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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

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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

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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

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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. 2005 marked not only the Orchestra’s Sixtieth Anniversary, but also the the opus while he was working on the transition to the times than any other motive in Schoenberg’s music, and Tenth Anniversary of its much admired British and International Residency Programme, which began in 1995 with the final scene, the jagged music near the end of the third a greatly expanded use of ostinato. For this last, the launch of its residencies at the Bedford Corn Exchange and London’s South Bank Centre. Now the Orchestra is scene that accompanies the Man’s pursuit of “the entire first scene is constructed on a double ostinato, one celebrating its ninth year as Resident Orchestra of De Montfort Hall in Leicester, its sixth year as Orchestra in beautiful woman” through a rocky landscape, a scene of the two components played by timpani and harp in Partnership at the Anvil in Basingstoke and the third year of its relationship in Bristol with Colston Hall, St George’s that concludes when she dislodges a boulder from a the bass register, the other by solo violas and cellos in Bristol and Watershed. The Orchestra’s extensive touring schedule also includes appearances at its prestigious European place above him that falls on and crushes him. The 1910 the upper register. This nine-note “ostinato chord”, as residency venues, the Théâtre du Châtelet in Paris and the Concertgebouw in Bruges, as well as at more than twenty of libretto makes no mention of the off-stage band and the Schoenberg referred to it, quietly accompanies the the finest international concert halls. Throughout its sixty-year history, the Philharmonia Orchestra has been committed mocking laughter from the chorus that distinguish the twelve singers, who whisper, sing, and speak-sing to finding new ways to bring its top quality live performance to audiences worldwide, and to using new technologies to first and last scenes and that are the same in both as well (Sprechstimme) in elaborate polyphony. The third scene achieve this. Many millions of people since 1945 have enjoyed their first experience of classical music through a as in their bass-clarinet and bassoons ostinato begins with an ostinato, and more of them are found at Philharmonia recording, and now audiences can engage with the Orchestra through webcasts, podcasts, downloads, introductions. bars 97–100, 129–130, 140–142, 146–153, 181–184 computer games and film scores as well as through its unique interactive music education website launched in 2005, The Soon after completing Die glückliche Hand, (“choo-choo” train music reminiscent of the ostinato Sound Exchange (www.philharmonia.co.uk/thesoundexchange). In 2005 the Philharmonia became the first ever Schoenberg began to generate ideas about its realization scene-changing music in Erwartung.) The twelve vocal classical music organisation to be shortlisted for a BT Digital Music Award, and in the same year the Orchestra on stage. He wanted “the greatest unreality,” a “play parts at the end of Scene Four are almost entirely sung presented both the first ever fully interactive webcast and the first podcast by a British orchestra. In September 2005 with apparitions of colours and forms, designed by (no Sprechstimme) and they are stronger and more computer games with Philharmonia scores were at No. 1 and No. 2 in the national charts, while the Orchestra’s scores Kandinsky or Kokoschka”. In the spring of 1914 the prominent than in Scene One. for the last two Harry Potter computer games have both been nominated for BAFTA Awards. CD recording and live composer met with the Intendant of the Dresden Opera, Apart from the chorus and the nine short phrases broadcasting both also continue to play a significant part in the Orchestra’s activities: since 2003 the Philharmonia has Count Seebach, to discuss the possibility of staging the sung by the Man, the libretto is in the stage directions enjoyed a major partnership with Classic FM, as The Classic FM Orchestra on Tour, as well as continuing to broadcast work, together with Erwartung, but World War I forced (see below). The “plot” is simple. At the beginning, we on BBC Radio 3. the delay of a première for a decade, Erwartung in see the Man lying face down, head toward the audience, Prague and Die glückliche Hand in Vienna, by which feet toward the inner stage. A monster (hyena species time new developments had alienated the aesthetics and with bat wings) gnaws at his neck. The chorus is the musico-dramatic languages of both. positioned behind a dark curtain at the rear centre stage, Die glückliche Hand is a pantomime for two silent their twelve green-lit faces peering through holes in the

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Carol Wincenc, flutist, has appeared as a soloist with major orchestras around the world and has premiered works curtain. The Man is the Great Artist (Schoenberg) and repeats the rhythm of the subject but not the notes. The written for her by many of today’s most prominent composers. She has collaborated with the Guarneri, Emerson, the gnawing monster is his ego, which craves Man goes to a cave where he discovers a goldsmith’s Tokyo, and Cleveland string quartets, and Jessye Norman, Emanuel Ax, Yo-Yo Ma, and Elly Ameling. Festival recognition and acclaim. The “Greek” chorus upbraids shop with several workers. In the middle is an anvil, a appearances include Aldeburgh, Aspen, Budapest, Caramoor, Frankfurt, Marlboro, Mostly Mozart, Santa Fe, the Man for desiring the futile rewards of success: “You huge hammer under it. As the Man contemplates the Sarasota, Spoleto and Tivoli. First Prize winner of the Walter W. Naumburg Solo Flute competition, Carol Wincenc poor fool … You, who have the divine in you, yet covet workers, he remarks that what they are doing can be has been a member of the flute faculty at the Juilliard School since 1988, and SUNY Stony Brook since 1998. the worldly.” At the start of Scene Two a beautiful done more simply. He goes to the anvil, places a block woman appears. She gives a goblet to the Man, who of gold on it, then brings the hammer down on it, Oboist Stephen Taylor holds the Mrs. John D. Rockefeller III solo oboe chair with the Chamber Music Society of drinks its contents but does not see her, whereupon the splitting the anvil and allowing the gold to fall into the Lincoln Center. He is also solo oboe with the New York Woodwind Quintet, the Orchestra of St. Luke’s, the St. woman loses her initial sympathy for him and goes to cleft. The workers had been preparing to stop him, but Luke’s Chamber Ensemble, the American Composers Orchestra, the New England Bach Festival Orchestra, the the side of the stage where an “elegantly dressed when he retrieves a perfect diadem set with precious renowned contemporary music group Speculum Musicae, and plays as co-principal oboe with the Orpheus Chamber gentleman” takes the woman in his arms. They go off stones they express wonder at the achievement. (The Orchestra. Trained at the Juilliard School with teachers Lois Wann and Robert Bloom, he is a member of its faculty together, and the Man groans, but in a moment the glitter of the jewel is evoked by a mixture of trills and as well as of the Yale School of Music, SUNY Stony Brook and the Manhattan School of Music. Woman returns to him. At the end of the scene she flutter-tonguing in the wind instruments.) Eventually, leaves him again. This, of course, is autobiography. In after he gives his masterpiece to them, they decide to William Purvis pursues a career both in the United States. and abroad as horn soloist, chamber musician, conductor 1908, Schoenberg’s wife, Mathilde, eloped with a attack him, at which point the scene changes. The and educator. He is a member of the New York Woodwind Quintet, the Orchestra of St. Luke’s, the Yale Brass Trio, young painter, Richard Gerstl, who had been working woman returns, now naked to the hip on her left side, the Triton Horn Trio and is an Emeritus member of Orpheus. His extensive list of recordings spans an unusually on Schoenberg’s portrait. Not long after the elopement and the “elegant gentleman” returns as well. He follows broad range from original instrument performance to standard solo and chamber music repertoire to contemporary Gerstl hanged himself. Anton Webern, Schoenberg’s the woman, who climbs to the top of a plateau. The Man solo and chamber music works. He is currently a faculty member of The Yale School of Music where he is also pupil, persuaded him to take her back. The composer’s pursues her through rocky terrain. The woman attains a Coordinator of Winds and Brass, The Juilliard School where he is co-ordinator of the New York Woodwind Quintet public humiliation at the time, not to mention his anger higher elevation and dislodges a boulder toward the Seminar, and SUNY Stony Brook. and wounded pride, are revealed in a letter to Alma Man, who is standing below, hitting and burying him. Mahler, 7th October, 1910: The Fourth Scene returns to the first, with, at the end, Described as the “Paganini of the clarinet,” Charles Neidich not only appears regularly throughout the United the chorus mocking the Man: “Must you live again what States, Europe, and Asia as a soloist and chamber music collaborator, performing with leading orchestras and If I am to be honest and say something about you have so often lived? You poor fool!” chamber ensembles, but is also active as a conductor and composer. He began his clarinet studies with his father, my works (which I do not willingly do, since I Apart from the aforementioned personal history, the Irving Neidich, continued them with Leon Russianoff, and, later studied with Boris Dikov as the first recipient of a actually write them in order to conceal myself allegory symbolizes the successful Viennese composer Fulbright Grant to study in the USSR. He is a leading exponent of new music, and is also known for performances thoroughly behind them, so that I will not be of operettas and popular music in the “elegantly dressed on period instruments and is the founder of the noted period ensemble, Mozzafiato. Active in education, Charles seen), it could only be this: It is not meant gentleman,” while the incompetent workmen are Neidich is on the faculties of the Juilliard School, Manhattan School, Mannes College, and Aaron Copland School symbolically, but only envisioned and felt. Not untalented, hack composers, and the anvil that the Man of Music. He conducts master-courses in Holland, Germany, and Japan, and spends time regularly at the Marlboro thought at all. Colour, noises, lights, sounds, crushes — the blow of a huge wooden hammer is heard Festival in the United States. movements, looks, gestures — in short, the in the orchestra at this point (bar 115) — can be thought media which make up the ingredients of the of as representing tonality, the diadem, one of the stage — are to be linked to one another in a beautiful objects that the man of genius will create, varied way. Nothing more than that. It meant symbolizes the new atonality. (In addition to the something to my emotions as I wrote it down … hammer, the orchestral arsenal includes a “Metallrohr”, I don’t want to be understood: I want to express an instrument known to the fabricators of “Musique myself — but I hope that I will be Concrète”.) misunderstood. At the time of composing Die glückliche Hand, Schoenberg was an exhibiting painter, personally and Scene Three begins with a unison figure in bass octaves artistically close to Kandinsky, which explains the (lower strings, harp, bass clarinet, bassoons) with the composer’s addition of a colour dimension to this character of a fugue subject. The second entrance Gesamtkunstwerk dream-world opera. The colour

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changes are “notated” in the score by some seventy Opus 28 to the Musical Offering, he quickly answered: Mark Beesley abstract signs indicating the varying shades and “You place me too high”, but he was clearly aware of intensities of coloured lights shifting in correspondence the correspondence between the two works. Photo: Kerry Partridge Mark Beesley was born in Yorkshire, and educated at Essex and Sussex to the stage action. This colour sign-language requires Whereas the movements of the Serenade, Op. 24, Universities, where he graduated MSc and worked as a Research Fellow. After a exact synchronization between the aural and the visual and the Piano Suite, Op. 25, are modeled on late- period of study with Dennis Wicks, he made his operatic début in 1987 as Pistol in components. The principal event in Scene Three is “a Baroque dance forms (Minuet, Gigue, Gavotte), the Falstaff with Graham Vick’s City of Birmingham Touring Opera. From 1989 until crescendo of colour”: red, brown, dirty green, blue-gray, Quintet follows the structure of the four-movement 1996 he was principal bass at the Royal Opera House, Covent Garden, and in 1999 violet, timed to the music of bars 125–139. As sonata form, with a repeated exposition in the first made his Glyndebourne Festival Opera début as the doctor in Pelléas et Mélisande Schoenberg wrote, “The play of lights and colours is movement and a Rondo finale. The scope of the piece is (also given at The Proms). His many engagements have included appearances in based not only on intensities, but on values which can symphonic, and the texture recalls the contrapuntal style concert and with other British opera companies, and abroad in festivals and opera only be compared with pitches.” of the First Chamber Symphony. houses throughout Europe, in America and in the Far East. Realising that a work of 38 minutes in atonal idiom Wind Quintet, Op. 26 for five winds might be less audience-friendly than any of his music heretofore, Schoenberg sought to beguile The neo-classicism of Schoenberg’s music from about his masterpiece with a display of instrumental virtuosity 1920 is wholly different from what might have been that surpassed anything even he had ever attempted. predicted from his principal composition (unfinished) Only now, a half-century after the première, has the Simon Joly Chorale during World War I, Jacob’s Ladder. This new piece become playable at the tempos Schoenberg direction developed simultaneously with the invention requires. The wind-instrument players of his time had to Handpicked by Simon Joly from the finest professional singers in London, the Simon Joly Chorale is one of three of a new compositional technique variously known as be conducted (Webern rehearsed and conducted it in the select choral groups formed by him for the specific purpose needed by each event. Simon Joly has used each group dodecaphonic and serial. Classical forms provided the early years) and managed to get through it in about an to provide the choral element in many of Robert Craft’s recordings, from the chamber forces of Schoenberg’s Die structural frames for the atonal music of Op. 23, Op. 24, hour. Composed between 21st April, 1923 and 26th glückliche Hand, through Stravinsky’s Symphony of Psalms, to the huge chorus for Schoenberg’s Gurrelieder. Op. 25, and Op. 26, though serial procedures are July, 1924, the first performance, by members of the He has also trained choruses for several other eminent musicians who have included Pierre Boulez, for his introduced in only one movement of Opus 23 and Opus Vienna Philharmonic, took place in that city, conducted recordings of Webern’s Cantatas and a cappella music of Schoenberg, Leonard Bernstein’s prize-winning recording 24. The two later compositions are entirely by Schoenberg’s son-in-law Felix Greissle, on 13th of Candide and several recordings and concerts for Claudio Abbado with the London Symphony Chorus. “dodecaphonic”. But, then, every Schoenberg opus is September, 1924, Schoenberg’s fiftieth birthday. It complete in itself and its stepping-stone foundation lasted one hour. The present recorded performance takes component should be disregarded. The composer’s 38 minutes. New York Woodwind Quintet commitment to the polyphonic art of Bach began with the Quintet, the Four Choruses, Op. 37, and the Satires, Robert Craft For almost sixty seasons, the New York Woodwind Quintet has maintained an Op. 28. When I wrote to him in June 1950 comparing active performance schedule in the United States and abroad while also teaching the next generation of woodwind performers.

Donald MacCourt, recently retired, has been the bassoonist of the New York Woodwind Quintet from 1973 until 2005. He is also a member of Speculum Musicae and plays principal bassoon in the New York City Ballet Orchestra. He Photo: Shirley Singer can be heard on recordings with the Quintet, Speculum Musicae, the Contemporary Chamber Ensemble and the Group for Contemporary Music. Until his retirement he served on the faculties of the Conservatory of Music at Purchase College, SUNY and the Juilliard School. He was on the faculty of the Tanglewood Music Center from 1985 to 1997. Following his retirement from the New York Woodwind Quintet, he has been succeeded by the bassoonist, Marc Goldberg.

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THE ROBERT CRAFT COLLECTION THE MUSIC OF ARNOLD SCHOENBERG, Vol. 8 Also available: Robert Craft, Conductor

Mastered by Richard Price, Candlewood Digital 8.557525

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8.557526 12 NAXOS NAXOS The little-known Second Chamber Symphony ought to be the most popular of Schoenberg’s later masterpieces. Neither “atonal” nor “twelve-tone”, it contrasts a lush, melodious, dramatic first movement with a rapid and richly polyphonic second movement. Die glückliche Hand is a pantomime for two silent actors and one solo singer, “the Man”. The music is very compressed, and its two middle scenes, apart from the lines by the Man, are purely orchestral. Realising that 8.557526 SCHOENBERG: a work of 38 minutes in atonal idiom for five winds might be less audience-friendly than any of SCHOENBERG: his music heretofore, Schoenberg imparted his Wind Quintet with a display of instrumental DDD virtuosity that surpassed anything even he had ever attempted. Arnold Playing Time SCHOENBERG 78:21 (1874-1951) Chamber Symphony 5 III. Bild 6:57 hme Symphony No. 2 Chamber No. 2, Op. 38 1 18:46 6 IV. Bild 5:43 Symphony No. 2 Chamber 1 Adagio 7:23 Wind Quintet, Op. 26 3 38:21 2 Con fuoco 11:23 7 I. Schwungvoll 12:00 8 II. Anmutig und heiter; Die glückliche Hand, Scherzando 9:10 2 Op. 18 21:14 9 III. Etwas langsam. Naxos Rights International Ltd. 3 I. Bild 3:23 Poco adagio 8:45 www.naxos.com Disc made in Canada. Printed and assembled USA. Booklet notes in English 4 II. Bild 5:11 0 IV. Rondo 8:26 2001, 2008 & Mark Beesley, Bass 2 • Simon Joly Chorale 2 New York Woodwind Quintet 3 • Philharmonia Orchestra 1, 2

Robert Craft

Tracks 1-6 were previously released on Koch International Classics 2008 Full recording details can be found on page 2 of the booklet Tracks 1 and 2 recorded at Abbey Road Studio One, London, on 26th May, 2000 Tracks 3-6 recorded at Abbey Road Studio One, London, on 27th and 28th July, 2000 8.557526 Tracks 7-10 recorded at the American Academy of Arts and Letters, New York, 8.557526 from 6th to 8th January, 2004 • Producer: Gregory K. Squires Mastered by Richard Price, Candlewood Digital • Booklet Notes: Robert Craft Cover painting: Sun by Ulrich Osterloh (www.osterlohart.de) (courtesy of the artist)