DCCXC. KREPPEIN, Ulrich Alexander: Départ

DCCXC. KREPPEIN, Ulrich Alexander (1979-       )

Départ (2000)
Ensemble Modern
Franck Ollu, cond.
(19:50)

DCCLXXXIX. HAAS, Georg Friedrich: In Vain

DCCLXXXIX. HAAS, Georg Friedrich (1953-       )

In Vain (2000)
Ensemble Dal Niente
(1:02:44)

Written in response to the rise of the far-right in Austria. Gorgeous music.

The light levels in the hall are specified in the score; some sections of the piece are played in very bright light, and about twenty minutes are played in complete darkness.

Kinky.

DCCLXXXVIII. HINDEMITH, Paul: Sonata for Harp

DCCLXXXVIII. HINDEMITH, Paul (1895-1963)

Sonata for Harp (1939)
1. Mäßig schnell
2. Lebhaft
3. Sehr langsam
Mélanie Laurent, harp
(11:37)

Hindemith -- a violist, who took the trouble to completely familiarize himself with every instrument in the orchestra -- wrote sonatas for just about all of them:

Violin (7); Viola (7); Viola d'Amore; Cello (3); Double Bass; Flute; Oboe; English Horn; Clarinet; Bassoon; Horn; Alto Horn; Trumpet; Trombone; Tuba; and Harp.

Almost all of these became required repertoire for each instrument. This Harp Sonata is certainly one of the most beautiful works ever written for the instrument. (I am amazed by how quickly harpists can change the pedal settings!)

DCCLXXXVII. CARTER, Elliott: Tempo e Tempi

DCCLXXXVII. CARTER, Elliott (1908-2012)

Tempo e Tempi (1998-99)
1. Tempo e Tempi (2:07) [text: Eugenio Montale]
2. Ed è Subito Sera (0:40) [text: Salvatore Quasimodo]
3. Òboe Sommerso (2:02) [text: Salvatore Quasimodo]
4. Una Columba (0:44) [text: Giuseppe Ungaretti]
5. Godimento (1:12) [text: Giuseppe Ungaretti]
6. L'Arno a Rovezzano (3:30) [text: Eugenio Montale]
7. Uno (1:35) [text: Giuseppe Ungaretti; from the poem Proverbi]
8. Segreto del Poeta (3:48) [text: Giuseppe Ungaretti]
Ensemble Speculum Musicæ

"Fascination with Italian music, literature, and visual arts has grown ever since my mother took me to Rome in around 1924. This song-cycle is a small gesture of gratitude to Italian culture and its musicians that have shown such an interest in my work ... a few years ago Raffaele Pozzi (one of the directors of the Pontino Festival, which dedicated two of its manifestations to my work) sent me the two poems of Montale included in this cycle, asking me if I would set them. The first, Tempo e Tempi, pleased its Italian audience so much that I was encouraged to set others. Using the instrumentation of the first (oboe, clarinet, violin and cello), I chose poems by Ungaretti and Quasimodo, each referring to the passage of time." -- EC

Yes, he lived to be 103!

Studied with Boulanger 1932-35.

DCCLXXXVI. STOCKHAUSEN, Karlheinz: Die 7 Lieder der Tage

DCCLXXXVI. STOCKHAUSEN, Karlheinz (1928-2007)

Die 7 Lieder der Tage (vom MONTAG aus LICHT) (1986)
1. Montags-Lied
2. Dienstags-Lied
3. Mittwochs-Lied
4. Donnerstags-Lied
5. Freitags-Lied
6. Samstags-Lied
7. Sonntags-Lied
Felicita Brusoni, soprano
(10:31)

1. Montags-Lied

MONTAG
Mond-Licht (humorvoll: heiß fängt die Woch an ... )
EVA-Tag -- Geburt der Kinder
tsch -- Rauschen -- Mut
Grün Wilbergrün -- Sopran
Wasser -- Riechen
Zeremonie und Magie

Monday Song

MONDAY
Moon-Light (humorously: hot is the start of the week ...)
EVE-day -- Birth of the children
tch -- Rushing sound -- Courage
Green silver-green --- Soprano
Water -- Smelling
Ceremony and Magic

2. Dienstags-Lied

DIENSTAG
Mars-Licht (komisch: päng päng!)
Kriegstag LUZIFER -- MICHAEL
u i e! Schreien -- Tapferkeit
Rot -- Trompete und Posaune
Erde -- Schmecken
Ideale -- Hingabe

Tuesday Song

TUESDAY
Mars-Light (comically: bang bang!)
Day of war LUCIFER -- MICHAEL
u i e! Yelling -- Bravery
Red -- Trumpet and Trombone
Earth -- Tasting
Ideals -- Devotion

3. Mittwochs-Lied

MITTWOCH
Merkur-Licht Frieden -- Singen
Freundlichkeit (schelmisch: so Gott will!)
Gelb -- Sopran-Tenor-Baß
Luft -- Sehen
(Obertonglissando: ha - ä - e - o - i)
Harmonie -- Kunst

Wednesday Song

WEDNESDAY
Mercury-Light Peace -- Singing
Friendliness (roguish: God willing!)
Yellow -- Soprano-Tenor-Bass
Air -- Seeing
(overtone glissando: ha - ä - e - o -i)
Harmony -- Art

4. Donnerstags-Lied

DONNERSTAG
Jupiter-Licht
Tag des Lernens -- MICHAEL-Tag
Sprechen -- Fleiß (humorvoll: ohne Fleiß kein Preis, Donnerwetter ...)
Blau -- Tenor
Äther -- Hören
Liebe -- Weisheij -- t (fernes Echo: MICHA -- Tromba)

Thursday Song

THURSDAY
Jupiter-Light
Day of learning -- MICHAEL-day
Speaking -- Industry (humorously: without industry no prize, you don't say ...)
Blue -- Tenor
Ether -- Hearing
Love -- Wisdom (distant echo: MICHA -- Tromba)

5. Freitags-Lied

FREITAG
Venus-Licht
Versuchung --
(stimmlos aus - und einatmend: [ : tü hü hü hü hü hü hü hü hü  : ]
                                                        aus ein a.  e.  a.  e.  a.  e.  a.
EVA -- LUZIFER
Jodeln -- Standfestigkeit
Orange -- Bassetthorn-Posaune
Flamme -- Fühlen -- Tasten
Wissen -- Vernunft

Friday Song

FRIDAY
Venus-Light
Temptation --
(voiceless ex- and inhaling) [ : tü hü hü hü hü hü hü hü hü  : ]
                                                   ex in  ex  in  ex in  ex in  ex
EVE -- LUCIFER
Yodel -- Stability
Orange -- Basset-horn -- Trombone
Flame -- Feeling -- Touching
Knowledge -- Reason

6. Samstags-Lied

SONNTAG
Saturn-Licht
Tag des Todes -- LUZIFER-Tag LUZIFER
Weinen -- Furchtlosigkeit
Schwarz -- Eisblauschwarz -- Baß
Feuer -- Unwandlung -- Denken
Verstand -- Intelligenz -- Feuerintelligenz ... genz
eins zwei drei vier fünf sechs sieben acht neun zehn elf zwölf dreizehn

Saturday Song

SATURDAY
Saturn-Light
DAY of death -- LUCIFER-day LUCIFER
Weeping -- Fearlessness
Black -- Iceblueblack -- Bass
Fire -- Transformation -- Thinking
Mind -- Intelligence -- Fire-intelligence ... gence
one two three four five six seven eight nine ten eleven twelve thirteen

7. Sonntags-Lied

SONNTAG
Sonnen-Licht
Mystische Hochzeit EVA -- MICHAEL
Seufzen und Jauchzen -- Treue
Gold -- Bassetthorn-Trompete
Licht -- Intuition
Wille Kraft -- GOTTES-Klang HU -- SONNTAG

Sunday Song

SUNDAY
Sun-Light
Mystical marriage EVE -- MICHAEL
Sighing and jubilating -- Faithfulness
Gold -- Basset-horn -- Trumpet
Light -- Intuition
Will-Power -- GOD's sound HU -- SUNDAY

DCCLXXXV. SCRIABIN, Alexander: Prelude, Op. 13, No. 1

DCCLXXXV. SCRIABIN, Alexander (1871-1915)

Prelude, Op. 13, No. 1 (1895)

Two versions

Leah Deobald, piano
(2:52)

Septura (Brass septet)
(3:17)

DCCLXXXIV. FRANCK, César: Violin Sonata

DCCLXXXIV. FRANCK, César (1822-1890)

Violin Sonata (1886)
1. Allegretto ben moderato
2. Allegro
3. Ben moderato: Recitativo-Fantasia
4. Allegretto poco mosso
Renaud Capuçon, violin
Martha Argerich, piano
(30:40)

Franck -- 63 years old -- wrote this as a wedding present for the great violinist and composer, 28-year-old Eugène Ysaÿe.

Like the D Minor Symphony, the work is cyclical -- the theme appearing throughout the piece.

1. Allegretto ben moderato

The theme is introduced after four bars of piano, teasingly playing two notes broken down from the theme, which is immediately introduced by the violin.

The rest of the movement is pure development with several breaks for the piano solo.

2. Allegro

Perhaps the first movement was merely an introduction to this stormy, turbulent -- and above all -- passionate Allegro which begins in the dominant minor, but goes through several key changes:

3. Ben moderato: Recitativo-Fantasia

Free; improvisatory; fantasia ... and that cyclical theme is plainly heard again:

4. Allegretto poco mosso

Franck now presents the main melody in canon throughout the movement -- ending in triumphant satisfaction:

DCCLXXXIII. STOCKHAUSEN, Karlheinz: Invasion -- Explosion with Farewell from Dienstag aus Licht

DCCLXXXIII. STOCKHAUSEN, Karlheinz (1928-2007)

Invasion -- Explosion with Farewell from Dienstag aus Licht (1977/1987-91)
(1:14:58)

Stockhausen's notes:

The stage is closed by a rocky precipice, the two halves of which have moved in front of the proscenium arch from the sides before INVASION begins. The precipice is grown over with lianas, moss, shrubs, bushes. At its front is a rocky ledge, which slopes slightly upwards to the face of the precipice, and downwards at both sides to the ground.

FIRST AIR-DEFENCE

The sky is slightly overcast. Night falls. High up from the rear, darkly vibrating music approaches, which is soon joined by vibrating, flashingly bright music.

In a few of the crevices, searchlights light up one after another, shine into the sky and slowly scan the heavens. As the flight-music very slowly approaches the precipice, a small, silver aeroplane is suddenly picked up by the ray of one of the searchlights. A sound-missile bangs out of the precipice, emitting a tracer path of light, and strikes the aeroplane, which screams off and, with a long glissando, crashes onto the rock ledge four octaves below.

Sound-bombs explode at regular intervals.

The searchlights become more active, the multi-note chord of flight squadrons whirs at high altitude in a fourth-glissando which slowly glides downwards.

More tone-rockets -- in changing timbres -- shoot out of the precipice towards the airborne targets.

Barely recognisable in the precipice are numerous cannon muzzles shaped like huge trumpet bells. In the sky, a gradually increasing number of silver aeroplanes in formation becomes audible as they fly towards the precipice and away over it.

During a salvo of anti-aircraft missiles, the next aircraft is hit and spins downward in bizarre curves, onto the rock ledge.

The following volley brings a third flying object crashing down, also onto the rock ledge.

Suddenly, at the half-right, the precipice opens. Something unrecognisable, holding a flashlight, emerges out of the opening and slinks to the downed flying object. In slow-motion -- with two fingers -- it pulls out a silvery miniature human body, which is twisting like a snake, then holds the body up in the light of the searchlights before taking it into the precipice, which quickly closes.

FIRST INVASION

In the meantime, the detonations of the sound bombs have begun anew:

Far away at the left, signals can be heard: melody-shreds played by trumpets, trombones, strange instruments and voices. They gradually approach.

The anti-aircraft guns again go into action, shooting down a flying machine.

From the left, fighting troops invade the hall. Trombonists with synthesizerist and percussionist, led be a bass-commander -- all in black-red modern battle dress -- are pursued in close combat by trumpetists with synthesizerist and percussionist, commanded by a tenorist-officer -- all wearing light blue-red, modern uniforms.

As the whirring frequency looping of the aircraft clusters of bass bombing, anti-aircraft guns firing, and the screaming of shot-down flight-sounds constantly become denser, the troops struggle back and forth through the auditorium. Several combatants of the LUCIFER-troop climb onto the rock ledge and up part of the precipice, and in several attempts cut off lianas, shrubs, and bushes which crash down revealing themselves as a camouflage net. With a few detonations, the whole precipice is blasted open and, as it falls apart in several sections, a chrome bunker wall behind it is revealed, barely discernible as it reflects the searchlights and the anti-aircraft guns. It has irregular protrusions, golden trumpet bells projecting from it, and a wide plinth at its base.

The combat gradually moves to the right, leaves the auditorium, and fades away in the distance. The bass detonations cease. The anti-aircraft guns are silent. The dull rumbling of the flight squadrons subsides. All that remains is the whirring chord of flying objects at high altitude and the slow tracing of the searchlights in the sky. A calm, melancholic fragment of the EVE-melody engulfs the space:

SECOND AIR-DEFENCE

One of the searchlights fishes a silver aeroplane in the sky. A hissing shot whizzes out of the chrome wall and strikes. The silver fish spins downwards and upwards several times, as the rumbling begins softly. As it approaches, a young voice from outer space hoarsely counts in a long, drawn-out way:

SECOND INVASION

From far away at the right comes the toning of strangely alienated trumpets, trombones, calls, mixed with unknown sound-shreds.

An E-flat shell races up into the sky and strikes a high flying object which is instantly fixed by several searchlights and followed until just before it crashes at the bunker wall.

A bright voice sings from the heights:

Tone-rockets burst. The searchlights become nervous. From the right side, fighting troops approach and break into the auditorium. A MICHAEL-troop -- wearing bluish chrome uniforms -- is forced back in sharp attacks by the LUCIFER-fighters in shimmering black chrome armament.

The anti-aircraft guns bang away like mad and -- in rapid succession -- shoots down eight aircraft which go down in front of the bunker wall -- as in all previous downings. To this, the bright voice blood-curdingly tones from the heavens, with twisted names and key words of the fight:

A harsh man's voice continues, resounding from the earth and the four winds.

Since the call "LU-ZI" of the clear voice following the last crash of a flying object, the struggle has become extremely bitter and is concentrated at the plinth of the bunker. A few members of the LUCIFER-troop climb up the bunker, their feet magnetically attracted and sticking to the chrome wall. Despite desperate resistance by the MICHAEL-troop, they instantaneously cut the wall to pieces using light-ray welders. One after another the pieces fall and -- as if by magic forces -- are transported to the sides. Behind the fallen chrome plates, a wall of rock-crystal -- glittering incredibly -- becomes visible.

CASUALTY

A piercing scream tears through the turmoil, and the sound cannons abruptly cease. All musicombatants of the LUCIFER-troop retreat to the right side of the bunker, those of the MICHAEL-troop to the left side. On the socket of the bunker, a trumpetist is lying, heavily wounded.

A white flag is extended from one of the trumpet bells of the crystal wall. Shortly afterwards, the wall opens. A red cross nurse of glass emerges, accompanied by two other glass beings. All those standing around freeze. The woman looks towards the trumpetist, her two escorts carry him to her. His hand is tightly holding his flugelhorn. She sits down on a protruding crystal. The trumpeter is laid across her lap, she supports his head, and inclines her head towards him.

Then, his body, standing upright and holding the flugelhorn, appears raised behind the woman, looking down at her. Out of this second body, grows a third ethereal transparent form of his body, also with flugelhorn, until it is standing around and above him -- a huge magnification of the human form.

All those watching silently withdraw and disappear, the LUCIFER-troop to the right, the MICHAEL-troop to the left. The woman's two escorts can also no longer be seen.

PIETÀ

The trumpeter plays a flugelhorn solo. All movements of his etheric body are identical to those of his human body. The woman soon joins in, singing. The two of them play and sing a moving duet in which it is revealed that, in the wounded flugelhorn player, MICHAEL has become visible, and that, in the consoling nurse, EVE has become visible.

These are the words sung by the soprano:

"MICHAEL-trumpeter has been hit in the heart, wounded.
LUCIFER's trombone invasions.

This life -- death -- the Beyond
Earth -- sleep -- Heaven
PIETÀ

You fight for Heaven
May love heal your wounds
Wonderful Son of God
MICHAEL musical dearest
rest -- rest -- rest

sound in my heart
let the man die
return home
arise

Angel-choirs
await you, Master of Heaven

GOD, your breath
gives you new life"

THIRD INVASION

Cracking, a C-sharp rocket rushes out from a trumpet bell of the crystal wall into the sky. A flight-sound-plane is hit, and screams away.

The woman is startled. The body standing behind her and its ethereal form dissolve. In a flash, the two escorts appear, remove the trumpeter from her lap, and carry him into the bunker. She follows. The crystal wall closes.

Searchlights shine out of the trumpet bells, scan the heavens.

At the rear, banging, whistling, trilling, fluttering, shouting, tremoloing, glissing troops break into the auditorium, storm round each other in close combat. A LUCIFER assault party -- in black-silver shimmering crystal bodies -- pursues a group of MICHAEL musicombatants -- wearing light blue glittering crystal suits -- towards the bunker.

EXPLOSION

In rapid succession, tone rockets shoot out of the crystal wall up into the sky, emitting light traces in all colours. One flying machine after another is hit, squabbles away. Several are downed. Everything is a shudderingly beautiful sonorisarium.

The fighters have reached the crystal bunker. A few of the LUCIFER-hunters climb like cats up over the crystal posts, drill into them here and there with steaming blowtorches, leap down in wide arches. As the eleventh anti-aircraft missile is fired, a vehement detonation breaks off a large upper section of the crystal wall. A dust sound-cloud of an infinite number of tone-splinters conceals the background, and a mad sound-bomber curves through the firmament.

After the following four firings of the anti-aircraft guns, a second, even larger explosion destroys the left section of the crystal wall. Scintillating light streams through a fog of glassy snow.

An unusually complicated flying object howls into the depths.

A third, gigantic explosion finally rips the remaining right section of the crystal wall into an infinite number of sounding particles.

The fighters have disappeared, as if swallowed up by the earth.

BEYOND

Calm chords of strong humming resonate out of the opening. The snow-crystal dust disperses. A glass world in white light becomes visible. In the middle, a glass conveyer belt floats at mid-height, and as it rolls from the depths to the front, silver and glass soldiers, tanks, aeroplanes, battle ships on it approach. Some of them are marked into groups by coloured dots or stripes.

Bluish glass begins with bright male voices are seated, to the left of the conveyor belt. To the right are similar beings with dark voices. All stare at the war material as it slowly glides past, and with glass croupier rakes, pull -- at irregular intervals -- one war toy or several or a little pile towards themselves, whereby the objects fall between the glass conveyor belt and their bodies onto a lower conveyor belt moving in the reverse direction. During this, glass stock-exchange clocks behind them tally the wins and losses in columns of colourful numbers.

The humming becomes singing.

SYNTHI-FOU -- FAREWELL

At the words, "löscht das Lied in alle Ewigkeit" ("effaces the suffering in all eternity"), some of the glass men raise their arms above their heads, and wave from back to front. One after another, red cross nurses of glass float into the room from both sides until behind each glass man a nurse has halted. Each woman stands half a body height higher than the man in front of her, and holds the fingertips of one or both of his hands.

A rotating disc wielding wild timbres whirls in from the left. On it, sits a colourful musician wearing green elephant ears, huge sun glasses, a very long nose. He is surrounded by keyboards and loudspeakers, and is playing, absolutely happy. The wagon drives up to the conveyor belt. The war players, staring at Synthi-Fou, slightly rise.

With élan, Synthi-Fou begins playing a futuristic solo, becoming more exuberant with each bar. Now the war players stop their game, and they strongly sing in chords, lightly swaying their shoulders at each chord change. Their language sounds unknown, their gestures look like hieroglyphs. But it is obvious from their expressions that they are amused by Synthi-Fou and that they admire him.

Unswervingly, the women -- as well as the men -- watch Synthi-Fou, and sing along, swaying back and forth with the chord changes synchronous with the glass men: the soprano voices in counter-rhythm to the tenors, the alto voices in counter-rhythm to the basses. One after another they toss away their red cross nurses' caps, then also other parts of their glassy clothing.

War toys incessantly glide forwards, falling off the front end of the conveyor belt onto the lower belt moving in the opposite direction.

The sound suddenly changes to crystal timbres. Instantaneously, the boundaries of the room transform into mirrors which endlessly mirror, invert, magnify, reduce, and mix the beings.

Synthi-Fou becomes ecstatic, infecting everyone with his happiness. In the auditorium, several tulle curtains sink to the floor, spaced at some distance, one in front of the other, and the dancing bodies can be seen enlarged on them. The view of the Beyond becomes indistinct. The choir singers depart in stylised dancing movements into the far distance.

Until the end, Synthi-Fou dances with his long fingers on the keys, grasps, sings, switches, plays -- happy! He is alone at the end. With the ritardando of the last 13 chords, which play by themselves, he has stood up, and as he counts backwards in a high exalted voice he pulls a long, cut-off finger-glove from every finger, tossing each one in a different direction. "Thirteen-twelve-eleven ..." At "three" and "two," he tosses away the huge elephant ears, and at "one" he tosses the long nose into the air. Then, he charmingly bows, steps down from his disc and stalks out.

For a long time, the electronic music continues to turn in sound loops, becomes softer and softer, as the lights fade out

DCCLXXXII. GANN, Kyle: Hovenweep

DCCLXXXII. GANN, Kyle (1955-       )

Hovenweep (2000)
Da Capo Chamber Players
Kyle Gann, cond.
(10:30)

DCCLXXXI. HOLBORNE, Anthony: Galliard

DCCLXXXI. HOLBORNE, Anthony (1545-1602)

Galliard (1599)
Massimo Agostinelli, guitar
(2:00)

DCCLXXX. KERNIS, Aaron Jay: String Quartet #3 ("River")

DCCLXXX. KERNIS, Aaron Jay (1960-       )

String Quartet #3 ("River") (2019)
1. Source
2. Flow/Surge
3. Mirrored Surface -- Flux -- Reflections
4. Cavatina
5. Mouth -- Estuary
Jasper String Quartet
(42:47)

DCCLXXIX. MOZART, Wolfgang Amadeus: Serenade #10 in B-Flat Major, K. 361

DCCLXXIX. MOZART, Wolfgang Amadeus (1756-1791)

Serenade #10 in B-Flat Major, K. 361 (1781-2)
1. Largo -- Allegro molto
2. Menuetto -- Trio I-II
3. Adagio
4. Menuetto (Allegretto) -- Trio I-II
5. Romanze (Adagio -- Allegretto -- Adagio)
6. Thema mit Variationen (Andante)
7. Finale (Molto allegro)
Orchestra del Teatro La Fenice
(51:19)

1. Largo -- Allegro molto

The syncopation is magical ... the theme of the Allegro is the essence of simplicity, so utterly charming.

2. Menuetto -- Trio I-II

3. Adagio

From Amadeus:

SALIERI (having observed Mozart's boorish behavior, he hears this music [19:00]):

"This was no composition by a performing monkey. This was a music I'd never heard. Filled with such longing, such unfulfillable longing. It seemed to me that I was hearing the voice of God."

4. Menuetto (Allegretto) -- Trio I-II

5. Romanze (Adagio -- Allegretto -- Adagio)

6. Thema mit Variationen (Andante)

7. Finale (Molto allegro)

DCCLXXVIII. PROKOFIEV, Sergei: War and Peace, Op. 91

DCCLXXVIII. PROKOFIEV, Sergei (1891-1953)

War and Peace, Op. 91
1. Overture (4:59)
2. Svetloye vesenneye nebo (The radiance of the sky in spring) (11:03)
3. Khor! Pust nachinayet khor! (Chorus! Let the chorus begin!) (19:56)
4. Nevesta molodogo knyazya (The young Prince's fiancée) (11:01)
5. Moya prelestnaya, ocharavatelnaya (The charming, delightful Natasha!) (10:09)
6. Vecherom v desyat chasov ona budet zhdat (At ten o'clock in the evening she'll be waiting (10:22)
7. Oy, barïshnya, golubushka, kazhis (Oh, my dear Miss Natasha, all is lost) (8:23)
8. Eto samïy rasseyannïy i smeshnoy chelovek (He may be the most muddle-headed man and people may laugh at him) (12:30)
9. Padumayte, grafinya, priyekhal ya s pozdrovleniyem (Picture the scene, Countess. I called to convey my greetings) (10:53)
10. Epigraph: Silï dvunadesyati yazïkov Yevropï vorvalis v Rossiyu (The forces of twelve European nations have invaded Russia) (4:59)
11. Poshla, rebyata! (Come on, lads!) (32:02)
12. Vino otkuporeno (The wine is uncorked) (10:22)
13. Itak, gospoda, vïgodney li nam srazitsya pred Moskvoyu (And so, gentlemen, the question is: would it be to our advantage (7:21)
14. Mech nam i plamen nesut nepriyateli (The enemy bears down on us) (10:51)
15. Moskva pusta! (Moscow's deserted!) (32:13)
16. Tyanetsya, vse tyanetsya (It's stretching higher and further (13:25)
17. Korabli sozhzheril ... (We've burnt our bridges ...) (20:25)
Alexander Gergalov, Prince Andrei Bolkonski
Lyudmila Kanunnikova, Princess Maria Bolkonskaya, his sister
Vladimir Ognovenko, Prince Nikolai Bolkonski, his father/Matveyev
Elena Prokina, Countess Natalya Rostova (Nathasha)
Sergei Aleksashkin, Count Ilya Rostov, her father/General Benigsen/Captain Rambal
Svetlana Volkova, Sonia, her cousin
Gegam Grigorian, Count Pyotr (Pierre) Bezukhov
Olga Borodina, Countess Helena Bezuhova, his wife
Yuri Marusin, Prince Anatol Kuragin, her brother
Alexander Morozov, Lieutenant Dolokhov, Anatol's friend
Irina Bogacheva, Maria Akhorrimova, a Moscovite lady
Evgenia Tselovalnik, Madame Peronskaya
Nikolai Okhotnikov, Field-Marshal Kutuzov
Ivan Volodin, General Barclay de Tolly
Mikhail Chernozhukov, General Yermolov
Georgy Zastavny, General Rayevski
Nikolai Gassiev, General Konovnitsyn/Adjutant to Prince Eugêne/Gérard
Mikhail Kit, Vasska Denissov
Evgeny Boitsov, First Staff Officer/Ivanov
Yuri Laptev, Second Staff Officer/Jacquot/Métivier
Igor Shpagin, First German General/A Voice Offstage
Mikhail Bulatov, Second German General
Igor Yan, Prince Andrei Bolkonski's Orderly/Adjutant to General Compans/A Young Factory Worker
Yuri Zhikalov, Kutuzov's Adjutant/Lieutenant Bonnet/Footman of the ball
Vassily Gerello, Napoléon Bonaparte
Andrei Khramtsov, Marshal Berthier/Gavrila
Gennady Bezubenkov, Marshal Davout/Balaga
Vlacheslav Trofimov, General Belliard
Mikhail Yegorov, Monsieur de Beausset/Host of the ball/A French abbé
Grigory Karasev, Adjutant to Napoleon's retinue/A French officer/The Bolkonskis' valet
Maria Gortsevskaya, Adjutant to Marshall Murat
Evgeny Fedotov, Tikhon Chtcherbaty/The Bolkonskis' old footman
Andrey Karabanov, Fyodor
Olga Markova-Mikhailenko, Vasilissa/Matriocha
Slava Fomin, Trishka
Vladimir Solodovnikov, Platon Karataiev
Vladimir Kniazev, First Madman
Alexander Shubin, Second Madman
Elena Gulyayeva, First French Actress
Julia Chazanova, Second French Actress
Evgenia Perlasova, A Shopkeeper
Tatiana Filimonova, The Bolkonskis' housemaid
Anna Kovaleva, Dunyasha, Natasha's maid
Lyudmila Filatova, Mavra Kuzminichna
Kirov Opera and Orchestra of the Mariinsky Theatre
Valery Gergiev, cond.

The opera was first performed two months after Prokofiev's death.

**

Part 1 (Peace)

Scene 1: After dark, in the garden of Count Rostov's country estate, May, 1806

Andrei, who is a guest there, is depressed by the loss of his wife. Natasha, who also cannot sleep,looks out of her window and tells Sonya how beautiful the garden looks in the moonlight, and Andrei recovers his spirits.

Scene 2: New Year's Eve, 1810

At a ball in St. Petersburg attended by the Tsar, Pierre encourages Andrei, who is attracted to Natasha, to ask her to dance. Anatole, also attracted to her, asks Hélène to arrange an introduction.

Scene 3: Town hours of Prince Nikolai, February 1812

Count Rostov and Natasha visit Prince Nikolai's home. He is the father of Andrei, to whom she is engaged. Andrei has been abroad for a year. Princess Marya indicates that her father will not see them, and Count Rostov departs. However, the Prince, dressed eccentrically and behaving boorishly, does appear, and Natasha realises that he does not approve of the marriage.

Scene 4: Pierre's Moscow house, May 1812

Hélène tells Natasha that Anatole is attracted to her, and, after some hesitation, Natasha hears his declaration of love and agrees to meet him.

Scene 5: Dolokhov's apartment, 12 June 1812

Dolokhov has made arrangements for his friend Anatole's elopement with Natasha. The coach-driver Balaga, Dolokhov and Anatole drink to the escapade and to the latter's mistress Matriosha.

Scene 6: Later that night

Natasha discovers that Sonya has given away her secret to Madame Akhrosimova, with whom they are staying. Anatole and Dolokhov are sent away by Gavrila, and Akhrosimove reduces Natasha to tears. Pierre arrives, reveals that Anatole is married, and agrees to ask Andrei to forgive Natasha. He shyly admits that he himself would want to marry her if he were free. Natasha takes poison off-stage and rushes back on stage in great agitation to confess this face to Sonya.

Scene 7: Later still

Hélène is entertaining Anatole, Metivier and an Abbé. Pierre, returning home, upbraids Anatole and demands that he leave Moscow immediately. He agrees, and Pierre is left alone to bemoan his own circumstances. Denisov arrives with the news that Napoleon and his army are crossing into Russia. War is inevitable.

Part 2 (War)

Scene 8: Near Borodino, 25 August 1812

Amid preparations for the defence of Moscow, Andrei and Denisov discuss utilising partisans to make life difficult for Napoleon's army. Pierre, wanting to observe the scene, arrives, and he and Andrei embrace, perhaps for the last time. Field-Marshal Kutuzov offers Andrei a position on his staff, but Andrei prefers to go into battle with his own regiment. The battle starts.

Scene 9: Later that day

Napoleon ponders his position, first refusing to commit more men, then agreeing. An unexploded cannonball lands at his feet and he kicks it away.

Scene 10: Two days later

Kutuzov and his generals are holding a Council of War at Fili, near Smolensk. The army will be at risk if Moscow is to be defended to the last -- but if the army retreats, Moscow will be at the mercy of the French. Kutuzov decides that only by retreating, and potentially sacrificing Moscow, will there be any hope of victory.

Scene 11: Moscow is burning

The city is on fire because its citizens try to avoid a surrender. Pierre is caught up among some Muscovites, including veteran Platon Karataev, who are accused by the French of fire-raising. As the asylum and theatre burn, lunatics and actresses flee -- but Napoleon has to admit that the courage of the people has frustrated his plans.

Scene 12: In a peasant's hut at Mitishchi

The wounded Prince Andrei, delirious, has been evacuated with the Rostovs from Moscow. Natasha, who had been unaware that he was among her fellow evacuees, visits him. She tries to apologise for her conduct, but he again declares his love for her, and they sing of their happiness as Natasha reassures him that he will live. He falls asleep, and his heartbeat (conveyed by an offstage chorus) stops for ever.

Scene 13: November, 1812

On the road to Smolensk, the retreating French are escorting a group of prisoners through a snowstorm. Karataev cannot keep up and is shot, but Pierre and the others are rescued by the partisans. Denisov tells Pierre that Andrei is dead but that Natasha is alive and well. Kutuzov and his men rejoice in their victory, and celebrate the indomitable will of the Russian people.

**

French production in Russian; no subtitles

DCCLXXVII. HAYDN, Franz Joseph: Concertino in C Major

DCCLXXVII. HAYDN, Franz Joseph (1732-1809)

Concertino in C Major (1760)
1. Moderato (3:41)
2. Adagio (4:52)
3. Allegro (1:55)
Haydn Trio Eisenstadt

DCCLXXVI. BARTÓK, Béla: Romanian Christmas Carols

DCCLXXVI. BARTÓK, Béla (1881-1945)

Romanian Christmas Carols (1915)
Series 1 (4:34)
1. Pă cel plai de munte (from the region of Várhely, in Hunyad). Allegro
2. Intreabă si-ntreabă (from the region of Malomvíz, in Hunyad). Allegro
3. Doi roagă să, roagă (from the region of Malomvíz, in Hunyad). Allegro
4. Ciucur verde de mătasă (from the region of Temesmonostor, in Temes). Andante
5. Coborâto, coborâto (from the region of Alsóvisó, in Máramaros). Allegro moderato
6. În patru cornuţi de lume (from the region of Görgényorsova, in Maros-Torda). Andante
7. La lină fântână (from the region of Sárafalva, in Torontál). Andante
8. Noi umblăm da corindare (from the region of Sárafalva, in Torontál). Allegretto
9. Noi acum ortacilor (from the region of Bisztra, in Torda-Aranyos). Allegro
10. Trei crai de la Răsărit (from the region of Rogos, in Bihar). Più allegro

Series 2 (6:10)
11. Colo-n jos la munte-n josu (from the region of Körtekapu, in Maros-Torda). Molto moderato
12. Deasupra pă răsăritu (from the region of Várhely, in Hunyad). Moderato
13. Creştemi, Doamne, creştiu (from the region of Cserbel, in Hunyad). Andante
14. Sculaţi, sculaţi boieri mari (from the region of Felsőoroszi, in Maros-Torda). Andante
15. Ăi, colo-n josu mai din josu (from the region of Cserbel, in Hunyad). Moderato
16. Şio luat, luată (from the region of Libánfalva, in Maros-Torda). Andante
17a. Colo sus mai susu (from the region of Temesmonostor, in Temes). Variante
della precedente
17b. Şio luat, luată (reprise). Andante
18. Colo sus pă după lună (from the region of Gyalán, in Bihar). Allegro
19. De cei domnul bunu (from the region of Várhely, in Hunyad). Allegretto
20. Hai cu toţil să suimu (from the region of Gyalár, in Hunyad). Allegro
Dezső Ránki, piano

DCCLXXV. STOCKHAUSEN, Karlheinz: Der Jahreslauf, for orchestra and tape

DCCLXXV. STOCKHAUSEN, Karlheinz (1928-2007)

Der Jahreslauf, for orchestra and tape (1977)
European Concert version
(43:40)

This amazing video has English subtitles placed into the various (weird) artwork the uploader has inserted. It makes the music that much more interesting.

**

Stockhausen's notes:

Der Jahreslauf (THE COURSE OF THE YEARS) simultaneously depicts -- as four musical time layers -- milleniums (3 harmoniums), centuries (anvil and 3 piccolos), decades (bongo and 3 soprano saxophones), and years (bass drum with harpsichord and guitar).

Four temptations bring it to a stand-still, and each time an incitement sets it in motion again. In a performance, these temptations and incitements become audible as sound-events and words over loudspeakers.

Entrance

A ringing of geisha bells begins (tape).

The musicians enter from the left, irregularly spaced from each other, dressed in white or blue tops and black trousers or skirts. They calmly and ceremoniously walk to their places looking straight ahead. While they walk onstage, the stage lighting is completely faded in and remains unchanged thereafter. The musicians who are not carrying an instrument hold their hands loosely in front of their bodies, with arms bent. As they sit down without bowing, remaining motionless, the geisha bells are faded out. (The orchestra parts must be placed, opened, on the low music stands before the concert begins.) The bass drum player looks to see if all are ready, then starts the music with a high upbeat.

First Temptation

A ship's bell rings loudly and irregularly. The musicians stop playing, with the exception of the harmoniums. All freeze in position. From the outside at the right, the rapid, nearly synchronous steps of three people striding onto the stage can be heard. They halt at the right. Clothing rustles.

Surprised, the musicians look in the direction of the sound and follow its stereophonic movement with their head positions and eyes (they look diagonally upwards to the front as if the scene was taking place in front of them, slightly upwards, in the air). Their heads remain fixed at the point where the steps halt. From now on, in this and the following sound scenes, the musicians must follow all movements with parallel movements of their heads (this must be carefully rehearsed).

A man's voice speaks slowly and clearly: "Flowers for the year-runner (long pause) -- he does not want them." Slightly longer rustling of clothing. The steps stride from the right to the half-right. Silence. The man's voice says: "Flowers for the decade-runner (pause) -- neither does he." Loud and bright, a foot stamps on the floor. The steps stride to the half-left. Silence. Rustling of clothes. Man's voice: "Flowers for the century-runner -- he does not want any either." Loud footstep. Striding to the left. Silence. Rustling of clothes. Man's voice: "Flowers for the millenium-runner -- also he does not yet want any flowers." Two explosive footsteps. There is a sharp cracking noise as the discarded bouquet of flowers hits the floor. Silence. Rapid striding off from the left to the rear right (sounds moves diagonally across the stage in ca. 9 sec.).

First Incitement

Quick running-in (child's steps) from the far left to nearly the front centre; girl's voice with rapid hand-clapping: "Applause --" quick steps, rapid clapping -- "Applause for the artists!" -- clapping -- "Please applaud, so that it can continue!" Applause (from the tape) follows, and usually the public also joins in, applauding. As the applause subsides, the bass drum player gives the downbeat.

Second Temptation

The loud, high ringing of a table bell (used for signalling the beginning of meals) begins. The musicians, with the exception of the harmoniums stop playing. All freeze in position and synchronously move their heads with the following sound movements.

Together with the ringing, the sound of a trolley rolling in from the right and stopping at about mid-stage can be heard. The musicians again follow the movements with their glances. A man's voice slowly and clearly says: "A cook -- with exquisite food." The rolling trolley and ringing slowly move to the left, then back again to the middle.

Second Incitement

The roaring of a lion begins outside to the left. It approaches, moving in front of the musicians to the right, then to the left again, to the middle, and slowly back to the left, becoming softer. After ca. 43 sec. of the lion-roaring, the harpsichord player gives the downbeat. The lion-roaring is gradually faded out.

Third Temptation

Loud car-honking approaches from the outside right (4 chrome horns with rubber bulbs which when squeezed honk 4 different pitches). The 4 pitches follow in irregular, quick succession, often with two horns honking simultaneously (changing pitch combinations), for example

The musicians -- with the exception of the harmoniums -- stop playing. All freeze in position and again synchronously follow the acoustic movements.

With the honking, a motorcycle races in from the right, makes a few curves, drives to the right, then to the half-right, half-left, left and halts (after ca. 30 sec.). Silence -- single honks with single pitches and intervals (ca. 22 sec.). Stops at the centre, single honks, turning off of the motor (ca. 18 sec.). Silence.

Single honks with pauses (ca. 28 sec.).

Third Incitement

A humming girl comes skipping in from the left, remains standing to the left of the middle and calls, "For the winner of the course of the years, 10,000 marks! Please continue to play." Silence. The voice of the girl insists, "For the winner of the course of the years: 10,000 marks! Please continue to play!" (ca. 44 sec.)

The bass drum player looks at all the musicians, waits for a moment, then gives the downbeat. The motorcycle is started, roars off honking, whizzing in large curves and away at the right. It is gone.

Fourth Temptation

Soft "entertainment" music (blues) comes from the right and slowly moves to the middle. The musicians -- with the exception of the harmoniums -- stop playing. All freeze in position and synchronously follow the direction of the sound movements.

After 40 sec., a man's voice says, "HƆ HƆ HƆ HƆ: stark naked!"

The percussionists start softly playing the dance rhythm.

Fourth Incitement

A thunderstorm with crashing thunder starts. Immediately afterwards, all musicians begin to play loudly. The entertainment music continues to sound for about 20 seconds during the storm, which gradually becomes softer. The storm fades out.