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557526 Bk Schoenberg 16/2/08 20:44 Page 12 557526 bk Schoenberg 16/2/08 20:44 Page 12 Also available: SCHOENBERG Chamber Symphony No. 2 Die glückliche Hand • Wind Quintet, Op. 26 Mark Beesley, Bass • Simon Joly Chorale New York Woodwind Quintet • Philharmonia Orchestra Robert Craft 8.557518-19 8.557526 12 557526 bk Schoenberg 16/2/08 20:44 Page 2 THE ROBERT CRAFT COLLECTION THE MUSIC OF ARNOLD SCHOENBERG, Vol. 8 Also available: Robert Craft, Conductor Chamber Symphony No. 2, Op. 38 (1939) 18:46 1 Adagio 7:23 2 Con fuoco 11:23 Philharmonia Orchestra Recorded at Abbey Road Studio One, London, on 26th May, 2000 Producer: Gregory K. Squires • Balance Engineer: Michael Sheady Engineers: Andrew Dudman, Graham Kirkby, Mirek Stiles Die glückliche Hand, Op. 18 (1913) 21:14 3 I. Bild 3:23 4 II. Bild 5:11 5 III. Bild 6:57 6 IV. Bild 5:43 Mark Beesley, Bass • The Simon Joly Chorale • Philharmonia Orchestra Recorded at Abbey Road Studio One, London, on 27th and 28th July, 2000 Produced by Gregory K. Squires • Balance Engineer: Michael Sheady Engineers: Andrew Dudman, Graham Kirkby, Mirek Stiles Wind Quintet, Op. 26 (1924) 38:21 7 I. Schwungvoll 12:00 8 II. Anmutig und heiter; Scherzando 9:10 9 III. Etwas langsam. Poco adagio 8:45 0 IV. Rondo 8:26 New York Woodwind Quintet Carol Wincenc, Flute • Stephen Taylor, Oboe • Charles Neidich, Clarinet William Purvis, Horn • Donald MacCourt, Bassoon Recorded at the American Academy of Arts and Letters, New York, from 6th to 8th January, 2004 Produced and engineered by Gregory K. Squires Production assistance: Fred Sherry • Digital editing by Wayne Hileman Mastered by Richard Price, Candlewood Digital 8.557525 8.557526 2 11 8.557526 557526 bk Schoenberg 16/2/08 20:44 Page 10 Robert Craft Arnold Schoenberg (1874-1951) Chamber Symphony No. 2 • Die glückliche Hand • Wind Quintet, Op. 26 Robert Craft, the noted conductor and widely respected writer and critic on music, literature, and culture, holds a unique place in world music of today. He is in the process of recording the complete works of Stravinsky, Schoenberg, Chamber Symphony No. 2 movement [eventually the end of the second and Webern for Naxos. He has twice won the Grand Prix du Disque as well as the Edison Prize for his landmark In two movements: Adagio and Con fuoco movement] is an “epilogue”, which does bring recordings of Schoenberg, Webern, and Varèse. He has also received a special award from the American Academy and thematically new material… The musical and National Institute of Arts and Letters in recognition of his “creative work” in literature. In 2002 he was awarded the The Second Chamber Symphony was begun in August “psychic” problems are presented exhaustively International Prix du Disque Lifetime Achievement Award, Cannes Music Festival. 1906, soon after the completion of the First Chamber in the two completed movements; the final Robert Craft has conducted and recorded with most of the world’s major orchestras in the United States, Europe, Symphony, but set aside until the summer of 1939, when movement merely appends, so to speak, certain Russia, Japan, Korea, Mexico, South America, Australia, and New Zealand. He is the first American to have conducted Schoenberg returned to the piece, finishing the first “observations”. Berg’s Wozzeck and Lulu, and his original Webern album enabled music lovers to become acquainted with this movement on 14th August and the second on 21st composer’s then little-known music. He led the world premières of Stravinsky’s later masterpieces: In Memoriam: October, 1939. A letter from the composer to Fritz Schoenberg wrote to Stiedry again after hearing Dylan Thomas, Vom Himmel hoch, Agon, The Flood, Abraham and Isaac, Variations, Introitus, and Requiem Stiedry, who conducted the première in a broadcast acetate recordings of his première performance of the Canticles. Craft’s historic association with Igor Stravinsky, as his constant companion, co-conductor, and musical concert in Town Hall, New York, 15th December, 1940, piece: confidant, over a period of more than twenty years, contributed to his understanding of the composer’s intentions in the reveals the history of the opus: performance of his music. He remains the primary source for our perspectives on Stravinsky’s life and work. I find the strings too noisy, and this is because In addition to his special command of Stravinsky’s and Schoenberg’s music, Robert Craft is well known for his [Between 1906 and 1939] my style has become each of the staccatos marked is played sforzato recordings of works by Monteverdi, Gesualdo, Schütz, Bach, and Mozart. He is also the author of more than two dozen much more profound and I have much difficulty instead of being played as an unusually short books on music and the arts, including the highly acclaimed Stravinsky: Chronicle of a Friendship; The Moment of in making the ideas which I wrote down many note. For me, the noise of the strings is so Existence: Music, Literature and the Arts, 1990–1995; Places: A Travel Companion for Music and Art Lovers; years ago without too much thought (rightly distorting that the winds do not come out An Improbable Life: Memoirs; Memories and Commentaries; and the forthcoming “Down a Path of Wonder”: trusting to my feeling for design) conform to plastically enough. [Apropos] the detached On Schoenberg, Webern, Stravinsky, Eliot, Auden, and Some Others (2005). He lives in Florida and New York. my present demand for a high degree of notes, [they] were mostly played as staccatos. “visible” logic. This is now one of my greatest This is wrong—at least in my music. I really difficulties, for it also affects the material of the mean that each note should be bowed — or piece. breathed — separately (8th January, 1941). … This material is very good: expressive, characteristic, rich, and interesting. But it is The little-known Second Chamber Symphony ought to meant to be carried out in the manner which I be the most popular of Schoenberg’s later masterpieces. was capable of at the time of the Second Neither “atonal” nor “twelve-tone”, it contrasts a lush, Quartet. melodious, dramatic first movement with a rapid and The first movement is finished. I have richly polyphonic second movement. The first altered very little; only the ending is entirely movement has always been popular, but the far more new, and the instrumentation. In a few places I difficult-to-play second movement is still (2008) have altered the harmonization, and I have underappreciated. The Allegro movement invites changed the accompaniment figures rather comparison with the middle movement of Stravinsky’s frequently. After numerous experiments, I Ode, if only in rhythm, the exploitation of a six-eight- decided to rework these completely. I am very metre accommodating twos and threes simultaneously, well satisfied with the movement. Besides, it is the syncopations and offbeats. But the Schoenberg is easy to play; very easy … incomparably more abundant in substance, emotional Now I am working on the second power, and compositional skill, the Stravinsky being movement. If I succeed in finishing it, it will be rigidly diatonic, homophonic, and mired in protracted quite effective: a very lively Allegro … The last temporizing. The Schoenberg further requires a much 8.557526 10 3 8.557526 557526 bk Schoenberg 16/2/08 20:44 Page 4 higher degree of instrumental virtuosity than any piece actors and one solo singer, “the Man”—whose nine Philharmonia Orchestra by Stravinsky. The music of both composers in this brief sung phrases are hardly comparable to the long, period is still labeled as “neoclassic”. If the reader has a overpowering vocal rôle of “the Woman” in Erwartung. Photo: Richard Haughton The Philharmonia Orchestra is one of the score, he or she should turn to bar 453 of Schoenberg’s (Apart from its division into four scenes, Die glückliche world’s great orchestras. Acknowledged as Con fuoco, and enjoy the thrilling timbre of the bassoon Hand contains no significant resemblances to Britain’s foremost musical pioneer, with an doubling of the clarinet. Erwartung.) The Glückliche Hand music is very much extraordinary recording legacy, the more compressed than that of Erwartung, and its two Philharmonia leads the field for its quality of Die glückliche Hand middle scenes, apart from the lines by the Man, are playing, and for its innovative approach to purely orchestral. The first and fourth scenes employ a audience development, residencies, music Schoenberg wrote the Die glückliche Hand libretto small chorus of six female and six male singers and an education and the use of new technologies in (“The Hand of Fate” would be a better title), a “Drama offstage band of seven players, whose music is reaching a global audience. Together with its With Music”, in June 1910, and began the music three superimposed on the large orchestra. Further, Die relationships with the world’s most sought- months later, on 9th September. Composed in early glückliche Hand returns to traditional elements, a after artists, most importantly its Principal 1912, before Pierrot Lunaire, the music was completed symmetrical form, clear divisions (somewhat in the Conductor Christoph von Dohnányi, the after it, in 1913. The full score manuscript, in the sense of a “number” opera), motivic development, Philharmonia Orchestra is at the heart of Library of Congress, is dated “November 18, 1913, repetition (the three-note, minor-second down, major- British musical life. Today, the Philharmonia has the greatest claim of any orchestra to be Britain’s National Orchestra. Berlin”. The first and last scenes were written last, second-up motive, introduced by the flute in bar 126 and It is committed to presenting the same quality, live music-making in venues throughout the country as it brings to Schoenberg having changed his mind about the form of after that successively throughout the orchestra more London and the great concert halls of the world.
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