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CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos. ALSO on signumclassics Remember your Lovers Sacred Bridges John Mark Ainsley, Iain Burnside SIGCD066 The King’s Singers, Sarband SIGCD065 Sir Michael Tippett’s songs are few in number but The radiant voices of the King’s Singers and the dazzling in quantity. They are contrasted on this exotic sounds of Sarband unite in a celebration disc with one of Tippett’s sources of inspiration, of the rich connections between the Orient and Henry Purcell, sung by leading international tenor Occident, a musical exploration of the sacred John Mark Ainsley accompanied by Iain Burnside. bridges between Christianity, Islam and Judaism as seen through settings of the timeless Psalms of David. Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos. the exquisite hour Franz Joseph Haydn Erich Wolfgang Korngold 1. Arianna a Naxos [19.09] 14. Glückwunsch [2.34] 15. Alt-Spanisch [1.24] Johannes Brahms 16. Sterbelied [3.46] 2. Ständchen [1.40] 17. Gefasster abschied [3.22] 3. Da unten im Tale [1.48] 4. Nachtwandler [3.29] Kurt Weill 5. Feldeinsamkeit [3.03] 18. Lost in the stars [2.50] 6. Alte Liebe [3.00] 19. Speak low [2.29] 7. Die Mainacht [3.31] 8. Von ewiger Liebe [4.43] John Ireland 20. Her song [2.57] Reynaldo Hahn 9. À Chloris [2.59] Benjamin Britten 10. L’Énamourée [3.22] 21. Tit for Tat [2.05] 11. Trois jours de vendange [3.12] 12. L’Heure exquise [2.30] Total Time [75.18] 13. Quand je fus pris au pavillon [1.21] Sarah Connolly Signum Records would like to thank the Literary Trustees of Walter de la Mare and the Society of Authors as their representative for their kind permission for the inclusion of the text of Benjamin Eugene Asti Britten’s ‘Tit for Tat’, written by Walter de la Mare. P 2006 The copyright in this recording is owned by Signum Records Ltd. C 2006 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. www.signumrecords.com Recorded live at St. John’s, Smith Square, London, UK Date - October 3, 2005 Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Engineer - Mike Hatch Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Sarah Connolly – a note Producer - Adrian Peacock Assistant Engineer - Andrew Mellor Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval Someone asked me, why choose to make a CD of live performance as the studio-bound singer may turn ‘inward’ and forget to relate to another, Editor - Andrew Mellor system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording opposed to a studio recording; surely the potential minor errors would the whole point of lieder. All my singing teachers have re-iterated that Artwork and design - Woven Design or otherwise, without prior permission from Signum Records Ltd. irritate on replay, and wouldn’t the pressure to get everything right it’s what one does in front of an audience that truly tests one’s nerve and Cover photograph - Malcolm Crowthers SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, hinder a proper ‘no-holds-barred’ performance? Possibly, but in response commitment, which can be to everyone’s advantage. www.signumrecords.com Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected] I wondered if in pursuit of the perfect phrase, especially in a song recital, Sarah Connolly - 23 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos. Haydn: Arianna a Naxos Brahms: Seven Songs For all that Haydn’s quartets and symphonies are standard fare, his Brahms was an inveterate composer of songs – to an extent that EUGENE ASTI music for solo voice has generally been neglected. One of the few will never be fully realised, since he was also an inveterate such works to establish a regular place in the repertoire is his destroyer of fledgling compositions he didn’t feel were up to the EUGENE ASTI studied at the Mannes College of Music, New York cantata Arianna a Naxos, probably written in 1789; the author of mark. Among his very earliest works, for example, were some cycles with Jeannette Haien where he earned his BMus and MA. He has the text remains anonymous. Haydn may have intended it for of Eichendorff settings, but no one knows how much he slung out. received numerous awards including a Fulbright Scholarship to ‘Pepperl’, the daughter of his close friend Maria Anna Genzinger, The solo songs that did survive reach the staggering total of 203 study piano accompaniment with Graham Johnson at the Guildhall like him a member of the Esterházy household (she was married to original works. That’s not including the folksong settings (all School of Music and Drama, the Ferdinand Rauter Memorial Prize Prince Esterházy’s doctor); certainly, the music itself – limited to a German, but for one Neapolitan song) for voice and piano, which (Richard Tauber Competition) and the Megan Foster Prize (Maggie range of a twelfth – points to its having been conceived for add another 85 to the total. The number climbs yet further when Teyte Competition). amateur performance (Haydn’s intention of scoring the keyboard you add the eight solo-voice versions of the Zigeunerlieder, Op. 103, part for orchestra was never realised). the two Gesänge, Op. 91, for voice, viola and piano, and Spruch (a Much in demand as an accompanist, he has performed with many canon for voice and viola), and the seven German folksongs for solo great artists including Dame Felicity Lott, Dame Margaret Price, Arianna a Naxos falls into four sections, two panels each of voice, chorus and piano – and that’s excluding the vocal duets Nancy Argenta and Elizabeth Connell, in places such as the recitative and air. Haydn brings the piano into the action from the and quartets. Wigmore Hall, the Rome Opera House, the Musikverein in Vienna, start, when it seems to be presenting Ariadne’s confused state as the Aix-en-Provence Festival, Paris, Madrid, Brussels, Düsseldorf, she awakens and finds herself alone – and the swelling textures ‘Ständchen’, the first of the 5 Lieder, Op. 106, composed in Vancouver, and New York. He has devised recital series for St. after the first part of the recitative, leading to ‘Già sorge in ciel la 1886–8, sets an archetypically Romantic text by Franz Kugler, a John’s Smith Square and St. George’s Bristol to mark the Brahms rosea Aurora’ certainly seem to portray the rise of ‘the rose-coloured Prussian bureaucrat and art-historian as well as a minor poet: its and Mendelssohn anniversaries in 1997 and in 1999 planned a Dawn’. ‘Dove sei’, the words which open the first aria, a broad, themes – the fountain, the moonlight, the students’ serenade, the series for St. John’s Smith Square to mark the Poulenc/Strauss harmonically unstable Largo, draw from Haydn a phrase that so sleeping maiden – were topoi that would feature again and again anniversaries. For the 2002/3 season he devised a recital series for closely resembles ‘Dove sono’, sung by the Countess in Mozart’s Le in Romantic poetry. ‘Da unten im Tale’, No. 6 from Book 1 of the 49 St. John’s Smith Square which honoured Robert Schumann and Nozze di Figaro (written three years previously) that it might be a Deutsche Volkslieder published in 1894, uses another: the peasant which included recitals by many of today’s leading artists. fleeting homage from one great composer to the other – whether girl resigned to the loss of her lover. The source of Brahms’ text in deliberate or not is another question. The darting moods of the this instance was the anthology Deutsche Volkslieder mit ihren Eugene has done much recording work for the BBC, featuring second recitative mirror Ariadne’s conflicting thoughts as, from the Original-Weisen (‘German Folksongs with their Original Tunes’) of His many recordings for Hyperion include three volumes of songs regularly on Radio 3’s “Voices” programme with Sophie Daneman, top of the cliff (climbed with the aid of the piano) she sees Theseus 1838–40, assembled by August Kretzschmer and Anton Wilhelm and duets by Felix Mendelssohn with Sarah Connolly, Sophie Sarah Connolly, Christine Rice, Stephan Loges, Rebecca Evans, on board his ship and realises she has been abandoned. The von Zuccalmaglio – none too scrupulously: they filched material Daneman, Stephan Loges, Mark Padmore and Nathan Berg; songs Kate Royal and Jared Holt. second aria begins, Larghetto, as she resigns herself to death – from earlier collections, straightened out some of the tunes to suit by Fanny Mendelssohn with Susan Gritton; and the complete songs but the cantata ends with a Presto explosion of anger: Strauss’ Romantic tastes and incorporated more recent songs, including of Clara Schumann with Susan Gritton and Stephan Loges, all In 2005, he performed a US recital tour with Dame Felicity Lott and Ariadne is saved by Bacchus, but Haydn’s is abandoned to her some of their own, labelled ‘Altdeutsch’.