50 Years of the Holland Festival
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Composer or Director: Wolfgang Amadeus Mozart, Modest Mussorgsky, Rudolf (George) Escher, Richard Strauss, Maurice Ravel, Claude Debussy, Ton de Leeuw, Ludwig van Beethoven, Jean Sibelius, Vincenzo Bellini, Gioachino Rossini, Iannis Xenakis, Guo Wenjing, Luciano Berio, Richard Rijnvos, Louis Andriessen, Giuseppe Verdi, Igor Stravinsky, Pyotr Ilyich Tchaikovsky, Claudio Monteverdi, Enrique Granados (y Campiña), Johann Wagenaar, Anton Webern, (composers) Various, Claude Vivier, Mauricio Kagel, Pierre Boulez, Benjamin Britten, Manuel de Falla, Galina Ivanova Ustvol'skaya, Hugo (Filipp Jakob) Wolf, Gustav Mahler, Luigi Nono, Ernesto Halffter
Label: Globe
Magazine Review Date: 10/1997
Media Format: CD or Download
Media Runtime: 460
Mastering:
DDD
ADD
Catalogue Number: GLO6900
Tracks:
| Composition | Artist Credit |
|---|---|
| (La) Cenerentola, or La bontà in trionfo, 'Cinderella', Movement: ~ |
Gioachino Rossini, Composer
(The) Hague Residentie Orchestra Carlo Maria Giulini, Conductor Gioachino Rossini, Composer Giulietta Simionato, Mezzo soprano Milan La Scala Chorus |
| (Un) ballo in maschera, '(A) masked ball', Movement: ~ |
Giuseppe Verdi, Composer
Francesco Molinari-Pradelli, Conductor Giuseppe Verdi, Composer Giuseppe Zampieri, Tenor Gré Brouwenstijn, Soprano Netherlands Opera Chorus |
| Ernani, Movement: ~ |
Giuseppe Verdi, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Giuseppe Verdi, Composer Maria Callas, Soprano Nicola Rescigno, Conductor |
| (Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: Pace, pace, mio dolce tesoro! |
Wolfgang Amadeus Mozart, Composer
(The) Hague Residentie Orchestra Carlo Maria Giulini, Conductor Elisabeth Schwarzkopf, Soprano Giuseppe Taddei, Baritone Graziella Sciutti, Soprano Hermann Prey, Baritone Wolfgang Amadeus Mozart, Composer |
| (Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: Contessa, perdono |
Wolfgang Amadeus Mozart, Composer
(The) Hague Residentie Orchestra Carlo Maria Giulini, Conductor Elisabeth Schwarzkopf, Soprano Giuseppe Taddei, Baritone Graziella Sciutti, Soprano Hermann Prey, Baritone Wolfgang Amadeus Mozart, Composer |
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: Dunque io son? |
Gioachino Rossini, Composer
(The) Hague Residentie Orchestra Carlo Maria Giulini, Conductor Gioachino Rossini, Composer Renato Capecchi, Baritone Teresa Berganza, Mezzo soprano |
| Falstaff, Movement: ~ |
Giuseppe Verdi, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Carlo Maria Giulini, Conductor Fedora Barbieri, Mezzo soprano Fernando Corena, Bass Giuseppe Verdi, Composer |
| (I) Capuleti e i Montecchi, Movement: ~ |
Vincenzo Bellini, Composer
(The) Hague Residentie Orchestra Bologna Teatro Comunale Chorus Claudio Abbado, Conductor Luciano Pavarotti, Tenor Vincenzo Bellini, Composer |
| (L')Orfeo |
Claudio Monteverdi, Composer
Barry McDaniel, Baritone Bruno Maderna, Conductor Claudio Monteverdi, Composer Netherlands Opera Chorus Oralia Dominguez, Mezzo soprano Utrecht Symphony Orchestra |
| (Die) Frau ohne Schatten, Movement: Zum Lebenswasser! |
Richard Strauss, Composer
Alessandra Marc, Soprano Edo de Waart, Conductor Netherlands Radio Chorus Netherlands Radio Philharmonic Orchestra Richard Strauss, Composer |
| (Die) Frau ohne Schatten, Movement: Wehe, mein Mann! |
Richard Strauss, Composer
Alessandra Marc, Soprano Edo de Waart, Conductor Netherlands Radio Chorus Netherlands Radio Philharmonic Orchestra Richard Strauss, Composer |
| (Das) Lied der Trennung |
Wolfgang Amadeus Mozart, Composer
Elly Ameling, Soprano Jörg Demus, Piano Wolfgang Amadeus Mozart, Composer |
| Als Luise die Briefe |
Wolfgang Amadeus Mozart, Composer
Elly Ameling, Soprano Jörg Demus, Piano Wolfgang Amadeus Mozart, Composer |
| Abendempfindung |
Wolfgang Amadeus Mozart, Composer
Elly Ameling, Soprano Jörg Demus, Piano Wolfgang Amadeus Mozart, Composer |
| An Chloe |
Wolfgang Amadeus Mozart, Composer
Elly Ameling, Soprano Jörg Demus, Piano Wolfgang Amadeus Mozart, Composer |
| (6) Lieder für eine Frauenstimme, Movement: Morgentau (wds. anon) |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Felix de Nobel, Piano Hugo (Filipp Jakob) Wolf, Composer |
| (6) Lieder für eine Frauenstimme, Movement: Das Vöglein (wds. Hebbel) |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Felix de Nobel, Piano Hugo (Filipp Jakob) Wolf, Composer |
| (6) Lieder für eine Frauenstimme, Movement: Mausfallen-Sprüchlein (wds. Mörike) |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Felix de Nobel, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Wer rief dich denn? |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Felix de Nobel, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Nun lass uns Frieden schliessen |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Felix de Nobel, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Eichendorff Lieder, Movement: Die Zigeunerin |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Felix de Nobel, Piano Hugo (Filipp Jakob) Wolf, Composer |
| (15) Tonadillas al estilo antiguo, Movement: La maja dolorosa |
Enrique Granados (y Campiña), Composer
Enrique Granados (y Campiña), Composer Felix Lavilla, Piano Teresa Berganza, Mezzo soprano |
| (15) Tonadillas al estilo antiguo, Movement: El majo discreto |
Enrique Granados (y Campiña), Composer
Enrique Granados (y Campiña), Composer Felix Lavilla, Piano Teresa Berganza, Mezzo soprano |
| (15) Tonadillas al estilo antiguo, Movement: El tra la la y el punteado |
Enrique Granados (y Campiña), Composer
Enrique Granados (y Campiña), Composer Felix Lavilla, Piano Teresa Berganza, Mezzo soprano |
| Ay que linda hermosa |
Ernesto Halffter, Composer
Ernesto Halffter, Composer Felix Lavilla, Piano Teresa Berganza, Mezzo soprano |
| (3) Poèmes de Stéphane Mallarmé |
Claude Debussy, Composer
Bernard Kruysen, Baritone Claude Debussy, Composer Hans Henkemans, Piano |
| (3) Ballades de François Villon, Movement: Ballade des femmes de Paris |
Claude Debussy, Composer
Bernard Kruysen, Baritone Claude Debussy, Composer Hans Henkemans, Piano |
| Mandoline |
Claude Debussy, Composer
Bernard Kruysen, Baritone Claude Debussy, Composer Hans Henkemans, Piano |
| (6) Songs, Movement: No. 1, Do not believe, my friend (wds. Tolstoy) |
Pyotr Ilyich Tchaikovsky, Composer
Galina Vishnevskaya, Soprano Pyotr Ilyich Tchaikovsky, Composer Tamás Vásáry, Piano |
| (6) Songs, Movement: No. 3, At the ball (wds. Tolstoy) |
Pyotr Ilyich Tchaikovsky, Composer
Galina Vishnevskaya, Soprano Pyotr Ilyich Tchaikovsky, Composer Tamás Vásáry, Piano |
| Where art thou, little star |
Modest Mussorgsky, Composer
Galina Vishnevskaya, Soprano Modest Mussorgsky, Composer Tamás Vásáry, Piano |
| Mavra |
Igor Stravinsky, Composer
Galina Vishnevskaya, Soprano Igor Stravinsky, Composer Tamás Vásáry, Piano |
| (7) Songs, Movement: To evening (1898: wds. A. V. Forsman-Koskimies) |
Jean Sibelius, Composer
Irwin Gage, Piano Jean Sibelius, Composer Tom Krause, Baritone |
| (6) Songs, Movement: No. 1, Black roses (wds. Josephson) |
Jean Sibelius, Composer
Irwin Gage, Piano Jean Sibelius, Composer Tom Krause, Baritone |
| (6) Songs, Movement: No. 4, Sigh, sedges, sigh (wds. Fröding) |
Jean Sibelius, Composer
Irwin Gage, Piano Jean Sibelius, Composer Tom Krause, Baritone |
| (5) Songs, Movement: On a balcony by the sea (wds. Rydberg) |
Jean Sibelius, Composer
Irwin Gage, Piano Jean Sibelius, Composer Tom Krause, Baritone |
| Pribaoutki |
Igor Stravinsky, Composer
Cathy Berberian, Mezzo soprano Igor Stravinsky, Composer Luciano Berio, Conductor Rotterdam Philharmonic Orchestra |
| (2) Folksong Settings |
Luciano Berio, Composer
Cathy Berberian, Mezzo soprano Luciano Berio, Composer Luciano Berio, Conductor Rotterdam Philharmonic Orchestra |
| (The) Turn of the Screw |
Benjamin Britten, Composer
Benjamin Britten, Conductor Benjamin Britten, Composer English Opera Group Chamber Orchestra Jennifer Vyvyan, Soprano Peter Pears, Tenor |
| Calmo (a Bruno, in memoriam) |
Luciano Berio, Composer
Cathy Berberian, Mezzo soprano Luciano Berio, Conductor Luciano Berio, Composer Rotterdam Philharmonic Orchestra |
| Sara dolce tacere |
Luigi Nono, Composer
(John) Alldis Choir John Alldis, Conductor Luigi Nono, Composer |
| Anemoessa |
Iannis Xenakis, Composer
Iannis Xenakis, Composer Netherlands Radio Chorus Netherlands Radio Philharmonic Orchestra Richard Dufallo, Conductor |
| Incises |
Pierre Boulez, Composer
Florent Boffard, Piano Pierre Boulez, Composer |
| Composition No. 3, 'Benedictus qui venit' |
Galina Ivanova Ustvol'skaya, Composer
Amsterdam Wind Orchestra Galina Ivanova Ustvol'skaya, Composer Heinz Friesen, Conductor |
| Glaubst du an die Unsterblichkeit der Seele |
Claude Vivier, Composer
Asko Ensemble Claude Vivier, Composer Holland Festival Singers Reinbert de Leeuw, Conductor Schönberg Ensemble |
| Inscriptions on bone |
Guo Wenjing, Composer
Anna Larsson, Contralto (Female alto) Ed Spanjaard, Conductor Guo Wenjing, Composer Nieuw Ensemble |
| Tango Alamán |
Mauricio Kagel, Composer
Mauricio Kagel, Wheel of Fortune Woman Mauricio Kagel, Composer Mie Miki, Accordion Vera Beths, Violin |
| Quintetto a fiati |
Rudolf (George) Escher, Composer
Danzi Wind Quintet Rudolf (George) Escher, Composer |
| Reconstruction (a morality) |
(composers) Various, Composer
(composers) Various, Composer Holland Festival Orchestra Holland Festival Singers Reinbert de Leeuw, Conductor |
| Block Beuys - Raum 2 |
Richard Rijnvos, Composer
Ensemble Modern Hans Zender, Conductor Richard Rijnvos, Composer |
| Anfang |
Louis Andriessen, Composer
Frans Brüggen, Recorder Louis Andriessen, Piano Louis Andriessen, Composer |
| Erde |
Louis Andriessen, Composer
Frans Brüggen, Recorder Louis Andriessen, Composer |
| (Le) voile de bonheur |
Louis Andriessen, Composer
Louis Andriessen, Composer Reinbert de Leeuw, Piano Vera Beths, Violin Vera Beths, Vocalist/voice |
| (3) Shakespeare Songs |
Ton de Leeuw, Composer
David Robertson, Conductor Ensemble InterContemporain, Paris Rosemary Hardy, Soprano Ton de Leeuw, Composer |
| Cyrano de Bergerac |
Johann Wagenaar, Composer
(Royal) Concertgebouw Orchestra, Amsterdam George Szell, Conductor Johann Wagenaar, Composer |
| Symphony No. 4 |
Gustav Mahler, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Bruno Walter, Conductor Elisabeth Schwarzkopf, Soprano Gustav Mahler, Composer |
| (5) Pieces |
Anton Webern, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Anton Webern, Composer Pierre Boulez, Conductor |
| Leonore |
Ludwig van Beethoven, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Ludwig van Beethoven, Composer Wilhelm Furtwängler, Conductor |
| Prélude à l'après-midi d'un faune |
Claude Debussy, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Claude Debussy, Composer Leopold Stokowski, Conductor |
| Daphnis et Chloé Suites, Movement: Suite No. 2 |
Maurice Ravel, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Maurice Ravel, Composer Pierre Monteaux, Conductor |
| Tzigane |
Maurice Ravel, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Herman Krebbers, Violin Kyrill Kondrashin, Conductor Maurice Ravel, Composer |
| (La) Vida breve, Movement: Vivan los que ríen! |
Manuel de Falla, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Jean Fournet, Conductor Manuel de Falla, Composer Teresa Berganza, Mezzo soprano |
| (La) Vida breve, Movement: Alli está! Riyendo |
Manuel de Falla, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Jean Fournet, Conductor Manuel de Falla, Composer Teresa Berganza, Mezzo soprano |
| (4) Letzte Lieder, '(4) Last Songs', Movement: Im Abendrot (wds. Eichendorff) |
Richard Strauss, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Elisabeth Schwarzkopf, Soprano George Szell, Conductor Richard Strauss, Composer |
Author: Robert Layton
Readers who recall broadcasting in the late-1940s and early-1950s will have reason to thank the Holland Festival for many memorable riches. I recall hearing several Mahler symphonies, then rarities in this country, the 1949 premiere of Britten’s A Spring Symphony conducted by Eduard van Beinum with Jo Vincent, Kathleen Ferrier and Peter Pears, and much else besides. These six CDs are issued to celebrate its 50th anniversary. In many ways the earliest recordings are of the greatest interest. Furtwangler’s 1950 account of Beethoven’s Third Leonore Overture, with which I began my listening, is as awesome as any I have ever heard from him – or anyone else for that matter, full of mystery and fire. The listener hangs expectantly on to every note. The same set, “Famous Guest Conductors”, brings an account of the Prelude a l’apres-midi d’un faune under Stokowski with the legendary Hubert Barwahser as flautist. A poetic and intense performance is spoilt by rather murky sound and a balance in which the harp looms all too large. There is also a Daphnis et Chloe Suite No. 2, taken from a performance of the complete ballet in 1955. (It is all too easily forgotten nowadays that the complete Daphnis was a rarity in the concert-hall in the 1950s and had only entered the gramophone catalogue two years before.) The excerpt actually begins at fig. 153 a few bars before “Lever du jour”.
There is an opportunity to contrast two readings of Webern’s Five Orchestral Pieces, Op. 10 under Boulez in 1961 and Giulini in 1979, the one possessing exemplary clarity and precision, the other actually sounding like music. The Dutch composer Johan Wagenaar’s Cyrano de Bergerac Overture is no stranger to the catalogue, but Szell’s account from 1948 is meticulously prepared and atmospheric. The acoustic is dryish – no doubt the Concertgebouw was packed to full capacity. The highlight of these two discs and the whole set really is Bruno Walter’s wonderfully warm and humane account of Mahler’s Fourth Symphony with Elisabeth Schwarzkopf, recorded in 1952. One soon adjusts to the rather opaque mono sound.
Next, the two vocal discs. Apart from Callas’s 1959 recording of Elvira’s aria from the First Act of Ernani, which will for many collectors be self-recommending, the highlights of the opera disc include the incomparable Gre Brouwenstijn with Giuseppe Zampieri in the Act 2 duet between Amelia and Riccardo in Un ballo in maschera from 1958 with Molinari-Pradelli conducting, Corena and Fedora Barbieri in excerpts from a 1963 Falstaff conducted by Giulini and a bit of the 1967 production of Monteverdi’s Orfeo orchestrated and conducted by Bruno Maderna. “Great Singers in Recital” offers Schwarzkopf singing Wolf accompanied by Felix de Noel, Ameling in Mozart (Abendempfindung and An Chloe), Berganza in Granados, and Rodrigo and Halffter and that aristocrat of baritones, Bernard Kruysen, singing Debussy’s songs Mallarme songs with Hans Henkemans accompanying, all from the 1960s. There are some well-known Sibelius songs from Tom Krause and Irwin Gage, recorded at much the same time as they were making their five-LP Decca set, and Cathy Berberian singing Stravinsky’s Pribaoutki recorded in 1974. All are enjoyable in themselves but I can’t help feeling it would have been better to issue more of each recital on separate discs.
The “Twentieth-Century International Composers” CD is an odd mixture unlikely to exert a strong appeal. About five minutes from Act 1 of The Turn of the Screw, with Britten himself conducting (1955) and the same cast as on his commercial recording, rubs shoulders with Berio’s tribute to Maderna, Calmo, Boulez’s Incises for piano – “work in progress”, Xenakis, Kagel and Ustvolskaya. Dutch music has always rightly featured in the Holland Festival – unlike British composers at the Proms. I recall hearing Henk Badings, Henkemans and Pijper in the 1950s and the present disc rather concentrates on a younger generation: Louis Andriessen, Ton de Leeuw and Richard Rijnvos. Andriessen’s pieces are nothing if not entertaining: La voile du bonheur begins and ends like a movement from a Ravel violin sonata while the violinist turns vocalist, singing a snappy little cabaret song in the middle. Ton de Leeuw’s Three Shakespeare Songs with Rosemary Hardy and the Ensemble InterContemporarin recorded only last year are highly atmospheric. Globe do themselves no favours by not allowing readers to pick and choose among the recordings on offer.'
There is an opportunity to contrast two readings of Webern’s Five Orchestral Pieces, Op. 10 under Boulez in 1961 and Giulini in 1979, the one possessing exemplary clarity and precision, the other actually sounding like music. The Dutch composer Johan Wagenaar’s Cyrano de Bergerac Overture is no stranger to the catalogue, but Szell’s account from 1948 is meticulously prepared and atmospheric. The acoustic is dryish – no doubt the Concertgebouw was packed to full capacity. The highlight of these two discs and the whole set really is Bruno Walter’s wonderfully warm and humane account of Mahler’s Fourth Symphony with Elisabeth Schwarzkopf, recorded in 1952. One soon adjusts to the rather opaque mono sound.
Next, the two vocal discs. Apart from Callas’s 1959 recording of Elvira’s aria from the First Act of Ernani, which will for many collectors be self-recommending, the highlights of the opera disc include the incomparable Gre Brouwenstijn with Giuseppe Zampieri in the Act 2 duet between Amelia and Riccardo in Un ballo in maschera from 1958 with Molinari-Pradelli conducting, Corena and Fedora Barbieri in excerpts from a 1963 Falstaff conducted by Giulini and a bit of the 1967 production of Monteverdi’s Orfeo orchestrated and conducted by Bruno Maderna. “Great Singers in Recital” offers Schwarzkopf singing Wolf accompanied by Felix de Noel, Ameling in Mozart (Abendempfindung and An Chloe), Berganza in Granados, and Rodrigo and Halffter and that aristocrat of baritones, Bernard Kruysen, singing Debussy’s songs Mallarme songs with Hans Henkemans accompanying, all from the 1960s. There are some well-known Sibelius songs from Tom Krause and Irwin Gage, recorded at much the same time as they were making their five-LP Decca set, and Cathy Berberian singing Stravinsky’s Pribaoutki recorded in 1974. All are enjoyable in themselves but I can’t help feeling it would have been better to issue more of each recital on separate discs.
The “Twentieth-Century International Composers” CD is an odd mixture unlikely to exert a strong appeal. About five minutes from Act 1 of The Turn of the Screw, with Britten himself conducting (1955) and the same cast as on his commercial recording, rubs shoulders with Berio’s tribute to Maderna, Calmo, Boulez’s Incises for piano – “work in progress”, Xenakis, Kagel and Ustvolskaya. Dutch music has always rightly featured in the Holland Festival – unlike British composers at the Proms. I recall hearing Henk Badings, Henkemans and Pijper in the 1950s and the present disc rather concentrates on a younger generation: Louis Andriessen, Ton de Leeuw and Richard Rijnvos. Andriessen’s pieces are nothing if not entertaining: La voile du bonheur begins and ends like a movement from a Ravel violin sonata while the violinist turns vocalist, singing a snappy little cabaret song in the middle. Ton de Leeuw’s Three Shakespeare Songs with Rosemary Hardy and the Ensemble InterContemporarin recorded only last year are highly atmospheric. Globe do themselves no favours by not allowing readers to pick and choose among the recordings on offer.'
50 Years of the Holland Festival
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