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SCHOENBERG Concerto for String Quartet Lied der Waldtaube • The Book of the Hanging Gardens Fred Sherry String Quartet • Twentieth Century Classics Ensemble Jennifer Lane, Mezzo-Soprano • Christopher Oldfather, Piano Robert Craft

Arnold Schoenberg rehearsing the Los Angeles Philharmonic Orchestra in 1937 (from the Robert Craft Photographic Collection)

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THE ROBERT CRAFT COLLECTION THE MUSIC OF ARNOLD SCHOENBERG, Vol. 2 Also available in the Naxos Robert Craft Collection: Robert Craft, Conductor

1-4 Handel–Schoenberg: Concerto for String Quartet and Orchestra in B flat 20:36 The Fred Sherry String Quartet Jennifer Frautschi, violin • Jesse Mills, violin • Richard O’Neill, viola • Fred Sherry, cello Twentieth Century Classics Ensemble (New York)

5-9 Suite for Piano, Op. 25 7:20 Christopher Oldfather, Soloist

0 Lied der Waldtaube (from Gurre-Lieder) 12:56 (1923 Chamber Ensemble Version) Jennifer Lane, Mezzo-Soprano Twentieth Century Classics Ensemble (New York)

!-∞ The Book of the Hanging Gardens, Op. 15 26:38 15 Poems from Stefan George’s “Das Buch der Hängenden Gärten” Jennifer Lane, Mezzo-Soprano • Christopher Oldfather, Piano ***** § A Conversation with Arnold Schoenberg 6:31 July 1949

Tracks 1-4 recorded at The American Academy of Arts and Letters, 155th Street and Broadway, New York, in October 2002 • Producer and Engineer: Silas Brown, Brooklyn, New York Tracks 5-9 and 11-25 recorded at The American Academy of Arts and Letters, 155th Street and Broadway, New York, in September 2001, and Track 10 in May 2000. Producer and Engineer: Gregory Squires Productions, New York. The spoken interview with Arnold Schoenberg was recorded at his home in July 1949. 8.557518-19 The interviewer is the late Professor Halsey Stevens, U.S.C. 8.557520 2 15 8.557520 557520 bk Schoenberg US 3/11/2004 02:53pm Page 14

Arnold Schoenberg (1874-1951)

Also available in the Naxos Robert Craft Collection: Concerto for String Quartet and Orchestra in cantatas, works for keyboard and other instruments. B flat, after the Concerto Grosso Op. 6, No. 7 Schoenberg’s Concerto for String Quartet and by George Frideric Handel, freely transcribed and Orchestra, after Handel, was composed in the summer developed by Arnold Schoenberg of 1933 in the Villa Stresa, Avenue Rapp, Arcachon (Gironde), where he had written the Cello Concerto the Whereas the playing time of Handel’s concerto for year before. Though officially described as a “leave of strings and continuo is fourteen minutes, and absence,” on 23rd May 1933 he had been forced to leave Schoenberg’s orchestral elaboration of it 22 minutes, the Berlin, and to flee with his wife and infant daughter to work should be counted among the latter’s compositions the Hotel Regina, 192 rue de Rivoli, Paris, where he and not simply as one of his orchestrations (Brahms, soon reconverted from Lutheranism to the Jewish faith Bach). He was not an unqualified admirer of Handel, of his early childhood. The Concerto was completed in and indeed became livid if the name was mentioned in Arcachon before he left for America in October. The the same breath as Bach. Apropos the Monn Cello work was first performed on 26th September 1934 in Concerto recomposed for Pablo Casals, Schoenberg Prague, conducted by K. B. Jirak and with the Kolisch wrote: Quartet as soloists. Rudolf Kolisch, the first violinist, was the composer’s brother-in-law. “I was mainly intent on removing the defects of These biographical circumstances seem to be at the Handelian style. Just as Mozart did with odds with the character of the piece, arguably the Handel’s Messiah, I have had to get rid of whole happiest, most high-spirited, playful, tender, tuneful, handfuls of rosalias and sequences, replacing them and balletic music that he ever wrote. It is also one of with real substance. I also did my best to deal with the most demanding for the solo instruments of a quartet the other main defect of the Handelian style, since Beethoven’s Great Fugue. The character of the which is that the theme is always best when it first music could classify it as more a symphony than a appears and grows steadily more insignificant and concerto, i.e., its slow introduction (Largo); fugal trivial in the course of the piece.” Allegro first movement with extensive cadenza at the end; slow (Largo) lyric 3/4 second movement; Scherzo The concerto grosso form was introduced by (4/8 time) Allegretto grazioso third movement (quasi- Arcangelo Corelli in Rome at the end of the seventeenth cadenza at midpoint); and 3/2 time dance finale century. In the early eighteenth century, after a fruitful (Hornpipe), but one listens to it thinking of the great period in Venice, composing operas for the city’s ballet Balanchine would have made of it. flourishing theaters, Handel moved to Rome, where he The instrumentation is lapidary even for soon came under Corelli’s influence in the new genre of Schoenberg, who manages by means of orchestral string ensemble music. In 1714 Handel followed doublings, constantly changing color combinations, Corelli’s pupil Geminiani to London, where Corelli’s shifting of high and low ranges, and careful set of twelve concerti, published posthumously, had manipulation of dynamics, never to “cover” the solo established a fashion. Handel’s own set of twelve quartet. The beginning of the first Allegro, for example, concerti probably dates from September 1739, which an accelerating, mostly one-pitch fugue subject for six seems a long time later, but the twenty-five-year interval woodwinds playing forte, is matched in volume by a 8.557499 was filled in his case with the creation of a scarcely second entrance scored for pizzicato solo violin, believable quantity of other music, operas, oratorios, xylophone, piano, and harp, in other words percussive

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timbres and articulation (plucked and hammered “Today I have discovered something that will I was able to draw a circle which deviated very little from when you checked it with a compass. But I had the idea instruments). The subject itself is suspenseful, a single assure the supremacy of German music for the that this sense of measurement, of measurements, is one of the capacities of a composer, of an artist. It is probably note shifted through different, increasing speeds. next hundred years” (i.e. the twelve-tone row). the basis of correct balance and logic within, if you have a strict feeling of sizes and their [word indistinguishable] After a forty-bar exposition, Schoenberg departs relationship. radically from Handel in harmony and instrumental Allen Shawn’s comments on the Piano Suite in his style, employing consecutive triple stops and harmonics book Arnold Schoenberg’s Journey1 point out that “The H.S.: Certainly the feeling for relationship to which you refer is very important in music and has been demonstrated in the solo strings. A little later still, the quartet seems to first two groups of four notes … end in a tritone, and the thoroughly in your own music. There is hardly any composer of importance now writing who has not been touched go berserk, zooming through a wild “passage,” light first and last notes are a tritone apart. The last four notes in some measure by the tonal explorations which you have conducted. I wonder if you feel that the techniques you years from Handel, harmonically and instrumentally, of the row spell the name Bach backwards. (H means B have developed in musical composition will become more significant as time goes on. but ending with the fugue theme. The next event is a in German, and B means B flat.) All the movements of cadenza for the soloists, each one playing consecutive the Suite are based on the four forms of the row plus its A.S.: I think that one can—there is a possibility to learn something of my technical achievements. But I think it is octaves in chromatic movement. Music lovers can only transposition to B flat. But what must more immediately even better to go back to those men from whom I learned them: I mean, to Mozart, Beethoven, Brahms, and Bach. I delight in the developments, thematic recapitulations, compel new listeners is the rhythmic invention in the can really—you can really tell that I owe very, very much to Mozart; and if one studies, for instance, my way in contrapuntal designs, and an adagio ending that presents Präludium, and, indeed, in all the other movements.” which I have for string quartet, then one cannot deny that I have learned this directly from Mozart. And I am proud the fugue theme in a variety of speeds, simultaneously Shawn wisely invites us to examine musettes by of it! and in different timbres and ranges. Couperin and Bach. The second movement features the solo quartet, What immediately strikes the listener about this H.S.: Then your advice to a young composer, Mr. Schoenberg, would be to base a foundation upon the same muted and with little help from the orchestra, except for music is its glitter and transparency, high-octane composers— one lovely four-bar phrase where it is joined by three brilliance, simplicity for the ear (and extreme difficulty different combinations of solo string trios from the for the player). It contains more repetition than any A.S.: Yes, yes, yes. Of course you cannot imitate it directly; you have to take the essence and amalgamate your ripieni sections of the orchestra. The melody, the other Schoenberg piece, since the Gavotte is heard ideas with them, and create something new. counterpoint, are exquisite. So is the coda, which twice, the first part of the Musette twice, the first part of ingeniously modulates to a new key. the Menuett three times, both halves of the trio twice, H.S.: It would be impractical, of course, to imitate any past style— Everyone will recognize, and want to sing along and the first third of the Gigue twice. Ostinati are also with, the familiar melody of the third movement, at least common, particularly in the Intermezzo. In bars 21–22 A.S.: No—yes—it’s out, yes, yes. until its oddly dotted rhythmic development and Schoenberg even manages to evoke Scott Joplin, changing keys break free from Handel’s harmonic consciously or not. Remarkable, too, are the many H.S.: Unfortunately, our time is about up, Mr. Schoenberg— spectrum. But the syncopated maestoso Hornpipe finale single lines (Gigue) and two-part counterpoint. is the glory of this too-little-known, difficult to play A.S.: Aha! masterpiece, which has never received such a fine Lied der Waldtaube from Gurre-Lieder performance. (1923 Chamber Ensemble Version) H.S.: Thank you for being with us—

Suite for Piano, Opus 25 This most beautiful of Schoenberg’s Lieder is also his A.S.: I was afraid that I would speak too much! most popular and in no need of commentary. The According to the manuscript, this neo-classic dance listener should focus attention to the skill of the H.S.: By no means; it has been a great pleasure and honor to have you with us.… suite—Präludium, Gavotte, Musette, Intermezzo, transcription of the accompaniment from an orchestra of Menuett with Trio and da capo, Gigue—was written over one hundred (in the original) for only the fifteen between 24th July, 1921 and 20th March, 1923. instruments of his Chamber Symphony, joined by piano Actually, the Intermezzo was composed on 21st July, and harmonium. Fittingly, the first performance took 1921, about the time that Schoenberg told his pupil place in Copenhagen. Josef Rufer:

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§ A Conversation with Arnold Schoenberg The Book of the Hanging Gardens, Op. 15 towards which I am striving appears to me a certain one, 15 Poems from Stefan George’s Das Buch der I am, nonetheless, already feeling the resistance I shall In July 1949, the late Halsey Stevens, of the Music Department at the University of Southern California and the Hängenden Gärten have to overcome: I feel that even the least of author of an important book on Bartók, recorded an interview with Schoenberg intended to be aired on his seventy- temperaments will rise in revolt, and suspect that even fifth birthday on September 13, 1949. In the 1950s I used the tape on one of my Columbia Records Schoenberg Schoenberg became interested in Stefan George’s those who have so far believed in me will not want to releases. — R.C. poetry in the autumn of 1907, and had set poems by him acknowledge the necessary nature of this development. before The Hanging Gardens (1908), most notably the So it seemed a good thing to point out, by performing H.S.: … It may not be generally known that Mr. Schoenberg is also a painter as well as a composer.… Litanei (Litany) and Entrückung (Rapture), the third and the Gurrelieder—which years ago were friendless, but fourth movements of the Second String Quartet, which today have friends enough—that I am being forced in A.S.: Yes, that is right. But I have to correct something. I was a painter, perhaps, but I am not any longer a painter. I add a high soprano voice to the instruments. The this direction not because my invention or technique is didn’t paint for many, many years—for at least two or three decades. But here still the whole afternoon I was under composer and poet seem to have had no personal inadequate, nor because I am uninformed about all the the impression that I will be asked about my paintings and have to speak about them. so I have a little prepared my connection at all. One reason could be that as other things the prevailing aesthetics demand, but that I capacity of improvisation. charismatic leaders of cults, they too much resembled am obeying an inner compulsion, which is stronger than each other. my upbringing: that I am obeying the formative process In thinking about this subject—or because all my ideas are centered around this subject—so I planned to tell you In 1889, in Paris, George began to attend which, being natural to me, is stronger than my artistic what painting meant—means—to me. In fact, it was the same to me as making music. It was to me a way of Mallarmé’s “Tuesday evenings”, where he soon education. expressing myself, of presenting emotions, ideas, and other feelings; and this is perhaps the way to understand these attracted some of the most intelligent young literati in Schoenberg’s pupil Egon Wellesz quotes the paintings—or not to understand them. They would probably have suffered the same fate as I have suffered; they the German-speaking world, among them Hugo von composer saying that the initial words of the text, no would have been attacked and scolded and I don’t know what else I should say: I mean, the same would happen to Hofmannstal. George was homosexual by inclination, a matter the meaning or the “poetic events”, meant them as what happened to my music. This, I mean, would (be) understood or not understood. fact he tried to disguise by referring to lovers in gender- nothing to him while composing, and that he claimed to neutral terms (“you”, “my child”). The texts of The have understood the poetic context only days after In fact, as I said, I never was very capable of expressing my feelings or emotions in words. I don’t know whether Hanging Gardens are love poems, the only ones George finishing the music: this is the cause why I did it in music and also why I did it in painting, or vice versa. That I had this (way) as an ever addressed to a woman (in this case the wife of outlet, I could renounce expressing something in words. Does this answer some of your questions? Richard Dehmel, author of the poem that inspired “There to my great astonishment I discovered that Schoenberg’s Verklärte Nacht). But we are told nothing I was never more faithful to the poet than when, H.S.:Yes, it does. But I wonder, Mr. Schoenberg, whether you encountered problems in painting similar to those about the relationship between her and the man, except led as it were, by the first direct contact with the you found in music, taking into consideration, of course, the complete difference in technical media. that they are destined to separate. We are also unable to opening sounds, I felt instinctively all that must visualize the scene, which includes white marble necessarily follow from these initial sounds. Then A.S.:It’s a very good question. I must answer that as a painter I was absolutely an amateur; I had no theoretical baroque fountains, storks and ponds, a desert, Northern it became clear to me that it is with a work of art training and only a little aesthetic training, and this only from general education, but not from an education which garden flowers and tropical palms. Furthermore, there is as with every perfect organism.… It is so pertained to painting. In music it was different. So I was also an—was ist “self-made”?—an autodidact. I had no consistent narrative and there are no events. homogenous in its constitution that it discloses in always the opportunity to study the works of the masters and to study them in quite a professional manner, so that The first performance of The Hanging Gardens every detail its truest and inmost being. Thus I my technical ability grew in the normal manner. That is the difference between my painting and my music. took place in Berlin, the Ehrbar Hall, 14th January, came to a full understanding … of Stefan 1910, sung by Martha Winternitz-Dorda. Schoenberg’s George’s poems from their sound alone … the H.S.: Suppose you had pursued the profession of a painter: you have already said that you would have expected the messianic program note for the occasion reads, in part: external agreement between music and text— same sort of reception, the same sort of surprise and occasional condemnation that your music has received; but do With the George songs I have for the first time declamation, tempo, and tonal intensity—has you feel that your career as a painter might have paralleled that as a composer? succeeded in approaching an ideal of expression and little to do with inner meaning.” form which has been in my mind for years. Until now, I A.S.: Yes, I am sure it would have had. So I must say, technically I possessed some ability, at this time at least, and lacked the strength and confidence to make it a reality. R. C. I’m afraid that I have partly lost it. For instance, I had a good sense of relations, of space relations, of measurements. But now that I have set out along this path once and for I was able to divide, let us say, a line rather correctly in three, four, six, seven, even eleven parts, and they were quite all, I am conscious of having broken through every 1 Farrar, Strauss, and Giroux, New York, 2002. near the real division. And I had also a good sense of other such measurements, of many measurements. At this time restriction of a bygone aesthetic; and though to the goal

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Christopher Oldfather £ Du lehnest wider eine Silberweide 1:38 You lean against a silver willow am Ufer, mit des Fächers starren Spitzen on the bank, with the stiff points of your fan Christopher Oldfather presented his recital début in Carnegie Recital Hall in 1986. Since then his career has taken umschirmest du das Haupt dir wie mit Blitzen you shield your head as with lightning him as far afield as Moscow and Tokyo, and he has worked on every sort of keyboard from harpsichord to sampled und rollst, als ob du spieltest dein Geschmeide. and turn as though you sported your jewels. percussion. He has appeared with practically every new music group in New York and has been a member of Ich bin im Boot das Laubgewölbe wahren I am in my boat in the arched foliage, Boston’s College New Music since 1979. As a soloist he has appeared with the New York Philharmonic, the New in das ich dich vergeblich lud zu steigen … in vain I would invite you to join me … World Symphony and Ensemble Modern in Frankfurt, Germany. His recording of Elliott Carter’s violin-piano Duo die Weiden seh ich, die sich tiefer neigen I see the willows that bow deeper down with Robert Mann was nominated for two Grammy Awards in 1990. He is also known for his performances in und Blumen, die verstreut im Wasser fahren. and flowers that float, scattered on the water. Washington with the Juilliard String Quartet. He is a founding member of the Andreas Piano Trio, and can be heard on a number of recordings by major record companies. ¢ Sprich nicht immer von dem Laub, 0:49 Speak no more of leaves, Windes raub; vom Zerschellen the wind’s spoil, nor of the bursting Jennifer Lane reifer Quitten, von den tritten of ripe quinces, of the tread der Vernichter spät im Jahr, of the destroyer late in the year, The mezzo-soprano Jennifer Lane is well known in the United States and abroad in performances of repertoire von dem Zittern der Libellen of the trembling of the dragonflies ranging from the early baroque to that of today’s composers. She has appeared at many of the most distinguished in Gewittern und der Lichter, in storms and of the lights festivals and concert series worldwide in programmes ranging from recitals and chamber music to oratorio and deren Flimmer wandelbar. glimmering and moving. opera, with conductors Michael Tilson-Thomas, Mstislav Rostropovich, William Christie, Nicholas McGegan, Andrew Parrott, Marc Minkowski, Helmut Rilling and Robert Shaw among others. Her recordings include collaboration with the conductor Robert Craft, and with the lutenist David Tayler. ∞ Wir bevölkerten die abend düstern 4:45 We went together through the evening dark Lauben, lichten Tempel, Pfad und Beet foliage, lighted temple, path and garden-bed freudig—sie mit lächeln ich mit Flüstern— in joy - she with smiles, I with whispers of love - The Fred Sherry String Quartet nun ist wahr: dass sie für immer geht. now it is true that she has gone for ever. Hohe Blumen blassen oder brechen, Tall flowers fade or break, Jennifer Frautschi, violin • Jesse Mills, violin • Richard O’Neill, viola • Fred Sherry, cello Es erblasst und bricht der Weiher Glas faded and broken is the pond’s glass Und ich trete fehl im marschen Gras, and I step halting in the marshy grass. The Fred Sherry String Quartet was founded to perform and record Arnold Schoenberg’s String Quartet Concerto. Palmen mit den spitzen Fingern stechen. Palms with sharp fingers stab me, Fred Sherry recruited his younger colleagues to play this notoriously difficult piece because of their virtuosity and Mürber Blätter zischendes Gewühl tender leaves in hissing bustle fearlessness in confronting the score. Jennifer Frautschi, winner of the Avery Fisher Career Grant, has appeared jagen ruckweis unsichtbare Hände are chased here and there by unseen hands recently as soloist with Pierre Boulez and the Los Angeles Philharmonic. Jesse Mills is an avid improviser and draussen um des Edens fahle Wände. without Eden’s lurid walls. composer who crosses all musical boundaries in his widespread performing career. Richard O’Neill is a frequent Die Nacht ist überwölkt und schwül. Night is clouded over and oppressive. performer at the Chamber Music Society of Lincoln Center and has toured extensively with Musicians from Marlboro. The Quartet performed the Concerto with Robert Craft for the Stefan Wolpe Centenary. English version by Keith Anderson

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( Streng ist uns das Glück und spröde, 1:34 Harsh is our happiness and hard, Robert Craft was vermocht ein kurzer Kuss? what use can a brief kiss be? Eines regentropfens Guss A little drop of rain Robert Craft, the noted conductor and widely respected writer and critic on music, literature, and culture, holds a auf gesengter, bleicher Öde, on a scorched, bleak wasteland unique place in world music of today. He is in the process of recording the complete works of Stravinsky, die ihn ungenossen schlingt, that drinks it down, still thirsting, Schoenberg, and Webern for Naxos. He has twice won the Grand Prix du Disque as well as the Edison Prize for his neue Labung missen muss must do without new refreshment landmark recordings of Schoenberg, Webern, and Varèse. He has also received a special award from the American und vor neuen Gluten springt. and is cracked by new heat. Academy and National Institute of Arts and Letters in recognition of his “creative work” in literature. In 2002 he was awarded the International Prix du Disque Lifetime Achievement Award, Cannes Music Festival. Robert Craft has conducted and recorded with most of the world’s major orchestras in the United States, Europe, ) Das schöne Beet betracht ich mir im Harren, 2:07 The fair flowerbed I contemplate, waiting, Russia, Japan, Korea, Mexico, South America, Australia, and New Zealand. He is the first American to have es ist umzäunt mit purpurn-schwarzem Dorne, it is enclosed with purple-black thorn-bushes conducted Berg’s Wozzeck and Lulu, and his original Webern album enabled music lovers to become acquainted with drin ragen Kelche mit geflecktem Sporne through which loom calyxes with flecked spurs this composer’s then little-known music. He led the world premières of Stravinsky’s later masterpieces: In und sammtgefiederte, geneigte Farren and velvet-feathered bending ferns Memoriam: Dylan Thomas, Vom Himmel hoch, Agon, The Flood, Abraham and Isaac, Variations, Introitus, and und Flockenbüschel wassergrün und rund— and centaury, water-green and round - Requiem Canticles. Craft’s historic association with Igor Stravinsky, as his constant companion, co-conductor, and und in der Mitte Glocken, weiss und mild— and in the middle bell-flowers, white and gentle - musical confidant, over a period of more than twenty years, contributed to his understanding of the composer’s von einem Odem ist ihr feuchter Mund the breath from her moist mouth intentions in the performance of his music. He remains the primary source for our perspectives on Stravinsky’s life wie süsse Frucht vom himmlischen Gefild. is like sweet fruit from Heaven’s fields. and work. In addition to his special command of Stravinsky’s and Schoenberg’s music, Robert Craft is well known for his recordings of works by Monteverdi, Gesualdo, Schütz, Bach, and Mozart. He is also the author of more than two ¡ Als wir hinter dem beblümten Tore 2:36 When we behind the flower-decked gate dozen books on music and the arts, including the highly acclaimed Stravinsky: Chronicle of a Friendship; The endlich nur das eigne Hauchen spürten, at last only sensed each other’s breathing, Moment of Existence: Music, Literature and the Arts, 1990–1995; Places: A Travel Companion for Music and Art warden uns erdachte Seligkeiten? was our happiness what we thought? Lovers; An Improbable Life: Memoirs; Memories and Commentaries; and the forthcoming “Down a Path of Ich erinnere, dass wie schwache Rohre I remember that, like weak reeds, Wonder”: On Schoenberg, Webern, Stravinsky, Eliot, Auden, and Some Others (2005). He lives in Florida and New beide stumm zu beben wir begannen, both mute we began to tremble York. wenn wir leis nur an uns rührten when we touched only lightly, und dass unsre Augen rannen. and that our eyes ran with tears. So verbliebest du mir lang zu Seiten. So you stayed long by my side.

™ Wenn sich bei heilger Ruh in tiefen Matten 1:57 When in holy rest in deep hammocks um unsre Schläfen unsre Hände schmiegen, over our brows our hands fondle, Verehrung lindert unsrer Glieder Brand: reverence checks the burning of our limbs: So denke nicht der ungestalten Schatten so think not of the unformed shadows die an der Wand sich auf und unter wiegen, that rock up and down on the wall, der Wächter nicht, die rasch uns scheiden dürfen not of the watchers who would quickly part us, und nicht, dass vor der Stadt der weisse Sand and not that before the city the white sand bereit ist unser warmes Blut zu schlürfen. is ready to drink our warm blood.

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Das Buch der hängenden Gärten, op. 15 The Book of the Hanging Gardens, Op. 15 % Saget mir, auf welchem Pfade 1:08 Tell me, on which path Heute sie vorüberschreite, today she walks dass ich aus der reichsten Lade that I from the richest stores ! Unterm Schutz von dichten Blättergründen, 2:23 Under the shelter of dense foliage garte Seidenweben hole, may fetch silken cloths, wo von Sternen feine Flocken schneien, where from stars fine flakes snow down, Rose pflücke und Viole, pick roses and violets, sachte Stimmen ihre Leiden künden, gentle voices tell of their sufferings, dass ich meine Wange breite, that I may lay down my face Fabeltiere aus den braunen Schlünden beasts of fable from tawny-brown gullets Schemel unter ihrer Sohle. a footstool under her feet. Strahlen in die Marmorbecken speien, spurt out streams in marble fountains, draus die kleinen Bäche klagend eilen, about which little brooks hasten, weeping, kamen Kerzen das Gesträuch entzünden, candles set aflame the bushes, ^ Jedem Werke bin ich fürder tot. 1:07 To everything now I am dead. weisse Formen das Gewässer teilen. white shapes part the waters. Dich mir nahzurufen mit den Sinnen, To bring you to me by my senses, neue Reden mit dir auszuspinnen, to spin out new words with you, Dienst und Lohn Gewährung und Verbot, service and reward, granting and forbidding, @ Hain in diesen Paradiesen 1:23 Bushes in these paradises von allen Dingen ist nur dieses not, from all things only this is needed, wechselt ab mit Blütenwiesen mingle with flowering meadows und Weinen, dass die Bilder immer fliehen and weeping that the images ever fly away Hallen, buntbemalten Fliesen. halls, painted flagstones. die in schöner Finsternis gediehen, that flourish in fair darkness Schlanker Störche Schnäbel kräuseln Beaks of slender storks ripple wann der kalte, klare Morgen droht. when the cold, clear morning threatens. Teiche, die von Fischen schillern. ponds, shimmering with fish. Vögelreihen matten Scheines Ranks of dull-coloured birds Auf den schiefen Firsten trillern trill on the slanting roof-ridges & Angst und Hoffen wechselnd mich beklemmen, 1:08 Fear and hope in turns oppress me, und die goldnen Binsen säuseln, and golden rushes whisper, meine Worte sich in Seufzer dehnen, my words stretch out into sighs, doch mein Traum verfolgt nur Eines. yet my dream is haunted by one alone. mich bedrängt so ungestümes Sehnen, such impetuous yearning besets me dass ich mich an Rast und Schlaf nicht kehre, that I have no rest and sleep, dass mein Lager Tränen schwemmen, that my couch swims in tears, # Als Neuling trat ich ein in dein Gehege; 1:43 As a young man I met you, dass ich jede Freude von mir wehre, that I cast aside every joy, kein Staunen war vorher in meinen Mienen, no amazement was there in my manner. dass ich keines Freundes Trost begehre. that I crave for no friend’s consolation. kein Wunsch in mir, eh ich dich blickte, rege. no desire in me, before I saw you. Der jungen Hände Faltung sieh mit Huld; Look with favour on my young hands in prayer; erwähle mich zu denen, die dir dienen let me be among those that serve you * Wenn ich heut nicht deinen Leib berühre, 0:43 If today I do not touch your body, und schone mit erbarmender Geduld den and with merciful patience treat kindly wird der Faden meiner Seele reissen the threads of my soul will break der noch strauchelt auf so fremdem Stege. one who still stumbles on so strange a path. wie zu sehr gespannte Sehne. like strings stretched too much. Liebe zeichen seien Trauerflöre Let mourning crape be a sign of love mir, der leidet, seit ich dir gehöre. for me, as I suffer, since I belong to you. $ Da meine Lippen reglos sind und brennen, 1:36 Since my lips are still and burning Richte, ob mir solche Qual gebühre, Judge whether such suffering should be mine. beacht ich erst wohin mein Fuss geriet: I first know where my foot has stepped, Kühlung sprenge mir, dem Fieberheissen, Cool my fever’s heat in andrer Herren prächtiges Gebiet. a splendid region ruled by other lords. der Ich wankend draussen lehne. as I lean faltering by your door. Noch war vielleicht mir möglich, mich zu trennen, Yet perhaps it was possible for me to leave, da schien es, dass durch hohe Gitterstäbe as it seemed that through the high prison bars der Blick vor dem ich ohne Lass gekniet, the look before which I knelt in ceaseless prayer mich fragend suchte oder Zeichen gäbe. questioning sought me or gave some signs.

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Arnold Schoenberg (1874-1951)

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THE ROBERT CRAFT COLLECTION THE MUSIC OF ARNOLD SCHOENBERG, Vol. 2 Also available in the Naxos Robert Craft Collection: Robert Craft, Conductor

5-9 Suite for Piano, Op. 25 7:20 Christopher Oldfather, Soloist

0 Lied der Waldtaube (from Gurre-Lieder) 12:56 (1923 Chamber Ensemble Version) Jennifer Lane, Mezzo-Soprano Twentieth Century Classics Ensemble (New York)

Arnold Schoenberg rehearsing the Los Angeles Philharmonic Orchestra in 1937 (from the Robert Craft Photographic Collection)

8.557520 16 557520 rr Schoenberg US 3/11/2004 02:54pm Page 1 N N AXOS AXOS Volume 2 of the Naxos Robert Craft Schoenberg Collection features the Concerto for String Quartet and Orchestra after Handel, a work so freely transcribed and developed that it should be counted among Schoenberg’s own compositions. Arguably one of his most high-spirited, tender and tuneful works, it is also one of the most demanding for the solo instruments of a quartet since Beethoven’s Great Fugue. SCHOENBERG: For the first performance of The Book of the Hanging Gardens, a setting for mezzo-soprano and piano DDD SCHOENBERG: to texts by Stefan George (1868-1933), Schoenberg himself wrote: “I have for the first time succeeded in approaching an ideal of expression and form which has been in my mind for years”. 8.557520 Arnold Playing Time SCHOENBERG 79:59 (1874-1951) ocrofrString Quartet & Orchestra Concerto for ocrofrString Quartet & Orchestra Concerto for Concerto for String Quartet and 8 Menuett; Trio; Menuett da capo 3:22 Orchestra in B flat 20:36 9 Gigue 2:35 1 Largo-Allegro 5:07 0 Lied der Waldtaube* 2 Largo 3:10 from Gurre-Lieder 12:56 3 Allegretto grazioso 6:35 !-∞ The Book of the Hanging 4 Hornpipe 5:44 Gardens, Op. 15* 26:38 Suite for Piano, Op. 25 13:17 www.naxos.com Made in Canada Includes sung texts and translations Booklet notes in English h

§ & 5 Präludium 1:00 A Conversation with g 6 Gavotte–Musette–Gavotte 3:09 Arnold Schoenberg 6:31 2004 Naxos Rights International Ltd. 7 Intermezzo 3:11 Christopher Oldfather, Piano • Jennifer Lane, Mezzo-Soprano* Fred Sherry String Quartet • Twentieth Century Classics Ensemble Robert Craft Full recording details can be found on page 2 of the booklet Booklet Notes: Robert Craft 8.557520 Cover Picture: Destination by Ulrich Osterloh (www.osterlohart.de) (courtesy of the artist) 8.557520 The text of Lied der Waldtaube can be found at www.naxos.com/libretti/waldtaube NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality