MAHLER
SYMPHONY NO.8 KLAUS TENNSTEDTconductor LONDON PHILHARMONIC ORCHESTRA
A BBC recording
MAHLER SYMPHONY NO.8 Mahler composed his Eighth Symphony at his lakeside summer home in Carinthia in 1906. His wife Alma, to whom he dedicated the work, remembered that time as their ‘last summer of peace and beauty and content’. The following year they suffered three grievous blows: the loss of Mahler’s musical directorship of the Vienna Court Opera, the death of their four-year-old elder daughter and the diagnosis of Mahler’s heart disease. Yet in 1906 all seemed well. The summer began as usual with him fearing loss of inspiration. Then one morning there came into his mind the words of Veni, Creator Spiritus (Come, Creator Spirit), the 9th-century Catholic hymn for Pentecost. He started setting the lines to music, beginning what developed into the work that a German impresario nicknamed with pardonable exaggeration the ‘Symphony of a Thousand’. The performance recorded here employs over four hundred singers and an orchestra of 128 players. There is also an important role for the organ. If the tumultuous setting of the Latin hymn could be regarded as a powerful symphonic first movement, Mahler perceived that setting the mystical last scene of Goethe’s Faust could provide equivalents of a slow movement,
scherzo and finale. And since Faust’s aspirations towards superhuman wisdom paralleled the Catholics’ invocation of the Holy Spirit, it was logical as well as musically unifying to develop themes from Part I in Part II. The first draft was finished in eight weeks, and Mahler wrote to the conductor Willem Mengelberg: ‘It is the greatest work I have yet composed…Imagine that the universe bursts into song. We no longer hear human voices but those of planets and suns.’ The triumphant first performance took place in Munich on 12 September 1910. Eight months later Mahler died, burnt out at fifty. In his handling of the huge forces Mahler integrates the eight solo voices and three choirs into complex orchestral textures with scant regard for the singers’ comfort. In Part I we sense worshippers almost hysterically striving for divine illumination. Part II, which begins with a long orchestral introduction, is more relaxed until the closing pages. In both parts most of the musical themes derive from the bracing invocation that launches the symphony. Johann Wolfgang von Goethe (1749-1832) devoted many years to his dramatic poem on
the ancient fable of Faust, the philosopher who made a fatal compact with Mephistopheles, the Devil. This myth gave Goethe a medium for examining and commenting upon the human condition in Western civilization. The listed dramatis personae require explanation. Magna Peccatrix is the woman of whom Christ said (St. Luke, ch.7): ‘Her sins, which are many, are forgiven, for she loved much’. Una Poenitentium (a penitent) is the soul of Gretchen, whom Faust seduced. Mater Gloriosa is both the Virgin Mary and the mythological earth mother symbolising the source of life. Mulier Samaritana is the sinful woman of Samaria (St. John, ch.4) who met Christ by a well. Maria Aegyptiaca is the apocryphal Mary of Egypt. The male figures are not individuals but symbols.
Magna Peccatrix, Mulier Samaritana and Maria Aegyptiaca pray as redeemed sinners for Gretchen to be pardoned, and the penitent Gretchen sings happily of reunion with Faust. Goethe having refused to let Mephistopheles claim Faust’s soul, Mater Gloriosa bids angels to bear it to higher spheres. Doctor Marianus hails Mater Gloriosa as Virgin, Mother, Queen and Goddess. An ethereal orchestral passage topped by a solo piccolo leads to the pianissimo Chorus Mysticus, which tells of a spirit world where human aspirations, indescribable and unattainable on earth, are fulfilled. Goethe says a mystic force that he terms the ‘Ewig-Weibliche’ (eternal womanhood) draws us onward. Mahler, discussing these closing lines with his wife, felt that he was right to call it the force of love.
The Faust scene is set amid mountain ravines, where the voices of anchorites echo between chasms. Pater Ecstaticus and Pater Profundus sing of the need for divine love, and in the following section (the symphony’s scherzo as it were) angels conduct Faust’s soul. Doctor Marianus salutes Mater Gloriosa, whose appearance at this point in Goethe’s poem coincides with the beginning of the symphony’s finale.
Swelling repetitions of Mater Gloriosa’s theme climax in a shortened fortissimo reprise of the Chorus Mysticus. The voices cease, and in a huge orchestral peroration the creator spirit is invoked once more. As the fanfares sound, we may think ourselves to have been granted for a few moments some apprehension of glory. © Eric Mason
MAHLER SYMPHONY NO.8 TEXTS CD1 Part 1. Hymn: Veni, Creator Spiritus Tracks 01-08 Veni, Creator Spiritus Mentes tuorum visita; Imple superna gratia, Quae tu creasti pectora.
Come, Creator Spirit, Dwell in our minds; Fill with divine grace The hearts of Thy creatures.
Qui Paraclitus diceris Donum Dei altissimi Fons vivus, ignis, caritas Et spiritalis unctio.
Thou named the Comforter Gift of God most high, Souce of life, fire, love And soul’s anointing.
Infirma nostri corporis Virtute firmans perpeti; Accende lumen sensibus, Infunde amorem cordibus.
Our weak frames Fortify with Thy eternal strength Inflame our senses with light, Pour love into our hearts.
Hostem repellas longius Pacemque dones protinus; Ductore sic te praevio, Vitemus omne pessimum.
Scatter the enemy, Grant us Thy peace; Our leader, go before, That we may shun all evil.
Tu septiformis munere, Dexterae paternae digitus.
Grant us Thy sevenfold blessing, Thou right hand of the Father.
Per te sciamus da Patrem, Noscamus (atque) Filium, (Te utriusque) Spiritum Credamus omni tempore.
Grant us knowledge of the Father, And of the Son, And faith in Thee, O Spirit, Now and evermore.
Da gaudiorum praemia, Da gratiarum munera; Dissolve litis vincula Adstringe pacis foedera.
Grant us the foretaste of bliss, Grant us saving grace; Free us from bonds of strife, Bind us with pacts of peace.
Ductore sic te praevio, Vitemus omne pessimum.
So that with thy guidance we may avoid all ills.
Gloria Patri Domino Deo sit gloria et Filio Natoque, qui a mortuis Surrexit, ac Paraclito In saeculorum saecula.
Glory be to God the Father, Glory be to God and to the Son Incarnate, who from the dead Arose, and to the Holy Spirit From everlasting to everlasting.
CD2 Part 2. Final Scene from Goethe’s Faust 01 Poco adagio 02 Piu mosso: Allegro moderato 03 Chorus and Echo Waldung, sie schwankt heran, Felsen sie lasten dran, Wurzeln, sie klammern an, Stamm dicht an Stamm hinan. Woge nach Woge spritzt, Höhle, die tiefste, schützt. Löwen, sie schleichen stumm Freundlich um uns herum, Ehren geweihten Ort, Heiligen Liebeshort.
The forest sways, rocks lie heavy, roots cling, tree-trunk against tree-trunk. Wave breaks foamingly on wave, the deepest cavern gives shelter. Lions prowl silent and friendly about us – honouring the sacred place, love’s holy sanctuary.
04 Pater Ecstaticus (hovering high and low) Ewiger Wonnebrand, Glühendes Liebeband, Siedender Schmerz der Brust, Schäumende Gotteslust. Pfeile, durchdringet mich, Lanzen, bezwinget mich, Keulen, zerschmettert mich, Blitze, durchwettert mich; Dass ja das Nichtige Alles verflüchtige, Glänze der Dauerstern, Ewiger Liebe Kern.
Eternal blazing rapture, love’s flaming bond, heart’s painful seething, God’s effervescent love! Arrows, pierce me, spears, subdue me, clubs, crush me, lightning, flash through me, that nothingness may make all vanish, that the constant star may shine forth, kernel of love eternal!
05 Pater Profundus (from the depths) Wie Felsenabgrund mir zu Füssen Auf tiefem Abgrund lastend ruht, Wie tausend Bäche strahlend fliessen Zum grausen Sturz des Schaums der Flut, Wie strack, mit eig’nem kräft’gen Triebe, Der Stamm sich in die Lüfte trägt; So ist es die allmächt’ge Liebe, Die alles bildet, alles hegt. Ist um mich her ein wildes Brausen, Als wogte Wald und Felsengrund, Und doch stürzt, liebevoll im Sausen, Die Wasserfülle sich zum Schlund, Berufen, gleich das Tal zu wässern; Der Blitz, der flammend niederschlug, Die Atmosphäre zu verbessern, Die Gift und Dunst im Busen trug! Sind Liebesboten, sie verkünden, Was ewig schaffend uns umwallt. Mein Inn’res mög’ es auch entzünden,
As the rocky chasm at my feet lies heavy on the deep abyss, as a thousand streams flow sparkling to the dread rapids’ foaming drop, as straight, by its own powerful urge, the tree-trunk rears into the air, so it is almighty love that shapes and nurtures all. Around me is wild tumult, as though forest and rocky floor quaked! And yet, lovingly, roaring waters’ profusion hurls itself into the gorge, ordained to water presently the valley; the flaming lightning, hurtling downwards to render pure an atmosphere bearing poison and fumes at its heart – these are messengers of love, proclaiming that which ever seethes, creating, about us. Might it kindle also my inmost being,
Wo sich der Geist, verworren, kalt, Verquält in stumpfer Sinne Schranken, Scharfangeschloss’nem Kettenschmerz. O Gott! beschwichtige die Gedanken, Erleuchte mein bedürftig Herz!
where my cold, bewildered spirit agonises, confined by dulled sense, bound fast by fetters’ pain. Oh, God, assuage my thoughts, enlighten my needy heart!
06 Angels (hovering in the upper atmosphere, bearing Faust’s immortal essence) Gerettet ist das edle Glied Saved is that noble member Der Geisterwelt vom Bösen, of the spirit world from evil: ‘Wer immer strebend sich bemüht, ‘He who endeavours, ever striving, Den können wir erlösen’. him we have the power to redeem’. Und hat an ihm die Liebe gar And if love from above Von oben teilgenommen, has also played its part, Begegnet ihm die sel’ge Schar the blessed host shall answer him Mit herzlichem Willkommen. with heartfelt greeting. Chorus of Blessed Boys (circling the highest peak) Hände verschlinget euch Freudig zum Ringverein, Regt euch und singet Heil’ge Gefühle drein; Göttlich belehret, Dürft ihr vertrauen: Den ihr verehret, Werdet ihr schauen. 07 The Younger Angels Jene Rosen aus den Händen Liebend-heil’ger Büsserinnen Halfen uns den Sieg gewinnen Und das hohe Werk vollenden, Diesen Seelenschatz erbeuten. Böse wichen, als wir streuten, Teufel flohen, als wir trafen.
Link hands joyfully in the circle of union, bestir yourselves, sing holy sentiments thereto. Divinely instructed, may you be assured: He, whom you venerate, you shall behold!
Those roses, from the hands of loving-holy penitent women, helped us achieve victory and fulfil the divine purpose, to capture this treasured soul. Evil yielded as we strewed, devils fled as we pelted.
Statt gewohnter Höllenstrafen Fühlten Liebesqual die Geister; Selbst der alte Satans-Meister War von spitzer Pein durchdrungen. Jauchzet auf! es ist gelungen.
Instead of the accustomed punishments of Hell, the spirits felt the pangs of love; even old master-Satan was pierced by anguish keen. Rejoice! It is fulfilled!
08 The More Perfect Angels Uns bleibt ein Erdenrest Zu tragen peinlich, Und wär’ er von Asbest, Er ist nicht reinlich. Wenn starke Geisteskraft Die Elemente An sich herangerafft, Kein Engel trennte Geeinte Zwienatur Der innigen beiden, Die ewige Liebe nur Vermag’s zu scheiden.
To us remains some earthly residue painful to bear, and be it unyielding, yet it is not stainless. When the spirit’s mighty power has gathered fast the elements unto itself, no angel could sunder the twin natures in unity of this kindred pair; only love everlasting could divide them.
09 The Younger Angels Ich spür’ soeben, Nebelnd um Felsenhöh’, Ein Geisterleben, Regend sich in der Näh’. Seliger Knaben Seh’ ich bewegte Schar, Los von der Erde Druck, Im Kreis gesellt, Die sich erlaben Am neuen Lenz und Schmuck Der obern Welt.
I sense at this moment, nebulous round the rocky heights, living spirits stirring close by; I see a moving host of blessed children, freed from earth’s burden, in a circle joined, themselves delighting in the new springtide and adornment of the world above.
Doctor Marianus (in the highest, purest essence) Hier ist die Aussicht frei, Der Geist erhoben.
The prospect is free here, the spirit elevated.
The Younger Angels Sei er zum Anbeginn, Steigendem Vollgewinn Diesen gesellt!
Let him, at the outset, be joined with these in highest gain ever-increasing.
Doctor Marianus Dort ziehen Frauen vorbei, Schwebend nach oben. Die Herrliche mittenin Im Sternenkranze, Die Himmelskönigin, Ich seh’s am Glanze.
Women pass by there, soaring on high, at the centre, she who is glorious, wreathed in stars, the Queen of Heaven I perceive by her splendour!
Chorus of Blessed Boys Freudig empfangen wir Diesen im Puppenstand; Also erlangen wir Englisches Unterpfand. Löset die Flocken los, Die ihn umgeben, Schon ist er schön und gross Von heiligem Leben.
Joyfully we receive this chrysalis entity; thus we achieve the angels’ pledge. Dissolve the cocoon that envelops him. He is already beautiful, tall, through the holy life.
10 Doctor Marianus Höchste Herrscherin der Welt! Lasse mich im blauen, Ausgespannten Himmelszelt Dein Geheimnis schauen. Bill’ge, was des Mannes Brust Ernst und zart bewegt
Most exalted Empress of the World, in the blue outspread vault of heaven, let me behold thy mystery! Sanction that which moves man’s heart gravely, tenderly,
Und mit heil’ger Liebeslust Dir entgegenträgt! Unbezwinglich unser Mut, Wenn du hehr gebietest; Plötzlich mildert sich die Glut, Wenn du uns befriedest.
and which, with love’s holy joy, he offers up to thee. Invincible our courage, when thou, sublime, commandest; passion at once subsides, when thou dost pacify us.
Doctor Marianus and Chorus Jungfrau, rein im schönsten Sinne, Mutter, Ehren würdig, Uns erwählte Königin, Göttern ebenbürtig.
Virgin, most beauteously pure, Mother, worthy of honour, our elected Queen, equal of gods!
(Mater Gloriosa floats into view.) 11 Chorus Dir, der Unberührbaren, Ist es nicht benommen, Dass die leicht Verführbaren Traulich zu dir kommen. In die Schwachheit hingerafft, Sind sie schwer zu retten. Wer zerreisst aus eig’ner Kraft Der Gelüste Ketten? Wie entgleitet schnell der Fuss Schiefem, glattem Boden?
Thou, unassailable one, art not denied those easily seduced easefully approaching thee. Carried away in frailty, they are difficult to save. Who, by his own strength, can break free from lust’s fetters? How quickly slips the foot on a sloping, smooth floor!
Penitent Women (with Una Poenitentium (Gretchen)) Du schwebst zu Höhen Thou soarest to the heights Der ewigen Reiche, of the eternal kingdom, Vernimm das Flehen, hear our prayer, Du Gnadenreiche, thou full of grace, Du Ohnegleiche! thou incomparable!
12 Magna Peccatrix Bei der Liebe, die den Füssen Deines gottverklärten Sohnes Tränen liess zum Balsam fliessen, Trotz des Pharisäer-Hohnes; Beim Gefässe, das so reichlich Tropfte Wohlgeruch hernieder, Bei den Locken, die so weichlich Trockneten die heil’gen Glieder –
By the love that upon the feet of thy divinely transfigured Son let tears flow as balsam, despite the Pharisees’ scorn; by the vessel which so generously dropped sweet fragrance, by the tresses that so softly dried the holy limbs –
13 Mulier Samaritana Bei dem Bronn, zu dem schon weiland Abram liess die Herde führen; Bei dem Eimer, der dem Heiland Kühl die Lippe durft’ berühren; Bei der reinen, reichen Quelle, Die nun dorther sich ergiesset, Überflüssig, ewig helle, Rings durch alle Welten fliesst –
By the well to which of old already Abraham drove his flock, by the pail permitted to touch and cool the Saviour’s lips; by the pure abundant spring which now pours from thence, spilling over, ever clear, flowing through all the world –
14 Maria Aegyptiaca Bei dem hochgeweihten Orte, Wo den Herrn man niederliess, Bei dem Arm, der von der Pforte, Warnend mich zurücke stiess; Bei der vierzigjähr’gen Busse, Der ich treu in Wüsten blieb, Bei dem sel’gen Scheidergrusse, Den im Sand ich niederschrieb –
By the most sacred place where they laid our Lord; by the arm that, from the gate, warningly thrust me back; by the forty-year repentance endured faithfully in the desert, by the blessed last farewell I wrote in the sand –
All Three Die du grossen Sünderinnen Deine Nähe nicht verweigerst,
Thou who dost not deny thy presence to women who have grievously sinned,
Und ein büssendes Gewinnen In die Ewigkeiten steigerst, Gönn’ auch dieser guten Seele, Die sich einmal nur vergessen, Die nicht ahnte, dass sie fehle, Dein Verzeihen angemessen!
and to eternity dost raise those victorious through penitence, grant also to this good soul which strayed but once, not knowing that it erred, thy just pardon!
15 Una Poenitentium (Gretchen) Neige, neige, Du Ohnegleiche, Du Strahlenreiche, Dein Antlitz gnädig meinem Glück! Der früh Geliebte, Nicht mehr Getrübte, Er kommt zurück.
Incline, incline, Thou incomparable, Thou richly radiant, Thy gracious countenance upon my happiness. My love of yore, beshadowed no longer, is returning.
16 Chorus of Blessed Boys (circling nearer) Er überwächst uns schon An mächt’gen Gliedern, Wird treuer Pflege Lohn Reichlich erwidern. Wir wurden früh entfernt Von Lebechören; Doch dieser hat gelernt, Er wird uns lehren.
Already he outstrips us on mighty limbs, amply will he recompense the reward of our faithful care. We were taken early from the chorus of the living; but this man has learnt: he shall teach us.
Una Poenitentium (Gretchen) Vom edlen Geisterchor umgeben, Wird sich der Neue kaum gewahr, Er ahnet kaum das frische Leben, So gleicht er schon der heil’gen Schar. Sieh, wie er jedem Erdenbande Der alten Hülle sich entrafft, Und aus ätherischem Gewande
Surrounded by the noble spirits’ chorus, the new one is of himself scarce aware, barely divines his new existence, already resembles thus the sacred host. See how he throws off each earthly fetter from his erstwhile shell, and from his ethereal raiment
Hervortritt erste Jugendkraft! Vergönne mir, ihn zu belehren, Noch blendet ihn der neue Tag. 17 Mater Gloriosa Komm! Hebe dich zu höhern Sphären! Wenn er dich ahnet, folgt er nach.
with youthful vigour emerges! Grant that I may instruct him, the new day dazzles him still!
Come! Raise yourself to higher spheres! Divining you, he will follow.
Chorus Komm! Komm!
Come! Come!
Doctor Marianus and Chorus Blicket auf zum Retterblick, Alle reuig Zarten, Euch zu sel’gem Glück Dankend umzuarten! Werde jeder bess’re Sinn Dir zum Dienst erbötig; Jungfrau, Mutter, Königin, Göttin, bleibe gnädig! Bleibe gnädig!
Lift your eyes to the redeeming gaze, all frail penitents, that you be gratefully translated to blissful rapture. May every higher impulse be ready at your service; Virgin, Mother, Queen, Goddess, be ever gracious! Be ever gracious!
18 Chorus Mysticus Alles Vergängliche Ist nur ein Gleichnis; Das Unzulängliche, Hier wird’s Ereignis; Das Unbeschreibliche, Hier ist’s getan; Das Ewig-Weibliche Zieht uns hinan.
All that is transient is but a parable; here insufficiency becomes fulfilment, here the indescribable is accomplished; the Eternal-Feminine draws us heavenward.
Veni, Creator Spiritus, ninth-century hymn, formerly attrib. Hrabanus Maurus (c780–856) Faust, Part 2, Act 5, final scene (published 1832), by Johann Wolfgang von Goethe (1749–1832) ˇ Faust translation © Mari Prackauskas
KLAUS TENNSTEDT conductor
JÚLIA VÁRADY soprano
Born in East Germany, Klaus Tennstedt studied at the Leipzig Conservatory and conducted throughout his native land but it was not until he moved to the West in 1971 that he started to achieve world recognition. He made his American début with the Boston Symphony Orchestra in 1974 and his début with the London Philharmonic Orchestra in 1977. He had an instant rapport with the London Philharmonic Orchestra, which resulted in return invitations and his appointment as the Orchestra’s Principal Conductor and Music Director in 1983. This developed into a unique and remarkable relationship until illness finally brought it to a premature end some ten years later.
One of the most beautiful voices of the twentieth century, lyric soprano Júlia Várady looks back on an international career on the public stage during which she sang more than seventy roles over almost four decades. Her wide-ranging repertoire includes Mozart, Verdi, Puccini, Richard Strauss and Wagner as well as contemporary roles, such as Cordelia in Reimann’s Lear. Her operatic performances took her to renowned opera houses throughout Europe as well as the Metropolitan Opera New York. In concert she appeared at the Salzburg, Munich and Edinburgh Festivals amongst others.
Tennstedt was particularly renowned for his performances of Mahler and Bruckner whose symphonies he conducted regularly with the London Philharmonic Orchestra at the Royal Festival Hall and on disc to huge public acclaim. His energy, musicianship and emotional involvement combined with a rare humility endeared him to audiences and musicians alike. Klaus Tennstedt died in 1998.
In her late fifties, Júlia Várady retired from opera to devote herself to teaching. She is a guest professor at the Hochschule für Musik Hanns Eisler in Berlin and is a dedicated and much sought-after teacher. She continues to sing in full voice during her classes with the same intensity and generosity of spirit that characterises her performance. Júlia Várady is married to baritone Dietrich Fischer-Dieskau.
JANE EAGLEN soprano
SUSAN BULLOCK soprano
Jane Eaglen has thrilled audiences worldwide earning her one of the most formidable reputations in opera today. She has enjoyed unique success with opera’s most demanding heroines including the title roles of Isolde (Tristan und Isolde), Turandot and Norma, and most notably, Brünnhilde (Der Ring des Nibelungen). Eaglen has performed at the Deutsche Oper Berlin, the Metropolitan Opera New York, l’Opéra National de Paris, Royal Opera House Covent Garden, San Francisco Opera, Teatro alla Scala, and the Wiener Staatsoper.
Susan Bullock has appeared as Brünnhilde (Der Ring des Nibelungen) at the Royal Opera House Covent Garden, Wiener Staatsoper, Teatro La Fenice and Teatro Nacional de São Carlos, Lisbon. Above all, Richard Strauss’s Elektra has brought collaborations with some of the world’s leading conductors including Luisi, Bychkov, Ozawa, Elder and de Waart; and débuts with the Metropolitan Opera New York, La Scala di Milano, Washington National Opera, Maggio Musicale Fiorentino, and in Dresden, Stuttgart and Hong Kong. Other recent roles include Marie (Wozzeck) for the Royal Opera House Covent Garden, Katerina Ismailova (Lady Macbeth of Mtsensk) for Opera Australia, and Minnie (La fanciulla del West) at the Edinburgh International Festival. She has performed the role of Isolde (Tristan und Isolde) in London, Frankfurt and Verona.
In concert, Eaglen has performed with the Boston, Chicago and Prague Symphony Orchestras, the Czech, LA and New York Philharmonic Orchestras and the Philharmonia Orchestra, and has appeared at the Budapest, Edinburgh and Salzburg Festivals. Her extensive discography includes her Grammy® Awardwinning recording of Wagner’s Tannhäuser. Eaglen served as Senior Artist in Residence at the University of Washington School of Music from 2006-2010. She has had teaching roles at Seattle Opera, the Cardiff International Academy of Voice and San Francisco Opera. She is currently Professor of Voice at Baldwin Wallace College in Ohio, and is the McGlashan International Fellow in Voice at the Royal Scottish Academy of Music and Drama.
Her extensive discography includes Chausson’s Le roi Arthus with the BBC Symphony Orchestra under Botstein for Telarc, Albert Herring with the City of London Sinfonia under Hickox, Hindemith’s Sancta Susanna with the BBC Philharmonic Orchestra under Tortelier and Salome with the Philharmonia Orchestra under Mackerras - all for Chandos.
TRUDELIESE SCHMIDT mezzo soprano JADWIGA RAPPÉ mezzo soprano German mezzo soprano Trudeliese Schmidt began her training in Saarbrücken and Rome. In 1965 she made her operatic début as Hansel (Hänsel und Gretel) in Saarbrücken and in 1969 became a member of the Deutsche Oper am Rhein in Düsseldorf. From 1971 she performed across Germany, and in 1974 toured Japan with the Bavarian State Opera of Munich. She sang Dorabella (Così fan tutte) at Glyndebourne Festival Opera in 1976. In subsequent years she appeared in leading opera houses across Europe. In 1985 Trudeliese Schmidt performed in Mozart’s Coronation Mass with von Karajan and the Vienna Philharmonic Orchestra at a special concert at the Vatican in Rome for Pope John Paul II. Among her prominent roles are Cherubino (Le Nozze di Figaro), Rossini’s Isabella (L’italiana in Algeri), Weber’s Fatima (Oberon) and Strauss’s Octavian (Der Rosenkavalier).
J adwiga Rappé studied at the Wrocław Music Academy and in 1980 won 1st Prize at the International Bach Competition in Leipzig. She has performed at leading international concert halls under conductors such as Harnoncourt, Haitink, Ozawa, Chailly, LópezCobos, Dutoit, Maazel, Rattle and Tennstedt. Her festival appearances include the Handel Festspiele in Karlsruhe, MDR-Musiksommer, Salzburger Festspiele, Brucknerfest Linz, Styriarte Graz, Maggio Musicale Fiorentino, BBC Proms in London, Wratislavia Cantans, Warsaw Autumn and the Cassals Festival in Puerto Rico. Operatic roles have ranged from Handel and Gluck through Tchaikovsky and Verdi to Strauss and Wagner. Rappé received great acclaim for her performance as Erda (Der Ring des Nibelungen) at performances in the Deutsche Oper Berlin, Royal Opera House Covent Garden, Théâtre Royal de la Monnaie, Festival d`Orange, Wiener Staatsoper, Oper Frankfurt and Grand Théâtre de Genève. Jadwiga Rappé’s extended discography ranges from JS Bach, Handel and Mozart to Szymanowski, Honeggar and Penderecki, recorded for Philips, EMI, Erato, Decca and Naxos. Today, Rappé is a regular jury member of vocal competitions and teaches at the Music Academy in Warsaw.
KENNETH RIEGEL tenor
EIKE WILM SCHULTE baritone
Kenneth Riegel’s long and distinguished career has taken him to all the major opera houses and festivals in North America. He has sung at the Metropolitan Opera New York, San Francisco Opera, Lyric Opera of Chicago, Santa Fe Festival, Wiener Staatsoper, Deutsche Oper Berlin, Hamburg State Opera, Bavarian State Opera in Munich, La Scala Milan, Rome Opera, Teatro Communale in Florence and Bologna, Royal Opera House Covent Garden, Teatro del Liceu in Barcelona, Teatro Real in Madrid, Brussels Opera and Geneva Opera. He enjoys a special affinity with Paris Opera, where he was the first American tenor to portray the titleroles of Faust and Les Contes d’Hoffmann and there he participated in the world premières of Berg’s complete three-act version of Lulu; in Messiaen’s only opera St. François d’Assise and in Manoury’s K.
Since 1991 Eike Wilm Schulte has appeared regularly at the Metropolitan Opera New York, Wiener Staatsoper, Royal Opera House Covent Garden, La Scala di Milano, and in many other opera houses worldwide. His many festival appearances range from the Bayreuth Festival, the Wagner Festival in Osaka and the Bregenz and Munich Opera Festivals.
In cinema Kenneth Riegel has appeared as Don Ottavio (Don Giovanni directed by Joseph Losey) and as Prince Shuisky (Boris Godunov). He has made numerous recordings including Salome with the Vienna Philharmonic Orchestra conducted by von Dohnányi for Deutsche Grammophon.
His concert appearances include Beethoven Symphony No.9 at Berlin‘s Philharmonic Hall; Mahler Symphony No.8 in Tanglewood under Levine; and an open-air concert in Paris with the French National and Boston Symphony Orchestras under Ozawa. His discography includes Lohengrin, Mahler Symphony No.8 for EMI and Bruckner Mass No.1 in D minor for Deutsche Grammophon. Forthcoming engagements include Heerrufer (Lohengrin) at Los Angeles Opera, Musiklehrer (Ariadne auf Naxos) at the Bavarian State Opera Munich and Kurwenal in a new production of Tristan und Isolde at the Deutsche Oper Berlin. Eike Wilm Schulte was awarded the Goethe Medal by the State of Hessen's Ministry of Culture in 2008 and was recently awarded the title of Kammersänger by the Wiesbaden State Theatre.
HANS SOTIN bass
ETON COLLEGE BOYS’ CHOIR
Hans Sotin made his operatic début in 1962 as the Police Commissioner (Der Rosenkavalier) in Essen and became a principal member of the Hamburg State Opera in 1964, singing not only traditional roles but creating new roles in works by Blacher, Einem and Penderecki. In 1970 he made his British début at Glyndebourne Festival Opera as Sarastro (Die Zauberflöte) and this was followed by débuts at Chicago Lyric Opera as Grand Inquisitor (Don Carlos) and at the Bayreuth Festival as the Landgrave (Tannhäuser). He has sung at the Metropolitan Opera New York, Wiener Staatsoper, La Scala di Milano and Royal Opera House Covent Garden.
When King Henry VI founded Eton College in honour of the Blessed Virgin Mary in 1440, his foundation provided for ten men and sixteen boys to sing the services, and with few breaks, the choir has been singing in the chapel from then until the present day. The choir today is directed by Ralph Allwood, Precentor and Director of Music at Eton College, and formed from 54 boys in the school, most of whom have been choristers at cathedrals or chapels before they come to Eton for their secondary education. The choral tradition is maintained by the regular singing of evensong and school services throughout the term time.
Hans Sotin's portrayals of Tannhäuser, Lohengrin, and Gurnemanz (Parsifal) at the 1993 Bayreuth Festival elicited critical accolades. In addition to his varied operatic repertoire, Sotin has won distinction for his concert repertoire, most particularly in performances of the music of J.S. Bach, Haydn, Beethoven, and Mahler.
LONDON SYMPHONY CHORUS The London Symphony Chorus works with many leading orchestras as well as maintaining a close association with the London Symphony Orchestra. From its creation the Chorus, under the direction of eminent musicians including John Alldis, Arthur Oldham, Richard Hickox, Stephen Westrop and since 2001 Joseph Cullen, has continued to expand its wide repertoire of music including the commissioning of new works and the great twentieth century choral classics. The Chorus has made over 140 recordings, many under Richard Hickox, including Britten’s Peter Grimes, which received a Grammy® Award and Billy Budd.
LONDON PHILHARMONIC CHOIR
LONDON PHILHARMONIC ORCHESTRA
The London Philharmonic Choir was founded in 1947 as the chorus for the London Philharmonic Orchestra. It is widely regarded as one of Britain’s finest choirs and consistently meets with critical acclaim. The Choir’s Artistic Director is Neville Creed. Performing regularly with the London Philharmonic Orchestra, the London Philharmonic Choir also works with many other orchestras throughout the United Kingdom and makes annual appearances at the BBC Proms. It has performed under some of the world’s most eminent conductors – among them Pierre Boulez, Sir Mark Elder, Sir John Eliot Gardiner, Bernard Haitink, Vladimir Jurowski, Kurt Masur, Sir Roger Norrington, Sir Simon Rattle, Sir Georg Solti and Klaus Tennstedt.
Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra was founded in 1932 by Sir Thomas Beecham. Since then, its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt, Kurt Masur and Vladimir Jurowski, the Orchestra’s current Principal Conductor.
The London Philharmonic Choir has made numerous recordings for CD, radio and television. The Choir often travels overseas and in recent years it has given concerts in many European countries, Hong Kong, Malaysia and Australia.
The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It also performs regularly around the UK and overseas and, in summer, plays for Glyndebourne Festival Opera. The Orchestra has broadcast regularly on television and radio, and recorded soundtracks for blockbuster films including The Lord of the Rings trilogy. It has made many distinguished recordings over the years and in 2005 began releasing live, studio and archive recordings on its own CD label. www.lpo.org.uk
GUSTAV MAHLER (1860–1911)
87:01
Symphony No.8
CD1 01 02 03 04 05 06 07 08 CD2 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18
26:19 01:30 04:18 02:30 01:17 03:26 05:24 05:13 02:41 60:42 06:37 03:26 04:41 01:44 04:55 00:59 01:57 02:21 01:13 04:28 03:54 01:12 01:42 02:51 01:00 03:55 07:55 05:52
Part 1. Hymn: Veni, Creator Spiritus Veni, Creator Spiritus Imple superna gratia Infirma nostri corporis Tempo 1: Allegro, etwas hastig Infirma nostri corporis Accende lumen sensibus Veni, Creator Spiritus Gloria Patri Domino Part 2. Final Scene from Goethe’s Faust Poco adagio Piu mosso: Allegro moderato Waldung, sie schwankt heran Ewiger Wonnebrand Wie Felsenabgrund mir zu Füssen Gerettet ist das edle Glied – Hände verschlinget euch Jene Rosen aus den Händen Uns bleibt ein Erdenrest Ich spür’ soeben – Hier ist die Aussicht frei – Freudig empfangen wir Höchste Herrscherin der Welt! Dir, der Unberührbaren – Du schwebst zu Höhen der ewigen Reiche Bei der Liebe, die den Füssen Bei dem Bronn, zu dem schon weiland Bei dem hochgeweihten Orte Neige, neige, du Ohnegleiche Er überwächst uns schon – Vom edlen Geisterchor umgeben Komm! Hebe dich zu höhern Sphären! – Blicket auf zum Retterblick, alle reuig Zarten Alles Vergängliche ist nur ein Gleichnis
KLAUS TENNSTEDT conductor LONDON PHILHARMONIC ORCHESTRA David Nolan leader Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL, London
LPO – 0052