretto in English. 'Love in a Village', produced on 8 December of the same year, was equally novel: it was a modernized ballad opera, with borrowed Italian arias and specially composed numbers as well as folk tunes, all orchestrated in an up-to-date manner. It began a vogue for pastiche opera that lasted well into the nineteenth century.

"The libretto Arne chose for his 'opera seria' was not new. Metastasio wrote it in 1729, when it was set by Hasse and Vinci, and it subsequently attracted the attention of Gluck, Graun, Jommelli and J.C. Bach, among others. Arne probably knew the Hasse version, for it was given in London in 1754. The libretto was published anonymously, but it has been assumed to be his own work: in the preface the author admits that it is his 'first attempt of the kind', and defends his work by quoting Dryden: 'No critic can justly determine the merit or difficulty of writing a poem for music, 'till he has been frequently conversant with some skilful musician, and acquired, by experience, a knowledge of what is most proper for musical expression.' It must be said that this did not save Arne from a number of stilted passages, but in general the adapted libretto ('leaving out many beauties in the narrative part of the drama, for the sake of brevity') is an effective vehicle for the music.

"'Artaxerxes' has not come down to us complete. We are fortunate that he published it in full score in 1762, but the three volumes omit the recitatives and the final chorus (which, following 'opera seria' practice, was probably essentially an ensemble of the soloists). The original performing material was apparently lost in a fire that destroyed the first Covent Garden theatre in 1808, but since the opera was still in the repertory, a new, shortened version was made by Henry Bishop in 1813, and this was later published in vocal score by John Addison, who provided an invaluable stage-history of the work in the preface. Addison included Bishop's anachronistic settings as part of the final chorus and one of the accompanied recitatives, as well as about half the secco recitatives recquired by the 1762 libretto.

"It has been assumed that the secco recitatives are also Bishop's work, composed after Arne's were lost, but the late Roger Fiske pointed out that they survive in mangled form, with awkward key transitions at the point where Bishop made cuts, or in those places where arias had been transposed to suit changing vocal requirements. Thus, they seem to precede these changes, and they probably derive from a manuscript of the original version of the work that survived the 1808 fire at Covent Garden. Earlier modern revivals (conducted by Charles Farncombe at the St. Pancras Festival in March 1962 and by Maurits Sillem for the BBC in 1979) essentially used the Bishop-Addison version, but this recording I have attempted to reconstruct the work as originally performed in 1762. I have revised the surviving recitatives, replacing their unstylish piano part with an eighteenth century bass line and removing the more dubious ornaments. I have also composed the missing recitatives and borrowed material for two numbers in 'Comus' to provide a setting for the chorus.

"In part, 'Artaxerxes' was successful because it was an excellent vehicle for great singing. In the original cast Charlotte Brent sang Mandane, and the great Handelian tenor John Beard (by then the manager of Covent Garden and near the end of his career) took the part of the villain Artabanes. The two castrato parts, Arbaces and Artaxerxes, were taken by Tenducci and Peretti, while the lesser roles of Rimenes and Semire were sung by George Mattocks and Miss Thomas. The role of Arbaces was and is a particular problem, since it is too high for countertenors, and after the first production it was usually played as a breeches part by a female mezzo-soprano - a solute we have adopted in this recording. Virtually all the great singers of the period sang in the opera over the next few decades, including Elizabeth Billington, Charles Incledon, Charles Frederick Reinhold, Anne Catley, Anna Maria Crouch and Elizabeth Mara. Mandane's spectacular aria in Act III, 'The Soldier, tir'd of War's Alarms', remained a show-piece for sopranos through much of the nineteenth century, and has never dropped entirely out of the repertory.

"Charles Burney, who could never resist a sly dig at his former teacher, accused Arne of crowding 'the airs, particularly in the part of Mandane for Miss Brent, with most of the Italian division and difficulties which had ever been heard at the opera', though he admitted that 'Arne had the merit of first adapting many of the best passages of Italy, which all Europe admired, to our own language'. In fact Arne was just the first English composer to expand the Baroque vocal technique established in England by Handel, and his innovations, brilliantly demonstrated in performance by Charlotte Brent, were soon taken up by other English composers. Arne was one of the great singing teachers of the period, witness Thomas Busby's story in his 'Concert Room and Orchestra Anecdotes' (1825):

"'Of all the English singing-masters of the last century, no one was so attentive to that first of vocal excellencies, -articulation-, as Dr. Arne. His favourite scholar, Miss Brent, afterwards Mrs. Pinto, and the original Mandane, was more remarkable for the distinctness of her pronunciation, than any British 'prima donna' that has since appeared. The acquisition, however, was made at the expense of infinite labour to the tutor, and no small mortification to the pupil. What he would only allow to be difficult, she would often pronounce to be impossible: but he never relaxed in his exactions of her application, till his success convinced her of her mistake. On one occcasion, the lady gave at once a striking proof of her impatience and her taste. Exasperated with fatigue, she absolutely refused to practise any longer a particular song, in which the Doctor was anxious she should be perfect; upon which he threatened to find another singer for her intended part in 'Artaxerxes'. The menace was no sooner uttered than she burst into tears, and said, she would rather practise night and day, till she pleased him in the song, than not be one of the performers of the exquisite music of that opera, about half of which was then composed.'

"'Artaxerxes' is also remarkable for the richness of its scoring. Arne wrote effectively for the orchestra in a Handelian idiom from the beginning of his career, but in the 1750s he began to be much more adventurous. He was the first English composer to use the clarinet, and in 'Artaxerxes' he deploys wind instruments with verve and brilliance, though in such a way that the sound of a complete Classical orchestra could be produced by about a dozen players: the oboists also played flutes and clarinets, while the occasional trumpet and timpani parts might have been taken by spare violinists. The first Act of 'Artaxerxes' opens with a striking evocation of the dawn, rendered by a wind band with double bass and continuo but without cellos. In 'Water parted from the Sea', the famous simile aria sung by Arbaces in Act III, the flowing river is beautifully portrayed by dense writing for pairs of clarinets, horns and bassoons with strings. But Arne did not rely just on rich wind writing. In 'O too lovely, too unkind', sung by Arbaces in Act I, he achieved equally striking effects just with strings, muting the violins, dividing the violas and mixing pizzicato and arco.

"Perhaps the most striking feature of Arne's opera is its stylistic diversity. In 'opera seria' character is revealed through a series of contrasted arias, varied in scoring and mood; the leading roles appear as more rounded characters simply because they have the most numbers. In 'Artaxerxes' Arne took this technique a stage further, reserving the most advanced and richly scored arias for the main characters. Most of those sung by Arbaces and Mandane are in the 'galant' style, and have prominent wind solos, while the three sung by Rimenes are scored only for strings: one is in the Handelian style, and the others are in the simple and charming folk-like idiom Arne had pioneered in the 1730s. Variety of this sort aided characterization and made larg-scale works agreeably varied, but modern critics, influenced by nineteenth-century ideas of progress and unity in art, tend to see it as a weakness.

"Two centuries on, it is hard to understand how important 'Artaxerxes' was at the time, and how important it might have been. We know that it did not lead to the founding of a national school of all-sung serious opera. Londoners continued to be entertained by Italian 'opera seria' and pastiche English comic operas with spoken dialogue far into the nineteenth century. But that was not obvious in the 1760s, and subsequent developments were mainly the result of a series of historical accidents. 'Artaxerxes' certainly inspired a number of imitations, and had the right composer been on hand to develop what Arne started, things might have been very different. As it was, the opera held the stage for more than seventy years, and must have been familiar to virtually every educated person in London. Haydn, who saw it in 1791, was delighted with it, and reportedly said he 'had no idea we had such an opera in the English language'. Few people in modern times can have said anything else." (Peter Holman, 1995. From the liner notes.)

Performers: The Parley of Instruments, Roy Goodman, Catherine Bott, Patricia Spence, Christopher Robson, Ian Partridge, Richard Edgar-Wilson, Philippa Hyde

1.1. Overture

1.2. Act I: 'Still Silence Reigns Around'

1.3. Act I: 'Fair Aurora, Pr'ythee Stay;

1.4. Act I: 'Alas, Thou Know'st That For My Love Of Thee'

1.5. Act I: 'Adieu, Thou Lovely Youth'

1.6. Act I: 'O Cruel Parting!'

1.7. Act I: 'Amid A Thousand Racking Woes'

1.8. Act I: 'Be Firm My Heart'

1.9. Act I: 'Behold, On Lethe's Dismal Strand'

1.10. Act I: 'Stay, Artaxerxes, Stay'

1.11. Act I: 'Fair Semira, Lovely Maid'

1.12. Act I: 'I Fear Some Dread Disaster'

1.13. Act I: 'When Real Joys We Miss'

1.14. Act I: 'Ye Gods, Protectors Of The Persian Empire'

1.15. Act I: 'How Hard Is The Fate'

1.16. Act I: 'Where Do I Fly?'

1.17. Act I: 'Thy Father! Away, I Renounce The Soft Claim'

1.18. Act I: 'Ye Cruel Gods, What Crime Have I Committed?'

1.19. Act I: 'Acquit Thee Of This Foul Offence'

1.20. Act I: 'Appearance, I Must Own, Is Strong Against Me'

1.21. Act I: 'O Too Lovely, Too Unkind'

1.22. Act I: 'Dear & Beloved Shade Of My Dead Father'

1.23. Act I: 'Fly, Soft Ideas, Fly'

1.24. Act II: 'Guards, Speed Ye To The Tower'

1.25. Act II: 'In Infancy, Our Hopes & Fears'

1.26. Act II: 'So Far My Great Resolve Succeeds'

1.27. Act II: 'Disdainful You Fly Me'

1.28. Act II: 'Why My Dear Friend, So Pensive, So Inactive?'

1.29. Act II: 'To Sigh & Complain'

1.30. Act II: 'How Many Links To Dire Misfortune's Chain!'

1.31. Act II: 'If O'er The Cruel Tyrant Love'

1.32. Act II: 'Which Fatal Evil Shall I First Oppose?'

1.33. Act II: 'If The River's Swelling Waves'

2.1. Act II: 'Ye Solid Pillars Of The Persian Empire'

2.2. Act II: 'By That Belov'd Embrace'

2.3. Act II: 'Ah Me! At Poor Arbaces Parting'

2.4. Act II: 'Monster, Away!'

2.5. Act II: 'See, Lov'd Semira!'

2.6. Act II: 'Thou, Like The Glorious Sun'

2.7. Act II: 'Why Is Death For Ever Late'

2.8. Act II: 'Arbaces!'

2.9. Act II: 'Water Parted From The Sea'

2.10. Act III: 'That Front, Secure In Conscious Innocence'

2.11. Act III: 'Tho' Oft A Cloud, With Envious Shade'

2.12. Act III: 'My Son, Arbaces - Where Art Thou Retir'd?'

2.13. Act III: 'O Let The Danger Of A Son'

2.14. Act III: 'Ye Adverse Gods!'

2.15. Act III: 'O, Much Lov'd Son, If Death'

2.16. Act III: 'Perhaps The King Releas'd Arbaces'

2.17. Act III: 'Let Not Rage Thy Bosom Firing'

2.18. Act III: 'What Have I Done! Alas, I Vainly Thought'

2.19. Act III: ''Tis Not True, That In Our Grief'

2.20. Act III: 'Nor Here My Searching Eyes Can Find Mandane'

2.21. Act III: 'For Thee I Live, My Dearest'

2.22. Act III: 'To You My People, Much Belov'd, I Offer'

2.23. Act III: 'The Soldier, Tir'd Of War's Alarms'

2.24. Act III: 'Behold My King, Arbaces At Thy Feet'

2.25. Act III: 'Live To Us, To Empire Live'

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Leonardo Vinci - Ataserse

"The opera libretto 'Artaserse' (Artaxerxes) by Pietro Metastasio was the hit of the 18th century opera seria. It was set more than 40 times, including once in English (by Thomas Arne), and its popularity lasted into the 19th century. The opera by Leonardo Vinci recorded here, however, was the very first one, dating from 1730. It's easy to see even at this late date why Metastasio's libretto appealed to opera composers and operagoers so much. The story, concerning the Persian king Xerxes' son Artaxerxes I (based very loosely on actual events), features royal pomp, young love, betrayal, tragic self-sacrifice, and, to top it all off, a happy ending. Musically the opera is odd by present-day standards; it called for an all-male cast, women being banned from Roman theaters at the time. The cast consisted of five castrati, sung here by countertenors, and one tenor, the villain Artabano. It's a big work, with sober processionals and spectacular arias for almost all the characters. French countertenor Philippe Jaroussky has never been in better voice, but the performance is equally notable for introducing some lesser-known countertenors, such as the creamy-voiced Valer Barna-Sabadus as Semira, Artaserse's frustrated lover. It's not until now, as a matter of fact, that a critical mass of countertenors has been available to perform music of this difficulty, and the results are worth hearing on several levels. Slowly but surely, the history of opera in the 18th century is being rewritten." (Review by James Manheim for AllMusic. See here.)

Performers: Concerto Köln, Coro Della Radiotelevisione Svizzera, Diego Fasolis, Philippe Jaroussky, Max Emanuel Cencic, Daniel Behle, Franco Fagioli, Valer Barna-Sabadus, Yuriy Mynenko

1.1. Sinfonia: I. Allegro

1.2. Sinfonia: II. Grave

1.3. Sinfonia: III. Minuetto

1.4. Atto I, Scena I: 'Addio. Sentimi Arbace'

1.5. Atto I, Scena I: 'Conservati Fedele'

1.6. Atto I, Scena II: 'Figlio, Arbace. Signor'

1.7. Atto I, Scena II: 'Fra Cento Affani'

1.8. Atto I, Scena III: 'Coraggio O Miei Pensieri'

1.9. Atto I, Scena III: 'Su Le Sponde Del Torbido Lete'

1.10. Atto I, Scena IV/V: 'Qual Vittima Si Svena!'/'Dove, Principe, Dove?'

1.11. Atto I, Scena IV/V: 'Per Pietà, Bell'idol Mio'

1.12. Atto I, Scena VI: 'Gran Cose Io Temo'

1.13. Atto I, Scena VI: 'Sogna Il Guerrier Le Schiere'

1.14. Atto I, Scena VII: 'Voi Della Persia'

1.15. Atto I, Scena VII: 'Bramar Di Perdere Troppo Affetto'

1.16. Atto I, Scena VIII/IX: 'Ah Mandane... Artserse'/'Signore. Amico. Lo Di Te Cerco'

1.17. Atto I, Scena X: 'Artaserse, Respira'

1.18. Atto I, Scena XI: 'Arbace È Il Reo'

1.19. Atto I, Scena XI: 'Deh Respirar Lasciatemi'

1.20. Atto I, Scena XII: 'E Innocente Dovrai Tanti Oltraggi Soffrir'

1.21. Atto I, Scena XII: 'Non Ti Son Padre'

1.22. Atto I, Scena XIII: 'Ma Per Qual Fallo Mai'

1.23. Atto I, Scena XIII: 'Torna Innocente E Poi'

1.24. Atto I, Scena XIV: 'Mio Ben Mia Vita...'

1.25. Atto I, Scena XIV: 'Dimmi Che Un Empio Sei'

1.26. Atto I, Scena XIV: 'No Che Non Ha La Sorte'

1.27. Atto I, Scena XIV: 'Vo Solcando Un Mar Crudel'

2.1. Atto II, Scena I: 'Dal Carcere O Custodi'

2.2. Atto II, Scena I: 'Rendimi Il Caro Amico'

2.3. Atto II, Scena II: 'Son Quasi In Porto'

2.4. Atto II, Scena II: 'Mi Scacci Sdegnato!'

2.5. Atto II, Scena III/IV: 'I Tuoi Deboli Affetti'/'Figlia, E Questi Il Tuo Sposo'

2.6. Atto II, Scena III/IV: 'Amalo E Se Al Tuo Aguardo'

2.7. Atto II, Scena V: 'Ascolta O Megabise'

2.8. Atto II, Scena V: 'Non Temer Ch'lo Mai Ti Dica'

2.9. Atto II, Scena VI: 'Qual Serie Di Sventure'

2.10. Atto II, Scena VI: 'Se D'un Amor Tiranno'

2.11. Atto II, Scena VII: 'A Qual Di Tanti Mali'

2.12. Atto II, Scena VII: 'Se Del Fiume Altera L'onda'

2.13. Atto II, Scena VIII/IX/X: 'Mio Re, Chiedono A Gara'/'Artaserse Pieta'

2.14. Atto II, Scena XI: 'Tanto Odio Alla Persia'

2.15. Atto II, Scena XI: 'Per Quel Paterno Amplesso'

2.16. Atto II, Scena XII: 'A Prezzo Del Mio Sangue'

2.17. Atto II, Scena XII: 'Va Tra Le Selve Ircane'

2.18. Atto II, Scena XIII: 'Quanto, Amata Semira'

2.19. Atto II, Scena XIII: 'Per Quell'Affetto'

2.20. Atto II, Scena XIV: 'Dell'ingrata Semira'

2.21. Atto II, Scena XIV: 'Non Conosco In Tal Momento'

2.22. Atto II, Scena XV: 'Son Pur Solo Una Volta'

2.23. Atto II, Scena XV: 'Così Stupisce E Cade'

3.1. Atto III, Scena I: 'Perché Tarda È Mai La Morte'

3.2. Atto III, Scena I: 'Arbace. Oh Dei, Che Miro!'

3.3. Atto III, Scena I: 'L'onda Dal Mar Divisa'

3.4. Atto III, Scena II: 'Quella Fronte Sicura E Quel Sembiante'

3.5. Atto III, Scena II: 'Nuvoletta Opposta Al Sole'

3.6. Atto III, Scena III: 'Figlio, Arbace, Ove Sei?'

3.7. Atto III, Scena III: 'Ardito Ti Renda'

3.8. Atto III, Scena IV: 'Trovaste, Avversi Dei'

3.9. Atto III, Scena IV: 'Figlio Se Più Non Vivi'

3.10. Atto III, Scena V: 'Alfin Portai Consolarti Mandane'

3.11. Atto III, Scena V: 'Mi Credi Spietata?'

3.12. Atto III, Scena VI: 'Forsennata, Che Feci!'

3.13. Atto III, Scena VI: 'Non È Ver Che Sia Contento'

3.14. Atto III, Scena VII: 'Né Pur Qui La Ritrovo'

3.15. Atto III, Scena VII: 'Tu Vuoi Ch'io Viva O Cara'

3.16. Atto III, Scena VIII: 'A Voi Popoli Io M'Offro'

3.17. Atto III, Scena VIII: 'Lucido Dio Per Cui L'April Fiorisce'

3.18. Atto III, Scena IX/X: 'Al Riparo Signor'/'Ferma O Germano'

3.19. Atto III, Scena XI: 'Ecco Arbace, O Monarca, A' Piedi Tuoi'

3.20. Atto III, Scena XI: 'Lucido Dio Per Cui L'april Fiorisce'

3.21. Atto III, Scena XII: 'Ferma; È Veleno'

3.22. Atto III, Scena XII: 'Giusto Re, La Persia Adora'

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Leonardo Leo - Diana Amante

"Leonardo Leo, in full Leonardo Ortensio Salvatore de Leo, also spelled Lionardo Ortensio Salvatore di Leo, Ortensio sometimes given as Oronzo, (born August 5, 1694, San Vito degli Schiavi, near Brindisi, Kingdom of Naples [Italy]—died October 31, 1744, Naples), composer who was noted for his comic operas and who was instrumental in forming the Neapolitan style of opera composition.

"Leo entered the Conservatorio della Pietà dei Turchini at Naples in 1709, where his earliest known work, a sacred drama, 'L'infedeltà Abbattuta', was performed by his fellow students in 1712. In 1714 he produced an opera, 'Il Pisistrato', for the court theatre. He later held various posts at the royal chapel and taught at the conservatory. His operas include 'La 'mpeca scoperta' (1723), a comic opera in Neapolitan dialect; and 'Demofoonte' (1735) and 'L'Olimpiade' (1737), both serious operas. Leo is probably best remembered for the comic opera 'Amor vuol sofferenze' (1739). His sacred works include six or seven oratorios, of which 'Santa Elena al Calvario' (1732) was particularly esteemed; six masses; and a 'Miserere' (1739) for double choir. He also wrote instrumental works, among them six concerti for cello and strings, organ fugues, and harpsichord toccatas. Leo's serious operas suffer from a coldness and severity of style, but in his comic operas he shows a keen sense of humour." (Biography of the composer from the Encyclopedia Britannica. See here.)

Performers: Orchestra Leonardo Leo, Vito Paternoster, Rossella Ragatzu, Monica Bacelli, Filippo Piccolo, Danilo Serraiocco

1.1. 'Proteo Perche Fra Selve?'

1.2. 'Sol Chi Ben Ama'

1.3. 'Amore; Cui Giove In Cielo'

1.4. 'E'un Bel Piacer'

1.5. 'Dunque La Dea'

1.6. 'Prato Ameno'

1.7. 'Sieguo L'orme'

1.8. 'Goda Pur Altra'

1.9. 'Sempre Meglio Le Belve Piagare'

1.10. 'Che Fia?'

1.11. 'Di Quel Labbro'

1.12. 'Ohime Si Sveglia'

1.13. 'Che Guardi? Che Miri?'

1.14. 'L'ardor Che Per Quel Volto'

1.15. 'Se Piagommi'

1.16. 'M'intenerisco'

1.17. 'Offese, Disprezzi'

1.18. 'Pastor, Datti Pru Vanto'

1.19. 'Amoretti Vezzosetti'

1.20. 'Ma Ognor Cresce 'L Mio Foco'

1.21. 'Io Parto, Io Resto'

2.1. 'O Come Oltre 'Lusato'

2.2. 'Corre La Cerva All'onde'

2.3. 'Ma Il Cervo, L'ape, L'augellin'

2.4. 'Ne Le Sue Sponde'

2.5. 'Troppo Non Dir Tai Sensi'

2.6. 'Gran Diva Che Siedi'

2.7. 'Di Poco Ei Si Contenta'

2.8. 'Ho Provato Allontanarmi'

2.9. 'Ecco La Dea Fra Selve'

2.10. 'Bacia Il Rio'

2.11. 'Vie Piu S'accende Ognor'

2.12. 'Bacia Il Rio'

2.13. 'Deh Ti Rallegra, O Dea'

2.14. 'Il Dio Guerriero'

2.15. 'Sovente Il Mio German'

2.16. 'Donna Illustre'

2.17. 'Dunque Un Umil Pastore'

2.18. 'Gode E Brilla'

2.19. 'Or Sappiate Che Quanto'

2.20. 'Di Barbara Il Chiaro'

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Arnold Schönberg - Moses und Aron

"With sketches for an unfinished orchestral passacaglia in March 1920, Schoenberg began to work out the implications of the serial idea. A catch-as-catch-can life as teacher, lecturer, and conductor was relieved in 1925 by an appointment from the Prussian Academy of Arts to take over the composition masterclass formerly taught by Busoni, who had died the year before. The relative security of his new position allowed Schoenberg leisure to expand, hand-in-hand with composition, the grasp of serial procedures. In 1898 Schoenberg had become, like Mendelssohn, a convert to Lutheranism, though that did not shield him from virulent anti-Semitism, and through the 1920s he was preoccupied with his position as a Jew and an artist, eventually returning formally to Judaism in the summer of 1933. Already in 1917 he had begun the composition of Die Jakobsleiter, a large-scale oratorio in which a variety of religious and philosophical stances are brought before the archangel Gabriel. Tellingly, this work, like Moses und Aron, was to remain incomplete. Schoenberg's religious concerns became more topically focused in the drama Der biblische Weg, written over 1926-1927, whose protagonist, Max Aruns -- a composite whose dichotomy would be articulated in Moses und Aron -- was modeled on Zionist leader Theodor Herzl. A first draft libretto of Moses und Aron, conceived as an oratorio, followed in 1928, with the composition of the comic opera Von heute auf Morgen. Composition of the first two acts of Moses und Aron, as an opera, occupied Schoenberg from May 1930 to March 1932. Based upon a single row, serialism attains its grandest throw, given vivacity and dramatic impetus by the astonishing array of techniques -- Sprechgesang, Klangfarbenmelodie, contrapuntally rich choral writing -- fashioned over a lifetime to find their ultimate expressive purpose in Moses und Aron. Moses' uncompromising adherence to an omnipotent, inconceivable God, for instance, is conveyed by Sprechstimme, while Aron's attempts to win the people to it are couched in glib arioso - an audible representation of the artist's uneasy mixture of truth and illusion, intellectual probity and charisma. The impact of Moses und Aron, in the hands of a great conductor, is immediate, visceral, and compelling. Hitler's rise and Schoenberg's emigration to America in 1933 put the completion of Moses und Aron -- a third act dialogue in which Aron dies - forever out of reach. The torso received its premiere at the Zurich Stadttheater June 6, 1957, not quite six years after its composer's death." (Summary by Adrian Corleonis. From AllMusic. See here.)

Performers: Rundfunk-Sinfonieorchester Leipzig, Rundfunkchor Leipzig, Herbert Kegel, Werner Haseleu, Reiner Goldberg

1.1. Akt I, Szene I: 'Einziger, Ewiger, Allgegenwärtiger'

1.2. Akt I, Szene II: 'Du Sohn Meiner Väter'

1.3. Akt I, Szene III: 'Ich Hab' Ihn Gesehn'

1.4. Akt I, Szene IV: 'Bringt Ihr Erhörung'/'In Der Wüste Wird Euch Die Reinheit'

2.1. Zwischenspiel: 'Wo Ist Moses?'

2.2. Akt II, Szene I: 'Vierzig Tage!'

2.3. Akt II, Szene II: 'Wo Ist Moses?'/'Volk Israels!'

2.4. Akt II, Szene III: 'Dieses Bild Bezeugt'

2.5. Akt II, Szene IV: 'Moses Steigt Vom Berg Herab!'

2.6. Akt II, Szene V: 'Aron, Was Hast Du Getan?'/'Unvorstellbarer Gott!'

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Giovanni Maria Trabaci - Organo Napoletano

"In 1614, Giovanni Maria Trabaci (1575-1647), organist of the royal chapel in Naples, succeeded Giovanni de Macque as 'maestro di cappella' of the same chapel. The position was and important and enviable once. The second organist from 1602 was the famous Ascanio Mayone (1565-1627). Trabaci was ten years younger than the latter, which possible explains why despite Trabaci's growing reputation in the musical world of Naples, Mayone is mentioned, but not Trabaci, by the celebrated theorist Scipione Cerretto in his list of the most excellent musicians of Naples (1601). Trabaci, who was fully and justifiably aware of his own value as a musician and the originality of his compositions, was indeed bolder, more unpredictable and more inventive than almost all of his Neapolitan colleagues. His talent undoubtedly shoes in his major keyboard publications, the two books of 1603 and 1615, both of which are represented on this recording: 'Ricercate, Canzone franzese Cappricci, Canti fermi... Libro Primo' (Naples, 1603, Costantino Vitale) and 'Di Gio. Maria Trabaci Maestro della Real Cappella... Il secondo libro de Ricercate, & altri varij Capprici...' (Naples, 1615, Gio. Giacomo Carlino). It is interesting to note the difference between the two titles: in 1603 the presentation is quite ordinary (content, author's name, position, bibliographical address), but in 1615 Trabaci's name is brought to the fore, as if it were publicity enough for the work - it appears in large print at the beginning of the title, immediately followed by mention of his flattering position as 'maestro di cappella' to the Spanish viceroy in Naples; other details are of secondary importance.

"Neither of the two title pages mentions the instrument for which the works are intended: the first books tells us simply that Trabaci was an 'organista' in 1603, and that all the pieces are 'a quattro voci'. The title of the second book is more reserved: the work contains a number of pieces for five voices - some of them with an 'ad libitum' fifth voice, which appears in the appendix at the end of the book. We may add that the music is presented 'in score', like most Neapolitan polyphonic music of the time, rather than in tablature, which was used chiefly for solo instrumental music. The latter is easier to read on the keyboard, but the printing process involved is music more complex and less appropriate to independent reading of voices. For the instrumental indications, the musician there has to look through volumes and read the prefaces. Even if it is clearly state at the beginning of the 'Partite sopra Zefiro' of 1615, partly dedicated to the harp, that the harpsichord is the king of instruments, several pieces are clearly intended for the organ, either through their function (as church music), or through their writing, calling particular for a pedal for certain held notes. Testifying to the composer's Spanish descent, the harp (Asciano Mayone was also a harpist) is mentioned several times in the text or the table. Furthermore, one of the accompanying texts included in the volume mentions the fact that a 'canzona' already published in the 'Libro Primo' of 1603 is presented again here, simply because of its sustainability for a string ensemble. Instrumental variety is thus a clear intention, butr always in the spirit of the time, 'per ogni sort di stromenti', without constraint, but with constant concern for euphony in the chosen combination, and not only for the limitations imposed by the availability of the instruments, their range, their distinctive technical features. When a keyboard is used, the performer often finds himself faced with difficult situation, moreover: unlike Frescobaldi, Trabaci does not worry about providing a reduction of his compositions - this is somewhat paradoxical for a keyboard musician of his stature. One of the consequences of this is that notes sometimes have to be sacrificed or transposed by an octave or entrusted to an assistant. This type of compromise is, moreover, explicitly requested in a number of cases, as when the alterations are absent on some non-tri-harmonic (or panchromatic) harpsichords: for example, in the 'secondo libro', we Read that 'in this Toccata ['terza sopra il cembalo cromatico', because of one or two notes that may be missing, all the third that cannot be played in the major mode must be played in the minor mode, so long as they do not belong to the final cadence' (!). Obviously, emphasis is thus laid on the quality of the musical ideas and the value and ingenuity of the artifices they bring into play, rather on the final result in sound terms, which depends on the possibilities of the chosen instrument. The prefaces to the two books make it clear that, in the final analysis, this result is up to the interpreter, who must show not only fine virtuosic qualities and great insight into the meaning of the inventions contained in the writing, but also fine judgement in the more or less inevitable adaptions required by his intepretation and by the instrumentation.

"The first book of 1603 is relatively sparing of information and observation. We find only a short preface before the 'tavola' at the beginning, an explanation of the repeat signs used in the book and a note about how to cancel in composition for tri-harmonic harpsichords, alteration by means of an (Odonian) letter qualifying the natural pitch. Furthermore, in the initial 'Ricercari', the score is systematically peppered with information about the subjects and their transformations ('inganni'). In the second book of 1615, we find many extremely interesting annotation, showing Trabaci'd didactic concern as well as a rather narcissistic need to underline the author's originality and his competence as a theorist. Some of the ideas contained in the preface of 1603 - in particular, the affirmation of the importance of the performer's role in the success of the work - are taken up again in the new preface after the initial 'tavole'; several other extensive texts deal in due course with a particular problem: 'Alli lettori', on the various compositional styles for different instruments, 'A'lettori' on the unorthodox treatment of the 7th mode for variety in the 'versi', and 'A'lettori' on the orthography of the alterations for chromatic harpsichords. Finally, numerous notes scattered throughout the music specify the composer's intentions from a practical point of view: tempo, reprises, type of writing, abbreviated trills and various ornaments, etc. For instance, 'allarga la battuta' ('Verso 2' of the 'Quinto tono', 'Verso 50' of the Quarto, 'Verso 4' of the 'Secondo tono') is an instruction closely akin to the one used by Frescobaldi in his Toccate of 1615, requesting the player to slow down on the cadences; 'battuta stretta' and in proportione are instructions specifying the nature of the time signature, in which 'battutta stretta' is the equivalent of 'alla breve' in duple time, and 'proportione' is the equivalent of a triple time. We also come across 'cromatico' or 'in canone', referring to specific writing process characterising the whole - a sort of 'a priori' regulating and justifying the discourse as a whole. Even as regards writing, and not just practical performance, at least once Trabaci writes a note in the margin of the last 'ricercar' expressing his regret that the canonic constraints he has imposed upon himself prevent him from composing in a more graceful manner ('un miglior garbo')! What is most surprising in this book is the existence of a 'Tavola de i passi e delle cose più notabile', immediately after the main 'Tavola'. In this table, the author refers to what he considers the most remarkable ideas - a complete piece or even a single bar (in the case of the twelve initial 'ricercari'), and the bar is pinpointed with a number in the music itself! The composer takes the liberty of deviating from the strict rules of 'stile osservato' (strict classical counterpoint), thus creating interesting instances of dissonance, irregular in its treatment (such systematic licences are sometimes found formulated in the title of the 'Ricercari' of 1603). This aspect of the work, the 'table of the most remarkable things', is so important in Trabaci's eyes that it is mentioned on the title page itself ('...con due Tavole, una di tutta l'Opera, e l'altra de is passi e delle cose più notabili').

"Perhaps the most original section in the second book is the 'Cento Versi sopra li otto finali ecclesiastici'. These short contrapuntal pyrotechnic displays, following the more classical 'Ricercari' (on the 12 modes), undoubtedly form a set that is unique of its kind, even though the principle had already been explored by several great predecessors or contemporaries (Claudio Merulo, for example). Trabaci himself reminds us of their function in a preface devoted to them, in which he notes that he thinks it would be wise 'for the professional organist to accompany the preceding 'ricercari' with a hundred verses on the eight church modes for Masses, Vespers, and all divine Offices or any other sort of occasion'. The artful side of these precious miniatures is immediately obvious in the curious (and inexplicable) decision to write exactly -one hundred- verses to cover the eight church modes - which forces Trabaci into a grouping 7x12 plus 1x14... Trabaci uses the word 'Fioretti' - indicative of their unusual character, since the term is rather unusual for this type of composition - to refer to them in a passage from the same preface, in which he contrasts '...questa materia di Versetti, ò Fioretti (come dimandargli vogliamo) ò [...] una Canzona Francese, Gagliarde, Partite diverse, ò [...] una Toccata...' with the most reserved 'Ricercari' in contrapuntal style: he points out that if the writing of the ricercari is dependent on the classical vocal style implying a scale rarely going beyond a range of about twenty notes - those of a vocal range - these compositions, on the contrary, take advantage of the much vaster artificial range offered by musical instruments stemming from the ingenuity of man, 'who would not have invented it had it not been appropriate'. By drawing this parallel, Trabaci shoes us where the main difference between these two styles lies: unlike the 'stile osservato' used in the 'ricercari', these 'versetti' make the most of a wide instrumental range and are governed by a spontaneity of invention and a freedom in the contrapuntal realisation that often them closer to the toccata or to pieces in 'galant' style than to traditional liturgical works. All sorts of brilliant devices are explored, providing the dumbfounded modern reader with an extensive catalogue of the idioms that were subsequently developed in the history of instrumental music. Each of the pieces may be seens as a sort of variation on an abstract theme, a sort of 'obligo' or contrapuntal, thematic, motivic constraint that is merely hinted at and unfolded over an average of 3 to 10 bars. As an illustration, let us mention a few examples that are easy to spot, all of them taken from the initial group of the 'Primo tono': No. 3, elaborated over four successive entries of the same descending run, merging into the final cadence (Chopin's Prelude No. 8!); No. 5, over a chain of trills; No. 6 'in proportione' (in triple time) with its uncharacteristic fifth-fourth entry, answered by fourth-fifth - ascending formulas which are repeated twice with a plunge into the low register; No. 9, based on an expressive syncopated rhythm of two ascending notes answering and supporting one another polyphonically; No. 11, based on a chromatic motif announcing Frescobaldi; and No. 12 based on 'ostinato' dotted rhythms. We are lucky to hear all eight modes on this recording, in a 'rondo' presentation, i.e. alternating all the 'versi' in the same mode with other compositions.

"Among the other pieces from the second book recorded here, the 'Toccata 1a' stands somewhat alone: basically polyphonic, it begins with an 'entrée' in imitation that is much closer to the ricercar than to the free style one expects of a toccata. Unfolding over about thirty bars, it then turns to a mode of writing similar to the 'madrigal passeggiato', implying chains of diminutions betwen the chords, occasionally interrupted by a brief motivic section in imitation. Immediately following the 100 'versetti' in the original version, it thus forms a serious transition to the other 'toccate', which are in many ways more adventurous and individualised.

"In the second book of 1615 we also find the very curious 'Gagliarde 1a' and '2a a quattro' and the 'Gagliarda 1a a cinque'. They differ from those included in the book of 1603 (represented here by the 'Gagliarda 'quinta') in several formal aspects. The group of 'Gagliarde a quattro' opens with a preface explaining the signs that are used to clarify the reprises and with a note on instrumentation: Trabaci tells the ready that the 'gagliarde' for four voices may also be played by five voices, with viols or a group of violins; the fifth voice for all the 'Gagliarde a quattro' is presented at the end of the volume. This curious way of adding a fifth voice in an appendix again draws out attention to the dogmatic priority Trabaci gives to the idea over its realisation, considered in the context a sort of instrument polymorphism, and therefore the priority given by the composer to what is written. The version presented here is for four voices, which suffice to bring out Trabaci's remarkable polyphony - writing in imitative counterpoint already present in the first book of 1603, bold use of clashes and dissonance, and frequent false relations. Unlike those of the first books, the 'gagliarde' of the second book bear titles evoking people or moods: 'detto il Galluccio (Gagl. 1a)', 'detta la Morosetta (Gagl. 2a). The only 'Gagliarda a cinque' presented here is the first one in the group, 'detta la Galante'. We find a complex formal organisation that was not to be found in the first book of 1603: sections in duple metre right from the start, and the usual triple metre (normal for this form). Furthermore, 'La Morosetta' is in duple metre right from the start, and the usual triple metre does not appear until the very end. 'La Galante' for five voices is even more innovative: it takes the form of a sort of series of inextricably entangled variations, giving the impression that they are in a form with refrain: after two sections in triple metre, the first section in duple metre is even entitled 'partita 3a'. Needless to say, this piece is far from easy to play: Trabaci is merciless in his treatment of the keyboard player who has to use all sorts of stratagems to make up for not having enough fingers!

"The other pieces are all taken from the first book of 1603. The 'Canto fermo primo del primo tono' is a contrapuntal elaboration based on a famous melody, frequently used from the end of the fifteenth century until the Baroque era, and known by various names, the most common being 'Re di Spagna', or 'La basica di Costanzo Festa'. The four 'Canti fermi' contained in this volume are, moreover, based on the same theme and treated in the same way: the 'cantus firmus' is taken by the same voice from beginning to end in short, equal note values, thus forming a sort of Baroque parody of this very old technique. As the melody comprises 37 notes, each piece is also in 37 bars. In the first, it is carried by the tenor. The formal articulation is based on the intervention of secondary motifs more or less defining each section by giving it a distinct rhythmic form. The piece as a whole (like the other three pieces in the volume) represents a pinnacle of contrapuntal artistry.

"The piece entitled 'Decimo tono trasportato con una fugha sola' is a ricercar based, as its title indicated, on a single subject ('fuga' at that time meant 'subject'). But the subject is in fact split into two parts, the second serving as a counterpoint to the first. The formal articulation, in three parts, shows a macroscopic concern for diversity which the composer intends to be perfectly perceptible even to a listener who is inattentive to the polish of the compositional details: the contrasting middle section interrupts the rhythmic flow with its theme in triple metre, before the return of duple time, more natural in this type of writing. This articulation, original for a form of this type - the ricercar - was imitated by Frescobaldi in his 'Fantaisie' of 1608, but not in his his 'Ricercari' of 1615, which show no metrical contrast. Notice the impressive ornamented cadence at the end of this piece, which is unique in these 'ricercari'.

"Inspired by his teacher G. de Macque, the piece entitled 'Durezze e ligature' (dissonances and suspesnions) belongs to the free toccata genre, but in which the invention is concentrated exclusively on the creation of bold, dissonant, constantly changes harmonic progressions, forming a static kaleidoscope of sound - immobile in being attached to no particular key. This model was often used subsequently, particularly by Frescobaldi, in whom it inspired forms of the same type developing this technique throughout, but also a distinctive mode of writing that was capable of characterising an episode in a composition making use of contrast, such as the toccata.

"The two 'canzoni' on this recording complete the picture of the genre that was begun on the previous CD in this series. The 'Canzona franzesa settima cromatica' is one of the very first examples of this type of piece based on the impressive chromatic progression of the main theme, a process used by many composers up to and including J.S. Bach - Tarquinio Merula is a fine example. Here the work is articulated like a lmost all of Trabaci's 'canzoni', in several sections, differentiated either by the appearance of a new countersubject accompanying the principal motif, or by a variation of this motif itself, using the diverse figures of classical counterpoint, or by recourse to metric contrast with a variation in triple time. The 'Canzona sesta' served as an ideal model for later compositions by Frescobaldi, in that it is articulated, like the seventh, on a metrical contrast, but with a clarity and insistence that almost give it the appearance of a rondo! Indeed, the whole piece is based on the same subject, which changes rhythmically and metrically to serve as a motive for the constrasting sections. We thus obtain the pattern -a b a' c a"-, in which 'b' and 'c' are the variations in triple metre and 'a' represents the sections that develop variations in duple time on the initial motif. If we add to that the existence of 'extended' cadences in free toccata style, acting as buffers between the sections, we obtain exactly the pattern of Frescobaldi's 'canzona' variation, which was possibly inspired by Trabaci. The conclusion of the 'Canzona sesta' is particularly interesting in its scope and virtuosity." (Etienne Darbellay, tr. Mary Pardoe. From the liner notes.) 

Performer: Michèle Dévérité

1. Toccata Prima A Quattro

2. Versi, Quarto Tono

3. Durezze E Ligature

4. Versi, Settimo Tono

5. Gagliarda Quinta

6. Versi, Sesto Tono

7. Canto Fermo Primo Del Primo Tono

8. Versi, Primo Tono

9. Gagliarda Prima A Quattro Detta Il Galluccio

10. Versi, Terzo Tono

11. Canzona Franzesa Settima Cromatica

12. Versi, Quinto Tono

13. Ricercar Decimo Tono Trasportato Con Una Fugha Sola

14. Versi, Ottavo Tono

15. Gagliarda Seconda A Quattro Detta L'Amorosetta

16. Canzona Franzesa Sesta

17. Gagliarda Prima A Cinque Detta La Galante

18. Versi, Secondo Tono

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Richard Wagner - Tristan und Isolde

"The story of Tristram and Yseult is one of the most potent and enduring legends of the Nordic, Teutonic and Anglo-Saxon peoples, so potent that it even became grafted on to the Arthurian cycle of legends when Tristam or Tristan (originally Drostan or Drystan) was said to be one of the Knights of the Round Table. It says much for the success of the opera 'Tristan und Isolde' that since its première in Munich on 10th June 1865, the tale of the tragic lovers has been indissolubly associated with the name of Richard Wagner. Even before that première, however, the opera had been sending out shock-waves, as the famous 'Prelude' with its extraordinary harmony - the very first sound to be heard has become known as the 'Tristan chord' - had been performed in three major cities and the entire score had been in print since 1860. For reasons which seem inexplicable today, it was thought unstageable: a première scheduled at the Vienna Court Opera in 1861 was aborted after 77 rehearsals. Undoubtedly the action was steamy by nineteenth-century standards of morality; but in addition the advanced harmonic thinking that was in evidence on every page appalled traditionalists as much as it excited the avant-gardists. Significantly 'Tristan und Isolde' took nine years to achieve its second production, seventeen years to reach London and a further four to achieve a New York première.

"Wagner had been acquainted with the medieval legend for years, and it is strange that no other composer had tackled it, although Schumann had contemplated an opera on the subject and it had been lightly satirised in Donizetti's delectable 'L'Elisir d'amore'. In his work, Wagner was influenced by the writings of Schopenhauer and by a purely biographical factor - when he first became obsessed with the project in 1854, he had a guilty love for the married Mathilde Wesendock. In order to complete 'Tristan' he laid aside work on his 'Ring' trilogy and composed at unusual speed for him. The music was begun in 1856, the poem was written the following year and the score was ready by the end of 1859. Wagner made some changes to the story as he received from his main literary source, Gottfried von Strassburg's thirteenth century epic 'Tristan'. In particular he made Tristan and Isolde fall in love even before they became stricket by the love potion. There were one of two interesting undertones to the Munich première. The lovers were sung by a real-life husband and wife, Ludwig and Malwina Schnorr von Carolsfeld, and the opera was conducted by Hans von Bülow, whose wife Cosima was already under Wagner's thrall and had born him a child, Isolde (supposedly Bülow's daughter), on the day of the first orchestral rehearsal. Soon her liaison with him would become the scandal of the musical world.

"Recording Wagner's music dramas was first taken seriously by His Master's Voice (the Gramophone Company) in the early 1920s. Extensive excerpts in English, involving the brilliant conductor Albert Coates and the great bass Robert Radford, as well as other English-speaking singers, were recorded even in the acoustic era, when the vital orchestral element was perforce rather than muffled, but as each 78rpm disc was considered as an entity, sessions were rather laissez-fair and there was no attempt to maintain a cohesive cast - in the excerpts from 'The Valkyrie', Radford as Wotan even had to interact with three different Brünnhildes. The advent of electrical recording in 1925 brought the possibility of achieving some semblance of Wagner's orchestra, and HMV was quickly into action, producing a number of important Wagnerian excerpts in 1926, sung in German. So the firm's executives were extremely put out when the following year they lost the auction for the right to record at the holy-of-holies, the Bayreuth Festspielhaus, to their deadly rivals at The Columbia Graphophone Company.

"To its credit, Columbia rejected the HMV system of piecemeal excerpts and made a determined effort to give the Wagnerian record-buyer a coherent view of each drama. It was found too difficult to take down actual performances, so recordings were made when the Festspielhaus was not in use. Although, in the even, only extended excerpts from 'Parsifal' were achieved in 1927, virtually the whole of 'Tristan und Isolde' was set down in 1928 - Acts 1 and 2 were done substantially complete and only Act 3 was cut, a practice which was usual in those days anyway, in the interests of conserving the energies of singers and audience alike at the end of a long evening. The greatest exponents of the title rôles, Lauritz Melchior and Frida Leider, were under contract to HMV, but a fine cast was assembled, including Rudolf Bockelmann, regarded as second only to Friedrich Schorr as a Heldenbariton, and the handpicked Bayreuth orchestra and chorus were conducted magnificently by the underrated Karl Elmendorff. The set was issued with a disc of musical exegesis by the doyen of Wagnerian criticism, Ernest Newman.

"Around the same time, HMV was assembling a set, recorded in two different cities, making up an even bigger portion of Act 3. It was uneven in both performance and recording - three conductors were involved, the faithful Kurwenal was portrayed by three separate baritones and Sides 7 and 10 were difficult to reproduce smoothly on the gramophones of the day - but at its best it burnt more brightly than the Columbia set. In particular Albert Coates was capable of greater incandescence than Elmendorff and the lovers were interpreted by two legendary singers, the English tenor Walter Widdop and the Swedish soprano Göta Ljungberg. King Marke was interpreted by the same singer as at Bayreuth, the black-voiced bass Ivar Andrésen. It may help listeners to know that Howard Fry sings Kurwenal up to 'es kann nicht lang' mehr säumen', then Charles Victor (Widdop's teacher) takes over from 'O Wonne! Freude!' and Eduard Habich assumed the character in Scene 3, mostly recorded in Berlin. Kennedy McKenna sings the Shepherd in the London-recrded first scene (without its cor anglais solo, so well played on the Bayreuth set), while Marcel Noë takes the rôles of the Shepherd, the Steersman and Melot in Scene 3. Those who know the beautiful acoustic of Queen's Hall will recognise it on the London sides." (Tully Potter. From the liner notes.)

Performers: Chor und Orchester der Bayreuther Festspiele, Karl Elmendorff, Nanny Larsen-Todsen, Gunnar Graarud, Rudolf Bockelmann, Ivar Andrésen, and others on the bonus material.

1.1. Einleitung

1.2. Aufzug I, Szene I/II: 'Westwärts Schweift Der Blick'

1.3. Aufzug I, Szene III: 'Weh'! Ach Wehe! Dies Zu Dulden!'

1.4. Aufzug I, Szene IV: 'Begehrt, Herrin, Was Ihr Wünscht'

1.5. Aufzug I, Szene IV: 'War Morold Dir So Wert'

1.6. Aufzug I, Szene V: 'Tristan! Isolde! Treuloser Holder!'

2.1. Aufzug II: Einleitung

2.2. Aufzug II, Szene I: 'Hörst Du Sie Noch?'

2.3. Aufzug II, Szene II: 'Isolde! Geliebte! Tristan! Geliebter!'

2.4. Aufzug II, Szene II: 'O Sink' Hernieder, Nacht Der Liebe'

2.5. Aufzug II, Szene II: 'Einsam Wachend In Der Nacht'

2.6. Aufzug II, Szene II: 'Lausch', Geliebter!'

2.7. Aufzug II, Szene II: 'Doch Unsere Liebe, Heißt Sie Nicht Tristan Und Isolde?'

2.8. Aufzug II, Szene III: 'Der Öde Tag Zum Letzten Mal!'

2.9. Aufzug II, Szene III: 'O König, Das Kann Ich Dir Nicht Sagen'

3.1. Aufzug III: Präludium Und Hirtenpfeifensolo

3.2. Aufzug III, Szene I: 'Kurwenal! He! Sag' Kurwenal!'

3.3. Aufzug III, Szene I: 'Das Schiff! Siehst Du's Noch Nicht?'

3.4. Aufzug III, Szene II: 'So Bange Tage'

3.5. Aufzug III, Szene III: 'Tod Denn Alles'

3.6. Aufzug III, Szene II: 'Mild Und Leise, Wie Er Lächelt'

3.7. Aufzug III: Präludium (Shepherds Pfeifensolo Nicht Aufgenommen)

3.8. Aufzug III, Szene I: 'Kurwenal! He! Sag' Kurwenal!'

3.9. Aufzug III, Szene I: 'Hei Nun! Wie Du Kam'st?'

3.10. Aufzug III, Szene I: 'Bist Du Nun Tot?'

3.11. Aufzug III, Szene II: 'O Diese Sonne! Ha, Dieser Tag!'

3.12. Aufzug III, Szene II: 'Ha! Ich Bin's, Ich Bin's, Süßester Freund!'

3.13. Aufzug III, Szene III: 'Kurwenal! Hör'! Ein Zweites Schiff!'

3.14. Aufzug III, Szene III: 'Mild Und Leise, Wie Er Lächelt'

3.15. Die Motive Und Ihre Funktion In Der Oper. Erklärt Und Illustriert Von Ernest Newman

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Johan Svendsen - Zorahayda; Karneval i Paris; Norsk Kunstnerkarneval; Romeo og Julie

"For most music lovers Norwegian music begins and ends with Grieg, yet in a sense he was complemented by the figure of Johan Svendsen, who was all the things that Grieg was not. Grieg wrote with great individuality for the piano and the voice, while Svendsen wrote for neither, apart from his two sets of songs, Opp. 23 and 24, from 1879. As befits a conductor, Svendsen was a master of the orchestra, for which Grieg had no real flair. Indeed, on hearing Svendsen's First Symphony in 1867, Grieg was the first to sing its priases, recognising that its excellence contrasted with the inadequacies of his own youthful Symphony in C minor, written two years earlier. Even though he and Grieg were close friends, Svendsen never involved himself in the folksongs movement to anywhere near the same extent. The nearest he ever came to it were the four 'Norwegian Rhapsodies'.

"Svendsen grew up in Christiana (now Oslo) with music around him, for his father was a bandmaster. He was already an accomplished violinist by the age of fifteen, and also played the flute and clarinet. His musical schooling, like Grieg's, was in Leipzig, where he studied the violin under Ferdinand David and composition with Carl Reinecke. His Leipzig years were both happier and more fruitful than Grieg's, and it was during this period that he wrote his first works, the Quartet in A minor op. 1, some choral pieces, and the Octet for strings op. 3. Even such early compositions speak with an individual voice and the Octet, the First Symphony op. 4 and the String Quintet op. 5, are all works of astonishing individuality, assurance and, above all, freshness. After finishing his studies in Leipzig and returning to Norway, Svendsen undertook a long tour of Scotland, Iceland and the Faeroes in 1867, return to Christiana to conduct his First Symphony later that year. For the remainder of the 1860s Svendsen lived in Paris, earning his living as an orchestral player and working on a Violin Concerto. In 1870 at the outbreak of the Franco-Prussian war, he moved to Leipzig acting for a time as leader and conductor of the Euterpe Concert Society. He spent the following summer in Bayreuth where he was much in the company of Wagner, and it was here, of all places that he finished his virtuoso orchestral piece, 'Karneval i Paris' ('Carnival in Paris') in 1872. By this time Svendsen had been drawn into the Liszt-Wagner circle. (Later on, he was to introduce 'Walküre' and 'Siegfried', among other works, to the Copenhagen Opera.) He returned briefly to Norway but in 1877 gave up the direction of the Christiana Orchestra (which he shared with Grieg) to seek greater fame as a conductor in London, Paris, Leipzig and other great musical centres.

"If Grieg had been one of the influences on the early music of Sibelius, then Svendsen played a comparable role in Carl Nielsen's development. In 1883 Svendsen became conductor of the Orchestra of the Royal Theatre in Copenhagen, where Nielsen played under him during the 1890s. Indeed, Svendsen conducted the first performance of Nielsen's First Symphony in 1894, and is at the root of much of Nielsen's style. Svenden cannot, however, be regarded as anything other than Norwegian, despite being far more cosmopolitan than many other Scandinavian composers of the day. He remained in Copenhagen until ill-health forced his retirement in 1908, though alas, his creative firest burnt themselves out long before that. After the famous Romance in G major for violin and orchestra op. 26 (1881) he more or less gave up composing.

"Svendsen's music invention blends a liveliness and exuberance with a vein of poetic fantasy not unworthy of the best Grieg. Together with the four symphonies of Berwald, Svendsen's two are the finest to appear in Scandinavia before Sibelius - and certainly more original than those of Niels Gade. Between the two symphonies come the concertos for violin and cello opp. 6 and 7 and the 'Karneval i Paris' op. 9. Begun in New York, continued in Leipzig and finished in Bayreuth, 'Karneval' was an evocation of the festive processions that he recalled from his time in Paris ('the most glorious city on earth' he called it). One its publication in 1877, it was subtitled 'Episode fü großes Orchester' and its brilliant and masterly scoring have earned it a place in the repertory.

"The tone poem 'Zorahayda' op. 11, was composed in Christiana in 1874 and revised in Paris five years later. 'Zorahayda' derives its inspiration from a collection of Moorish legends called 'Alhambra', published by the American writer Washington Irving in 1832. The story tells how one summer evening the beautiful Jacinta is sitting alone in the Alhambra, lamenting the lover who has forsaken her. Suddenly there appears before her a Moorish princess, Zorahayda, who relates how she lost her heart to Christian knight. She promised to adopt his faith and go with him to his native land, but courage failed her and her soul has remained imprisoned in the Alhambra. Zorahayda begs Jacinta to fulfil the prophecy that she will remain the prisoner of evil spirits until released by a virtuous Christian maid. Jacinta baptises her and Zorahayda's face becomes radiant with joy.

"A year earlier, in the summer of 1873, Svendsen had been commissioned to write a 'Festpolonese' (Grand Polonaise) for a society ball in Christiana. The festive spirit and good humour for the resulting work have ensured it a place in the repertory ever since, along with the 'Norsk kunstnerkarneval' ('Norwegian Artists' Carnvial') op. 14, composed a few months later. Svendsen had been elected to membership of the Society of Norwegian Artists whose carnival in 1874 had as its theme the spirit of the cold North and the warm blooded south and its zest for life. Svendsen uses three melodies, a Neapolitan melody from the mid-1830s, 'Te voglio bene assai' by Raffaele Sacco, and a Norwegian bridal dance from Sogn - No. 676 in Lindeman's 'Ældre og nyare norske Fjeldmelodier' ('Older and Newer Norwegian Mountain Melodies'). This was the first occasion on which Svendzsen had ever quoted a Norwegian folk melody. The very opening idea was designed to depict the 'Dovregubbens datter' ('The Troll-king's daughter'), and although the theme sounds as if it is a folk melody, it is in fact Svendsen's own.

"Svendsen's major work of this period was the Second Symphony, completed in 1876 towards the end of his five-year spell in the Norwegian capital (1872-77), and the last large-scale work to survive from his pen. It was first performed on 14 October 1876 when he also introduced another novelty, 'Romeo og Julie' op. 18, a fantasy for orchestra. (Tchaikovsky's fantasy overture had been performed in its original form in 1870 but it is unlikely that Svendsen would have encountered it. It is not known whether he knew Berlioz's dramatic symphony or even Gounod's opera of 1867.) At its premiere in Christian, 'Romeo og Julie' was compared unfavourably with the Second Symphony, and though the 'Allgemeine musikalische Zeitung' reviewed it favourably after its publication in 1879, it remains - along with his other tone poem 'Sigurd Semble' op. 8 - one of his least performed works.

"Although he had little time left for composition after moving to Copenhagen, Svendsen did write a number of smaller occasional pieces, and planned his Third Symphony. Among the shorter pieces without opus number is the 'Andante funèbre', composed in 1894 for the funeral of the twenty-three year-old son of his friend, Theodor Hindenburg. In fact Svendsen's own creative career was shorter than this young man's life, but while it lasted, it promise was hardly less formidable than that of the young Grieg." (Robert Layton. From the liner notes.)

Performers: Trondheim Symfoniorkester, Ole Kristian Ruud

1. Norsk Kunstnerkarneval, Op. 14

2. Zorahayda (Legend), Op. 11

3. Karneval I Paris (Episode), Op. 9

4. Romeo Og Julie (Fantasy), Op. 18

5. Festpolonese, Op. 12

6. Andante Funèbre, Op. 60 Nr. 2

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Johan Svendsen; Carl Nielsen - String Octet; Romance; String Quintet

"Johan Svendsen was born in Christiana (now Oslo) on 30 September 1840, and died in Copenhagen on 14 June 1911. At an early age he acquired a working knowledge of a variety of instruments from his father, who was a military musician, and he began his career as a clarinettist in a regimental band. His principal instrument, however, was the violin, and as a young man he played in the orchestra of Norske Theater (of which Ibsen was Director) and his first experience of the symphonic repertory, and of Beethoven in particular, was as a violinist in the subscription concerts organised in 1857-9 by Halfdan Kjerulf and Gottfried Conradi. His formal musical education did not begin until 1863, when, with the aid of a stipend granted to him by the King of Sweden and Norway, he entered the Conservatoire in Leipzig (he was offered a place in an advanced class, but asked to start at the beginning of the course because he considered his musical education to be rudimentary). He studied the violin with Mendelssohn's old friend and colleague Ferdinand David, but within a year had decided to concentrate on composition and conducting. He successfully pursued a career in both capacities (together, initially, with that of a solo and orchestral violinist), and this naturally meant that was away from his native Norway for much of the time. In 1872 he returned to Christiana as joint conductor, with his compatriot and close contemporary Grieg, of the Musikforening concerts, becoming sole conductor two years later. In 1883 he was appointed Musical Director of the Royal Opera in Copenhagen, and retained the position until ill-health forced him to retire in 1908.

"Svendsen's most important compositions, which include two symphonies, two concertos (for violin and for cello), four Norwegian Rhapsodies for orchestra, vocal and chamber music, were written before 1880. The Octet in A major, Op. 3 for strings (four violins, two violas and two cellos), like the String Quartet in A minor, Op. 1 and the String Quintet in C, Op. 5, dates from his last years at the Leipzig Conservatoire. It was performed there for the first time in 1866, and won him the Conservatoire's First Prize; it also prompted an offer from the great Leipzig publishing house of Breitkopf & Härtel, who issued it a year later, with a dedication, 'in deepest gratitude and respect', to Her Majesty Louise, Queen of Sweden and Norway. In May 1868, when Svendsen went to the musical festival in Weimar and met Liszt, the Octet was performed by a group of Germany's foremost string players.

"The industrious and fluent Louis Spohr composed four double quartets between 1823 and 1847, but these are, as their titles imply, octets for two string quartets, with the accent as much, if not more, on antiphonal effects between the two groups, as on treatment of the eight instruments as a homogeneous ensemble. For the classic example of a true string octet, one has to turn to the one in E-flat, Op. 20, that Mendelssohn wrote in 1825 at the age of sixteen; and probably the only nineteenth-century parallel to this, even if it does not match the sheer genius of Mendelssohn's youthful masterpiece, is Svendsen's Op. 3. Both main themes of its first movement incorporate prominent dotted rhythms, and these are to prove a recurring feature throughout the work. The emphatic first subject is announced boldly by all eight instruments in octaves and re-stated in two contrasting ways before a sustained chromatic transition prepares the way for the short second subject in (in E), gently introduced by first violin and first viola in turn. The compact development is mainly concerned with the first two bars of the first subject, but later the second subject enters the discussion; further development takes place during the course of the recapitulation, which is appreciably longer than the exposition and development section combined. The inventive and rhythmically intriguing second movement (in E) has something of the spirit of a scherzo, but is formally more like a loose-limbed rondo. The 'scherzo' element is provided by the chattering triplets of the opening, the 'trio' element by the short, lyrical theme (with a dotted rhythm in its second bar) initiated by the first viola at bar 4I but subsequently expanded almost beyond recognition. The slow movement (in C) can perhaps be best described as a set of free, continuous variations, with considerable fluctuation of mood and tempo, on the theme as presented at the outset by the first violin. But there is an impassioned subsidiary theme that recalls the 'trio' theme of the third movement, and a second 'variation' theme, first played by the first cello to a descant on the first violin in running semiquavers. A slow introduction, bristling with dotted rhythms, prefaces the sonata-form 'Finale', whose angular main theme it foreshadows; a lyrical, curving second subject, of by now familiar outline, is presented by the first viola and provides most of the material for the development, which is separated from the recapitulation by a virtuoso semiquaver passage in octaves.

"The Romance for violin, probably Svendsen's best known work, was composed in Christiana in 1880, soon after his return from an extended foreign tour that took him to Leipzig, Rome, London (where he met the legendary Spanish violinist, Pablo de Saraste) and Paris. It was originally scored for solo violin, with an orchestra of strings, flute, oboe, two clarinets, two bassoons, two horns and timpani, but here the accompaniment is arranged for strings. The main tempo is 'Andante', but there is a quicker central section in G minor.

"Carl Nielsen was born at Nørre Lyndelse (near Odense) in Denmark on 9 June 1865, and died in Copenhagen on 2 October 1931. Like Svendsen, he came from a modest background; his father taught him to play the violin and the cornet, he gained his first practical musical experience from playing in a local orchestra and in a military band, and he was enabled to study at the Royal Danish Conservatoire in Copenhagen (from 1884 to 1886) as a result of financial assistance from benefactors in Odense. But although he continued for some years to play the violin professionally (he was a member of the orchestra of the Royal Opera in Copenhagen under Svendsen, who was not only an influence on the young composer but an ardent admirer, and who conducted the first performance of Nielsen's first Symphony in 1894) and was a competent conductor, he never attained Svendsen's eminence in that field, whereas he quickly outstripped him as a composer. Not only did he become, with six symphonies to his credit, Denmark's greatest symphonist, but he was also a noted composer of music for the theatre, wrote three important concertos (for violin, flute and clarinet), choral music and songs, piano music and a considerable body of chamber music which includes three sonatas for violin and piano, six string quartets (the first two of them student works), a string quintet and a wind quintet.

"The String Quintet in G major (for the combination of two violins, two violas and cello, favoured by Mozart, Brahms and Dvořák, but not Schubert) was written in 1888, the same year as the first of Nielsen's four mature quartets (in G minor, Op. 13), and first performed on 28 April 1889. The score was dedicated to Thorvald Nielsen, Erlin Bloch, Hans Kassow and Louis Jensen, but not published until 1937, six years after the composer's death. The first movement, in fairly regular sonata form, is in a lilting 9/8 metre, but with occasional deft changes in rhythm (to 12/8 and, effectively, 3/4), which add to the music's piquancy and charm. There are three main thematic groups: the melodious theme introduced at the very beginning by the first violin; the airy transition initiated by the first viola, engendering a whole succession of oscillating semiquaver patterns; and the long-breathed theme on the first violin (on the first viola and the cello in octaves after the recapitulation) that emerges from it. The slow movement (in B-flat) is in ternary form, with the outer sections centred round a solemn theme intoned, after a chromatic introductory passage, by the first viola and the cello (on the two violins in octaves in the much shortened reprise). The middle section, in slightly quicker tempo, introduces a chorale-like theme on the first viola, this is then treated, in varying forms, rather as a 'cantus firmus' in different instrumental settings. The colourful third movement, alternately dancing and langorous, is permeated by quick, repeated-note 'ostinati'; a somewhat bucolic middle section (or trio) is followed by a literal repear of the first section, followed by a coda. The quintet ends with an exuberant sonata-form 'Finale', with an emphatic first subject and a playful second subject (on the first violin), which provides most of the material for the development section; there is a coda marked 'Presto'." (Robin Golding, 1994. From the liner notes.)

Performers: Academy of St. Martin-in-the-Fields Chamber Ensemble

1. Johan Svendsen - String Octet In A Major, Op. 3: I. Allegro Risoluto Ben Marcato

2. Johan Svendsen - String Octet In A Major, Op. 3: II. Allegro Scherzoso - Lento - Piu Mosso, Quasi Presto

3. Johan Svendsen - String Octet In A Major, Op. 3: III. Andante Sostenuto

4. Johan Svendsen - String Octet In A Major, Op. 3: IV Finale. Moderato - Allegro Assai Con Fuoco

5. Johan Svendsen - Romance, Op. 26

6. Carl Nielsen - String Quintet In G Major: I. Allegro Pastorale

7. Carl Nielsen - String Quintet In G Major: II. Adagio

8. Carl Nielsen - String Quintet In G Major: III. Andante Scherzando

9. Carl Nielsen - String Quintet In G Major: IV. Finale. Allegro Molto - Presto

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Johan Svendsen - Norwegian Rhapsodies; Romeo and Juliet; Zorahayda

"Born in Christiana (now Oslo) on 30th September 1840, Johan Svendsen learned several instruments and played in his father's regimental band before concentrating on the violin and becoming a pupil of Carl Arnold. In 1863, though he had professional experience as a musician as well as several works behind him, Svendsen began to study at the Leipzig Conservatory where he focused on composition and conducting. Return to Norway in 1867, he directed a concert of his music that drew positive notices (not least from his contemporary Edvard Grieg), but public response was less forthcoming. After two years in Paris, he returned to Leipzig where, after the hiatus caused by the Franco-Prussian war, he became leader and assistant director of the Euterpe orchestra then, in 1872, played in the orchestra assembled to mark the laying of the foundation stone for the Festspielhaus in Bayreuth.

"That year, Svendsen returned to Christiana as joint conductor, along with Grieg, of the Music Society concerts. The next five years saw his most significant achievements as a composer, after which, he wrote only a handful of new works and conducting became dominant in his career. Aside from guest engagements, he remained in Norway until 1883 when he became principal conductor of the Royal Opera in Copenhagen. While this was at first a controversial appointment, his quarter-century there raised orchestral standards to a new level and many younger musicians (not least Carl Nielsen, who played in the orchestra between 1889 and 1905) benefited from his example; his standing, meanwhile, was reflected in the guest engagements he received throughout Europe. Ill-health forced his retirement in 1908, though he continued to live in Copenhagen until his death on 14th June 1911.

"Svendsen's reputation as a composer rests on a relatively small output (apart from occasional pieces and arrangements, his catalogue runs to only 33 works), but he remained pre-eminent among those nineteenth-century Norwegian composers who actively sought to harness the potential of a Romantic Nationalism with that of established classical forms. Although chamber music was to bring him his earliest notable successes, his lasting achievement lies in the orchestral domain. Aside from two symphonies, he also wrote a number of shorter pieces, several of which are featured on this disc.

"Nowhere is the Classical-Romantic fusion of Svendsen's thinking better illustrated than with his four 'Norwegian Rhapsodies'. The first three of these emerged toward the end of 1876, with the final one appearing early the following year. Inspired by the 'Hungarian Rhapsodies' of Liszt, the ways in which folk- and art- music are combined owe more to Austro-German principles, to the extent that the material drawn from Ludvig Lindeman's 'Older and Newer Melodies from the Norwegian Mountains' becomes little more than the starting-point for Svendsen's creations.

"The 'First Norwegian Rhapsody' opens with string chords and horn calls, before a stealthy pizzicato motion supports an atmospheric theme on upper strings. This leads to a lively theme on woodwind (more familiar as the third of Grieg's 'Norwegian Dances'), one that retains its defining rhythm even when heard in a slower and more expressive version on strings. In contrast comes and eloquent melody, initially heard on the viola, that soons works its way across the orchestra before the return of the lively theme on strings. All is now set for a peroration that draws on both of these main themes on its way to a triumphal conclusion.

"The 'Second Norwegian Rhapsody' heads straight into a forcefully syncopated theme that makes way, via subdued transition, to an elegiac melody on the upper strings which continues on solo woodwind against the imaginative backdrop of muted strings. Gaining in ardour, this builds to a brief climax before a further theme, one who rustic quality is emphasized by recourse to a 'drone bass', takes over. Entering quietly, the initial theme once more assumes the limelight, albeit in harness with elements of those that followed, as the pieces towards its close with a breathless good humour.

"The 'Third Norwegian Rhapsody' starts with lively gestures on strings before the first theme, robust and suave by turns, enters on woodwind and is taken up by the strings. A hushed transition on the timpani prepares for the rapt second theme, initially on upper strings before being developed by solo horn then by the lower strings, offset by pert woodwind chords. Reaching an eloquent climax, it makes way for a more energetic theme that shares its predecessor's pathos, and whose ebullience brings about a decisive close to the piece as a whole.

"The 'Fourth Norwegian Rhapsody' begins with a moody opening theme, complemented by a livelier theme who harmonies suggest the influence of Hardanger fiddle music from southern Norway. This, in turn, is contrasted with a soulful melody on lower strings and these two themes alternate in an unforced yet disciplined manner that teases out a fair degree of motivic development. At length the soulful one effect the work's motional apex, but the livelier theme is not to be denied and draws in the whole orchestra as it seed the work to a triumphal close.

"'Romeo and Juliet' enjoyed only a muted reception at its première in October 1876, though it is unlikely that early reviewers were any more familiar than was the composer with Tchaikovsky's fantasy-overture on Shakeseare's play, which did not reach definitive form until four years later. Svenden's piece begins with a musing idea for strings that gains in expansiveness until reaching a brief climax. This slow introduction makes way for a more energetic and impulsive theme brings the full orchestra into play. Its successor is a plaintive melody first heard on oboe then transferred to strings before tailing off into silence. The development centres on the energetic theme, heralding a heightened return of the oboe melody, before its predecessor reappears in what seems set for a triumphal close. What follows, however, is a notably subdued coda, fatalistic rather than tragic in its underlying calm.

"Svendsen enjoyed greater success with 'Zorahayda' in October 1874, which retained its popularity during his lifetime. Inspired by Washington Irving's 'Legend of the Rose of the Alhambra', it recounts the love of a Moorish princess for a Christian knight, and of how her soul is freed when she is baptized with a water from the Alhambra fountain. Searching gestured on the lower strings, prior to the arrival of a thoughtful melody that draws in woodwind and upper string. This is imaginatively rendered by solo violin over a deft 'pizzicato' accompaniment, with brief orchestral interjection, that continues until the oboe sets in motion a more impulsive theme which seems intent on bringing about the climax. Instead, the main theme sees the work through to its close in a mood of dreamy resignation, lower strings and horn-calls prominent as at the beginning." (Richard Whitehouse. From the liner notes.)

Performers: Sønderjyllands Symfoniorkester, Bjarte Engeset

1. Romeo Og Julie, Op. 18

2. Norwegian Rhapsody No. 1, Op. 17

3. Norwegian Rhapsody No. 2, Op. 19

4. Norwegian Rhapsody No. 3. Op. 21

5. Norwegian Rhapsody No. 4, Op. 22

6. Zorahayda, Op. 11

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Johan Svendsen - Symphonies Nos. 1 & 2

"For most people Norwegian music begins and end with Grieg, and in so far as Svendsen is thought of at all, it is as the composer of the 'Carnival in Paris', the 'Norwegian Arists' Carnival' and a handful of other lighter pieces. In fact Svendsen was all the things that Grieg was not. Grieg wrote with great individuality for the piano and the human voice, while, Opp. 23 and 24 apart, Svendsen wrote for neither. As befits a conductor, Svendsen was a master of the orchestra, for which Grieg had no particular flair. Indeed when he heard the First Symphony of Svendsen, Grieg was the first to sing its praises, and its excellence made him more than ever aware of the inadequacies of his own youthful Symphony in C minor (1865). After this he made no further attempt to scale symphonic heights. Yet Svendsen's symphony, like Grieg's, was a student work written while he was still at the Leipzig Conservatory and a pupil of Reinecke. As a boy he grew up in Christiana (as Oslo was then known) with music around him. His father was a bandmaster and by the time he was fifteen he was already an accomplished violinist and played the flute and clarinet as well. He undertook a long tour of Scotland, Iceland and the Faeroes in 1867, returning to Christiana to conduct his symphony later that year. He went to Paris the following year and earned a livelihood as an orchestral player, and writing his Violin Concerto, Op. 6 and other pieces. The 'Carnival in Paris' (1872) was written in Bayreuth of all places. By this time Svendsen had given up the violin owing to problems with his left hand and by the early 1870s, he had been drawn into the Liszt-Wagner circle. He returned briefly to Norway but gave up the direction of the Christiana Orchestra in 1877, which he had shared with Grieg, becoming more of what we would now call a 'star' conductor. He appeared in London, Paris, Leipzig and then, in 1883, he went to Copenhagen as conductor of the Royal Danish Orchestra, where he remained until ill-health forced his retirement in 1908. Alas, the creative fires burnt themselves out long before that, and after the famous 'Romance' in G major for violin and orchestra, he more or less gave up composing.

"Svendsen's grounding was in the Leipzig school and Mendelssohn and Schumann loomed large on his musical horizon. Even though he and Grieg were good friends, Svendsen did not involve himself in the folksong movement to anywhere near the saem extent as had Grieg, and the four 'Norwegian Rhapsodies' were probably as close as he ever came to it. All the same there is a distinctive Norwegian feel to his melodic ideas. His basic sympathies remained predominantly classical and he continued to work within sonata form structures. Three of the four movements of the First Symphony are in sonata form. Svendsen succeeded in fusing the legacy of the Viennese classics with the Norwegian folk tradition. His invention blends liveliness and exuberance with a vein of poetic fantasy not unworthy of the best Grieg. Together with the four symphonies of Berwald, Svendsen's two (1867, 1876) are the finest to appear in Scandinavia before Sibelius.

"The D major Symphony, Op. 4, is a work of astonishing assurance and freshness - its musical processes are easily followed as are those of its successor. Between the two symphonies come the Cello Concerto, Op. 7 and the tone-poem, 'Zorahayde', Op. 11. The Second Symphony was completed towards the end of his five year spell (1872-77) in the Norwegian capital; the manuscript is dated 'Hedghehaugen, near Christiana, May 1876', and it was his last large-scale work. As Grieg said of him in 1882, he is in my opinion 'the greatest arist (as opposed to -poet-) that the North possesses and one of the few great spirits in Europe'. It is good to see these inspired and superbly crafted symphonies coming back into their own." (Robert Layton, 1988. From the liner notes.)

Performers: Oslo-Filharmonien, Mariss Jansons

1. Symphony No. 1 In D Major, Op. 4: I. Molto Allegro

2. Symphony No. 1 In D Major, Op. 4: II. Andante

3. Symphony No. 1 In D Major, Op. 4: III. Allegretto Scherzando

4. Symphony No. 1 In D Major, Op. 4: IVa. Finale: Maestoso

5. Symphony No. 1 In D Major, Op. 4: IVb. Allegro Assai Con Fuoco

6. Symphony No. 2 In B-Flat Major, Op. 15: I. Allegro

7. Symphony No. 2 In B-Flat Major, Op. 15: II. Andante Sostenuto

8. Symphony No. 2 In B-Flat Major, Op. 15: III. Intermezzo: Allegro Giusto

9. Symphony No. 2 In B-Flat Major, Op. 15: IVa. Finale: Andante -

10. Symphony No. 2 In B-Flat Major, Op. 15: IVb. Allegro Con Fuoco

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Aaron Dilloway - Uss Orgo

"'Uss Orgo' is a rough long form collage recorded live to cassette. It contains a few sound sources that were later released in quite different forms on 2010's 'Psychic Driving Tapes' and 2012's 'Modern Jester', as well some crudely chopped and screwed 'Floyd'. 

"Side Two is a static 40 minute side of my organs Leslie Speaker run through an old guitar synthesizer. Very lo-fi and best results when played quietly.

"Includes bonus tracks of unreleased sound sources made on organ and guitar synth with tape delay, used and not used on the original release, as well as an alternate shorter B-side." (Description from the recent reissue on Dilloway's bandcamp, available cheaply with additional material here.)

A. Untitled

B. Untitled

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Vasculae - Effort Towards Regression

Dense, driving harsh noise underwritten by a deep rumbling wall in this 2014 release from Jon Borges' Vasculae project. Well executed and in keeping with the generally high quality of this project and Borges' others. Recorded 2012-13 and released on the always stellar Heavy Psych label the following year.

A. The Undeterred

B. An Aesthetic Framework

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Troum - Sigqan

Endowed with the vast, symphonic quality that distinguishes this duo's music as a cut above most ambient acts. There is true emotive and sonic progression here over the three parts of this work. Released on American dark ambient/noise label Desolation House in 2003 as an edition of one thousand CDs.

1. Sigqan Part 1

2. Sigqan Part 2

3. Sigqan Part 3

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Troum - Vorbei der Tod

"Raubbau proudly features one of the most respected artists in the ambient genre - for over two decades German duo Troum have taken the clues from their dreams and translated them into a transcending sound of majestic beauty. Their drone-based compositions are mostly on the calm and soothing side, but never lack a little edginess and experiment to spice things up.

"The 'Vorbei der Tod' LP clocks in just over 40 minutes and emphasizes a sacral, ceremonial approach. Troum follow their hands-on approach of using acoustic instruments and guitar sounds rather than electronics, and create a universe of sound from there: according to its thematic backdrop the A-side is dominated by what seems like the residue of organ sounds and religious chants, whereas the B-side is more serene, immersive and hallucinatory, before the final 'theme dream' provides a ceremonious finale. The LP format is definitely the perfect fit for this material.

"One is simply baffled just how expressive and captivating music so quiet and roomy can be. put on repeat to discover more of those little details, and rest assured: death is over." (From the Bandcamp page. Available to buy digitally or as an LP here.)

1. Dream Theme/Towards The Indivisible Being

2. Inner Procession

3. Symmetrization

4. Ein-Bewusst

5. Theme Dream

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Zaïmph - Mirage of the Other

Sophomore full length release of Marcia Bassett's Zaïmph project. Guitar/vocal based electroacoustic manipulation, but without the distorted doom aspect of 2009's "Death Blooming Pleasure" (see below). Released in 2006 on Belgian psych label Gipsy Sphinx as an edition of five hundred and twenty five LPs.

A1. Laughter Of Memory

A2. Jeweled Hand

B. Icandescent Landscape

mp3/v0

Zaïmph - Death Blooming Pleasure

Zaïmph is a solo project of New York-based electroacoustic collective member Double Leopards. This release begins with guitar-based 'doom noise' in the vein of a rawer, heavier Sunn O))) sound (see Blue Sabbath Black Cheer); this builds into (still guitar based) noise drone electronic manipulation more closely resembling the likes of Skullflower. Unique here are Bassett's vocals: thick and crepuscular on the opening track and soaring and angelic on the B-side. An edition of three hundred LPs released on Carlos Giffoni's No Fun Productions, recorded in 2007 and released two years later. 

A1. Great Are The Riches Hidden In Tribulation

A2. Of Hildegardes

B. As Well In Death

mp3/256kbps

Aaron Dilloway - Foul

Live material from noise maestro Aaron Dilloway, released in 2007 on Dilloways own Hanson records (recording date is not listed). Raw, swirling, sometimes rhythmic analogue work with great variety in approach. Re-uses the cover to his 2001 live release "Wolf Eyes".

A. Untitled

B. Untitled

mp3/320kbps

Double Leopards - Out of One, Through One and to One

Hazy drone-based electroacoustic odyssey from New York-based sound art project Double Leopards. Maintains a rich psychedelic atmosphere through slowly-birthed organic audio. Released as an edition of one hundred LPs on psych label Eclipse Records in 2005, recorded the year previous.

A. Untitled

B. Untitled

mp3/v2