CMXI. STRAVINSKY, Igor: Requiem Canticles

CMXI. STRAVINSKY, Igor (1882-1971)

Requiem Canticles (1966)
Simon Joly Chorale
Philharmonia Orchestra
Robert Craft, cond.
[scrolling score]
(15:16)

CMX. MADERNA, Bruno: Biogramma

CMX. MADERNA, Bruno (1920-1973)

Biogramma (1972)
1. Section A; quarter-note = 52 (1:16)
2. Section A; quarter-note = 60 ca. (3:10)
3. Section B; quarter-note = 42 ca. (4:21)
4. Section B; quarter-note = 60 ca. (1:52)
5. Section C (3:20)
NDR Elbphilharmonie Orchester
Giuseppe Sinopoli, cond.

CMIX. HAYDN, Franz Joseph: Symphony #47 in G Major ("The Palindrome")

CMIX. HAYDN, Franz Joseph (1732-1809)

Symphony #47 in G Major ("The Palindrome") (1772)
1. Allegro
2. Un poco adagio cantabile
3. Menuetto e Trio
4. Presto assai
The Academy of Ancient Music
Christopher Hogwood, cond.
(24:03)

1. Allegro

2. Un poco adagio cantabile

3. Menuetto e Trio

And here's the Palindrome!

Both the menuet and trio are played backwards.

4. Presto assai

A really interesting symphony ...

CMVIII. STOCKHAUSEN, Karlheinz: Libra

CMVIII. STOCKHAUSEN, Karlheinz (1928-2007)

Libra (1976-77)
Liam Hockley, bass clarinet
KS, electronics
(32:24)

The Libra melody (1:15):

CMVII. LIGETI, György: Artikulation

CMVII. LIGETI, György (1923-2006)

Artikulation (1958)
(Tape)
(3:49)

Eerily similar to Varèse's Poème électronique from the same year.

CMVI. BACH, J.S.: Prelude and Fugue in B-Flat Major, K. 866

CMVI. BACH, J.S. (1685-1750)

Prelude and Fugue in B-Flat Major, K. 866 (1722)
Bart Naessens, harpsichord
(3:53)

CMV. CHYRZYŃSKI, Marcel: "Ukiyo-e No. 5" -- Concerto for Clarinet and Symphony Orchestra

CMV. CHYRZYŃSKI, Marcel (1971-       )

"Ukiyo-e No. 5" -- Concerto for Clarinet and Symphony Orchestra
Roman Widaszek, clarinet
H.M. Górecki Silesian Philharmonic Orchestra in Katowice
Yaroslav Shemet, cond.
(17:30)

CMIV. MOZART, Wolfgang Amadeus: Twelve German Dances, K. 586

CMIV. MOZART, Wolfgang Amadeus (1756-1791)

Twelve German Dances (1789)
1. No. 1 in C Major
2. No. 2 in G Major
3. No. 3 in B-Flat Major
4. No. 4 in F Major
5. No. 5 in A Major
6. No. 6 in D Major
7. No. 7 in G Major
8. No. 8 in E-Flat Major
9. No. 9 in B-Flat Major
10. No. 10 in F Major
11. No. 11 in A Major
12. No. 12 in C Major
Wiener Mozart Ensemble
Willi Boskovsky, cond.
(20:59)

CMIII. POULENC, Francis: Gloria

CMIII. POULENC, Francis (1899-1963)

Gloria (1959)
1. Gloria in excelsis Deo
2. Laudamus te
3. Domine Deus, Rex caelestis
4. Domine Fili unigenite
5. Domine Deus, Agnus Dei
6. Qui sedes ad dexteram Patris
Elsa Benoit, soprano
Netherlands Radio Choir
Radio Philharmonic Orchestra
Peter Dijkstra, cond.
(25:57)

Commissioned by Koussevitzky.

SK: A symphony?
FP: "Not my thing"
SK: An organ concerto?
FP: Already wrote one
SK: Well, here's $2,000. Write what you want.

CMII. MOZART, Wolfgang Amadeus: String Quartet #18 in A Major, K. 464

CMII. MOZART, Wolfgang Amadeus (1756-1791)

String Quartet #18 in A Major, K. 464 (1785)
1. Allegro (7:07)
2. Menuetto and Trio (6:21)
3. Andante (theme with variations) (11:47)
4. Allegro non troppo (6:15)
Emerson String Quartet

1. Allegro

2. Menuetto and Trio

3. Andante (theme with variations)

4. Allegro non troppo

CMI. CHIN, Unsuk: Akrostichon-Wortspiel

CMI. CHIN, Unsuk (1961-       )

Akrostichon-Wortspiel (1991-1993)
1. Versteckspiel (3:19)
2. Das Rätsel von den drei magischen Toren (1:34)
3. Die Spielregel -- sträwcür tieZ (1:38)
4. Vier Jahreszeiten in fünf Strophen (1:52)
5. Domifare S (2:38)
6. Das Beliebigkeitsspiel (1:25)
7. Aus der alten Zeit (3:22)
Piia Komsi, soprano
Ensemble Intercontemporain
Kazushi Ono, cond.

"Chin reveals a genuine delight in experimentation as she explores the narrow dividing line between language and music. The work is based on seven selected scenes from Michael Ende's The Never-ending Story and Lewis Carroll's Through the Looking-Glass. The narrative texts are reduced to syllables, individual sounds or fragments of words, so that they become unintelligible and only their symbolic significance remains. In this way language becomes music, and music becomes language. Although all seven pieces are built around a central note, each describes a different situation or emotional layer in the books by Ende and Carroll. In order to extend the repertory of sounds, some of the instruments are retuned by a quarter- or sixth-tone, so that the writing is microtonally enriched and the range of expressive gestures increased." -- Martin Demmler

CM. HAYDN, Franz Joseph: Symphony #9 in C Major

CM. HAYDN, Franz Joseph (1732-1809)

Symphony #9 in C Major (1762)
1. Allegro molto
2. Andante
3. Minuetto e Trio, Allegretto
Kammerorchester Basel
Giovanni Antonini, cond.
(12:31)

DCCCXCIX. CURRIER, Sebastian: Track 8

DCCCXCIX. CURRIER, Sebastian (1959-       )

Track 8 (2021)
1. Signposts
2. Metronome
3. Stretched Time
4. Source Code
Cincinnati Symphony Orchestra
Louis Langrée, cond.
(21:17)

"When the Cincinnati Symphony asked me to write a piece for them that somehow connected with Beethoven's Eighth Symphony, I decided to take their request more literally than they might have expected. Each of the four movements in TRACK 8 in some way parallels or 'tracks' the four movements of the Beethoven. Sometimes I use the Beethoven literally. Other times I recast the material, but always maintaining some audible connection to the original. One could almost call it a Beethoven remix.

The fact that I directly use material from Beethoven's symphony might seem to some as offensive, as if there is some desecration in the practice. I grew up on Beethoven and, unsurprisingly, am in awe of the power and breadth of his music. My intention in TRACK 8 is not at all to do violence, but to pay homage to this wonderful, enduring piece. But the wider point I wish to make is that, for me, Beethoven doesn't seem 'old' or 'a relic of the past,' but something totally vital, alive and relevant today.

In the first movement, Signposts, exact quotes of the first movement appear as short fragments arranged in chronological order. In between these strongly chiseled chunks of Beethoven, I have interpolated more atmospheric music, which has almost no motivic connection to the Beethoven. Two different worlds coexisting. One, strong and assured. The other, somewhat adrift. Only at the end of the movement does the Beethoven become assimilated. We hear the opening motive that begins the symphony presented in a slowed down, euphonious, nostalgic transformation.

The second movement, Metronome, once again 'tracks' with the second movement of the Beethoven. In addition to using literal quotes, it takes off from what is often remarked as the clock-like, metronomic quality of the repeated chords that are heard throughout the movement. Here, that material is recast as a somewhat off-kilter clock formed from pizzicato violins, piano and percussion. This occasionally gives way to the actual Beethoven, which tends to dissolve quickly back into the prevailing texture. But, in this movement, Beethoven's 8th is not the only piece quoted. The clicking of the clock made me think about time. The Beethoven was written toward the beginning of the 19th century and here I was writing my piece toward the beginning of the 21st century. The early 20th century formed a midpoint and I thought to include some quotations from then, as a bridge between the two worlds. I thought of two pieces which were not only totally incongruous with each other, but also with the Beethoven and, I felt, with me too. The two other pieces quoted in this movement are Anton Webern's Op. 6 orchestral pieces and a song of Irving Berlin, 'When I Lost You.' Weird, arbitrary choices? Yes! But that's what interested me. It's satisfying to bring things together that don't seem to fit. It says that things are more interconnected than we might think! The movement ends with the Webern and Irving Berlin pieces sounding together simultaneously.

The third movement, Stretched Time, engages with the minuet from the Beethoven. It is often remarked that Beethoven's 8th lacks a bonafide slow movement, as the second movement, with its clock-ticking figuration and marking 'scherzando,' doesn't seem particularly slow or characteristic. Richard Wagner, weighing in on the matter, suggested that the minuet was actually the slow movement, and that the second movement should be performed as a scherzo. This struck me as totally absurd. But it did influence my recasting of the minuet. Here, the opening material of the Beethoven is presented very slowed down, creating a floating, dreamy atmosphere. I imagine Beethoven's theme suffering a parallel fate to the clock in Dali's painting.

In the last movement, Source Code, Beethoven's whimsical, high energy last movement, takes on a more snarky, sarcastic tone. The phrase 'source code' could be applied to my whole piece, as easily as to just the last movement. Although, of course most of the piece sounds nothing like Beethoven, nonetheless it is his amazing symphony that lurks behind every note." -- SC

DCCCXCVIII. MARTINŮ, Bohuslav: Three Madrigals for Violin and Viola

DCCCXCVIII. MARTINŮ, Bohuslav (1890-1959)

Three Madrigals for Violin and Viola (1947)
1. Poco allegro
2. Poco andante
3. Allegro
Akemi Mercer-Niewöhner, violin
Dirk Niewöhner, viola
(19:33)

1. Poco allegro

2. Poco andante

3. Allegro

DCCCXCVII. ALMEIDA, Francisco António de: O quam suavis

DCCCXCVII. ALMEIDA, Francisco António de (1702-1755)

O quam suavis
1. Qui ut dulcedinem tuam (3:50)
2. Pane suavissimo (1:19)
3. Beatus vir (1:59)
4. Alleluia (1:15)
Jennifer Smith, soprano
Magali Schwartz, alto
Fernando Serafim, tenor
Gulbenkian Chamber Choir
Michel Corboz, cond.

DCCCXCVI. BASSETT, Leslie: Variations for Orchestra

DCCCXCVI. BASSETT, Leslie (1923-2016)

Variations for Orchestra (1963)
Radio Zurich Symphony Orchestra
Jonathan Sternberg, cond.
(24:46)

DCCCXCV. ABRAHAMSEN, Hans: 10 Pieces for Orchestra

DCCCXCV. ABRAHAMSEN, Hans (1952-       )

10 Pieces for Orchestra (2000-2010)
Part 1 (2000-2003)
1. In sehr langsamer Zeit, immer ausdrucksvoll
2. Stürmisch bewegt
3. Fliessend und unruhig [wie ein 'Scherzo-Fragment']
4. Sehr langsam
Part 2 (2014-2017)
5. With a restless and painful expression
6. Calmly moving
7. Heavy
Part 3 (2019-2020)
8. Fluide et mystérieux, très calme
9. Vite et scintillante
Part 4 (2019-2020)
10. Adagio molto espressivo
DR Symfoniorkestret
Fabio Luisi, cond.
(35:59)

DCCCXCIV. HAYDN, Franz Joseph: Baryton Trio #66 in A Major

DCCCCXCIV. HAYDN, Franz Joseph (1732-1809)

Baryton Trio #66 in A Major
1. Adagio
2. Allegro di molto
3. Menuetto Allegretto
Esterhazy Ensemble
(11:17)

DCCCXCIII. MOZART, Wolfgang Amadeus: La Finta Giardiniera, K. 196

 DCCCXCIII. MOZART, Wolfgang Amadeus (1756-1791)

La Finta Giardiniera, K. 196 (1775)
John Graham-Hall, Don Anchise
Alexandra Reinprecht, La Marchesa Violante Onesti
John Mark Ainsley, Il Contino Belfiore
Véronique Gens, Arminda
Ruxandra Donose, Il Cavalier Ramiro
Adriana Kučerová, Serpetta
Markus Werba, Roberto
Mozarteum Orchester Salzburg
Ivan Bolton, cond.
(2:42:01)

Countess Violante Onesti has been wounded by her lover in a fit of jealousy. Thinking he has killed her, the Count flees. Violante sets out with her servant Roberto to search for the Count. Both are taken on as gardeners by the Podestà of Lagonero, she under the name of Sandrina, he as Nardo. The Podestà quickly falls in love with the beautiful gardener, neglecting his housekeeper Serpetta, whose favour Nardo tries in vain to win. Staying with the Podestà as his guest is Cavaliere Ramiro, the former lover of the Podestà's niece Arminda, who left him to become engaged to Count Belfore.

Overture

ACT ONE

No. 1 Introduction: "Che lieto giorno" (Sandrina, Serpetta, Ramiro, Don Anchise, Nardo)

No. 2 Aria: "Se l'augellin sen fugge" (Ramiro)

The inhabitants of Lagonero await Arminda, whose engagement is to be celebrated with a great feast. Each expresses her or his feelings: Sandrina ponders her fate, Nardo sees himself scorned by Serpetta, and Ramiro confesses to the Podestà that he is tormented by unrequited love, making any thought of a new relationship quite impossible.

No. 3 Aria: "Dentro il mio petto lo sento" (Don Anchise)

The Podestà dismisses Nardo and Serpetta so that he can declare his love to Sandrina.

No. 4 Aria: Noi donne poverine" (Sandrina)

Ramiro laments the infidelity of women; Sandrina the faithlessness of men.

No. 5 Aria: "A forza di martelli" (Nardo)

Nardo, head over heels in love with Serpetta, is disheartened by her rebuffs.

No. 6 Aria: "Che beltá, che leggiadria (Belfiore)

No. 7 Aria: "Si promette Facilmente" (Arminda)

Arminda, who has just arrived, is greeted by Belfiore. The Count and the Podestà praise her tenderness and beauty, her charm and intelligence. Arminda, for her part, emphasizes that she prefers plain speaking to airy vows of love.

No. 10 Aria: "Appena mi vedon" (Serpetta)

Serpetta no longer wishes to stay in the Podestà's house as Arminda gives her too much to do.

No. 11 Cavatina: "Geme la tortorella" (Sandrina)

Sandrina laments her fate.

Arminda tells the supposed gardener she is going to marry Belfiore, and Sandrina faints with shock. Arminda calls on Belfiore to help, and leaves the unconscious Sandrina to his care while she fetches smelling salts.

No. 12 Finale: "Numi! che incanto è questo" (Belfiore, Sandrina, Arminda, Ramiro)

"Che silenzio!" (Don Anchise, Sandrina, Belfiore, Ramiro, Arminda)
"Che tratto è questo" (Don Anchise, Serpetta, Nardo)
"Ma voi che pretendete" (Sandrina, Belfiore, Serpetta, Don Anchise, Nardo, Arminda, Ramiro)

On returning, Arminda meets her former lover Ramiro. The four lovers recognize one another and are greatly embarrassed. The Podestà, who has hurried to the spot, demands an explanation -- in vain, for he is abandoned by both couples. Serpetta, seeking to make the Podestà jealous, tells him she has witnessed Belfiore and Sandrina in tender embrace. He withdraws to observe the couple. Belfiore tries to make Sandrina identify herself as Violetta. After first denying it, she then forgets herself and reproaches him for his infidelity. As he falls repentant at her feet, Arminda and Ramiro enter. All rush on stage, hurling accusations at Belfiore and Sandrina. Belfiore is deeply embarrassed: he does not know whether he should choose Sandrina or Arminda. General confusion reigns.

ACT TWO

No. 13 Aria: "Vorrei punirti, indegno" (Arminda)

Ramiro accuses Arminda of favouring the Count for reasons of ambition. Belfiore searches for Sandrina. On seeing Arminda, he pretends that it was she that he was looking for, but is caught out in his lies. Furious, she leaves him, though insisting she still loves him.

No. 14 Aria: "Con un vezzo all'Italiana" (Nardo)

Serpetta advises the Count to beg Arminda for forgiveness. She yields to Nardo, who has wooed her in the Italian, French and English manner.

No. 18 Aria: "Dolce d'amor compagna" (Ramiro)

Sandrina is discovered in the garden by Belfiore, whom she cannot help but still love. She heaps reproaches on him. He begs her to revive her old love for him but is shooed away by the Podestà, who joins them. The Podestà reproaches Sandrina, then tells her he loves her, while she attempts to evade him. Ramiro appears with a document identifying Belfiore as the murderer of Countess Violante. He asks the Podestà to instigate an investigation. The Podestà declares that Arminda's wedding must be postponed, giving Ramiro new hope.

 

No. 19 Recitative and Aria: "Ah non partir ... m'ascolta (Belfiore)

The Podestà then interrogates the Count, who makes contradictory statements, thus reinforcing the suspicion that she is Countess Violante and was not killed but merely wounded. No one believes her. When she is alone with the Count he starts to tell her all over again that he loves her. She tells him she only claimed to be Violante in order to save him. Belfiore is bewildered.

No. 20 Aria: "Chi vuol godere il mondo" (Serpetta)

Serpetta announces that Sandrina has fled, but in truth Arminda has had her taken to a hidden place to prevent her hindering her marriage to Belfiore.

No. 21 Aria: "Crudeli, fermate, crudeli" (Sandrina)

No. 22 Cavatina: "Ah dal pianto, dal singhiozzo" (Sandrina)

Sandrina wanders desperately through the dark.

No. 23 Finale: "Fra quest'ombre, o questo scuro" (Belfiore, Nardo, Sandrina, Arminda, Don Anchise, Serpetta, Ramiro)

"Mio tirsi, deh senti le dolci sirene" (Sandrina, Belfiore, Don Anchise, Ramiro, Arminda, Serpetta, Nardo)

Belfiore, who is being followed by Nardo, and the Podestà come looking for Sandrina. Meanwhile, Arminda and Serpetta wish to make sure where she is. In the darkness the Podestà comes upon Arminda, and Belfiore upon Serpetta, and both imagine they are speaking to Sandrina. Only Nardo realizes who she is. Ramiro appears. He is determined to wrest Arminda's hand from Belfiore. They all recognize one another. Embarrassment and mutual reproaches ensue. Sandrina and the Count go out of their minds and imagine they are mythical gods.

ACT THREE

No. 26 Aria: "Va pure ad altri in braccio" (Ramiro)

Serpetta raises Nardo's hopes, but the Podestà is intent on everybody marrying according to his choosing. Arminda rebuffs Ramiro once again, though this does nothing to alter his love for her.

No. 27 Recitative and Duet: "Dove mai son!" (Sandrina, Belfiore)

"Tu mi lasci?" (Belfiore, Sandrina)

Belfiore and Sandrina have fallen asleep. When they awaken, their madness has passed. They recognize each other, and Sandrina listens to his declaration of love.

No. 28 Finale: "Viva pur la giardiniera" (Sandrina, Serpetta, Arminda, Ramiro, Belfiore, Don Anchise, Nardo)

Arminda is ready to give her hand to Ramiro. Serpetta decides on Nardo. Only the Podestà is left; he does not wish to marry until he has found another Sandrina.