SignumClassics Philharmonia 2 CD/SACD

Surround Sound SignumClassics

S i g n u m C l a s s i c s SIGCD133 Philharmonia orchestra 2 C D s SIGCD132 Schubert christoPh Von dohnÁnyi

Vladimir ashkenazy christoPh Von dohnÁnyi ShoStakovich brahMS sir charles mackerras brahMS no.2 & symPhony no.4 s y m P h o n y n o.2 & symPhony n o.4

S i g n u m C l a s s i c s THE PHILHARMONIA ORCHESTRA SIGCD135 Vladimir ashkenazybrahMS sir charles mackerras Schubert ShoStakovich FestiVe oVertureSchubert ShoStakovich Symphony no.9 symPhony no.5 FestiVe oVerture symPhony no.5 Schubert symPhony no.9 www.signumrecords.com www.philharmonia.co.uk

Available through record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

SignumClassics Philharmonia orchestra

S i g n u m C l a s s i c s SIGCD135 Philharmonia orchestra 2 C D s SIGCD132 Schubert christoPh Von dohnÁnyi

Vladimir ashkenazy christoPh Von dohnÁnyi ShoStakovich brahMS Vladimirb rahMSAshkenazysymPhony no.2 & symPhony no.4 s y m P h o n y n o.2 & symPhony n o.4

S i g n u m C l a s s i c s Philharmonia orchestra Esa-Pekka Salonen ShostakovichSIGCD13 3 brahMS sir charles mackerras

Festive OvertureVladimir ashkenazy sir charles mackerras Vladimir ashkenazy SchubertShoStakovich symPhony no.9 Schube r t Symphony no.5 symPhony no.9 ShoStakovich FestiVe oVerture www.signumrecords.com www.philharmonia.co.uk symPhony no.5 Available through record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 Schoenberg Gurrelieder www.signumrecords.com www.philharmonia.co.uk

Available through record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 Disc 2 Schoenberg Part II Gurrelieder 1 Waldemar: Herrgott, weißt du, was du tatest (p. 17) 4.54 Part III 2 Waldemar: Erwacht, König Waldemars Mannen wert! (p. 18) 2.05 (1874-1951) 3 Bauer: Deckel des Sarges klappert und klappt (p. 18) 3.57 Disc 1 4 Waldemars Mannen: Gegrüßt, o König, an Gurres See Strand (p. 19) 5.45 5 Part I Waldemar: Mit Toves Stimme flüstert der Wald (p. 19) 3.12 6 Klaus-Narr: Ein seltsamer Vogel ist so ’n Aal (p. 20) 6.43 1 Orchestral Prelude (p. 9) 6.45 7 Waldemar: Du strenger Richter droben (p. 22) 2.45 2 Waldemar: Nun dämpft die Dämmerung jeden Ton (p. 9) 3.23 8 Waldemars Mannen: Der Hahn erhebt den Kopf zur Kraht (p. 22) 6.28 3 Tove: O, wenn des Mondes Strahlen leise gleiten (p. 10) 2.38 9 Des Sommerwindes wilde Jagd 4 Waldemar: Roß! Mein Roß! Was schleichst du so träg! (p. 10) 2.56 Sprecher: Herr Gänsefuß, Frau Gänsekraut (p. 22) 8.34 5 Tove: Sterne jubeln, das Meer, es leuchtet (p. 11) 2.34 bl Chor: Seht, die Sonne (p. 24) 5.37 6 Waldemar: So tanzen die Engel vor Gottes Thron nicht (p. 11) 2.14 7 Tove: Nun sag' ich dir zum ersten Mal (p. 12) 4.15 Total timings 50.09 8 Waldemar: Es ist Mitternachts Zeit (p. 12) 5.53 9 Tove: Du sendest mir einen Liebesblick (p. 13) 6.00 bl Waldemar: Du wunderliche Tove! (p. 14) 4.46 Philharmonia Orchestra bm Orchestral Interlude (p. 15) 5.07 Philharmonia Voices • City of Birmingham Symphony Chorus bn Stimme der Waldtaube: Tauben von Gurre! Sorge quält mich (p. 15) 11.48 stig Andersen Waldemar ralf Lukas Bauer Total timings 58.21 Tove andreas Conrad Klaus-Narr monica Groop Waldtaube Sprecher www.signumrecords.com Esa-Pekka Salonen conductor

2 3 Over a decade earlier, when he began the work, I seems to work like an orchestral , it had little chance of any performance. Indeed, whereas Part III often seems more like . Schoenberg Gurrelieder (1900-03, 1910-11) like the tone poem, Pelleas und Melisande, which interrupted his work on Gurrelieder in 1903, it But it is undoubtedly Wagner whose voice is was an extremely ambitious project for an almost most readily heard behind Schoenberg’s in this In 1900, Schoenberg began a song cycle Waldemar. As punishment for this blasphemy, unknown composer still in his twenties, with work. Like Wagner’s , for , and , intending to Waldemar is compelled to ride every night on virtually no formal instruction. Apart from the Schoenberg’s Gurrelieder traces the downfall enter it for a composing competition. A year a wild hunt with the ghostly figures of his dead limited success of a from 1897 and of the mighty, reflected in the all-encompassing later, he found he had composed a massive vassals. This apparently interminable cycle, some songs performed to little acclaim in 1900, cycle of nature. Like , it charts for five soloists, a narrator, three however, is broken by the return of Spring. As Schoenberg had no professional performances a yearning for the loss of individual identity in male choruses of four parts each, an eight- new life blossoms throughout the world, the to his name, and yet Gurrelieder shows complete the ecstatic union of two lovers. Waldemar and part mixed chorus, and an orchestra of about souls of Waldemar and Tove find release in mastery of the techniques of musical narrative Tove know that only in death will their desire, 150. The poems that had inspired such a the renewal of nature, and thus the eternal and tone painting of Wagner and Strauss. forged out of their separateness in life, finally be vast work were drawn from a collection by the union that Tove once promised Waldemar. reconciled and find resolution. The beginning of Danish poet, Jens Peter Jacobsen (1847-85), Perhaps it was who provided the piece takes place at dusk, leading into an itself based upon medieval legends. Both the It is an astonishing work for many reasons, not Schoenberg with a model. Gurrelieder finds intense love duet at midnight, passes through the text, and Schoenberg’s response to it, reflect least that while its composition was begun in some parallels in Mahler’s youthful cantata Das nocturnal hunt of the ghostly riders and ends at the powerful influence of Wagnerism at the 1900, when Schoenberg’s musical language klagende , completed in 1880 at the age dawn with the promise of new life on the arrival fin-de-siècle to which few young composers, was still essentially late-romantic, it was not of just twenty. Mahler revised the work several of the summer wind, a year and a day later. For writers and artists were immune. Indeed, completed until 1911, by which time he had times before it was finally premièred in , all the medieval origins of the text, this blurring Schoenberg’s friend Alexander Zemlinsky had written some of his key atonal works in a more conducted by himself, on 17 February, 1901. of the world of nature and the erotic is typical begun setting part of the same text in 1899. modernist idiom. In January, 1910, it was was at the concert and wrote to of the artistic concerns of the fin-de-siècle. performed with the orchestral parts in a six- Schoenberg (then in ) describing it as ‘a The ‘songs of Gurre’ tell the tale of two lovers handed piano reduction by Webern. The fully magnificent work’. The comparison is a useful Part I consists of nine songs (tracks 2 - bl), sung – King Waldemar and Tove. When their love orchestrated version was premiered in Vienna one for other reasons. Both composers were alternately by Waldemar and Tove, seamlessly is discovered by Waldemar’s wife, Queen on February 23, 1913, conducted by Franz wrestling with a hybrid musical form, caught joined by orchestral transitions. They fall into clear Helwig, she has Tove killed, a blow from which Schreker. Schoenberg was dismissive of its between the idea of operatic and theatrical pairs, with each character giving their account Waldemar never recovers. He rails against God positive reception, stung by the fact that his music on the one hand, and instrumental, of successive stages in the unfolding narrative. himself, accusing him of being a tyrant to allow earlier style was enthusiastically acclaimed symphonic music on the other. Gurrelieder is The first two songs depict the landscape and Tove to die and thus to be separated from while his more recent works were rejected. certainly hard to locate in terms of genre; Part atmosphere, as evening turns into a moonlit

4 5 night. Waldemar is riding out to the castle of In the very brief Part II, Waldemar not only night. It opens with a reference back to the it merely adds to the sense of madness. The Gurre, where Tove awaits him. Songs 3 and curses God but threatens to storm heaven start of the seventh song in Part I, Waldemar’s Fool’s apparent nonsense acts as a kind of 4 depict his journey and arrival, an ecstatic itself if the souls of himself and Tove are kept anticipation of the lovers’ parting in death. sidestep, a strategy that exacerbates the sense moment reflected in the whole of nature. apart. It was wrong, he cries to God, to take Schoenberg unleashes the massive power of that the emotional burden here is too great to Songs 5 and 6 express the lovers’ meeting and Tove’s life and thus rob him of the one thing he his orchestra here, with an overpowering use be properly expressed. Klaus recalls some of the their declaration of love. Songs 7 and 8 are cherished. As he does so, the orchestral music of the brass section to capture the jangling of simpletons in Mahler’s use of the folk poetry of preceded by a darker tone of foreboding (heard is full of thematic echoes of the earlier love armour and horses as the vassals assemble. Das Knaben Wunderhorn, but it also anticipates in a brooding figure); the midnight hour songs, like an obsessive presence in his mind. What follows has the character of Mahler’s another fool, the prescient Idiot who appears is eerily signalled by twelve repeated tones most austere march movements, the macabre in the first tavern scene of Berg’s . in the double basses. Waldemar anticipates Waldemar’s curse, and subsequent punishment, world of his equally ghostly military songs, with horror that, at some point in the future, is a turning point in the work. It separates the ‘Der Tamboursg’sell’ and ‘Revelge’. The Waldemar pleads with God not to separate him they will inevitably be parted, concluding lush of Part I (the love of Tove and more fragmentary modernist style suits the from Tove, threatening that if his soul goes to in despair that ‘Our time is over’. But Tove Waldemar) and the grotesque but thrilling ride subject matter well in the narration of this Hell while hers goes to Heaven, his passion answers in a radiant tone, assuring Waldemar of death in Part III. Perhaps not coincidentally, supernatural scene by a terrified Farmer. would give him the strength to storm heaven that death will not be an end but merely a it was also the point at which Schoenberg itself. With the coming of dawn, the ghostly ride threshold to an eternity together. The final song broke off the initial period of composition Three male choirs take the role of the vassals. comes to an end and the vassals return to their is Waldemar’s response – ‘Du wunderliche in 1903. By the time he resumed work, in Schoenberg’s most obvious model is Wagner’s graves. In their last chorus, longing to sleep in Tove’ (You wondrous Tove) – in which the 1910, his compositional style had changed spectral chorus of sailors in Der fliegende peace, they briefly anticipate a return of life lovers’ desire gives way to a profound peace. dramatically. In works like and the Holländer. Indeed, the parallel is an important before the music descends into a dark abyss. Five Pieces for Orchestra, Op.16, written in one, because just as the crew of the Dutchman’s An orchestral interlude leads to the ‘Song of 1909, Schoenberg had fully explored an atonal, ship is compelled to sail endlessly around the This nadir acts as a foil to what follows: The the Wood Dove’ (mezzo soprano, track bn), expressionistic musical language that sounds world until their captain finds salvation in love, Wild Hunt of the Summer Wind. Schoenberg which narrates the aftermath of what we worlds apart from Part I of Gurrelieder. His skill so too will Waldemar’s vassals not rest until marks it as a Melodrama, narrated by a Speaker have just witnessed. With mounting grief, in binding together the earlier and later material he recovers Tove. Schoenberg’s use of three which, in some ways, anticipates a kind of the Wood Dove describes Tove’s death and is remarkable, but his task was undoubtedly choirs, each divided into four parts, allows him film music with voice-over. Except, that is, burial, and Waldemar’s utter distraction. helped by the peculiar nature of the story itself. to construct dense and powerfully dramatic that the Speaker’s part is notated musically, Only at the conclusion of her account does music. Also riding with the vassals is Klaus the using the technique of ‘Sprechstimme’ that she tell us how Tove died on the orders of The Wild Hunt of Part III depicts a rather Fool, the King’s jester, who speaks in riddles. In Schoenberg brought to fruition in his Pierrot Waldemar’s jealous Queen. ‘Helwig’s falcon ghoulish riding out of Waldemar and his some ways, his chattering provides some relief Lunaire of 1912. This involves the singer/ it was, who cruelly tore apart Gurre’s dove.’ dead vassals, raised from the grave each from the horror of the Wild Hunt; in other ways, speaker shaping each line notated with

6 7 musical pitches but in a voice that lies central theme of transfiguration finds a key somewhere between singing and speaking. statement here, as the individual figures of Tove Gurrelieder and Waldemar find their union in the renewal The Melodrama opens mysteriously, like a sort of the whole of nature. A final affirmative 1900-03, 1910-11 of detuned version of the opening of Mahler’s chorus (crucially, a mixed chorus this time), First Symphony, with bare high in like a secular version of of Mahler’s by Arnold (originally Levisohn) (1872-1938) the woodwind, revealing a rich tapestry of Resurrection Symphony, hails the dawn. scurrying figures. The Speaker’s descriptions Based on a text in Danish by Jens Peter Jacobsen (1847-1885) of the renewal of nature are wonderfully Critics have often been divided by Gurrelieder. English translation by Donna Hewitt detailed and Schoenberg’s music seems to While some regret that he did not continue to pick up on the sense of the internal working write in this late-romantic style, others have Disc 1 of nature – the rustling and microscopic dismissed the work as a peripheral example Erster Teil Part One activity of growth rather than with some of romantic excess before Schoenberg showed 1 Orchestervorspiel Orchestral Prelude grand outpouring of emotion. A rich web of his real modernist credentials. But another way musical reminiscences offer fragmentary of hearing it suggests that such an either/or 2 Waldemar Waldemar glimpses of the more substantial forms of choice is a false one. Schoenberg’s music as Nun dämpft die Dämm’rung jeden Ton Now dusk mutes every sound Part I, as Waldemar searches to regain what a whole underlines that what we call romantic Von Meer und Land, on land and sea. he has lost. Similarly, the rich orchestral and modern are like two sides of the same coin. Die fliegenden Wolken lagerten sich The scudding clouds have gathered close tone of Part I gives way to more transparent All his music is located on the axis between Wohlig am Himmelsrand. against the margin of the sky. Lautloser Friede schloss dem Forst Silent peace has closed textures as accompaniment to the Speaker. two musical worlds, at the threshold where Die luftigen Pforten zu, the forest’s airy gates, It makes for an astonishing inversion of the one turns into the other. What defined that Und des Meeres klare Wogen the limpid sea-waves all earlier music, something like a photographic historical moment around 1900, and what Wiegten sich selber zur Ruh. have lulled themselves to rest. negative relates to the full colour image. the First World War was to make palpable Im Westen wirft die Sonne Westward, the sun to everyone, was a catastrophic sense of Von sich die Purpurtracht throws off her purple robes Though the Speaker’s words are allusive, it is loss, followed by a yearning to recover what Und träumt im Flutenbette and dreams upon her couch among the waves clear that Tove and Waldemar are reunited in was lost. The story of Waldemar and Tove is Des nächsten Tages Pracht. of all the glory of the coming day. this burgeoning of new life ushered in with the an allegory of just that story – the story of Nun regt sich nicht das kleinste Laub Now not even the smallest bush stirs summer wind. There are echoes of their love the modern, reflected in a single work. In des Waldes prangendem Haus, in all the wood’s resplendent house. music as the wind bears them upwards into Nun tönt auch nicht der leiseste Klang. Now not the faintest sound is heard. the canopy of budding leaves. Schoenberg’s © Julian Johnson Ruh’ aus, mein Sinn, ruh’ aus! Rest, my senses, rest!

8 9 Und jede Macht ist versunken My every power sinks Ruht, um nimmermehr zu tönen, ceases, never to be heard again, In der eignen Träume Schoß, into the lap of its own dreams, Muss dein flinker Hufschlag, Renner, your nimble hoofbeats, Racer, Und es treibt mich zu mir selbst zurück, and l am inward drawn upon myself, Über Gurres Brücke dröhnen; must clatter over Gurre’s bridge. Stillfriedlich, sorgenlos. tranquil and free of care. Eh’ das welke Blatt – dort schwebt es – Before that withered leaf – there it hangs – 3 Tove Tove Mag herab zum Bache fallen, falls down into the stream, Oh, wenn des Mondes Strahlen leise gleiten, und O when the moonbeams softly glide, Muss in Gurres Hof dein Wiehern your neighing must echo Friede sich und Ruh durchs All verbreiten, and peace and rest pervade the world, Fröhlich widerhallen ... jubilantly about Gurre’s yard … Nicht Wasser dünkt mich dann des Meeres Raum, then the vast ocean seems not to be water, Der Schatten dehnt sich, der Ton verklingt, The shadows lengthen, the sound dies away, Und jener Wald scheint nicht Gebüsch und Baum. yon wood appears not made of bush and tree. Nun falle, Blatt, magst untergehn: fall now, leaf, now you may die: Das sind nicht Wolken, die den Himmel schmücken, Those are not clouds which adorn the heavens, Volmer hat Tove gesehn! Volmer has seen Tove! Und Tal und Hügel nicht der Erde Rücken, valley and hill are not the surface of the earth, 5 Tove Tove Und Form und Farbenspiel, nur eitle Schäume, the play of shape and colour are mere froth, Sterne jubeln, das Meer, es leuchtet, The stars rejoice, the shining sea Und alles Abglanz nur der Gottesträume. and all is but reflected glory from God’s dreams. Presst an die Küste sein pochendes Herz, presses its wildly beating heart against the shore. 4 Waldemar Waldemar Blätter, sie murmeln, es zittert ihr Tauschmuck, Dew-jewels tremble on the murmuring leaves. Roß! Mein Roß! Was schleichst du so träg? Horse, my horse, why this dragging pace? Seewind umfängt mich in mutigem Scherz, Sea-wind embraces me in gallant sport, Nein, ich seh’s, es flieht der Weg No, l see that the road passes Wetterhahn singt, und die Turmzinnen nicken, Weathercock sings and the battlements nod. Hurtig unter der Hufe Tritten. swiftly beneath your hooves. Burschen stolzieren mit flammenden Blicken, Lads swagger about casting fiery glances Aber noch schneller musst du eilen, But you must go even faster, Wogende Brust voll üppigen Lebens while rosy maidens strive in vain to calm Bist noch in des Waldes Mitten, you are still in the middle of the forest, Fesseln die blühenden Dirnen vergebens, their heaving bosoms full of lusty life; Und ich wähnte, ohn’ Verweilen and l had fancied, by not dawdling, Rosen, sie mühn sich, zu spähn in die Ferne, roses gaze patiently into the distance, Sprengt’ ich gleich in Gurre ein. l might already be at Gurre. Fackeln, sie lodern und leuchten so gerne, torches glow and burn with delight. Nun weicht der Wald, schon seh’ ich dort die Burg, The forest thins, already l can see the castle Wald erschließt seinen Bann zur Stell’, The forest now sheds its forbidding cloak. Die Tove mir umschließt, which surrounds my Tove; Horch, in der Stadt nun Hundegebell. Hark, in the town the barking dogs. Indes im Rücken uns der Forst Meanwhile the wood behind us Und die steigenden Wogen der Treppe And the surging tide of the staircase Zu finstrem Wall zusammenfließt; merges to a wall of shadow Tragen zum Hafen den fürstlichen Held, bears the noble hero into port, Aber noch weiter jage du zu! But you must speed on even further. Bis er auf alleroberster Staffel till he, upon the topmost tread, Sieh! Des Waldes Schatten dehnen Look! The forest shadows lengthen Mir in die offenen Arme fällt. sinks into my open arms. Über Flur sich weit und Moor! all across moor and field! 6 Waldemar Waldemar Eh’ sie Gurres Grund erreichen, Before they reach Gurre, So tanzen die Engel vor Gottes Thron nicht, Never have angels danced before the throne of God Muss ich stehn vor Toves Tor. l must stand at Tove’s door. Wie die Welt nun tanzt vor mir. the way the world now dances before me. Eh’ der Laut, der jetzo klinget, Before that sound which now rings forth So lieblich klingt ihrer Harfen Ton nicht, So lovely the strains from their harps never were

10 11 Wie Waldemars Seele dir. as these strains Waldemar’s soul sings for thee. Stehn auf aus vergessnen, eingesunknen Gräbern, rise from forgotten, sunken graves, Aber stolzer auch saß neben Gott nicht Christ But Christ was not prouder, seated with God, Und sie blicken mit Sehnsucht and gaze with longing Nach dem harten Erlösungsstreite, after the cruel war for salvation had passed, Nach den Kerzen der Burg und der Hütte Licht. at the candles in the castle, and the cottage lights. Als Waldemar stolz nun und königlich ist than Waldemar now stands, regal and proud Und der Wind schüttelt spottend Mocking, the wind shakes down An Tovelilles Seite. at Tovelille’s side. Nieder auf sie Harfenschlag und Becherklang upon them harp-songs, and the clink of goblets, Nicht sehnlicher möchten die Seelen gewinnen With no greater longing have souls yearned to find Und Liebeslieder. and love songs. Den Weg zu der Seligen Bund, the way to the realms of the blest, Und sie schwinden und seufzen: And they vanish sighing: Als ich deinen Kuss, da ich Gurres Zinnen than l longed for your kiss when l saw Gurre’s towers „Unsre Zeit ist um.” “Our time is done.” Sah leuchten vom Oeresund. gleaming on Oeresund. Mein Haupt wiegt sich auf lebenden Wogen, Living waves cradle my head, Und ich tausch’ auch nicht ihren Mauerwall And l would not exchange their stout walls, Meine Hand vernimmt eines Herzens Schlag, my hand can feel the beating of a heart. Und den Schatz, den treu sie bewahren, and the treasure they faithfully guard Lebenschwellend strömt auf mich nieder Swelling to life, there now streams down upon me Für Himmelreichs Glanz und betäubenden Schall for all heaven’s splendour and deafening din, Glühender Küsse Purpurregen, a purple rain of burning kisses, Und alle der Heiligen Scharen! and all the sainted hosts of the redeemed! Und meine Lippe jubelt: and my lips rejoice: 7 Tove Tove „Jetzt ist’s meine Zeit!” “My time is now!” Nun sag ich dir zum ersten Mal: Now for the first time l say: Aber die Zeit flieht, But time is fleeting „König Volmer, ich liebe dich!” “King Volmer, l love you!” Und umgehn werd’ ich and l too must die Nun küss’ ich dich zum ersten Mal, Now l kiss you for the first time, Zur Mitternachtsstunde at midnight! Und schlinge den Arm um dich. and encircle you in my arms. Dereinst als tot, Then being dead. Und sprichst du, ich hätt’ es schon früher gesagt And if you say l have already told you. Werd’ eng um mich das Leichenlaken ziehn I’II draw my funeral shroud about me Und je meinen Kuss dir geschenkt, or ever given you my kiss. Wider die kalten Winde against the cold winds, So sprech’ ich: „Der König ist ein Narr, to that l say: “The king’s a fool Und weiter mich schleichen im späten Mondlicht to drag myself in late moonlight, Der flüchtigen Tandes gedenkt.” who thinks of transient, tawdry things.” Und schmerzgebunden bound fast to pain; Und sagst du: „Wohl bin ich solch ein Narr”, And if you say: “l am indeed a fool,” Mit schwerem Grabkreuz and with the heavy cross from off a grave So sprech’ ich: „Der König hat recht”, l’ll say: “The king is right.” Deinen lieben Namen carve your beloved name Doch sagst du: „Nein, ich bin es nicht”, But if you say: “That l am not,” In die Erde ritzen into the earth, So sprech’ ich: „Der König ist schlecht.” I’II say: “The king is bad.” Und sinken und seufzen: and sinking l shall sigh: Denn all meine Rosen küsst’ ich zu Tod, For l have kissed my roses all to death „Unsre Zeit ist um!” “Our time is done!” Dieweil ich deiner gedacht. The while l thought of you. 9 Tove Tove 8 Waldemar Waldemar Du sendest mir einen Liebesblick You send a loving glance at me Es ist Mitternachtszeit, It is midnight, Und senkst das Auge, and then avert your eyes. Und unsel’ge Geschlechter and unholy beings Doch der Blick presst deine Hand in meine, That glance alone pressed your hand into mine,

12 13 Und der Druck erstirbt; and now the handclasp fades. Es ist so still in mir, l feel so still within, Aber als liebeweckenden Kuss But for a love-awakening kiss So seltsam stille. so strangely still. Legst du meinen Händedruck mir auf die Lippen you press my handclasp back against my lips. Auf der Lippe weilt brückeschlagend das Wort, As though to build a bridge a word hangs Und du kannst noch seufzen um des Todes Willen, And can you then still sigh for sake of death, Doch sinkt es wieder zur Ruh. trembling on my lips, but it sinks back to rest. Wenn ein Blick auflodern kann when just a glance can flame Denn mir ist’s, als schlüg’ in meiner Brust To me it is as if there beats within my breast Wie ein flammender Kuss? as does an ardent kiss? Deines Herzens Schlag, your heartbeat now. Die leuchtenden Sterne am Himmel droben The glowing stars high in the heavens Und als höbe mein Atemzug, Tove, as if my breathing Bleichen wohl, wenn’s graut, do fade at break of day, Tove, deinen Busen. made your bosom rise. Doch lodern sie neu jede Mitternachtszeit but with each midnight flame a new Und uns’re Gedanken seh’ ich and I see our thoughts In ewiger Pracht. in their eternal splendour. Entstehn und zusammengleiten take shape and glide together So kurz ist der Tod, Death is so brief, Wie Wolken, die sich begegnen, as clouds do, when they meet, Wie ruhiger Schlummer like tranquil slumber Und vereint wiegen sie sich in wechselnden Formen. which once united drift and change their shapes. Von Dämm’rung zu Dämm’rung. between one twilight and the next. Und meine Seele ist still, And my soul is still. Und wenn du erwachst: And when you waken Ich seh in dein Aug’ und schweige, l gaze into your eyes and do not speak, Bei dir auf dem Lager there upon your couch, Du wunderliche Tove. extraordinary Tove! In neuer Schönheit clad in new beauty, bm Orchesterzwischenspiel Orchestral Interlude Siehst du strahlen you will see bn Die junge Braut. a young and radiant bride. Stimme der Waldtaube Voice of the Wood-Dove So lass uns die goldene So let us drain our goblets Tauben von Gurre! Sorge quält mich, Doves of Gurre! Sorrow has plagued me Schale leeren in a toast to Him, Vom Weg über die Insel her! all along the way across the island! Ihm, dem mächtig verschönenden Tod: mighty, adorning death; Kommet! Lauschet! Come! Listen! Denn wir gehn zu Grab for we go to the grave Tot ist Tove! Nacht auf ihrem Auge, Tove is dead! Night rests upon her eyes, Wie ein Lächeln, ersterbend like a smile, dying Das der Tag des Königs war! which were the king’s day. Im seligen Kuss! in a rapturous kiss! Still ist ihr Herz, Her heart is still, Doch des Königs Herz schlägt wild, and yet the king’s heart wildly beats, bl Waldemar Waldemar Tot und doch wild! wildly, though dead! Du wunderliche Tove! Extraordinary Tove! Seltsam gleichend einem Boot auf der Woge, Curiously like a boat upon the waves, So reich durch dich nun bin ich, You have made me so rich Wenn der, zu dess’ Empfang when he, for whose welcome Dass nicht einmal mehr ein Wunsch mir eigen. that now l wish for nothing more. Die Planken huldigend sich gekrümmt, the planks in homage curve, So leicht meine Brust, My heart is so light, Des Schiffes Steurer tot liegt, the steerer of the ship, lies dead, Mein Denken so klar, my mind so very clear. Verstrickt in der Tiefe Tang. entangled in the deep sea-weed. Ein wacher Frieden über meiner Seele. Peace now keeps watch about my soul. Keiner bringt ihnen Botschaft, No one can bring them word,

14 15 Unwegsam der Weg. impenetrable is the way. Abendsegen läuten; to sound the evening Angelus, Wie zwei Ströme waren ihre Gedanken, Their thoughts were like two streams, Doch er sah den Wagenlenker seeing the wagon driver, Ströme gleitend Seit’ an Seite. which glided side by side Und vernahm die Trauerbotschaft: learned of the sad news. Wo strömen nun Toves Gedanken? Where do Tove’s thoughts flow now? Sonne sank, indes die Glocke The sun sank while the bells Die des Königs winden sich seltsam dahin, The king’s thoughts wander strangely Grabgeläute tönte. tolled out a knell of death. Suchen nach denen Toves, in search of Tove’s thoughts, Weit flog ich, Klage sucht’ ich und den Tod! l flew far, sought for grief and death. Finden sie nicht. finding them not. Helwigs Falke Helwig’s falcon Weit flog ich, Klage sucht’ ich, fand gar viel! l flew far, sought for grief, and have found much! War’s, der grausam ‘twas, that cruelly has slaughtered Den Sarg sah ich auf Königs Schultern, l saw the coffin on the shoulders of the king; Gurres Taube zerriss! Gurre’s dove. Henning stürtzt’ ihn; Henning supported it. Finster war die Nacht, eine einzige Fackel The night was dark, a lone torch Disc 2 Brannte am Weg; burned along the way; Die Königin hielt sie, hoch auf dem Söller, it was the queen who held it, high upon the battlements, Zweiter Teil Part Two Rachebegierigen Sinns. obsessed with thoughts of vengeance, 1 Waldemar Waldemar Tränen, die sie nicht weinen wollte, the tears she did not wish to weep Herrgott, weißt du, was du tatest, Lord God, do you know what it was you did, Funkelten im Auge. glittering in her eyes. Als klein Tove mir verstarb? when my little Tove died? Weit flog ich, Klage sucht’ ich, fand gar viel! l flew far, sought for grief, and have found much! Triebst mich aus der letzten Freistatt, You drove me from the last remaining refuge Den König sah ich, mit dem Sarge fuhr er, l saw the king ride with the coffin, Die ich meinem Glück erwarb! l had found for joy! Im Bauernwams. dressed in a farmer’s garb. Herr, du solltest wohl erröten: God, it is meet you should blush: Sein Streitross, das oft zum Sieg ihn getragen, His battle horse, which oft carried him to victory, Bettlers einz’ges Lamm zu töten! Putting a beggar’s only lamb to death! Zog den Sarg. drew the coffin. Herrgott, ich bin auch ein Herrscher, Lord God, l also am a monarch Wild starrte des Königs Auge, suchte Wildly, the king’s eyes stared, searching Und es ist mein Herrscherglauben: and this my sovereign creed: Nach einem Blick, for just one glance. Meinem Untertanen darf ich my subjects l may never Seltsam lauschte des Königs Herz Strangely, the king’s heart listened closely Nie die letzte Leuchte rauben. rob of their last light. Nach einem Wort. for a single word Falsche Wege schlägst du ein: The course which you pursue is wrong: Henning sprach zum König, Henning spoke to the king, Das heißt wohl Tyrann, nicht Herrscher sein! which means you are a tyrant, not a king! Aber noch immer suchte er Wort und Blick. who all the while looked only for a word, a glance. Herrgott, deine Engelscharen Lord God, your angel hosts Der König öffnet Toves Sarg, The king opened Tove’s coffin, Singen stets nur deinen Preis, continually sing only your praise, Starrt und lauscht mit bebenden Lippen, staring and listening with trembling lips. Doch dir wäre mehr vonnöten but you are more in need Tove ist stumm! Tove is silent! Einer, der zu tadeln weiß. of one who can rebuke you. Weit flog ich, Klage sucht’ ich, fand gar viel! l flew far, sought for grief, and have found much! Und wer mag solches wagen? And who would dare do such a thing? Wollt’ ein Mönch am Seile ziehn, A monk about to pull the ropes Lass mich, Herr, die Kappe deines Hofnarr’n tragen! Let me, Lord, wear your jester’s cap!

16 17 Dritter Teil Part Three Wo der Herr seine heiligen Wunden trug, where our Saviour bore his holy wounds, Die wilde Jagd The Wild Hunt So bin ich geschützt vor der nächtlichen Mahr, so l am protected from phantoms of night, Vor Elfenschuss und Trolls Gefahr. from the darts of elves and the menace of trolls. 2 Waldemar Waldemar Zuletzt vor die Tür noch Stahl und Stein, Lastly l bar it with steel and with stones Erwacht, König Waldemars Mannen wert! Arise, King Waldemar’s noble men! So kann mir nichts Böses zur Tür herein. so no evil can enter my door. Schnallt an die Lende das rostige Schwert, To your loins gird your rusted swords. 4 Holt aus der Kirche verstaubte Schilde, From the church bring your dusty shields, Waldemars Mannen Waldemar’s Men Gräulich bemalt mit wüstem Gebilde. grey-streaked with wasted figures. Gegrüßt, o König, an Gurre-Seestrand! Greetings, King, here in Gurre-on-Sea! Weckt eurer Rosse modernde Leichen, Waken your horses’ mouldering corpses, Nun jagen wir über das Inselland. Let us now hunt across the island. Schmückt sie mit Gold, und spornt ihre Weichen: deck them with gold, set spurs to their flanks; Holla! Vom stranglosen Bogen Pfeile zu senden, Holla! Our arrows let fly from unstrung bows, Nach Gurrestadt seid ihr entboten, to the city of Gurre commanded, Mit hohlen Augen und Knochenhänden, with hollow eyes and hands of bone, Heute ist Ausfahrt der Toten! today the dead ride abroad! Zu treffen des Hirsches Schattengebild, to pierce the shadow of the stag. Holla! Dass Wiesentau aus der Wunde quillt. Holla! So that meadow-dew from the wound may spring. 3 Bauer Peasant Holla! Der Walstatt Raben Holla! To the battlefield Deckel des Sarges klappert und klappt, Coffin lids rattle and clatter, Geleit uns gaben, have the ravens led, Schwer kommt’s her durch die Nacht getrabt. comes a heavy trotting through the night. Über Buchenkronen die Rosse traben. over beech-tree tops our horses trot. Rasen nieder vom Hügel rollt, The sod rolls off the hill; Holla! So jagen wir nach gemeiner Sag’ Holla! l We will hunt again in the age-old way, Über den Grüften klingt’s hell wie Gold. Above the tombs a ringing bright as gold. Eine jede Nacht bis zum jüngsten Tag. night after night, till the judgement day. Klirren und Rasseln durchs Rüsthaus geht, A clanking and a rattling through the armoury, Holla! Hussa Hund! Hussa Pferd! Holla! Onward hound, onward horse! Werfen und Rücken mit altem Gerät, the tossing and hoisting of ancient gear, Nur kurze Zeit das Jagen währt! The hunt only lasts a brief while! Steinegepolter am Kirchhofrain, a hail of stones at the churchyard’s edge. Hier ist das Schloss, wie einst vor Zeiten! Here stands the castle as of old! Sperber sausen vom Turm und schrei’n, Screaming, sparrow-hawks swoop from the spire. Holla! Lokes Hafer gebt den Mähren, Holla! Feed Loki’s fiery oats to the mares, Auf und zu fliegt’s Kirchentor! Back and forth the church door flies. Wir wollen vom alten Ruhme zehren. we will feast on olden glories of yore. Waldemars Mannen Waldemar’s Men 5 Waldemar Waldemar Holla! Holla! Mit Toves Stimme flüstert der Wald, With Tove’s voice whispers the wood, Bauer Peasant Mit Toves Augen schaut der See, through Tove’s eyes gazes the lake. Da fährt’s vorbei! Rasch die Decke übers Ohr! There they go! Quickly the blanket over your ears. Mit Toves Lächeln leuchten die Sterne, And Tove’s smile beams from the stars. Ich schlage drei heilige Kreuze geschwind The sign of the holy cross thrice l quickly make, Die Wolke schwillt wie des Busens Schnee. The clouds swell like her snow-white breast. Für Leut’ und Haus, für Ross und Rind; for my kinfolk, my home, my cattle and horses. Es jagen die Sinne, sie zu fassen, My senses strive to give her form, Dreimal nenn’ ich Christi Namen, If three times the name of Christ l say, Gedanken kämpfen nach ihrem Bilde. my thoughts struggle to find her image. So bleibt bewahrt der Felder Samen. then the seed in the field will be safe. Aber Tove ist hier und Tove ist da, But Tove is here and Tove is there, Die Glieder noch bekreuz ich klug, Wisely, l cross the very limbs Tove ist fern und Tove ist nah. Tove is far away, Tove is near.

18 19 Tove, bist du’s, mit Zaubermacht Tove, is that you, bound by a strong enchantment Das tot seit Jahr und Tagen, dead these many years and days, Gefesselt an Sees- und Waldespracht? To the splendour of the lake – and of the wood? Auch dieser hat’s verdient he too has earned the same, Das tote Herz, es schwillt und dehnt sich, My dead heart fills and swells, Und muss von Rechtes wegen jagen. and for the sake of right, he is compelled to hunt. Tove, Tove, Waldemar sehnt sich nach dir! Tove, Tove, Waldemar yearns after you! Denn er war immer höchst brutal, For he was always quite ruthless, 6 Klaus-Narr Klaus the Jester Und Vorsicht galt es allermal one had to be on guard at every turn, „Ein seltsamer Vogel ist so’n Aal, “A strange bird is the eel, Und off’nes Auge für Gefahr, watching for danger always, with one eye. Im Wasser lebt er meist, lives in the water mostly. Da er ja selber Hofnarr war He was, himself, the jester to the court Kommt doch bei Mondschein dann und wann but now and then, by the light of the moon, Bei jener großen Herrschaft überm Monde. of that great monarchy beyond the moon. Ans Uferland gereist.” he travels up to the shore.” Doch dass ich, Klaus – Narr von Farum, But that I, Klaus, Jester of Farum, Das sang ich oft meines Herren Gästen, l sang that often to my lordship’s guests Ich, der glaubte, dass im Grabe I, who believed that in the grave Nun aber passt’s auf mich selber am besten. but now it fits me best. Man vollkomm’ne Ruhe habe, one would have perfect rest, Ich halte jetzt kein Haus und lebe äußerst schlicht l don’t keep house now, lead a very frugal life, Dass der Geist beim Staube bleibe, that my spirit would remain there with the dust, Und lud auch niemand ein und prasst’ und l have invited no one home, have not caroused Friedlich dort sein Wesen treibe, peacefully attending its concerns, lärmte nicht, and made a lot of noise, Still sich sammle für das große and quietly collect itself for that great Und dennoch zehrt an mir manch unverschämter and still, despite all that, there’s many a shameless Hoffest, wo, wie Bruder Knut feast at court, where, as Brother Knut Wicht, fellow drains me dry. Sagt, ertönen die Posaunen, says, sound, Drum kann ich auch nichts bieten, So l have naught to offer, Wo wir Guten wohlgemut where we, the righteous, cheerfully ob ich will oder nicht, whether l would or no, Sünder speisen wie Kapaunen. will make a meal of sinners, as we would of capons. Doch – dem schenk ich meine nächtliche Ruh, but l would give away my nightly rest Ach, dass ich im Ritte rase, Alas, that l must ride this frenzied race, Der mir den Grund kann weisen, to any who can tell the reason why, Gegen den Schwanz gedreht die Nase, my nose toward the tail, Warum ich jede Mitternacht with every midnight I am forced Sterbensmüd im wilden Lauf, wearied to death of this wild course. Den Tümpel muss umkreisen. to make the circuit of this pool. Wär’s zu spät nicht, ich hinge mich auf. If it were not too late, l’d hang myself Dass Palle Glob und Erik Paa That Palle Glob and Erik Paa Doch o wie süß soll’s schmecken zuletzt, But oh, how sweet the taste at last, Es auch tun, das versteh ich so: do likewise, that l understand: Wird’ ich dann doch in den Himmel versetzt! Indeed, to be transported into heaven! Sie gehörten nie zu den Frommen; pious they never were; Zwar ist mein Sündenregister groß, Truly, the sum of all my sins is great. Jetzt würfeln sie, wiewohl zu Pferd, right now they’re rolling dice, on horseback, Allein vom meisten schwatz ich mich los! l can talk my way out of all but a few! Um den kühlsten Ort, weit weg vom Herd, mind you, for the coolest spot, far from the fire, Wer gab der nackten Wahrheit Kleider? Who was it who dressed the naked truth? Wenn sie zur Hölle kommen. when they arrive in hell. Wer war dafür geprügelt leider? And who, alas, was flogged for it? Und der König, der von Sinnen stets, And the king, ever insane, Ja, wenn es noch Gerechtigkeit gibt, Yet, but if there’s any justice left, Sobald die Eulen klagen, who from the moment that the owls first cry, Dann muss ich eingehn im Himmels Gnaden ... then l must surely enter into heaven’s grace ... Und stets nach einem Mädchen ruft, incessantly calls to a maiden Na, und dann mag Gott sich selber gnaden. forsooth, and then may God have mercy on himself.

20 21 7 Waldemar Waldemar Sprecher Speaker Du strenger Richter droben, You harsh judge up above, Herr Gänsefuß, Frau Gänsekraut, nun duckt euch Sir Goosefoot, Lady Amaranth, duck down, and Du lachst meiner Schmerzen, you scoff at my distress, nur geschwind, quickly too, Doch dereinst, beim Auferstehn des Gebeins but some day, at the resurrection of the flesh, Denn des sommerlichen Windes wilde Jagd beginnt. the summer wind’s wild hunt is just beginning. Nimm es dir wohl zu Herzen; mark well my words: Die Mücken fliegen ängstlich aus dem The gnats fly anxiously about the wood grown Ich und Tove, wir sind eins. l and Tove shall be one. schilfdurchwachs’nen Hain, thick with reeds, So zerreiß’ auch unsre Seelen nie, So never rend our common soul asunder, In den See grub der Wind seine Silberspuren ein. the wind has graven silver tracks into the lake. Zur Hölle mich, zum Himmel sie, my portion into hell and hers to heaven, Viel schlimmer kommt es, It’s much worse when it comes, Denn sonst gewinn’ ich Macht, or l shall gain the strength als ihr euch nur je gedacht; than you have ever dreamed. Zertrümmre deiner Engel Wacht to crush your angel guard Hu! wie’s schaurig in den Buchenblättern lacht! Ha, how eerily it laughs among the beech-leaves! Und sprenge mit meiner wilden Jagd and barge with my wild huntsmen Das ist Sankt Johanniswurm mit der Feuerzunge rot, There goes Sir Glow-worm with his fire-red tongue, Ins Himmelreich ein. into heaven. Und der schwere Wiesennebel, the heavy meadow-mist, 8 Waldemars Mannen Waldemar’s Men ein Schatten bleich und tot! a pale, dead shadow! Der Hahn erhebt den Kopf zur Kraht, The cock, about to crow, raises his head. Welch Wogen und Schwingen! Such billowing and swaying! Hat den Tag schon im Schnabel, He has the day already in his beak. Welch Ringen und Singen! Such ringing and singing! Und von unsern Schwertern trieft And from our swords the morning dew streams, In die Ähren schlägt der Wind in leidigem Sinne, Among the sheaves, the wind beats with a melancholy Rostgerötet der Morgentau. red with rust. Dass das Kornfeld tönend bebt. sense, resounding through the shaking fields of corn. Die Zeit ist um! Our time is done! Mit den langen Beinen fiedelt die Spinne, With her long legs the spider fiddles, Mit offnem Mund ruft das Grab, With open mouth the grave calls, Und es reißt, was sie mühsam gewebt. and the wind tears what she carefully has spun. Und die Erde saugt das lichtscheue Rätsel ein. and earth sucks in that mystery which fears the light. Tönend rieselt der Tau zu Tal, Ringing, the dew drifts down into the valley. Versinket! Versinket! Sink down! Sink down! Sterne schießen und schwinden zumal; Stars shoot and vanish all at once. Das Leben kommt mit Macht und Glanz, Life comes with might and splendour, Flüchtend durchraschelt der Falter die Hecken, Fleeing, the butterflies rustle through briars and hedges. Mit Taten und pochenden Herzen, with deeds and pounding hearts, Springen die Frösche nach feuchten Verstecken. The frogs leap to moist hideaways. Und wir sind des Todes, and we are of death, Still! Was mag der Wind nur wollen? Hush! What can the wind want? Der Sorge und des Todes, of sorrow and of death, Wenn das welke Laub er wendet, When he stirs the withered leaves, Des Schmerzes und des Todes, of pain and of death. Sucht er, was zu früh geendet; he searches for what too soon has ended: Ins Grab! Ins Grab! Zur träumeschwangern Ruh. Into the grave! To a rest pregnant with dreams. Frühlings blauweiße Blütensäume, spring’s blossoming verges blue and white – Oh, könnten in Frieden wir schlafen! O could we but sleep in peace! Der Erde flüchtige Sommerträume – earth’s transient summer dreams. Längst sind sie Staub! They are long since dust. 9 Des Sommerwindes wilde Jagd The Wild Hunt of the Summer Wind Aber hinauf, über die Bäume But upward above the trees he whirls Schwingt er sich nun in lichtere Räume, now upward through open spaces; Orchestervorspiel Orchestral Prelude Denn dort oben, wie Traum so fein, for there, like an exquisite dream,

22 23 Meint er, müssten die Blüten sein! he knows, the flowers are sure to be! Und mit seltsamen Tönen And with a curious ringing Biographies In ihres Laubes Kronen through their leafy crowns, Grüßt er wieder die schlanken Schönen. he greets the slender beauties once again. Sieh! nun ist auch das vorbei. Look! Now that too is past. Auf luftigem Steige wirbelt er frei On airy stairs he freely whirls ESA-PEKKA SALONEN Zum blanken Spiegel des Sees, down to the clear mirror of the lake. Und dort in der Wellen unendlichem Tanz, There in the waves’ eternal dance, Born in Helsinki, the conductor and composer Orchestra include the UK première of Magnus In bleicher Sterne Widerglanz in the pale stars’ reflected gleam, Esa-Pekka Salonen studied at the Sibelius Lindberg’s new choral work Graffiti, and Wiegt er sich friedlich ein. peacefully, he rocks himself to sleep. Academy, and made his début touring throughout Europe and Japan. Wie stille wards zur Stell! How still it was, and all at once! with the Finnish Radio Symphony Orchestra Ach, war das licht und hell! Ah, and so bright, so clear! in 1979. He was Chief Conductor of the His appointment with the Philharmonia O schwing dich aus dem Blumenkelch, Marienkäferlein, From your flower-chalice, ladybug, fly now, Swedish Radio Symphony Orchestra for ten cements a relationship that dates back Und bitte deine schöne Frau um Leben und ask of your mistress fair, years (1985-1995) and Director of the Helsinki over 25 years. Esa-Pekka Salonen made Sonnenschein! sunshine and life! Festival in 1995 and 1996. From 1992 until his London conducting début with the Schon tanzen die Wogen am Klippenecke, The waves already dance about the cliff, 2009 Salonen was of the Los Philharmonia Orchestra in September Schon schleicht im Grase die bunte Schnecke, already a bright-hued snail crawls through the grass. Angeles Philharmonic and was named the 1983, stepping in at the last minute for Nun regt sich Waldes Vogelschar, The birds of the wood are all astir. orchestra’s Conductor Laureate in April 2009. an indisposed Michael Tilson Thomas to Tau schüttelt die Blume vom lockigen Haar A flower shakes dew from her hair, conduct a now-legendary performance of Und späht nach der Sonne aus. and gazes upward at the sun. Since September 2008 Esa-Pekka Salonen has Mahler’s Symphony No. 3. Salonen was Erwacht, erwacht, ihr Blumen zur Wonne! Awaken, awaken, all ye flowers, to joy! been Principal Conductor and Artistic Advisor offered the position of Principal Guest bl of the Philharmonia Orchestra. In his first Conductor, which he held from 1985- Gemischter Chor Mixed Chorus season in this role he devised and led City of Seht die Sonne, Behold the sun, 1994, and he has returned to conduct the Dreams, a nine-month exploration of the music Farbenfroh am Himmelssaum, gay-coloured on the margin of the sky. Orchestra on a regular basis ever since. and culture of Vienna between 1900 and Östlich grüßt ihr Morgentraum! Morning-dreams greet her in the East! 1935. The project, which presents the music Esa-Pekka Salonen’s guest conducting Lächelnd kommt sie aufgestiegen Smiling she rises of Mahler, Schoenberg, Zemlinsky and Berg in engagements in the season 2009/10 include Aus den Fluten der Nacht, out of the night-tides, its social and historical context, has travelled appearances with the , Lässt von lichter Stirne fliegen and from her radiant brow there streams to 18 cities across Europe, culminating with the , the Mahler Strahlenlockenpracht! the splendour of her locks of light. semi-staged performances of Berg’s Wozzeck Chamber Orchestra and the Sinfonieorchester Copyright 1912 by . English translation by Donna Hewitt © in October 2009. Other highlights of the des Bayerischen Rundfunks. He makes his © Renewed Copyright 1940 by Arnold Schoenberg. With kind permission by Universal Edition A.G., Wien. 2009/10 season with the Philharmonia début at the with the Reproduced by permission. All rights reserved. 24 25 production of Janáček’s opera From the House Salonen is artistic director of the Baltic Sea of the Dead which goes afterwards to the Teatro Festival, that he co-initiated in 2003. It alla Scala, directed by Patrice Chéreau. invites celebrated ensembles and soloists to promote unity and ecological awareness In his time as Music Director of the Los among the Baltic Sea countries. Angeles Philharmonic, highlights have included The Philharmonia Orchestra is one of the its much admired UK Residency Programme, residencies at the Salzburg Festival, Köln Esa-Pekka Salonen has a considerable world’s great . Acknowledged as which began with the launch of its residencies Philharmonie and at the Théâtre du Châtelet, discography. Forthcoming recordings as part the UK’s foremost musical pioneer, with an at the Bedford Corn Exchange and London’s Paris, as well as numerous European tours of his new partnership with the Philharmonia extraordinary recording legacy, the Philharmonia Southbank Centre, and now also includes and guest performances in Japan. On the Orchestra and Signum include Mahler’s 6th leads the field for its quality of playing, and De Montfort Hall in Leicester, The Anvil in occasion of his 17-year tenure the Los and 9th and Berlioz’s Symphonie for its innovative approach to audience Basingstoke and a series of partnerships Angeles Philharmonic celebrated him with fantastique. Other recent releases on Deutsche development, residencies, music education across Kent and the Thames Gateway, based a series of concerts in April 2009, including Grammophon include a disc of Salonen works and the use of new technologies in reaching a in Canterbury. The Orchestra’s international the première of his own . performed with the Finnish Radio Symphony global audience. Together with its relationships extensive touring schedule each season Orchestra and a DVD of Kaija Saariaho’s Salonen is the recipient of many major awards with the world’s most sought-after artists, most involves appearances at the finest concert opera, L’amour de loin with the Finnish importantly its Principal Conductor and Artistic halls across Europe, the USA and Asia. including the Royal Philharmonic Society’s Opera National Opera as well as two CDs with Hélène Award (1995) and the Conductor Award (1997). Advisor Esa-Pekka Salonen, the Philharmonia Grimaud with works by Pärt and Schumann. Orchestra is at the heart of British musical life. During its first six decades, the Philharmonia Since 1998 he carries the title of ‘Officier de In November 2008, Deutsche Grammophone l’ordre des Arts et des Lettres’ by the French Orchestra has collaborated with most released a CD with Salonen’s Today, the Philharmonia has the greatest of the great classical artists of the 20th government. In 2003 he received an honorary and his works Helix and Dichotomie. doctorate from the Sibelius Academy and in claim of any orchestra to be the UK’s National century. Conductors associated with the 2005 the ‘Helsinki Medal’. Salonen was Musical Orchestra. It is committed to presenting the Orchestra include Furtwängler, Richard America’s “Musician of the Year 2006”. In June same quality, live music-making in venues Strauss, Toscanini, Cantelli, Karajan and 2009 Salonen received an honorary doctorate throughout the country as it brings to London Giulini. was the first of many from the Hong Kong Academy of Performing Arts. and the great concert halls of the world. outstanding Principal Conductors, and other Every year the Orchestra performs more great names have included Lorin Maazel Esa-Pekka Salonen is renowned for his than 200 concerts, as well as presenting (Associate Principal Conductor), Riccardo interpretations of contemporary music chamber performances by the Soloists of the Muti (Principal Conductor and Music Director) and has led critically acclaimed festivals Philharmonia Orchestra, and recording scores and (Music Director). As of music by Berlioz, Ligeti, Schoenberg, for films, CDs and computer games. Since 1995 well as Esa-Pekka Salonen, current titled Shostakovich, Stravinsky and Lindberg. the Orchestra’s work has been underpinned by conductors are Christoph von Dohnányi

26 27 The Orchestra is also recognised for its of people since 1945 have enjoyed their innovative programming policy, at the heart first experience of through of which is a commitment to performing a Philharmonia recording, and in 2007 and commissioning new works by leading audiences can engage with the Orchestra composers, among them the Artistic Director through webcasts, podcasts, downloads, of its Music of Today series, Julian Anderson. computer games and film scores as well Since 1945 the Philharmonia Orchestra has as through its unique interactive music commissioned more than 100 new works from education website launched in 2005, The composers including Sir , Sound Exchange (www.philharmonia.co.uk/ Sir Peter Maxwell Davies, Mark-Anthony Turnage thesoundexchange), which is now visited by and James MacMillan. The Philharmonia almost 2 million people a year. In 2005 the Orchestra’s joint series with Southbank Centre, Philharmonia became the first ever classical Clocks and Clouds: The Music of György Ligeti, music organisation to be shortlisted for a BT won the Royal Philharmonic Society’s Best Digital Music Award, and in the same year Concert Series Award in 1997 and Related the Orchestra presented both the first ever Rocks: The Music of Magnus Lindberg, was fully interactive webcast and the first podcast nominated for an RPS Award. Other recent by a UK orchestra. In September 2005 awards for the Orchestra include the RPS Large computer games with Philharmonia scores Ensemble Award and two Evening Standard were at No.1 and No.2 in the national charts, Awards for Outstanding Artistic Achievement while the Orchestra’s scores for the last two and Outstanding Ensemble. In May 2007 PLAY. Harry Potter computer games have both been orchestra, a 'virtual Philharmonia Orchestra' nominated for BAFTA Awards. Recording and (Honorary Conductor for Life), Sir Charles extends into the Orchestra itself, where many created in partnership with Southbank live broadcasting both also continue to play Mackerras (Principal Guest Conductor), of the players have or Centre and Central St Martin’s College a significant part in the Orchestra’s activities: (Conductor Emeritus) and careers as well as their work with the Orchestra. of Art, won the RPS Education Award. since 2003 the Philharmonia has enjoyed Vladimir Ashkenazy (Conductor Laureate). The Philharmonia’s Martin Musical Scholarship a major partnership with Classic FM, as The Fund has for many years supported talented Throughout its history, the Philharmonia Classic FM Orchestra on Tour, as well as The Philharmonia Orchestra continues to pride musicians at the start of their careers and a Orchestra has been committed to finding new continuing to broadcast on BBC Radio 3. itself on its long-term collaborations with the new Orchestral Award, inaugurated in 2005, ways to bring its top quality live performance finest musicians of our day, supporting new allows two young players every year to gain to audiences worldwide, and to using new as well as established artists. This policy performing experience within the Orchestra. technologies to achieve this. Many millions

28 29 STIG ANDERSEN Waldemar SOILE ISOKOSKI Tove Danish tenor Stig Andersen’s 2009 projects , Turin, Helsinki, Amsterdam, One of Finland’s most celebrated , , Vienna (2006) and Genf (2008); include Die Walküre in Hamburg; Siegfried London, New York, Geneva, Berlin, Munich, Soile Isokoski graduated from the Der Rosenkavalier in Dresden, Helsinki, and Götterdämerung in Seattle and Tristan Madrid, Dortmund, Copenhagen and Esbjerg; Sibelius Academy in Helsinki. She made Cologne and San Francisco (2007); and und Isolde (stage direction and the role of Siegfried (Götterdämmerung) in Århus, Turin, her stage début at the Finnish National La Juive in New York and Vienna (2008). Tristan) and Tannhäuser in Copenhagen, London, New York, Helsinki, Mannheim, Berlin, Opera, going on to capture the attention where he is a member of the Royal Theatre. Geneva, Munich and Dortmund; Albrecht of audiences and critics worldwide. Besides her recent role débuts as Tatiana Future plans include (Mathis der Maler) in London; Parsifal in (Eugene Onegin, Helsinki), Ellen Orford (Peter (Washington 2010) and Salome (2011). Cologne, Zurich, Tokyo, Berlin and London; Working with the great conductors of Grimes, Dresden) and Christine (, Tristan und Isolde in Copenhagen, Berlin, our time and a regular guest of the most Theater an der Wien, Vienna), Soile Isokoski’s 2008 included Tristan und Isolde in Mannheim, Houston, Prague, Bonn, Trondheim, renowned opera houses, Soile Isokoski forthcoming engagements until 2010 Amsterdam; Gurrelieder at the Bergen Berlin and Rome; Hermann (Pique Dame) has given numerous concerts, as well as include Cosí fan tutte in Bilbao, London Festival, Die Walküre and Götterdämmerung in Copenhagen, and King of Naples (The recitals with her permanent accompanist (Royal Opera) and Vienna; Donna Elvira in Budapest; Salome in Munich and a Tempest by Thomas Adès) in Copenhagen. Marita Viitasalo. Among her most cherished (Don Giovanni) in New York (Metropolitan new production of Götterdämmerung recordings are ’s Four Last Opera), Tanglewood and Vienna; Le nozze in Esbjerg (Denmark), for which he not In concert he has also performed Haydn’s Songs conducted by Marek Janowski with di Figaro in London; and Les dialogues only sang the role of Siegfried but was Die Jahreszeiten; Brahms’s Rinaldo; Mahler’s the Berlin Radio Symphony Orchestra des Carmélites in Munich and Lohengrin also director. Other notable productions Das Lied von der Erde and Symphony No. 8; (Gramophone Editor’s Choice Award 2002), in Los Angeles, amongst many others. have included Lohengrin in Copenhagen, Franz Schmidt’s Das Buch mit den sieben and Sibelius’s and songs with Zurich, Berlin and Tokyo; Peter Grimes Siegeln and Schoenberg’s Gurrelieder. orchestra under the baton of Leif Segerstam In honour of her notable contribution in Copenhagen and Dresden; Fidelio in (MIDEM classical award; BBC Music Magazine to Finnish music Soile Isokoski was Copenhagen, Zurich and Munich, and at Recordings include Das Buch mit Vocal Award and Disc of the Year 2007). awarded the Pro-Finlandia Medal in the Bregenz Festival; the title role in Otello sieben Siegeln with Franz Welser- 2002 and the Sibelius Medal in 2007. in Copenhagen; the title role in Tannhäuser Möst; Rinaldo; Danish composer CEF Her past opera highlights have included In , the title of Kammersängerin in Copenhagen, Chemnitz, Berlin, Munich Weyses’s Sovedrikken and Siegfried Otello in Paris (2005); Die Zauberflöte in was conferred on her in 2008. and Houston; Erik (Der fliegende Holländer) and Götterdämmerung with Hartmut Helsinki, London, Milan and Orange (2005); in Copenhagen; Siegmund (Die Walküre) Haenchen. He has made many broadcasts Capriccio in Dresden (2005-07); The Bartered in Århus, Chicago, Turin, Berlin, Munich, and several TV recordings. Stig Andersen Bride in London (2006); Eugene Onegin Copenhagen and Dresden; the title role was awarded the title of Kammersänger in Helsinki (2006); in in Siegfried in Århus, Santiago de Chile, of the Royal Theatre in Copenhagen. Monte Carlo (2006); Le nozze di Figaro in

30 31 MONICA GROOP Waldtaube RALF LUKAS Bauer Finnish mezzo-soprano Monica Groop In the 2008/09 season, Monica Groop sang Born in Bayreuth, Ralf Lukas studied at Also a renowned concert singer, Ralf Lukas has performed with many of the world’s in Copenhagen (), Stockholm the Hochschule der Künste in Berlin, was appears in Berlin, Brussels, Hamburg, Madrid, major opera companies and orchestras (Bach’s B minor Mass), London (including a member of the Studio of the Bayerische Munich, Paris, Rome, São Paulo and Vienna, and including the Bayrische Staatsoper; The a Wigmore Hall recital) and Barcelona Staatsoper in Munich and won the first prize at leading festivals such as Montpellier, Lucerne, Opera; , (Saariaho’s Adriana Mater), as well as a at the International Vocal Competition in s’ Rheingau and Schleswig-Holstein, as well as the Covent Garden; Munich State Opera; tour to Germany with Deutsche Symphonie Hertogenbosch (Netherlands). As a member BBC Proms. He regularly records for television Royal Swedish Opera, Stockholm; New Orchester Berlin. She performed Bach’s St of the ensemble at the Deutsche Oper and radio, as well as on CD. Releases include York City Opera; the opera companies of Matthew Passion in Oviedo and The Hague. Berlin till 2002, he sang major roles such as Fortner Lieder on Orfeo; Die schöne Magelone Los Angeles, Cologne and Paris and the Other concerts included Schulhoff’s Menschheit Papageno (Die Zauberflöte), Leporello (Don on Concerto Bayreuth; Berlioz’s L'enfance du Glyndebourne and Aix-en-Provence festivals. with the Czech Philharmonic Orchestra Giovanni) and Beckmesser (Die Meistersinger), Christ (King Herodes) and Benvenuto Cellini in Prague and Berlioz’s La damnation de working with world renowned conductors. (Pope Clément) under Sir Roger Norrington on Orchestral appearances include the Faust with the BBC Philharmonic Orchestra Hänssler and Schoenberg’s Gurrelieder under Philharmonia, London Philharmonic, BBC at the Bridgewater Hall, Manchester. Ralf Lukas made acclaimed débuts in 1999 Michael Gielen. His recording of Schoeck’s Symphony, Bavarian Radio, Dresden as Wotan (Das Rheingold) at the Städtische Cantata Op. 49 under Mario Venzago was Staatskapelle, Gewandhaus, A prolific recording artist, Monica Groop Bühnen Münster and at the Salzburg Easter awarded the Diapason d'Or, and Liszt’s Christus NDR Radio, French National, Rotterdam has made over 60 recordings. Her operatic Festival as Melot (Tristan und Isolde) with the under Roman Kofman received an ECHO. Philharmonic, , Vienna recordings include Linda di Chamounix with Edita Berliner Philharmonic conducted by Claudio Philharmonic, Accademia di Santa Cecilia, Gruberova, Don Giovanni conducted by Sir Georg Abbado, going on to sing the same role at Ralf Lukas recently sang Biterolf (Tannhäuser) Boston Symphony, Chicago Symphony, Solti, Le nozze di Figaro, Cosí fan tutte, Haydn’s the Salzburg Festival under Lorin Maazel. He under Seiji Ozawa at the Opéra Bastille in Paris Cinncinnati Symphony, Dallas Symphony, La fedeltá premiata and Berlioz’s Benvenuto sang Wolfram (Tannhäuser) at the Théâtre and made his début as Kaspar (Der Freischütz) Houston Symphony and San Francisco Cellini. She records for Sony, Decca, Chandos, du Capitole in Toulouse, returning two years under Jiri Kout at the Theater St Gallen. Last Symphony orchestras, under such conductors Harmonia Mundi, CPO, Accent, Ondine and BIS. later as Beckmesser, and made his début Autumn he sang his first Hans Sachs (Die as Carlo Maria Giulini, , The DVD of Saariaho’s opera L’amour de loin, as Amfortas (Parsifal) at the Staatstheater Meistersinger) in , followed by Melot Zubin Mehta, Seiji Ozawa, Christoph in which Groop performs the acclaimed role Kassel. At the Staatstheater Wiesbaden, at the Opéra Bastille, Biterolf in Rome and Eschenbach, , Gary Bertini, of the Pilgrim, was released in 2006, and was he gained great acclaim as Wotan (Das Barak (Die Frau ohne Schatten) in Tokyo. Marek Janowski, Armin Jordan, Neeme awarded the BBC Music Magazine Jury Award. Rheingold; Die Walküre) as well as Wanderer Järvi, Myung Whun Chung, Franz Welser- (Siegfried). He sang his first Donner at Möst, Kent Nagano, Esa-Pekka Salonen, the 2006 , returning in Daniel Harding and Sir . 2007 as Gunther and 2008 as Donner.

32 33 ANDREAS CONRAD Klaus-Narr Klaus-Narr BARBARA SUKOWA Sprecher Andreas Conrad was guest at the 2007 with Placido Domingo, he performed at the Barbara Sukowa has enjoyed a distinguished she played in The Sicilian (Michael Cimino), Vienna Festwochen in the role of Cherevin Wiener Klangbogen in 2004 in Menotti’s career on the stage in Europe, but is best The Third Miracle (Agnieszka Holland) (Janáček’s From the House of the Dead), Goya. At Domingo’s invitation, he appears as known for her powerful performances in latter- and Cradle will Rock (Tim Robbins). directed by Patrice Chéreau and conducted by a guest at the Washington National Opera day masterpieces of the New German Cinema. , which subsequently transferred in 2008/09 in the role of Mime (Siegfried), Sukowa played the victimized Mieze in Rainer Apart from her career as an actress, Barbara to The Netherlands Opera, Amsterdam and having already sung Steuermann (Der Werner Fassbinder’s Berlin Alexander Platz, Sukowa is an internationally renowned concert the Aix-en-Provence Festival. In September fliegende Holländer) there in 2007/08. for which she received the German Best Young artist. She has been critically acclaimed as that same year, the Ruhr Triennale Essen Actress Award, and she received the German a leading interpreter of Schoenberg’s Pierrot invited him to sing the young count in B Today, Andreas Conrad’s repertoire comprises Gold Award in Gold for her performance Lunaire, which she first performed with the A Zimmermann’s The Soldiers, in which around 50 diverse roles, including: Mozart in the title role in Fassbinder’s Lola. Schoenberg Ensemble under Reinbert De production he made his début at the Lincoln (Pedrillo, Monostatos, Basilio); Mussorgsky Leeuw and has since performed throughout Center Festival, New York in Summer 2008. (Grigory/’False Dimitry’); Janáček (Mr Brouček, Equally memorable are her portrayals of fiercely Europe, as well as in Tokyo, Los Angeles (with In November/December 2007 he gave his Stewa); Richard Strauss (Brighella, Tanzmeister); independent radicals in Margarethe von Trotta’s Esa-Pekka Salonen) and, most recently, with début at the Opera Bastille, Paris with the Berg (Hauptmann); Britten (Albert Herring, Quint) films of Marianne and Julianne (Die Bleierne Mitsuko Uchida and the Brentano Quartet role of Heinrich der Schreiber (Tannhäuser). and Wagner (David, Heinrich der Schreiber, Zeit), which earned her the Best Actress in the US, London and Amsterdam. Other Mime). At the Komische Oper Berlin, Andreas Award in the Venice Film Festival and Rosa concerts include Schoenberg’s Gurrelieder From the outset of his career, Andreas Conrad gave his début as Hoffmann (Les Luxemburg, for which she won a Palme d’Or with Esa-Pekka Salonen in Helsinki and Los Conrad received invitations from prestigious contes d’Hoffmann) and Max (Der Freischütz). for Best Actress at the Cannes Film Festival. Angeles, and with Josef Pons in Barcelona international opera companies and festivals, and Zaragossa. In 2006 she appeared with including the Salzburg and Aix-en-Provence Andreas Conrad was born in Magdeburg. Other credits include Zentropa (Lars von David Robinson and the St Louis Symphony festivals and the opera houses of Buenos He studied singing at the Carl Maria von Trier), Voyager (Volker Schloendorff), for which in Zankel at Carnegie Hall performing Aires, Madrid, Amsterdam, Nizza, Dresden, Weber Conservatory in Dresden with she received nominations as Best Actress Cassandra by Michel Jarrell, which she also Barcelona, Catania, Vienna and London Marianne Fischer–Kupfer. After a three-year and Best Actress in a Supporting Role in the performed at the 2008 Ojal Festival. In (Royal Opera House, Covent Garden). engagement at the Opera Studio of the European Film Festival, 2009; Hierankel (Hans 2007 she premièred Reinbert De Leeuw’s Im Staatsoper Dresden he joined the Komische Steinbichler – Award in Gold, 2003), wunderschoenen Monat Mai, also at Carnegie He has worked with such leading conductors Oper Berlin, where he remained as a member and ich bin die Andere (Margarethe von Trotta, Hall; the subsequently released recording has as Seiji Ozawa, Kurt Masur, until the 2006/07 season, interpreting many 2007). The Discovery of the Curried Sausage, received and Edison awards, and Sir Collin Davis, as well as major important roles. In 1998 Andreas Conrad was released in 2008, earned her the Best Actress and a Grammy Nomination for 2009. directors including . Together awarded the title Berliner Kammersänger. Award at the Montreal Film Festival. In the US

34 35 PHILHARMONIA VOICES CITY OF BIRMINGHAM SYMPHONY CHORUS Philharmonia Voices is a professional choir, One of the country’s leading young choral Since its début in 1974, the City of Birmingham Radio Symphony Orchestra in Helsinki in 2004. formed in 2004 to work with the Philharmonia conductors, Aidan Oliver (Chorus Master) Symphony Chorus (CBSC) – a body of ‘unpaid In 2006 the CBSC performed twice at the Hong Orchestra and international conductors on is Director of Music at St Margaret’s Church, professionals’ – has become one of the finest Kong Festival with the Hong Kong Philharmonic performances of the great choral-orchestral Westminster (the Parliamentary Church), and of its kind, performing frequently with the City of Orchestra; toured to Lyon and Grenoble over repertoire. Since then the choir has established works as a conductor and freelance choir trainer Birmingham Symphony Orchestra (CBSO) and in New Year 2007 to perform with the Orchestre itself as one of the most exciting professional with many of London’s leading professional and regular demand from other world-class orchestras. National de Lyon and, in spring 2008, travelled choruses in London, attracting consistently high amateur choirs. He began his musical career to Kuala Lumpur for two performances of praise from the critics for its collaborations with as a chorister at Westminster Cathedral, later Conducted by Chorus Director Simon Halsey, the Vaughan Williams’s A Sea Symphony with the the Orchestra in a wide range of repertoire. singing as a choral scholar at King’s College, CBSC is one of five choruses within the CBSO Malaysian Philharmonic Orchestra. The CBSC Notable appearances have included highly Cambridge. Having also trained as a répétiteur family, along with two symphony youth choruses, also has over 40 recordings to its credit. acclaimed performances of Britten’s Death in at the National Opera Studio, he is highly a community-based choir for young people and Venice and Vaughan Williams’s The Pilgrim’s active in the field of opera, and has worked on a boys’ choir for changing voices; this extensive Simon Halsey has been Chorus Director of the Progress under the late Richard Hickox, while the music staff of many of UK’s major opera choral set-up is unique in Great Britain. City of Birmingham Symphony Chorus for over 25 recent appearances have included Stravinsky’s companies. Since 2004 he has been Associate years and is Chief Conductor of the Berlin Radio Oedipus rex under Esa-Pekka Salonen and Conductor of the St Endellion Summer Festival The CBSC performs regularly at Symphony Hall, Choir. He is Artistic Director and founder of the Messiaen’s La Transfiguration de Notre in Cornwall. Birmingham and undertakes a huge range of dynamic professional choir European Voices, Seigneur Jésus-Christ under Kent Nagano; challenging repertoire with the CBSO and its formed at the invitation of Sir and a Sunday Times review of the Stravinsky Music Director Andris Nelsons. The Chorus is also is in his fifth season as Principal Conductor, described the choir as ‘spectacularly good’. an extremely important cultural ambassador, both Choral Programme for The Sage Gateshead. He The choir’s members are drawn from some for the CBSO and for Birmingham, and its résumé also holds the position of consultant editor for of the finest young singers in the country, of engagements with other orchestras rivals any Faber Music in the UK. As a chorus master, he most of them either at the start of their other symphony chorus in the world. Among a has formed close partnerships with conductors professional careers or completing their wealth of prestigious engagements in the past including Sir Simon Rattle, Edo de Waart, Valery conservatoire studies. Working exclusively with few years are a performance at the opening of Gergiev, Riccardo Chailly, Marek Janowski, Sakari the Philharmonia Orchestra, the make-up of the Sydney Olympic Arts Festival in 2000, a live Oramo, Kent Nagano, Claudio Abbado and Esa- the choir is tailored precisely to the varying recording for EMI with the Vienna Philharmonic Pekka Salonen. Halsey regularly conducts major demands of each collaboration by Chorus and Sir Simon Rattle in 2002 and the second- choral projects with some of the world’s greatest Master Aidan Oliver, providing the orchestra ever performance in Finland of The Dream of orchestras, including the Philharmonia, Berlin with a choral partnership of unique flexibility. Gerontius with Sakari Oramo and the Finnish Radio Symphony and Minnesota orchestras.

36 37 Reviews of this performance of Gurrelieder What better way to launch such an endeavour than with Schoenberg’s Gurrelieder ... Part 1 is 5 Stars  really a succession of love songs and Salonen did well not to let the lid off too soon. Holding something in reserve for the Wild Hunt and the glorious Hymn to the Sun of Part 3 - terrific Sometimes less is not more. More is exhilarating. ... contributions from Simon Halsey’s City of Birmingham Symphony Chorus and Philharmonia Voices the music-making was superb ... And what terrific soloists! - he brought this extravagant manifestation of late Romanticism to a suitably blazing climax. Richard Morrison The Times Barry Millington The Evening Standard 4 Stars  The opening songs had a featherweight transparency, the interludes a natural fluency, How fitting that the opening concert of Esa-Pekka Salonen’s Philharmonia series 'City of Dreams: so that when the big moments arrived, they resembled a culmination, an organic Vienna 1900-1935' should conclude with the mightiest wake-up call in all music ... development, of all that had gone before. The Philharmonia played as if the music Part two’s “Wild Hunt” rose from muted Wagner (the eeriest sound in music) to the all really mattered, with beautifully moulded textures and impeccable attacks. bones and chain rattling rampage of the undead (Schoenberg’s surreal take on the summoning of the vassals from Wagner’s Gotterdammerung) to vivid effect while the “Klaus, the Jester” Andrew Clark episode - Schoenberg’s scoring at its most fantastical - was despatched with great virtuosity. The Financial Times Edward Seckerson The Independent Recorded live at Southbank Centre's Royal Festival Hall Hall, London, 28 February 2009 Producer - Misha Donat Engineer - Jonathan Stokes, Classic Sound Ltd 'Vienna - City of Dreams'... looks set to be one of the musical highlights of 2009 if Esa-Pekka Photo credit - Richard Haughton Salonen’s sensational account of Schoenberg’s seminal Gurrelieder at the Festival Hall Design - Richard Slaney (for the Philharmonia Orchestra) and Andrew Giles last weekend proves typical. ... It was a brilliant, bold and generous masterstroke to www.signumrecords.com www.philharmonia.co.uk open the festivities with Schoenberg’s song-symphonic epic, Gurrelieder ... Salonen charts

Schoenberg’s journey from darkness to light, from Romanticism to , with an 2009 The copyright in this recording is owned by Philharmonia Orchestra © 2009 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. unerring command of his vast forces ... he achieves an impressionistic transparency Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. in Schoenberg’s lighter-scored pages, suggesting the influence of Debussy. Licenses for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Hugh Canning SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] The Sunday Times

38 39