STRAVINSKY the Rake's Progress

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STRAVINSKY 2 CDs The Rake’s Progress West • Garrison • Woodley • Cheek Love • White • Lowery • Johnson Gregg Smith Singers • Orchestra of St. Luke’s Robert Craft

Available from Naxos Books

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THE ROBERT CRAFT COLLECTION THE MUSIC OF IGOR STRAVINSKY, Vol. 11 Also available: Robert Craft, Conductor

Anne Trulove ...... Jayne West, Soprano Tom Rakewell ...... Jon Garrison, Tenor Father Trulove ...... Arthur Woodley, Baritone Nick Shadow ...... John Cheek, Bass-baritone Mother Goose ...... Shirley Love, Mezzo-soprano Baba the Turk ...... Wendy White, Mezzo-soprano Sellem ...... Melvin Lowery, Tenor Keeper ...... Jeffrey Johnson, Bass Chorus of Whores and Roaring Boys, Citizens of London, Bedlamites ...... Gregg Smith Singers

Orchestra of St. Luke’s • Robert Craft

Recorded at the Performing Arts Center, SUNY, Purchase, NY, from 10th to 18th May, 1993 8.557500 Producer and engineer: Gregory K. Squires • Editors: Richard Price and Arlo McKinnon Jr. Mastered by Richard Price, Candlewood Digital LLC

8.557507

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Robert Craft Igor

Robert Craft, the noted conductor and widely respected writer and critic on music, literature, and culture, holds a STRAVINSKY unique place in world music of today. He is in the process of recording the complete works of Stravinsky, Schoenberg, (1882-1971) and Webern for Naxos. He has twice won the Grand Prix du Disque as well as the Edison Prize for his landmark The Rake’s Progress (1951) recordings of Schoenberg, Webern, and Varèse. He has also received a special award from the American Academy and National Institute of Arts and Letters in recognition of his “creative work” in literature. In 2002 he was awarded the Libretto by Wystan Hugh Auden (1907-1973) and Chester Kallman (1921-1975) International Prix du Disque Lifetime Achievement Award, Cannes Music Festival. Robert Craft has conducted and recorded with most of the world’s major orchestras in the United States, Europe, Russia, Japan, Korea, Mexico, South America, Australia, and New Zealand. He is the first American to have conducted CD 1 74:37 & Recitative: Brothers of Mars… (Nick) 0:56 * Berg’s Wozzeck and Lulu, and his original Webern album enabled music lovers to become acquainted with this Cavatina: Love, too frequently betrayed… (Tom) 2:21 composer’s then little-known music. He led the world premières of Stravinsky’s later masterpieces: In Memoriam: 1 Prelude 0:32 ( Chorus: How sad a song Dylan Thomas, Vom Himmel hoch, Agon, The Flood, Abraham and Isaac, Variations, Introitus, and Requiem Act I (Whores, Mother Goose) 0:49 Canticles. Craft’s historic association with Igor Stravinsky, as his constant companion, co-conductor, and musical ) Chorus: The sun is bright (Chorus, Nick) 2:09 confidant, over a period of more than twenty years, contributed to his understanding of the composer’s intentions in the Scene 1 performance of his music. He remains the primary source for our perspectives on Stravinsky’s life and work. Scene 3 In addition to his special command of Stravinsky’s and Schoenberg’s music, Robert Craft is well known for his 2 Duet and Trio: The woods are green… recordings of works by Monteverdi, Gesualdo, Schütz, Bach, and Mozart. He is also the author of more than two dozen (Anne, Tom, Trulove) 3:17 ¡ Introduction (Orchestra) 0:48 books on music and the arts, including the highly acclaimed Stravinsky: Chronicle of a Friendship; The Moment of 3 Recitative: Anne, my dear… ™ Recitative: No word from Tom (Anne) 0:52 Existence: Music, Literature and the Arts, 1990–1995; Places: A Travel Companion for Music and Art Lovers; (Trulove, Anne, Tom) 0:54 £ Aria: Quietly, night… (Anne) 2:03 An Improbable Life: Memoirs; Memories and Commentaries; and Down a Path of Wonder: Memoirs of Stravinsky, 4 Recitative: Here I stand… (Tom) 0:50 ¢ Recitative: My father! (Anne) 0:54 Schoenberg and Other Cultural Figures (2006). He lives in Florida and New York. 5 Aria: Since it is not by merit… (Tom) 1:31 ∞ Cabaletta: I go, I go to him (Anne) 2:45 6 Recitative: Tom Rakewell? (Nick, Tom) 1:25 7 Recitative: Fair lady… (Nick) 1:57 Act II 8 Quartet: I wished but once… (Tom, Nick, Anne, Trulove) 3:08 Scene 1 9 Recitative: I’ll call the coachman, sir (Nick, Trulove) 0:11 § Introduction (Orchestra) 0:36 0 Duettino: Farewell, farewell… (Anne, Tom) 1:13 ¶ Aria: Vary the song (Tom) 2:00 ! Recitative: All is ready, sir (Nick, Tom) 0:46 • Recitative: O Nature, green unnatural mother… @ Arioso: Dear Father Trulove… (Tom) 1:21 (Tom) 2:08 # Terzettino: Laughter and light… ª Aria: Always the quarry… (Tom) 1:23 (Tom, Anne, Trulove, Nick) 1:22 º Recitative: Master, are you alone? (Nick, Tom) 2:31 ⁄ Aria: In youth the panting slave… (Nick) 2:08 Scene 2 ¤ Duet-Finale: My tale shall be told… (Tom, Nick) 2:10 $ Chorus: With air commanding… (Roaring boys, Whores) 2:27 Scene 2 % Recitative and Scene: Come, Tom… (Nick, Mother Goose, Tom) 3:31 ‹ Introduction (Orchestra) 1:31 ^ Chorus: Soon dawn will glitter… › Recitative and Arioso: How strange! (Anne) 3:06 (Roaring boys, Whores, Nick) 0:36 ﬁ Duet: Anne! Here! (Tom, Anne) 2:15

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ﬂ Recitative: My love, am I to remain in here forever? 7 Ballad Tune: If boys had wings and girls had stings… The Gregg Smith Singers (Baba, Anne, Tom) 0:56 (Tom, Nick, Anne, Baba, Sellem, Chorus) 0:25 ‡ Trio: Could it then… (Anne, Tom, Baba) 2:45 8 Stretto-finale: I go to him… The Gregg Smith Singers were organized in 1955 when Gregg Smith, then a graduate teaching assistant in the music ° Finale: I have not run away… (Anne, Baba, Sellem, Chorus) 0:51 department of the Los Angeles campus of the University of California, gathered together a group of young singers (Baba, Tom, Town People) 2:03 9 Ballad Tune: Who cares a fig… and musicians interested in performing new or little-known works. In 1958 the group scored its first major success (Tom, Nick, Baba, Chorus) 0:58 Scene 3 with the Los Angeles Monday Evening Concerts series in a programme of Bach and Schoenberg. Since then they Scene 2 have toured extensively in Europe and America and have performed in most of the major international music · Aria: As I was saying… (Baba, Tom) 1:40 festivals. Each member of the chorus is a music graduate from a university or college in southern California and is ‚ Baba’s Song (Baba) 0:21 0 Prelude (Solo String Quartet) 1:36 also a professional musician, many singers doubling as instrumentalists. They have been applauded by critics for a Aria: Scorned! Abused! Neglected! (Baba) 1:34 ! Duet: How dark, how dark and dreadful is this place their perfect intonation and admirable sensitivity to details of musical style and texture, as well as for their b Recitative: My heart is cold… (Tom) 0:16 (Tom, Nick) 4:03 incredible musicianship, discipline and devotion. Gregg Smith himself has won an international reputation for his c Pantomime (Nick) 0:58 @ Recitative: Very well then… (Nick, Tom) 1:21 work with the Singers and is also widely recognised as a composer. He has won three Grammy awards for his d Recitative - Arioso - Recitative: Awake? # Duet: Well, then. My heart is wild with fear… recordings of Charles Ives and of Gabrieli. Recordings by the Gregg Smith Singers include works of Stephen Foster (Nick, Tom) 1:44 (Nick, Tom, Anne) 10:28 and Victor Herbert, contemporary American composers, and Igor Stravinsky, as well as arrangements and e Duet: Thanks to this excellent device… compositions by Gregg Smith. (Tom, Nick) 1:41 Scene 3 f Recitative: Forgive me, master… (Nick, Tom) 2:12 $ Introduction (Orchestra) 0:37 % Arioso: Prepare yourselves… (Tom) 1:00 Orchestra of St. Luke’s CD 2 53:32 ^ Dialogue: Madmen’s words are all untrue… (Madmen, Tom) 0:24 The Orchestra of St. Luke’s is America’s foremost and most versatile chamber orchestra. Formed at the Caramoor Act III & Chorus-minuet: Leave all love and hope behind! International Music Festival in the summer of 1979, the Orchestra evolved from the St. Luke’s Chamber Ensemble (Madmen) 1:12 (founded in 1974), with Ensemble members forming the Orchestra’s artistic core as principal players. In addition to Scene 1 * Recitative: There he is… (Keeper, Tom, Anne) 0:50 being presented by Carnegie Hall in an annual series in the Isaac Stern Auditorium, Orchestra of St. Luke’s ( Arioso: I have waited (Tom) 0:58 participates in such Carnegie events as the Choral Workshop and Family Concerts, as well as concert presentations 1 Ruin, Disaster, Shame ) Duet: In a foolish dream… (Tom, Anne) 2:43 of musical theater. The orchestra is engaged throughout the year in a number of artistic collaborations with other (Town People, Anne, Sellem) 3:08 ¡ Recitative: I am exceeding weary (Tom) 0:59 New York City cultural organizations, and serves each summer as the Orchestra-in-Residence at the Caramoor 2 Recitative: Ladies, both fair and gracious… ™ Lullaby: Gently, little boat (Anne, Chorus) 2:32 International Music Festival. The orchestra has an extensive discography that includes four Grammy Award (Sellem) 1:25 £ Recitative: Anne, my dear… (Trulove, Anne) 0:41 winning recordings. 3 Aria: Who hears me, knows me… ¢ Duettino: Every wearied body must… (Sellem, Chorus, Baba) 3:31 (Anne, Trulove) 1:35 4 Aria: Sold! Annoyed! ∞ Finale: Where art thou, Venus? (Tom, Chorus) 3:15 (Baba, Chorus, Tom, Nick) 0:55 § Mourning-chorus: Mourn for Adonis (Chorus) 1:06 5 Recitative: Now, what was that? ¶ Epilogue: Good people, just a moment… (Chorus, Baba, Anne, Sellem) 1:00 (Anne, Baba, Tom, Nick, Trulove) 2:31 6 Duet: You love him, seek to set him right… (Baba, Anne, Sellem, Chorus) 3:29

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Shirley Love Igor Stravinsky (1882-1971)

The American mezzo-soprano Shirley Love has performed over one hundred different rôles The Rake’s Progress: A Memoir beginning of Act II, but he was not optimistic about the at the Metropolitan Opera and has been heard often in the “Live from the Met” Saturday next pieces to be composed. He had reservations about afternoon radio broadcasts, as well as televised performances from the stage of the opera I met Stravinsky for the first time on the same day that the characterization of Baba the Turk, not to mention house. She was one of the featured artists in the Met Centennial Gala, televised nationwide, W.H. Auden delivered the completed libretto of The Shadow’s arguments for Rakewell to marry her, which and has performed for 22 years at the Metropolitan Opera and for 38 years as a leading Rake’s Progress to him in Washington, D.C., 31st he thought specious, abstract, and more likely to baffle concert and oratorio singer. She has appeared widely both in the United States and abroad in March, 1948. Returning to Hollywood from New York than to convince an opera audience. opera houses and as a recitalist and has a number of distinguished recordings to her credit. five weeks later, Stravinsky began to compose the opera Stravinsky was beset by other worries in that During the 1976 Bicentennial celebrations, she was given a Proclamation and a Key to the on 8th May, adding the title “Festival of May,” from the summer of 1949. In his estimate the opera would be City of her hometown of Detroit for her outstanding contribution to the arts, and in 1990, second line of the libretto, at the head of his first sketch. more than twice the length of any piece he had received the Achievement in the Arts Award from Wayne State University, her alma mater. When I visited him there at the end of July, he had composed. The Stravinsky catalogue of a hundred or so Shirley Love is well known for her many master-classes conducted throughout the United States, Canada, South completed the draft score through Shadow’s line, “You works includes only five or six of more than a half-hour Africa, Korea and Israel. In January 2003 she joined the faculty of the Music Conservatory of Westchester, in White are a rich man”, and in the quartet that follows, he was in duration, and the time-scale of the majority is far Plains, NY. sketching Tom Rakewell’s part, adding a sprinkling of more brief than that. As soon as he had sent off the first bass notes and an incipit of the string accompaniment. scenes to his publisher, apparently with no concern that On my first day he played, “sang”, and groaned the he might wish to revise any part of them in the light of score for me, stripped to his sleeveless undershirt and later ones, he was obsessed by the idea that he might not Wendy White the talismanic medals that always hung around his neck. live to complete the opera. Although conducting was his The visceral intensity of the performance, reflecting the principal source of income, he reduced his concert The American mezzo-soprano Wendy White won first place in the prestigious Metropolitan Opera National Awards throes of creation, seemed too private to watch, and for engagements to a minimum in order to devote all of his and made her Metropolitan Opera début in Franco Zeffarelli’s new production of La traviata under the direction of a moment I wanted to escape from the intimacy of the time to the opera, and at one point he actually thought of Carlos Kleiber. Since then, she has appeared in over forty productions at the Met, including the title rôle of Carmen, small, soundproof room. His rendering of the soprano shelving it and accepting a lucrative commission for a Fenena in Nabucco, Dame Quickly in Falstaff, Brangene in Tristan und Isolde, Suzuki in Madama Butterfly, part sounded two octaves, the tenor, one octave, below short piece. In July 1949, while composing the duet at Maddalena in Rigoletto, Bersi and Madelon in Andrea Chenier, Isabella in L’Italiana in Algeri, as well as Cieca in the written pitch, and in his struggles to find the the end of scene 1, Act II, he complained of sharp La Gioconda. She has been seen in seven productions on PBS for the Live from the Met series in Nabucco, Chénier, orchestra’s notes on the piano from his draft-score, all stomach pains – X-rays would reveal a duodenal ulcer – Figaro, Wozzeck, Il trittico, La Cenerentola, and in Madama Butterfly, where she appeared with her own daughter sense of tempi and rhythms disappeared. He and a crippling one in his left shoulder, diagnosed as a as the child, Trouble, a first for the Met. Her appearances have included an impressive array of opera houses across mispronounced every word – even “Tom” came out as pinched nerve. He was forced to follow a strict diet the United States, and internationally she has been seen at the Vienna State Opera, Hamburg Opera, Nice Opera, and “Tome” – and since he had not overcome his born-to thereafter and to undergo daily neurological treatments, the Opéra de Toulouse. Her recordings have included Nabucco, Luisa Miller, La traviata, Oedipus Rex, Songfest, pronunciation of “w”s as “v”s, or shed his thick Russian but these ailments were not entirely cured until he had and her recording of A Quiet Place with Leonard Bernstein, which received a Grammy nomination. She has also accent, the text was unrecognizable. At the end, bathed scored the last chord of the Epilogue some twenty appeared as soloist with leading orchestras worldwide and in collaboration with the most distinguished conductors. in perspiration, his face beamed with pleasure. months later. I was to hear no more of the opera until February During the gestation of the last two acts of the opera 1949, when he played the completed first act for I enjoyed the privilege of being able to observe the Balanchine, Auden, Nicholas Nabokov, and myself in a external signs of Stravinsky’s creative processes at close New York apartment. (The first scene was finished on range. I was directly involved in the first step. He would 3rd October, the second begun two days later; scene ask me to read aloud, over and over and at varying three is dated 16th January, 1949.) From the beginning speeds, the lines of whichever aria, recitative, or of June 1949 I lived in Stravinsky’s house, or nearby, ensemble he was about to set to music. He would then and during the composition of the second and third acts memorize them, a line or a couplet at a time, and walk was separated from him only for brief intervals. By the about the house repeating them, or when seated in his time of my arrival he had written the tenor arias at the wife’s car (a second-hand, ancient and dilapidated

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Dodge) en route to a restaurant, movie, or doctor’s large sheets of manila that he thumb-tacked or clipped Arthur Woodley appointment. Much of the vocabulary was unfamiliar to to a cork board attached to the music rack of his piano. him but he soon learned it and began to use it in his own The full orchestra score was written with a soft lead The American bass Arthur Woodley has been acclaimed for his performances in both opera and concert. He conversation, charging someone with “dilatoriness”, or pencil on sensitized transparent music paper, sprayed to regularly appears at the Seattle Opera, the Opera Company of Philadelphia, the Dallas Opera, and the Cincinnati excusing himself for having to “impose” upon us, which prevent smudging, and reproduced by the ammonia Opera, and also recently made his début at the San Francisco Opera, Pittsburgh Opera, and the Opera Theater of sounded very odd from him. It can be said that his vapour Ozalid process. Stravinsky wrote the full score at Saint Louis. His many rôles include Porgy in Porgy and Bess, Varlaam in Boris Godunov, Bartolo in Le nozze di transformation from a primarily French-speaking to an a slanted desk, with the final draft score on a stand just Figaro, the Four Villains in Les contes d’Hoffman, Banquo in Macbeth, Nick Shadow in The Rake’s Progress, American-speaking artist took place in correspondence above, and wrote, after plotting the numbers of Sulpice in La fille du régiment, Colline in La Bohème, Leporello in Don Giovanni, Raimondo in Lucia di with the composition of the opera. (The deficiencies of measures and score systems to fit the page, directly from Lammermoor, Rocco in Fidelio, and Basilio in Il barbiere di Siviglia. In concert he has appeared with the my own linguistic education were also a factor, of the draft. In passages of comparatively complex Indianapolis Symphony, New World Symphony, Dallas Symphony, Houston Symphony, Collegiate Chorale, and course.) I should add that after The Rake’s Progress and orchestration, he would take time to write a trial The Academy of St Martin-in-the-Fields. until the end of his life, Stravinsky, a voracious and measure or two in full score in pencil and on loose constant reader, confined himself almost exclusively to sheets of yellow carbon paper. If his layout of a score books in English, the major exception being his page proved to be less than perfect, which happened addiction to the romans-policiers of Georges Simenon. only very infrequently, he would rewrite it in its entirety John Cheek In setting words Stravinsky began by writing rather than erase. His well-known remark that music rhythms in musical notation above them, note-stems should be composed avec la gomme is a criticism of the The American bass John Cheek has appeared at the Metropolitan Opera in more with beams indicating time values – quarters (crotchets), works of certain others, not of his own. than 360 performances and has been heard with all the major orchestras in North eighths (quavers), sixteenths (semiquavers), thirty- Stravinsky’s composing day, and composition was America. He has participated regularly in the Cincinnati May Festival, and at the seconds (demisemiquavers), triplets, and so forth. In the exclusively daytime work for him, began with playing the Ravinia, Blossom, Mann Center, Lanaudiere, Tanglewood, Saratoga, Bard, act of doing this, melodic or intervallic ideas would music he had written the day before, or most recently. I Mostly Mozart, and Marlboro festivals. In Europe he has sung with the Paris occur to him, and be included either in the same line or often joined him in this, taking the treble parts; he always Opéra, L’Orchestre de Paris, Opéra de Nice, Bregenzer Festspiel, the Zurich just above. In Shadow’s “giddy multitude” aria, for insisted on playing the bass himself. The task of Tonhalle Orchestra, Théâtre Royal de la Monnaie, and the Finnish National example, the pitches and harmony given to the words, orchestrating, not unduly onerous in his case, since he had Opera, as well as the Berlin Philharmonic, Salzburg Festival, the Bachakademie “ought of their duties”, came to the composer’s worked out the voice-leadings in the drafts, was reserved Photograph: Frank Giraldi of Stuttgart, the London Promenade Concerts, the BBC Symphony, and the imagination during his preliminary sketch of rhythms, for the evenings. Quite regularly, at his request, I read to Stockholm Royal Philharmonic. His versatility reflects a repertoire and it remained unchanged to the final score. In the him during these soirées. He would interrupt me from encompassing an enormous variety of music ranging from the Baroque era to opera, tonalities do not change from first notation to full time to time in order to concentrate on an intricacy of many world premières by composers such as Sir Michael Tippett and Ned score; melodic lines, rhythms, note-values, metres, some kind, or try out a chord on the piano, then say, Rorem. An active recitalist, he has collaborated with James Levine on four instrumentation all undergo improvements and “And?” The first book that we finished was Mme notable occasions in New York and Chicago. refinements, but not tonality and harmony. Calderon de la Barca’s 1830s classic, Life in Mexico, in A fair number of “X”-ings-out, followed by the Everyman edition. He remembered the contents, I rewrites, are a feature of the opera sketches. If an should add, at least as long and as clearly as I did, which ongoing melodic, harmonic, or rhythmic development seems to prove that he had a compartmented mind. suggested itself after he had completed a draft, he would Stravinsky entered indications for instrumentation add it in a blank space in his manuscript, squeezing it in even the earliest sketches, and rarely revised them into a corner or cranny of even the most crowded page, thereafter. Only two instances of the latter come to circling it like a speech-balloon in a comic-strip, and mind. First, the initial draft of the reprise of the choral drawing a line, sometimes long and winding but with march in the Brothel scene specifies the second horn as arrows and road signs, to the place of insertion in the the obbligato instrument; then, while writing the final main sketch. Staves were traced with his assorted sizes draft, he realized that the part would stand out more of styluses – he did not use printed music paper – on distinctly in the trumpet. Second, Shadow’s appearances

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Jayne West are associated with cembalo flourishes. After the first of Banker, beggar, whore and wit these, in response to Tom Rakewell’s “I wish I had In a common darkness sit The soprano Jayne West has performed with many of America’s leading money”, he pronounces the protagonist’s name, orchestras and chamber groups, including the Boston Symphony Orchestra, whereupon a shorter, related flourish follows, also To some extent the greater flow and continuity in Philadelphia Orchestra, National Symphony, Detroit Symphony, Orchestra of St. played by cembalo and provided in the original sketch the third act than in the first two can he attributed to the Luke’s, Handel & Haydn Society and St. Paul Chamber Orchestra, under notable with keyboard fingerings. The final score transfers this absence of background-filling recitatives, and to conductors including Seiji Ozawa, Bernard Haitink, Trevor Pinnock, Neeme to bassoon, partly to preserve the timbral integrity of the thematic and stylistic linkages from scene to scene – the Järvi, Roberto Abbado, Jesús Lopez-Cobos, Christopher Hogwood, Jane Glover, entire motive, partly because the wind instrument variations on the Ballad-Tune (itself borrowed from Grant Llewellyn and Keith Lockhart. She has sung at the Edinburgh Festival, “echo” adds an element of parody. Mozart’s A major keyboard sonata) in all three scenes, Tanglewood Music Festival, Grant Park Series, Saito Kinen Festival, and with Stravinsky reshaped melodies as he worked. A and the embellishments that stylize Rakewell’s fear in Photograph: Tom Bloom the Brussels National Opera, Houston Grand Opera, The New Israeli Opera Tel small but stunning improvement in this sense is the the graveyard and the still more florid ones in his dying Aviv, and Boston Lyric Opera, among others. She is a long-standing member of rewriting, a third higher in the last version than in the scene. But above all Act III has genuine music-dramatic Emmanuel Music, which performs Bach Cantatas with full orchestra and chorus first, of the last three notes for the line, “the heart for power, not only in Shadow’s “I burn, I freeze”, but in each week as part of the Sunday Service. Jayne West has recorded for Hyperion, love dare everything”. Then, too, in its first form the the quiet, hollow unison, the only one in the opera, of Decca/Argo, MusicMasters, CRI, Koch, Telarc, London Records and Newport trumpet solo in the Prelude to Act II, scene 2, develops the chorus’s “Madman, no one has been here”. Classics. She performs in duet with Lorraine Hunt Lieberson on Lorraine at differently from the way we know it. And Baba’s Stravinsky was inspired by the two final scenes months Emmanuel CD on Avie Records. She is on the faculty at Longy School of Music breakfast patter – which in the first sketch is half purely before he had read the libretto. Without words to set, but and Boston Arts Academy. rhythmic, half melodic – is frequently interrupted by impatient to compose, he wrote the beautiful string- rests. At some point after he had already blocked out the quartet Prelude to the Graveyard scene on 11th syllables within the metres, Stravinsky realized that the December, 1947, three weeks after the scenario had dramatic intent is an effect of breathlessness, which he been drafted, and three years before he composed the Jon Garrison then achieved partly by converting the sixteenth notes scene itself, in November 1950. (semiquavers) that are followed by rests to eighth notes The American tenor, Jon Garrison, has collaborated with some of the world’s most distinguished conductors. At the (quavers). I should also mention that this first Baba aria Robert Craft, © 1994 Metropolitan Opera he was Cassio in Otello, Tamino in Die Zauberflöte, Roméo in Roméo et Juliette, von Eisenstein was composed after the second, the trumpet solo after in Strauss’s Die Fledermaus, and Ottavio in Don Giovanni. His European engagements have included the title rôle in the aria it introduces; Stravinsky did not always Idomeneo with the Garsington Opera in Oxfordshire, Adolar in Weber’s Euryanthe with the Orchestra of the Age of compose in the order of the libretto. Synopsis Enlightenment in London, and Birtwistle’s Mask of Orpheus and Stravinsky’s Oedipus Rex with the BBC Symphony Yet what strikes us most about Stravinsky’s creative Orchestra, and with von Dohnányi and the Cleveland Orchestra. He sang in the world premières of Stewart procedures is not the discrepancies between first and The action takes place in eighteenth-century England Copeland’s Holy Blood, Crescent Moon for Cleveland Opera, Jay Reise’s Rasputin with New York City Opera, and final versions but the overwhelming degree of Hugo Weisgall’s The Gardens of Adonis for Opera Omaha, participated in a tribute to Gian Carlo Menotti with the resemblance, despite the enormous growth of his Act One Little Orchestra Society at Lincoln Center, and appeared in Claude Baker’s Into the Sun with Leonard Slatkin and the powers as an opera composer from the early to the National Symphony. He performed Henze’s Elegy for Young Lovers with the London Sinfonietta and his ultimate scenes. Consider only one aspect of this: the Scene one: The garden of Trulove’s country cottage. Kammermusik with the Los Angeles Philharmonic, Sheng’s Songs of Majnun for New York Chamber Symphony, ever-greater naturalness of the word setting. In Act III Spring afternoon. Tom Rakewell and Anne are and Britten’s War Requiem with several orchestras. On the occasion of the farewell performances of Zubin Mehta’s words and music fuse and complement each other, exchanging idyllic vows of love. Anne’s father, tenure with the New York Philharmonic, he sang and recorded Schoenberg’s Gurre-Lieder. For EMI he recorded accent and metre, vocable and vocal register, are in Trulove, however, does not fully share their youthful Szymanowski’s Symphony No. 3 under the baton of Simon Rattle and the Evangelist in the St Matthew Passion with agreement. Here Stravinsky feels the right speed and optimism, and his doubts are increased by Tom’s refusal Raymond Leppard. Other recordings include The Rake’s Progress and Oedipus Rex, and Handel’s Roman Vespers. pitch range for the tricky word “dilatoriness”, and the to consider regular employment. Left alone, Tom orchestration that enhances verbal articulation, as in the reveals that he believes fortune is the ruler of human accompaniment, pizzicato with crisp double-tongued destiny, and he makes his first wish: to have money. trumpet notes, that make the consonants sparkle in the Immediately Shadow appears at the garden and tells Bedlamite chorus: Tom that he has important news for him about an

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unknown uncle. With Ann and her father, Tom hears you taken leave of your senses?”, Shadow argues that the world from poverty. Then, when he actually sees the power to tamper with time: the chiming ceases and he that this uncle, who was Shadow’s master, has recently only freedom brings happiness, and that the only way machine, he is overwhelmed, believing it authentic, his proposes a card game, with Tom’s soul as the stake, to died and left him all his money. Tom feels that this news freedom can be obtained is by ignoring both Passion and own invention, and a means, by doing good, of again be played in this magic period of grace. Shadow will cut justifies his belief in his own superior destiny and shows Reason. Since Tom is neither attracted by Baba nor being worthy of Anne. As the two prepare to leave and three cards and Tom must guess what they are. The first his gratefulness to the bearer of good tidings by hiring obligated to her, he can therefore prove his freedom and sell stocks for the venture, Shadow inquires about Baba. he guesses with the help of Shadow’s hints. The tenth him as his personal servant. They agree that Tom will obtain happiness by the complete unemotional and Tom replies “I’ve buried her”. And indeed, Baba is still chime sounds. On the second card he makes a lucky pay him after a year and a day have elapsed. Tom irrational act of marrying her. Caught by the idea, Tom sitting with the wig over her face. guess, aided by fortune. The eleventh chime sounds. For promises Ann that he will send for her and marry her as impatiently dresses and sets out to woo Baba the Turk. the third card which is the same as the first, it is the soon as his affairs in London are settled. Together with Act Three voice of Anne, in answer to his anguished cry of his new servant, he sets out for the city. Scene two: The street before Rakewell’s house. Autumn “Return, O love”, which makes him certain of his reply, dusk. Anne hesitates before Tom’s door. Finally, as she Scene one: Morning room of Tom Rakewell’s house. “The Queen of Hearts”. His wishing has come to an end. Scene two: Mother Goose’s, a London brothel. Summer. is about to knock, a procession of servants carrying Spring afternoon. Tom and all those who bought shares Midnight sounds and Tom faints. Defeated in the game, Now splendidly dressed and very much the heir, Tom strangely shaped parcels comes down the street and in his scheme are bankrupt. A crowd is gathered in the Shadow still has the power to deprive Tom of his abandons himself to the loose life of the city. In a mock enters the house. Night falls; a sedan chair is carried in now dusty and dilapidated house for an auction. Anne reason. He sinks into the ground. Dawn comes. Tom, in catechism on Nature, Beauty and Pleasure, Tom’s and Tom steps from it. Confused and agitated at seeing enters, inquiring for Tom’s whereabouts, but receives no his madness, thinks that he is Adonis. answers show how well he is learning Shadow’s lesson. Anne, Tom urges her to forget him and return to the sensible answer. The auction takes place, and the When asked to define Love, however, the memory of country. Anne gently refuses. In the midst of their enthusiasm of the crowd reaches riot proportions at the Scene three: Bedlam. The madfolk torment Tom for his Anne brings him violently to himself. To prevent his exchange, Baba puts her head out of the sedan chair sale of an “unknown object”. This turns out to be Baba belief that Venus will come to visit him. As he lies leaving, Shadow, with a magic gesture, turns back the window to demand attention. She is heavily veiled in who, awakened from her trance, accuses the auctioneer despondently on his straw pallet, Anne enters. Told by clock to show him that time is his to command. Eastern fashion. Upon hearing that this is Tom’s wife, and the crowd of theft. Tom and Shadow are heard the keeper what form Tom’s madness has taken, she Repentance can come later. In a song of initiation into Anne sadly leaves. Then, as Tom escorts his bride into singing mockingly in the street. Anne reenters and the assumes the rôle of the Goddess, consoling the repentant the “Temple of Delight”, Tom sings of the love he has the house, an admiring crowd throngs in, begging Baba two women recognize each other. Resigned to her rake. As she sings him to sleep, the madfolk, also betrayed. The whores, attracted by his melancholy and to unveil herself. This she does graciously, revealing a financial ruin, Baba tenderly exhorts Anne to find Tom momentarily consoled by her voice, join in the song. his wealth, cluster around him, but Mother Goose full black beard. and save him, but to beware of Shadow. As for herself, Then, when her father comes to fetch her, Anne bids the claims him, by elder right, as hers. she will return to the stage and again be a reigning sleeping Tom farewell and leaves. Tom, awakening with Scene three: Morning room of Top Rakewell’s house. favourite. Once more the voices are heard in the street a start, wildly accuses the madfolk of having stolen her. Scene three: The garden of Trulove’s cottage. Autumn Winter morning. The marriage has not brought Tom and Anne hurries out. Baba, imperiousIy commanding They reply that no one has been there. Calling upon night. Anne, who has not heard from Tom since he left, happiness. At breakfast, surrounded by the numerous her carriage, sweeps past the admiring crowd. them to mourn Adonis, whom Venus loved, Tom sinks prays that he may be happy in spite of the sorrow she incredible mementos of his wife’s travels, he sits glumly back lifelessly. feels. After a moment’s hesitation at the sound of her as Baba chatters away about her collection. When she Scene two: A churchyard. The same night. The year and father’s voice, she resolves to carry through her decision tries to cheer him up, he violently repulses her. Baba, a day have elapsed and Shadow, revealing himself as an Epilogue: Before the curtain the principals sing the to leave immediately for London. She is certain Tom enraged, harangues him. She might never stop except agent of Hell, demands Tom’s soul as payment for his moral: needs her help. that Tom cuts her short in the middle of a word by service: at midnight he must kill himself. A clock begins plumping an enormous wig over her face. After this he to chime twelve, and Tom is overcome with despair. The Devil finds work for idle hands to do. Act Two lies down to sleep, and Shadow enters, pushing a After nine chimes, Shadow again demonstrates his fantastic machine. With the aid of some bread from the Scene one: The morning room of Rakewell’s house in table and a piece of the pottery that Baba has been London. Autumn dusk. Tom is sated with the life of breaking, Shadow demonstrates that the machine is an pleasure, and makes his second wish: to be happy. obvious false-bottom mechanism that seems to turn Shadow immediately enters carrying a circus handbill of stones into bread. In his sleep, Tom utters his third wish: the famous Baba the Turk, and urges Tom to marry this that his dream be true. When he wakens, he tells prodigy of nature. In answer to Tom’s amazed “Have Shadow that he dreamed of a machine that could save

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Shirley Love Igor Stravinsky (1882-1971)

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Robert Craft Igor

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THE ROBERT CRAFT COLLECTION THE MUSIC OF IGOR STRAVINSKY, Vol. 11 Also available: Robert Craft, Conductor

Orchestra of St. Luke’s • Robert Craft

8.557507

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STRAVINSKY 2 CDs The Rake’s Progress West • Garrison • Woodley • Cheek Love • White • Lowery • Johnson Gregg Smith Singers • Orchestra of St. Luke’s Robert Craft

Available from Naxos Books

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R O B Also available: E R T

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C O L L E C

T 8.557505 8.557506 I O N CMYK NAXOS NAXOS Robert Craft first met Stravinsky on the same day that Auden delivered the completed libretto to the composer, and was directly involved in what he describes as “the first step” in the composition of The Rake’s Progress. This was principally with regard to helping Stravinsky master the pronunciation, vocabulary and rhythms of the English text, and sharing the composer’s excitement as the brilliantly conceived score took shape. This 1993 recording, conducted by Craft, is no less significant than 8.660272-73 STRAVINSKY: Stravinsky’s 1953 Metropolitan Opera recording, available on Naxos Historical 8.111266-67. DDD STRAVINSKY: Igor STRAVINSKY Playing Time (1882-1971) 2:08:09 The Rake’s Progress (1951)

The Rake’s Progress Anne Trulove ...... Jayne West, Soprano The Rake’s Progress Tom Rakewell ...... Jon Garrison, Tenor Father Trulove ...... Arthur Woodley, Baritone Nick Shadow ...... John Cheek, Bass-baritone Mother Goose ...... Shirley Love, Mezzo-soprano Baba the Turk ...... Wendy White, Mezzo-soprano Sellem ...... Melvin Lowery, Tenor www.naxos.com Disc made in Canada. Printed and assembled USA. Booklet notes in English Keeper ...... Jeffrey Johnson, Bass Naxos Rights International Ltd. Chorus of Whores and Roaring Boys, 1994 & Citizens of London, Bedlamites ...... Gregg Smith Singers

Orchestra of St. Luke’s • Robert Craft 2009 CD 1 74:37 CD 2 53:32 1 Prelude 0:32 1-¶ Act III 53:32 2-∞ Act I 38:06 §-f Act II 35:59 A full track listing and recording details can be found on pages 2 to 4 of the booklet Previously released on MusicMasters in 1994

8.660272-73 Producer: Gregory Squires • Editors: Richard Price and Arlo McKinnon Jr. 8.660272-73 Mastered by Richard Price, Candlewood Digital LLC Booklet Notes: Robert Craft • Publishers: Boosey and Hawkes Music Publishers Ltd. Cover painting: A Rake’s Progress VIII: The Rake in Bedlam by William Hogarth (1697-1764) (Courtesy of the Trustees of Sir John Soane’s Museum, London / The Bridgeman Art Library)