1+ oIsnyy aeyINs) 74 ZNAH urope’s foremost living composers, Hans Werner prolific quantity of music in every genre. This dise of spans almost thirty and ranges from Royal Winter Music, sonata which extends the boundaries of guitar technique, to the folk mm Volkslieder und Hirtengesiinge, inspired by Austrian peasant songs. a Bayerischer Hans Werner Rundfunk — HENZE (b. 1926) Guitar Music + 1 [113] Royal Winter Music (1978/79) 18:53 Second Sonata on Shakespearean Characters for Guitar (@}6] Drei Fragmente nach Hélderlin (1958) ! 10:23 (Three Fragments from Hélderlin) (719) Ds ntos (1958) 5:35 0) —Selbst und Zwiegespriiche (1984/85) 3 12:22 (Monologues and Dialogues) fif]-17] Neue Volkslieder und Hirtengesiinge (1983/96) + 12:42 Franz Halasz, Guitar Colin Balzer, Tenor ' + Débora Halisz, Piano 2 + Gottfried Schneider, Sophia Reuter, Viola 34+ Sebastian Hess, Cello 4 + Karsten Nagel, Bassoon + ‘full track list can be found on the last page of the booklet jo 2, Germany, from 24th to 25th November, 2003, 2004 * Publisher: Schott Recorded at Bayerischer Rundfunk, Stu and from 19th to 20th Jam David Truslove esy of the artist) Cover image: Minette’s Dream by Ulrich Osterloh (www.osterlohart.de) (c WA ceyns) 27 & a T¥ Aon ON? wll ae it al =e?) Also available BRITISH GUITAR MUSIC Perry] 8.557329| HENZE Guitar Music « 1 Franz Halasz, Guitar Colin Balzer, Tenor * Débora Halasz, Piano Gottfried Schneider, Violin * Sophia Reuter, Viola Sebastian Hess, Cello * Karsten Nagel, BassoonHans Werner Henze (b. 1926) Guitar Music - 1 ‘There can be few other living composers who have had such remarkable success with an extraordinary quantity of music in all genres. A brief glance at Henze's catalogue outlines a formidable series of symphonies, stage works (both opera and ballet), concertos and quartets, and it is on these large-scale and solidly ‘Teutonic structures, often unconventional in formal design and personal in their approach, that his stature as ‘one of Europe's foremost composers rests. Born in Westphalia in 1926 Henze received his earliest musical training against the background of Nazism, becoming a reluctant recruit into the Hitler Youth movement and, in 1944, serving as a radio operator with a Panzer division. After the war he returned to his formal education, studying first with Wolfgang Fortner, and later with René Leibowitz in Darmstadt and Paris, where he encountered serial techniques. It was, however, the music of Stravinsky, Hindemith and Schoenberg that Henze turned to as ‘models for his earliest neo-classical pieces whose innate lyricism was to mark his oeuvre across a sixty-year composing carver. Both his Violin Concerto and First Symphony of 1947 quickly established Henze as Germany's answer to the musical vacuum resulting from the aftermath of Nazism. Unhappy with post war social attitudes and ashamed of Germany's recent past he moved to Italy in 1953; first to Ischia, then Naples, and eventually settling near Rome. From this southern move a new, sunny radiance fillered into his compositions that generated a sequence of stage works beginning in 1955 with Kanig Hirsch (King Stag) and culminating, ten years later, with is unparalleled operatic success The Bassarids. From the late 1960s there followed a series of politically motivated works (with overly communist sympathies), that included the ill fated Hamburg premiere of his oratorio The Raft of the Medusa, the chamber piece Ei Cimarrén and his opera La Cubana. As well as these large-scale ‘public’ works Henze found time in the 8.557344 1970s for a number of more private projects, including thee string quartets, and his two Shakespearean themed guitar sonatas, ‘This Second Sonata on Shakespearean Characters dates from 1978-79 and, like the first from three years earlier, was prompted by the distinguished guitarist Julian Bream, The three character studies from the ‘second group complete a cyele of nine solo guitar pieces (ix in the first set) that begin with a mad king and end ‘with a mad queen. Henze makes virtuosic demands in all of these works, extending the boundaries of guitar technique in a comprehensive survey that brings to ‘mind, on a different level, the great keyboard works by Bach or Beethoven, Indeed, when Julian Bream first approached Henze for a solo guitar work he had Jjokingly suggested a pieoe on the scale of Beethoven's, “Hammerklavier Sonata, In Sir Andrew Aguecheek Henze uses a kind of additive variation form to portray the gullible and melancholy knight from Twelfth Night who was ‘adored once’. A minor key march, pedestrian in character and suggestive perhaps both of a naive energy and determined will, frames passages, ritornello-like, in which the recurring breakdown of tonality mirrors Sir Andrew's own failure in ife. Appoggiaturas and sweet ‘sounding chords point to his gentle nature. This gentle mood is carried over in Bottom's Dream, (the dream of the simple weaver from A ‘Midsummer Night's Dream) in which the opening thirds convey his serene dream-like state. Melodic ‘compactness and counterpoint punctuated by frequent rests and empty bars create a sense of elasticity and pleasant languor. ‘This mood is swept aside by the dramatic motif beginning the remarkably imaginative and searching portrait of Mad Lady Macbeth, The opening malevolent flourish conveys, in just a few notes, her ruthless power and volatile mood. In its dissonance, sudden changes of pace and weight and restless central dance episodes, 2 Henze draws us into her unstable state of mind, bringing miotivic ideas back a half step higher to depict Lady Macbeth’s rising hysteria ‘This second sonata was first performed in Brussels in 1980 by Reinbert Evers. ‘The three Holderlin settings form part of what may be likened to an extended song-cycle that Henze called Kammermusik 1958, a work for tenor and guitar soloists with eight other’ instruments setting Friedrich Hélderlin’s In lieblicher Bldue (In lovely blueness). Written following a visit to Greece the inspiration also for Holderlin’s poem), the work was commissioned by North German Radio, Its virtuosic vocal writing, covering a range of two octaves, is largely atonal and cexpressionistic; its musical language recalling his brief preoccupation with serialism at Darmstadt, By deliberate contrast (Henze musically illustrates the Polarity between the world of ancient Greece and the modern world), the writing for the guitar is far less complex: in the first, the accompaniment looks back across the centuries to a Dowland lute-song, the second is more contemporary and chromatic, while the third Dorrows from Benjamin Britten to whom the work is dedicated. Henze’s Drei Tentos, three intermezz0s, like the Drei Fragmente nach Holderlin were also originally part of Kammermusik 1958 and are short, very approachable pieces that feature in every professional gultarist’s repertoire. The first piece, essentially lyrical, is characterized by a terseness of material based on a recurring four-note motif, with a high tessitura and a dynamic level that rarely'rises above pianissimo. The second features driving rhythms that propel the semi quaver movement forward in the manner of Stravinsky. Lyricism returns in the third, this time with melodic contours of Neapolitan origin, Selbst und Zwiegesprache (Monologues and Dialogues), a chamber work for viola, guitar and organ (or piano as recorded here) dates from 1984-1985, the period between his two operas The English Cat and Das verratene Meer and roughly contemporary with his Seventh Symphony. Henze constructs a dialogue 3 between the instruments in the manner of its ttle. In his performance directions Henze stipulates that each of the three instrumentalists may play their part as a solo as well as in combination with one another. In this performance there are six sections: piano, viola and ‘guitar alone, followed by two duets and a final tio. In returning to goal-orientated harmony Henze allies himself with German romanticism in this work's thapsodic style and rich textures, Henze uses Styrian (Austrian) peasant songs as the creative source for his Neue Volkslieder und Hirtengesdinge (New Folk Songs and Shepherds’ Melodies), scoring for a folk-like combination of bassoon (shepherd's shawm), guitar and string trio. ‘These seven movernents from 1996 are derived from his musical play Oedipus der Tyrann (King Oedipus) of 1983 that was later withdraw, In the opening Pastorale bassoon and guitar take on the rdles of the peasant musicians and play a total of five varied verses, each one concluding with a quietly echoing dialogue between the two instruments, with the string trio providing an energetic accompaniment. The Styrian folk material is suggested through shythmic and ‘melodie fragments. After the brief and melancholy Morgenlied there follows a more energetic Ballade in which constantly changing metre (heard first in the guitar) provides rhythmic landscape to the melodic counterpoint that unfolds as each instrument enters. There is an extended cadenza and a concluding reminiscence of the opening. The rustic Tanz gives prominence to bassoon and guitar in another lively peasant dance which gives way (as does the tonality) to a Rezitarv, featuring just guitar and strings, now of more expressionistic character. A darker mood With dense string textures is found in Abendlied here, once again, the bassoon has @ prominent réle, Henze concludes his suite with an epilogue - Ausklang — where warm thirds from the strings frame a brief bassoon solo before fading to pianissimo, David Truslove 8.557344Franz Halasz ‘The American-born German guitarist Franz Halisz is umong the most outstanding artists in his field. He began his ‘career in 1993, winning first prizes at the Andrés Segovia Competition in Spain and th ashi Competition in Japan, A guest performer at major festivals and events such as the Rose Augustine Series in New York, the Toru ‘Takemitsu Memorial Concert in Tokyo, and in Germany the Kissinger Sommer, Brandenburgische Sommerkonzerte and Mecklenburg Vorpommera, and in England, Portugal, Brazil and elsewhere, he has also shared the stage with well known artists such as Siegiried Jerusalem, Patrick Galois, Robert Aitken, Alban Gethard ‘and Boris Pergamenschikov among others. He is professor at the Nuremberg Musikhochschule and offers master- classes at prestigious institutes all over the world, including the Manhattan Schoo! of Music, the San Francisco Conservatory, the Academy of Music in Oslo, and Sio Paulo University. His many recordings for BIS include tamong others the complete guitar music by Joaquin Turina and Toru Takemitsu Colin Balzer ‘The gifted young Canadian lyric tenor Colin Balzer is fast becoming one of the most sought-after concert soloists of his generation, with a busy schedule of intemational engagements. Now based in Germany and with a repertoire ranging fom Monteverdi to Penderecki, he has enjoyed critical acclaim on both sides of the Atlantic, working with such conductors as Helmuth Rilling, Simone Young, Simon Preston, Yoav Talmi, Gabriel Chmura and Christof Perick, performing with the Hungarian and Polish National Radio Orchestras, Stuttgart Philharmonic, Oregon, ‘Vancouver and Québec Symphonies, among many others, Particularly esteemed as a recitalist, he has been weleomed at London's Wigmore Fall (accompanied by Graham Johnson), the Britten Festival in Aldeburgh, Alice Tully Hall at the Lincoln Center, the Vancouver Chamber Music Festival, the Wratislavia Cantans in Poland, and at the Festspiclhaus in Baden-Baden. Recordings to date include Wolt's Italienisches Liederbuch and Eisler and Henze song anthologies, A prizewinner of Holland’s ‘s-Hertogenbosch Competition, the London Wigmore Hall Song Competition, and Stuttgart Hugo Wolf Competition, he holds the rare distinction of eaming the Gold Medal at the Robert Schumann Competition in Zivickau With the highest score in 25 years. Master-classes have been with such artists as Philip Langridge, Helmut Deutsch, Robert Tear, Elly Ameling, Brigitte Fassbaender, Rudolph Jansen, and Christoph Prégardien, Born in British Columbia, he received his formal musical taining at the University of British ‘Columbia with David Meck and at the Hochschule fir Musik Nurmberg/ Augsburg with Edith Wiens Débora Halasz raised by critics inher début recordings, the Brazilian Débora Halisz is among the leading South American pianists of her generation, Winner of the most important competitions in her native country, she made her début with the So Paulo State Symphony Orchestra at the age of fifteen. Four years later the Critics Prize (APCA) named her the best soloist ofthe year for her interpretation of Rachmaninov's Third Piano Concerto. In 1989 she went with a DAD scholarship to Germany, and since then has been invited to many European, South and North American Music Festivals and Concert Series. With her husband she established in 1993 the Duo Halisz, for guitar and piano/harpsichord, arousing further critical acclaim. She has also partnered musicians such as Lavard Skou Larsen, ‘Sebastian Hess and Patrick Gallois. Her ambitious recording of the complete piano music of Heitor Villa-Lobos, a project of some eight CDs, has been enthusiastically acclaimed by the international press. She has also recorded for BIS works by Ginastera, Shostakovich and Castelnuovo-Tedesco, Her passion for baroque music led her to a search for a historically accurate instrument for that repertoire, and she plays a historic copy of a Haas instrument, dated 1734, specially made for her. It is on this instrument that she has embarked on the recording of the complete works for harpsichord by the Portuguese baroxue composer Carlos Seixas, a co-production between Naxos and Bavarian Radio. 8.557344 4 Gottfried Schneider Born at Badgastein into German-Austrian family of musicians, the violinist Gotttied Schneider made his fi appearance as a soloist atthe age of eleven, He studied in Salzburg, and then in Munich, Berne and New York, with ‘Otto Bilchner, Max Rostal and Ivan Galamian respectively. He won prizes in major international competitions, including the Carl Flesch in London and Jeunesses musicales in Belgrade, and after winning the Busch Brothers Prize he was invited by Rudolf Serkin to his Marlboro Festival. He has continued to enjoy a career of great distinction and has done much fo bring to light, in his recordings, unjustly forgotten works and the compositions of ‘contemporary composers, Sophia Reuter Sophia Reuter, bor in Dresden, comes from a family with «long musical tradition. Her father Rolf Reuter is a conductor and grandfather Fritz Reuter was a composer. At the age of five she began taking violin lessons from Klius Hertel atthe Leiprig Mendelssohn Musikhochschule, and later studied with Peter Tietze in Berin. At the age of ten she was the youngest participant and prize winner at the Leipzig Yohann Sebastian Bach Competition, and in 1988 won first prize atthe music competition in Weimar, From 1989 to 1993 she studied with Alberto Lysy and ‘Yehud Menuhin atthe Intemational Menuhin Music Academy in Gstuad, Since then she has performed in many of the major music centres in the world, Playing both the violin and viola, she has participated in various chamber ‘music festivals in German, Switzerland, Canada, Portugal, Italy, Argentina and the Far East, often together with Colleagues of the highest distinction, Since 1997 she has held a position as professor atthe International Menuhin Music Academy in Gstaad, also tcuching at the Salzburg Mozarteum. She has on several occasions played as a rember of the Berlin Philharmonic Orchestra and the Deutsche Oper Berlin. From 2003-2004 she led the viola Section of the Hamburg Philharmonic Orchestra, and from January 2006 has served as principal viola with the Duisburger Philharmoniker (Deutsche Oper am Rhein). Sebastian Hess Born in Munich in 1971, the cellist Sebastian Hess studied at the music academies in Wirzburg and Munich with Julius Berger and Helmar Steihler, before studying musicology at Munich University. From 1990 to 1994 he was ‘among the pupils of William Pleeth in London and in 1997 was one of the few pupils of Mstislav Rostropovich. His ‘musical career has ranged from historical performance on the baroque cello t0 the major elements of the classical and romantic repertoire, and collaboration with contemporary composers and leading colleagues. He has appeared as a soloist and recitalist in festivals and other engagements throughout Europe and in the Far East. Karsten Nagel Karsten Nagel was bor in Vilseck in 1964 and began his study ofthe bassoon atthe age of fifteen with Walter Urhach at the Nuremberg Meistersinger Conservatory. Three Years later he was appointed fist bassoon in the Nuremberg Philharmonic Orchestra, completing his training at the Herbert von Karajan Foundation in Beri In 1990 he moved to the Bavarian State Opera in Munich, witere he has served for some eleven years as principal bassoon in the Bavarian State Orchestra, Since 1994 he has taught atthe Munich Musikhochschule and since 1996 atthe Nuremberg Meistersinger Conservatory, becoming professor of bassoon in 2001 atthe Nuremberg-Augsburg Musikhochschule, He has been the recipient of a number of prizes and awards at home and abroad, pives regular tnaster-clases, and serves as woodwind adviser to the Bavarian Youth Orchestra. 5 8.557344Hans Werner Henze (geb. 1926): Gitarrenmusik - 1 Wenige lebende Komponisten haben mit einer so auSergewohnlichen Zahl unterschicdlichster Werke einen lichen Erfolg eriebt wie Hans Wemer Henze. Ein kurzer Blick auf sein Werkverzeichnis zeigt in ausgesprochen teutonischer Weise eine erstaunliche Reihe an Symphonien, Buhnenwerken (Opern und Ballette), Konzerten und Quarteten, und es sind diese groBen Gebilde mit ihren oft tunkonventionellen Formen und ihrem perstinchen Ansatz, aut die sich Henzes Ruf als einer der bedeutendsten ‘Komponisten Europas prindet Hans Wemer Henze wurde 1926 im westfilischen Gitersioh geboren und erhielt seine fribeste musikalische Ausbildung wahrend der Zeit des Nationalsozialismus, Widerstrebend kam er zur Hitlerjugend und 1944 als Funker 2u einer Panzer-Division. Nach dem Krieg nahm er seine formelle Ausbildung wieder auf: Zunichst studierte er bei Wolfgang Fortner, dann bei René Leibowitz in Darmstadt und Paris, wo er die Reihentechnik kennenlert. ‘Vorbildhaft fir seine frihesten neoklassizisischen Sticke ‘wurde ihm jedoch dio Musik von Strawinsky, Hindemith und Schénberg, und schon damals zeigte sich eine natlliche lyrische Begabung, dic sein Schaffen walend seiner sechzigjhrigen Komponistenlaufbahn kennzeichnen sollte, Mit seinem ersten Violinkonzert und seiner ersten ‘Symphonie (1947) etablierte sich Henze schnell als die deutsche Antwort auf das dureh die Nazis verursachte ‘musikalisehe Vakuur, ‘Unglicklich Giber das gesellschaftliche Verhalten im "Nachkriegs-Deutschland und aus Scham Uber die jiingste deutsche Vergangenheit, ging er 1953 nach Italien: czunichst nach Ischia und Neapel, dann nach Rom. Hier im ‘Siden gelangten ein neues Licht und neue Farben in seine ‘Musik, beispielsweise in dic Reihe der Buhnenwerke, die 1955 mit Konig Hirsch begann und zehn Jahre spiter den cinzigarigen Erfolg der Bassariden bracht. Seit dem Ende der sochziger Jahre folgten etliche politisch motivierte ‘Werke, in denen Henze offen seine Sympathien fir den Kommunismus zeigte. Dazu gehérten die unglickliche Premiere des Oratoriums Das Flo der Medusa, das Kammermusikstiick £! Cimarrén und seine Oper La Cubana, Neben diesen groBangelegten, ,ffentlichen 8.557344 ‘Werken fand Henze in den siebriger Jahuen Zeit fr eine Reihe cher prvater Projekte — unter anderen entstanden drei Steichquartete sowie die beiden Gitrensonaten ther ‘Shakespeatesche Themen. Die Second Sonata on Shakespearean Characters omponierte Henze in den Jahren 1978/79. Wie die dei Jahre ere erst Sonate wurde auch dieses Werk durch den bekannten Gitarsten Julian Bream angerest. Zicht man die sechs Size der ersten Sonate mit in Beach, so rundet das zite Werk mit seinen dei Charakterstudien einen Zyklus ‘on neun Solosticken, die mit einem wahnsinnigen Kénig teginnen und einer wahnsinnigen Kénigin aufhren, Henze stellt in dieser Musik hohe virtuose Anforderungen und cerweitert die Grenzen der Gitarrentechnik in solch umfassender Weise, dass man sich an die groBen Klavierwerke Bachs oder Beethovens erinnert fib “atsichich hate Julian Bream, als er Henze estmals aut ¢in Solostick ansprach, scherzhaft cin Stick von der GroBenordnung der Beethovenschen Hammerklavier- Sonate angerot Tn Sir Andrew Aguecheck (Junker Bleichenwang) benutat Henze cine Ar additiver Varatonsform, urn den leichigiubigen, melancholischen Ritter aus The Twelfth ‘Night (Was it wollt) 2a portaitieren, den man einst ~verehite Ein langwieriger Marsch in Moll, der wobl ‘tas von der naven Energie und der Entschlossenheit des Charakters beschw6ren soll, bildet den Rahmen fir sitornellatige Passagen, in denen immer wieder die “Tonalittausamamenbich, um die Lebensuntchtigkeit des Junkers zu spigeln. Appogaiatuen und liebliche Abkkorde bereichnen diese sanfte Gestalt, Diese zarte Stimmung uberrigt sich auf Bostom's Dream, in dem die anfnglichen Terzen den heiteren, traumartigen Zustand des einfachen Webers aus Ein Sommernachtstraum vermitteln, Die von zablreichen Pausen und leeren Takten durchsetzte melodische Kompaktheit und Kontrapunktik erzeugt ein Gefthl der lastztt und wohligen Trighet Diese Stimmung wird durch das dramatische Motiv, rit dem das auferordentlich fantasievolle und wilde Portrait der Wahnsinnigen Lady Macbeth beginnt, hhinweggefegt. In wenigen ‘Ténen vermittelt die bisrtize Anfangsfigur die unbarmherzige Gewalt und ‘Sprunghaftzkeit des Charakters. Durch die Dissonanz, die Jjah wechselnden Tempi und Gewichtungen der Musik, ‘durch ihre ruhelosen Tanzepisoden in der Mitte zieht uns Henze in den schwankenden Geisteszustand der Figur hinein, wobei er motivische Gedanken einen halben Schritt hsher wiederholt, um die wachsende Hysterie der Lady Macbeth darcustellen, Die zveite Sonate wurde 1980 von Reinbert Evers in Brssel uraufgefirt, Die Drei Fragmente nach Holderlin geben zu einem Werk, das man mit einem umfangreichen Liederzyklus vergleichen knnte: zu der Kammermusik 1958 fr Tenor, Sologitarre und acht Intrumente, fir die Hans Werner Henze Friedrich Hélderlins In liblicher Blue benutzte. Das Werk entstand im Auftrag des Norddeutschen ‘Rundfunks nach einem Besuch in Griechenland (auch Hilderlins Gedicht ist davon inspires). Die viruose, zwei ‘Oktaven umspannende Gesangsstimme schaut mit ihrer Wweitgehend atonalen, expressionistischen Sprache auf die xurze Phase muric, in der sich der Komponist in Darmstadt mit dem Serialismus auseinandersetzte. Im bewussten Kontrast dazu (Henze illustrient musikalisch die Polartit zwischen der Welt der griechischen Antike und der Moderne) ist der Gitarensatz weit weniger komplex: Die Begleitung des ersten Satzes schaut Uber die Jahhunderte zurick bis zu den Lautenliedem Dowlands, der zweite ist ‘modemer und chromatischer, wilhrend Henze im Schluss- ‘Sutz Benjamin Britten zitirt, dem das Werk gewidmet ist Die Drei Tenios getiten wie die Drei Fragmente nach Holderlinursprtinglich 2u der Kammermusik 1958, Bs sind kurze, sehr eingingige Intermezz, die jeder professionelle Gitartist im Repertoice hat. Das erste, im wesentlichen lyrische Stick wird durch ein repetiertes Viertonmotiv charakterisiert, das in einem hohen Register erklingt und dynamisch kaum einmal ber ein pianissimo hinausgeht. Der zweite Satz steht im Zeichen motorischer Rhythmen, dic ala Strawinsky vorandringen. Der dritte Satz kehrt zur Gesanglichkeit zurlck und verrit in seiner Melodik ‘neapolitanische Konturen. i Selbst- und Zwiegesprache, eine Kammermusik fr Viola, Gitarre und Orgel (oder wie in der vorliegenden Einspiclung Klavier) entstanden 1984/85, mithin zur Zeit 7 ser beiden Oper Die englische Katee und Das verratene honie. Henze konstruerte hier, Wie es der Titel verrit, einen Dialog zwischen den Instrumenten, der gem den AuffUhrungsanweisungen vorsicht, das jeder der drei Musiker seinen Part als Solo ‘oder in Kombination mit einem andem spielen kann. In dieser Auffihnung gibt es sechs Abschnitt: Klavier, Viola und Gitarreallein sowie 2wei Duette und endlich ein Trio. Dass Henze mit dem shapsodischen Stil und den reichen Texturen des Werkes zu einer zielgerichteten Harmonik zurtlckkehrt, verbindet ihn mit der deutschen Romantik. Der schapferische Ausgangspunkt der Newen Volkslieder und Hirtengesdinge waren fir Hans Wemer Henze Bauernlieder aus der Steiermark. Die folklore-artige Besetzung des Werkes aus dem Jahre 1996 besteht aus Fagott (Hirenschalmei), Gitare und Streichtri. Die sieben ‘Size stammen ihrerseits aus dem musikalischen Schauspiel Oedipus der Tyrann (1983), das spiter zurllckgezogen ‘wurde, Tn der einletenden Pastorale Ubemehmen Fagott und Gitarre zur energischen Begleitung des Streichtrios die Rolle von Bauernmusikern und spielen insgesamt funt variierte Strophen, von denen jede mit einem ruhig widerhallenden Dialog 2wischen den beiden Instrumenten schlieBt. Das volksmusikalische Material wird in rhythmischen und melodischen Fragmenten angedeutet. Einem kurzen melancholischen Morgentied folgt eine ‘energischere Ballade, deren stindig wechselndes, zunichst von der Gitarre angestimmtes Metrum die rhythmische Landschaft 2u dem melodischen Kontrapunkt liefer, der sich beim Einsatz eines jeden Instruments entfaltet. Nach einer ausgedehnten Kadenz gibt es cine abschlieBende [Erinnerung an den Beginn des Satzes, Der rustikale Tanz stellt Fagot und Gitar in den Vordergrund, Die Tonalitit wird verlassen, und im Rezitaiv schlagen Gitarre und Streicher expressionistischere Téne an. Das Abendiied mit seinem prominenten Fagott-Part und seinen dichten Streichertexturen ist von disterer Stimmung geprigt. Beschlossen wird die Suite yon einem Ausklang, in dem warme Terzen der Streicher ein kurzes Fagottsolo umrahimen, bevor sie im Pianssino verklingen. David Truslove; Deutsche Fassung: Cris Posslac 8.557344Royal Winter Music -cond Sonata on Shakesps in Characters for Guitar (1979) [i] Sir Andrew Aguecheek (Marcia, non troppo funebre —Sempre incalzando) 5:49 [2] Bottom’s Dream (Adagietto, con comodo — Adagio) 4:26 [3] Mad Lady Macbeth (Fiercely Meno mosso— Pit. mosso - Tempo | — Allegretto — Andante con moto ~ Gavotta ~ Molto inrequieto ~ Gavotta — Largo — Con pathos ~ With noisy vulgarity) 8:38 Drei Fragmente nach Hélderlin (Three Fragments from Holderlin) for Voice and Guitar (1958) @ |. In lieblicher Blaue (5) Il. Mécht ich ein Komet sein? (6) III. Wenn einer in den Spiegel siehet Drei Tentos fiir Gitarre (Three Attempts) (1958) ZL. Tranquitlamente @ M1. Allegro rubato Q Ill. Lento Selbst- und Zwiegespriiche (Monologues and Dialogues) (1984-85) ~Trio for Viola, Guitar and Piano AD Andante cantabile 12:22 Neue Volkslieder und Hirtengesiinge (New Folk Songs and Shepherd's Melodies) for Bassoon, Guitar and String Trio (1983-86) Pastorale {1 Morgenlied Ballade Tanz (15 Rezitativ (16) Abendlied {M9 Ausklang BREESES 8.557344