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Carl Nielsen the Masterworks Vol carl NielseN The masTerworks Vol. 2 chamber aNd iNstrumeNtal works The Danish String PoulQuartet, Schierbeck Trio Ondine, DiamantEnsemblet, Herman D. Koppel Fête galante 6220637_38_booklet_inner_pages.indd 1 23/04/13 12.32 Duration Page Poul Schierbeck (1888-1949) CD 1 Fête galante OP. 25 1 Overture . 8:24 34 (1923-30, rev. 1931-32) ACT ONE Scene 1 2 “Ja, disse ømme elskovsklange” . 5:04 35 Opera in three acts Lauzannes, Saint Lambert, Montmorency, d’Argenville Libretto by Max Lobedanz Scene 4 Danish national symphony oRChEstRa & ChoiR 3 “Kære Greve, ak, det skønne syn af Deres unge frue” . 1:15 38 miChaEl sChønwanDt, conductor Lauzannes, Saint Lambert, Montmorency, René Scaramouche – Bo skovhus, baritone Scene 5 Suzon – DénisE BECk, soprano 4 “O, hør mig, førend vi går ind, Suzon” . 7:06 40 René – miChaEl wEinius, tenor René, Suzon La Scaramouche – anDREa pEllEgRini, mezzo-soprano Scene 6 Marshal Saint Lambert – pallE knuDsEn, baritone 5 “Aha, særdeles net, forsiringer i guld” . 6:30 42 Count Montmorency – JakoB BloCh JEspERsEn, bass Scaramouche Abbot Lauzannes – mathias hEDEgaaRD, tenor Scene 7 Marquis d’Argenville – moRtEn FRank laRsEn, baritone 6 “For fanden, av! Mit øje står i flammer” . 4:31 45 King Louis XV – gERt hEnning-JEnsEn, tenor Scaramouche, Jean Pascal Dumont, Notary – ChRistian DamsgaaRD, tenor 7 “Hvem kommer dér?” . 4:17 49 Majordomo – tomas mEDiCi, tenor Scaramouche Jean – Rasmus gRavERs knivE, tenor Scene 8 Robert – uFFE hEnRiksEn, bass “Ah! “fru grevinden”!” Annette – hEnRiEttE ElimaR, alto Scaramouche, Suzon, Jean ChoRus mastER: annE maRiE gRanau Scene 9 “De har et rart og venligt lille ansigt” After the premiere of Fête galante in 1931, Poul Schierbeck revised and abridged his opera. The present recording matches Suzon, Annette the version staged by the Royal Danish Theatre in 1960. Dacapo is supported by the Danish Arts Council Committee for Music 6220637_38_booklet_inner_pages.indd 2-3 23/04/13 12.32 Duration Page Duration Page Scene 10 Scene 5 8 “Ja, min Salighed! Der kommer nogen” . 2:41 51 Gå dog, afsindige, gå Deres vej! Scaramouche, Suzon Scaramouche, Suzon, René Scene 11 Scene 6 9 “Der bølger som en uro gennem luften” . 4:16 52 16 “Du ryster, sig mig kære, hvad er hændt? . 4:34 65 Suzon, Annette René, Suzon ACT TWO Scene 7 17 “Hvad er der hændt, hvad skal det betyde?” . 3:39 67 Scene 1 La Scaramouche, Scaramouche 10 Introduzione, quasi tarantella . 5:57 54 18 “Han er tindrende gal!” . 3:12 69 “Fingrene væk! Jeg tror, hun er gal!” La Scaramouche Majordomo, La Scaramouche Interludium 11 “Jeg har en idé” . 2:16 56 Scaramouche, La Scaramouche Total72:31 CD 2 Scene 3 “Der har vi direktøren; er I parat?” Scene 8 Saint Lambert, Scaramouche, Lauzannes, Montmorency, La Scaramouche 1 “Se der, der kommer hun!” . 0:47 70 Lauzannes, Saint Lambert 12 “En vise, sunget af en lille uskyldshvid hyrdinde” . 5:13 58 La Scaramouche, Saint Lambert, Montmorency, Lauzannes Scene 9 “Du lænker mig med Amors rosenkæder!” 13 “Truppens primadonna, fru grevinde!” . 0:41 62 Montmorency, La Scaramouche Montmorency, Saint Lambert, Lauzannes, Suzon 2 Sangen om Jean Carvel: ”Carvel var sig en hædersmand ” . 2:23 71 Scene 4 La Scaramouche, Choir “Hvad nu? Er De nu dér igen?” Suzon Scene 10 3 “Jeg har drømt så tit om min bryllupsfest” . 1:28 75 14 “Man kan en kat på kloen” . 2:06 63 Suzon, René Scaramouche, Suzon Scene 11 15 “Men pengene først ” . 0:49 64 4 “Nådige frue, gør mig den ære at tømme et glas” . 4:52 76 Scaramouche d’Argenville, Suzon Duration Page Duration Page Scene 12 Scene 6 5 “Her er jeg!” . 2:17 79 13 “Tak, Saint Lambert, min tak skal De ha’” . 4:21 98 René, d’Argenville, Montmorency, Saint Lambert, Lauzannes René, Lauzannes, Montmorency, Scaramouche, Saint Lambert Scene 13 14 “Tillykke med geviret!” . 0:54 101 6 ”Robert!” . 0:54 81 Montmorency René, Robert, Suzon Scene 7 ACT THREE “Chloë har givet ham sløjfen” René, Lauzannes, Saint Lambert, Montmorency Scene 1 7 “Hvad har jeg gjort!” . 5:28 83 15 “Det er for sent, René” . 6:21 102 René Suzon, René Scene 2 Scene 8 8 “Her bringer jeg notaren, hr . Dumont” . 2:56 84 “Suzon, du gør mig uret!” Robert, Notary, René René, Suzon, Majordomo 9 “Bed mine venner komme med det samme” . 2:50 89 16 “Kom nu, René, nu tier alting stille” . 3:15 105 René Suzon, René, Choir Scene 3 Scene 9 “Nu vil De le, men det er alvor, hør” 17 “Ja, disse ømme elskovsklange” . 1:14 106 René, Lauzannes, Saint Lambert, Montmorency Lauzannes, Saint Lambert, Montmorency, Notary, Choir Scene 4 Total50:20 10 “Til tjeneste, hr . greve” . 2:07 92 d’Argenville, René, Saint Lambert 11 “Kongen!” . 4:22 93 Scaramouche Scene 5 “Afbryder jeg en spøg ved festen?” King, Saint Lambert, d’Argenville, René, Montmorency, Lauzannes, Scaramouche 12 “Hendes Nåde” . 3:51 96 Saint Lambert, Scaramouche, King, La Scaramouche 6220637_38_booklet_inner_pages.indd 6-7 23/04/13 12.32 POUL SCHIERBECK: ‘FêtE GALANtE’ by Jens Brincker Poul Schierbeck (1888-1949) was born in a music-loving academic home, and after tak- ing his school leaving exam he began studying law . He broke off his education in favour of private music studies with among others Carl Nielsen and Thomas Laub as his tutors . At the beginning of World War I he did his military service as a lieutenant, and in 1916 he was engaged as the organist in Skovshoved Church, where he was active until his death in 1949 . In the years after the war Poul Schierbeck began making his name as a compo ser, and in 1919 he was awarded the grant Det Anckerske Legat. The same year, he married the opera singer Sylvia Larsen, who became the natural interpreter of the many songs that typify his output . In 1920 the couple travelled together on a study trip to Italy through England, France, Switzerland and Germany, where Poul Schierbeck finished composing his Symphony op . 15, which he had begun before the war . The symphony was given its first performance in Gothenburg in 1922 with Carl Nielsen conducting, and was repeated later that year in Copenhagen . The next year Poul Schier- beck himself conducted the symphony in Finland . Everywhere the symphony was well received and singled out for its fine orchestration . This gave Poul Schierbeck the courage to begin work on his next major project: the opera Fête galante op. 25, which is based on a play that the writer Max Lobedanz had sent to Poul Schierbeck in 1920 with a request to compose the stage music . Schierbeck per su aded Max Lobedanz to rewrite the play as an opera libretto, and in 1923 he began composing . The work on the opera lasted until 1927, for Poul Schierbeck was in demand from many sides . In 1921 he had successfully composed a cantata for the Copenhagen From the left: Jakob Bloch Jespersen, Palle Knudsen and Mathias Hedegaard Uni ver sity’s matriculation celebrations, and it had many successors: a number of cantatas were composed in the 1920s, and after the death of Carl Nielsen in 1931 he became the with Ludolf Nielsen’s private tutoring, helped to raise a traditionally clumsy and provin- country’s leading composer of occasional cantatas until 1945, when the inauguration of cial instrumen tation practice to international standards . the Danish Radio Concert Hall was marked with a Schierbeck cantata . The overture to Fête galante was composed some years after the opera was finished, In 1931 Fête galante was performed at the Royal Danish Theatre, and the same year namely for the performance at The Royal Danish Theatre in 1931 . It gathers the themes of Poul Schierbeck joined the staff of the Royal Danish Academy of Music in Copen hagen as the opera into a symphonic ­sequence where imposing marches alternate with languishing a teacher of composition and orchestration . A long succession of Danish com posers from melodies in a fire work display of orchestral magnificence . It became Schierbeck’s most Jørgen Jersild and Leif Kayser to Jan Maegaard benefited from his teaching which, along popular orchestral work and a permanent ­element in the repertoire of Danish orchestras . 8 9 6220637_38_booklet_inner_pages.indd 8-9 23/04/13 12.32 Fête galante The opera Fête galante is Poul Schierbeck’s masterpiece and the only one of his music drama works to reach the stage . It was per formed at The Royal Danish Theatre in 1931 and taken off the bill after seven performances, after which the composer, at the urging of the Theatre, did some revising and tightening-up with a view to a revi val . This did not hap- pen until 1960, but then Fête galante stayed in the repertoire for a few seasons . The title refers to French painting of the Rococo era, when Watteau’s pictures of intimate gatherings that staged the aristo cracy’s flirtatious pleasures in mythological settings went under the general designation of “Fêtes galantes” . The setting for the opera is a ‘wedding feast’ in 18th-century France where a noble libertine pretends to marry a young, innocent girl who in fact loves him with all her heart . With a footman disguised as a notary and a marriage contract signed with an ink blot, our aristocrat tries to seduce the girl, but is interrupted by a theatre director and black mailer, then by a duel list, and finally by the unexpected arrival of King Louis XV . The opera ends, of course, with the triumph of virtue . The nobleman realizes that he not only lusts for the girl, but also loves her . The girl forgives his deception . And Louis XV abducts the theatre director’s accommodating wife in the belief that she is the bride .
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