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7 Coro Chorus Se vuoi, puniscimi If you will, punish me ma pria, Signore, lascia che almeno, but first, Lord, let at least che sfoghi, che si moderi your scorn find relief, il tuo sdegno, il tuo furore. your anger be tempered. Puniscimi, se vuoi, Punish me, if you will, lascia, che sfoghi il tuo furore. let your anger find relief. Vedi la mia pallida guancia inferma, Behold my pale weak face, Signore, deh, sanami, porgimi soccorso, Lord, heal me, bring me succour, MOZART aita, Signor, tu puoi, porgimi aita. help, Lord, you are able, bring help.

8 Aria Aria Tra l’oscure ombre funeste, Through the dark grievous shadows splende al giusto il ciel sereno, the serene heaven shines on the just, Davide serba ancor nelle tempeste and during the storms brings la sua pace un fido cor. peace to the faithful heart. Alme belle, ah sì, godete! Fair souls, ah yes, rejoice! alme belle! ah sì, godete, Fair souls! Ah yes, rejoice penitente né alcun fia che turbi audace, that no one dares to disturb quella gioia e quella pace, that joy and that peace di cui solo è Dio l’autor. of which God alone is the author. (Oratorio) 9 Terzetto Trio Tutte le mie speranze All my hopes ho riposte in te. I have placed in you. Trine Wilsberg Lund, Soprano Salvami, o Dio, dal nemico feroce Save me, O God, from the cruel enemy che m’insegue e che m’incalza, that pursues me and that presses upon me, o Dio, salvami! O God, save me! Kristina Wahlin, Soprano 0 Coro Chorus Chi in Dio sol spera: Who hopes in God alone Lothar Odinius, Tenor Di tali pericoli non ha timore. Has no fear of such dangers. Regina coeli, K.108 Immortal Bach Ensemble ! Regina coeli laetare, alleluia. Rejoice, O Queen of Heaven, alleluia.

@ Quia quem meruisti portare For he whom you were worthy to bear Leipziger resurrexit, sicut dixit, alleluia. has arisen, as he said, alleluia. Kammerorchester # Ora pro nobis Deum. Pray for us to God.

$ Alleluia, alleluia. Alleluia, alleluia. Morten Schuldt-Jensen 8.570231 12 570231 bk Mozart 11/15/07 11:35 AM Page 2

Wolfgang Amadeus Davide penitente, K.469

1 Coro Chorus MOZART Alzai le flebili voci al Signor I raised my weeping cries to the Lord (1756-1791) Alzai le flebili voci al Dio I raised my weeping cries to God Davide penitente, K.469 40:31 da mali oppresso. oppressed by evils. Alzai le flebili mie voci a Dio I raised my weeping cries to God 1 1. Coro: Alzai le flebili voci al Signor (Chorus, Soprano 1) 5:44 da mali oppresso. oppressed by evils. 2 2. Coro: Cantiam le glorie (Chorus) 2:04 2 Coro Chorus 3 3. Aria: Lungi le cure ingrate (Soprano 2) 4:27 Cantiam le glorie e le lodi, Let us sing the glories and praises 4 4. Coro: Sii pur sempre benigno, oh Dio (Chorus) 1:02 replichiamole in cento e cento modi Let us repeat them a hundred hundred ways del Signore amabilissimo. the praises of the most loving Lord. 5 5. Duetto: Sorgi, o Signore, e spargi (Soprano 1 and 2) 2:40 6 6. Aria: A te, fra tanti affanni (Tenor) 6:03 3 Aria Aria 7 7. Coro: Se vuoi, puniscimi (Chorus) 4:48 Lungi le cure ingrate, Far away from sad afflictions, respirate omai. feel free again. 8 8. Aria: Tra l’oscure ombre funeste (Soprano 1) 5:29 S’è palpitato assai If once you were afraid 9 9. Terzetto: Tutte le mie speranze (Soprano 1 and 2, Tenor) 3:38 è tempo da goder. now is the time to rejoice. 0 10. Coro: Chi in Dio sol spera (Chorus and Soli) 4:35 4 Coro Chorus Sii pur sempre benigno, oh Dio, Be ever gracious, O God Regina coeli, K.108 12:34 e le preghiere te muovano a pietà. and let our prayers move you to mercy. ! Regina coeli, laetare (Chorus) 2:45 5 Duetto Duet @ Quia quem meruisti portare (Soprano, Chorus) 3:16 Sorgi, Signore, e spargi i tuoi nemici. Arise, Lord, and scatter your enemies. # Ora pro nobis Deum (Soprano) 3:51 Sorgi, Signore, spargi Arise, Lord, scatter e dissipa i tuoi nemici. and disperse your enemies. $ Alleluia (Soprano, Chorus) 2:42 Fuga ognun che t’odia, Put to flight whomsoever may hate you, fuga da te che t’odia, Put to flight those who hate you, Trine Wilsberg Lund, Soprano 1 sorgi e spargi i tuoi nemici. arise and scatter your enemies. Kristina Wahlin, Soprano 2 6 Aria Aria A te, fra tanti affanni, In you, amid such tribulation, Lothar Odinius, Tenor pietà cercai, Signore, I sought mercy, Lord, che vedi il mio bel core, that you should see my good heart, Immortal Bach Ensemble che mi conosci almen. that at least you should know me. Udisti i voti miei, You have heard my prayers, Leipziger Kammerorchester e già godea quest’alma and already my soul has rejoiced per te l’usata calma since through you the storms in Morten Schuldt-Jensen delle tempeste in sen. my bosom have been calmed.

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Solisten, die von Oboen, Fagotten und Streichern Italienreise war das Regina coeli KV 108, das im Mai Wolfgang Amadeus Mozart (1756-1791) akkompagniert werden: Dieses Tutte le mie speranze 1771 nach der Heimkehr in Salzburg entstand. Dem Davide penitente, K.469 • Regina coeli, K.108 („All mein Hoffen“) entstand als Arrangement des festlichen, mit je zwei Oboen, Hörnern, Trompeten und Quoniam tu solus sanctus. Der Schlusschor in C-dur – Pauken, Streichern, Solosopran und vierstimmigem Wolfgang Amadeus Mozart was born in Salzburg in The greater part of Mozart’s church music had been Chi in Dio sol spera („Wer allein auf Gott hofft“) – ist Chor nebst figuriertem Bass geschriebenen Anfang in 1756, the son of a court musician who, in the year of his written during his years in Salzburg, where it fulfilled die Einrichtung des Jesu Christe aus der Messe , und das C-dur folgt ein von den zwei Flöten und den Streichern youngest child’s birth, published an influential book on something of the requirements of his employment. In polyphone Di tai pericoli non ha timor („Solche begleitetes, zierreiches Sopransolo mit kontrapunktisch violin-playing. Leopold Mozart rose to occupy the Vienna from 1781 he had other preoccupations, but in Gefahren fürchtet er nicht“) entstand aus dem Cum gestaltetem Chor in F-dur. Nur von Streichern getragen position of Vice-Kapellmeister to the Archbishop of 1783 he had worked on another Mass setting, again with Sancto Spiritu, dessen liturgischer Text zunächst besser wird das anschließende a-moll-Sopransolo Ora pro Salzburg, but sacrificed his own creative career to that Salzburg in mind. In August 1782 he had married zur Musik passt. Darauf lässt Mozart eine neue Kadenz nobis („Bitte für uns“) mit der Bezeichnung Adagio un of his son, in whom he detected early signs of Constanze Weber, one of his former landlady’s folgen, die den Solisten einen letzten glanzvollen poco andante. Volles Orchester, Sopransolo und Chor precocious genius. With the indulgence of his patron, he daughters and a cousin of the composer Carl Maria von Moment gewährt. beschließen das Werk mit dem Alleluia. was able to undertake extended concert tours of Europe Weber. He had done his best at first to conceal his 1770 und 1771 hielten sich Mozart und sein Vater in which his son and elder daughter Nannerl were able relationship from his father, who disapproved of the in Italien auf. Unter anderem weilten sie einige Monate Keith Anderson to astonish audiences. The boy played both the keyboard match. It was not until a year later that the couple in Bologna, wo Mozart bei Padre Martini traditionellen and the violin and could improvise and soon write down travelled to Salzburg, where Constanze might meet her Kontrapunkt studieren konnte. Ein Resultat der Deutsche Fassung: Cris Posslac his own compositions. father-in-law and sister-in-law. The occasion brought Childhood that had brought Mozart signal success from Mozart his Mass in C minor, K.427, a composition was followed by a less satisfactory period of he had worked on intermittently and that was to remain adolescence largely in Salzburg under the patronage of a unfinished, without a completed Credo or Agnus Dei. It new and less sympathetic Archbishop. Like his father, was written in fulfilment of a promise to his new wife, Mozart found opportunities far too limited at home, who sang the soprano solo when the work was first while chances of travel were now restricted. In 1777, performed at the Benedictine church of St Peter in when leave of absence was not granted, he gave up Salzburg during the course of the couple’s first visit employment in Salzburg to seek a future elsewhere, but there together. It was to this earlier composition that neither Mannheim nor Paris, both musical centres of Mozart had recourse in 1785, when, at the height of his some importance, had anything for him. His Mannheim powers and fully occupied as a composer and performer, connections, however, brought a commission for an he was required to produce a composition for the opera in Munich in 1781, but after its successful staging Vienna Society of Artists, a charitable organization in he was summoned by his patron to Vienna. There which he had an obvious interest and in which he sought Mozart’s dissatisfaction with his position resulted in a membership, since the Society took responsibility for quarrel with the Archbishop and dismissal from his the care of the impoverished widows and orphans of its service. deceased members. The last ten years of Mozart’s life were spent in For the new work, Davide penitente, a setting of an Vienna in precarious independence of both patron and Italian text perhaps by Lorenzo da Ponte, Mozart took immediate paternal advice, a situation aggravated by an his earlier Kyrie and Gloria, replacing the Latin text imprudent marriage. Initial success in the opera-house with the new Italian words, not always happily. He was, and as a performer was followed, as the decade went on, however, able to add two new arias and a new final by increasing financial difficulties. By the time of his cadenza. Davide penitente was performed in Vienna at death in December 1791, however, his fortunes seemed the National Theatre in the Hofburg on 13th and 15th about to change for the better, with the success of the March 1785, with the soprano Caterina Cavalieri, a German opera The Magic Flute, and the possibility of protégée of Salieri, who had sung the part of Constanze increased patronage. in Mozart’s Die Entführung aus dem Serail. The second

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soprano was Elisabeth Distler and the tenor Johann solo flute, oboe, clarinet and bassoon, with two horns in zwischendurch immer wieder gearbeitet hatte, um ein dessen Oratorium Il ritorno di Tobia sowie einen Valentin Adamberger, Mozart’s Belmonte. Leopold high B flat and strings. This is followed by a G minor Gelübde zu erfüllen: Sollten die Schwierigkeiten um die solchen aus Florian Leopold Gaßmanns Amore e Mozart, who was visiting his son in Vienna, found his chorus with full orchestra, Se vuoi, puniscimi (If you geplante Heirat ein glückliches Ende finden, wollte er Psiche; dazu kamen Solo-Arien und weitere son’s constant activity bewildering, but his surviving wish, punish me), with its dotted rhythms, using the eben dieses geistliche Werk komponieren (das Instrumentalwerke – beim ersten Abend ein letters to his daughter only mention briefly the coming original Qui tollis peccata mundi. The C minor soprano schließlich ohne Credo und Agnus Dei unvollendet Oboenkonzert, beim zweiten ein Violinkonzert, das Tonkünstlersozietät concerts, which he must have aria Tra l’oscure ombre funeste (Amid the dark grievous blieb). Bei der Aufführung in der Salzburger Leopold Mozarts Geigenschüler Heinrich Marchand attended. The orchestra employed was a large one, shadows), with a flute, pairs of oboes, bassoons and Benediktinerkirche St. Peter hat Constanze nach allem, spielte. matched in size by the number of singers in the chorus. horns, and strings, is newly composed for Caterina was man weiß, das Sopransolo gesungen. Davide penitente verlangt je zwei Oboen, Fagotte The programme at each of the two concerts was a mixed Cavalieri. This is capped by an E minor trio for the Im Jahre 1785 erhielt Mozart, damals auf dem und Hörner, dazu drei Posaunen, in den Ecksätzen one, including the latest Haydn symphony and a chorus soloists, with oboes, bassoons and strings, Tutte le mie Höhepunkt seines kompositorischen und pianistischen Pauken und Trompeten, die obligatorischen Streicher from the latter’s oratorio Il ritorno di Tobia, with a speranze (All my hopes) derived from the original Erfolgs, von der Wiener Tonkünstler-Societät den und wohl auch ein Tasteninstrument für die Continuo- chorus from Gassmann’s Amore e Psiche, solo arias and Quoniam tu solus sanctus and a concluding C major Auftrag zu einem neuen Werk, dem er insofern gern Stimme. Zu Beginn begleitet das volle Orchester den instrumental contributions. The first concert also chorus, Chi in Dio sol spera (Who hopes alone in God), nachkam, als diese Wohltätigkeitsorganisation in Not Chor mit Sopransolo c-moll Alzai le flebili voci („Ich included an oboe concerto and the second a violin the original Jesu Christe and the polyphonic Di tai geratene Musikerwitwen und -waisen unterstützte, wenn erhob meine klagende Stimme“), in dem das Kyrie der concerto played by Leopold Mozart’s pupil Heinrich pericoli non ha timor (Of such dangers he has no fear), die Verstorbenen Mitglieder der Societät gewesen c-moll-Messe verwendet wird. Der zweite Chor in C- Marchand. initially more aptly matched with the traditional waren, und er sich ebenfalls um eine Mitgliedschaft dur, Cantiam le glorie e le lodi („Wir wollen Ruhm und Davide penitente is scored for an orchestra that liturgical text, Cum Sancto Spiritu. To this Mozart adds bemühte. Lobpreis singen“), ist auf den Beginn des Gloria includes pairs of oboes, bassoons, horns, and strings, a new cadenza that allows the soloists their final Bei der Komposition des neuen Werkes Davide gesetzt. Die Sopranarie F-dur Lungi le cure ingrate with three trombones, and probably with keyboard moment of glory. The chief interest of the whole work penitente vertonte Wolfgang Amadeus Mozart einen („Weit sind die undankbaren Sorgen“) mit Oboen, continuo, together with trumpets and drums for the outer must lie in the two newly composed dramatic arias and italienischen, vielleicht von Lorenzo da Ponte verfassten Hörnern und Streichern entstand als Neutextierung des movements. The oratorio opens with the C minor chorus the final bars, where text and music are better matched. Text – und zwar dergestalt, dass er die lateinischen Laudamus te. Der vom vollen Orchester unterstützte and soprano solo, with the full orchestra, Alzai le flebili In 1770 and 1771 Mozart and his father were in Worte des Kyrie und des Gloria aus seiner Chor in a-moll, Sii pur sempre benigno, oh Dio („Sei voci (I raised my weeping cries), using the Kyrie of the Italy, and spent a few months at Bologna, where Mozart unvollständigen Messe c-moll durch die italienische immer gnädig, o Gott“) ist ein Arrangement des Gratias Mass in C minor. The second chorus, Cantiam le glorie was able to study traditional counterpoint with Padre Dichtung ersetzte. Außerdem schrieb er zwei neue agimus tibi. Darauf folgt das von Streichern begleitete e le lodi (Let us sing the glories and praises), in C major, Martini. One result of the Italian journey was the Regina Arien sowie eine Schlusskadenz. Davide penitente d-moll-Duett der beiden Soprane, Sorgi, o Signore, e takes the opening of the earlier Gloria. The F major coeli, K.108, written in May 1771 after their return to wurde am Wiener Burgtheater am 13. und 15. März spargi („Erhebe dich, o Herr, und zerschmettere deine soprano aria, Lungi le cure ingrate (Far away be Salzburg. Scored initially for pairs of oboes, horns, 1785 mit der von Salieri protegierten Sopranistin Feinde“) nach dem Domine Deus, Rex caelestis. thankless cares), with oboes, horns and strings, rewords trumpets and timpani, strings, soprano solo and four- Caterina Cavalieri aufgeführt, die in Mozarts Der sechste Satz, die große Tenorarie in B-dur A te, the earlier Laudamus te. The A minor chorus, Sii pur part choir, with a figured bass for the organ, the Entführung aus dem Serail bereits die Constanze fra tanti affanni („Zu dir in solcher Kümmernis“) mit sempre benigno, oh Dio (Be ever gracious, O God), with celebratory C major first section is followed by an F gesungen hatte. Als zweite Sopranistin war Elisabeth dem abschließenden Allegro Udisti voti miei („Du hast the full orchestra, uses the original Gratias agimus tibi major movement accompanied by two flutes and strings, Distler zu hören, und Johann Valentin Adamberger, mein Gebet gehört“), ist die erste neue Komposition des and is followed by a duet for two sopranos, Sorgi, o with a florid soprano solo and a contrapuntal Mozarts erster Belmonte, sang die Tenorpartie. Leopold Werkes, wobei Soloflöte, Oboe, Klarinette und Fagott Signore, e spargi (Arise, O Lord, and scatter your deployment of the choir. The A minor soprano solo that Mozart, der damals gerade in Wien zu Besuch war, nebst zwei Hörnern in Hoch-B und Streichern zum enemies), a D minor movement, accompanied by follows, marked Adagio un poco andante and setting the fühlte sich nicht sonderlich wohl bei der rastlosen Einsatz kommen. Der anschließende Chor g-moll mit strings, a version of the original Domine Deus, Rex words Ora pro nobis (Pray for us), is accompanied by Geschäftigkeit seines Sohnes. Im Gegensatz zu früheren vollem Orchester, Se vuoi, puniscimi („Wenn du willst, caelestis. The sixth part, a B flat major tenor aria, A te, the strings. The full orchestra returns, with the soloist Konzerten erwähnt er die bevorstehende Veranstaltung bestrafe mich“) ist die Einrichtung des Qui tollis fra tanti affanni (From you, amid such troubles), with its and chorus, for the final Alleluia. der Tonkünstler-Societät, die er besucht haben muss, in peccata mundi, während die Sopranarie in c-moll, Tra final Allegro, Udisti voti miei (You heard my prayers) is den Briefen an seine Tochter nur beiläufig. l’oscure ombre funeste („Unter den dunklen, traurigen the first newly composed addition to the work, and uses Keith Anderson Dem großen Orchester entsprach die Zahl der Schatten“) für Caterina Cavalieri neu komponiert Choristen, die Programme waren in der damals üblichen wurde: Mozart benutzt hier zur Begleitung eine Flöte, Weise gemischt: Unter anderem gab man die jüngste zwei Oboen, Fagotte und Hörner sowie die Streicher. Symphonie von Joseph Haydn sowie einen Chor aus Gekrönt wird dieser Teil von einem e-moll-Terzett der

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Wolfgang Amadeus Mozart (1756-1791) Trine Wilsberg Lund Davide penitente, KV 469 • Regina coeli KV 108 The coloratura soprano Trine Wilsberg Lund was born in Oslo in 1979. She was a pupil of Barba Marklund and Wolfgang Amadeus Mozart wurde am 27. Januar 1756 Seine letzten zehn Lebensjahre verbrachte Mozart Håkan Hagegård at the Norwegian Academy of Music and gained her diploma with distinction in 2003. She then in Salzburg als Sohn des Hofmusikers Leopold Mozart in Wien als freischaffender Künstler ohne eigentliche continued her studies at the Cologne Musikhochschule as a pupil of Barbara Schlick. Trine Lund already enjoys a geboren, der just im selben Jahr, da sein jüngstes Kind Gönner und ohne den direkten väterlichen Rat – mithin considerable reputation in Europe as a concert soloist, with a repertoire that ranges from early Baroque music to the das Licht der Welt erblickte, seine einflussreiche in einer unsicheren Situation, die durch seine voreilige present, including works by Monteverdi, Strozzi, Schütz, Bach, Handel, Vivaldi, Mozart, Mendelssohn, Meyerbeer, Gründliche Violinschule veröffentlichte. Vater Mozart Heirat nicht gerade besser wurde. Zunächst hatte er als Verdi, Grieg, Bernstein and Berio. She has appeared at festivals, including the Oslo Church Music Festival, Oslo stieg beim Salzburger Fürsterzbischof bis zum Pianist und im Opernhaus Erfolg, im Laufe des International Contemporary Music Festival, Münster Barock Fest, Wiesbaden Bach Festival, La Folle Journée, Vizekapellmeister auf, verzichtete aber auf seine eigene Jahrzehnts geriet er jedoch in immer größere finanzielle Nantes, Festa da Música, Lisbon, and MDR Musiksommer, collaborating with the Leipzig Baroque kreative Karriere, nachdem er in seinem Sohn schon Schwierigkeiten. Unmittelbar vor seinem Tod am 5. Orchestra/Chamber Orchestra, the Leipzig Gewandhaus Orchestra, Cologne Chamber Orchestra, Cologne früh die ersten Anzeichen eines überragenden Genies Dezember 1791 hatte sich sein Schicksal durch den Collegium Cartusianum, Dresden Barock, Oslo Symphony Orchestra/Chamber Orchestra, conducted by Peter erkannte. Mit Duldung seines damaligen Dienstherrn Erfolg seiner deutschen Oper Die Zauberflöte und durch Neumann, Georg Christoph Biller and Morten Schuldt-Jensen. As an opera-singer she has appeared as Clarice in unternahm er ausgedehnte Europareisen, bei denen sein das Auftreten potentieller Mäzene gerade erst wieder zu Haydn’s Il mondo della luna, as Servilia in La clemenza di Tito at the Münster City Opera, and in Wuppertal as Sohn und dessen ältere Schwester Nannerl das seinen Gunsten gewandelt. Amintha in Mozart’s Il re pastore. She won first prize at the 1998 Norsk Sanglærerforening Singing Competition Publikum in Staunen versetzten. Der Knabe spielte Den größten Teil seiner Kirchenmusik hat and at the 2003 national Queen Sonja International Music Competition with the Stavanger Symphony Orchestra. In sowohl das Clavier wie auch die Violine, wusste zu Wolfgang Amadeus Mozart während seiner Salzburger 2004 she won the second prize at the Leipzig International Johann Sebastian Bach Competition. In 2006 she won improvisieren und schon bald eigene Kompositionen Jahre in Erfüllung seiner dienstlichen Obliegenheiten the second prize at the Fifteenth European Mozart Competition in Würzburg. Trine Wilsberg Lund has taken part in aufzuschreiben. geschrieben. In Wien gab es dann andere Prioritäten; numerous international broadcasts and commercial recordings. Nachdem Wolfgang Amadeus Mozart in der gleichwohl arbeitete der Komponist 1783 mit Blick auf Kindheit außerordentliche Erfolge erlebt hatte, waren Salzburg an einer neuen Messe: Im August hatte er die Jünglingsjahre weniger befriedigend – vor allem, da Constanze Weber geheiratet, die jüngere Schwester der in Salzburg inzwischen ein neuer, weniger Sängerin Aloysia, in die er sich 1778 in Mannheim so Kristina Wahlin verständnisvoller Erzbischof regierte. Wie der Vater, so stürmisch verliebt und die ihm Ende desselben Jahres in empfand auch der Sohn die Enge der Heimatstadt, München so schmählich den Rücken gekehrt hatte. The talented young mezzo-soprano Kristina Wahlin is Swedish-born and studied singing at the Royal Music indessen zugleich die Reisemöglichkeiten deutlich Inzwischen war der Vater der Familie verstorben; Academy in Stockholm, completing her musical education as an opera singer at the Royal Academy of Music in eingeschränkt waren. Als ihm 1777 ein Urlaubsantrag Witwe Weber war mit ihren Kindern nach Wien London, from which she graduated in 2000. She has sung Cherubino in Le nozze di Figaro and the title rôle in nicht genehmigt wurde, kündigte Mozart seine gezogen, hatte Mozart zeitweilig ein Quartier vermietet Handel’s Ariodante at Opera Funen in Denmark. Her performance of Ariodante made an exceptionally favourable Salzburger Stellung, um andernorts sein Glück zu – und es anscheinend gar nicht so ungern gesehen, dass impression on the critics and she was invited to return to sing the title rôle in Gluck’s Orfeo in 2004. She had great suchen. Doch weder in Mannheim noch in Paris, zwei sich ihr Logiergast nach und nach in die Tochter success as Isabella in a concert performance of L’Italiana in Algeri at the Tivoli Concert Hall in the summer of 2004, bedeutenden musikalischen Zentren, war etwas verliebte. again to considerable critical acclaim. Kristina Wahlin has appeared as a soloist with several orchestras in Geeignetes zu finden, so dass er schließlich Mozart hatte aus verständlichen Gründen zunächst Scandinavia, performing Bach, Mozart, Handel and Rossini. Since 2006 she has been a member of the soloist unverrichteter Dinge wieder nach Salzburg und in den alles getan, die sich anbahnende Beziehung vor dem ensemble at Oper Köln, where her rôles include Rosina, Hänsel, Isabella, Nicklausse, Cherubino and Giulio Cesare. Dienst des ungeliebten Erzbischofs zurückkehrte. Vater geheimzuhalten (der bereits über die Schwärmerei Immerhin verhalfen ihm seine Mannheimer Kontakte für Aloysia schier die Fassung verloren hatte). Endlich aber 1780 zum Auftrag für die Oper Idomeneo, die rückte er aber doch mit seinen Zukunftsplänen heraus, Anfang 1781 in München uraufgeführt wurde. Nach der und Leopold gab, wenngleich widerstrebend, seinen erfolgreichen Premiere befahl ihm sein alter und neuer väterlichen Segen. Ein Jahr nach der Hochzeit reiste das Dienstherr, unverzüglich nach Wien zu kommen. Dort junge Ehepaar nach Salzburg, wo Constanze ihren kulminierte die aufgestaute Unzufriedenheit in einer Schwiegervater und ihre Schwägerin kennenlernte. Bei handfesten Auseinandersetzung mit dem Erzbischof und dieser Gelegenheit konnte Mozart die abgeschlossenen der endgültigen Entlassung aus dessen Diensten. Teile seiner Messe c-moll KV 427 aufführen, an der er

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Lothar Odinius Morten Schuldt-Jensen

Lothar Odinius was born in Aachen and from 1991 to 1995 studied with Anke Eggers at the Berlin Hochschule der Morten Schuldt-Jensen graduated from the Royal Danish Künste, graduating with distinction and attending master-classes with Ingrid Bjoner, Bernd Weikl, Alfredo Kraus Academy of Music with conducting, singing and vocal training and Dietrich Fischer-Dieskau. Since 2000 he has attended regular classes with Gundula Hintz and Neil Semer. He as his main subjects. He holds the Master of Arts in musicology has collaborated with leading conductors in his concert career, and in performances for television and recording, and from the University of Copenhagen. He took postgraduate has participated in a number of major festivals, including Bad Hersfeld, Ludwigsburg, Schwetzingen, the courses with, among others, Sergiu Celibidache and Eric Schleswig-Holstein Music Festival, the Mecklenburg-Vorpommern Festival, the Haydn-Festspielen Eisenstadt, the Ericson. After successful performances with internationally Schubertiade Feldkirch/Hohenems, the BBC Promenade Concerts in London and the Edinburgh Festival. From acclaimed Danish choirs and orchestras Morten Schuldt-Jensen 1995 to 1997 he served as a lyric tenor with the Brunswick Staatstheater, undertaking, among other rôles, those of was offered various engagements as a conductor and chorus Ferrando in Così fan tutte and Tamino in Die Zauberflöte. Guest engagements have taken him to Bonn to sing master in several European countries. In 1995 and 1997 he was Tamino, to Copenhagen to sing Charles Lindbergh in Kurt Weill’s Der Lindberghflug, to Zurich for Alfonso in appointed Representative Conductor for Denmark (Nordic- Schubert’s Alfonso und Estrella, and, in 2003, to the Salzburg Mozartwoche to sing Ferrando. In 2004 he appeared Baltic Choral Festival). Morten Schuldt-Jensen is a regular guest in the world première of Mendelssohn’s Der Onkel aus Boston, and at the Berlin Komische Oper in Hans Zender’s conductor for the RIAS Kammerchor, Berlin, the MDR Don Quijote. His many recordings are testimony to the breadth of his repertoire and the distinction of his career. Rundfunk-Chor, Leipzig, the NDR-Chor, Hamburg, the Akademie für Alte Musik, Berlin, the Gewandhausorchester Immortal Bach Ensemble Leipzig and the Helsingborgs Symfoniorkester, and has worked frequently with the Danish National Radio Choir and the The Immortal Bach Ensemble has its roots in the Gewandhaus in Leipzig. In 2001 Morten Schuldt-Jensen, the Philharmonic Orchestra of Copenhagen. As a chorus-master he former director of the Gewandhaus choirs, formed the GewandhausKammerchor, its members having been recruited has worked for conductors including Simon Rattle, Herbert Blomstedt, Philippe Herreweghe, Vladimir Ashkenazy, from the top professional concert and choral singers of Germany, The Netherlands, Southern Scandinavia and Lothar Zagrosek, among many others. From 1999 to 2006 he was director of choirs at the Gewandhaus in Leipzig, Switzerland. With this handpicked ensemble Schuldt-Jensen works on projects with a variety of different where he founded the internationally highly acclaimed professional Gewandhaus Chamber Choir in 2001. Today programmes and a very wide-ranging repertoire, from oratorios to twentieth-century a cappella music, for which the the ensemble is known as the Immortal Bach Ensemble. In 2000 he was appointed principal conductor and artistic choir has been acclaimed by audiences and the press alike. In addition to frequent performances in Leipzig and director of the Leipzig Chamber Orchestra, which developed a new profile under his artistic credo. A wide-ranging figuring in high profile venues such as Schleswig-Holstein and Rheingau, the choir has produced several highly and partly forgotten repertoire, accurate sense of style, and broad variety of interpretation characterise the successful praised recordings, with an acclaimed recording of Mozart’s Requiem for Naxos (8.557728). Since May 2006 the partnership with both ensembles and have been documented in a number of recordings and broadcasts. Morten GewandhausKammerchor has been renamed the Immortal Bach Ensemble. The title ‘Immortal Bach’ is taken from Schuldt-Jensen has won several prizes and awards. In 1984, in his home country, Denmark, he founded and has a work of the Norwegian composer Knut Nystedt, who arranged a Bach chorale in different tempi and sequences, since conducted the Sokkelund Sangkor, a leading chamber choir, with which he has won several international and with it demonstrates the artistic credo of the choir. The Immortal Bach Ensemble aims to combine old and new awards. He also founded the symphonic Tivoli Concert Choir. An important element is his work at different and with top quality performances it seeks to explore new ideas and perspectives that are captivating for both academies of music. In 1992 he was associate professor at the Royal Danish Academy of Music in Copenhagen, singers and audience. from 2001 to 2006 he lectured at the Felix Mendelssohn-Bartholdy Hochschule für Musik und Theater in Leipzig and in 2006 he was appointed to the professorship of choral and orchestral conducting at the Staatliche Leipzig Chamber Orchestra (Leipziger Kammerorchester) Musikhochschule in Freiburg/Breisgau. Morten Schuldt-Jensen has conducted at some of the best known European music venues and festivals, including the Gewandhaus and Thomaskirche in Leipzig, the Philharmonie Berlin, the Almost all the musicians in the Leipzig Chamber Orchestra are members of the Gewandhaus Orchestra and a few Rheingau Musik Festival, the Schleswig-Holstein-Festival, the Festspiele Mecklenburg-Vorpommern, MDR- were among the founder members of the Leipzig Chamber Orchestra from its inception in 1971 by Otto Georg Musiksommer, the Bachfest and the Mendelssohn-Festtage in Leipzig, and also at the Seoul International Music Moosdorf. Since 2000 Morten Schuldt-Jensen has been the Artistic Director and Conductor of the Leipzig Chamber Festival, Korea, and at the Kioi Hall in Tokyo, combined with extensive touring throughout Germany, France, Italy, Orchestra. Under his leadership the orchestra has widened its repertoire to include more unusual works and Spain, Japan and Scandinavia. achieved a unique intensity of sound comparable to that of leading world orchestras. In addition to concerts at the Gewandhaus in Leipzig, in Korea, Japan, Spain, Denmark and Germany the orchestra has embarked on an adventurous recording programme.

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Lothar Odinius Morten Schuldt-Jensen

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Wolfgang Amadeus Davide penitente, K.469

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$ Alleluia, alleluia. Alleluia, alleluia. Morten Schuldt-Jensen 8.570231 12 NAXOS NAXOS In 1785, at the height of his career in Vienna, Mozart was commissioned by the Viennese Society of Musicians to write a work for a Lenten benefit concert. Short of time, he recycled the Kyrie and Gloria from his earlier unfinished Mass in C Minor to form part of the oratorio Davide penitente. Drawing upon the psalms of David, both penitential and joyful, this is a work of great beauty, notable for its memorable choruses, exquisite writing for the woodwind and, in particular, the two new solo arias, A te, fra tanti 8.570231 MOZART: affanni (In you, amid such tribulation) and Tra l’oscure ombre funeste (Amid the dark grievous MOZART: shadows), both of which begin with a long expressive opening followed by a virtuoso second section. DDD

Wolfgang Amadeus Playing Time MOZART 53:05 Davide penitente (1756-1791) Davide penitente Davide penitente (Oratorio) Davide penitente, K.469 40:31 7 7. Coro: Se vuoi, puniscimi 4:48 1 1. Coro: Alzai le flebili voci 8 8. Aria: Tra l’oscure ombre funeste 5:29 al Signor 5:44 9 9. Terzetto: Tutte le mie speranze 3:38 2 2. Coro: Cantiam le glorie 2:04 0 10. Coro: Chi in Dio sol spera 4:35 3 3. Aria: Lungi le cure ingrate 4:27 Regina coeli, K.108 12:34

4 4. Coro: Sii pur sempre benigno, ! Regina coeli, laetare 2:45 www.naxos.com Disc made in Canada. Printed and assembled USA. Booklet notes in English • Kommentar auf Deutsch Naxos Rights International Ltd.

oh Dio 1:02 @ Quia quem meruisti portare 3:16 &

5 5. Duetto: Sorgi, o Signore, e spargi 2:40 # Ora pro nobis Deum 3:51

6 6. Aria: A te, fra tanti affanni 6:03 $ Alleluia 2:42 2008 Trine Wilsberg Lund, Soprano • Kristina Wahlin, Soprano Lothar Odinius, Tenor • Immortal Bach Ensemble Leipziger Kammerorchester • Morten Schuldt-Jensen, Conductor A detailed track list can be found on page 2 of the booklet • Sung texts and translations included The sung texts and translations can also be accessed at www.naxos.com/libretti/570231.htm Recorded at the Gewandhaus zu Leipzig, Großer Saal, Germany, from 18th to 23rd April, 2006 8.570231 Producer and Editor: Michael Silberhorn, Genuin, Leipzig • Engineer: Tatsuo Nishimura 8.570231 Booklet Notes: Keith Anderson Cover image: David by Simeon Solomon (1840-1905) (Fitzwilliam Museum, University of Cambridge / The Bridgeman Art Library)