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Richard STRAUSS (1864-1949) 
Richard Strauss Edition: orchestral works, operas, chamber music, lieder.
Full track-list at end of review.
BRILLIANT CLASSICS 9249 [35 CDs + CD-ROM]
 

Experience Classicsonline


To the best of my knowledge no-one has ever issued such a broad-ranging and fascinating Richard Strauss collection. Brilliant Classics can take pride in that. That it should be issued from that source is also to the listener’s benefit as it comes at the usual rock-bottom price.
 
I have sampled my way through this set in the interests of speed and I report accordingly. In many cases I have been familiar with these recordings over the years and have also referenced the reviews of others more familiar and on occasions more sympathetic to this composer’s music.
 
The recordings derive principally from EMI and Arts and were made in the period from the ‘middish’ 1940s to the mid-1990s. The middle ground is occupied in the 1970s by EMI in Dresden and by Arts in Munich in the 1990s. The preponderance of the recordings were made after the composer’s death, are studio analogue events and only one is self-evidently historical: the atmospheric Strauss-accompanied radio-originated lieder on CD34.
 
The chapter-scheme of this 35 disc box is pretty obvious and easy to grasp. You get all of the Kempe/Dresden orchestral music, including the various concertante works, for a start. Then comes the complete chamber music – pretty well all of it is rarely encountered. This includes three CDs of music for solo piano and piano four hands. Like the Kempe orchestral cycle (Brilliant Classics 7591) the chamber works and piano solos have been issued previously (all nine discs) on Brilliant Classics. This means that if you are averse to the chamber music you could go for the Kempe set alone or vice versa. That accounts for eighteen of the 35 CDs. Then comes a parting of the ways. From now on the discs represent selections from the various genres in which Strauss expressed himself. The operas showcased are starry indeed Rosenkavalier (Karajan, 1956), Elektra (Sinopoli, 1995), Salome (Böhm, Hamburg, 1970), Ariadne auf Naxos (Sinopoli, Dresden, 2000), Die Frau ohne Schatten (Keilberth, Munich, 1963) and Friedenstag (Sinopoli, Dresden, 1999).
 
The collection includes Mitsuko Shirai in a CD of 13 songs with piano. Then there’s a selection of 34 songs with various singers and the composer in sprightly old age as pianist. A final 1993 anthology disc of songs with orchestra (including the Four Last Songs as the final tracks on the last disc): Charlotte Margiono with that fine Straussian Edo de Waart. I should not have skipped over CD 19 (EMI derived: 0724355657251) which has some extremely interesting works for voices and orchestra (conducted by Michel Plasson): the choral ballad Taillefer (also Arte Nova) alongside other rarities: Die Tageszeiten and Wandrers Sturmlied. Also to be noted is CD 18 with a short piece for harmonium sandwiched between two melodramas for narrator and piano.
 
The analogue recordings that make up the nine CDs of the Kempe orchestral collection date from the first half of the 1970s. EMI, with exhilarating confidence, issued these in three whopping great LP boxes in the 1970s. Since then they have been reissued several times in most media. Made in Dresden’s Lukaskirche they have left an enduring and benign signature on the Strauss scene. They may now lack the extremes of impact of the best digital originals but are no slouch in terms of ripeness of reported detail. The sense of perspective and depth is very skilfully put across – try the first five minutes of Also Sprach Zarathustra which is in a single 33 minute track. There’s generous tracking elsewhere – for example in Heldenleben, Quixote and the two named symphonies. This leaves plenty of scope for study. The Rosenkavalier waltzes emerge plush and rejoice in a horn sound that is both gorgeously affluent and eruptively Rubens-like. The aggressive six-pack confidence of the Kempe Don Juan flares magnificently. It ripples and flexes with power and mercurially changeable poetry in Heldenleben. The less energetic and more soloistic moments are given a tactful but unmistakable prominence much to the listener’s enrichment.
 
Listening now takes me back to my discovery of the main scores, which in my memory are related to Ken Russell’s outrageous BBC TV programme on Strauss (recently excerpted in a BBC2 feature on Russell (1927-2011), 15 January 2012). It also reminds me of the story Bax (another of Russell’s musical passions) told of sitting in a train in Germany with Balfour Gardiner and seeing how many notes they could elide from the crowded full score of Heldenleben and yet leave the music essentially intact.
 
This collection allows you to explore at leisure rarities such as Macbeth (which I had the unexpected pleasure of hearing in concert in 2002 in Lübeck) and the Josephslegende fragment - Sinopoli recorded the whole ballet for DG in 1999. With the exception of the two horn concertos the other works for solo and orchestra are far from common whether on record or in concert. The super-confident Violin Concerto has been recorded in recent years by Pavel Sporcl for Supraphon and by Sarah Chang for EMI (724355687029). Ulf Hoelscher is rapture itself here, secure and overflowing – you might say the same of the music itself. Here is a young composer totally in command of his creative resources even if the turbo-charged writing heaves with its creator’s signature hubris. The recording complements an exuberant performance of an exuberant work. CD8 is packed to capacity – running to 79:16 - with the wind instrument concertante works. Peter Damm’s euphonious and ever so slightly liquid tone flatters the two horn concertos. You can revel in the recorded detail without a single wince in a way that the Karajan conducted classic by Dennis Brain no longer permits – at least going by the most recent EMI transfers. The Damm recordings were made in 1975 while Brain set his down in 1953 – two decades worth of advances in audio-engineering smiled down. Good also to be reminded of the compact gamin charm of the Duett-Concertino. Then there’s a whole CD of Strauss’s three works for piano and orchestra. Malcolm Frager speaks for the Burleske while that stalwart of Berlin Classics, Peter Rösel can be relied on for the two dramatic lefthanders: Parergon and the Panathenäenzug – doesn’t that last title just roll off the tongue? These are flighted and empowered versions with no sense of library-shelf routine or stultifying academe. The Burleske is virtuosic fun – Strauss in romping Liszt mode. I have good memories of hearing this in Liverpool during the ‘noughties’ with Cristina Ortiz as the spectacular pianist. It’s a pity Kempe did not also record the two early romances: for clarinet and orchestra (1879) and for cello and orchestra (1883).
 
So far as the nine discs of chamber music are concerned I would refer you to Nick Barnard’s detailed survey of the separate Brilliant box. It’s not all totally unfamiliar. You find versions - with piano - of the concertos for violin and for horn (both) as well as a piano four hands edition of Aus Italien. This Munich-based project includes that fine Straussian Wolfgang Sawallisch as pianist.
 
The melodrama Das Schloß am Meere needs and is given an uninhibitedly dramatic outing by orator Elisabeth Woska. The harmonium piece manages, in its 3:39, to track from moody intimations of Zarathustra to steady-as-she-goes scene-setting. Enoch Arden is regrettably in a single track of 62:33. These are all rare pieces though Enoch has also been recorded previously by Claude Rains (with Glenn Gould), Nicholas Garrett, David Ripley and Patrick Stewart (with Emanuel Ax – stunningly joyous in the Brahms Piano Concerto No. 2 at the Proms, summer 2011 - did anyone record it?). Those versions are in English rather than Woska’s German. The text is a translation of Tennyson – interesting to see Strauss, high priest of German poetry, turning to an English poet as he did again for the Ophelia songs, though always in German translation. These two works are a reminder of how popular the melodrama was as a format at the turn of the century. It was in turn adopted by Sibelius, Foulds and many others and paved the way for Schoenberg, Vaughan Williams and Bliss in later decades. It can be thought of as a pioneer fore-runner of film music.
 
Taillefer is an heroic ballad. Together with its disc-mates (CD19) it is evidently modelled on the secular ballads of Schumann, a genre later further embraced by Pfitzner in Von Deutsche Seele and by Röntgen in Aus Goethes Faust. Plasson recorded this collection in the very same hall used by Kempe for his orchestral cycle some twenty-plus years earlier. Plasson could with advantage have drawn out slightly more of the excitement of Taillefer. This is reportedly done by conductor Hayko Siemens in the only other recording I know of which is on Arte Nova.
 
Skipping for a moment over the six operas to CD 33 we hear 13 lieder from the operatically-equipped and fierily-inclined Shirai. The gem here is Morgen where accompanist Höll spins an entrancingly breathless quietude; remarkable. The discovery is the quirky Pierrot-strange settings of three Ophelia lieder from Hamlet. The galloping and discomfiting Wandrer’s Gemütsruhe recalls John Foulds’ Phantom Horseman. The next disc has 34 songs in which Golden Age singers contemporary with the older Strauss are heard accompanied by the composer at the piano. Dermota – he of the honeyed tone, passionate concentration, fabulous legato and breath control - takes on 14 of the songs, some of which suffer a measure of analogue distortion at intense volume. The later radio tape-based lieder from Dermota bristle gently with surface noise but his voice stands eminent. Hilde Konetzni tends towards shrillness. The first sixteen songs derive from a Preiser release and are very strongly recorded – nothing faded or evaded here. Songs 17-34 are from 1942-43 and suffer from a measure of surface noise absent from the muscular sound of the first Dermota and Konetzni tracks. Maria Reining has a softer edge than Konetzni and there’s a much more seductive delivery than Konetzni can deliver or is permitted. Her songs triumph despite the whiskery sizzle of the surface. Lea Piltti has a thinner higher voice but is most impressive in the magically poised Waldseligkeit.
 
Of the three lieder discs the last is of songs with orchestra sung by Heynis pupil, Charlotte Margiono. These are subtle and most naturally recorded. Margiono has the advantage that the conductor is Edo de Waart who is himself an eminent and imaginative advocate for Strauss with CDs of the orchestral works on Virgin (Minnesota), a Decca Rosenkavalier and an early and at one time much repackaged Philips collection of the music for wind-band – a genre missing from this set. Margiono has an amply winged Wagnerian voice without the adipose overlay that can blur word enunciation. It’s a short-playing disc at 51 minutes but connoisseurs will find much to reward them in this little-known collection which in addition to eight individual songs also includes the Four Last Songs. Again no texts or translations – a malaise applying to the whole set. The liner-notes on the CD-ROM are a pass in the direction of an emollient.
 
The Strauss operas are the mainstay in this array of works. The central ones are here with a few currently regarded as standing apart from the mainstream. There’s quite a bit of Dresden-recorded DG Sinopoli. Karajan’s 1956 Rosenkavalier is a classic account and amid a rewardingly strong cast sports a playful and dreamily seductive Octavian from Christa Ludwig. It was rated by Christopher Howell in the same league as the Decca Kleiber version. Sinopoli’s elite DG Elektra is a really exciting 1995 recording. After the 1950s vintage Rosenkavalier it is constantly engaging and in same league as his Salome – not included here, though his Ariadne is. There’s some tense music-making here; try Ich habe keine guten Nächte. Smokingly combustible qualities are also strikingly evident in Es muss etwas gescheh’n sein. The Böhm Salome is a live recording from Hamburg in 1970. The sense of theatrical perspective and depth of field is palpable. This has all the advantages of a live recording. Gwyneth Jones has that stable yet flaringly über-Wagnerian voice. The production is cast from strength. We should not forget that you can hear all the Böhm Strauss operas in a 21 CD DG box – sadly now deleted and currently priced at £250.00 on Amazon marketplace. It’s back to Sinopoli for the zesty and exuberant lyricism of Ariadne auf Naxos. This is a premium version which David Harbin could not understand being issued at budget price. The set has the advantage of giving you the opportunity to hear the stress-convoluted lyricism of the rarely heard Die Frau Ohne Schatten. Mind you, if you want rarity there’s Strauss’s Friedenstag which, when first issued on DG, Terry Barfoot thought not as good as the Sawallisch version on Koch Classics.
 
Omissions? Well, there are plenty of other operas. There was no room and presumably nothing sitting licensed in the Brilliant vault. Perhaps one day some company will issue a Strauss Edition that also includes Guntram (1893), Feuersnot (1901), Intermezzo (1923), Die ägyptische Helena (1927), Arabella (1932), Die schweigsame Frau (1934), Daphne (1937), Die Liebe der Danae (1940) and Capriccio (1941). Who knows, perhaps by then we will also have the impossibly early and I think unrecorded Der Kampf mit dem Drachen (1876); not to mention the final incomplete Des Esels Schatten (1948). Brilliant are not frightened of even larger boxes, as their also unique and fascinating Tchaikovsky Edition box (93980) indicates; now that’s one I would also like to review!
 
Never before has such an ambitious lunge been made in the direction of comprehensive coverage. It’s a knock-out blow at less than £2 per disc.
 

Rob Barnett
 

 

Complete Track-List
 
CD1
1 Thus Spake Zarathustra Op.30 33'00
2 Death and Transfiguration Op.24 22'24
The Rosenkavalier, Op.59
3 Waltzes 17'45
Staatskapelle Dresden, Rudolf Kempe
 
CD2
1 Till Eulenspiegel Op.28 14'40
2 Don Juan Op.20 16'06
Ein Heldenleben, Op.40
3 The hero 4'22
4 The hero's adversaries 3'25
5 The hero's wife 6'28
6 Certainty of victory 6'01
7 The hero's battlefield 1'33
8 Was fanfares 6'29
9 The hero's works of peace 4'58
10 The hero's withdrawal from the world 4'22
11 Renunciation 6'34
 
CD3
1 Metamorphoses 25'08
Study for 23 solo strings
An Alpine Symphony Op.64
2 Night 3'26
3 The ascent 2'17 1'24
4 Sunrise
5 Entering the forest 5'27
6 Strolling by the stream 0'48
7 By the waterfall 0'15
8 Apparition 0'47
9 In flowery meadows 0'55
10 In a mountain pasture 2'14
11 Lost in the thickets and undergrowth 1'28
12 On the glacier 1'02
13 Dangerous 1'23 moments
14 On the summit 4'40
15 Vision 3'34
16 Mists rise up 0'17
17 The sun grows dark 0'49
18 Elegy 1'45
19 Quiet before the storm 2'51
20 A thunderstorm 3'48
21 Sunset 2'10
22 Conclusion 6'05
23 Night 2'13
Staatskapelle Dresden, Rudolf Kempe
Recording: January 1973 (1), September 1971 (2-23), St. Luke's Church in Dresden
 
CD4
Don Quixote, Op.35
Fantastic Variations on a Theme of Knightly Character
1 Introduction: Moderate tempo - Don Quixote sinks into madness 5'50
2 Moderate (Don Quixote) 0'59
3 Major (Sancho Panza) 1'07
4 Variation I 2'26
The adventure with the windmills
5 Variation II 1'35
T he battle with the sheep
6 Variation III 8'10
Discourse between knight and squire
7 Variation IV 1'45
The adventure with the pilgrims
8 Variation V 3'49
The knight's vigil
9 Variation VI 1'08
The meeting with Dulcinea
10 Variation VII 1'03
The ride through the air
Dance Suite after Couperin
11 Variation VIII 2'00
The voyage into the enchanted boat
12 Variation IX 1'04
The combat with the two magicians
13 Variation X 4'32
The defeat of Don Quixote
14 Finale: Very quiet 5'26
Dance Suite from harpsichord pieces by François Couperin
15 I. Entrée and stately round 3'33
16 II 3'37 Courante
17 III. Carillon 3'28
18 IV Sarabande 4'07
19 V. Gavotte 4'21
20 VI. Tourbillon 3'15
21 VII Allemande 5'11
22 VIII march 1'09
Paul Tortelier, cello (1-14) • Max Rostal viola (1-14)
Staatskapelle Dresden, Rudolf Kempe
Recording: June 1973 (1-14), January & June 1973 (15-22), St. Luke's Church, Dresden
 
CD5
From Italy, Op.16
First I. Andante (In the Campagna) 9'24
Second Allegro molto con brio (The ruins of Rome) 12'35
Third III. Andantino (On ??the beach at Sorrento) 12'12
4th IV Finale: Allegro molto (Neapolitan folk life) 8'52
5 Macbeth Op.23 19'36
Staatskapelle Dresden
Rudolf Kempe
Recording: March 1974 (1-4), January 1973 (5), Luke's Church in Dresden
 
CD6
Salome, Op.54
1 Dance of the Seven Veils 8'22
Le Bourgeois Gentilhomme - Suite Op.60
2 Overture 3'54
3 Jourdain Minuet 1'39
4 The fencing master 1'35
5 Entrance and Dance of the tailors 5'04
6 Minuet of Lully 2'15
7 Courante 2'14
8 Entry of Cleonte 4'16
9 Intermezzo (Prelude to Act II) 3'02
10 The dinner 9'35
Whipped cream Op.70
11 Waltz 7'18
Joseph Legend Op.63
12 Symphonic fragment 25'33
Staatskapelle Dresden
Rudolf Kempe
Recording: June 1970 (10-10), September 1971 (11)
 
CD7
Violin Concerto in D minor, Op.8
1 I. Allegro 14'58
2 II Lento 6'42
3 I II Rondo 7'48
Sinfonia Domestica, Op.53
4 Moves - Theme I - Theme II - Theme III 5'12
5 Scherzo: 6'16 ??Munter
6 Lullaby - Moderately slow 5'54
7 Adagio - (Slow) 13'03
8 Final: Very lively 13'34
Ulf Hoelscher violin (1-3)
Staatskapelle Dresden
Rudolf Kempe
Recording: September 1975 (1-3), March 1972 (4-8), St. Luke's Church in Dresden
 
CD8
Horn Concerto No.1 in E flat Op.11
1 I. Allegro
2 II Andante 5'59 5'42
3 III Allegro 5'26
Horn Concerto No.2 in E flat
4 I. Allegro 8'31
5 II Andante Con Moto 5'28
6 III. Rondo: Allegro molto 5'27
Oboe Concerto in D
7 I. Allegro moderato 8'41
8 Andante 8'02
9 III. Vivace 7'22
Duet-Concertino for clarinet, bassoon and strings
10 I. Allegro moderato 6'11
11 II Andante 3'01
12 III. Rondo: Allegro ma non troppo 9'02
Peter Damm Horn (1-6) Oboe • Manfred Clement (7-9)
Manfred Weise clarinet (10-12)
Wolfgang Liebscher bassoon (10-12)
Staatskapelle Dresden
Rudolf Kempe
Recording: September 1975, St. Luke's Church in Dresden
 
CD9
1 burlesque for piano and orchestra in D minor 19'44
2 parergon for Sinfonia Domestica, for piano (left hand) and orchestra Op.73 21'31
3 Panathenäenzug Symphonic Studies in the form of a passacaglia for piano (left hand) and orchestra Op.74 27'45
Total time: 69'13
Malcolm Frager piano (1)
Peter Roesel piano (2 & 3)
Staatskapelle Dresden
Rudolf Kempe
Recording: September 1975 (1) January 1976 (2 & 3), Luke's Church in Dresden
 
CD10
Violin Concerto in D minor, Op.8 (1882)
version for violin and piano
1 I. Allegro 14'49
2 II Lento ma non troppo 6'09
3 III. Rondo: 8'31 Prestissimo
4 Allegretto in E AV149 (1948) 1'32
'Etude in G Op.82 Daphne'-AV141 (1945) for solo violin
5 Andante for a theme from 'Daphne' 1'34
Violin Sonata in E flat Op.18 (1887)
6 I. Allegro ma non troppo 12'01
7 Andante 9'00
8 III. Allegro molto 8'54
Total time: 63'16
Erno Sebestyen violin
Wolfgang Sawallisch, piano
Recording: 28 February 1995, small auditorium, Gasteig, Munich
 
CD11
Cello Sonata in F Op.6 (1881-3)
1 I. Allegro con brio 9'42
2 II Andante ma non troppo 8'02
3 III. Finale: Allegro vivo 8'35
4 Romance in F AV75 (1883) 7'26
• Peter Wöpke cello Wolfgang Sawallisch, piano
5 Variations on a Bavarian folk song: 'The dress is harb on mi' (1882) 6'57
Vienna String Trio
Jon Pospichal Violin • Viola • Wolfgang Klos, Wilfried Rehm cello
Quartet Movement in B flat AV211 (1880)
6 Allegro moderato 1'29
(1880) String Quartet in A Op.2
7 I. Allegro 8'38
8 II Allegro molto 4'45
9 III. Andante cantabile, molto 10'09 espressivo
10 IV Finale 8'19
Sinnhoffer Quartet
Ingo Sinnhoffer, Aldo Volpini violins
• Roland Metzger, Peter Wöpke viola cello
Recording: 17 October 1985 (1-4), 21 May 1988 (6-10), small auditorium, Gasteig, Munich, 14 April 1988 (5), Studio 3 BR, Munich
 
CD12
Capriccio Op.85 (1941)
1 Dances: passepied - Gigue - Gavotte 6'01
Piano Trio No.1 in A AV37 (1877-8)
2 I. Allegro moderato 4'27
3 Adagio 3'51
4 III. Tempo di Menuetto ma non lento 2'30
5 I V. Allegro vivace 4'29
6 AV61 Romance (1879) 8'18
version for clarinet and piano
7 AV75 Romance (1883) 9'19
version for cello and piano
8 Introduction, Theme and Variations AV52 (1878) 9'56
for horn and piano
Piano Trio No.2 in D AV53 (1878)
9 I. Allegro moderato 5'36
10 Andante cantabile ma non troppo 5'07
11 III. Scherzo: Allegro assai 4'59
12 IV Finale: Lento assai - Allegro vivace 8'25
Anna Kandinskaya violin (1-5, 9-12)
Sebastian Hess cello (1-5, 9-12)
Karl-Heinz Steffens, clarinet (6)
Wen-Sinn Yang cello (7)
John Ritzkowsky horn (8)
Wolfgang Sawallisch, piano
Recording: 28 February 1997, Academy of Music, Munich
 
CD13
Two Pieces (1886)
1 Serenade in G 5'16 AV168
2 Festival March in D 5'43 AV178
Two Pieces (1893)
3 Arabian Dance No.1 in D minor 1'37 AV182
4 Liebesliedchen AV182 No.2 in G 5'53
Piano Quartet in C minor Op.13 (1885)
5 I. Allegro 11'02
6 II Scherzo: Presto - Molto meno mosso 7'30
7 III. Andante 9'06
8 IV Finale: Vivace 10'46
Wolfgang Sawallisch, piano
Members of the Quartet Sinnhoffer
Ingo Sinnhoffer violin viola • Roland Metzger
Peter Wöpke cello
Recording: 17 October 1985, small auditorium, Gasteig, Munich
 
CD14
Horn Concerto No.1 in E flat Op.11 (1882-3)
version for horn and piano
1 I. Allegro 5'24
2 II Andante cantabile con variazioni 5'23
3 III. Rondo: Allegro 5'25
Horn Concerto No.2 in E flat AV132 (1942)
version for two pianos and horn
4 I. Allegro 7'51
5 Andante 4'48
6 III. Allegro molto 5'33
7 Andante in C for Horn 4'50
AV86a and piano (1888)
8 Serenade in E flat (1881) version for piano Op.7 7'16
9 Fugue for piano four hands AV81/177 (1884)6'00
10 Gavotte for piano (1879) 'From ancient times' 4'11 AV57
John Ritzkowsky horn (1-7)
Wolfgang Sawallisch, piano (1-3, 7, 8 & 10)
Barton Weber, piano Gitti Pirner & piano four hands (4-6, 9)
Recording: 28 February 1985 (1-3), 22-23 March 1983 (4-6), 20 December 1987 (9),
21 May 1985 (7-8, 10), small auditorium, Gasteig, Munich
 
CD15
Suite for winds Op.4 (1884)
version for piano four hands
1 I. Allegretto 6'29
2 II romance 6'10
3 III. Gavotte 4'39
4 IV Introduction and Fugue: Andante cantabile - Allegro con brio 7'12
From Italy - Symphonic Fantasy Op.16 (1886)
version for piano four-hands
5 I. Andante (In the Campagna) 10'07
6 II Allegro molto con brio (The ruins of Rome) 10'31
7 III. Andantino (On ??the beach at Sorrento) 12'51
8 IV Finale: Allegro molto (Neapolitan folk life) 9'12
Begonia Uriarte Mrongovius, Karl-Hermann Mrongovius piano four hands
Studio: 2-4 December 1985, small auditorium, Gasteig, Munich
 
CD16
Symphony No.2 in F minor Op.12 (1883-4)
version for piano four hands
1 I. Allegro ma non troppo 14'06
2 II Scherzo: Presto 6'25
3 III. Andante cantabile 10'00
4 IV Finale: Allegro assai, molto appassionato 12'13
Serenade in E flat Op.7 (1881)
version for piano four hands
5 Andante 9'29
Four Marches (1905-7)
6 Parade March No.1 in E flat 3'22
7 Parade March No.2 in D flat AV98 4'10
8 Presentation March in D flat AV99 2'06
9 Military Festival March in E flat AV100 7'00
Begonia Uriarte Mrongovius, Karl-Hermann Mrongovius
piano four hands (1-5), Gitti Pirner piano (6-9)
Recording: 3 December 1985 (1-5), 18 June 1986 (6-9), small auditorium,
 
CD17
5 Piano Pieces Op.3 (1880-81)
1 I. Andante in B flat 4'45
2 II Allegro vivace scherzo in E flat minor 2'58
3 III. Largo in C minor 7'43
4 Allegro molto in A flat 3'42
5 V. Allegro in D flat 4'58 marcatissimo
Moods Op.9 (1883-4)
6 I. In quiet woodland path 4'28
7 At II lone source 4'32
8 III. Intermezzo 3'19
9 IV reverie 2'15
10 V. Heath Image 4'24
Piano Sonata in B minor Op.5 (1880-81)
11 I. Allegro molto 8'56 appassionato
12 Adagio cantabile 5'22
13 III. Scherzo: Presto 2'28
14 IV Allegretto vivo 7'33
Gitti Pirner piano
Recording: 21 May 1995, small auditorium, Gasteig, Munich
 
CD18
1 Das Schloß am Meere
2 Hochzeitspräludium AV108 (1924) 3'39
3 Enoch Arden Op.38 (1897) 53'08
Begonia Uriarte Mrongovius, Karl-Hermann Mrongovius, piano and harmonium
Elizabeth Woska, narrator (1 & 3)
Recording: 18 June 1986, small auditorium, Gasteig, Munich
 
CD19
1 Taillefer Op.52 Ballad for chorus, soloists and orchestra (Ludwig Uhland) 17'52
2 Wanderer's Storm Song Op.14 for 6-part chorus and large orchestra (Johann Wolfgang von Goethe) 17'10
The times of the day Song cycle for male-voice chorus and orchestra Op.76 (Joseph Freiherr von Eichendorff)
3 The morning 3'52
4 Mittagsruh 7'21
5 The night 3'18
6 The night 9'11
Johan Botha, tenor (Taillefer)
Michael Volle, baritone (Duke William)
Felicity Lott, soprano (Duke William's sister)
Ernst-Senff Choir Berlin chorus master Sigurd Brauns
Dresden Philharmonic Orchestra / Michel Plasson
Recording: 15-17 May 1997, St. Luke's Church, Dresden
 
CD20
Der Rosenkavalier
Opera in three acts
Libretto by Hugo von Hofmannsthal
ACT I
1 Introduction (Orchestra) 3'27
2 How have you been! How are you! 2'57
(Octavian / Marschallin)
3 You're my boy, 'you are my 5'38
Treasure!
4 The field marshal is sitting in 4'10
Krowatischen forest
5 Quinquin, it is a visit to 1'48
(Marshal / Major Domo / Baron /
Octavian)
6 Of course, I am greeted 8'16
Your Grace (Baron / Footmen /
Marshal / Major-Domo)
7 Did you ever 0'55
(Baron / Octavian / Marschallin)
8 Does that make a lame ass out of me? 2'57
9 Give me your grace the little monkey 'as 1'44
10 Will your grace easily the 1'22
Young men as
11 I come 'same' ... Three poor noble 2'57
Orphans (Octavian / Three Orphans /
Milliner / Animal Seller / Marshal / Valzacchi)
12 The rigori armato il seno (Singer) 2'00
13 As a wedding gift ... 3'01
(Baron / Attorney / Singer)
14 My dear Hippolyte (Marschallin / 3'39
Valzacchi / Baron / Annina)
15 Then goeth he, the 5'16 aufgeblasne
bad guy (Marschallin)
16 Oh, you're back! 5'40
(Marschallin / Octavian)
17 The time that is a strange thing 2'25
(Marschallin)
18 My beautiful treasure 4'19
(Octavian / Marschallin)
19 I'm going to church now 7'22
(Marschallin / Octavian / Footmen)
 
CD21
Der Rosenkavalier
Opera in three acts
Libretto by Hugo von Hofmannsthal
ACT II
1 Introduction (Orchestra) 0'39
2 A solemn day, a great day 1'09
(Faninal / Marianne / Major-Domo)
3 In this solemn hour 3'43
the test
(Sophie / Marianne / Three Courier)
4 I am the honorable position 7'20
(Octavian / Sophie)
5 I 'have known him quite well 4'02
6 But now comes my Lord 2'59
Future (Sophie / Faninal / Baron /
Octavian / Marianne)
7 demure Faninal, he knows what 4'29
be heard
8 Will come over night 2'08
(Baron / Octavian / Marianne / Faninal)
9 Have no objection to 3'46
(Baron / Octavian / Sophie
Faninal's Major-Domo/Marianne)
10 What it is ... With your eyes full of 3'40
Tears (Octavian / Sophie)
11 Mr Baron Lerchenau! 7'44
(Valzacchi / Annina / Baron / Sophie /
Octavian / Baron 's Servants /
Faninal's Servants / Marianne / Faninal)
12 He must pardon me 6'32
(Octavian / Faninal / Sophie /
Marianne / Baron)
13 Then I lie! 6'38
(Baron / Baron 's Servants / Annina)
14 So ... Mr. Cavalier! (Baron / Annina) 4'48
 
CD22
Der Rosenkavalier
Opera in three acts
Libretto by Hugo von Hofmannsthal
ACT III
1 Introduction & Pantomime (Orchestra) 6'48
2 Hab'n Your Grace commands even more ado? 2'33
(Landlord / Waiters / Baron)
3 No, no, no, no! I 'drinking' wine 1'32 no
(Octavian / Baron)
4 Oh, let them fade before the word! 3'19
5 The beautiful music! 2'46
6 As the hour 'goes 4'52
(Octavian / Baron / Annina / Landlord /
Four Children / Waiters / Valzacchi)
7 Alas, what we maken? 5'36 ...
Stop! No one moves! (Valzacchi /
Police Officer / Octavian / Baron / Landlord /
Faninal / Four Children / Chorus)
8 Are the more aware 1'43
(Baron / Police Officer / Octavian)
9 Must now partout to her! 10'03 ...
Your princely graces high
(Baron / Landlord / Octavian / Police Officer /
Marschallin / Sophie)
Is just over 10 (Marschallin / Sophie / 2'37
Baron / Annina / Children / Waiters /
Landlord Valzacchi / Musicians /
Coachmen / House Boy)
11 My God, it was no more than 2'19
a farce
(Sophie / Octavian / Marschallin)
12 Today, tomorrow, or the 4'33
over the next day
13 Marie Theres'! ... Have I praised's 6'03
14 Is a dream, can not really be 3'49
(Sophie / Octavian / Faninal / Marschallin)
15 Is a dream ... you just feel 2'55
(Sophie / Octavian)
Marschallin: Elisabeth Schwarzkopf
Baron Ochs auf Lerchenau: Otto Edelmann
Octavian: CHRISTA LUDWIG
Lord of Faninal: Eberhard Wächter
Sophie: TERESA STICH-RANDALL
Marianne: Ljuba Welitsch
Valzacchi: Paul Kuen
Annina: Kerstin Meyer
A Singer: Nicolai Gedda
A Police Officer: FRANZ BACH BEER
Major-Domo to the Marschallin: ERICH Majkut
Major-Domo to Faninal: GERHARD UNGER
An Attorney: HARALD Pröglhöf
A Landlord: KARL FRIEDRICH
A Milliner: ANNY FELBERMAYER
An Animal Seller: GERHARD UNGER
Three Noble Orphans: Elisabeth Schwarzkopf, Christa Ludwig, Kerstin Meyer
Four Footmen: GERHARD UNGER, ERICH Majkut, Eberhard Wächter, HARALD Pröglhöf
Philharmonia Chorus chorus master Wilhelm Pitz • Children's Chorus: Loughton High School for Girls and Bancroft's School Philharmonia Orchestra / HERBERT VON KARAJAN
Recording: 10-15 & 17-22 December 1956, Kingsway Hall, London
 
CD23
Elektra
Opera in one act • Libretto: Hugo von Hofmannsthal, after Sophocles
1 Where is Elektra? 6'07
(First, Second, Third, Fourth and Fifth Serving-Women/Overseer)
2 alone! Alas, all alone (Elektra) 9'30
3 Ah! the face! (Elektra / Chrysothemis) 10'10
4 What do you want? Look, there! 10'43
(Clytemnestra / Elektra / Confidante / Train-bearer)
5 I do not have good nights (Clytemnestra / Elektra) 15'01
 
CD24
Elektra
Opera in one act • Libretto: Hugo von Hofmannsthal, after Sophocles
1 Orestes! Orestes is dead! 11'20
(Chrysothemis / Elektra / Serving-Man/Old Young Serving-Man)
2 Well, alone! (Elektra / Orestes) 11'35
3 Orestes! Orestes! It stirs no one! 12'33
(Elektra / Orestes / tutor / Clytemnestra)
4 There must be something (Chrysothemis / First, Second, Third 6'17
and Fourth Serving-Women/Aegisth/Elektra/Chorus)
5 Electra! Sister! (Chrysothemis / chorus / Elektra) 9'49
Elektra: ALESSANDRA MARC
Chrysothemis: DEBORAH VOIGT
Clytemnestra: SCHWARZ HANNA
Orestes: SAMUEL RAMEY
Aegisthus: SIEGFRIED JERUSALEM
Tutor of Orestes: GORAN SIMIC
The Confidante: Christiane Hossfeld
The Train-bearer: KARIN WIESERA
Young Serving-Man: MICHAEL HOWARD
An Old Serving-Man: WALTER ZEH
The Overseer: HELGA TERME
First Serving-Woman: ANNETTE JAHNS
Second Serving-Woman: GABRIELE SIMA
Third Serving-Woman: Elisabeth Wilke
Fourth Serving Woman: Anne Schwanewilms
Fifth Serving Woman: KATERINA Beranová
Vienna State Opera Chorus Chorus Master Dietrich D. Gerpheide
VIENNA PHILHARMONIC / Giuseppe Sinopoli
Recording: September 1995, Great Hall, Musikverein, Vienna
 
CD25
Salome
Opera in one act
Libretto by the composer after Oscar Wilde
SCENE 1
1 How beautiful is the Princess Salome 2'30
tonight! (Page / Narraboth /
First Soldier / Second Soldier)
2 After me will come a 2'29
(Voice of Second Soldier / First Soldier /
Cappadocian / Narraboth / page)
SCENE 2
3 I do not want to stay (Salome / page) 1'45
4 Behold, the Lord has come 1'31
(Voice of Jokanaan / Salome / Second Soldier /
Narraboth / Slave / First Soldier)
5 Rejoice not, thou land of Palestine 3'50
(Voice of Jokanaan / Salome / Second Soldier /
First Soldier / Page / Narraboth)
6 Let the prophet come out 2'08
(Narraboth / Salome)
SCENE 3
7 Where is he whose sin cup now 3'45
full? (Yochanan / Salome / Narraboth)
8 It is terrible (Salome / Narraboth) 1'54
9 Who is this woman who's looking at me? 2'34
(Yochanan / Salome / Narraboth)
10 Iokanaan I'm in love with your body 2'07
(Salome / Yochanan)
11 Your body is horrible (Salome) 2'25
12 Back, daughter of Sodom! (Yochanan / Salome) 2'40
13 Never, daughter of Babylon, daughter of Sodom! 1'09
Never! (Yochanan / Salome / Narraboth)
14 Will you not afraid, daughter of Herodias? 2'39
(Yochanan / Salome)
15 Let me kiss thy mouth, Iokanaan 0'53
(Salome / Yochanan)
16 You're cursed (Yochanan) 4'04
SCENE 4 beginning
17 Where is Salome? 3'27
(Herod / Herodias / First Soldier)
18 Salome, come drink wine with me 2'44
(Herod / Salome / Herodias)
19 Behold, the time has come 0'48
(Voice of Jokanaan / Herodias / Herod)
20 Truly, sir, it would be better for him at 2'47
our hands to give! (First Jew / Herod /
Second Jew / Third Jew / Jew Fourth / Fifth Jew /
Herodias / First Nazarene)
21 Behold, the day is at hand (Yochanan / Herod / 2'38
First Nazarene / Jew First / Second Nazarene / Herodias)
22 O over this horny woman, 2'27
The daughter of Babylon
(Voice of Jokanaan / Herod / Herodias)
Salome: GWYNETH JONES
Yochanan: Dietrich Fischer-Dieskau
Herod: Richard Cassilly
Herodias: MIGNON DUNN
Narraboth: Wieslaw Ochman
The Page of Herodias: URSULA BOESE
A Cappadocian: FRANZ GROUND LIFT
A slave: WILLY HARTMANN
First Soldier: KURT MINOR
Second Soldier: CARL SCHULTZ
First Jew: Peter Haag
Second Jew: JURGEN FORSTER
Third Jew: KURT MARSCHNER
Fourth Jew: HEINZ KRUSE
Fifth Jew: HEINZ BLANKENBURG
First Nazarene: Hans Sotin
Second Nazarene: HORST WILLIAM
THE HAMBURG STATE OPERA ORCHESTRA / Karl Bohm
Live recording: 4 November 1970, Hamburg
 
CD26
Salome
Opera in one act Libretto by the composer after • Oscar Wilde
SCENE 4 conclusion
1 Dance for me, Salome (Herod / Herodias / Salome / Voice of Jokanaan) 4'11
2 Dance of the Seven Veils (Orchestra) 8'43
3 Ah! Lovely! Wonderful, wonderful! (Herod / Salome / Herodias) 3'45
4 Salome, I beseech thee (Herod / Salome / Herodias) 3'07
5 Salome, remember, do what you want (Herod / Salome / Jews) 2'49
6 Give me the head of the prophet! (Salome / Herod / Herodias) 1'46
7 There is no sound to be heard (Salome) 2'13
8 Ah! You wanted not your mouth (Salome) 11'32
9 is a monster, your daughter (Herod / Herodias) 1'04
10 Ah! I have kissed thy mouth, Jochanaan (Salome / Herod) 4'10
Salome: GWYNETH JONES
Yochanan: Dietrich Fischer-Dieskau
Herod: Richard Cassilly
Herodias: MIGNON DUNN
Narraboth: Wieslaw Ochman
The Page of Herodias: URSULA BOESE
A Cappadocian: FRANZ GROUND LIFT
A slave: WILLY HARTMANN
First Soldier: KURT MINOR
Second Soldier: CARL SCHULTZ
First Jew: Peter Haag
Second Jew: JURGEN FORSTER
Third Jew: KURT MARSCHNER
Fourth Jew: HEINZ KRUSE
Fifth Jew: HEINZ BLANKENBURG
First Nazarene: Hans Sotin
Second Nazarene: HORST WILLIAM
THE HAMBURG STATE OPERA ORCHESTRA / Karl Bohm
Live recording: 4 November 1970, Hamburg
 
CD27
Ariadne auf Naxos
Opera in one act with a prologue
Libretto by Hugo von Hofmannsthal
PROLOGUE
1 Overture (Orchestra) 2'19
2 My lord chamberlain! 5'55
(Music Master / Major Domo / Lackey / Officer / Composer)
3 Thou Almighty God! 6'11
(Composer / tenor / Wig-Maker / Zerbinetta / Prima Donna / Master Music / Dancing Master)
Have a little piece of paper grade 4? 3'43
(Composer / Zerbinetta / Prima Donna /
Dancing Masters / Lackey)
5 If already happened. We are ready to 8'25
(Music Master / Major Domo / Prima Donna / Dancing Master / tenor / Zerbinetta / Composer)
6 No, sir, it is not 5'17
(Composer / Zerbinetta / Music Master)
7 A moment is a little (Zerbinetta / 5'06
Composer / Music Master / Prima Donna)
8 Sei'n us be good again ... Music is a 3'15
Sacred Art (Composer / Music Master)
OPERA
9 Overture (Orchestra) 3'43
10 Is she asleep? 3'53
(Naiad / Dryad / echo / Ariadne)
11 Where was I? Dead? (Ariadne / echo / 3'15
Harlequin / Zerbinetta / Truffaldino)
12 A Beautiful was 7'01
called Theseus-Ariadne
(Ariadne / naiad / Dryad / echo / Harlequin / Zerbinetta / Truffaldino / Scaramuccio)
13 loving, hating, hoping, trembling 2'16
(Harlequin / echo / Zerbinetta)
14 There is a kingdom (Ariadne) 6'02
15 The lady there with a sad sense ... 4'59
As they swing
(Harlequin / Scaramuccio / Brighella / Truffaldino / Zerbinetta)
Prima Donna / Ariadne: DEBORAH VOIGT
Zerbinetta: Natalie Dessay
Composer: Anne Sofie von Otter
Tenor / Bacchus: BEN HEPPNER
Major-Domo: Romuald Pekny
Music Master: Albert Dohmen
Officer: KLAUS FLORIAN VOGT
Dancing Master: MICHAEL HOWARD
Wig-Maker: MATTHIAS HENNEBERG
Lackey: JÜRGEN Commichau
Naiad: Christiane Hossfeld
Dryad: ANGELA Liebold
Echo: EVA KIRCHNER
Scaramuccio: IAN THOMPSON
Harlequin: Stephan Genz
Truffaldino: SAMI Luttinen
Brighella: CHRISTOPH GENZ
Staatskapelle Dresden / Giuseppe Sinopoli
Recording: 2000, St. Luke's Church, Dresden
 
CD28
Ariadne auf Naxos
Opera in one act with a prologue
Libretto by Hugo von Hofmannsthal
OPERA conclusion
1 Größmächtige Princess (Zerbinetta) 11'10
2 Pretty preached! But deaf ears! ... 8'01
To comfort a stubborn
(Harlequin / Zerbinetta / Brighella / Scaramuccio / Truffaldino)
3 A nice surprise! (Dryad / naiad / echo) 3'40
4 Circe, can you hear me? (Bacchus / Ariadne / naiad / Dryad / echo) 6'08
5 Theseus! No! No! (Ariadne / Bacchus) 10'35
The six were Zauberwörte (Ariadne / Bacchus) 3'14
7 there is no crossing over? 7'50
(Ariadne / Bacchus / naiad / Dryad / echo / Zerbinetta)
Prima Donna / Ariadne: DEBORAH VOIGT
Zerbinetta: Natalie Dessay
Composer: Anne Sofie von Otter
Tenor / Bacchus: BEN HEPPNER
Major-Domo: Romuald Pekny
Music Master: Albert Dohmen
Officer: KLAUS FLORIAN VOGT
Dancing Master: MICHAEL HOWARD
Wig-Maker: MATTHIAS HENNEBERG
Lackey: JÜRGEN Commichau
Naiad: Christiane Hossfeld
Dryad: ANGELA Liebold
Echo: EVA KIRCHNER
Scaramuccio: IAN THOMPSON
Harlequin: Stephan Genz
Truffaldino: SAMI Luttinen
Brighella: CHRISTOPH GENZ
Staatskapelle Dresden / Giuseppe Sinopoli
Recording: 2000, St. Luke's Church, Dresden
 
CD29
The Woman without a Shadow
Opera in three acts
Libretto by Hugo von Hofmannsthal
ACT I
1 light over the lake 6'18
(Nurse / Spirit-Messenger)
2 nurse! You wake up? (Emperor / Nurse) 6'07
3 Is there my sweetheart (Empress) 3'46
4 How shall I cry not because? 2'21
(Voice of the Falcon / Empress / Nurse)
5 nurse to get everything where I find 5'05
the shadows? (Empress / Nurse)
6 Flight Down to Earth (Orchestra) 1'53
7 thief! Then take it! ... Tear him to 2'36
behind! ... to help, brothers! (Brothers / Wife / Barak)
8 You leave your home, and the 7'53
forever (Wife / Barak)
9 third half year I am thy wife, 5'30
(Wife / Barak)
10 What do you want here? 6'58
(Wife / Nurse / Empress)
11 Oh, Lady, sweet lady! 4'14
(Slave Girls / Empress / Young Man / Wife)
12 Did you bloody tears tasted 6'10
(Nurse / Wife)
13 Mother, Mother, let us go home! 2'28
(Voices of Children / Wife)
14 Supporting I own the goods to 7'08
Market ... your husband in the houses of this city (Barak / Wife / Nightwatchmen)
The Emperor: JESS THOMAS
The Empress: INGRID Bjoner
The Nurse: Martha Modi
Barak, the Dyer: Dietrich Fischer-Dieskau
The Dyer's Wife: Inge Borkh
The Spirit Messenger: HANS HOTTER
A Guardian of the Threshold of the Temple: Ingeborg Hallstein
Apparition of a Young Man: GEORGE Paskuda
The Voice of the Falcon: Gerda SUMMER SHOE
A Voice from Above: HERTHA TOPPER
The Dyer's Brothers: The One-Eyed: CARL HOPPE, The One-Armed: MAX Pröbstl,
The Bells: Paul Kuen
Voices of Unborn Children: LOTTE Schadler, GERTRUDE FREEDMAN, GERDA
SUMMER SHOES, Brigitte Fassbaender, IRMGARD BARTH
First Nightwatchman: HANS ERNST BRUNO
Second Nightwatchman: Raimund Grumbach
Third Nightwatchman: CARL HOPPE
First Slave Girl: GERTRUDE FREEDMAN
Second Slave Girl: JUTTA GOLL
Third Slave Girl: Brigitte Fassbaender
Herbert Becker violin cello • Oswald Uhl
Bavarian State Opera Chorus Chorus Master Wolfgang Baumgart
BAVARIAN STATE ORCHESTRA / JOSEPH Keilberth
Live recording: 21 November 1963, the National Theatre, Munich
 
CD30
Die Frau ohne Schatten
Opera in three acts
Libretto by Hugo von Hofmannsthal
ACT II
1 Come home soon, my 7'16
Master (Nurse / Wife / Empress / Voices)
2 What is now the talk, you 5'48
Princess ... O day of joy, o
Evening of grace! (Barak / Brothers /
Beggar-children/Wife)
3 falcon, hawk, you rediscovered 13'04
(Emperor)
4 There are those who always have time 6'58
(Wife / Barak / Nurse)
5 Snake, what have I to you to 4'18
! create (Wife / Young Man / Nurse / Barak)
6 A craft sure you understand 6'00
not grieve for me ... To food
Do not! (Wife / Barak)
7 Who's there? (Barak / Empress) 3'23
8 Watch - nurse - Watch 4'30
(Empress / Voices / Voice of the Falcon)
9 Alas, my man! (Empress) 2'47
10 It is growing dark, I see that not 3'45
to work (Barak / Brothers / Nurse / Empress / Wife)
11 There are those who will always 3'20
Abtu left ... 'I received from my
Body of the children (Wife)
12 The woman is crazy ... Barak, 3'41
I have not done it!
(Barak / Brothers / Nurse / Empress / Wife)
 
CD31
Die Frau ohne Schatten
Opera in three acts
Libretto by Hugo von Hofmannsthal
ACT III
But a silent, their voices! (Wife) 6'28
2 I confided that I cherish 3'45
(Barak / Wife)
At 3, go upstairs, man 4'55
(Voice from above / Wife /
Attendant Spirits / Spirit-Messenger)
4 Away from here! (Nurse / Empress!) 7'19
5 Alas, my child, 4'53
(Nurse / Spirit-Messenger)
6 Father, is that you? 9'52
(Empress / Guardian of the Threshold of the Temple / Wife / Barak)
7 Oh! Woe is me ... Does the curse! 2'00
(Empress / Spirits Unearthly / Guardian of the Threshold of the Temple)
8 When the heart breaks in crystal 4'49
in a letter (Emperor / Voices of
Unborn Children / Empress)
9 am Does not ones to be 3'47
(Wife / Barak)
10 Now I will rejoice 4'18
(Barak / Emperor / Empress /
Wife / Voices of Unborn Children)
The Emperor: JESS THOMAS
The Empress: INGRID Bjoner
The Nurse: Martha Modi
Barak, the Dyer: Dietrich Fischer-Dieskau
The Dyer's Wife: Inge Borkh
The Spirit Messenger: HANS HOTTER
A Guardian of the Threshold of the Temple: Ingeborg Hallstein
Apparition of a Young Man: GEORGE Paskuda
The Voice of the Falcon: Gerda SUMMER SHOE
A Voice from Above: HERTHA TOPPER
The Dyer's Brothers: The One-Eyed: CARL HOPPE, The One-Armed: MAX Pröbstl,
The Bells: Paul Kuen
Voices of Unborn Children: LOTTE Schadler, GERTRUDE FREEDMAN, GERDA
SUMMER SHOES, Brigitte Fassbaender, IRMGARD BARTH
First Nightwatchman: HANS ERNST BRUNO
Second Nightwatchman: Raimund Grumbach
Third Nightwatchman: CARL HOPPE
First Slave Girl: GERTRUDE FREEDMAN
Second Slave Girl: JUTTA GOLL
Third Slave Girl: Brigitte Fassbaender
Herbert Becker violin cello • Oswald Uhl
Bavarian State Opera Chorus Chorus Master Wolfgang Baumgart
BAVARIAN STATE ORCHESTRA / JOSEPH Keilberth
Live recording: 21 November 1963, the National Theatre, Munich
 
CD32
Friedenstag
Opera in one act • Libretto: Joseph Gregory
Have one geseh'n what? 3'14
(Sergeant-Major/Private Soldier)
2 La rosa, la rosa che un bel fiore 5'23
(Piedmontese / Corporal / Private Soldier /
Musketeer / Bugler / Soldiers / Chorus)
3 hungry! Hunger! ... Only echo 3'17
(Chorus / Corporal / Sergeant Major / Bugler / Musketeer / Officer / Soldiers)
4 hungry! Bread! 5'15
(Chorus / Commandant / Mayor / Delegation /
Pastor / Soldiers / front-line officer)
5 My commander! ... Talk! (Front-line 2'48
Officer / commander / Delegation / Woman)
6 It is! But listen 4'35
(Commandant / chorus / Delegation / Soldiers)
7 to Magdeburg in the riding battle 4'57
(Commandant / Sergeant Major / Sergeant /
Private Soldier / Musketeer / Bugler / Chorus)
8 Go, go all! (Commandant) 2'02
9 How? No one here? (Mary) 8'36
10 No, empty hope everything 2'38
(Maria / Commandant)
11 In one hour disappears 3'36
12 The emperor stood in the hall 5'33
(Commandant / Maria)
Desirable 13 characters! In your post! 1'16
(Commander / sergeant major / Soldiers)
14 No, not death fog (Maria / 2'46
Sergeant-Major/Corporal/Private Soldier)
15 The enemy! The enemy! 1'22
Where is his attack
(Commander / sergeant major / Private Soldier / Maria / Officer)
16 T he sign that you are 4'09 verheißet
(Mayor / pastor / Delegation / Chorus / Soldier / Commandant)
17 Where is the man 3'52
(Holsteiner / Commandant / Maria)
18 Beloved, not the sword 5'21
(Maria / chorus / Mayor / Pastor)
Why we fight 19 years to 2'50 years
(Commandant / Holsteiner / Maria / Chorus)
20 Dare to think (Maria / All / chorus) 2'29
The Commandant: Albert Dohmen
Mary, his Wife: DEBORAH VOIGT
A Sergeant-Major: ALFRED RIDER
A Corporal: JOCHEN COPPER
A Private Soldier: TOM MARTINSEN
A Musketeer: ANDRÉ ECKERT
A Bugler: JÜRGEN Commichau
An Officer: JOCHEN Schmeckenbecher
A front-line officer: Matthias Henneberg
A Piedmontese: JOHAN BOTHA
The Holsteiner: ATTILA June
The Mayor: Jon Villars
The Pastor: SAMI Luttinen
A Woman of the People: SABINE Brohm
Members of the delegation: SUSAN Klesse, EKKEHARD PANSA, RAFAEL HARNISCH
Dresden State Opera Chorus Chorus Master Matthias Brauer
Staatskapelle Dresden / Giuseppe Sinopoli
Recording: September 1999, St. Luke's Church, Dresden
 
CD33
Songs
1 Poems from 'Last leaves' Op.10 12'19
(Hermann Glim), dedication, Nothing, Die Georgine, the secretive, The Timeless Souls
2 Op.15 No.5 2'27 homecoming
(Adolf Friedrich von Schack)
3 poems Op.21 (Felix Dahn) 3'42
You are my heart Krönelein
Oh dear, I must leave now
4 girls flowers Op.22 (Felix Dahn) 13'38
Cornflowers, poppies, ivy, rose water
5 O you were my Op.26 No.2 3'04
(Nikolaus Lenau)
6 Morning Op.27 No.4 4'28
(John Henry Mackay)
7 Dream through the twilight 3'00
Op.29 No.1 (Otto Julius Bierbaum)
8 I wear my love Op.32 No.1 2'36
(Karl Friedrich Henckell)
Freed Op.39 No.4 9 5'02
(Richard Fedor Leopold Dehmel) 10 Found Op.56 No.1 (Goethe) 1'51
11 Krämerspiegel Op.66 (Alfred Kerr) 11'34
Once the goat came as a messenger, O dear artists, There once was a bug, the dealers and the makers
12 Three Songs of Ophelia 6'37
from 'Hamlet' Op.67 (Shakespeare)
Recognizable as 'I am my true love, good morning,' Tis St. Valentine's Day, they carried him on a stretcher just
13 Wanderers peace of mind (Goethe) 0'46
Mitsuko Shirai, mezzo-soprano
Hartmut Holl piano
 
CD34
Songs
1 homecoming Op.15 No.5 (Adolf Friedrich von Schack) 2'25
2 sides your face to look my 1'37
No.1 op.17 (von Schack)
3 All my thoughts Op.21 No.I (Felix Dahn) 1'13
4 happiness enough Op.37 No.1 (Detlev von Liliencron) 2'27
In five golden wealth Op.49 No.2 (Paul Remer) 2'15
6 longing Op.32 No.2 (of Liliencron) 3'39
7 Bad weather Op.69 No.5 (Heinrich Heine) 2'21
8 View from the upper Belvedere Op.88 No.2 3'33
(Josef Weinheber)
9 Thou my heart Krönelein Op.21 No.2 (Dahn) 2'20
10 Oh dear, I must now divorced 1'50
Op.21 No.3 (Dahn)
11 Oh, woe is me unglückhaftem man 2'03
Op.21 No.4 (Dahn)
12 Why do not girls want it pious 1'44
No.1 op.19 (von Schack)
13 The Rose Band Op.36 No.1 2'41
(Friedrich Gottlieb Klopstock)
14 Winter Love Op.48 No.5 (Charles Henckell) 1'36
15 Ruhe, meine Seele Op.27 No.1 (Henckell) 3'10
16 Secret Auffordering Op.27 No.3 2'47
(John Henry Mackay)
17 Dedication Op.10 No.1 (of Gilm) 1'49
18 dream in the twilight Op.29 No.1 2'35
(Bierbaum)
19 My child, Op.37 No.3 (Falcon) 2'31
20 Lullaby Op.41 No.1 (Dehmel) 3'51
21 Easy Vision Op.48 No.1 (Bierbaum) 2'26
Cecilia, Op.27 No.2 22 (Hart) 2'03
23 You are my heart, Op.21 No.2 Krönelein 2'03
Dahn)
24 I wear my love Op.32 No.1 (Henckell) 2'08
25 The Night Op.10 No.3 (of Gilm) 2'23
26 pages your eye looked in my 1'31
No.1 op.17 (von Schack)
Wide 27 'on my head your black hair, 1'30
Op.19 No.2 (Schack)
28 I love you, Op.37 No.2 (of Liliencron) 2'05
29 Dedication Op.10 No.1 (of Gilm) 1'46
30 Op.27 No.3 secretive invitation (Mackay) 2'57
31 homecoming Op.15 No.5 (Adolf Friedrich von Schack) 2'19
32 All my thoughts Op.21 No.I (Dahn) 1'06
33 Op.I7 serenade No.2 (Schack) 2'26
34 Waldseligkeit Op.49 No.I (Dehmel) 2'36
Anton Dermota tenor (1-6, 23-30) • Soprano Hilde Konetzni (7-10)
Alfred Poell baritone (11-16) • Soprano Maria Reining (17-22)
Lea Piltti soprano (31-34)
Richard Strauss Piano
 
CD35
Orchestral Songs
1 Dedication Op.10 No.1 1'44
2 The Night Op.10 No.3 2'12
3 acres! Op.27 No.4 3'42
4 Freed Op.39 No.4 5'25
5 Lullaby Op.41 No.1 3'58
6 Easy Vision Op.48 No.1 2'20
7 Waldseligkeit Op.49 No.1 3'13
8 The Magi Op.56 No.6 5'45
Four Last Songs
9 Spring 3'10
10 September 4'50
11 When bedtime 5'35
12 In the afterglow 8'57
Charlotte Margiono soprano
Radio Philharmonic Orchestra Holland
Edo de Waart
Recording: 22 February 1993 (Four Last Songs)
26 to 27 August 1993, De Doelen, Rotterdam


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 


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