;i1r,,*-==::xr - Chandos

;i1r,,*-= 

(@il*il),

DACOCD 451 

Aksel Schigtz 

From G. F. Handel "Messiah" 

[ 1 ] Comfort le- 3:25 

[ 2 ] Every valley +,os 

The orchestra of Det Unge Tonekunstnerselskab 

Conductor Mogens Wiildike. 

HMV DB 5239 2CS 1620 l / 2CS 162l-1 

Recorded March 26, 1940 

Diderik Buxtehude: 

[ 3 ] Was mich auf dieser Welt betriibt (Ahasverus Fritsch) 4;48 

Else Marie Bruun and Julius Koppel, violins 

Alberto Medici, cello and Mogens Wcildike, harpsichord. 

HMV DB 5240 2CS 1618-1 

Recorded Mmch 20, l9zl0 

From J. S. Bach "Weihnachtsoratorium": 

[ 4 ] Frohe Hirten, eilt, ach eilet (c. F Henrici) 3:43 

Johan Bentzon, flute, Alberto Medici, cello 

and Mogens Wcildike. harp'ichor.. 

HMV DB 5240 2CS 1619-1 

Recorded Mrch 20, 1940 

From J. S: Bach "Matthiiuspassion" 

[ 4 ] O Schmerz - lch will bei meinem Jesu wachen (Picanc]er') 7:20 

Mogens Steen Adreassen, oboe, and orchestra with chorus. 

Conductor Mogens Wijldike 

HMV DB 5267 zCS 201 3-2 | 2CS 20',7 1-1 

Recorded April 22, 1942

John Dowland: 

[6]Shalllstez:04 

[ 7 ] Now cease, my wand'ring eyes 1i37 

[ 8 ] Floq my tears 3:10 

Jytte Gorki Schmidt, guittr. 

HMV DB 5270zCS 1979-1 / 2CS 1980-l 

Recorded October 17. 1941 

From W. A. Mozart "Die Zauberfldte": 

[ 9 ] Dies Bildnis ist bezaubernd schiin (Emanuel Schikaneder) J:48 

From W. A. Mozart "Cosi fan tutte": 

[10] Un'aura amorosa (da Ponte) 3;21 

The Royal Orchestra, Copenhagen 

Conductor Egisto Tango. 

HMV DB 5262ZCS 2052-3 / 2CS 2053-l 

Recorded February 25, 1942 

From W. A. Mozart: "Don Giovanni": 

[11] Dalla sua pace (da Ponre) 4:06 

[12] Il mio tesoro intanto (da Ponte) 4i15 



HMV DB 52642C5 2058-l / 2CS 2051-1 

Recorded February 27, 1942 

From W. A. Mozart "Die Entfiihrung aus dem Serail": 

[13] Hier soll ich dich denn sehen, Konstanze (Btetznet) 2:43 

[14] Im Mohrenland gefangen war (Bretznet) 2:27 



HMV DA 5253 OCS 2377-l / OCS 2378-l 

Recorded August 31, 1943

From Joseph Haydn "Die Schdpfung": 

[15] Mit Wiird'und Hoheit angetan (G van Swieten) 4175 

With orchestra conducted by Mogens Woldike. 

HMVDB 5271.2C52204-1 

Lenski aria from P Tchaikovsky "Eugene Onegin": 

[16] Fremtid har liv og dpd i eje (cu'tuv Hetsch) 4;33 

Faust's Cavatina ("Salut demeure") from Charles Gounod "Faust": 

[17] Vrer hilset, plet (AdotphHertz) 1:27 


Conductor Johan Hye-Knudsen. 

HMV DB 10523 2C52152-2 /2CS 2153 2 

Recorded October 25, 1944 

From G. F. Handel: 

[18] Love Sounds the alarm (from'Acis and Galathea") and 

Sacred raptures cheer my breast ("solomon") 9;58 

Royal Philharmonic Orchestra, Stockholm 

Conductor Mogens Wrildike. 

Unissued recording done at reheilsals at 

Musikaliska Akademien, Stockholm, September 25, 1945 

The Booklet: 

Notes in Danishp 6 

Notes in English p 15 

Texts p 23

Aksel Schiotz 1906 - 1975 

Aksel Schiotz blev t-odt i Roskildc L septenbcr 

I 906. hvor han voksede op i et dansk kultumriljil. 

Efter studentereksament | 92.1 lrcste han dansk og 

engelsk ved KObcnhavns Univcrsitet og blcv cand. 

mag. i 1930. Han blev i | 93 I gifi mctl Gerd 

Haugsted. 

Lige fia gvnnasieiirenc hirvde han en fln 

mezzo tenor-stemntc. Og stor sanggliede. Mogclls 

Wiildike optog harr som lenor i sit nydannede 

Kobenhavns Drcnge og Mandskor og gav Schiotz 

solo-opgaver i orirtoriemusikkcn. I 1936 gav Aksel 

Schigtz sin tprste sangatien. 

His Mastcr's Voice. London. opdagcde 

Schiotz i 1938 og lagde grundcn til den lyscndc 

grammotbnkaniere. som tlenne CD scrie pilny gdr 

tilgrengelig. 

Med den militrere besicttelse af Drnnark d. 9. 

april | 9;10 blev SchiOtz at.skirret tia cn international 

karrierc sorn Lied- og oratoriesiurger. Hrns 

gramnrotbnpladcr hrvde intidlcrtid givct llanr cn 

ccntral positirrt hcrhjenttne. Schiptz sang opcra o-e 

opcrctte i hovcdstadcn. men kunnc tillige givc 

sangalicncr fbr tirldc husc overall i lanclct. Han 

bidrog ncd kunstneriskc rritller til dcn fblkelige og 

moralske selvbcsirrdelse. sont tidcn knldte Pii. 

I 1945 blev dc gamle kontaktcr nrecl engelsk 

nusikliv mcd held genoplivet. Set ntcd 

grammophilc Oinc er det Akscl SchiOtz' og Gcralcl 

Moorcs "Die schdnc Miillerin' og'Dichterlicbc' 

der vejcr tungest. Mcn fbr Schitatz sclv har det 

lrdcn t\i\l rlrrct ett gylden oPlc\el.e rl \yr)sc i 

Glyntlebournc i Brinens Thc Rapc of Lucrctia". 

Efieriiret l9-16 diagnosticercs cn s\,ulst pai horc 

ncrven. Opcrltionen medlbrcr. at Akscl Schiotz' 

hojrc ansigtshalvdcl latunrcs. Kan han kontnlc til rt 

sl rrgr' igcrt l Al surtd lhrntll l tllil \\ irre llLj. 

Trods allc odds lykkcs det Schilttz. nrcd 

utrolig viljestyrkc rt tftcnc sig op til en bcvicgcnde 

cornc-btck koncert i Kobenhavn i l9-1u. 

Dcn lysc. \'rrnrc tcnorr{tst er ttbt- Solll sangcr. 

nu i barytonalt leje. blivcr han sierligl \'icrdsrt af 

rnusikere og kcndcre Casals. Pcirrs. Saschit 

Schncidcr og nangc iurdrc. der lleggcr storre vlegt 

pir kunstncrisk sandhcd cntl pri oprindclig skonhcd. 

I | 955 indlcder Aksel Schirltz en ny 

livsgcrning sttnt protcssor i sangkrrnsr ved 

univcrsitctcrrre i Minncsota. iTtxtnto (1958 (d))og 

i Colqado ( |960 68). lkkc nrintlst ltrtrs 'rttitstcr 

classcs". der rlholdcs rliurgc stcdct i Nudanlcrika. 

vidner om clct ry hrn opnitr ved sin ttndcrvisnin-u. 

En prolcssorstilling i KObcnhavn tilbydcs 

Akscl Schi(rtz i 19613. Skont hrn cr glnd lbr 

kaldelscn. giver postcn i liengden ikkc nulighed 

tbr nt fl ugtbargdre hans indsigt og tbrnicllings 

cvnc. erhveruct i lyse og ntttrkc ticler. 

Akscl Schi(rtr dor i 1975.

Aksel and Ged ScltiOt:. 

'7

Introduktion 

Det er et stort Onske jeg fir opfyldt med denne 

samlede genudgivelse af Aksel Schiptz' 

grammofonindspilninger. 

Jeg er rort over, at bestyrelseme lbr Velux 

Fonden af 198 I, Augustinus Fonden og Cul 

Nielsen og Anne Marie Cml-Nielsens Legat hr 

vist forsdelse for at bevue Aksel Schigtz' 

sangkunst, si den fortsat kan glade musikelskere 

der beveges af stemmen og af fbrtolkningerne. 

De fleste optagelser har veret genudgivet pe 

LP, men disse er foreldede, ogsi i den forstand at 

de ikke rigtig har ydet originaloptagelseme 

retferdighed. Nir jeg nu h6rer de overfgrsler, som 

EMI-studiemes dygtige "chief engineer", hr 

Andrew Walter, har forestiet pi grundlag af tidlige, 

velbevarede presninger, mindes man om, hvor gode 

de oprindelige optagelser vu. (Der sdr nesten altid 

"take-1 " pi dem, hvilket er til are bide for Aksel 

Schigtz og for dem der sku plademe.) Det var 

HMV i London, der opdagede Aksel Schiptz' 

slemme. \e del glader mig. at CD-rerien 

produceres i samubejde med EMI-Abbey Road 

Studieme i London. 

Serien er komplet frem til begivenhedeme i 

1946, daAksel Schiptz med npd og neppe 

overlevede en operation, der lammede den ene 

ansigtshalvdel. Hans kamp for at komme sig og for 

at komme til at synge igen har ogs6jeg veret 

folelsesmEssigt st€rkt involveret i. Men det er to 

vidt forskellige perioder, det nok er klogt at holde 

hver for sig. 

Si hermed forelrgges tenoren Aksel Schiptz' 

samlede pladeproduktion samt nogle ukendte 

optagelser fra perioden, son jeg hu autoriseret til 

udgivelse. Mitte plademe komme dem i hende, 

som vil fi den storste glade af deml 

Gerd Schiqtz 

Gerd Schiotz: 

En kordirigent og opdrager 

Senere, da bomene voksede til, blev han namest 

et begreb i familien: "Wdldiken", i lighed med 

"Henen" og "Djavelen". Nu han var pi tale, 

vidste vi, det var alvor, og arbejdet med ham kom 

fiemfor alt andet. 

Mogens Wiildike havde haft utrolig fart pi 

med at blive til noget. Da Aksel i 1929 larte ham at 

kende, var han 32 dr, organist, musikmagister, 

Palestrinakorets dirigent og underyisningsministeriets 

sanginspektpr Han vm Thomas Laub's 

efterflalger i Holmens Kirke og forlsatte hans 

restaureringsrbejde indenfor dansk kirkesang. 

Samtidig arbejdede han med en plan om 

omlegning af eksamensordningen i musik pi 

Konseryatoriet og Universitetet. og som censor 

begge steder fik han stor indflydelse pi udklekningen 

af nye sanglarere og orgmister. 

Det blev den purunge musikmagisters forste 

store kunstneriske indsats at danne Palestrinakoret 

og i l6bet af ganske fi m bringe det op til 

international standard, hvilket blandt andet 

bekreftedes ved, at det flk 1. pr&mre I en 

konkunence i sangens hovedstad, Milano. 

Samtidig eksperimenterede han med drengekor. I 

I 93 I pillede han de yngste hener ud af 

Palestrinakoret og oprettede med dem som 

fundament "Kpbenhavns drenge- og mandskor". 

Det var Wiildikes magel6st dygtige stykke arbejde, 

der bragte drengekoret til verden. Med sin 

utrettelige energi, sin dristighed, forhandlingsevne 

og fantasi fik han borgmester Kaper og Kobenhavns 

kommunes skolemyndigheder til at omdanne 

en af drengeskoleme til "sangskole", hvoraf koret 

rekrutteredes. 

Han knyttede egnede medarbejdere til skolen

og opnaede i lObet af relativt le ar at skabe et 

konkunencedygtigt drengekol Samtidig blev han 

organist i Christiansborg Slotskirke, hvor 

drengekoret kort efter overtog kirkesangen. 

Med det, der iser viser ham som den 

milbevidste, klarhj ernede kunstner. var, at han 

anrngerede en rrkke ugentlige koncener i 

Slotskirken, hvortil han med sit kor indstuderede et 

alsidigt repenoire med Palestdna, Bach og Hindel 

som hovedbestandel. Det var ikke alene koret, der 

her blev oplart i historisk rnusik, mcn ogse et stort 

publikum blev opdraget til at interessere sig for 

denne musikfom - og til at goutere den. 

Aksel var en af tenorerne i koret, og det blev 

af stor betydning for hans senere udvikling, at 

Wrildike begyndte at lede hm henimod 

oratoriesangen ved at overdrage ham solopartier til 

de mange koncerter, drengekoret aftroldt i 

Christiansborg Slotskirke. 

Gerd Schiotz: 

"Grammofonfundet" 

Kare pige. 17. januar 1938 

Hvis dette brev er fjollet og usammenhrngende, 

s8t dig si ind i grunden til min skorhed. Altse, tag 

hirdt fat i stolen eller bordet eller, hvis du, hvad 

bedst kunne ligne dig, stir og stritter midt pe guh'et 

- grib dig si i liret, d6r fir du godt fat. Opringning 

fra Skandinavisk Grammofons direktor Haftkopp. 

Han sagde: "Hold Dem nu fast, Schi6tz. I ger fik 

jeg ordre fra vores chef i London om at finde 

sangeren A. S., som lonnodes at vrre i Kgbenhavn. 

Man beder Dem indsynge nogle prgveplader: 

en koncertarie af Mozart og en arie lia "Bortf6relsen", 

pi London-kontorets regning og uden 

forpligtelser fra nogen side." Hartkopp selv vr 

ganske paf, han kendte jo ikke noget til mig. Og 

det er vores chance nu. 

Si bad han mig om at synge et par danske 

sange ind for selskabet her. Forbandet, at du er iset 

inde i Arhus, nu mi du se at komme, jeg hr brug 

for din fornuft. 

Ah! Sadan kom forlpsningenl Endelig! Og si var 

det "His Master's Voice" i London, der sendte bud! 

Men hvordan i alverden kunne det gi til? Aksel var 

jo dirligt nok giet op for lblk herhjemme. Pressen, 

som straks styrtede sig over sensationen, mitte vi 

stille tilfreds med hypoteser. Vi mente. at man 

derovre miiske havde hpfi Aksel synge den indtil 

usyngelighed vanskelige arie i Bach's Juleoratorium, 

som Wiildike havde teet ftansmitteret i 

julen. Aksel vu sluppet levende fra den, men havde 

ogsi slidt med den vanskelige musikalske struktul 

indtil alle koloraturerne sad som perler pi en snor. 

Men hvem havde gort dem opmerksom pi, at han 

skulle synge? Var det altsammen tilfeldigheder, der 

spillede ind'? 

Det engelske HMV havde i 1940 bestilt en 

optagelse af Hiindels Comfort Ye, My People og 

Every Valley, og der var en englender i tekniker 

rummet. der overvigede optagelsen. Mogens 

Wiildike dirigerede Unge Tonekunstneres orkester, 

hvor Else Marie Bruun vil koncertmester. 

Englenderen var uenig med Wajldike om opfattelse 

og tempi; der blev en masse diskussion og renden 

frem og tilbage mellem studiet og optagerummet. 

Aksel var fortvivlet: han sled unodigt pA stemmen 

ved de mange omsyngninger; musikeme blev sure 

og tvere og Wctldike vred. Til sidst var der en eller 

anden, der tabte hovedet. og koncerlmesteren og 

Aksel 169 i totterne pi hinanden: "Primadonna" 

A.

snenede de begge to, og rode i kammen blev de 

kaldt til orden afWoldike, hvorefter man begyndte 

forfra for tiende gang. Oppe i teknikemmmet 

vendte englenderen sig nu henrykt til mig: 

"Listen! This is hne!" Og virkelig; migskaben 

havde tOet dem op, de spillede og sang og 

dirigerede som jeg-ved-ikke hvad, og resultatet 

blev da ogsi en plade. der stadigvek regnes tbr 

noget serligt. 

I Ovrigt stammer Bach pladen fra Juleoratoriet 

fra samme tid. 

Aksel Schiotz om Mogens Wiildike 

Nu jeg i min larer- og sangeftilverelse har stiet 

overfor at skulle foretage betydningsfulde skridt, er 

det ofte sket i samrid med en bestemt mand - 

nemlig Mogens Wijldike. Der skal ikke her ggres 

forsOg pe at bed@mme ham som musiker og 

kunstner. Jeg vil blot fremhave enkelte tr8k, som 

kan belyse den rolle, Mogens Wtildike har spillet 

for mig. 

Jeg indstuderede Buxtehudes Magnitlcat med 

eleveme i Roskilde Katedralskole. Og stolt varjeg, 

da Woldike efter en koncert i Odense, hvor jeg 

havde varet solist, prasenterede mig med ordene: 

''En ung :anglrrer. som \ynger 5-stemmig 

Buxtehude med bOmene!" 

I kraft af sit indgeende kendskab til mit 

dilemma han var enig med mig i. at skole- og 

sangertilvrrelse ikke kunne forenes - havde hans 

ord afgOrende vagt, da jeg foretog selve 

"spdnget", og han javnede vejen for mig ved at 

anbefale mig til legater og pA anden mede lette min 

kamp mod der mal. jeg har de sat mig. 

Thi dajeg havde taget den endelige 

beslutning, gav han mig fuldt op at bestille. 

Allerede mens jeg vr lerer og samtidig i hans kor, 

gav han mig forskellige solopafiier. Som den sande 

padagog havde han gradvis stillet mig store og 

\torre opga\er: Bach . Weihnachtsoratorium. 

Haydn's Schriptung og Hindel's Messias horer til 

de skpnneste af de verker, jeg tik lov til at 

medvirke i. og en af de storste dage i mln 

sangertilverelse vtr. da han overdrog mig 

erangeli.tpartiet i Bach s Johannespa.siun. 

Ikke mindre lykkelig vr jeg, da vi sammen 

indspillede arien Comfort Ye tia Messias, Haydn's 

Mit Wiird und Hoheit og Bach's rier. Nir disse 

plader i dag omtales af amerjkanske kritikerc som 

sarlig gode og fine i stilen. mi en stor del af 

anerkendelserne derfor gi videre til Mogens 

W6ldike. 

Wdldikes solistprpver havde med al deres 

hyggelige og elskv&rdige stemning noget 

eksamcnsagtigt over sig. Det vil en sclvfblge, at 

man havde gort sit yderste og kunne sine ting til 

punkt og prikke, nir man kom, si han kunne prrge 

partiet eller ensemblet etier sin opfattelse. Man 

kunne vel n&mest kaakterisere hele indstuderingen 

med ordene "frihed under ansvar". for han var 

meget lydhgr overtbr tanker. man selv havde glort 

sig under indqvelsen af stoftet. 

Gennem mange irs intimt samarbejdc har jeg 

lert Wcjldike at kende som lErer. musiker og ven. 

og ligesom han altid har givet mig de tineste 

opgaver, kom han stille og naturligt ind til mig pi 

Serafimerlasarettet i Stockholm og madede nig 

med qsters! 

Aksel Schiotz om Messias 

Messias er ikhe alene i alle engelsktalende lande, 

men i hele verden blevet en del af det kulturelle 

arvegods, ikke alene for musikere, men for alle 

mennesker med en vis opdragelse. Seh'om dette

verk opfgres hvert ir overalt og med alle mulige 

fomer for fortolkling - har det dog bevaret sin 

friskhed og originalitet. 

Pi Hiindels tid brugte sangeme forsiringer og 

apoggiaturer til overtlod. Jeg er nu ikke si sikker 

pA dette punkt. Desuden vil vore dages kresne 

musikere sikkert ikke kunne godtage alt, som de 

h:indelske sangere gjorde, det vere sig rigtigt eller 

forkert, men derfor kan vi jo godt komme si nar 

kamen i Hzindels musik som muligt i t ore 

opfPrelser. 

I vore dage hprer man ofte forkerte opfattelser 

af Hiindels fuldendte fraseringer i Me.rJias. 

Markvrerdige ritardandi og fermater forekommer 

overalt i musikken, fordi sangerne siger: "Sidan 

Bler vi i vores kirke, at det skal gOres", og heryed 

tilslores blot Hlindels storhed pi en tibelig mide. 

(Dette gjaldt iser opf@relser rundt omkring i 

Englmd og Amerika pi den tid). 

Tenorens recitaliv "Comlon Ye. m1 People" 

og arien "Every Valley shall be exalted" indleder 

varket efter den korte, majest€tiske ouvefiure. 

Den fgrste "Comfort Ye" mi helst synges i takt, 

med "Com" pi I-slaget, si det falder sammen med 

akkorden, og setningen skal derefter fraseres frit, 

dog uden at den rytmiske figur forrykkes. Orkestret 

svuer med et eklo pi denne rubato figur. men 

genoptager begyndelsestempoet straks i den 

f6lgende takt. Det tredje "Comfort Ye" er ad lib., 

som skrer et :tir. og derefter genoptages det 

oprindelige tempo. Den tredje linje "and cry unto 

her" er ogsi rubato, men de to ottendedele pe "that 

her" fprer igen tilbage til grundtempoet. 

I hvad jeg ville kalde det "egentlige" recitativ, 

"The voice of him that crieth in the wildemess, 

Prepile ye the way of the Lord, Make straight in 

the deseft a highway for our God", udgor profetens 

rib den centrale id6 i hele varket. Sangeren mi her 

ggre sin frasering bred og verdig, mens han 

samtidig absolut mi respektere hver eneste af de 

lange pauser. idel pauseme bidrager lil at gi\e 

profeten. forkyndelse itore vrgt: dette r il gi 

fuldstendig tabt, hvis man jager. Motivets struktur 

styrkes ved at placere akkordeme npjagtig pe uktslaget, 

hvilket ikke altid gpres. De to slutakkorder 

mi komme pi det andet og tredje slag for at undgi 

en dissonans, som Hiindel bestemt ikke tilsigtede. 

Tempoet i arien i "Every valley" er dobbelt si 

hurtigt som tempoet i recitativet. Det bevirker, at 

sangeren kan klme koloraturlgbene i 6n fiasering, 

sidan som Hlindel naturligvis htr Onsket det. Det 

giver ogsi arien den npdvendige elastiske lethed. 

I det kofie recitativ "Behold! A virgin shall 

conceive" lyder Kathleen Feriers stemme stadig 

levende i mine Orer, fra 1945, hvor vi begge 

medvirkede i nogle Messiasopforelser i Liverpool. 

Hun respekterede alle de virkningsfulde pauser, da 

hun sang det, og opniede dermed en meget sterk 

folelse af religiOs ophojethed. 

Aksel Schiotz om Dowland: 

England frembragte 

i det 16., 17. og 18. 

irhundrede store sangkomponister. John Dowland 

og de pvrige elizabethanske komponister skev 

nesten altid deres sange til lutakkompagnement. 

Dowland vr selv en af de fineste lutvirtuoser, som 

har eksisteret. Hans sange er, med deres 

komplicerede rytmer og tekniske kav, en stor 

udfordring for en nutidssanger Og de hu en 

stimulerende virkning pi udgver sivel som tilhorer 

pi grund af deres store musikalske vardi og 

fglelsesmessige virkningt derfor er de interessante 

og spendende at have pe repertoiret. Nogle af disse 

irhundredgamle smge funkler som rdelsten, 

selvom de miske taber lidt ved at blive akkompag-

neret pe cembalo (med lut register) og ikke pi lut. 

"I Saw My Lady Weep," "Flow My Teus," "Fine 

Knacks for Ladies," "Shall I Sue," og "Come 

Again" er nogle af Dowlands bedst kendte sange. 

(John Dowland var medlem af Chr. IV's kapel 

1598-1606. Hans instrumentale hovedverk, "Songs 

or Ayres for the Lute", tre dele: 1597, I 600, I 603, 

blev delvis komponeret i Helsingor) 

Aksel Schigtz om Egisto Tango: 

Gerd Schiotz: 

Han tillod sig en virkelig flothed i eftereret 1942, 

en flothed, han selv var ligesi lykkelig over som en 

attenerig, der fer en bil til sin fOdselsdag - og den 

kostede ham omtrent det samme! Han engagerede 

seh hele Det kongelige Kapel med dets fprste 

diigeat, maestro Egisto Tango, og Edith Oldrup, 

lejede Paleets store sal og indbgd til Mozart-Carl 

Nielsen koncert. Det var en af de storste dage i 

hans liv ... 

Aksel SchiOtz: 

Da Tango i sin rid rilbgd mig debut i det lillebitte 

parti, 2. fmge i Fidelio, mener jeg, det var i 

venskabelig interesse, fordi hm som det erfame 

teatemenneske, han vr, klart indsd, at det vil 

halslgs geming at lade mig kaste mig ud i 

Fenandos uhyre krevende parti. (Cosi fan tutte). 

Men da min debut som Fenando forst var 

vedtaget, hjalp han mig pi alle mulige mAder Jeg 

kunne ike vere kommet i bedre handel Det er en 

kolossal stotte for en debutant at have en dirigent 

ude i mgrket i orkestergraven, som musikalsk 

barer ham pi hander. 

I Mozafi-ugen 1941, hvor 150-Srsdagen for 

den store komponists dgd fejredes ved en rakke 

opfgrelser i Kpbenhavn, blev der i Odd Fellow 

Paleet lavet en konceft-opforelse af Don Juan, 

hvor jeg sang Don Ottavios parti, mens resten af 

rolleme vu i handeme pi operasangere fta Det 

kongelige Teater. Det vtr en stor fryd for mig at 

deltage i prgveme, og det mindede mig om det red, 

Tango i sin tid havde givet mig, for jeg sogte 

Forsell: "De mi prove at komme i berOring med en 

stor musiker og kunstner det vil De lere fuldt si 

meget af som af en stemmepedagog." Thi det 

oplevede jeg nu i fuldt omfang. Den lille circa 70erige 

italienertroldmand med den snurige akcent 

og det sjove talesprog, en blanding af dansk, tysk 

og italiensk, besad - bide nir det glaldt det blide 

bel canto og det f! lde/orlissiruo, hvor alle 

instrumenter satter i en enesteende kunstnerisk 

sans for balance og skpnhed. 

Her fanede jeg den beslutning ovenpi den helt 

igennem vellykkede Don Juan opfgrelse, at hvis 

jeg ikke pi anden mide kunne komme r 

kunstnerisk berpring med Tango igen, ville jeg 

minsandten engagere ham. 

Da Tango pe det sted i Don Juan, hvor Don 

Ottavio synger Dalla sua pace, lenede sig tilbage 

mod rekvcrket pa dirigentpodiet og st ud, som om 

han nod at musicere, var det et dejligt ojeblik for 

mrg. 

Yi herhjemme har meget at vere Tango 

taknemlig for. I fprste rakke hans mange 

vidunderlige Verdi-opfgrelser pi teatret, hvor han 

kan bringe en sydlandsk festivitas og et liv i 

musikken, at man fOler sig hensat til hans 

fedreland. Demast har han med sin sans for 

kvalitet og stil skenket os mange vidunderlige 

Mozartoplevelser, og hans bidrag til forsdelsen af 

Cul Nielsens musik har ikke varet de mindst 

betydningsfulde.

Selv f6ler jeg mig i stor kunstnerisk gald til 

ham, ikke mindst for de Mozartplader, vi htr 

indspillet sammen. Og hans smi krerlige livstegn 

senere, da jeg trengte til det, betod en positiv 

opmuntring for mig om ikke at givc op. 

AGerd Schiotz, l95l og 1970 

Kapitlet "Schiotz og opera" er ikke udtpmt med 

fbranstiende. Det fremglr af den Tchaikovsky/ 

Gounod-plade som er med pi CDen. Optagelserne 

fandt sted i 19421 og er de sidste med Schi@tz under 

Lrigen. Platlen kom forst ud engang i 50eme og 

kun i dansk presning LPen havde allerede vundet 

slaget. 

Mm kunne mene, at det vil et sart 

repertoirevalg netop i 1944. Jeg forstir, at det var 

Knud Hegeman-Lindencrone der havde ivret for, 

at denne optagelse blev foretaget. Og det forholder 

sig da ogsi.idan. at begge dis'c operaarier rar i 

Schiotz'repertoire. F.eks. var de pi programmet 

den 13. april I 940, den koncert Schiotz med 

bestemthed negtede at aflyse, fordi aflysning ville 

vere underkastelse. 

Fausts Cavatine. som den traditionelt er blevet 

kaldt, kever et hojt C nar slutningen. Men det er 

ikJr:e en opera-tenors hpje C vi hgrer her. Pladen 

viser en grense. Schiotz havde studeret partiet hos 

John Forsell i Stockholm og sang Faust pa Det kgl. 

Teater i 1940. Der havde han ogsi sunget Wagner. 

F6r nogen falder ned af stolen skal jeg skynde mig 

at fortelle, at det drejede sig om Walther von der 

Vogelweide i "Tannh:iuser", et parti der si godt 

som udelukkende udgores af ensemble-sang. 

Lenskis arie fra "Evgeni Onegin" er lykkedes 

bedre pi pladen. Klangen er langtfra en russisk 

tenors. Men sunget som her, nesten som en Lied, 

eller som den indre monolog den jo er, trcder den 

bl{tde smerte, inderligheden i Lenskis musik, 

smukt frem. 

Don Ottavio, som er den mest latterliggjorte 

af operafigurer, ligner Lenski lidt. Spren 

Kierkegarud, der heller ikke kunne se noget 

interessant i Don Ottavio, fastslog at Don Juan var 

det ideelle opera-sujet. idet musikkens natur 

ligesom Don Juans er sensuel forforelse (i A's 

papirer i "Enten-Eller"). 

Da Donna Anna hu genset og genkendt sin 

forforer, fortaller hun Don Ottavio, overdrevent 

detaljerel. at det var el ufuldbyrdet voldtagtrforsog. 

(Men det passer dirligt med at hun i 

operaens begyndelse hager sig fast i Don Juan og 

kalder ham "bedrager". Dened bliver egentlig hun 

skyld i faderens dpd. Edward J. Dent bemarker, at 

Donna Annas voldtegtsforklaring normalt udlOser 

en sjofel latter hos et engelsk publikum, og at han 

opfatter det som en hin overfor Don Ottavio, der 

lettet accepterer historien.) Derefter pilegger 

Donna Anna, i musik af heftig lidenskab, Don 

Ottavio at sgrge for hrvn. Si gir hun sin vej. 

Alene pi scenen synger Don Ottavio da "Dalla sua 

pace". Hvilken anden sanger har kunnet legge en 

sddan forelskelse og omhed i denne musik? Den 

uerfame dreng, som Ottavio er, fu en dybere 

dimension hos Schigtz. Don Ottavio er uhjelpeligt 

i klemme, nir han er sat i scene mellem 

erotomanen Don Juan og en Donna Anna, der har 

fiet sin lidenskab vakt. 

Hvis man ikke man f6lge mig i dette, se ster 

dog tilbage, at Schigtz synger Don Ottavios arier 

med en inderlighed som musikalsk og psykologisk 

udgor en modpol til Don Juan, for inderlighed er 

ikke i forfprerens repertoire. Si vi forstir Egisto 

Tangos adfard pi podiet. 

Pi operascenen fik Schiotz sine storste 

succes'er i "Liden Kirsten" og i "The Rape of

Lucretia". Mere herom senere i senen. 

Afslutningsvis: Lytteren vil fbrsti. at den 

optagelse fra Stockholm i 1945, der er fundet og 

som offentliggOres her, er en pr,ve. en f4rsle 

gennemsyngning. I optagelsen hores SchiOtz 

bemarke, at arien skal vare "tungere". Wcildike 

erklerer sig enig og bemarker, at ottendedelene 

skal vare vagliSere. lbr at der kan opnis en 

plastisk rytme. 

Moguts Wiiltlike 

l.l 

Personlig erjeg ophort med at ergre mig over 

at vi ikle har den fardige koncen. Virkelighedsbilledet 

i prpveglimtene er overrumplende og egte. 

-Citatmosaikken hrr Gerd Schiotz og jeg 

samarbejdet om. Citateme er fra "Kunst og Kamp" 

l95l og fia "The Singer and his Art" 1970 

(sidstnavnte bog pi dansk ved Gerd Schiotz 1970) 

QAnte Helnnn 1996

Aksel Schiotz 1906 - 1975 

Aksel Schiotz was bom in Roskilde, Denmark, 

1906. M.A. in modem languages after studies at 

the University of Copenhagen I 924 30. Maried to 

Gerd Haugsted I 93 | . 

Aksel Schiotz had a fine mezzo tenor voice 

which he loved to display, at parties or in church. 

Mogens Wtildike, the choral conductor, made him 

a tenor member of the Copenhagen Boys' and 

Male Choir. and he was entrusted with oratorio 

solos. Schi6tz's first song recital was in 1936. 

In 1938 Aksel Schiptz was discovered by His 

Master's Voice. London. The much admired 

recorded legacy is revived in this CD series. 

On April 9th, 1940, Denmark was seized by 

Hitler An intemational career in Lied and oratorio 

must be postponed. However, the records had made 

a reputation for SchiOtz in Denmark. He became 

the best loved classical singer ever, equally popular 

with high and low. He appeared in opera and 

operetta, and had recitals all over the country at full 

houses. With his artistry he made a tine contribution 

to that democratic and moral stand called for 

by the tinres. 

After the war the old ties with British musical 

lif'e were succesfully taken up. With Gerald Moore 

Schi@tz recorded "Die schijne Miillerin" and 

"Dichterliebe", and he appeared in the first 

perfbmances of Britten's 'The Rape of Lucretia" 

at Glyndebourne. 

Aksel Schiptz survived a tumor acusticus 

operation in 1946. but halfhis face was left lame. 

Could he ever sing again? Common sense said no. 

But. contrary to all reason, Aksel Schigtz 

succeeded by sheer will-power to fight his way to a 

come-back recital in I 948, a moving event. 

The sheen of the voice had gone. As a singer. 

now a baritone, he was perhaps now best 

appreciated by musicians and connaisseurs - 

Casals, Pears. Sascha Schneider among them 

who rated artistic truth before original beauty. 

In I 955 Aksel Schiotz enters a new career, 

lhal of professor in an song. at universities in 

Minnesota, in Toronto ( I 958-60). and in Colorado 

( 1960-68). Master classes are held all over North 

America. conlributing to his reputation as a 

teacher 

A job as professor in Copenhagen is off'ered 

to Aksel Schiotz in 1968. Though Aksel Schiorz is 

pleased by the calling, it tums out that Denmark 

does not know how to make good use of his artistic 

and educational potential. 

Aksel Schiotz dies in 1975.

Introduction 

This collected edition afAksel Schiptz's recordings 

means the fulfilment of a great wish of mine. 

It touches me that the boards of Velux Fonden 

af 1981, Augustinus Fonden and Cul Nielsen og 

Anne Marie Cul-Nielsens Legat have sympathized 

with the wish to perpetuate Aksel Schiotz's art. 

Most of the recordings were issued on LPs, 

but they are now obsolete, nor have those transfers 

been as good as the originals. Listening now to the 

fresh and clean transfer made from ltne early 

pressings by Mr Andrew Walter, chief engineer of 

the EMI Abbey Road Studios, one is reminded how 

good the originals were. (They carry, most of the 

time, "take l" on them, which is to the credit of 

Aksel Schiotz as well as the engineers). It was 

HMV in London who discovered Aksel Schiotz 

and made him one of their artists, so it pleases me 

that the CDs ue produced in collaboration with the 

EMI Abbey Road Studios. 

The series is complete up till late 1946 when 

Aksel Schiotz barely suruived an operation which 

left half his face lame. His struggle to recover and 

to resume singing I, too, was involved in with 

natural strong feelings. But there were two separate 

periods, which must wisely be kept apart. 

So what is presented now are the complete 

recordings ofAksel Schiptz, the tenor Included re 

unklown documenttry recordings fiom those 

times, authorized for issue by me. I hope that the 

CDs will come into the hands of those who will 

love them bestl 

Gerd Schi4tz 

Gerd Schiotz: 

A Choral Conductor and a Mentor. 

Mogens Wcildike had lo:t no time in getting 

somewhere. When Aksel flrst met him in 1929, he 

was 32, M. A. in music, founder and conductor of 

the Palestrina Choir, and Music Supervisor for the 

Ministry of Education. He had become Thomas 

Laub's successor in Holmens Church and 

continued his restoration work for Lutheran church 

muslc. 

His first victory as an artist with the Palestrina 

Choir war to u in lst prize in a competition in 

Milan itself, the capital of madrigal singing. With 

his energy, audacity, imagination, and force of 

argument, he made the authorities of Copenhagen 

agree to make a "song school" as the basis for a 

Copenhagen Boys'Choir (will tum up in vols. 5 

and 6 of this Schigtz series. Ed.) Then he got 

himself the job as organist of Christiansborg Palace 

Church, and also had the choir installed in the 

same place. 

But the evidence that showed him as an arlirt, 

no less concentrated and clearheaded. were the 

weekly concerts in the Palace Chapel, for which he 

built up a wide-ranging repertoire with Palestrina, 

Bach, Handel as the pillars. It was not just the 

choristers who lemed old music, also a large 

audience was educated and lemed to appreciate it. 

Aksel was a tenor member of the Copenhagen 

Boys' and Male Choir. It was important fbr his 

later development that Woldike began to prepare 

him tbr oratorio singing by giving him solos at 

many concerts in the Palace Chapel.

Gerd Schiotz: 

"The Gramophone Find" 

Dear girl. 17. jan. 1938 

If this letter sounds silly and without head or tail, 

Ieam the reason for my silliness. Telcphone call 

from Haftkopp. head of Skandinavisk Grammofon 

(Danish EMI). He said, "Take hold of yourself, 

SchiOtz. Yesterday I was told by our London Office 

to find the singer AS, supposed to be rn 

Copenhagen. They ask you to make some test 

records, a concert aria by Mozart (to appear in vol. 

4. Ed.) and an aria from "Die Entfiihrung", paid 1br 

by the London Olfice, and without obligation on 

either side." Hartkopp was quite dumbfounded, he 

did not know anything about me. And that is our 

chance now. 

Then he asked me to record a couple of Danish 

songs for the domestic company. It is aggrevating 

you have been iced in at Atrhus, You'11 have to 

come here, I need your common sense with me. 

Ah! So this was the solution! At lastl And it was 

"His Master's Voice" in London which called! But 

how could that be? Aksel had hardly made a name 

for himself in Denmark. We had to guess. Perhaps 

somebody at Hayes had heard Aksel sing the very 

difficult "Frohe Hirten" over the radio where it had 

been broadcast during Christmas. 

British HMV later asked for a recording of the 

Messiah aria "Every Valley", and an English 

producer and a crew had mived to make the 

recording. Mogens Wiildike conducted the 

orchestra of which Else Mrie Bruun was the 

leader. The Englishman disagreed with Wijldike as 

A, 

to conception and tempo. A good deal of argument 

and running to and fro ensued. Aksel was unhappy, 

his voice was unnecessarily taxed by the many 

repetitions, the musicians got iritated and Woldike 

angry. Finally somebody lost his head, and the 

leader and Aksel had it in for each other: 

"Primadonna" both of them hissed, and red-faced 

they had to be called to order by Wcildike, after 

which everybody started anew for the tenth time. In 

the control room the Englishman delightedly 

tumed to me, "Listen! This is hne!" And indeed, 

the excitement had opened up for something, they 

played and sang and conducted as I do not-knowwhat, 

and the result was a record which is still 

considered something special. 

The Bach/Buxtehude record comes from the 

same sessions. 

Aksel Schiotz on Wiildike: 

During my professional life, when I had to make 

some important decision, it was often after 

consulting a certain man Mogens Wcildike. I shall 

not try to evaluate him as a musician and artist. 

This is only to stress how important he has been for 

me. 

I had prepared Buxtehude's Magnificat with 

pupils of Roskilde Katedralskole. So wasn't I 

proud when Wdldike, after a concert where I had 

been a soloist, introduced me thus: 'A young music 

teacher who sings five-part Buxtehude with his 

pupils I" 

Because he knew my dilemma, teacher or 

tenor, from inside out - he agreed that I could not 

stay a teacher and a singer at the same time - his 

advice was decisive. 

When the final decision had been made he 

gave me lot to do. Aheady as a chorister I had been

given solos. As a good teacher he had led me 

gradually to more demanding challenges: Bach's 

Weihnachtsoratorium, Haydn's Schciptung, and 

Handel's Messiah were among the works in which 

I was pririleged lo take parl. antl one of thc "big' 

days I have had as a singer was when he entrusted 

me with the part of the Evmgelist in Bach's St. 

John Passion. 

I was truly honoured to record with him the 

Messiah "Every Valley", Haydn's "Mit Wiird und 

Hoheit", and uias by Bach. When these recordings 

still, especially by American critics, are 

commended for their quality and style, a great deal 

of that recognition must be passed on to Mogens 

Wtildike. 

Wiildike's rehearsals with soloists had, with 

all their relaxed mood, a feeling of exam. It went 

without saying that you had done your utmost and 

that you had learnt your lesson, so that he could put 

his artistic stamp on your performance. Perhaps 

"freedom under responsibility" tre words than can 

be used about the coaching, for he was very 

attentive to your concepts of the muslc. 

From an intimate musical cooperation for 

many years I knew Wijldike as a teacher, musician, 

friend, and just as he has always given me the 

finest music to sing, so he came quietly and as the 

most natural thing in the world to my bed in the 

Seraphim Hospital in Stockholm and/ed ne 

oysters! 

Aksel Schiotz on the Messiah: 

The Messlah belongs to the personal heritage of 

every English-speaking person from his euliest 

school days and has become put of the cultural 

backgrounds not only of musicians but of educated 

persons in all nations. This great work retains its 

freshness and odginality in spite of being 

pertbmed every yer in every country and with 

every possible interpretation. 

The singers of Handel's time used 

embellishments and appoggiaturas lavishly. I 

doubt, however, that we should attempt historical 

correctness in this respect. Besides, today's 

fastidious musicians, be it right or wrong, would 

probably not be able to accept everything that was 

done by the Handelian singers. We should, 

however, get as close as possible to the heafi and 

core of Handel's music in our performances. 

Misinterpretations of Handel's perfect phrases 

can often be heild in performances of the Messiah 

today. Strmge ritardandi and fermata ile sffewn all 

through the score because the singers say, "this is 

the way wepel it in our church," and Handel's 

greatness is thereby tbolishly obscured. (This was 

written by AS in 1970.) 

The tenor's recitative "Comfofi ye, my 

people" and the aria "Every valley shall be exalted" 

open the work after the.hort . slalell orenure. 

The first "Comforl ye" should be sung 

preferably on the beat, simultaneously with the 

chord, freely phrased but without distortion of the 

rhythmical patten. The orchestra echoes this 

rubato phrase but sets the beginning tempo 

immediately at the following measure. The third 

"Comfort ye" is cd /ih, as prescribed, then back to 

tempo. The third line "and cry unto her" is also 

rubato, but with the two eight notes "that her" 

leading into tempo again. 

In what I would call the "real" recitative, "The 

voice of him that crieth in the wildemess, Prepre 

ye the way of the Lord, Make straight in the desert 

a highway for our God," the prophet's cry 

constitutes the central idea of the whole work. Here 

the singer might use a broad and dignified

phrasing. but he must definitely observe every one 

of the long rests. The rests add to the grandew of 

the prophet's line. which would be completely 

ruined by hunying. The architecture of the phrase 

is strengthened by placing the chords on the beats, 

but this is not always done. The final two chords 

must be on the second and third beats to avoid a 

dissonance that Handel certainly did not intend. 

The tempo of the aria "Every valley" is twice 

as tast as that of the rccitative. This enables the 

singer to handle the runs in one phrase, as Handel 

obviously intended. It also gives the aria the 

necessary elastic lightness. 

In the short recitative "Behold! A virgin shall 

conceive", Kathleen Fenier's voice still rings 

vividly in my ear from our Messia& performances 

in Liverpool in 1945. She sang it with all the 

etl'ective rests, thus obtaining the strong feeling of 

"God with us". 

Aksel Schiotz on Dowland: 

England in the sixteenth, seventeenth, and 

eighteenth centuries produced great song 

composers. John Dowland and the other 

Elizabethan composers wrote their songs mostly to 

lute accompaniment. Dowland himself was one of 

the most acomplished lute virtuosi who ever lived. 

With their complicated rhythms and great technical 

demands, these songs present a challenge to the 

singer of today. 

Also, their musical value and emotional 

impact have such a stimulating effect on both 

performer and listener that they re an exciting 

asset to every singer's repertoire. Even if they lose 

something in being accompanied by harpsichord 

(on the lute stop), some of these old songs sparkle 

like precious stones. "I Saw My Lady Weep," 

"Flow My Teas," "Fine Knacks for Ladies," "Shall 

I Sue," and "Come Again" ile some of Dowland's 

best known songs. 

(John Dowland was in the service of King 

Christian IV 1598-1606. Dowland's "Songs or 

Ayres for the Lute", 1597, 1600, 1603. were in part 

composed at Elsinore.) 

Aksel Schi6tz on Egisto Tango 

Gerd Schiotz: 

Aksel allowed himself to be really extravagant in 

the autumn of 1942, an extravaganza that made 

him as happy as an eighten year old receiving a car 

for a birthday present - and costing him about as 

muchl He hired the Royal Orchestra with maestro 

Egisto Tango, and Edith Oldrup, the soprano. 

booked our linest concert hall, and invited to a 

Mozat-Carl Nielsen concert. It was one of the 

biggest days in his life... 

Aksel Schiotz: 

When my debut as Fenando in "Cosi fan tutte" had 

been decided, Egisto Tango gave me every possible 

help. I could not have been in better hands. It is an 

enormous support for an inexperienced singer to 

have a conductor in the dark pit who musically is 

holding your hand. 

During the Mozarl week in 1941 when the 

composer was celebrated in many ways, there was 

a concert perfbmance of "Don Giovanni" in which 

I sang Don Ottavio together with singers from the 

Royal Opera. The rehearsals were sheer delight for 

me. I was reminded of the advice once given me by 

Tango: "You must try to get in touch with a great 

musician. He can teach you more than the best of

teachers." This was what happened to me now. The 

small Italian magician had a funny accent and a 

peculiar mixture of Danish. German, and Italian. 

He also had a unique anistic instinct for balance 

and beauty. It showed in tender bel canto. as well 

as in full fortissimo. 

After the succesful "Don Giovanni" 

performance I made up my mind to hire Tango 

myself. if that was the only way I could work with 

him. 

When Don Ottavio sings Dalla sua pace I saw 

Tango lean back on the railing of the podium. 

Iooking as if he was enjoying himself. For me it 

was a treasurable moment. 

Egisto Tatryo 

ln Denmark we are indebted to Tango: His 

Verdi performances were wondertully festive and 

Italian. Mozart. with the highest quality in 

musicianship. In addition he has contributed in no 

small way to the appreciation of Carl Nielsen's 

ntuslc. 

I, too, am in his debt, not only ibr the Mozart 

recordings we made together. And his small loving 

signals later when I needed them. encouraged me 

nor ro glve up. 

Notus, AGerd Schiot: l95l qrtd 1970

Editor's note: 

Something should be added to the subject'Aksel 

Schigtz and Opera". There ile the Tchaikovsky and 

Gounod items to consider. They were recorded in 

1944, the last session during the war. They had 

been forgotten, it seems, because the 78 rpm record 

was not issued till the late 50s. 

Both items were in Aksel Schiptz's repertoire. 

They were programmed for a recital on April 13th 

19,+0. Hitler had occupied Denmmk on the 9th. 

Aksel Schiotz refused to cancel the recital, because 

in his view that would be submission. 

Faust's "Salut demeure" has a high C near the 

end. But it is hrdly the high C of an operatic tenor 

we heu. This recording illustrates limits. Aksel 

Schiotz had studied the paft of Faust with John 

Forsell at Stockholm and did sing it at the Royal 

Opera of Copenhagen. There he had also appeared 

in Wagner. No, I am not pulling your leg! I hasten 

to add that it was the pan ofWalther von der 

Vogelweide in Tannhduser, a part which consists in 

ensemble-singing. 

The Lenski aria is much more succesful. It is 

not the sound of a Russian tenor, of course. But 

sung as here, almost like a Lied, or as the inner 

monologue it is ("in deep thought", is the 

direction), the soft pain, those innermost feelings in 

the music, come out beautifully. 

Don Ottavio, that most ridiculed of operatic 

chilacters, has some likeness to Lenski. Soren 

Kierkegaud did not find him interesting, writing 

about "Don Giovanni" and making the point that 

Don Juan is the ideal theme for an opera, as 

sensual seduction is the nature of music, as it is 

Don Juan's ("Either-Or", part 1). 

Having found and recognized her seducer, 

Donna Anna describes to Don Ottavio, in much 

and unbelievable detail, her experience as an 

unsuccesful attempt of rape. (Which is not 

consistent with, at the start of the opera, her 

clinging to Don Juan and calling him "deceiver". It 

is really Donna Anna whose tragic fault it is that 

her father is killed. Edward J. Dent mentions that a 

British audience will usually give out a dirty 

laughter at the rape story, Don Ottavio being the 

laughing-stock for his nalve acceptance of the 

story.) In music of furious passion Donna Anna 

now orders Don Ottavio to be her revenger. Then 

she leaves. Don Ottavio, left alone, sings "Dalla 

sua pace". What other singer has put that kind of 

loving rapture and tendemess in this music? The 

inexperienced boy is a tragic fi.gure, as sung by 

Schigtz. IIis feelings are betrayed by the knot tied 

by Don Giovanni, the erotomaniac, and a Donna 

Anna whose passion has been moused, 

dangerously. 

If the reader cannot agree to all this. it still 

remains that Schiotz as he sings Don Ottavio's 

rias, found inner true feelings which musically 

and psychologically show up Don Giovanni, for 

inner true feelings are not in the seducer's 

repertoire. So we can understand Egisto Tango's 

behaviour on the podium. 

On the opera stage Aksel Schiotz had his 

finest successes in "Liden Kirsten" ("Fair Kirsten", 

a rommtic opera by Hans Christian Andersen and 

J.PE. Hartmann which Liszt had performed at 

Weimar) and in Britten's "The Rape of Lucretia". 

More about this in other volumes of the collection. 

A short dialogue between Mogens Wdldike 

and Aksel SchiOtz is included after the recorded 

rehearsal excer?ts: 

MW: Thank you! - we'll have a look on it during 

the interval before we go on.

AS: Yes. - I'm not sure - it should have more 

werght- 

MW:Yes. the rhythm lacks plasticity. The quavers 

are too light. All the notes which --{am, dam, 

dam. We'll listen to it. 

(At the beginning. when the conductor introduces 

the soloist one can hear how Aksel Schiotz's name 

is pronounced!) 

No doubt the listener will appreciate that this 

is a rehearsal. Personally, I am no longer tiustrated 

that we do not have have the finished concert. 

There is a striking sense of reality about the 

recorded rehearsal exerpts which have surfaced. 

Gerd SchiOtz and I selected the notes which derive 

fiom "Kunst og kamp" (Art and Struggle) t951, 

and from "The Singer and his Art" 1970. 

@Ante Helnnn 1996

I I ] From G. F. Handel "Messiah": 

Recit.; Comfbrt ye. comfort ye my peoplc, 

saith your God; 

\peak ) e comforlrbly to Jerusalem: 

and cry unto her, that her wafare is accomplished, 

that her iniquity is prdoned. 

The voice of him that crieth in the wildemess: 

prepare ye the way of the Lord: 

make straight in the desefi a highway 

for our God. 

Alr: Every valley shall be exalted, 

and every mountain and hill made low, 

the crooked straight and the rough places plain. 

[ 2 ] Diderik Buxtehude (Ahasverus Fritsch): 

Was mich auf dieser Welt bctdibt, 

Das wiihret kurze Zeit. 

Was aber meine Secle liebt, 

Das bleibt in Ewigkeit; 

Drum fahr. o Welt, 

Mit Ehr und Geld 

Und deiner Wollust hin, 

In Kreuz und Spott 

Kann mir mein Gott 

Erquicken Mut und Sinn. 

Die Thoren-Freude diescr Welt, 

Wie siisz sie immer lacht. 

Hat schleunig ihr Gesicht verstellt 

Und den in Leid gebracht, 

Der auf sie baut; 

Wer aber traut 

Allein auf Gottes Treu. 

Dcr siehet schon 

Die Himmels-Kron, 

Und freut sich ohne Reu. 

What wories me in this world 

will last but a short while. 

but what my soul loves 

will last fbr etemity: 

so away, o world 

with honour and riches 

and with you lust, 

in cross and mock 

my God rcvives 

my spirit and heilt. 

The mad joy of this world, 

how sweet she is laughing, 

has cunningly disguised her face 

and brought woe to him 

who builds on her; 

but he who puts 

all trust in God 

is seeing now 

the heavenly crown 

in joy without remorse.

Mein Jesus bleibet meine Freud, 

was frag ich nach der Welt? 

Welt ist nur Furcht und Traurigkeit, 

die letzlich selbst zerfallt: 

Ich bin ja schon 

mit Gottes Sohn 

am Glauben hier veftraut, 

der droben sitzt 

und hier beschiitzt 

sein auserwiihlte Braut. 

[ 3 ] From J. S. Bach: "Weihnachtsoratorium": 

Arier Frohe Hirten, eilt, ach eilet, 

eh ihr euch zu lang verweilet, 

eilt, das holde Kind zu sehen! 

Geht, die Freude heiBt zu schiin, 

sucht die Anmut zu gewinnen, 

geht. und labet Herz und Sinnenl 

[ 4 ] From J. S. Bach: "Matthiiusspassion": 

Recit; O Schmerz! Hier zittert das gequiilte Herz! 

Wie sinkt es hin. wie bleicht sein Angesicht! 

Der Richter fiihrt ihn vor Gericht. 

Da ist kein Trost, kein Helfer nicht. 

Er leidet alle Hcillenqualen, 

Er soll fiir fremden Raub bezahlen. 

Ach, kdnnte meine Liebe dir, 

Mein Heil, dein Zittem und dein Zagen 

Vemindern oder helfen tragen, 

Wie geme blieb ich hierl 

Solo. Ich will bei meinem Jesu wachen. 

Cfior. So schlafen unrre Sdnden ein. 

So/o. Meinen Tod biisset seiner Seelen Not. 

Sein Trauren machet mich voll Freuden. 

Cftor. Drum muss uns sein verdienstli.ch Leiden 

Recht bitter und doch siisse sein. 

My Jesus will remain my joy, 

what would I with the world? 

The world is but fear and grief 

which finally will collapse. 

I am already 

bethrothed in taith 

to God's Son 

who yonder sits 

and here protects 

his bride elect. 

Happy 'hepherd.. make ha.te. make hasle. 

lest you tany too long, 

make haste, that you may see the fair childl 

Go, welcome beautiful joy, 

try to win good graces, 

go and refiesh heart and soul. 

O sorrow! Here trembles the anxious heaft! 

How it sinks! How pales his countenance! 

The judge leads him to judgment, 

there is no comfoft, no helper 

He suffers all the pains of hell, 

he must pay fbr others' robbery. 

Ah, could my love for Thee, 

my Saviour, Thy fer and trembling 

diminish or help Thee bear, 

how gladly would I remain here! 

5olo. I will watch beside my Jesus. 

Chorus.Then our sins go to sleep 

So/o. His soul's distress atones for my death. 

His nourning makes me full ofjoy. 

Choras. So his meritorious Passion must for us 

be truly bitter and yet sweet.

Three Lute Songs by John Dowland: 

[ 5 ] Shall I sue? shall I seek fbr grace? 

Shall I pray? shall I prove? 

Shall I strive to a heavenly joy 

With an earthly love? 

Shall I think that a bleeding heart, 

Or a wounded eye, 

Or a sigh can ascend the clouds 

To attain so high? 

Silly wretch forsake these dreams 

Of a vain desire, 

O bethink what high regrd, 

Holy hopes do require. 

Favour is as fair as things are, 

Treasure is not bought, 

Favour is not won with words 

Nor the wish of a thought. 

Justice gives each man his own; 

Though love be just, 

Yet will she not pity my grief- 

Therefore die I must. 

SiUy heart, then yield to die, 

Perish in despair: 

Witness ye how fain I die 

When I die for the fair 

[ 6 ] Now cease, my wmd'ring eyes, 

Strange beauties to admire. 

In change least comfofi lies; 

Long joys yield long desire. 

One faith, one love 

Makes our frail pleasures etemal, 

And in sweetness prove. 

New hopes, new joys 

Are still with sonow declining unto deep annoys 

Nature two eyes hath given 

All beauty to impart 

As well in earth as heaven; 

But she hath given one heart; 

That, though we see 

Ten thousand beauties, yet in us one should be 

One steadfast love, 

Because our hearts stand fixed although our 

Eyes do move. 

[ 7 I Flow. my teils. [al] from your springs. 

Exiled for ever let me moum. 

Where night's black bird her sad infamy sings, 

There let me live fbrlom. 

Down, vain lights, shine you no more. 

No nights are dark enough for those 

That in despair their last fortunes deplore. 

Light doth but shame disclose. 

Never may my woes be relieved, since pity is fled; 

And tears and sighs and groans my wery days 

Of all joys have deprived. 

From the highest spire of contentment my fortune 

is thrown; 

And fear and grief and pain for my deserts 

Are my hopes, since hope is gone. 

Hark! you shadows that in dtrkness dwell, 

Lem to contemn light. 

Happy, happy they that in hell 

Feel not the world's despite.

[ 8 ] From W. A. Mozart "Die Zaubertliite" 

(Schikaneder): 

Tamino's Aria 

Dies Bildnis ist bezaubemd sch6n, 

wie noch kein Auge je gesehn! 

Ich fiihl' es, wie dies Gcitterbild 

mein Herz mit neuer Regung fiillt. 

Dies Etwas kann ich zwar nicht nennen, 

doch tiihl' ich's hier wie Feuer brmnen. 

Soll die Empfindung Liebe sein? 

Ja, ja! Die Liebe ist's allein. 

O wenn ich sie nur finden kiinnte! 

O wenn sie doch hier vor mir stdndel 

Ich wiirde... wiirde wam und rein. 

Was wiirde ich? 

Ich wilrde sie voll Entzticken 

an diesen heiBen Busen drticken, 

und ewig w:ire sie dann mein! 

[ 9 ] From W. A. Mozart "Cosi fan tutte" 

(da Ponte): Fenando' Aria 

Un'aura amotosa 

Del nostro tesoro 

Un dolce ristoro 

Al cor porgerd. 

Al cor che, nudrito 

Da speme d'amore, 

D'un'esca migliore 

Bisogno non ha. 

This portrait is bewitchingly tair. 

such as no eyes have ever seenl 

I feel this divine picture 

filling my heart with a new emotion 

This Something I cannot name; 

but I feel it here buming like fire. 

Can this sensation be love? 

Yes, yes ! It can only be love. 

Oh, if only I might find herl 

If only she stood betbre me! 

I uould... uould uarmly. chastely... 

What would I do? 

I would, in my great delight, 

press her to my ardent heart, 

and make her mine foreverl 

A breath of love 

From our treasures 

Will afford our heafts 

Sweet sustenance. 

A heaft nourished 

On the hope of love 

Has no need 

Of greater inducement

[10] From W. A. Mozart: "Don Giovanni" 

(da Ponte): Don Ottavio's Arias 

Dalla sua pace 

la m)a dipende 

Quel ch'a lci piace 

vita me rende. 

Quel che le incresce 

mofie mi da. 

S'ella sospira, 

sospiro anch'io; 

ts mla queil rra. 

quel pianto E mio 

E non ho bene, 

sc non I'ha. 

[ll] Il mio tesoro intanto 

andate a consolar, 

E del bel ciglio il pianto 

Cercate di asciugar. 

Ditele che i suoi torti 

A vendicar io vado, 

Che sol di stragi e moili 

Nunzio vogl'io tornar. 

[12] From W. A. Mozart r'Die Entfiihrung aus 

dem Serail" (Bretzner): Belmonte's Aria 

Hier soll ich dich denn sehen, 

Here I shall see you again, 

Konstanze! dich mein Gliick! 

Constanza, who are all my joy! 

Lall Himmel es geschehenl 

Oh heaven. let it be so 

Gib mir die Ruh zuriick. 

And restore my peace of mind. 

Ich duldete der Leiden o Liebe! allzuviel! Oh love. I have suffered too much! 

Schenk mir daiiir nun Freuden 

Und bringe mich ans Ziel ! 

Upon her peace of mind 

my fate depends. 

When she is happy 

I f-eel so alive. 

Her misery 

makes me feel death. 

If she sighs 

I, too. must sigh. 

I am drawn into her wrath, 

I must share her tears. 

Therc cannot be a good li[e lor me 

if there is not one fbr her. 

You must go to my dearest one 

and try to bring her comfort. 

See if you cannot 

make her stop crying. 

Tell her that I have gone 

to avenge the abuse. 

I shall not myself go to her 

till death has brought an end to this 

Now bestow happiness upon me instead 

And lead me to my goal.

[13] Pedrillo's Romance: 

ln Mohrenlmd gefangen wu In Moorish lmds imprisoned lay 

Ein Mlidel hijbsch und fein; A girl, pretty and delicate; 

Sah rot und weiB, wr schwatz von Haar, Rosy cheeks, white skin, black hair, 

Seufzt Tag und Nacht und weinte gil She sighed day and night, she even wept, 

Woll't gem erldset sein. Longing to be rescued. 

Da kam aus femen Land daher Then came from foreign lands 

Einjunger Rittersmann; A young knight 

Den jammerte das Miidchen sehr; Who took pity on the maiden. 

Jach, rief er, wag ich Kopf und Ehr Hey, he cried, I'll risk my life and honour 

Wenn ich sie retten kann. If only I can rescue her. 

ll4l From Joseph Haydn "Die Schiipfung" 

(G. van Swieten): 

Mit Wiird' und Hoheit angetan, With dignity and nobility invested, 

Mit Schdnheit, Stiirk'und Mut begabt, with beauty, strength and courage endowed 

Gen Himmel aufgerichtet steht der Mensch, erect before heaven stands Man, 

Ein Mann und Kcjnig der Natur. a man and Nature's king. 

Die breit gewolbt'erhabne Stirn The broad and lofty brow bespeaks 

Verkiind't der Weisheit tiefen Sinn, the power of intellect, 

Und aus dem hellen Blicke strahlt and from the clear. bright glance 

Der Geist, des Schiipfers Hauch und Ebenbild. the spidt shines forth, 

An seinen Busen schmieget sich the breath of the Creator and his image. 

Fiir ihn, aus ihm gefomt, To his bosom clings, 

Die Gattin. hold und anmutsvoll. for him and from him formed, 

In froher Unschuld lachelt sie, his lovely, gracious wife. 

Des Friihlings reizend Bild, In happy innocence she smiles, 

ihm Liebe, Gliick und Wonne zu. O image of delightful springl 

And in her smile are love, joy and delight.

Len.ki's rie from P, Tchaikovskl 

"Eugene Onegin" rAdolph Hertzr. 

[15] Frentid har liv og dOd i eje 

Hvortbr hvorfor hvorfor er du forsvunden, 

o ungdomstid, o elskovsvirl 

Fremtid hr liv og dpd i eje, 

ak, ingen kender skrbnens veje! 

Hvad hviler nu i morgnens sk6d? 

En soldag? Eller nat og dpd? 

Men falder jeg og dgr for aren, 

og skiner mig Onegins skud, 

-jeg ved det, alt er sendt af Gud, 

hvis hind er over stjerneheren, 

hvis almagt skaber dagens glans 

og minenetters elverdans. 

Men morgnen, som af morke skygger 

nu stiger frem si luergd, 

miske dens flammer bilet bygger, 

hvor jeg skal lagges pi som dPd. 

Og slumrerjeg i gravens gemme, 

vil hastig man mig her forglemme 

i verdens travle lmm! 

Men du, Olga! 

Vil du bevare mindet om din ven? 

O, glade stund, jeg forst dig sa! 

smyk nu min grav med rosenranker! 

Ak, Olga! Skal jeg fra dig gi! 

O. kom, o, kom, min hjeftenskrr, 

o, f6lg din bejlers rgst, 

og skank ham hib og tr6st! 

O kom, o kom! Hpr, hvor jeg kalder, hjertenskerl 

o kom, ver mig i stunden ner! 

Hvorfor, hvorfor er du forsvunden, 

o ungdomstid, ufattelige elskovsfryd. 

Oh why oh why - oh why are you gone, 

my days of youth, my season of love! 

Life antl death are in the hands of the future, 

nobody knows the ways of destiny. 

What will tomonow hold for me? 

A sunfilled day? Or night and death? 

But whether I shall stoop for honour, 

or I suruive Onegin's shot 

- I know that all is in God's hand, 

he rules above the host of stils, 

he has created the light of day 

as well as moonlit nights. 

But the moming which from shadows 

now rises so flming red 

perhaps its flames will be in that pyre 

where my dead body will be placed. 

And when I sleep in my grave 

I shall be quickly forgotten 

by the noisy and busy world! 

But you, Olga! 

Will you keep the memory of your friend? 

The happy hour when I saw you firstl 

-adorn my grave with your roses! 

Alas Olgal Must I leave you ! 

O come, o come my dearest one. 

o hea your lover's voice 

and bring him hope and comfbfi! 

O come, o come! Heu me calling, deilest one, 

o come, be ner to me in this hour! 

Oh why, oh why are you gone, 

my days of youth, my happy love. 

(This is a rendering in English of what Schigtz is 

singing: Danish verses based on a Geman 

translation. The aria is slightly abbreviated, no 

doubt because of 78 rpm playing time.)

U6l From Charles Gounod "Faust" [17] From G. F. Handel "Acis and Galathea" 

(AdolPh Heftz): 

Love sounds th'arilm. 

Var hilset, plet, min Fod betrader! And fem is aflying! 

Her lever hun glad i npjsom bolig When beauty's the prize, 

med salige engle fortrolig. What mortal fears dying? 

Ah hvilken pragt i denne simpelhed, In defence of my treasure, 

alt inder paradisisk salig fred. I'd bleed at each vein; 

o naturl her vantlred hun med bamlie ind 

without her no pleasure' 

og voksed og blev smuk, hvor bekymiing pi jord 

forjog din berkyttende hind. 

i:l.i:t^].:i"p"- 

Love souno\ 

her r ed din moderpleje 

vandred hun dydens veje. 

from "solomon": 

Her fremstod pi dit bud Recit; Imperial Solomon, thy pray'rs are heard 

dit blomstrende, livsaligste rosenskud. See, from the op'ning skies 

Descending tlames involve the sacrifice; 

English rendering af this Danish text And 1o! within the sacred dome 

Be greeted, lovely place where I tread. 

Thaj..sleamv lisht' 

Here,inmodesrabode.herrifeish-i-py, 

inharmon; uithbles.edangel.. 

lt"f,"ttlt.,bdgh':. 

ueclare\IneLoroorHosrslscome' 

",, -, 

Oh what splendour in this simplicity, Air: Sacred raptures cheer my breast, 

everything breathes a Paradisian peace. Rushing tides of hallow'd zeal, 

o nature! here she walked in chikiish soirit. 

grew up rnto a beaury, any worry;'#;" 

Joysloo fierce to be express'd' 

In this swelling heart I feel' 

kept out by your protecting hand, Wam enthusiastic flames 

here, in your motherly care, In my panting bosom roll, 

she wandered virtue's ways. Hope of bliss, that ne'er expires, 

On your command here grew up Dawns upon my ravish'd soul. 

an exquisite' blissful young rose 

sacred raptures cheer my breast, e/c.

The Complete Aksel 

Schi0tz Recordings 

1933 -1946 

Vol. 1 DACOCD 451 

Oratorio and Mozart arias 1940 - 45 

incl. never before issued Handel in 

rehearsal 


Schubert "Die schiine Miillerin" 1945 

and rare Grieg from 1943 


Schumann ttDichterliebe" 

and songs by Brahms, Grieg and 

Bellman (all 1946) 

Vol.4 DACOCD 454 

Hidden Tfeasure Records 

incl. unJinished I 939-10 " Milllerin" 

and Mozart test recording 


Romancer by C.E,F. Weyse 

and Scandinavian lute songs 


Danish Golden Age 

incl. ercerpts JiomWeyse Jilm 1910 


Songs of Summer 

I 93 8-40 Danish recordings 

Vo1. 8 DACOCD 458 

Romancer by Peter Heise 

and 1942-45 Danish recordings 


"Farinelli" and Light Orchestral 

Songs 

incl. rare 1933-38 popular music 


The Complete Carl Nielsen 

Recordings 

incl. rare alternative recordings 

(vols 4 - l0 to be released during 1997)

;i1r,,*-==::xr - Chandos

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