SCHOENBERGChamber Symphony No. 2

Die glückliche Hand • Wind Quintet, Op. 26

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

Robert Craft

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THE ROBERT CRAFT COLLECTIONTHE MUSIC OF ARNOLD SCHOENBERG, Vol. 8

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 glückliche 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

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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 Varèse. 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 world’s major orchestras in the United States, Europe,Russia, Japan, Korea, Mexico, South America, Australia, and New Zealand. He is the first American to have conductedBerg’s Wozzeck and Lulu, and his original Webern album enabled music lovers to become acquainted with thiscomposer’s then little-known music. He led the world premières of Stravinsky’s later masterpieces: In Memoriam:Dylan Thomas, Vom Himmel hoch, Agon, The Flood, Abraham and Isaac, Variations, Introitus, and RequiemCanticles. Craft’s 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 composer’s intentions in theperformance of his music. He remains the primary source for our perspectives on Stravinsky’s life and work.

In addition to his special command of Stravinsky’s and Schoenberg’s music, Robert Craft is well known for hisrecordings of works by Monteverdi, Gesualdo, Schütz, 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, 1990–1995; 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 première 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 of“visible” 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 and“psychic” problems are presented exhaustivelyin the two completed movements; the finalmovement merely appends, so to speak, certain“observations”.

Schoenberg wrote to Stiedry again after hearingacetate recordings of his première 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 wrong—at 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 Schoenberg’s 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 Stravinsky’sOde, 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

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

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Philharmonia Orchestra

The Philharmonia Orchestra is one of theworld’s great orchestras. Acknowledged asBritain’s 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 world’s most sought-after artists, most importantly its PrincipalConductor Christoph von Dohnányi, thePhilharmonia Orchestra is at the heart of

British musical life. Today, the Philharmonia has the greatest claim of any orchestra to be Britain’s 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 Orchestra’s 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 London’s 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 George’sBristol and Watershed. The Orchestra’s extensive touring schedule also includes appearances at its prestigious Europeanresidency venues, the Théâtre du Châtelet 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 were at No. 1 and No. 2 in the national charts, while the Orchestra’s scoresfor the last two Harry Potter computer games have both been nominated for BAFTA Awards. CD recording and livebroadcasting both also continue to play a significant part in the Orchestra’s activities: since 2003 the Philharmonia hasenjoyed a major partnership with Classic FM, as The Classic FM Orchestra on Tour, as well as continuing to broadcaston BBC Radio 3.

Photo: Richard Haughton

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higher degree of instrumental virtuosity than any pieceby Stravinsky. The music of both composers in thisperiod is still labeled as “neoclassic”. If the reader has ascore, he or she should turn to bar 453 of Schoenberg’sCon fuoco, and enjoy the thrilling timbre of the bassoondoubling of the clarinet.

Die glückliche Hand

Schoenberg wrote the Die glückliche Hand libretto(“The Hand of Fate” would be a better title), a “DramaWith Music”, in June 1910, and began the music threemonths later, on 9th September. Composed in early1912, before Pierrot Lunaire, the music was completedafter it, in 1913. The full score manuscript, in theLibrary of Congress, is dated “November 18, 1913,Berlin”. The first and last scenes were written last,Schoenberg having changed his mind about the form ofthe opus while he was working on the transition to thefinal scene, the jagged music near the end of the thirdscene that accompanies the Man’s pursuit of “thebeautiful woman” through a rocky landscape, a scenethat concludes when she dislodges a boulder from aplace above him that falls on and crushes him. The 1910libretto makes no mention of the off-stage band and themocking laughter from the chorus that distinguish thefirst and last scenes and that are the same in both as wellas in their bass-clarinet and bassoons ostinatointroductions.

Soon after completing Die glückliche Hand,Schoenberg began to generate ideas about its realizationon stage. He wanted “the greatest unreality,” a “playwith apparitions of colours and forms, designed byKandinsky or Kokoschka”. In the spring of 1914 thecomposer met with the Intendant of the Dresden Opera,Count Seebach, to discuss the possibility of staging thework, together with Erwartung, but World War I forcedthe delay of a première for a decade, Erwartung inPrague and Die glückliche Hand in Vienna, by whichtime new developments had alienated the aesthetics andthe musico-dramatic languages of both.

Die glückliche Hand is a pantomime for two silent

actors and one solo singer, “the Man”—whose ninebrief sung phrases are hardly comparable to the long,overpowering vocal rôle of “the Woman” in Erwartung.(Apart from its division into four scenes, Die glücklicheHand contains no significant resemblances toErwartung.) The Glückliche Hand music is very muchmore compressed than that of Erwartung, and its twomiddle scenes, apart from the lines by the Man, arepurely orchestral. The first and fourth scenes employ asmall chorus of six female and six male singers and anoffstage band of seven players, whose music issuperimposed on the large orchestra. Further, Dieglückliche Hand returns to traditional elements, asymmetrical form, clear divisions (somewhat in thesense of a “number” opera), motivic development,repetition (the three-note, minor-second down, major-second-up motive, introduced by the flute in bar 126 andafter that successively throughout the orchestra moretimes than any other motive in Schoenberg’s music, anda greatly expanded use of ostinato. For this last, theentire first scene is constructed on a double ostinato, oneof the two components played by timpani and harp inthe bass register, the other by solo violas and cellos inthe upper register. This nine-note “ostinato chord”, asSchoenberg referred to it, quietly accompanies thetwelve singers, who whisper, sing, and speak-sing(Sprechstimme) in elaborate polyphony. The third scenebegins with an ostinato, and more of them are found atbars 97–100, 129–130, 140–142, 146–153, 181–184(“choo-choo” train music reminiscent of the ostinatoscene-changing music in Erwartung.) The twelve vocalparts at the end of Scene Four are almost entirely sung(no Sprechstimme) and they are stronger and moreprominent than in Scene One.

Apart from the chorus and the nine short phrasessung by the Man, the libretto is in the stage directions(see below). The “plot” is simple. At the beginning, wesee the Man lying face down, head toward the audience,feet toward the inner stage. A monster (hyena specieswith bat wings) gnaws at his neck. The chorus ispositioned behind a dark curtain at the rear centre stage,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 workswritten for her by many of today’s most prominent composers. She has collaborated with the Guarneri, Emerson,Tokyo, and Cleveland string quartets, and Jessye Norman, Emanuel Ax, Yo-Yo Ma, and Elly Ameling. Festivalappearances include Aldeburgh, Aspen, Budapest, Caramoor, Frankfurt, Marlboro, Mostly Mozart, Santa Fe,Sarasota, Spoleto and Tivoli. First Prize winner of the Walter W. Naumburg Solo Flute competition, Carol Wincenchas been a member of the flute faculty at the Juilliard School since 1988, and SUNY Stony Brook since 1998.

Oboist Stephen Taylor holds the Mrs. John D. Rockefeller III solo oboe chair with the Chamber Music Society ofLincoln Center. He is also solo oboe with the New York Woodwind Quintet, the Orchestra of St. Luke’s, the St.Luke’s Chamber Ensemble, the American Composers Orchestra, the New England Bach Festival Orchestra, therenowned contemporary music group Speculum Musicae, and plays as co-principal oboe with the Orpheus ChamberOrchestra. Trained at the Juilliard School with teachers Lois Wann and Robert Bloom, he is a member of its facultyas well as of the Yale School of Music, SUNY Stony Brook and the Manhattan School of Music.

William Purvis pursues a career both in the United States. and abroad as horn soloist, chamber musician, conductorand educator. He is a member of the New York Woodwind Quintet, the Orchestra of St. Luke’s, the Yale Brass Trio,the Triton Horn Trio and is an Emeritus member of Orpheus. His extensive list of recordings spans an unusuallybroad range from original instrument performance to standard solo and chamber music repertoire to contemporarysolo and chamber music works. He is currently a faculty member of The Yale School of Music where he is alsoCoordinator of Winds and Brass, The Juilliard School where he is co-ordinator of the New York Woodwind QuintetSeminar, and SUNY Stony Brook.

Described as the “Paganini of the clarinet,” Charles Neidich not only appears regularly throughout the UnitedStates, Europe, and Asia as a soloist and chamber music collaborator, performing with leading orchestras andchamber ensembles, but is also active as a conductor and composer. He began his clarinet studies with his father,Irving Neidich, continued them with Leon Russianoff, and, later studied with Boris Dikov as the first recipient of aFulbright Grant to study in the USSR. He is a leading exponent of new music, and is also known for performanceson period instruments and is the founder of the noted period ensemble, Mozzafiato. Active in education, CharlesNeidich is on the faculties of the Juilliard School, Manhattan School, Mannes College, and Aaron Copland Schoolof Music. He conducts master-courses in Holland, Germany, and Japan, and spends time regularly at the MarlboroFestival in the United States.

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curtain. The Man is the Great Artist (Schoenberg) andthe gnawing monster is his ego, which cravesrecognition and acclaim. The “Greek” chorus upbraidsthe Man for desiring the futile rewards of success: “Youpoor fool … You, who have the divine in you, yet covetthe worldly.” At the start of Scene Two a beautifulwoman appears. She gives a goblet to the Man, whodrinks its contents but does not see her, whereupon thewoman loses her initial sympathy for him and goes tothe side of the stage where an “elegantly dressedgentleman” takes the woman in his arms. They go offtogether, and the Man groans, but in a moment theWoman returns to him. At the end of the scene sheleaves him again. This, of course, is autobiography. In1908, Schoenberg’s wife, Mathilde, eloped with ayoung painter, Richard Gerstl, who had been workingon Schoenberg’s portrait. Not long after the elopementGerstl hanged himself. Anton Webern, Schoenberg’spupil, persuaded him to take her back. The composer’spublic humiliation at the time, not to mention his angerand wounded pride, are revealed in a letter to AlmaMahler, 7th October, 1910:

If I am to be honest and say something aboutmy works (which I do not willingly do, since Iactually write them in order to conceal myselfthoroughly behind them, so that I will not beseen), it could only be this: It is not meantsymbolically, but only envisioned and felt. Notthought at all. Colour, noises, lights, sounds,movements, looks, gestures — in short, themedia which make up the ingredients of thestage — are to be linked to one another in avaried way. Nothing more than that. It meantsomething to my emotions as I wrote it down …I don’t want to be understood: I want to expressmyself — but I hope that I will bemisunderstood.

Scene Three begins with a unison figure in bass octaves(lower strings, harp, bass clarinet, bassoons) with thecharacter of a fugue subject. The second entrance

repeats the rhythm of the subject but not the notes. TheMan goes to a cave where he discovers a goldsmith’sshop with several workers. In the middle is an anvil, ahuge hammer under it. As the Man contemplates theworkers, he remarks that what they are doing can bedone more simply. He goes to the anvil, places a blockof gold on it, then brings the hammer down on it,splitting the anvil and allowing the gold to fall into thecleft. The workers had been preparing to stop him, butwhen he retrieves a perfect diadem set with preciousstones they express wonder at the achievement. (Theglitter of the jewel is evoked by a mixture of trills andflutter-tonguing in the wind instruments.) Eventually,after he gives his masterpiece to them, they decide toattack him, at which point the scene changes. Thewoman returns, now naked to the hip on her left side,and the “elegant gentleman” returns as well. He followsthe woman, who climbs to the top of a plateau. The Manpursues her through rocky terrain. The woman attains ahigher elevation and dislodges a boulder toward theMan, who is standing below, hitting and burying him.The Fourth Scene returns to the first, with, at the end,the chorus mocking the Man: “Must you live again whatyou have so often lived? You poor fool!”

Apart from the aforementioned personal history, theallegory symbolizes the successful Viennese composerof operettas and popular music in the “elegantly dressedgentleman,” while the incompetent workmen areuntalented, hack composers, and the anvil that the Mancrushes — the blow of a huge wooden hammer is heardin the orchestra at this point (bar 115) — can be thoughtof as representing tonality, the diadem, one of thebeautiful objects that the man of genius will create,symbolizes the new atonality. (In addition to thehammer, the orchestral arsenal includes a “Metallrohr”,an instrument known to the fabricators of “MusiqueConcrète”.)

At the time of composing Die glückliche Hand,Schoenberg was an exhibiting painter, personally andartistically close to Kandinsky, which explains thecomposer’s addition of a colour dimension to thisGesamtkunstwerk dream-world opera. The colour

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changes are “notated” in the score by some seventyabstract signs indicating the varying shades andintensities of coloured lights shifting in correspondenceto the stage action. This colour sign-language requiresexact synchronization between the aural and the visualcomponents. The principal event in Scene Three is “acrescendo of colour”: red, brown, dirty green, blue-gray,violet, timed to the music of bars 125–139. AsSchoenberg wrote, “The play of lights and colours isbased not only on intensities, but on values which canonly be compared with pitches.”

Wind Quintet, Op. 26

The neo-classicism of Schoenberg’s music from about1920 is wholly different from what might have beenpredicted from his principal composition (unfinished)during World War I, Jacob’s Ladder. This newdirection developed simultaneously with the inventionof a new compositional technique variously known asdodecaphonic and serial. Classical forms provided thestructural frames for the atonal music of Op. 23, Op. 24,Op. 25, and Op. 26, though serial procedures areintroduced in only one movement of Opus 23 and Opus24. The two later compositions are entirely“dodecaphonic”. But, then, every Schoenberg opus iscomplete in itself and its stepping-stone foundationcomponent should be disregarded. The composer’scommitment to the polyphonic art of Bach began withthe Quintet, the Four Choruses, Op. 37, and the Satires,Op. 28. When I wrote to him in June 1950 comparing

Opus 28 to the Musical Offering, he quickly answered:“You place me too high”, but he was clearly aware ofthe correspondence between the two works.

Whereas the movements of the Serenade, Op. 24,and the Piano Suite, Op. 25, are modeled on late-Baroque dance forms (Minuet, Gigue, Gavotte), theQuintet follows the structure of the four-movementsonata form, with a repeated exposition in the firstmovement and a Rondo finale. The scope of the piece issymphonic, and the texture recalls the contrapuntal styleof the First Chamber Symphony.

Realising that a work of 38 minutes in atonal idiomfor five winds might be less audience-friendly than anyof his music heretofore, Schoenberg sought to beguilehis masterpiece with a display of instrumental virtuositythat surpassed anything even he had ever attempted.Only now, a half-century after the première, has thepiece become playable at the tempos Schoenbergrequires. The wind-instrument players of his time had tobe conducted (Webern rehearsed and conducted it in theearly years) and managed to get through it in about anhour. Composed between 21st April, 1923 and 26thJuly, 1924, the first performance, by members of theVienna Philharmonic, took place in that city, conductedby Schoenberg’s son-in-law Felix Greissle, on 13thSeptember, 1924, Schoenberg’s fiftieth birthday. Itlasted one hour. The present recorded performance takes38 minutes.

Robert Craft

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Mark Beesley

Mark Beesley was born in Yorkshire, and educated at Essex and SussexUniversities, where he graduated MSc and worked as a Research Fellow. After aperiod of study with Dennis Wicks, he made his operatic début in 1987 as Pistol inFalstaff with Graham Vick’s City of Birmingham Touring Opera. From 1989 until1996 he was principal bass at the Royal Opera House, Covent Garden, and in 1999made his Glyndebourne Festival Opera début as the doctor in Pelléas et Mélisande(also given at The Proms). His many engagements have included appearances inconcert and with other British opera companies, and abroad in festivals and operahouses throughout Europe, in America and in the Far East.

Simon Joly Chorale

Handpicked by Simon Joly from the finest professional singers in London, the Simon Joly Chorale is one of threeselect choral groups formed by him for the specific purpose needed by each event. Simon Joly has used each groupto provide the choral element in many of Robert Craft’s recordings, from the chamber forces of Schoenberg’s Dieglückliche Hand, through Stravinsky’s Symphony of Psalms, to the huge chorus for Schoenberg’s Gurrelieder. He has also trained choruses for several other eminent musicians who have included Pierre Boulez, for hisrecordings of Webern’s Cantatas and a cappella music of Schoenberg, Leonard Bernstein’s prize-winning recordingof Candide and several recordings and concerts for Claudio Abbado with the London Symphony Chorus.

New York Woodwind Quintet

For almost sixty seasons, the New York Woodwind Quintet has maintained anactive performance schedule in the United States and abroad while also teachingthe next generation of woodwind performers.

Donald MacCourt, recently retired, has been the bassoonist of the New YorkWoodwind Quintet from 1973 until 2005. He is also a member of SpeculumMusicae and plays principal bassoon in the New York City Ballet Orchestra. Hecan 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 thefaculties of the Conservatory of Music at Purchase College, SUNY and the Juilliard School. He was on the facultyof the Tanglewood Music Center from 1985 to 1997. Following his retirement from the New York WoodwindQuintet, he has been succeeded by the bassoonist, Marc Goldberg.

Photo: Kerry Partridge

Photo: Shirley Singer

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changes are “notated” in the score by some seventyabstract signs indicating the varying shades andintensities of coloured lights shifting in correspondenceto the stage action. This colour sign-language requiresexact synchronization between the aural and the visualcomponents. The principal event in Scene Three is “acrescendo of colour”: red, brown, dirty green, blue-gray,violet, timed to the music of bars 125–139. AsSchoenberg wrote, “The play of lights and colours isbased not only on intensities, but on values which canonly be compared with pitches.”

Wind Quintet, Op. 26

The neo-classicism of Schoenberg’s music from about1920 is wholly different from what might have beenpredicted from his principal composition (unfinished)during World War I, Jacob’s Ladder. This newdirection developed simultaneously with the inventionof a new compositional technique variously known asdodecaphonic and serial. Classical forms provided thestructural frames for the atonal music of Op. 23, Op. 24,Op. 25, and Op. 26, though serial procedures areintroduced in only one movement of Opus 23 and Opus24. The two later compositions are entirely“dodecaphonic”. But, then, every Schoenberg opus iscomplete in itself and its stepping-stone foundationcomponent should be disregarded. The composer’scommitment to the polyphonic art of Bach began withthe Quintet, the Four Choruses, Op. 37, and the Satires,Op. 28. When I wrote to him in June 1950 comparing

Opus 28 to the Musical Offering, he quickly answered:“You place me too high”, but he was clearly aware ofthe correspondence between the two works.

Whereas the movements of the Serenade, Op. 24,and the Piano Suite, Op. 25, are modeled on late-Baroque dance forms (Minuet, Gigue, Gavotte), theQuintet follows the structure of the four-movementsonata form, with a repeated exposition in the firstmovement and a Rondo finale. The scope of the piece issymphonic, and the texture recalls the contrapuntal styleof the First Chamber Symphony.

Realising that a work of 38 minutes in atonal idiomfor five winds might be less audience-friendly than anyof his music heretofore, Schoenberg sought to beguilehis masterpiece with a display of instrumental virtuositythat surpassed anything even he had ever attempted.Only now, a half-century after the première, has thepiece become playable at the tempos Schoenbergrequires. The wind-instrument players of his time had tobe conducted (Webern rehearsed and conducted it in theearly years) and managed to get through it in about anhour. Composed between 21st April, 1923 and 26thJuly, 1924, the first performance, by members of theVienna Philharmonic, took place in that city, conductedby Schoenberg’s son-in-law Felix Greissle, on 13thSeptember, 1924, Schoenberg’s fiftieth birthday. Itlasted one hour. The present recorded performance takes38 minutes.

Robert Craft

8.5575266 7

Mark Beesley

Mark Beesley was born in Yorkshire, and educated at Essex and SussexUniversities, where he graduated MSc and worked as a Research Fellow. After aperiod of study with Dennis Wicks, he made his operatic début in 1987 as Pistol inFalstaff with Graham Vick’s City of Birmingham Touring Opera. From 1989 until1996 he was principal bass at the Royal Opera House, Covent Garden, and in 1999made his Glyndebourne Festival Opera début as the doctor in Pelléas et Mélisande(also given at The Proms). His many engagements have included appearances inconcert and with other British opera companies, and abroad in festivals and operahouses throughout Europe, in America and in the Far East.

Simon Joly Chorale

Handpicked by Simon Joly from the finest professional singers in London, the Simon Joly Chorale is one of threeselect choral groups formed by him for the specific purpose needed by each event. Simon Joly has used each groupto provide the choral element in many of Robert Craft’s recordings, from the chamber forces of Schoenberg’s Dieglückliche Hand, through Stravinsky’s Symphony of Psalms, to the huge chorus for Schoenberg’s Gurrelieder. He has also trained choruses for several other eminent musicians who have included Pierre Boulez, for hisrecordings of Webern’s Cantatas and a cappella music of Schoenberg, Leonard Bernstein’s prize-winning recordingof Candide and several recordings and concerts for Claudio Abbado with the London Symphony Chorus.

New York Woodwind Quintet

For almost sixty seasons, the New York Woodwind Quintet has maintained anactive performance schedule in the United States and abroad while also teachingthe next generation of woodwind performers.

Donald MacCourt, recently retired, has been the bassoonist of the New YorkWoodwind Quintet from 1973 until 2005. He is also a member of SpeculumMusicae and plays principal bassoon in the New York City Ballet Orchestra. Hecan 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 thefaculties of the Conservatory of Music at Purchase College, SUNY and the Juilliard School. He was on the facultyof the Tanglewood Music Center from 1985 to 1997. Following his retirement from the New York WoodwindQuintet, he has been succeeded by the bassoonist, Marc Goldberg.

Photo: Kerry Partridge

Photo: Shirley Singer

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Carol Wincenc, flutist, has appeared as a soloist with major orchestras around the world and has premiered workswritten for her by many of today’s most prominent composers. She has collaborated with the Guarneri, Emerson,Tokyo, and Cleveland string quartets, and Jessye Norman, Emanuel Ax, Yo-Yo Ma, and Elly Ameling. Festivalappearances include Aldeburgh, Aspen, Budapest, Caramoor, Frankfurt, Marlboro, Mostly Mozart, Santa Fe,Sarasota, Spoleto and Tivoli. First Prize winner of the Walter W. Naumburg Solo Flute competition, Carol Wincenchas been a member of the flute faculty at the Juilliard School since 1988, and SUNY Stony Brook since 1998.

Oboist Stephen Taylor holds the Mrs. John D. Rockefeller III solo oboe chair with the Chamber Music Society ofLincoln Center. He is also solo oboe with the New York Woodwind Quintet, the Orchestra of St. Luke’s, the St.Luke’s Chamber Ensemble, the American Composers Orchestra, the New England Bach Festival Orchestra, therenowned contemporary music group Speculum Musicae, and plays as co-principal oboe with the Orpheus ChamberOrchestra. Trained at the Juilliard School with teachers Lois Wann and Robert Bloom, he is a member of its facultyas well as of the Yale School of Music, SUNY Stony Brook and the Manhattan School of Music.

William Purvis pursues a career both in the United States. and abroad as horn soloist, chamber musician, conductorand educator. He is a member of the New York Woodwind Quintet, the Orchestra of St. Luke’s, the Yale Brass Trio,the Triton Horn Trio and is an Emeritus member of Orpheus. His extensive list of recordings spans an unusuallybroad range from original instrument performance to standard solo and chamber music repertoire to contemporarysolo and chamber music works. He is currently a faculty member of The Yale School of Music where he is alsoCoordinator of Winds and Brass, The Juilliard School where he is co-ordinator of the New York Woodwind QuintetSeminar, and SUNY Stony Brook.

Described as the “Paganini of the clarinet,” Charles Neidich not only appears regularly throughout the UnitedStates, Europe, and Asia as a soloist and chamber music collaborator, performing with leading orchestras andchamber ensembles, but is also active as a conductor and composer. He began his clarinet studies with his father,Irving Neidich, continued them with Leon Russianoff, and, later studied with Boris Dikov as the first recipient of aFulbright Grant to study in the USSR. He is a leading exponent of new music, and is also known for performanceson period instruments and is the founder of the noted period ensemble, Mozzafiato. Active in education, CharlesNeidich is on the faculties of the Juilliard School, Manhattan School, Mannes College, and Aaron Copland Schoolof Music. He conducts master-courses in Holland, Germany, and Japan, and spends time regularly at the MarlboroFestival in the United States.

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curtain. The Man is the Great Artist (Schoenberg) andthe gnawing monster is his ego, which cravesrecognition and acclaim. The “Greek” chorus upbraidsthe Man for desiring the futile rewards of success: “Youpoor fool … You, who have the divine in you, yet covetthe worldly.” At the start of Scene Two a beautifulwoman appears. She gives a goblet to the Man, whodrinks its contents but does not see her, whereupon thewoman loses her initial sympathy for him and goes tothe side of the stage where an “elegantly dressedgentleman” takes the woman in his arms. They go offtogether, and the Man groans, but in a moment theWoman returns to him. At the end of the scene sheleaves him again. This, of course, is autobiography. In1908, Schoenberg’s wife, Mathilde, eloped with ayoung painter, Richard Gerstl, who had been workingon Schoenberg’s portrait. Not long after the elopementGerstl hanged himself. Anton Webern, Schoenberg’spupil, persuaded him to take her back. The composer’spublic humiliation at the time, not to mention his angerand wounded pride, are revealed in a letter to AlmaMahler, 7th October, 1910:

If I am to be honest and say something aboutmy works (which I do not willingly do, since Iactually write them in order to conceal myselfthoroughly behind them, so that I will not beseen), it could only be this: It is not meantsymbolically, but only envisioned and felt. Notthought at all. Colour, noises, lights, sounds,movements, looks, gestures — in short, themedia which make up the ingredients of thestage — are to be linked to one another in avaried way. Nothing more than that. It meantsomething to my emotions as I wrote it down …I don’t want to be understood: I want to expressmyself — but I hope that I will bemisunderstood.

Scene Three begins with a unison figure in bass octaves(lower strings, harp, bass clarinet, bassoons) with thecharacter of a fugue subject. The second entrance

repeats the rhythm of the subject but not the notes. TheMan goes to a cave where he discovers a goldsmith’sshop with several workers. In the middle is an anvil, ahuge hammer under it. As the Man contemplates theworkers, he remarks that what they are doing can bedone more simply. He goes to the anvil, places a blockof gold on it, then brings the hammer down on it,splitting the anvil and allowing the gold to fall into thecleft. The workers had been preparing to stop him, butwhen he retrieves a perfect diadem set with preciousstones they express wonder at the achievement. (Theglitter of the jewel is evoked by a mixture of trills andflutter-tonguing in the wind instruments.) Eventually,after he gives his masterpiece to them, they decide toattack him, at which point the scene changes. Thewoman returns, now naked to the hip on her left side,and the “elegant gentleman” returns as well. He followsthe woman, who climbs to the top of a plateau. The Manpursues her through rocky terrain. The woman attains ahigher elevation and dislodges a boulder toward theMan, who is standing below, hitting and burying him.The Fourth Scene returns to the first, with, at the end,the chorus mocking the Man: “Must you live again whatyou have so often lived? You poor fool!”

Apart from the aforementioned personal history, theallegory symbolizes the successful Viennese composerof operettas and popular music in the “elegantly dressedgentleman,” while the incompetent workmen areuntalented, hack composers, and the anvil that the Mancrushes — the blow of a huge wooden hammer is heardin the orchestra at this point (bar 115) — can be thoughtof as representing tonality, the diadem, one of thebeautiful objects that the man of genius will create,symbolizes the new atonality. (In addition to thehammer, the orchestral arsenal includes a “Metallrohr”,an instrument known to the fabricators of “MusiqueConcrète”.)

At the time of composing Die glückliche Hand,Schoenberg was an exhibiting painter, personally andartistically close to Kandinsky, which explains thecomposer’s addition of a colour dimension to thisGesamtkunstwerk dream-world opera. The colour

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Philharmonia Orchestra

The Philharmonia Orchestra is one of theworld’s great orchestras. Acknowledged asBritain’s 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 world’s most sought-after artists, most importantly its PrincipalConductor Christoph von Dohnányi, thePhilharmonia Orchestra is at the heart of

British musical life. Today, the Philharmonia has the greatest claim of any orchestra to be Britain’s 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 Orchestra’s 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 London’s 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 George’sBristol and Watershed. The Orchestra’s extensive touring schedule also includes appearances at its prestigious Europeanresidency venues, the Théâtre du Châtelet 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 were at No. 1 and No. 2 in the national charts, while the Orchestra’s scoresfor the last two Harry Potter computer games have both been nominated for BAFTA Awards. CD recording and livebroadcasting both also continue to play a significant part in the Orchestra’s activities: since 2003 the Philharmonia hasenjoyed a major partnership with Classic FM, as The Classic FM Orchestra on Tour, as well as continuing to broadcaston BBC Radio 3.

Photo: Richard Haughton

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higher degree of instrumental virtuosity than any pieceby Stravinsky. The music of both composers in thisperiod is still labeled as “neoclassic”. If the reader has ascore, he or she should turn to bar 453 of Schoenberg’sCon fuoco, and enjoy the thrilling timbre of the bassoondoubling of the clarinet.

Die glückliche Hand

Schoenberg wrote the Die glückliche Hand libretto(“The Hand of Fate” would be a better title), a “DramaWith Music”, in June 1910, and began the music threemonths later, on 9th September. Composed in early1912, before Pierrot Lunaire, the music was completedafter it, in 1913. The full score manuscript, in theLibrary of Congress, is dated “November 18, 1913,Berlin”. The first and last scenes were written last,Schoenberg having changed his mind about the form ofthe opus while he was working on the transition to thefinal scene, the jagged music near the end of the thirdscene that accompanies the Man’s pursuit of “thebeautiful woman” through a rocky landscape, a scenethat concludes when she dislodges a boulder from aplace above him that falls on and crushes him. The 1910libretto makes no mention of the off-stage band and themocking laughter from the chorus that distinguish thefirst and last scenes and that are the same in both as wellas in their bass-clarinet and bassoons ostinatointroductions.

Soon after completing Die glückliche Hand,Schoenberg began to generate ideas about its realizationon stage. He wanted “the greatest unreality,” a “playwith apparitions of colours and forms, designed byKandinsky or Kokoschka”. In the spring of 1914 thecomposer met with the Intendant of the Dresden Opera,Count Seebach, to discuss the possibility of staging thework, together with Erwartung, but World War I forcedthe delay of a première for a decade, Erwartung inPrague and Die glückliche Hand in Vienna, by whichtime new developments had alienated the aesthetics andthe musico-dramatic languages of both.

Die glückliche Hand is a pantomime for two silent

actors and one solo singer, “the Man”—whose ninebrief sung phrases are hardly comparable to the long,overpowering vocal rôle of “the Woman” in Erwartung.(Apart from its division into four scenes, Die glücklicheHand contains no significant resemblances toErwartung.) The Glückliche Hand music is very muchmore compressed than that of Erwartung, and its twomiddle scenes, apart from the lines by the Man, arepurely orchestral. The first and fourth scenes employ asmall chorus of six female and six male singers and anoffstage band of seven players, whose music issuperimposed on the large orchestra. Further, Dieglückliche Hand returns to traditional elements, asymmetrical form, clear divisions (somewhat in thesense of a “number” opera), motivic development,repetition (the three-note, minor-second down, major-second-up motive, introduced by the flute in bar 126 andafter that successively throughout the orchestra moretimes than any other motive in Schoenberg’s music, anda greatly expanded use of ostinato. For this last, theentire first scene is constructed on a double ostinato, oneof the two components played by timpani and harp inthe bass register, the other by solo violas and cellos inthe upper register. This nine-note “ostinato chord”, asSchoenberg referred to it, quietly accompanies thetwelve singers, who whisper, sing, and speak-sing(Sprechstimme) in elaborate polyphony. The third scenebegins with an ostinato, and more of them are found atbars 97–100, 129–130, 140–142, 146–153, 181–184(“choo-choo” train music reminiscent of the ostinatoscene-changing music in Erwartung.) The twelve vocalparts at the end of Scene Four are almost entirely sung(no Sprechstimme) and they are stronger and moreprominent than in Scene One.

Apart from the chorus and the nine short phrasessung by the Man, the libretto is in the stage directions(see below). The “plot” is simple. At the beginning, wesee the Man lying face down, head toward the audience,feet toward the inner stage. A monster (hyena specieswith bat wings) gnaws at his neck. The chorus ispositioned behind a dark curtain at the rear centre stage,their twelve green-lit faces peering through holes in the

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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 Varèse. 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 world’s major orchestras in the United States, Europe,Russia, Japan, Korea, Mexico, South America, Australia, and New Zealand. He is the first American to have conductedBerg’s Wozzeck and Lulu, and his original Webern album enabled music lovers to become acquainted with thiscomposer’s then little-known music. He led the world premières of Stravinsky’s later masterpieces: In Memoriam:Dylan Thomas, Vom Himmel hoch, Agon, The Flood, Abraham and Isaac, Variations, Introitus, and RequiemCanticles. Craft’s 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 composer’s intentions in theperformance of his music. He remains the primary source for our perspectives on Stravinsky’s life and work.

In addition to his special command of Stravinsky’s and Schoenberg’s music, Robert Craft is well known for hisrecordings of works by Monteverdi, Gesualdo, Schütz, 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, 1990–1995; 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 première 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 of“visible” 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 and“psychic” problems are presented exhaustivelyin the two completed movements; the finalmovement merely appends, so to speak, certain“observations”.

Schoenberg wrote to Stiedry again after hearingacetate recordings of his première 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 wrong—at 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 Schoenberg’s 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 Stravinsky’sOde, 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

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

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THE ROBERT CRAFT COLLECTIONTHE MUSIC OF ARNOLD SCHOENBERG, Vol. 8

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 glückliche 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

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SCHOENBERGChamber Symphony No. 2

Die glückliche Hand • Wind Quintet, Op. 26

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

Robert Craft

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The little-known Second Chamber Symphony ought to be the most popular of Schoenberg’s latermasterpieces. Neither “atonal” nor “twelve-tone”, it contrasts a lush, melodious, dramatic firstmovement with a rapid and richly polyphonic second movement. Die glückliche Hand is apantomime 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 thata work of 38 minutes in atonal idiom for five winds might be less audience-friendly than any ofhis music heretofore, Schoenberg imparted his Wind Quintet with a display of instrumentalvirtuosity that surpassed anything even he had ever attempted.

DDD

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Booklet notes in E

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ArnoldSCHOENBERG

(1874-1951)

Mark Beesley, Bass 2 • Simon Joly Chorale 2

New York Woodwind Quintet 3 • Philharmonia Orchestra 1, 2

Robert CraftTracks 1-6 were previously released on Koch International Classics

Full recording details can be found on page 2 of the bookletTracks 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, 2000Tracks 7-10 recorded at the American Academy of Arts and Letters, New York,

from 6th to 8th January, 2004 • Producer: Gregory K. SquiresMastered by Richard Price, Candlewood Digital • Booklet Notes: Robert Craft

Cover painting: Sun by Ulrich Osterloh (www.osterlohart.de) (courtesy of the artist)

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Chamber Symphony No. 2, Op. 38 1 18:46

1 Adagio 7:232 Con fuoco 11:23

Die glückliche Hand, Op. 18 2 21:14

3 I. Bild 3:234 II. Bild 5:11

5 III. Bild 6:576 IV. Bild 5:43

Wind Quintet, Op. 26 3 38:217 I. Schwungvoll 12:008 II. Anmutig und heiter;

Scherzando 9:109 III. Etwas langsam.

Poco adagio 8:450 IV. Rondo 8:26