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1 CD -
8-557525 - (c) 2007
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THE ROBERT
CRAFT COLLECTION - The Music of Arnold
Schoenberg - Volume 7 |
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Arnold
SCHOENBERG (1874-1951) |
Six
Songs, for Soprano and Orchestra,
Op. 8 (1903-1904)
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25' 23"
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Natur
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3' 52" |
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1 |
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Das Wappenschild |
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4' 14" |
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2 |
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Sehnsucht
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1' 39" |
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3 |
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Die ward ich, Herrin, müd'
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5' 03" |
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4 |
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Voll jener Süsse
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5' 49" |
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5 |
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Wenn Vöglein klagen
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4' 46" |
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6 |
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Friede
auf Erden, Op. 13 (1907)
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8' 35" |
7 |
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Six
Pieces, for Male Chorus a
cappella, Op. 35 (1929-1930) |
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13' 01" |
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Hemmung
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1' 54" |
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8 |
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Das Gesetz
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2' 56" |
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9 |
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Ausdrucksweise
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2' 37" |
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10 |
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Glück |
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1' 17" |
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11 |
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Landsknechte
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4' 17" |
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12 |
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Verbundenheit
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2' 04" |
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13 |
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Ei,
du Lüttle (1895/96)
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°
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1' 04" |
14 |
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Kol
Nidre, for Rabbi-Narrator, Mixed
Chorus and Orchestra, Op. 39
(1938)
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°°
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13' 10" |
15 |
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Moses
und Aron (1932): Excerpts from
"The Golden Calf and the Altar"
(Act II, Scene 3) (1932)
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°°° |
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15' 13" |
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Bar 320-457
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5' 23" |
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16 |
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Bar 671-820: Chorus of the Seventy
Elders / The Four Maidens
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5' 59" |
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17 |
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Bars 824-912: The Dance
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3' 51" |
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18 |
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Jennifer
Welch-Babinge, Soprano
*/°°°
David
Wilson-Johnson, Rabbi-Narrator
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PHILHARMONIA
ORCHESTRA */°°/°°°
SIMON JOLY CHORALE
**/***/°/°°/°°°
Robert CRAFT, conductor |
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Luogo
e data di registrazione |
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Abbey
Road Studio One, London (England):
- 6 and 7 June 2006 (Op. 8; Ei, du
Lüttle)
- 7 June 2006 (Op. 13)
. 20 September 2005 (Op. 35)
- 1 May 2005 (Op. 39)
- 28 to 30 November 2003 (Moses
und Aron)
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Registrazione:
live / studio |
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studio |
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Producer |
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Philip Traugott
Richard Price (Moses und Aron)
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Engineer |
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Mike
Hatch
Arne Akselberg and Mike Cox (Moses
und Aron)
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Editor |
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Raphaël
Mouterde
Richard Price (Moses und Aron)
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NAXOS Edition |
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Naxos
- 8.557525 | (1 CD) | LC 05537 |
durata 78' 31" | (c) 2007 | DDD
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KOCH previously
released |
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Nessuna
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Cover |
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The
Adoration of the Golden Calf
by Nicolas Poussin (1594-1665),
National Gallery, London / The
Bridgeman Art Library)
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Note |
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Volume VII of the
Robert Craft Schoenberg Collection
begins with the early Six
Songs for Soprano and Orchestra,
in which the obvious harmonic and
melodic influence of Wagner is
counterbalanced by a more personal
instrumentation. For the
originality and the musical
beauties of Six Pieces for
Male Chorus to be performed
with accurate intonation, utmost
clarity and balance of the
polyphonic lines has taken
three-quarters of a century. Kol
Nidre is a little-known
small-scale masterpiece. The
excerpts from the ‘Golden
Calf’ scene of Schoenberg’s
unfinished opera Moses und
Aron depict the sacrifice of
the Young Girl and a quartet of
Naked Virgins, followed by an orgy
of destruction and suicide.
Six Songs, Op. 8, for Soprano
and Orchestra
'Natur' (Nature). Text by Heinrich
Hart. Completed 7 March 1904. The
first song of the cycle
establishes the pattern of brief
orchestral introductions and
conclusions for the other five.
The influence of Wagner on the
harmonic and melodic language
throughout the cycle is obvious,
but the instrumentation is more
personal. The underlying
polyphonic presence, and the
cadential resolutions are new and
original.
'Das Wappenschild '(The
Coat-of-Arms) was completed in
Vienna on 4 April 1904, then
revised on 9 May 1904. Schoenberg
wrote on the manuscript of the
latter that the succession of keys
at the end is "entirely new, a
different turn of direction to
major: E major, B minor, C sharp
major". The style is still
indebted to Die Walküre, most
overtly at bar 429, and the
orchestral postlude is unusually
extended. The penultimate bar
exposes a full octave whole-tone
scale, which Schoenberg continued
to favour in his next opus, the Chamber
Symphony, Op. 9. A
preliminary version of this song
is dated November 1903, indicating
that it was the first to be
composed.
In contrast to 'Das Wappenschild',
'Sehnsucht' (Longing), completed
in Vienna, 7 April 1904, is scored
for a chamber orchestra of only
twelve winds and a much reduced
string ensemble.
'Nie ward ich, Herrin, müd …'
(Ne'er, Mistress, did I weary).
Schoenberg's setting of the text,
translated from Petrarch by Stefan
George, was completed on 3 July
1904, at the composer's home in
Mödling. Erwin Stein's piano
reduction did not satisfy
Schoenberg, and he enlisted Webern
to re-do it.
'Voll jener Süsse…' (Filled with
that sweetness), text by Petrarch
(translated by Stefan George), was
completed in Vienna in November
1904. It has been the most popular
of all Schoenberg's Lieder.
'Wenn Vöglein klagen …'(When
little birds twitter), text by
Petrarch (translated by Stefan
George), was completed on 7 March
1904. An incomplete sketch score
survives from 1903. The
instrumentation of each song is
remarkably different; thus the
harp plays in No. 1 only and the
full percussion only in No. 2. The
tuba part is unusually prominent.
Friede auf Erden, Op. 13
Friede auf Erden (Peace on Earth),
Op. 13, for a cappella mixed
chorus, with text by Frederick
Meyers, was completed on 3
September 1907. In June 1911
Schoenberg provided an optional
orchestral accompaniment "to make
clean intonation possible for the
chorus singers, if they cannot
attain it without this".
Six Pieces for Male Chorus a
cappella, Op. 35
Now, three-quarters of a century
after they were written, the Six
Pieces for Male Chorus, a
cappella, Op. 35, is being
performed with accurate
intonation, utmost clarity and
balance of the polyphonic lines,
and with élan. The originality and
the musical beauties of the work
can at last be heard and not
simply analyzed.
First-time listeners should
perhaps begin with the last piece
of the group, 'Verbundenheit'
(Obligation), since its harmonic
make-up is entirely tonal-triadic.
The first of the six in order of
composition (16-19 April 1929), it
follows Schoenberg's purely tonal
arrangements for a cappella mixed
chorus of three sixteenth-century
German folk-songs, completed in
February 1929. The form of
'Verbundenheit',a dialogue between
basses and, later, tenors, and the
whole chorus, is supremely limpid.
The solo line is sung at a
stronger dynamic level than the
full choral responses. The
intervals of the principal melody
at the beginning are inverted at
the midpoint of the piece, where
the principal line passes to the
tenors in a new key.
The actual first piece,
'Hemmung'(Inhibitions), was
completed on 19 February 1930, the
other four during the following
month. The harmony begins in a
tonal triad, and also like it,
distinguishes one of the four
choral parts dynamically, as well
as by a different metre and
accentuation. The second section
is marked by a change to faster
note-values, triplets, then
sixteenths (quavers), the latter
leading, through a crescendo, to
music similar to that of the
beginning, but in forte, though
the ending is quiet, and the last
chord tonal-harmonic.
The second piece, harmonically
dense and contrapuntally complex,
is appropriately titled 'Das
Gesetz'(The Law). The rhythmic
movement and figuration is steady
nearly throughout. The use of
ostinato, shortly before the
mid-point, in the bass part is a
novelty, a major third figure
repeated for three bars, then
transposed and changed to a minor
third repeated for two more bars.
'Ausdrucksweise' (Expression), the
third piece, is a philosophical
rumination, as difficult to
understand textually as it is
musically, for which reason, no
doubt, the composer, who wrote the
words for all six pieces, provided
it with his "leading voice"
indication in the second bass and
first tenor parts. Several changes
of tempo are required and a faster
section near the end brings relief
through a passage of repeated
notes in the inner voices.
'Glück' (Happiness), the fourth
piece, is a welcome contrast,
brisk in tempo, staccato in
articulation, and short in
duration. At one place near the
middle the chorus divides into
eight parts, for an antiphonal
game between basses and tenors
that anticipates the whole of the
fifth piece.
'Landsknechte' (Mercenaries) is a
lively, playful, rhythmical march.
The text, for the most part,
consists of soldiers' invented
marching-rhythm words: tapp,
tapp; hopp, hopp;
tuturu; pumparupru.
For the most part the basses are
assigned to drum-like
accompaniment music, but the first
basses and the first tenors must
also produce a yodeling figure,
and the top tenors are required to
trill. The pitch range extends
from high C in the top tenors to
the C three octaves below in the
second basses.
Ei, du Lütte
'Ei, du Lütte' (Oh, you little
one) was composed in 1895 or 1896,
when Schoenberg was 21. The text
of this a cappella mixed chorus
song, the shortest (under a
minute) that Schoenberg ever
wrote, is by Klaus Groth
(1819–1899) and the language is
Plattdeutsch (the Low German
dialect). The music is exuberant
and delightful.
Kol Nidre, for Rabbi-Narrator,
Mixed Chorus and Orchestra, Op.
39
The music of Kol Nidre was
composed between 1 August and 22
September 1938. In a letter to
Paul Dessau, Schoenberg reveals
that he altered the traditional
text of Kol Nidre because he was
shocked by the conception that
"all obligations undertaken during
the year should be dissolved on
the Day of Atonement, which
contradicts the high ethical
quality of all Jewish
commandments". He also identified
the text as Sephardic Spanish, and
realised that it pertained to Jews
who had "gone over to
Christianity". "There is no
authentic single version of the
melody", he further pointed out,
but "only a number of melismas. I
have added to the total effect by
establishing a motivic basis." But
Schoenberg's deviations from the
Orthodox ritual resulted in the
banning of his version from use in
synagogues. The substantial
orchestral introduction begins
with a florid oriental melody in
the flute. Kol Nidre is a
little-known small-scale
masterpiece.
Excerpts from ‘The Golden Calf
and The Altar' (Moses und Aron,
Act II, Scene 3)
The time is evening. Fires are
kindled under the pots. Roasting
and stewing begin. With increasing
darkness large fires are started
everywhere. Torches are lighted
and people run to and fro with
them. Skins of wine and oil are
distributed. Wine and oil are
poured into large jars. In the
background the slaughtering
continues.
The music begins with a six-chord
fanfare played by horns,
trombones, and tuba. Preparing for
a sacrifice, the followers of Aron
assemble their livestock,
slaughter the beasts, and throw
pieces of meat to the crowd. The
music of The Dance of the
Butchers is notable for the
melody sounded by two mandolins,
piano, celesta, and harp, playing
in unison, and accompanied by
violins and violas playing on open
strings. A dialogue between the
trombone and the upper woodwinds
follows. The last voice in the
excerpt is that of the Young Girl,
who is joined by a quartet of
Naked Virgins. She and her
companions are sacrificed by the
priests of the Calf. An orgy
follows, but at this point the
excerpt ends.
At the proper moment a path is
opened in the background for the
entrance of the Tribal Leaders,
who gallop in; several people
press forward from various sides
toward the Golden Calf, then form
themselves into two groups: male
and female beggars on one side,
old men on the other side.
© 2007 Robert Craft
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