George Enescu - Octet, Op. 7; Quintet, Op. 29

"[...] The modernist era charged Enescu with stylistic ambiguity, a perception that persists to this day. After his Romanian Poem op. 1, which he wrote in 1897 at the age of 15, and both 'Romanian rhapsodies, op. 11' (1901 and 1902), Enescu was known as a virtuoso violinist and an author of bright, charming compositions with a tinge of Bessarabia. As early as 1900, while, at the age of 19, he was working on the 'Octet, op. 7', Enescu faced the aloofness of the public. It wasn't until nearly four decades later that he was acclaimed as a composer, when experts first recognized as a revelation the mythic opera 'Oedipus, op. 23' (1936). Between the rhapsodies and 'Oedipus', Enescu created three symphonies, a poem, suites, compositions for orchestra and solo instruments, and passionate, irresistibly pictorial chamber music, under which are laid an instrumental mosaic and a flutter of imagination. The conception of each of these pieces seems unmatched. 

"'Something trembles in my heart, without interruption, either day or night,' confessed the composer. The instrumental 'technique of trembling' was noted in fact by attentive critics of 'Oedipus.' It is very much present in the orchestral version of the 'Octet, op. 7' and in the 'Quintet, op. 29' heard on this disc, as well as in that opera. The Octet finale is woven with thumping vitality. Its monotonous motion is both staggeringly malleable and truly magical, which Enescu acutely and astutely felt as early as the dawn of the 20th century. 

"Already in the first bars of the early Octet, one may discern the special 'inside-out,' mirror-like concept of Enescu's method of composing. In this system the main theme acts as a condenser, the point 'not of departure, but of conclusion.' In the later Quintet, a distant relative of both late Scriabin and mature Ravel (and at moments Prokofiev), this concept of musical movement reveals a new facet: a spontaneous and associative methodology that simultaneously deciphers and obscures the original theme. But in the finale, one discovers a striking, extremely expressive highly emotional condensing of what at first seemed just elegant play. Later Enescu would become more sophisticated, philosophical and dramatic. The modal pace of his heterophony became more inventive and similar to the steps of a ropewalker. In the ever more extensive instrumental palette, the boundaries between light and dark became less evident, as did the distinctions of form. Characteristic shades of Romanian folkloric instrumentation tread more softly and cautiously. Now only an attentive listener will notice them, in areas such as the piano part in the Quintet's 'Andante sostenuto e cantabile.' Nevertheless, his music still breathes bits of emotional substance, from hidden passion to introverted sorrow, and a sincere and wonderful solemnity. 

"Enescu shares much with those whose fate led them outside of the artistic mainstream. On the surface, his fate is similar to that of French writer Joris Karl Huysmans or Russian painter Natalia Goncharova: he knew both fame and oblivion; he signed no manifestos and belonged to no particular school; he was plagued by false interpretations and the status of both forerunner and imitator simultaneously; his novelty was subtle yet obstinate; his tenderness, flexibility, luminosity and individuality are all singular, intimately rooted in culture. For the Kremerata Baltica and Gidon Kremer — whose artistic strategy is marked by both a unique understanding of well-known repertoire and also a particular, sensitive and delicate tuning to unconventional material — joined here on the Quintet by Lithuanian-born Andrius Zlabys, one of the most gifted Baltic pianists of today, George Enescu's music is a precious discovery: splendid, mysteriously multi-dimensional and utterly thrilling." (Julia Bederova, tr. Elisabeth Konovalova. From the liner notes.)

Performers: Kremerata Baltica, Gidon Kremer, Andrius Zlabys

1. Octet, Op. 7: I. Très Modéré

2. Octet, Op. 7: II. Très Fougueux

3. Octet, Op. 7: III. Lentement

4. Octet, Op. 7: IV. Moins Vite, Animé, Mouvement De Valse Bien Rythmée

5. Quintet, Op. 29: I. Con Moto Molto Moderato –

6. Quintet, Op. 29: I. Andante Sostenuto E Cantabile

7. Quintet, Op. 29: II. Vivace, Ma Non Troppo –

8. Quintet, Op. 29: II. A Tempo, Un Poco Più Animato

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Bass Clarinet

"Romantic expression emerged as an urgent desire and need in music at the beginning of the nineteenth century and introduced sweeping changes and innovations into all the areas constituting the general field of music. 

"The chromatic extension of harmony and melody gradually moved out toward the limits of tonality and necessarily sped up the technical development of the orchestral instrumentarium, especially of the family of wind instruments. The expansion of form, larger dynamic ambitus, and increasing importance of the rhythmic element also required the continuous expansion of the orchestra. This tendency finally culminated in the mingling of new tone colors with the extended tone masses. 

"Mozart's quest for such new tone colors had led him to discover the beauty of the low clarinet registers. He introduced the basset horn, a variant of the alto clarinet, into some of his works. Thus it is not surprising that the romantic period witnessed the addition of a bass instrument to the clarinet family, the youngest of the orchestral wind groups. The bass instruments constructed in French, German, Italian, and Belgian workshops during those years (often independently of each other!) today remind us not so much of bass clarinets proper as of the primitive musical implements of indigenous peoples. 

"The initial design of the bass clarinet, with its bent, doubled wooden tube reminiscent of the bassoon or tangled windings, was nothing short of a monstrosity. Its design notwithstanding, the early bass clarinet was distinguished by a tonal magic that earned it the name of glicibarifono, 'sweet-deep-toner.' The Belgian music scholar Francois Joseph Fétis certified its special tonal qualities at a bass clarinet presentation around 1832, 'At the sight of this huge, downright gigantic instrument most members of the audience believed that they would be hearing harsh and rough tones. Instead they heard full strong, and mellow tones.' 

"Giacomo Meyerbeer (1791-1864), a great name in the field of the grand opera, was so fond of the melodious sound of the bass clarinet that he assigned the instrument a major recitative in his opera Les Huguenots (1836), the first bass clarinet solo in the whole of music history! During the same period the famous Belgian instrument maker Adolphe Sax (1814-94) developed a model with an elongated tube form, the immediate precursor of today's bass clarinet, and thus paved the way for the instrument's rapid dissemination. In subsequent years there was hardly an opera composer who did not avail himself of the bass clarinet for the heightening of the mood at the major turning points in the action. Richard Wagner and Giuseppe Verdi employed the bass clarinet to create emphases of the greatest intensity. 

"Since the romantic symphonic literature was slower to move away from the traditional orchestral instrumentation, we do not meet with the bass clarinet here until later on. The 'modernists' Berlioz and Liszt, the late romantics, and composers of the twentieth century, however, have fully exploited the tonal diversity of the bass clarinet. Soon its tonal diversity was featured even outside of noble legato passages. The bass clarinet also became in-dispensable in film music. Borrowing on its employment and function in the opera orchestra, the bass clarinet succeeds in heightening even the most electric cinematic suspense. 

"The development of the bass clarinet from a successfully integrated orchestral instrument to an emancipated solo instrument was a gradual one. Most compositions for solo bass clarinet date from the decades after 1950. A few isolated works form the only exceptions: August Klughardt's 'Romanze' (ca. 1890), Francois Rasse's 'Song' (1911), and Othmar Schoeck's 'Sonata for Bass Clarinet and Piano op. 41' (1928)." (From the liner notes. Translated by Susan Marie Praeder.)

Performers: Renata Rusche, Berliner Symphoniker, Neil Varon, Stefan Pintev, Rodrigo Reichel, Thomas Oepen, Christoph Groth, Werner Hagen

1. Othmar Schoeck - Sonata, Op. 41: I. Gemessen

2. Othmar Schoeck - Sonata, Op. 41: II. Bewegt

3. Othmar Schoeck - Sonata, Op. 41: III. Bewegt

4. Olivier Messiaen - 'Abime Des Oiseaux'

5. Frits Celis - 'Da Uno A Cinque', Op. 27: I. Andante Sostenuto - Quasi Berceuse

6. Frits Celis - 'Da Uno A Cinque', Op. 27: II. Molto Agitato - Allegro Con Fuoco - Molto Tranquillo

7. Harald Genzmer - Bass Clarinet Sonata: I. Moderato

8. Harald Genzmer - Bass Clarinet Sonata: II. Presto

9. Harald Genzmer - Bass Clarinet Sonata: III. Intermezzo: Tranquillo

10. Harald Genzmer - Bass Clarinet Sonata: IV. Finale: Vivacissimo, Moderato

11. Dietrich Erdmann - Bass Clarinet Concerto: I. Adagio,Vivace

12. Dietrich Erdmann - Bass Clarinet Concerto: II. Adante, Quasi Sostenuto

13. Dietrich Erdmann - Bass Clarinet Concerto: III. Poco Adagio, Cantabile

14. Dietrich Erdmann - Bass Clarinet Concerto: IV. Allegro Grazioso

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The Rita - Lip Line

Unlike other promising new material (see splits with Skin Crime and Bacillus from last year, posted below), this 2019 release on Fall into Void Recs continues Mr. McKinlay's unfaltering obsession with the use of makeup and ballet tutorials from YouTube as source audio for HNW. This isn't to say this isn't an enjoyable release; the stuttering, extremely dense fuzz assault is satisfying in a way that only this project can provide. 

A. Lip Line I
B. Lip Line II

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Mlehst - Poacher Turned Gamekeeper Turned Poacher

A three cassette collection from English noise veteran All Brentnall's Mlehst project. Active since 1991, this project has seen something of a renaissance of activity in recent years. This project, released in an edition of 100 on the ever-interesting New Forces label in 2015, appears to be reminiscent of the 12 chapter 'History of Mlehst' series released on Self Abuse Records between 2004 and 2007 in that it is collection of remixes and snippets - although here there seems to be new material thrown in too (it could even all be new, this is only speculation). Brentnall's music tends to be more diverse than straight up harsh noise; he utilises cut-ups and vocal samples as he drags us through his murky mind-sphere. The effect is as jarring as it is fascinating. Mlehst's themes have always drifted between the forlorn and cerebral ('Living Without Feeling' from 1998 or 'The Difficulty in Crossing a Field' from the same year), English historical themes ('A Puritan Am I' or 'OhUaithnin hEoghanain' from 2006 and 'Cairdean Droich Oir' from 2010) and all-out sexual perversion (1995's 'Swollen Inside a Mouth', 2014's 'Cunt Trouble' or 2019's 'Bring Back the Whipp'). All these themes are at play here, it seems, from the darkly pastoral title and track titles like 'St. Simon of Trent', 'Can Such Things Be?' and 'Adversity and Loss Make a Man Wise' juxtaposed with the more (shall we say) visceral 'Anal Beading' and 'Toe Queen.'

A1. Temperance (Remix)
A2. Vilification (Extracts)
A3. Can Such Things Be? (Full Track)
A4. Babas Empty (New Track Remix)
B1. Babas Empty (New Track Remix)
B2. Adversity And Loss Make A Man Wise (Full Track)
B3. Anal Beading (Extract)
B4. Toe Queen (Full Track)

C1. Brigh Gach Cliché (Full Track)
C2. St Simon At Trent (Full Track)
C3. Dreadful Wind And Rain (Remix)
C4. The Blind Mans Ayes (Extract)
D1. Waters Flowing Eastward (Extract)
D2. Tyranny Of Reason (Full Track)
D3. Rope Uncoiling (Full Track)
D4. As A Man Thinketh Not (Extract)

E1. Heogh (New Realization)
E2. Another Cross To Bear (Full Track/Mix)
F1. Aymeric In Cahors (New Realization)
F2. Ringers (New Realization)
F3. Liars Folly (New Realization)

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Richard Wagner - Das Rheingold

"Wagner’s tetralogy, 'Der Ring des Nibelungen' ('The Ring of the Nibelung') was first performed as a whole in August 1876 at the new Festspielhaus in Bayreuth. The complete cycle consists of a Prologue, 'Das Rheingold' ('The Rhinegold'), followed the next day by 'Die Walküre' ('The Valkyrie'), and then by 'Siegfried', leading up to the final 'Götterdämmerung' ('Twilight of the Gods'). The texts had been completed byWagner by 1853 and the completion of the music and performance of the whole cycle in a specially created operahouse of novel design represented a summit of creative achievement, the apotheosis of German art. Leading motifs associated with characters, events and ideas in the drama, recur, interwoven to unify the whole conception.

"The sources of the drama were found in Icelandic sagas, the thirteenth-century Middle High German 'Das Nibelungenlied' and the Old Norse 'Thidreks Saga af Bern', but Wagner had recourse to a wide range of other reading, while the structure of the tetralogy and the underlying theme of the curse owes a strong debt to Aeschylus and Greek tragedy. The music of 'Das Rheingold' was completed in 1854 and follows the principles Wagner had laid down in his treatise of 1851, Opera and Drama, principles that he was to follow less rigidly in later works. In his text he made use of a form of Stabreim, the Old High German alliterative verse, familiar to English readers from early English texts. The orchestration of 'Das Rheingold' uses quadruple upper woodwind, three bassoons, eight horns, four tubas, with contra bass tuba, quadruple trumpets and trombones, a percussion section that includes an array of anvils for the Nibelungs, six harps, with a seventh on stage, and a large string section. The score was published in 1864, with a fulsome dedication to dem königlichen Freunde (the royal friend), King Ludwig II of Bavaria, and the work was first performed at the Court and National Theatre in Munich in 1869. Wagner used the occasion to intrigue, from his villa at Triebschen in Switzerland, in order to defeat his Munich opponents in the theatre administration, hoping to be recalled to save a performance from which his protégé, the young Hans Richter, had, on Wagner’s instructions, withdrawn, after the expected problems with the complicated stage machinery involved. In the event the work, on the orders of King Ludwig, who was losing patience, went ahead and was given a successful performance under another conductor." (Keith Anderson. From the liner notes.)

Performers: Hong Kong Philharmonic Orchestra, Jaap van Zweden, Matthias Goerne, Michelle DeYoung

1.1. Vorspiel
1.2. Szene I: 'Weia! Waga! Woge, Du Welle!'
1.3. Szene I: 'Hehe! Ihr Nicker!'
1.4. Szene I: 'Garstig Glatter Glitschiger Glimmer!'
1.5. Szene I: 'Lugt, Schwestern! Die Weckerin Lacht In Den Grund'
1.6. Szene I: 'Nur Wer Der Minne Macht Entsagt'
1.7. Szene I: 'Der Welt Erbe Gewann' Ich Zu Eigen Durch Dich'
1.8. Szene I: 'Haltet Den Räuber!'
1.9. Szene II: Einleitung
1.10. Szene II: 'Wotan! Gemahl! Erwache!'
1.11. Szene II: 'So Schirme Sie Jetzt'
1.12. Szene II: 'Sanft Schloss Schlaf Dein Aug'!'
1.13. Szene II: 'Was Sagst Du Ha! Sinnst Du Verrath'
1.14. Szene II: 'Du Da, Folge Uns Fort!'
1.15. Szene II: 'Endlich Loge! Eiltest Du So'
1.16. Szene II: 'Immer Ist Undank Loges Lohn!'
1.17. Szene II: 'Ein Runenzauber Zwingt Das Gold Zum Reif'
1.18. Szene II: 'Hör', Wotan, Der Harrenden Wort!'
1.19. Szene II: 'Schwester! Brüder! Rettet!'
1.20. Szene II: 'Wotan, Gemahl, Unsel'ger Mann'
1.21. Szene III: Verwandlungsmusik
1.22. Szene III: 'Hehe! Hehe! Hieher! Hieher! Tückischer Zwerg!'

2.1. Szene III: 'Schau, Du Schelm!'
2.2. Szene III: 'Nibelheim Hier: Durch Bleiche Nebel'
2.3. Szene III: 'Nehmt Euch In Acht! Alberich Naht'
2.4. Szene III: 'Die In Linder Lüfte Weh'n Da Oben Ihr Lebt'
2.5. Szene III: 'Ohe! Ohe! Schreckliche Schlange'
2.6. Szene III: 'Dort, Die Kröte, Greife Sie Rasch!'
2.7. Szene IV: 'Da, Vetter, Sitze Du Fest!'
2.8. Szene IV: 'Wohlan, Die Nibelungen Rief Ich Mir Nah''
2.9. Szene IV: 'Gezahlt Hab' Ich; Nun Laßt Mich Zieh'n!'
2.10. Szene IV: 'Ist Er Gelöst'
2.11. Szene IV: 'Lauschtest Du Seinem Liebesgruß'
2.12. Szene IV: 'Lieblichste Schwester, Süsseste Lust!'
2.13. Szene IV: 'Gepflanzt Sind Die Pfähle Nach Pfandes Maß'
2.14. Szene IV: 'Weiche, Wotan, Weiche! Flieh' Des Ringes Fluch!'
2.15. Szene IV: 'Soll Ich Sorgen Und Fürchten'
2.16. Szene IV: 'Halt, Du Gieriger! Gönne Mir Auch Was!'
2.17. Szene IV: 'Nun Blinzle Nach Freias Blick!'
2.18. Szene IV: 'Heda! Heda! Hedo! Zu Mir, Du Geduft!'
2.19. Szene IV: 'Bruder, Hieher! Weise Der Brücke Den Weg!'
2.20. Szene IV: 'Abendlich Strahlt Der Sonne Auge'
2.21. Szene IV: 'So Grüss' Ich Die Burg'
2.22. Szene IV: 'Rheingold! Rheingold! Reines Gold!'

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Othmar Schoeck - Penthesilea

"He was a quiet artist, a composer who consciously chose to avoid styles and schools. Is the time perhaps now ripe for us to appreciate him not only as a 'pioneer' who set out in completely new directions but also as a 'perfecter'? 

"By 'we' I mean the third generation of music lovers no longer completely under the spell of the Second Viennese School, we who no longer as our fathers — often at the risk of life and liberty — have to contend for Schönberg and his circle, who can finally utter names like Zemlinsky, Schreker, Busoni, Korngold or Schoeck without fear of ridicule, as was the case just ten or twenty years ago. Nothing is more cruel than time: it enshrouds the past. Yet nothing is more just: it allows us to rediscover, to hear and see anew; it turns victory to defeat and corrects misunderstandings. 

"How many of these misunderstandings must be corrected? It would suffice to correct just one — namely, that except for 'Elektra', 'Erwarning', and 'Wozzeck', only second-rate works were composed. He certainly didn't make it easy for us, the 'minor Swiss Lieder composer' Schoeck. Why did he choose Kleist of all people? And why his grimmest work, 'Penthesilea'? Why the bizarre instrumentation: only four solo violins, but a disproportionate number of violas, cellos and double-basses; no harps, instead two pianos, no bassoons, only a bass bassoon, but ten (!) clarinets, four trumpets in the orchestra and three much-used trumpets on stage. A devil's advocate would identify one particular sore spot for the performers: the demands placed on the singers who must move from the sung to the spoken word, and not to dialogue à la 'Fidelio', but to the most demanding Kleist verse — a challenge for even the best stage actors. 

"If I may reply as Schoeck's advocate: Could a director or dramaturge have edited the work more expertly for the stage than Schoeck has? Who could not succumb, after repeated listening, to the austere, yet expressive sound of the orchestra. And on the transition from the sung to the spoken word, Schoeck's friend Hermann Hesse observed that 'throughout the work, with an almost frightening confidence, the finger is placed on the centre, on that point where the experience of the poem converges on a single word or on the vibrations between the words'. Again and again we are confronted — and estranged — by how much more conservative musicians are than writers or artists. There they sit on the treasure of the 'time-proven' and 'familiar', like Fafner guarding the Rheingold. The time has come to add the gold piece 'Penthesilea' to the hoard." (Gerd Albrecht, tr. Lionel Salter. From the liner notes.)

Performers: Symphonieorchester und Chor des ORF, Gerd Albrecht, Helga Dernesch, Jane Marsh, Marjana Lipovšek, Theo Adam

1. 'Was Gilt's? Dort Naht Die Unheilkunde Schon'
2. 'Hetzt Alle Hund' Auf Ihn!'
3. 'Hier, Meine Wackeren Aetolier, Heran!'
4. 'Der Weicht, Ein Schatten, Vom Platz'
5. 'Sie Lebt Nicht Mehr'
6. 'Penthesilea! O Du Träumerin'
7. 'Er Wär' Gefangen Mir?'
8. 'Komm Jetzt, Du Süßer Nereidensohn'
9. 'Wir Treten Jetzt Die Reise Gleich Nach Themiscyra An'
10. 'Argiver Nah'n, Erhebt Euch!'
11. 'Triumph, Triumph!'
12. 'Ein Herold Naht Dir, Königin'
13. 'Ha! Stellt Sie Sich?'
14. 'Entsetzen! O Entsetzen!'
15. Trauermarsch/'Seht! Seht Ihr Frau'n'
16. 'Ach, Prothoe'
17. 'Was Brütet Sie, Die Schreckliche, Wohl Jetzt?'

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Richard Strauss / Richard Wagner / Charles Gounod - Recital

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

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

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

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

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

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

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Joni Mitchell - Mingus

Recorded in 1979 with a sensational jazz fusion lineup including Jaco Pastorius, Wayner Shorter and Herbie Hancock, this is Mitchell's epitaph for the bassist and bandleader. Throughout are home recordings ('raps'), provided by Mingus's wife, which add a sense of intimacy with the album's subject. Mitchell herself is in excellent form; her cool, languid vocals and lyrics spreading a fine match of humour and cerebral reflection over the often otherworldly backing of the other musicians. Mingus lived to hear every song here except "God Must Be a Boogie Man", and it's certain he approved of this send-off. While the shadow of mortality looms large over this music, it is also a deeply personal celebration of a great man's life.

Performers: Joni Mitchell (gt, vo), Wayne Shorter (s-sx), Herbie Hancock (e-pi), Jaco Pastorius (e-bs), Peter Erskine (dr), Don Alias (cg), Emil Richards (pc)

1. Happy Birthday 1975 (Rap)
2. God Must Be A Boogie Man
3. Funeral (Rap)
4. A Chair In The Sky
5. The Wolf That Lives In Lindsey
6. I's A Muggin' (Rap)
7. Sweet Sucker Dance
8. Coin In The Pocket (Rap)
9. The Dry Cleaner From Des Moines
10. Lucky (Rap)
11. Goodbye Pork Pie Hat

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Yusef Lateef - Roots Run Deep

Recorded in 2004 and released the year before his death in 2013, 'Roots Run Deep' is an incredibly intimate and haunting collection of music and spoken word, one that is a rare insight into the thoughts of a man with a unique connection to the American musical tradition. The impression is that we are allowed into Lateef's innermost thoughts: whether the fascinatingly jocular musings on 'Cream Puff' or the haunting vocals and lyricism of the theme 'Roots Run Deep'. As the final generation most deeply connected to this music passes on, this look inside the mind of an American musical giant is welcome and to be treasured. Lateef pines on 'Interior Monologue': "There is no escape. Death will overtake us all some day."

Performer: Yusef Lateef (t-sx, fl, pi, vo)

1. Roots Run Deep I
2. Cream Puff
3. Where Is Lester?
4. Motherless Child
5. Goodbye
6. Interior Monologue
7. Roots Run Deep II

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Gil Scott-Heron - I'm New Here

Scott-Heron's swan song. This was his first recording in thirteen years, and would be his last. There is a stunning immediacy here, as if the man was in some remote way conscious of death's shadow as he recalls his upbringing and lays down a stirring hip-hop rendition of Robert Johnson's 'Me and the Devil'. An excellent comparison would be Yusef Lateef's 'Roots Run Deep', also a collection of spoken and musical material that sounds startlingly fresh and modern, but also possesses a sense of the lingering finality of death. Joni Mitchell's 'Mingus' also comes to mind, for similar reasons. Backing Scott-Heron's husky, wisened vocals is an excellent mixture of urbane contemporary production provided by XL Recordings chief Richard Russell. Interestingly, this album now has two remixed releases: Jamie xx's even more modern 'We're New Here' and Makaya McCraven's 'We're New Again', which has a more nostalgic vintage feel. Both speak to the continuing relevance of this album (and Scott-Heron himself) in contemporary music.

1. On Coming From A Broken Home (Part 1)
2. Me And The Devil
3. I'm New Here
4. Your Soul And Mine
5. Parents (Interlude)
6. Ill Take Care Of You
7. Being Blessed (Interlude)
8. Where Did The Night Go
9. I Was Guided (Interlude)
10. New York Is Killing Me
11. Certain Things (Interlude)
12. Running
13. The Crutch
14. I've Been Me (Interlude)
15. On Coming From A Broken Home (Part 2)

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Bill Evans - Explorations

"Explorations was recorded at a point when Evans was still dividing time between his own band and various sessions for others. But what sessions: through the winter of ’60-’61, he was called on to contribute to now classic albums like 'The Great Kai & J.J.' and 'The Kai Winding Trombone Choir', and Oliver Nelson’s groundbreaking exercise in substitute harmony, 'Blues and The Abstract Truth'—all three for Creed Taylor’s Impulse Records. For Riverside, Evans’s home label, he appeared on Cannonball Adderley’s 'Know What I Mean?'—the pianist’s 'moody delicacy' a focal point on a reunion of two members of Miles Davis’s Kind of Blue sextet that, on the title track, revisited modal territory.

"Though Evans underplayed his own flexibility ('I think it was a good thing I didn’t have a great aptitude for mimicry [...] because I had to build my own musical style,' he commented in 1960), he proved his ability to step outside his own style and ably handle a wide, musical range—especially on the Johnson-Winding album. But when it came to his own group, Evans’s sound and approach was his own by '61. His piano style had fully matured, as had the interplay of the trio. The road had helped. Evans had kept up a steady flow of work in and outside of New York City through the previous year. Upon entering Bell Sound’s studio on February 2, 1961, producer Orrin Keepnews immediately noted the three had 'made giant strides towards the goal of becoming a three-voice unit rather than a piano player and his accompanists [...] [Bill’s] interweaving with Scotty and the freedom this truly unusual bassist was afforded were very much up front.'

"Despite a couple of troublesome issues—a simmering argument between Evans and LaFaro, a lingering headache bothering Evans—the date went smoothly. The choice of material was typical of the pianist. He liked to balance old and new, with an 'emphasis on the reworking of standard tunes,' Keepnews recalls.

"Evans revived a few ballads that many might have dismissed as overplayed or trite—'How Deep Is the Ocean?,' 'Sweet and Lovely'—revealing new harmonic and emotional possibilities in their oft-played themes. He favored vocal numbers popular during his teens and twenties—like 'The Boy Next Door' and 'Beautiful Love'—and introduced a melody not yet part of the modern jazz canon: 'Haunted Heart.' He also turned to tunes from his personal circle, including Earl Zindars’s 'Elsa' (which he also brought to Adderley’s 'Know What I Mean?' project), Miles Davis’s 'Nardis' (originally recorded on Adderley’s Riverside debut in 1958), and John Carisi’s blues number 'Israel' (covered by Davis’s legendary 'Birth of the Cool' ensemble in 1949.)

"Looking back, Keepnews marvels at 'the relaxed pace that predominates here. 'The performances do, as a whole, share a laid-back energy, yet closer inspection reveals the approach to tempo to be subtly varied, often within the same performance. Energy rises and ebbs throughout. Motian crackles and with the deliberative feel of a painter’s strokes, defines both swing and structure. Evans reveals his growing reliance on, and adept use of block chords. Check out how LaFaro subtly shifts the mood when he steps forward on 'Beautiful Love,' or shares the wheel with Evans on the giddily upbeat 'Sweet and Lovely.' Or his extended solo on 'Nardis,' an exemplar of full-range flexibility on bass—then check his long, legato notes that support Evans’s ensuing statement.

"Other tracks merit repeated listening: The refined bebop flavor and hip contours of 'Israel'; small surprise it was chosen to open the album. The slowly unveiled melody of 'Haunted Heart,' dazzling in its simplicity as Evans feels his way through it, avoiding needless embellishment or sentimentality. The way he jumps into his own inventions right at the start of 'How Deep Is The Ocean?,' getting around to clearly stating the melody at the end.

"Keepnews recalls that 'Evans was full of openly expressed negative feelings during the date,' and admits 'I felt equally negative [...] Although I kept insisting that the music sounded just fine, that was mostly pep talk.' Weeks later, when the two sat down to playback the tracks and plan the album, 'we were equally surprised when later listening proved my words to have been accurate,' Keepnews adds." (Ashley Kahn. From the liner notes to the 2011 OJC reissue.)

Performers: Bill Evans (pi), Scott LaFaro (bs), Paul Motian (dr)

1. Israel
2. Haunted Heart
3. Beautiful Love
4. Elsa
5. Nardis
6. How Deep Is The Ocean
7. I Wish I Knew
8. Sweet And Lovely

flac/16-bit

Pete Rock & C.L. Smooth - Mecca and the Soul Brother

The masterwork of this duo, 1992's 'Mecca and the Soul Brother' shows both DJ Pete Rock and MC C.L. Smooth in peak form. C.L.'s delivery is incredibly fluid, reminiscent of a time when New York rap wasn't dominated by Rakim's style. The beats, however, are the real centrepiece here: Pete Rock's command of samples and turntablism is as incredible to witness as it is smooth, natural and effortless. There is a sense of fun and good times on this album; more serious than Jungle Brothers perhaps but not overwhelmed by themes of crime and social disarray as hip-hop albums would increasingly be towards the middle of the decade. The album is peppered with snippets and freestyle sessions that have real energy and fun flowing through them.

1. Return Of The Mecca
2. For Pete's Sake
3. Ghettos Of The Mind
4. Lots Of Lovin
5. Act Like You Know
6. Straighten It Out
7. Soul Brother #1
8. Wig Out
9. Anger In The Nation
10. They Reminisce Over You (T.R.O.Y.)
11. On And On
12. It's Like That
13. Can't Front On Me
14. The Basement
15. If It Ain't Rough, It Ain't Right
16. Skinz

flac/16-bit

Jeru the Damaja - The Sun Rises in the East

1994 could easily be considered a high water mark in the development of hip-hop. The right configuration of talent and competition, the viability of sample-based music, the ever-growing popularity of the style combined with crime problems that meant a sense of gritty reality didn't have to be reached for meant that several classic albums were released that year. This album could easily take pride of place next to New York classics like Nas's 'Illmatic' or The Notorious B.I.G.'s 'Ready to Die'. Jeru's delivery is razor sharp and has real punch; combined with DJ Premier's insanely gritty and tight production it doesn't seem like he can fail. Premier's unrivaled talent for DJing, sampling and boom bap drums are on full display here, and he shows a sense of minimalism that's uniquely satisfying. There's no doubt Jeru is the star here, but this is definitely a collaboration between the two artists.

1. Intro (Life)
2. D. Original
3. Brooklyn Took It
4. Perverted Monks In Tha House (Skit)
5. Mental Stamina
6. Da Bichez
7. You Can't Stop The Prophet
8. Perverted Monks In Tha House (Theme)
9. Ain't The Devil Happy
10. My Mind Spray
11. Come Clean
12. Jungle Music
13. Statik

flac/16-bit

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!'

flac/16-bit

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

flac/16-bit

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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