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Hans Werner Henze Was Enthusiastic.-"Her Des a Illuminations B (1872/73) D'arthur Rimbaud Name?"-"Edda Moser." That April, at a B.B.C

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Hans Werner Henze Was Enthusiastic.- ~ - SlDE 1 THE LONDON SlNFONlETTA 1. LABYRINTH Nona Liddell, Violin . Violon . Violine In 1951, when I was artistic director of a Joan Atherton, Violin . Violon . Violine small ballet company attached to the Donald McVay, Viola . Alto . Bratsche National Theatre of Wiesbaden, I wrote this Jennifer Ward Clarke, Cello . Violoncelle . Violoncello psycho-chamber-jazz ballet for it. It was John Steer, Double-bass . Contrebasse . Kontrabass never staged because the company Sebastian Bell, Flute . Fllite . Fldte dissolved before we could put it on. I con- Janet Craxton, Oboe, Cor anglais . Hautbois, Cor anglais . Oboe, Englischhorn ducted the score in a concert on the Darm- Tony Coe, Saxophone . Saxophone . Saxophon stadt-Frankfurt a.M. Music Festival on May Antony Pay, Clarinet, Bass-clarinet . Clarinette, Clarinette basse . Klarinette, 29th, 1952. Bassklarinette The ballet tells the story of Theseus, * John Stenhouse, Bass-clarinet . Clarinette basse . Bassklarinette Ariadne, and the Minotaur, in a condensed, Brynly Clarke, Bassoon . Basson. Fagott anagogical and anagrammatical fashion. It Barry Tuckwell, Horn . Cor . Horn is, as a subject, quite similar to Gozzi's Elgar Howarth, Trumpet . Trompette . Trompete "The King Stag" which I composed as an David Purser, Trombone . Trombonne . Posaune opera three years later. John Constable, Piano . Piano . Klavier Howard Shelley, Celeste . Celesta . Celesta I. Permanent Menace: Adolescents of Sidonie Goossens, Harp . Harpe . Harfe Knossos under the threat to be fed to the James Holland, Percussion . Percussion . Schlagzeug Minotaur. David Johnston, Percussion . Percussion . Schlagzeug II. Cantus choralis: Plea to Theseus to kill Terence Emery, Percussion . Percussion . Schlagzeug the monster. John Donaldson, Percussion, Marimba . Percussion, Marimba . Schlagzeug, Marimba Ill. Conflict: Ariadne tries to prevent * Robert Howes, Percussion . Percussion . Schlagzeug Theseus from facing the dangers involved * Stephen Henderson, Percussion . Percussion . Schlagzeug by going into the Labyrinth and * John Beadle, Percussion . Percussion . Schlagzeug challenging the Minotaur. But Theseus is * Anne Collis, Percussion Percussion . Schlagzeug adamant. IV. Variation: She invents the device of " L'Usignolo dell'lmperatore the thread stuck to Theseus, made to pull him back out of the Labyrinth in case he SIDE 2 I Ill. It sings- for him (2 variations and would get lost in it. 1. WlEGENLlED DER MUTTER GOTTES cadenza). V. Minotaurus Blues: Theseus in the IV. The emperor weeps with emotion. Labyrinth fights the Minotaur and kills About Christmas time, 1948, in Got- V. An artificial nightingale is presented at him. tingen, I found Lope de Vega's "Lullaby" Court. VI. Fantasy in Rose: Theseus and Ariadne printed (in German translation, I have VI. Song of the artificial nightingale happily reunited among the people of never been able to see the Spanish original) (~iccoloflute) which cracks at the end of Crete who are grateful to be l~berated in a playbill of the local theatre, and set it to the song. from their nightmare. music the next day. I think it mirrors quite VII. The emDeror wishes the true nightin- clearly the tender and happy mood of those gale to sing'again but it has disapp&red. 2. APPOLLO ET HYAZINTHUS months, but is quite different in structure The emperor falls ill, he is taken to bed. In the Autumn and Winter of 1948, 1 from the other pieces written in that VIII. Death sits at the bedside, wearing spent some time in the small town of period. They all have one thing in common, the emperor's crown and sceptre. The Gottingen, where I was looked after by though: the same tone row which, I remem- emperor is dying. The natural nightingale Heinz Poll, a ballet dancer of the local opera ber, seemed to me the key to all mysteries comes in and begins to fight against house. It was a very quiet time, I liked to then. I could write sad music on it as well as Death with its song. Gradually, it forces walk along the Stadtwall (the rampart) sarcastic one, comic and lyrical. Death to give back crown and sceptre, among the glorious autumnal colours, and The first performance of this piece seems and to steal away. think of my work. I had just had first per- to have taken place in Duisburg, 1954, IX. The emperor recovers. Universal formances of my music and felt en- under Georg Ludwig Jochum, but I was happiness. already living in Italy then. As a matter of couraged. It was there that, among two The first stage performance was on theatrical works ("Ballet Variations" and fact, I heard it for the first time when I made the present recording. September 16th, 1959, in the Fenice "The Magic Theatre") most of "Apollo et Theatre in Venice during the Biennale, in a Hyazinthus" was written. Some of it 2. L'USIGNOLO DELL'IMPERATORE show entitled "Spettacoli per bambini", remember I also wrote sitting on a suitcase staged by Franco Enriquez. Aurele Nicolet in an overcrowded train to Munich, where I "The Emperor's Nightingale" was written played the first concert performance during would go to visit an old lovely painter, in Spring 1959, during a visit to Wolfs- the Berlin Festival the same year. Werner Gilles, whose approach to mytho- garten in Hesse, in a room on top of a logy, art and life had influenced my voliere with Chinese,nightingales in it. It is FACE 1 thoughts and even my composing for many dedicated to Ludwig and Margareth of years. Hesse. It is a ballet pantomime as well as a 1. LABYRINTHE The score of "Apollo et Hyazinthus" I flute concerto; the structure, in its rigour of En 1951, je me trouvais charge de la dedicated to Ren6 Leibowitz in sign of rhythmic austerity, should bring out the direction artistique d'une petite compagnie gratitude for his teaching. The work is a ceremoniality of the action as I imagined it de ballet attachbe au Staatstheater de miniature symphonic poem, but at the same to be put on sta e. The story, designed for Wiesbaden et c'est pour elle que j'kcrivis ce time a harpsichord concerto (a similar my music by t%e Neapolitan composer. ballet psycho-musique de chambre- hybrid form you can encounter 25 years Giulio di Majo d'apres H. C. Andersen, is musique de jazz. La compagnie fut dissoute later in my work "Tristan" which was told in simple terms. avant de pouvoir le monter A la scene et premiered in London in October 1974). All seule la musique recut une audition, le 29 the means of expression in it were then I. A cavalier with his friends walking in mai 1952, sous ma conduite, lors du quite new to me, I was discovering and com- the forest near the sea. They hear the Festival de musique de Darmstadt- posing my world. song of the nightingale. They meet the Francfort-sur-le-Main. "Apollo et Hyazinthus" was performed bird and invite it to sing for the emperor "Labyrinthe" raconte I'histoire conden- for the first time at the Contemporary who is a child still. s6e de Th6s6e, Ariane et le Minotaure sous Music Festival in Frankfurt a.M. on June II. The nightingale is presented to the I'angle de I'anagogie et de I'anagramme, et 26th, 1949. emperor. le sujet est tres apparent6 4 celui du "Konig Edda Moser Februar 1966. ~Gerade habe ich eine neue Sopranistin gehort. Sie hat mir vorgesungen. Wir werden zusammen arbeiten.~Henze zeigt sich begeistert. - BWie heisst sic?* - ~Edda M0ser.a Im April singt Edda Moser unter Henzes Leitung in einem Konzert der BBC in London [A HANS WERNER. HENZE ,Being Beauteous* und die *Cantata della Fiaba (geb. 1926) Estremaa. Es wird ein Erfolg fur den Kompo- nisten und seine junge Interpretin. A-SEITE: Auf London folgt Dresden. Wieder singt Edda Moser .Being Beauteous* - diesmal auswendig. Fiaba Estrema (19 63) Ein Aufnahmeteam der Deutschen Grammophon hort das Konzert. Die Telegraphendrahte spie- sulla poesia a Alibi B di Elsa Morante len. Sie ticken das Angebot eines Exklusivver- per soprano, piccolo coro e tredici strumenti trages fur die Sangerin. auf das Gedicht *-Alibia von Elsa Morante Sie ubernimmt von Ingeborg Hallstein die Partie fur Sopran, kleinen Chor und 13 Instrumenre der Autonoe in Henzes *Die Bassaridena in der Auffuhrung der Deutschen Oper Berlin, die on the poem "Alibi" by Elsa Morante, Christoph von Dohndnyi dirigiert. Als neuer for soprano, small chorus and 13 instruments Generalmusikdirektor Frankfurts offeriert er Edda Moser sofort einen Vertrag. Herbert von sur le @me a Alibi B d'Elsa Morante Karajan hart sie und verpflichtet sie fur seine pour soprano, petit chceur et 13 instruments Salzburger Festspiel-Einstudierung des ~Rhein- (Flauto, Corno inglese, Clarinetto basso, Fagotto, gold.. Unter Claudio Abbado singt sie in Berlin Vivaldis ~Gloriaa, in Hamburg Luigi Nonos Corno, Tromba, Trombone, Chitarra, Arpa, Violino, *Canto sospesoa. Als Partnerin Fisher-Dieskaus Viola, Violoncello, Contrabbasso) ubernimmt sie in Karl Richters Aufnahme von Gludrs ~Orpheusund Eurydikea die Rolle des B-SEITE: Amor. Es spricht sich herum: Edda Moser ist eine ausgezeichnete Sangerin fur moderne Musik. 2. Whispers from Heavenly Death (1 948) Aber - und hier zieht man den Hut - sie singt genauso gut Mozart. Fiir Edda Moser ist das Kantate auf das gleichnamige Gedicht von Walt Whitman eine die Voraussetzung fur das andere. Sie um- fur hohen Sopran und 8 Solo-Instrumente geht die Spezialisierung. Sie schopft aus dem Cantata on the poem of the same name vollen Reichtum des Repertoires. Sie kann es sich by Walt Whitman, leisten. Sie arbeitet sich vor zu den Partien der for high voice and 8 solo instruments dramatischen Koloratursoprane: Konigin der Nacht, Konstanze, Lucia, Gilda, Violetta, Cantate sur le pdme du meme nom de Walt Whitman, Fiordiligi - ddas isf das Ziel. pour voix aigiie et 8 instruments solistes Die Erfahrungen aus dieser Arbeit investiert sie in ihre, Interpretationen moderner Musik.
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