Die gl¼ckliche Hand • Wind Quintet, Op. 26 Mark Beesley ... New York Woodwind Quintet • Philharmonia

  • View

  • Download

Embed Size (px)

Text of Die gl¼ckliche Hand • Wind Quintet, Op. 26 Mark Beesley ... New York...

  • SCHOENBERGChamber Symphony No. 2

    Die glckliche Hand Wind Quintet, Op. 26

    Mark Beesley, Bass Simon Joly ChoraleNew York Woodwind Quintet Philharmonia Orchestra

    Robert Craft

    8.557526 12

    Also available:


    557526 bk Schoenberg 16/2/08 20:44 Page 12

  • 8.55752611

    Also available:


    8.557526 2


    Robert Craft, Conductor

    Chamber Symphony No. 2, Op. 38 (1939) 18:461 Adagio 7:232 Con fuoco 11:23

    Philharmonia OrchestraRecorded at Abbey Road Studio One, London, on 26th May, 2000Producer: Gregory K. Squires Balance Engineer: Michael Sheady

    Engineers: Andrew Dudman, Graham Kirkby, Mirek Stiles

    Die glckliche Hand, Op. 18 (1913) 21:143 I. Bild 3:234 II. Bild 5:115 III. Bild 6:576 IV. Bild 5:43

    Mark Beesley, Bass The Simon Joly Chorale Philharmonia OrchestraRecorded at Abbey Road Studio One, London, on 27th and 28th July, 2000

    Produced by Gregory K. Squires Balance Engineer: Michael SheadyEngineers: Andrew Dudman, Graham Kirkby, Mirek Stiles

    Wind Quintet, Op. 26 (1924) 38:217 I. Schwungvoll 12:008 II. Anmutig und heiter; Scherzando 9:109 III. Etwas langsam. Poco adagio 8:450 IV. Rondo 8:26

    New York Woodwind QuintetCarol 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, 2004Produced and engineered by Gregory K. Squires

    Production assistance: Fred Sherry Digital editing by Wayne Hileman

    Mastered by Richard Price, Candlewood Digital

    557526 bk Schoenberg 16/2/08 20:44 Page 2

  • 8.557526 10

    Robert Craft

    Robert Craft, the noted conductor and widely respected writer and critic on music, literature, and culture, holds aunique place in world music of today. He is in the process of recording the complete works of Stravinsky, Schoenberg,and Webern for Naxos. He has twice won the Grand Prix du Disque as well as the Edison Prize for his landmarkrecordings of Schoenberg, Webern, and Varse. He has also received a special award from the American Academy andNational Institute of Arts and Letters in recognition of his creative work in literature. In 2002 he was awarded theInternational Prix du Disque Lifetime Achievement Award, Cannes Music Festival.

    Robert Craft has conducted and recorded with most of the worlds major orchestras in the United States, Europe,Russia, Japan, Korea, Mexico, South America, Australia, and New Zealand. He is the first American to have conductedBergs Wozzeck and Lulu, and his original Webern album enabled music lovers to become acquainted with thiscomposers then little-known music. He led the world premires of Stravinskys later masterpieces: In Memoriam:Dylan Thomas, Vom Himmel hoch, Agon, The Flood, Abraham and Isaac, Variations, Introitus, and RequiemCanticles. Crafts historic association with Igor Stravinsky, as his constant companion, co-conductor, and musicalconfidant, over a period of more than twenty years, contributed to his understanding of the composers intentions in theperformance of his music. He remains the primary source for our perspectives on Stravinskys life and work.

    In addition to his special command of Stravinskys and Schoenbergs music, Robert Craft is well known for hisrecordings of works by Monteverdi, Gesualdo, Schtz, Bach, and Mozart. He is also the author of more than two dozenbooks on music and the arts, including the highly acclaimed Stravinsky: Chronicle of a Friendship; The Moment ofExistence: Music, Literature and the Arts, 19901995; Places: A Travel Companion for Music and Art Lovers; An Improbable Life: Memoirs; Memories and Commentaries; and the forthcoming Down a Path of Wonder: On Schoenberg, Webern, Stravinsky, Eliot, Auden, and Some Others (2005). He lives in Florida and New York.

    Chamber Symphony No. 2In two movements: Adagio and Con fuoco

    The Second Chamber Symphony was begun in August1906, soon after the completion of the First ChamberSymphony, but set aside until the summer of 1939, whenSchoenberg returned to the piece, finishing the firstmovement on 14th August and the second on 21stOctober, 1939. A letter from the composer to FritzStiedry, who conducted the premire in a broadcastconcert in Town Hall, New York, 15th December, 1940,reveals the history of the opus:

    [Between 1906 and 1939] my style has becomemuch more profound and I have much difficultyin making the ideas which I wrote down manyyears ago without too much thought (rightlytrusting to my feeling for design) conform tomy present demand for a high degree ofvisible logic. This is now one of my greatestdifficulties, for it also affects the material of thepiece. This material is very good: expressive,characteristic, rich, and interesting. But it ismeant to be carried out in the manner which Iwas capable of at the time of the SecondQuartet.

    The first movement is finished. I havealtered very little; only the ending is entirelynew, and the instrumentation. In a few places Ihave altered the harmonization, and I havechanged the accompaniment figures ratherfrequently. After numerous experiments, Idecided to rework these completely. I am verywell satisfied with the movement. Besides, it iseasy to play; very easy

    Now I am working on the secondmovement. If I succeed in finishing it, it will bequite effective: a very lively Allegro The last

    movement [eventually the end of the secondmovement] is an epilogue, which does bringthematically new material The musical andpsychic problems are presented exhaustivelyin the two completed movements; the finalmovement merely appends, so to speak, certainobservations.

    Schoenberg wrote to Stiedry again after hearingacetate recordings of his premire performance of thepiece:

    I find the strings too noisy, and this is becauseeach of the staccatos marked is played sforzatoinstead of being played as an unusually shortnote. For me, the noise of the strings is sodistorting that the winds do not come outplastically enough. [Apropos] the detachednotes, [they] were mostly played as staccatos.This is wrongat least in my music. I reallymean that each note should be bowed orbreathed separately (8th January, 1941).

    The little-known Second Chamber Symphony ought tobe the most popular of Schoenbergs later masterpieces.Neither atonal nor twelve-tone, it contrasts a lush,melodious, dramatic first movement with a rapid andrichly polyphonic second movement. The firstmovement has always been popular, but the far moredifficult-to-play second movement is still (2008)underappreciated. The Allegro movement invitescomparison with the middle movement of StravinskysOde, if only in rhythm, the exploitation of a six-eight-metre accommodating twos and threes simultaneously,the syncopations and offbeats. But the Schoenberg isincomparably more abundant in substance, emotionalpower, and compositional skill, the Stravinsky beingrigidly diatonic, homophonic, and mired in protractedtemporizing. The Schoenberg further requires a much


    Arnold Schoenberg (1874-1951)Chamber Symphony No. 2 Die glckliche Hand Wind Quintet, Op. 26

    557526 bk Schoenberg 16/2/08 20:44 Page 10

  • Philharmonia Orchestra

    The Philharmonia Orchestra is one of theworlds great orchestras. Acknowledged asBritains foremost musical pioneer, with anextraordinary recording legacy, thePhilharmonia leads the field for its quality ofplaying, and for its innovative approach toaudience development, residencies, musiceducation and the use of new technologies inreaching a global audience. Together with itsrelationships with the worlds most sought-after artists, most importantly its PrincipalConductor Christoph von Dohnnyi, thePhilharmonia Orchestra is at the heart of

    British musical life. Today, the Philharmonia has the greatest claim of any orchestra to be Britains National Orchestra.It is committed to presenting the same quality, live music-making in venues throughout the country as it brings toLondon and the great concert halls of the world. 2005 marked not only the Orchestras Sixtieth Anniversary, but also theTenth Anniversary of its much admired British and International Residency Programme, which began in 1995 with thelaunch of its residencies at the Bedford Corn Exchange and Londons South Bank Centre. Now the Orchestra iscelebrating its ninth year as Resident Orchestra of De Montfort Hall in Leicester, its sixth year as Orchestra inPartnership at the Anvil in Basingstoke and the third year of its relationship in Bristol with Colston Hall, St GeorgesBristol and Watershed. The Orchestras extensive touring schedule also includes appearances at its prestigious Europeanresidency venues, the Thtre du Chtelet in Paris and the Concertgebouw in Bruges, as well as at more than twenty ofthe finest international concert halls. Throughout its sixty-year history, the Philharmonia Orchestra has been committedto finding new ways to bring its top quality live performance to audiences worldwide, and to using new technologies toachieve this. Many millions of people since 1945 have enjoyed their first experience of classical music through aPhilharmonia recording, and now audiences can engage with the Orchestra through webcasts, podcasts, downloads,computer games and film scores as well as through its unique interactive music education website launched in 2005, TheSound Exchange (www.philharmonia.co.uk/thesoundexchange). In 2005 the Philharmonia became the first everclassical music organisation to be shortlisted for a BT Digital Music Award, and in the same year the Orchestrapresented both the first ever fully interactive webcast and the first podcast by a British orchestra. In September 2005computer games with Philharmonia scores w