BEETHOVEN Egmont (Incidental Music) Tarpeja Leonore Prohaska (Marches)

Matti Salminen, Narrator Kaisa Ranta, Soprano Turku Philharmonic Orchestra Leif Segerstam Ludwig van Ludwig van Beethoven (1770 –1827) Egmont, Op. 84 BEE(1T77H0–1O827V) EN The son of a singer and grandson of a former last act, to accompany Clara’s death, with further music Kapellmeister in the service of the Archbishop-Elector of for Egmont’s dream in the scene that follows. Music for Goethe’s Tragedy Egmont , Op. 84 (1809–10) 47:44 Cologne at his court in Bonn, Beethoven became familiar, The subject of the play, the historic rebellion of Count 1 (Text: Johann Wolfgang von Goethe, 1749–1832) even as a boy, with theatrical repertoire. In 1782 his Egmont against Spanish domination in the Netherlands in teacher Neefe used him as his deputy, employed in the 16th century, had a certain topical, political relevance, 2 Overture 9:43 rehearsals of theatre music. In subsequent years in Bonn although Goethe’s work had been written 30 years before. 3 Monologue: Besteigt denn, von den Tönen hold geleitet ( Narrator ) 2:12 he became familiar with a wide operatic repertoire, further Egmont trusts blindly in his own judgement, urged on by a Lied: Die Trommel gerühret! ( Klärchen ) 3:11 4 extended by the variety of works that he heard in Vienna, passion that transcends reason in his conflict with a state 5 Zwischenakt I: Andante – Allegro con brio 3:11 after he had settled there in 1792. In Bonn he had that he has hitherto served loyally. His love for the 6 Monologue: Wo Egmont wandelt, hoch auf steilem Pfade ( Narrator ) 1:14 contributed music for Count Waldstein’s Ritterballett of bourgeoise Clara, who poisons herself when she fails to 7 Zwischenakt II: Larghetto 6:22 1791. Ten years later he provided a score in Vienna for the persuade the people to rise in Egmont’s defence, is 8 Monologue: Die Geliebte harrt ( Narrator ) 0:33 ballet Die Geschöpfe des Prometheus (‘The Creatures of associated with notions of political freedom. 9 Lied: Freudvoll und leidvoll ( Klärchen ) 2:00 Prometheus’) by Salvatore Viganò. Although he wrote The Overture to Egmont is programmatic, and some 0 Zwischenakt III: Allegro – Marcia vivace 4:07 arias for use in operas by other composers, it was not until have suggested a reference to the Duke of Alva, the 1804 that he started work on what was to be his only Spanish Governor of the province, in the sarabande ! Monologue: Sorglos dem Wort des Königs trauend ( Narrator ) 0:42 opera, Fidelio , a work that underwent two major revisions rhythm of the opening and allusion to the rebel cause in @ Zwischenakt IV: Poco sostenuto e risoluto – Larghetto – Andante agitato 4:06 before it reached its final form in a staging in 1814. the first subject of the following Allegro . The closing Monologue: Doch jenes Mädchen ( Narrator ) 0:38 # 1807 had brought an overture for Heinrich von section brings the death of Egmont, followed by a final $ Klärchens Tod bezeichnend: Larghetto 2:55 Collin’s play Coriolan , a tribute to the writer and perhaps Allegro con brio that suggests his moral victory. The third Melodrama: Süsser Schlaf! Du kommst wie ein reines Glück ( Egmont ) – associated with a revived staging of the play. Collin went scene of the first act is set in the house of Clara, who is in Siegessinfonie: Allegro con brio 6:34 on to suggest to Beethoven an opera based on Macbeth , love with Count Egmont, a nobleman who has been active % and other subjects were mooted, including a version of in his opposition to repression by the Spanish rulers of the

Leonore, Act II: Introduction, WoO 2b, Hess 117 (1805 version) 2:47 Goethe’s Faust , as it then existed, but these came to Netherlands, in spite of his loyalty to the King and to the Sechs Menuette, WoO 10 (‘Six Minuets’) (1796) 14:11 nothing. For the 1809–10 season, however, plans were Regent, Margaret of Parma. The scene is a domestic one made by the Royal Imperial Court Theatre in Vienna to and Brackenburg, the son of a citizen of Brussels, is ^ (reconstructed for orchestra, 1982, by Franz Beyer, 1922–2018) mount Goethe’s play Egmont , and Beethoven was found with Clara and her mother. He is out of spirits, but & No. 1 in C major 2:10 commissioned to provide incidental music for the Clara’s mother persuades them to sing Clara’s favourite * No. 2 in G major 2:58 occasion, the first of a number of such collaborations. In song, about a soldier. This is introduced by wind ( No. 3 in D major 2:07 the event the music was not finished in time for the first instruments and timpani, piccolo, clarinets, bassoons and ) No. 4 in B flat major 2:21 performance at the Burgtheater on 24 May 1810 and horns, before the gradual entrance of the strings. ¡ No. 5 in E flat major 2:13 mention is only made of it in connection with the third Brackenburg is in love with Clara, but leaves to find out No. 6 in C major 2:12 performance of the play on 15 June. It is thought, what is happening in the street outside, where the usual ™ however, that the two songs for Klärchen (Clara), Die patrols have been augmented. He returns with news of an Triumphmarsch zum Trauerspiel Tarpeja von Kuffner, WoO 2a, Hess 117 Trommel gerühret (‘Beat the Drums’) in the first act, and uprising. Left alone he complains of Clara’s neglect of him (‘Triumphal March for the Tragedy Tarpeja by Kuffner’) (1813) 3:01 Freudvoll und leidvoll (‘In Joy and in Sorrow’) in the third, and contemplates suicide with poison he has taken from are likely to have been included for the earlier his brother’s medicine chest. performances. The first of these is given by Goethe to The first Entr’acte leads to a scene in a square in £ Leonore Prohaska, WoO 96 (1815) 6:18 Trauermarsch (‘Funeral March’) Clara and Brackenburg together. Other incidental music is Brussels, where citizens discuss the state of affairs, and suggested by Goethe for the end of the third scene of the arguments lead to violence, only quelled by the appearance of Egmont with soldiers. Egmont’s generosity sleep and in his dream sees a vision of freedom, a figure Egmont, Op. 84 (1809–10) Egmont, Op. 84 (1809–10) and fairness are demonstrated in the following scene with bearing the features of Clara, who seems to pity and then Text: Johann Wolfgang von Goethe, 1749–1832 Text: Johann Wolfgang von Goethe, 1749–1832 his secretary and in his discussion with the Prince of to encourage him, offering a victor’s crown. His final 1 1 Orange about the Regent, her reaction to the words are set as melodrama. He wakes and guards enter, Overture Overture disturbances and the possibility of her replacement by a taking Egmont to a hero’s death, a moral triumph. 2 2 stronger ruler from Spain; the Duke of Alva is said to be For a concert performance of Beethoven’s incidental Monologue: Besteigt denn, Monologue: Mount, then, on his way. A second Entr’acte is followed by Act III , music to Egmont in 1821 Friedrich Mosengeil provided a von den Tönen hold geleitet (Sprecher) led gently forward by music (Narrator) which opens in the palace of the Princess Regent, where narration based on the play, to Beethoven’s apparent she has received a letter from her brother, King Philip, satisfaction. In 1834, however, a version of the narration Besteigt denn, von den Tönen hold geleitet, Mount, then, led gently forward by music, telling her of the unwelcome appointment of the was provided by the poet Franz Grillparzer, omitting den Zauberwagen, der geflügelt naht, The magic chariot that wings its way near intransigent Duke of Alva to deal with disaffection in the extraneous detail. This version has been variously und tretet schaudernd vor die ernste Bühne. And step forward, in fear, on the serious stage. Netherlands. The second scene, in Clara’s house, finds adapted to suit modern concert audiences, concentrating her mother urging marriage with Brackenburg, while Clara attention principally on Egmont and Clara. Dumpf grollt der Aufruhr in den Niederlanden, Dull groans turmoil in the Netherlands, sings of her overwhelming love for Egmont, who joins A March that had once been intended as an nur unmutsvoll beugt sich das Volk dem Joch, Only grudgingly do the people bear the yoke them, formally dressed but revealing something of his introduction to Leonore in the 1805 version of what das Spanien über Nacht ihm drückend aufgezwungen, That the Spanish have brought upon them overnight, inner conflict. The third Entr’acte ends with a march. Act became Fidelio is followed by Six Minuets , orchestrated doch hell erglänzt die Freude auf den ernsten Angesichtern, Yet brightly shines joy on earnest faces, IV opens in the street, where citizens discuss the from the original keyboard version. The second of these wenn jener Männername laut erklingt, As those men’s names sound out aloud repressive measures taken by the Duke of Alva, who, in a dance pieces of 1796 will be particularly familiar. A den gern das Volk als seinen Retter preist. Whom the people praise as their saviour. second scene, reveals his plan to arrest Egmont, when he Triumphal March was written in 1813 to mark the final Wenn Egmonts Name durch die Lüfte schallt, When Egmont’s name resounds through the air, comes to see him, as has been arranged. The scene triumph in Christoph Kuffner’s tragedy Tarpeja , the story Egmont – der Name jubelt durch die Städte! Egmont – the name brings rejoicing through the towns! continues with a discussion between Alva and Egmont of a Roman vestal virgin who betrayed Rome to the that ends in the latter’s arrest. The fourth Entr’acte is Sabines. The closing Funeral March originally formed the Der Vorhang rollt empor, wir sind in Brüssel The curtain rises. We are in Brussels, followed by Act V . In a street at twilight Brackenburg tries third movement of Piano Sonata No. 12, Op. 26 , where it vorm Tor der reichen, lebensfrohen Stadt. At the gate of the rich city, full of the joys of life. to dissuade Clara from her vain attempts to rouse the has the title Marcia funebre sulla morte d’un eroe Der Abend sinkt, und uns zeigt sich ein völlig anderes Bild. Evening sinks and brings us quite another picture. people in Egmont’s defence and rescue. The scene (‘Funeral March on the Death of a Hero’). Beethoven used Wer liebend forscht, der darf nun einmal lauschen, He who seeks in love must once listen changes to a prison cell, where Egmont lies, unable to the movement again in his incidental music for Friedrich denn seht, ein Mädchen – Klärchen – was ist sie schön! Then see – a girl, Clara, she is so beautiful! sleep. In her house Clara awaits news from Brackenburg, Duncker’s romantic tragedy Leonore Prohaska , based on Es ist das Mädchen, das Graf Egmont liebt, This is the girl that Count Egmont loves, who tells her of the condemnation of Egmont and his the activities of the heroine of the title who, like zu dem er schleicht, den Mantel übers Kinn, To whom he steals, his cloak over his face, coming execution. Her only recourse is to take poison, Beethoven’s Leonore, dressed as a man in order to und das die Nachbarinnen neidend schelten, And that the neighbours chide, and the scene ends with music representing her death. achieve her patriotic aims. sie aber wei β es, sie aber ist erfreut, But she knows it, but she is glad, The final scene is in Egmont’s prison, where he seeks betrübt zugleich und doch so überselig, da β sie liebt – Saddened at the same time, yet so very happy to be in love, help to escape from his friend Ferdinand, son of Alva, Keith Anderson und wieder traurig, bis zu lauten Tränen, And again sad even to tears then sending a final message to Clara. At last he finds dem Liebsten kann sie ganz, That she can never be wholly his, sie wei β es, nie gehören, Belonging to her beloved, drum möchte sie ein Knabe sein, ein Mann. Therefore she must be a boy, a man. 3 3 Lied: Die Trommel gerühret! (Klärchen) Lied: Beat the drums! (Clara)

Die Trommel gerühret! Beat the drums! Das Pfeifchen gespielt! Let the fife play! Mein Liebster gewaffnet My beloved, armed, dem Haufen befiehlt, leads his men 6 6 die Lanze hoch führet, with lance held on high Zwischenakt II: Larghetto Entr’acte No. 2: Larghetto die Leute regieret. he rules the people. 7 7 Wie klopft mir das Herz! How my heart beats! Monologue: Die Geliebte harrt (Sprecher) Monologue: The beloved awaits (Narrator) Wie wallt mir das Blut! How my blood stirs! O hätt’ich ein Wämslein, Oh that I had a doublet Die Geliebte harrt, The beloved awaits, und Hosen und Hut, and hose and hat und was sie sehnt and what she desires O hätt’ich ein Wämslein, Oh that I had a doublet, und fühlt and feels, und Hosen und hut! and hose and hat! und jauchzt and rejoices und weint: and weeps over: Ich folgt’ihm zum Tor aus I would follow him out through the gates Ihm gilt es – ihm! This is his! mit mutigem Schritt, with cheerful step Und aus bewegtem Busen dringt Wonn und Weh, And from well-disposed hearts forces pleasure and pain, ging durch die Provinzen, go through the provinces, in stetem Wechsel wogt, constantly changing, ging überall mit. go everywhere with him. steigt auf in wunderbarem Ton, there rises in wonderful music Die Feinde schon weichen, The enemy retreats, ein Lied von Schmerzenslust der Liebe. a song of the pain and pleasure of love. wir schießen darein. we fire at them. 8 8 Welch Glück sondergleichen, What matchless happiness, Lied: Freudvoll und leidvoll (Klärchen) Lied: Full of joy, full of sorrow (Clara) ein Mannsbild zu sein, to be a man, welch Glück sondergleichen, what matchless happiness Freudvoll Full of joy, ein Mannsbild zu sein! to be a man! Und leidvoll, full of sorrow, 4 4 Gedankenvoll sein, thoughtful, Zwischenakt I: Andante – Allegro con brio Entr’acte No. 1: Andante – Allegro con brio Langen longing 5 5 Und Bangen and anxious Monologue: Wo Egmont wandelt, Monologue: Where Egmont wanders, In schwebender Pein. in uncertainty and pain. hoch auf steilem Pfade (Sprecher) on steep paths (Narrator) Himmelhoch jauchzend, Rejoicing to high heaven Zum Tode betrübt, and grieving to death, Wo Egmont wandelt, hoch auf steilem Pfade, Where Egmont wanders, on steep paths, Glücklich allein happy alone dem Spanier längst verdächtig und verha βt, Suspected and hated by the Spanish, Ist die Seele, die liebt. is the soul that loves. da geht ein Freund ihm warnend stets zur Seite, There goes a friend, advising him always by his side Wilhelm von Oranien. William of Orange. Egmont: Und Egmont tritt herein, Egmont: And Egmont enters, Doch ach! sein Egmont folgt ihm nicht. Yet ah! His Egmont does not follow him. 9 9 Ihm ist das Leben nur ein muntres Spiel; For him life is only a happy game. Zwischenakt III (beginnt) Entr’acte No. 3 (begins) ihm gilt für tot, wer stets den scheuen Blick It amounts to death, if one casts a shy glance always auf eigene Sicherheit gerichtet hält. Towards one’s own safety. in Pracht gewandet, glänzend steht er da. dressed in splendour, he stands there in glory. Wenn ihr das Leben gar zu ernsthaft nehmt, If you always take life so seriously, so fraget Egmont den besorgten Freund, so he asks his anxious friend, (Zwischenakt III weiter) (Entr’acte No. 3 continues) was ist denn dran? what is there then? Gepeitscht von unsichtbaren Geistern, Whipped by unseen spirits Du staunst ihn an – dein Egmont ist’s. You are surprised – this is your Egmont. gehen die Sonnenpferde dieser kurzen Zeit go the horses of the sun of this short life mit unseres Schicksals leichtem Wagen durch; with our destiny’s fragile chariots (Marcia vivace) (Marcia vivace) und uns bleibt nichts, als mutig fest zu stehn; and leaves us nothing but standing bravely, die Zügel straff zu halten. holding tightly to the reins. – Wohin es geht? Wer wei β es? – Here is it going? Who knows? 0 0 Monologue: Sorglos dem Wort des Königs trauend Monologue: Heedlessly trusting the word of the King versinken wir und hören auf zu sein. we sink into oblivion and cease to be. (Sprecher) (Narrator) Verschwunden ist der Kranz! Vanished is the victor’s garland Du schönes Bild, das Licht des Tages hat dich verscheucht. You fair image, the light of day has banished you. Sorglos dem Wort des Königs trauend, Heedlessly trusting the word of the King tritt Egmont über des Palastes Schwelle, Egmont went to the door of the palace, Schreite durch! Braves Volk! March on, brave people! tritt vor den unbeugsamen Feind, stepped before his unbending enemy, Die Siegesgöttin führt dich an! May the goddess of victory lead you on! Mit offnen Herzensworten, with words from an open heart Und wie das Meer durch eure Dämme bricht, And as the sea breaks through your dams, für seines Volkes heilige Rechte spricht er, he spoke for the sacred rights of his people, so brecht, so rei βt den Wall der Tyrannei zusammen so break, so tear apart the wall of tyranny doch schlie βt um ihn sich schnell der Schergen Kreis, yet quickly was he taken up by a group of guards und schwemmt ersäufend sie and wash it away den Pfad der Rettung hat er schon verschmäht, he scorns the way to escape, von ihrem Grunde, den sie sich anma βt, weg! from her land that she claims. jetzt kann sein Fu β nur einen Pfad betreten, yet his foot can only take one course, den Pfad zum Kerker, the path to the dungeon, Horch! Horch! Wie oft rief mich dieser Schall zum freien Hark! Hark! How often came to me this call to walk freely sein harrt der Tod. death awaits him. Schritt nach dem Felde des Streits und des Siegs! to the fields of dispute and of victory! ! ! Ich sterbe für Freiheit, für die ich lebte. I die for freedom for which I lived. Zwischenakt IV: Poco sostenuto e risoluto – Entr’acte No. 4: Poco sostenuto e risoluto – Larghetto – Andante agitato Larghetto – Andante agitato Ja, führt sie nur zusammen! Yes, lead on together! @ @ Schlie βt eure Reihen, ihr schreckt mich nicht. Close your ranks, fear me not. Monologue: Doch jenes Mädchen (Sprecher) Monologue: Yet that girl (Narrator) Ich bin gewohnt, vor Speeren gegen Speere zu stehen und, I have lived to stand before spears and against spears, rings umgeben von dem drohenden Tod, surrounded by the threat of death, Doch jenes Mädchen, Yet that girl, das mutige Leben nur doppelt rasch zu fühlen. now doubly to feel life’s courage. das jüngst noch selig in seinem Arm geruht, who once happily rested in my arms begeistert will sie jetzt der Bürger trägen Arm bewaffnen, will be inspired to arm the citizens English translation: Keith Anderson entriegeln Egmonts Kerkertore, break down Egmont’s cell door zurück ihn führen in das Licht der Freiheit. and lead him out again into the light of freedom. Vergebens ruft sie auf zum Kampf, In vain she calls them to struggle; Egmont mu β fallen. Egmont must die. Doch sie geht ihm voraus durch Todesnacht. Yet she goes to him through the night of death. Ihm galt ihr Leben, ihm gilt auch ihr Tod. He was worth her life, he is worth her death. # # Klärchens Tod bezeichnend: Larghetto Denoting Clara’s Death: Larghetto $ $ Melodrama: Süsser Schlaf! Du kommst wie Melodrama: Sweet sleep! You come ein reines Glück (Egmont) – Siegessinfonie: as a pure joy (Egmont) – Victory Symphony: Allegro con brio Allegro con brio

Sü βer Schlaf! Du kommst wie ein reines Glück Sweet sleep! You come as a pure joy ungebeten, unerfleht am willigsten. most willingly unsought, not implored. Du lösest die Knoten der strengen Gedanken, You loosen the bonds of painful thoughts, vermischest alle Bilder der Freude you mingle all images of joy und des Schmerzes: and of pain: ungehindert flie βt der Kreis innerer Harmonie the circle of inner harmonies flows und eingehüllt in gefälligen Wahnsinn, unhindered and, swathed in pleasing delusion, Matti Salminen Turku Philharmonic Orchestra

Matti Salminen was born in Finland. He began his international career as a member of Photo: Seilo Ristimäki the ensemble at the Cologne Opera in 1972, and has subsequently performed in the world’s leading opera houses including the Opéra National de Paris, the New York Metropolitan Opera, the Wiener Staatsoper, the Deutsche Oper Berlin and Teatro alla Scala in Milan among many others. He also regularly performs at prestigious festivals such as Bayreuth, Savonlinna and Salzburg. His repertoire encompasses the main roles in the operas of Mozart, Wagner and Verdi, as well as the leading bass roles in Russian opera, and contemporary works. As a concert singer he has performed worldwide with eminent conductors and orchestras. His discography comprises an impressive number of audio and audio-visual recordings that document his exceptional career. Salminen’s numerous awards and decorations include the title Kammersänger in Berlin, Bavaria and Vienna, the Bundesverdienstkreuz and Commander of the Order of the White Rose of Finland.

Photo: Heikki Tuuli

Kaisa Ranta

Photo: Bo Stranden Soprano Kaisa Ranta graduated from the Sibelius Academy in Helsinki with a Master’s degree majoring in opera singing. She gained national recognition after winning First Prize in one of Finland’s most prestigious competitions, the Lappeenranta National Song Contest. She made her opera debut as Papagena in Die Zauberflöte , and in 2006 made her debut at the Finnish National Opera in the title role of Zaide . A versatile The Turku Musical Society, which later formed the Turku Philharmonic Orchestra, was founded in 1790. As the oldest singer, she has subsequently performed regularly at the Finnish National Opera in orchestra in Finland, the ensemble continues to develop and flourish under the baton of renowned conductors. From various productions. Ranta has performed as a soloist with various Finnish orchestras 2012 to 2019, the orchestra’s 74 musicians have been under the artistic leadership of Leif Segerstam. The orchestra’s and choirs and given concerts in the UK, the US, the Czech Republic and Japan. Her resident composer is Mikko Heiniö. Several of the Turku Philharmonic’s recordings have been awarded platinum discs wide repertoire also includes a variety of sacred music and contemporary works. In and other prizes. In 2019 the orchestra won the International Classical Music Award for Best Collection with their addition, she has made several recordings. Ranta is also a festival leader and a recording of Jean Sibelius’s Incidental Music . In 2009 the orchestra was awarded the EMMA Classical Album of the founding member of Muhoksen Musiikkipäivät, a festival of classical music in northern Year for the recording Transient Moods . The orchestra gives weekly concerts, often streamed live throughout the world, Finland. www.kaisaranta.com while its chamber music ensembles perform in the historical venues of Turku. The orchestra also organises family concerts and performs in opera productions. The Turku Philharmonic is a pioneer in audience accessibility, providing access to concerts online in hospitals, residential care homes and schools. www.tfo.fi/en Leif Segerstam

Photo: Jan Segerstam Yuasa

Born in 1944, Leif Segerstam is recognised internationally as a conductor, composer, violinist and pianist. He studied at the Sibelius Academy, Helsinki and The Juilliard School. He is chief conductor emeritus of the Helsinki Philharmonic Orchestra, and holds honorary titles with the Malmö Opera, the Danish National Radio Symphony Orchestra, the Staatsphilharmonie Rheinland-Pfalz and the Turku Philharmonic Orchestra. He has also been chief conductor of the Austrian and Finnish Radio Symphony Orchestras plus the Royal Swedish Opera and director of the Finnish National Opera. He has also conducted most of the world’s most prestigious orchestras and was one of the most important ambassadors for Sibelius’s 2015 anniversary year. Segerstam began his conducting career in the opera houses of Helsinki, Stockholm and Berlin, and has made guest appearances at international opera houses and festivals. His many recordings have been critically acclaimed and feature works by contemporary composers as well as the complete symphonies of Mahler, Sibelius and Nielsen among many others. Segerstam is a voracious composer, notably developing a free-pulsative style in Rosenkranz form for his later symphonies which are performed without conductor. He was professor of conducting at the Sibelius Academy, Helsinki. Segerstam was awarded the 1999 Nordic Council Music Prize and the Swedish Cultural Foundation’s Prize for Music in 2003. In 2004 he was given the annual Finnish State Prize for Music and in 2005 the Sibelius Medal. Beethoven was involved with the theatre in one way or another from boyhood, and the commission to compose incidental music for Goethe’s play Egmont at the Royal Imperial Court Theatre in Vienna was the first of many such collaborations. Beethoven’s score conveys the essence of this tragedy and reveals his clear affinity with its theme of heroic sacrifice by a man condemned to death for taking a valiant stand against oppression.

Ludwig van

BEET(177H0–1O827) VEN 1 $ – Music for Goethe’s Tragedy Egmont , Op. 84 (1809–10) 47:44 (Text: Johann Wolfgang von Goethe, 1749–1832) % Leonore, Act II: Introduction, WoO 2b, Hess 117 (1805 version) 2:47 ^ ¡ – Six Minuets, WoO 10 (1796) 14:11 (reconstructed for orchestra, 1982, by Franz Beyer, 1922–2018) ™ Triumphal March for the Tragedy Tarpeja by Kuffner, WoO 2a, Hess 117 (1813) 3:01 £ Funeral March for Friedrich Duncker’s Leonore Prohaska , WoO96 (1815) 6:18 2 5 7 0 @ $ Matti Salminen, Bass . . . Narrator , Egmont 3 8 Kaisa Ranta, Soprano . . . Klärchen Turku Philharmonic Orchestra • Leif Segerstam

A detailed track list can be found inside the booklet. The German sung and spoken texts and English translations are included in the booklet, and may also be accessed at www.naxos.com/libretti/573956.htm Recorded: 15–19 January 2018 at Turku Concert Hall, Turku, Finland • Producer, engin^eer¡ and editor: Sean Lewis • Booklet notes: Keith Anderson • Publisher: Breitkopf & Härtel – Cover: Portrait of Lamoraal, Count of Egmont (1579) by Frans Pourbus the Elder (1545–1581) ൿ Ꭿ & 2019 Naxos Rights (Europe) Ltd