;i1r,,*-==::xr - Chandos
;i1r,,*-==::xr - Chandos ;i1r,,*-==::xr - Chandos
;i1r,,*-= (@il*il),
- Page 3 and 4: DACOCD 451 Aksel Schigtz From G. F.
- Page 5 and 6: From Joseph Haydn "Die Schdpfung":
- Page 7 and 8: Aksel and Ged ScltiOt:. '7
- Page 9 and 10: og opnaede i lObet af relativt le a
- Page 11 and 12: verk opfgres hvert ir overalt og me
- Page 13 and 14: Selv f6ler jeg mig i stor kunstneri
- Page 15 and 16: Aksel Schiotz 1906 - 1975 Aksel Sch
- Page 17 and 18: Gerd Schiotz: "The Gramophone Find"
- Page 19 and 20: phrasing. but he must definitely ob
- Page 21 and 22: Editor's note: Something should be
- Page 23 and 24: I I ] From G. F. Handel "Messiah":
- Page 25 and 26: Three Lute Songs by John Dowland: [
- Page 27 and 28: [10] From W. A. Mozart: "Don Giovan
- Page 29 and 30: Len.ki's rie from P, Tchaikovskl "E
- Page 31: The Complete Aksel Schi0tz Recordin
;<strong>i1r</strong>,,*-=<br />
(@il*il),
DACOCD 451<br />
Aksel Schigtz<br />
From G. F. Handel "Messiah"<br />
[ 1 ] Comfort le- 3:25<br />
[ 2 ] Every valley +,os<br />
The orchestra of Det Unge Tonekunstnerselskab<br />
Conductor Mogens Wiildike.<br />
HMV DB 5239 2CS 1620 l / 2CS 162l-1<br />
Recorded March 26, 1940<br />
Diderik Buxtehude:<br />
[ 3 ] Was mich auf dieser Welt betriibt (Ahasverus Fritsch) 4;48<br />
Else Marie Bruun and Julius Koppel, violins<br />
Alberto Medici, cello and Mogens Wcildike, harpsichord.<br />
HMV DB 5240 2CS 1618-1<br />
Recorded Mmch 20, l9zl0<br />
From J. S. Bach "Weihnachtsoratorium":<br />
[ 4 ] Frohe Hirten, eilt, ach eilet (c. F Henrici) 3:43<br />
Johan Bentzon, flute, Alberto Medici, cello<br />
and Mogens Wcildike. harp'ichor..<br />
HMV DB 5240 2CS 1619-1<br />
Recorded Mrch 20, 1940<br />
From J. S: Bach "Matthiiuspassion"<br />
[ 4 ] O Schmerz - lch will bei meinem Jesu wachen (Picanc]er') 7:20<br />
Mogens Steen Adreassen, oboe, and orchestra with chorus.<br />
Conductor Mogens Wijldike<br />
HMV DB 5267 zCS 201 3-2 | 2CS 20',7 1-1<br />
Recorded April 22, 1942
John Dowland:<br />
[6]Shalllstez:04<br />
[ 7 ] Now cease, my wand'ring eyes 1i37<br />
[ 8 ] Floq my tears 3:10<br />
Jytte Gorki Schmidt, guittr.<br />
HMV DB 5270zCS 1979-1 / 2CS 1980-l<br />
Recorded October 17. 1941<br />
From W. A. Mozart "Die Zauberfldte":<br />
[ 9 ] Dies Bildnis ist bezaubernd schiin (Emanuel Schikaneder) J:48<br />
From W. A. Mozart "Cosi fan tutte":<br />
[10] Un'aura amorosa (da Ponte) 3;21<br />
The Royal Orchestra, Copenhagen<br />
Conductor Egisto Tango.<br />
HMV DB 5262ZCS 2052-3 / 2CS 2053-l<br />
Recorded February 25, 1942<br />
From W. A. Mozart: "Don Giovanni":<br />
[11] Dalla sua pace (da Ponre) 4:06<br />
[12] Il mio tesoro intanto (da Ponte) 4i15<br />
The Royal Orchestra, Copenhagen<br />
Conductor Egisto Tango.<br />
HMV DB 52642C5 2058-l / 2CS 2051-1<br />
Recorded February 27, 1942<br />
From W. A. Mozart "Die Entfiihrung aus dem Serail":<br />
[13] Hier soll ich dich denn sehen, Konstanze (Btetznet) 2:43<br />
[14] Im Mohrenland gefangen war (Bretznet) 2:27<br />
The Royal Orchestra, Copenhagen<br />
Conductor Egisto Tango.<br />
HMV DA 5253 OCS 2377-l / OCS 2378-l<br />
Recorded August 31, 1943
From Joseph Haydn "Die Schdpfung":<br />
[15] Mit Wiird'und Hoheit angetan (G van Swieten) 4175<br />
With orchestra conducted by Mogens Woldike.<br />
HMVDB 5271.2C52204-1<br />
Lenski aria from P Tchaikovsky "Eugene Onegin":<br />
[16] Fremtid har liv og dpd i eje (cu'tuv Hetsch) 4;33<br />
Faust's Cavatina ("Salut demeure") from Charles Gounod "Faust":<br />
[17] Vrer hilset, plet (AdotphHertz) 1:27<br />
The Royal Orchestra, Copenhagen<br />
Conductor Johan Hye-Knudsen.<br />
HMV DB 10523 2C52152-2 /2CS 2153 2<br />
Recorded October 25, 1944<br />
From G. F. Handel:<br />
[18] Love Sounds the alarm (from'Acis and Galathea") and<br />
Sacred raptures cheer my breast ("solomon") 9;58<br />
Royal Philharmonic Orchestra, Stockholm<br />
Conductor Mogens Wrildike.<br />
Unissued recording done at reheilsals at<br />
Musikaliska Akademien, Stockholm, September 25, 1945<br />
The Booklet:<br />
Notes in Danishp 6<br />
Notes in English p 15<br />
Texts p 23
Aksel Schiotz 1906 - 1975<br />
Aksel Schiotz blev t-odt i Roskildc L septenbcr<br />
I 906. hvor han voksede op i et dansk kultumriljil.<br />
Efter studentereksament | 92.1 lrcste han dansk og<br />
engelsk ved KObcnhavns Univcrsitet og blcv cand.<br />
mag. i 1930. Han blev i | 93 I gifi mctl Gerd<br />
Haugsted.<br />
Lige fia gvnnasieiirenc hirvde han en fln<br />
mezzo tenor-stemntc. Og stor sanggliede. Mogclls<br />
Wiildike optog harr som lenor i sit nydannede<br />
Kobenhavns Drcnge og Mandskor og gav Schiotz<br />
solo-opgaver i orirtoriemusikkcn. I 1936 gav Aksel<br />
Schigtz sin tprste sangatien.<br />
His Mastcr's Voice. London. opdagcde<br />
Schiotz i 1938 og lagde grundcn til den lyscndc<br />
grammotbnkaniere. som tlenne CD scrie pilny gdr<br />
tilgrengelig.<br />
Med den militrere besicttelse af Drnnark d. 9.<br />
april | 9;10 blev SchiOtz at.skirret tia cn international<br />
karrierc sorn Lied- og oratoriesiurger. Hrns<br />
gramnrotbnpladcr hrvde intidlcrtid givct llanr cn<br />
ccntral positirrt hcrhjenttne. Schiptz sang opcra o-e<br />
opcrctte i hovcdstadcn. men kunnc tillige givc<br />
sangalicncr fbr tirldc husc overall i lanclct. Han<br />
bidrog ncd kunstneriskc rritller til dcn fblkelige og<br />
moralske selvbcsirrdelse. sont tidcn knldte Pii.<br />
I 1945 blev dc gamle kontaktcr nrecl engelsk<br />
nusikliv mcd held genoplivet. Set ntcd<br />
grammophilc Oinc er det Akscl SchiOtz' og Gcralcl<br />
Moorcs "Die schdnc Miillerin' og'Dichterlicbc'<br />
der vejcr tungest. Mcn fbr Schitatz sclv har det<br />
lrdcn t\i\l rlrrct ett gylden oPlc\el.e rl \yr)sc i<br />
Glyntlebournc i Brinens Thc Rapc of Lucrctia".<br />
Efieriiret l9-16 diagnosticercs cn s\,ulst pai horc<br />
ncrven. Opcrltionen medlbrcr. at Akscl Schiotz'<br />
hojrc ansigtshalvdcl latunrcs. Kan han kontnlc til rt<br />
sl rrgr' igcrt l Al surtd lhrntll l tllil \\ irre llLj.<br />
Trods allc odds lykkcs det Schilttz. nrcd<br />
utrolig viljestyrkc rt tftcnc sig op til en bcvicgcnde<br />
cornc-btck koncert i Kobenhavn i l9-1u.<br />
Dcn lysc. \'rrnrc tcnorr{tst er ttbt- Solll sangcr.<br />
nu i barytonalt leje. blivcr han sierligl \'icrdsrt af<br />
rnusikere og kcndcre Casals. Pcirrs. Saschit<br />
Schncidcr og nangc iurdrc. der lleggcr storre vlegt<br />
pir kunstncrisk sandhcd cntl pri oprindclig skonhcd.<br />
I | 955 indlcder Aksel Schirltz en ny<br />
livsgcrning sttnt protcssor i sangkrrnsr ved<br />
univcrsitctcrrre i Minncsota. iTtxtnto (1958 (d))og<br />
i Colqado ( |960 68). lkkc nrintlst ltrtrs 'rttitstcr<br />
classcs". der rlholdcs rliurgc stcdct i Nudanlcrika.<br />
vidner om clct ry hrn opnitr ved sin ttndcrvisnin-u.<br />
En prolcssorstilling i KObcnhavn tilbydcs<br />
Akscl Schi(rtz i 19613. Skont hrn cr glnd lbr<br />
kaldelscn. giver postcn i liengden ikkc nulighed<br />
tbr nt fl ugtbargdre hans indsigt og tbrnicllings<br />
cvnc. erhveruct i lyse og ntttrkc ticler.<br />
Akscl Schi(rtr dor i 1975.
Aksel and Ged ScltiOt:.<br />
'7
Introduktion<br />
Det er et stort Onske jeg fir opfyldt med denne<br />
samlede genudgivelse af Aksel Schiptz'<br />
grammofonindspilninger.<br />
Jeg er rort over, at bestyrelseme lbr Velux<br />
Fonden af 198 I, Augustinus Fonden og Cul<br />
Nielsen og Anne Marie Cml-Nielsens Legat hr<br />
vist forsdelse for at bevue Aksel Schigtz'<br />
sangkunst, si den fortsat kan glade musikelskere<br />
der beveges af stemmen og af fbrtolkningerne.<br />
De fleste optagelser har veret genudgivet pe<br />
LP, men disse er foreldede, ogsi i den forstand at<br />
de ikke rigtig har ydet originaloptagelseme<br />
retferdighed. Nir jeg nu h6rer de overfgrsler, som<br />
EMI-studiemes dygtige "chief engineer", hr<br />
Andrew Walter, har forestiet pi grundlag af tidlige,<br />
velbevarede presninger, mindes man om, hvor gode<br />
de oprindelige optagelser vu. (Der sdr nesten altid<br />
"take-1 " pi dem, hvilket er til are bide for Aksel<br />
Schigtz og for dem der sku plademe.) Det var<br />
HMV i London, der opdagede Aksel Schiptz'<br />
slemme. \e del glader mig. at CD-rerien<br />
produceres i samubejde med EMI-Abbey Road<br />
Studieme i London.<br />
Serien er komplet frem til begivenhedeme i<br />
1946, daAksel Schiptz med npd og neppe<br />
overlevede en operation, der lammede den ene<br />
ansigtshalvdel. Hans kamp for at komme sig og for<br />
at komme til at synge igen har ogs6jeg veret<br />
folelsesmEssigt st€rkt involveret i. Men det er to<br />
vidt forskellige perioder, det nok er klogt at holde<br />
hver for sig.<br />
Si hermed forelrgges tenoren Aksel Schiptz'<br />
samlede pladeproduktion samt nogle ukendte<br />
optagelser fra perioden, son jeg hu autoriseret til<br />
udgivelse. Mitte plademe komme dem i hende,<br />
som vil fi den storste glade af deml<br />
Gerd Schiqtz<br />
Gerd Schiotz:<br />
En kordirigent og opdrager<br />
Senere, da bomene voksede til, blev han namest<br />
et begreb i familien: "Wdldiken", i lighed med<br />
"Henen" og "Djavelen". Nu han var pi tale,<br />
vidste vi, det var alvor, og arbejdet med ham kom<br />
fiemfor alt andet.<br />
Mogens Wiildike havde haft utrolig fart pi<br />
med at blive til noget. Da Aksel i 1929 larte ham at<br />
kende, var han 32 dr, organist, musikmagister,<br />
Palestrinakorets dirigent og underyisningsministeriets<br />
sanginspektpr Han vm Thomas Laub's<br />
efterflalger i Holmens Kirke og forlsatte hans<br />
restaureringsrbejde indenfor dansk kirkesang.<br />
Samtidig arbejdede han med en plan om<br />
omlegning af eksamensordningen i musik pi<br />
Konseryatoriet og Universitetet. og som censor<br />
begge steder fik han stor indflydelse pi udklekningen<br />
af nye sanglarere og orgmister.<br />
Det blev den purunge musikmagisters forste<br />
store kunstneriske indsats at danne Palestrinakoret<br />
og i l6bet af ganske fi m bringe det op til<br />
international standard, hvilket blandt andet<br />
bekreftedes ved, at det flk 1. pr&mre I en<br />
konkunence i sangens hovedstad, Milano.<br />
Samtidig eksperimenterede han med drengekor. I<br />
I 93 I pillede han de yngste hener ud af<br />
Palestrinakoret og oprettede med dem som<br />
fundament "Kpbenhavns drenge- og mandskor".<br />
Det var Wiildikes magel6st dygtige stykke arbejde,<br />
der bragte drengekoret til verden. Med sin<br />
utrettelige energi, sin dristighed, forhandlingsevne<br />
og fantasi fik han borgmester Kaper og Kobenhavns<br />
kommunes skolemyndigheder til at omdanne<br />
en af drengeskoleme til "sangskole", hvoraf koret<br />
rekrutteredes.<br />
Han knyttede egnede medarbejdere til skolen
og opnaede i lObet af relativt le ar at skabe et<br />
konkunencedygtigt drengekol Samtidig blev han<br />
organist i Christiansborg Slotskirke, hvor<br />
drengekoret kort efter overtog kirkesangen.<br />
Med det, der iser viser ham som den<br />
milbevidste, klarhj ernede kunstner. var, at han<br />
anrngerede en rrkke ugentlige koncener i<br />
Slotskirken, hvortil han med sit kor indstuderede et<br />
alsidigt repenoire med Palestdna, Bach og Hindel<br />
som hovedbestandel. Det var ikke alene koret, der<br />
her blev oplart i historisk rnusik, mcn ogse et stort<br />
publikum blev opdraget til at interessere sig for<br />
denne musikfom - og til at goutere den.<br />
Aksel var en af tenorerne i koret, og det blev<br />
af stor betydning for hans senere udvikling, at<br />
Wrildike begyndte at lede hm henimod<br />
oratoriesangen ved at overdrage ham solopartier til<br />
de mange koncerter, drengekoret aftroldt i<br />
Christiansborg Slotskirke.<br />
Gerd Schiotz:<br />
"Grammofonfundet"<br />
Kare pige. 17. januar 1938<br />
Hvis dette brev er fjollet og usammenhrngende,<br />
s8t dig si ind i grunden til min skorhed. Altse, tag<br />
hirdt fat i stolen eller bordet eller, hvis du, hvad<br />
bedst kunne ligne dig, stir og stritter midt pe guh'et<br />
- grib dig si i liret, d6r fir du godt fat. Opringning<br />
fra Skandinavisk Grammofons direktor Haftkopp.<br />
Han sagde: "Hold Dem nu fast, Schi6tz. I ger fik<br />
jeg ordre fra vores chef i London om at finde<br />
sangeren A. S., som lonnodes at vrre i Kgbenhavn.<br />
Man beder Dem indsynge nogle prgveplader:<br />
en koncertarie af Mozart og en arie lia "Bortf6relsen",<br />
pi London-kontorets regning og uden<br />
forpligtelser fra nogen side." Hartkopp selv vr<br />
ganske paf, han kendte jo ikke noget til mig. Og<br />
det er vores chance nu.<br />
Si bad han mig om at synge et par danske<br />
sange ind for selskabet her. Forbandet, at du er iset<br />
inde i Arhus, nu mi du se at komme, jeg hr brug<br />
for din fornuft.<br />
Ah! Sadan kom forlpsningenl Endelig! Og si var<br />
det "His Master's Voice" i London, der sendte bud!<br />
Men hvordan i alverden kunne det gi til? Aksel var<br />
jo dirligt nok giet op for lblk herhjemme. Pressen,<br />
som straks styrtede sig over sensationen, mitte vi<br />
stille tilfreds med hypoteser. Vi mente. at man<br />
derovre miiske havde hpfi Aksel synge den indtil<br />
usyngelighed vanskelige arie i Bach's Juleoratorium,<br />
som Wiildike havde teet ftansmitteret i<br />
julen. Aksel vu sluppet levende fra den, men havde<br />
ogsi slidt med den vanskelige musikalske struktul<br />
indtil alle koloraturerne sad som perler pi en snor.<br />
Men hvem havde gort dem opmerksom pi, at han<br />
skulle synge? Var det altsammen tilfeldigheder, der<br />
spillede ind'?<br />
Det engelske HMV havde i 1940 bestilt en<br />
optagelse af Hiindels Comfort Ye, My People og<br />
Every Valley, og der var en englender i tekniker<br />
rummet. der overvigede optagelsen. Mogens<br />
Wiildike dirigerede Unge Tonekunstneres orkester,<br />
hvor Else Marie Bruun vil koncertmester.<br />
Englenderen var uenig med Wajldike om opfattelse<br />
og tempi; der blev en masse diskussion og renden<br />
frem og tilbage mellem studiet og optagerummet.<br />
Aksel var fortvivlet: han sled unodigt pA stemmen<br />
ved de mange omsyngninger; musikeme blev sure<br />
og tvere og Wctldike vred. Til sidst var der en eller<br />
anden, der tabte hovedet. og koncerlmesteren og<br />
Aksel 169 i totterne pi hinanden: "Primadonna"<br />
A.
snenede de begge to, og rode i kammen blev de<br />
kaldt til orden afWoldike, hvorefter man begyndte<br />
forfra for tiende gang. Oppe i teknikemmmet<br />
vendte englenderen sig nu henrykt til mig:<br />
"Listen! This is hne!" Og virkelig; migskaben<br />
havde tOet dem op, de spillede og sang og<br />
dirigerede som jeg-ved-ikke hvad, og resultatet<br />
blev da ogsi en plade. der stadigvek regnes tbr<br />
noget serligt.<br />
I Ovrigt stammer Bach pladen fra Juleoratoriet<br />
fra samme tid.<br />
Aksel Schiotz om Mogens Wiildike<br />
Nu jeg i min larer- og sangeftilverelse har stiet<br />
overfor at skulle foretage betydningsfulde skridt, er<br />
det ofte sket i samrid med en bestemt mand -<br />
nemlig Mogens Wijldike. Der skal ikke her ggres<br />
forsOg pe at bed@mme ham som musiker og<br />
kunstner. Jeg vil blot fremhave enkelte tr8k, som<br />
kan belyse den rolle, Mogens Wtildike har spillet<br />
for mig.<br />
Jeg indstuderede Buxtehudes Magnitlcat med<br />
eleveme i Roskilde Katedralskole. Og stolt varjeg,<br />
da Woldike efter en koncert i Odense, hvor jeg<br />
havde varet solist, prasenterede mig med ordene:<br />
''En ung :anglrrer. som \ynger 5-stemmig<br />
Buxtehude med bOmene!"<br />
I kraft af sit indgeende kendskab til mit<br />
dilemma han var enig med mig i. at skole- og<br />
sangertilvrrelse ikke kunne forenes - havde hans<br />
ord afgOrende vagt, da jeg foretog selve<br />
"spdnget", og han javnede vejen for mig ved at<br />
anbefale mig til legater og pA anden mede lette min<br />
kamp mod der mal. jeg har de sat mig.<br />
Thi dajeg havde taget den endelige<br />
beslutning, gav han mig fuldt op at bestille.<br />
Allerede mens jeg vr lerer og samtidig i hans kor,<br />
gav han mig forskellige solopafiier. Som den sande<br />
padagog havde han gradvis stillet mig store og<br />
\torre opga\er: Bach . Weihnachtsoratorium.<br />
Haydn's Schriptung og Hindel's Messias horer til<br />
de skpnneste af de verker, jeg tik lov til at<br />
medvirke i. og en af de storste dage i mln<br />
sangertilverelse vtr. da han overdrog mig<br />
erangeli.tpartiet i Bach s Johannespa.siun.<br />
Ikke mindre lykkelig vr jeg, da vi sammen<br />
indspillede arien Comfort Ye tia Messias, Haydn's<br />
Mit Wiird und Hoheit og Bach's rier. Nir disse<br />
plader i dag omtales af amerjkanske kritikerc som<br />
sarlig gode og fine i stilen. mi en stor del af<br />
anerkendelserne derfor gi videre til Mogens<br />
W6ldike.<br />
Wdldikes solistprpver havde med al deres<br />
hyggelige og elskv&rdige stemning noget<br />
eksamcnsagtigt over sig. Det vil en sclvfblge, at<br />
man havde gort sit yderste og kunne sine ting til<br />
punkt og prikke, nir man kom, si han kunne prrge<br />
partiet eller ensemblet etier sin opfattelse. Man<br />
kunne vel n&mest kaakterisere hele indstuderingen<br />
med ordene "frihed under ansvar". for han var<br />
meget lydhgr overtbr tanker. man selv havde glort<br />
sig under indqvelsen af stoftet.<br />
Gennem mange irs intimt samarbejdc har jeg<br />
lert Wcjldike at kende som lErer. musiker og ven.<br />
og ligesom han altid har givet mig de tineste<br />
opgaver, kom han stille og naturligt ind til mig pi<br />
Serafimerlasarettet i Stockholm og madede nig<br />
med qsters!<br />
Aksel Schiotz om Messias<br />
Messias er ikhe alene i alle engelsktalende lande,<br />
men i hele verden blevet en del af det kulturelle<br />
arvegods, ikke alene for musikere, men for alle<br />
mennesker med en vis opdragelse. Seh'om dette
verk opfgres hvert ir overalt og med alle mulige<br />
fomer for fortolkling - har det dog bevaret sin<br />
friskhed og originalitet.<br />
Pi Hiindels tid brugte sangeme forsiringer og<br />
apoggiaturer til overtlod. Jeg er nu ikke si sikker<br />
pA dette punkt. Desuden vil vore dages kresne<br />
musikere sikkert ikke kunne godtage alt, som de<br />
h:indelske sangere gjorde, det vere sig rigtigt eller<br />
forkert, men derfor kan vi jo godt komme si nar<br />
kamen i Hzindels musik som muligt i t ore<br />
opfPrelser.<br />
I vore dage hprer man ofte forkerte opfattelser<br />
af Hiindels fuldendte fraseringer i Me.rJias.<br />
Markvrerdige ritardandi og fermater forekommer<br />
overalt i musikken, fordi sangerne siger: "Sidan<br />
Bler vi i vores kirke, at det skal gOres", og heryed<br />
tilslores blot Hlindels storhed pi en tibelig mide.<br />
(Dette gjaldt iser opf@relser rundt omkring i<br />
Englmd og Amerika pi den tid).<br />
Tenorens recitaliv "Comlon Ye. m1 People"<br />
og arien "Every Valley shall be exalted" indleder<br />
varket efter den korte, majest€tiske ouvefiure.<br />
Den fgrste "Comfort Ye" mi helst synges i takt,<br />
med "Com" pi I-slaget, si det falder sammen med<br />
akkorden, og setningen skal derefter fraseres frit,<br />
dog uden at den rytmiske figur forrykkes. Orkestret<br />
svuer med et eklo pi denne rubato figur. men<br />
genoptager begyndelsestempoet straks i den<br />
f6lgende takt. Det tredje "Comfort Ye" er ad lib.,<br />
som skrer et :tir. og derefter genoptages det<br />
oprindelige tempo. Den tredje linje "and cry unto<br />
her" er ogsi rubato, men de to ottendedele pe "that<br />
her" fprer igen tilbage til grundtempoet.<br />
I hvad jeg ville kalde det "egentlige" recitativ,<br />
"The voice of him that crieth in the wildemess,<br />
Prepile ye the way of the Lord, Make straight in<br />
the deseft a highway for our God", udgor profetens<br />
rib den centrale id6 i hele varket. Sangeren mi her<br />
ggre sin frasering bred og verdig, mens han<br />
samtidig absolut mi respektere hver eneste af de<br />
lange pauser. idel pauseme bidrager lil at gi\e<br />
profeten. forkyndelse itore vrgt: dette r il gi<br />
fuldstendig tabt, hvis man jager. Motivets struktur<br />
styrkes ved at placere akkordeme npjagtig pe uktslaget,<br />
hvilket ikke altid gpres. De to slutakkorder<br />
mi komme pi det andet og tredje slag for at undgi<br />
en dissonans, som Hiindel bestemt ikke tilsigtede.<br />
Tempoet i arien i "Every valley" er dobbelt si<br />
hurtigt som tempoet i recitativet. Det bevirker, at<br />
sangeren kan klme koloraturlgbene i 6n fiasering,<br />
sidan som Hlindel naturligvis htr Onsket det. Det<br />
giver ogsi arien den npdvendige elastiske lethed.<br />
I det kofie recitativ "Behold! A virgin shall<br />
conceive" lyder Kathleen Feriers stemme stadig<br />
levende i mine Orer, fra 1945, hvor vi begge<br />
medvirkede i nogle Messiasopforelser i Liverpool.<br />
Hun respekterede alle de virkningsfulde pauser, da<br />
hun sang det, og opniede dermed en meget sterk<br />
folelse af religiOs ophojethed.<br />
Aksel Schiotz om Dowland:<br />
England frembragte<br />
i det 16., 17. og 18.<br />
irhundrede store sangkomponister. John Dowland<br />
og de pvrige elizabethanske komponister skev<br />
nesten altid deres sange til lutakkompagnement.<br />
Dowland vr selv en af de fineste lutvirtuoser, som<br />
har eksisteret. Hans sange er, med deres<br />
komplicerede rytmer og tekniske kav, en stor<br />
udfordring for en nutidssanger Og de hu en<br />
stimulerende virkning pi udgver sivel som tilhorer<br />
pi grund af deres store musikalske vardi og<br />
fglelsesmessige virkningt derfor er de interessante<br />
og spendende at have pe repertoiret. Nogle af disse<br />
irhundredgamle smge funkler som rdelsten,<br />
selvom de miske taber lidt ved at blive akkompag-
neret pe cembalo (med lut register) og ikke pi lut.<br />
"I Saw My Lady Weep," "Flow My Teus," "Fine<br />
Knacks for Ladies," "Shall I Sue," og "Come<br />
Again" er nogle af Dowlands bedst kendte sange.<br />
(John Dowland var medlem af Chr. IV's kapel<br />
1598-1606. Hans instrumentale hovedverk, "Songs<br />
or Ayres for the Lute", tre dele: 1597, I 600, I 603,<br />
blev delvis komponeret i Helsingor)<br />
Aksel Schigtz om Egisto Tango:<br />
Gerd Schiotz:<br />
Han tillod sig en virkelig flothed i eftereret 1942,<br />
en flothed, han selv var ligesi lykkelig over som en<br />
attenerig, der fer en bil til sin fOdselsdag - og den<br />
kostede ham omtrent det samme! Han engagerede<br />
seh hele Det kongelige Kapel med dets fprste<br />
diigeat, maestro Egisto Tango, og Edith Oldrup,<br />
lejede Paleets store sal og indbgd til Mozart-Carl<br />
Nielsen koncert. Det var en af de storste dage i<br />
hans liv ...<br />
Aksel SchiOtz:<br />
Da Tango i sin rid rilbgd mig debut i det lillebitte<br />
parti, 2. fmge i Fidelio, mener jeg, det var i<br />
venskabelig interesse, fordi hm som det erfame<br />
teatemenneske, han vr, klart indsd, at det vil<br />
halslgs geming at lade mig kaste mig ud i<br />
Fenandos uhyre krevende parti. (Cosi fan tutte).<br />
Men da min debut som Fenando forst var<br />
vedtaget, hjalp han mig pi alle mulige mAder Jeg<br />
kunne ike vere kommet i bedre handel Det er en<br />
kolossal stotte for en debutant at have en dirigent<br />
ude i mgrket i orkestergraven, som musikalsk<br />
barer ham pi hander.<br />
I Mozafi-ugen 1941, hvor 150-Srsdagen for<br />
den store komponists dgd fejredes ved en rakke<br />
opfgrelser i Kpbenhavn, blev der i Odd Fellow<br />
Paleet lavet en konceft-opforelse af Don Juan,<br />
hvor jeg sang Don Ottavios parti, mens resten af<br />
rolleme vu i handeme pi operasangere fta Det<br />
kongelige Teater. Det vtr en stor fryd for mig at<br />
deltage i prgveme, og det mindede mig om det red,<br />
Tango i sin tid havde givet mig, for jeg sogte<br />
Forsell: "De mi prove at komme i berOring med en<br />
stor musiker og kunstner det vil De lere fuldt si<br />
meget af som af en stemmepedagog." Thi det<br />
oplevede jeg nu i fuldt omfang. Den lille circa 70erige<br />
italienertroldmand med den snurige akcent<br />
og det sjove talesprog, en blanding af dansk, tysk<br />
og italiensk, besad - bide nir det glaldt det blide<br />
bel canto og det f! lde/orlissiruo, hvor alle<br />
instrumenter satter i en enesteende kunstnerisk<br />
sans for balance og skpnhed.<br />
Her fanede jeg den beslutning ovenpi den helt<br />
igennem vellykkede Don Juan opfgrelse, at hvis<br />
jeg ikke pi anden mide kunne komme r<br />
kunstnerisk berpring med Tango igen, ville jeg<br />
minsandten engagere ham.<br />
Da Tango pe det sted i Don Juan, hvor Don<br />
Ottavio synger Dalla sua pace, lenede sig tilbage<br />
mod rekvcrket pa dirigentpodiet og st ud, som om<br />
han nod at musicere, var det et dejligt ojeblik for<br />
mrg.<br />
Yi herhjemme har meget at vere Tango<br />
taknemlig for. I fprste rakke hans mange<br />
vidunderlige Verdi-opfgrelser pi teatret, hvor han<br />
kan bringe en sydlandsk festivitas og et liv i<br />
musikken, at man fOler sig hensat til hans<br />
fedreland. Demast har han med sin sans for<br />
kvalitet og stil skenket os mange vidunderlige<br />
Mozartoplevelser, og hans bidrag til forsdelsen af<br />
Cul Nielsens musik har ikke varet de mindst<br />
betydningsfulde.
Selv f6ler jeg mig i stor kunstnerisk gald til<br />
ham, ikke mindst for de Mozartplader, vi htr<br />
indspillet sammen. Og hans smi krerlige livstegn<br />
senere, da jeg trengte til det, betod en positiv<br />
opmuntring for mig om ikke at givc op.<br />
AGerd Schiotz, l95l og 1970<br />
Kapitlet "Schiotz og opera" er ikke udtpmt med<br />
fbranstiende. Det fremglr af den Tchaikovsky/<br />
Gounod-plade som er med pi CDen. Optagelserne<br />
fandt sted i 19421 og er de sidste med Schi@tz under<br />
Lrigen. Platlen kom forst ud engang i 50eme og<br />
kun i dansk presning LPen havde allerede vundet<br />
slaget.<br />
Mm kunne mene, at det vil et sart<br />
repertoirevalg netop i 1944. Jeg forstir, at det var<br />
Knud Hegeman-Lindencrone der havde ivret for,<br />
at denne optagelse blev foretaget. Og det forholder<br />
sig da ogsi.idan. at begge dis'c operaarier rar i<br />
Schiotz'repertoire. F.eks. var de pi programmet<br />
den 13. april I 940, den koncert Schiotz med<br />
bestemthed negtede at aflyse, fordi aflysning ville<br />
vere underkastelse.<br />
Fausts Cavatine. som den traditionelt er blevet<br />
kaldt, kever et hojt C nar slutningen. Men det er<br />
ikJr:e en opera-tenors hpje C vi hgrer her. Pladen<br />
viser en grense. Schiotz havde studeret partiet hos<br />
John Forsell i Stockholm og sang Faust pa Det kgl.<br />
Teater i 1940. Der havde han ogsi sunget Wagner.<br />
F6r nogen falder ned af stolen skal jeg skynde mig<br />
at fortelle, at det drejede sig om Walther von der<br />
Vogelweide i "Tannh:iuser", et parti der si godt<br />
som udelukkende udgores af ensemble-sang.<br />
Lenskis arie fra "Evgeni Onegin" er lykkedes<br />
bedre pi pladen. Klangen er langtfra en russisk<br />
tenors. Men sunget som her, nesten som en Lied,<br />
eller som den indre monolog den jo er, trcder den<br />
bl{tde smerte, inderligheden i Lenskis musik,<br />
smukt frem.<br />
Don Ottavio, som er den mest latterliggjorte<br />
af operafigurer, ligner Lenski lidt. Spren<br />
Kierkegarud, der heller ikke kunne se noget<br />
interessant i Don Ottavio, fastslog at Don Juan var<br />
det ideelle opera-sujet. idet musikkens natur<br />
ligesom Don Juans er sensuel forforelse (i A's<br />
papirer i "Enten-Eller").<br />
Da Donna Anna hu genset og genkendt sin<br />
forforer, fortaller hun Don Ottavio, overdrevent<br />
detaljerel. at det var el ufuldbyrdet voldtagtrforsog.<br />
(Men det passer dirligt med at hun i<br />
operaens begyndelse hager sig fast i Don Juan og<br />
kalder ham "bedrager". Dened bliver egentlig hun<br />
skyld i faderens dpd. Edward J. Dent bemarker, at<br />
Donna Annas voldtegtsforklaring normalt udlOser<br />
en sjofel latter hos et engelsk publikum, og at han<br />
opfatter det som en hin overfor Don Ottavio, der<br />
lettet accepterer historien.) Derefter pilegger<br />
Donna Anna, i musik af heftig lidenskab, Don<br />
Ottavio at sgrge for hrvn. Si gir hun sin vej.<br />
Alene pi scenen synger Don Ottavio da "Dalla sua<br />
pace". Hvilken anden sanger har kunnet legge en<br />
sddan forelskelse og omhed i denne musik? Den<br />
uerfame dreng, som Ottavio er, fu en dybere<br />
dimension hos Schigtz. Don Ottavio er uhjelpeligt<br />
i klemme, nir han er sat i scene mellem<br />
erotomanen Don Juan og en Donna Anna, der har<br />
fiet sin lidenskab vakt.<br />
Hvis man ikke man f6lge mig i dette, se ster<br />
dog tilbage, at Schigtz synger Don Ottavios arier<br />
med en inderlighed som musikalsk og psykologisk<br />
udgor en modpol til Don Juan, for inderlighed er<br />
ikke i forfprerens repertoire. Si vi forstir Egisto<br />
Tangos adfard pi podiet.<br />
Pi operascenen fik Schiotz sine storste<br />
succes'er i "Liden Kirsten" og i "The Rape of
Lucretia". Mere herom senere i senen.<br />
Afslutningsvis: Lytteren vil fbrsti. at den<br />
optagelse fra Stockholm i 1945, der er fundet og<br />
som offentliggOres her, er en pr,ve. en f4rsle<br />
gennemsyngning. I optagelsen hores SchiOtz<br />
bemarke, at arien skal vare "tungere". Wcildike<br />
erklerer sig enig og bemarker, at ottendedelene<br />
skal vare vagliSere. lbr at der kan opnis en<br />
plastisk rytme.<br />
Moguts Wiiltlike<br />
l.l<br />
Personlig erjeg ophort med at ergre mig over<br />
at vi ikle har den fardige koncen. Virkelighedsbilledet<br />
i prpveglimtene er overrumplende og egte.<br />
-Citatmosaikken hrr Gerd Schiotz og jeg<br />
samarbejdet om. Citateme er fra "Kunst og Kamp"<br />
l95l og fia "The Singer and his Art" 1970<br />
(sidstnavnte bog pi dansk ved Gerd Schiotz 1970)<br />
QAnte Helnnn 1996
Aksel Schiotz 1906 - 1975<br />
Aksel Schiotz was bom in Roskilde, Denmark,<br />
1906. M.A. in modem languages after studies at<br />
the University of Copenhagen I 924 30. Maried to<br />
Gerd Haugsted I 93 | .<br />
Aksel Schiotz had a fine mezzo tenor voice<br />
which he loved to display, at parties or in church.<br />
Mogens Wtildike, the choral conductor, made him<br />
a tenor member of the Copenhagen Boys' and<br />
Male Choir. and he was entrusted with oratorio<br />
solos. Schi6tz's first song recital was in 1936.<br />
In 1938 Aksel Schiptz was discovered by His<br />
Master's Voice. London. The much admired<br />
recorded legacy is revived in this CD series.<br />
On April 9th, 1940, Denmark was seized by<br />
Hitler An intemational career in Lied and oratorio<br />
must be postponed. However, the records had made<br />
a reputation for SchiOtz in Denmark. He became<br />
the best loved classical singer ever, equally popular<br />
with high and low. He appeared in opera and<br />
operetta, and had recitals all over the country at full<br />
houses. With his artistry he made a tine contribution<br />
to that democratic and moral stand called for<br />
by the tinres.<br />
After the war the old ties with British musical<br />
lif'e were succesfully taken up. With Gerald Moore<br />
Schi@tz recorded "Die schijne Miillerin" and<br />
"Dichterliebe", and he appeared in the first<br />
perfbmances of Britten's 'The Rape of Lucretia"<br />
at Glyndebourne.<br />
Aksel Schiptz survived a tumor acusticus<br />
operation in 1946. but halfhis face was left lame.<br />
Could he ever sing again? Common sense said no.<br />
But. contrary to all reason, Aksel Schigtz<br />
succeeded by sheer will-power to fight his way to a<br />
come-back recital in I 948, a moving event.<br />
The sheen of the voice had gone. As a singer.<br />
now a baritone, he was perhaps now best<br />
appreciated by musicians and connaisseurs -<br />
Casals, Pears. Sascha Schneider among them<br />
who rated artistic truth before original beauty.<br />
In I 955 Aksel Schiotz enters a new career,<br />
lhal of professor in an song. at universities in<br />
Minnesota, in Toronto ( I 958-60). and in Colorado<br />
( 1960-68). Master classes are held all over North<br />
America. conlributing to his reputation as a<br />
teacher<br />
A job as professor in Copenhagen is off'ered<br />
to Aksel Schiotz in 1968. Though Aksel Schiorz is<br />
pleased by the calling, it tums out that Denmark<br />
does not know how to make good use of his artistic<br />
and educational potential.<br />
Aksel Schiotz dies in 1975.
Introduction<br />
This collected edition afAksel Schiptz's recordings<br />
means the fulfilment of a great wish of mine.<br />
It touches me that the boards of Velux Fonden<br />
af 1981, Augustinus Fonden and Cul Nielsen og<br />
Anne Marie Cul-Nielsens Legat have sympathized<br />
with the wish to perpetuate Aksel Schiotz's art.<br />
Most of the recordings were issued on LPs,<br />
but they are now obsolete, nor have those transfers<br />
been as good as the originals. Listening now to the<br />
fresh and clean transfer made from ltne early<br />
pressings by Mr Andrew Walter, chief engineer of<br />
the EMI Abbey Road Studios, one is reminded how<br />
good the originals were. (They carry, most of the<br />
time, "take l" on them, which is to the credit of<br />
Aksel Schiotz as well as the engineers). It was<br />
HMV in London who discovered Aksel Schiotz<br />
and made him one of their artists, so it pleases me<br />
that the CDs ue produced in collaboration with the<br />
EMI Abbey Road Studios.<br />
The series is complete up till late 1946 when<br />
Aksel Schiotz barely suruived an operation which<br />
left half his face lame. His struggle to recover and<br />
to resume singing I, too, was involved in with<br />
natural strong feelings. But there were two separate<br />
periods, which must wisely be kept apart.<br />
So what is presented now are the complete<br />
recordings ofAksel Schiptz, the tenor Included re<br />
unklown documenttry recordings fiom those<br />
times, authorized for issue by me. I hope that the<br />
CDs will come into the hands of those who will<br />
love them bestl<br />
Gerd Schi4tz<br />
Gerd Schiotz:<br />
A Choral Conductor and a Mentor.<br />
Mogens Wcildike had lo:t no time in getting<br />
somewhere. When Aksel flrst met him in 1929, he<br />
was 32, M. A. in music, founder and conductor of<br />
the Palestrina Choir, and Music Supervisor for the<br />
Ministry of Education. He had become Thomas<br />
Laub's successor in Holmens Church and<br />
continued his restoration work for Lutheran church<br />
muslc.<br />
His first victory as an artist with the Palestrina<br />
Choir war to u in lst prize in a competition in<br />
Milan itself, the capital of madrigal singing. With<br />
his energy, audacity, imagination, and force of<br />
argument, he made the authorities of Copenhagen<br />
agree to make a "song school" as the basis for a<br />
Copenhagen Boys'Choir (will tum up in vols. 5<br />
and 6 of this Schigtz series. Ed.) Then he got<br />
himself the job as organist of Christiansborg Palace<br />
Church, and also had the choir installed in the<br />
same place.<br />
But the evidence that showed him as an arlirt,<br />
no less concentrated and clearheaded. were the<br />
weekly concerts in the Palace Chapel, for which he<br />
built up a wide-ranging repertoire with Palestrina,<br />
Bach, Handel as the pillars. It was not just the<br />
choristers who lemed old music, also a large<br />
audience was educated and lemed to appreciate it.<br />
Aksel was a tenor member of the Copenhagen<br />
Boys' and Male Choir. It was important fbr his<br />
later development that Woldike began to prepare<br />
him tbr oratorio singing by giving him solos at<br />
many concerts in the Palace Chapel.
Gerd Schiotz:<br />
"The Gramophone Find"<br />
Dear girl. 17. jan. 1938<br />
If this letter sounds silly and without head or tail,<br />
Ieam the reason for my silliness. Telcphone call<br />
from Haftkopp. head of Skandinavisk Grammofon<br />
(Danish EMI). He said, "Take hold of yourself,<br />
SchiOtz. Yesterday I was told by our London Office<br />
to find the singer AS, supposed to be rn<br />
Copenhagen. They ask you to make some test<br />
records, a concert aria by Mozart (to appear in vol.<br />
4. Ed.) and an aria from "Die Entfiihrung", paid 1br<br />
by the London Olfice, and without obligation on<br />
either side." Hartkopp was quite dumbfounded, he<br />
did not know anything about me. And that is our<br />
chance now.<br />
Then he asked me to record a couple of Danish<br />
songs for the domestic company. It is aggrevating<br />
you have been iced in at Atrhus, You'11 have to<br />
come here, I need your common sense with me.<br />
Ah! So this was the solution! At lastl And it was<br />
"His Master's Voice" in London which called! But<br />
how could that be? Aksel had hardly made a name<br />
for himself in Denmark. We had to guess. Perhaps<br />
somebody at Hayes had heard Aksel sing the very<br />
difficult "Frohe Hirten" over the radio where it had<br />
been broadcast during Christmas.<br />
British HMV later asked for a recording of the<br />
Messiah aria "Every Valley", and an English<br />
producer and a crew had mived to make the<br />
recording. Mogens Wiildike conducted the<br />
orchestra of which Else Mrie Bruun was the<br />
leader. The Englishman disagreed with Wijldike as<br />
A,<br />
to conception and tempo. A good deal of argument<br />
and running to and fro ensued. Aksel was unhappy,<br />
his voice was unnecessarily taxed by the many<br />
repetitions, the musicians got iritated and Woldike<br />
angry. Finally somebody lost his head, and the<br />
leader and Aksel had it in for each other:<br />
"Primadonna" both of them hissed, and red-faced<br />
they had to be called to order by Wcildike, after<br />
which everybody started anew for the tenth time. In<br />
the control room the Englishman delightedly<br />
tumed to me, "Listen! This is hne!" And indeed,<br />
the excitement had opened up for something, they<br />
played and sang and conducted as I do not-knowwhat,<br />
and the result was a record which is still<br />
considered something special.<br />
The Bach/Buxtehude record comes from the<br />
same sessions.<br />
Aksel Schiotz on Wiildike:<br />
During my professional life, when I had to make<br />
some important decision, it was often after<br />
consulting a certain man Mogens Wcildike. I shall<br />
not try to evaluate him as a musician and artist.<br />
This is only to stress how important he has been for<br />
me.<br />
I had prepared Buxtehude's Magnificat with<br />
pupils of Roskilde Katedralskole. So wasn't I<br />
proud when Wdldike, after a concert where I had<br />
been a soloist, introduced me thus: 'A young music<br />
teacher who sings five-part Buxtehude with his<br />
pupils I"<br />
Because he knew my dilemma, teacher or<br />
tenor, from inside out - he agreed that I could not<br />
stay a teacher and a singer at the same time - his<br />
advice was decisive.<br />
When the final decision had been made he<br />
gave me lot to do. Aheady as a chorister I had been
given solos. As a good teacher he had led me<br />
gradually to more demanding challenges: Bach's<br />
Weihnachtsoratorium, Haydn's Schciptung, and<br />
Handel's Messiah were among the works in which<br />
I was pririleged lo take parl. antl one of thc "big'<br />
days I have had as a singer was when he entrusted<br />
me with the part of the Evmgelist in Bach's St.<br />
John Passion.<br />
I was truly honoured to record with him the<br />
Messiah "Every Valley", Haydn's "Mit Wiird und<br />
Hoheit", and uias by Bach. When these recordings<br />
still, especially by American critics, are<br />
commended for their quality and style, a great deal<br />
of that recognition must be passed on to Mogens<br />
Wtildike.<br />
Wiildike's rehearsals with soloists had, with<br />
all their relaxed mood, a feeling of exam. It went<br />
without saying that you had done your utmost and<br />
that you had learnt your lesson, so that he could put<br />
his artistic stamp on your performance. Perhaps<br />
"freedom under responsibility" tre words than can<br />
be used about the coaching, for he was very<br />
attentive to your concepts of the muslc.<br />
From an intimate musical cooperation for<br />
many years I knew Wijldike as a teacher, musician,<br />
friend, and just as he has always given me the<br />
finest music to sing, so he came quietly and as the<br />
most natural thing in the world to my bed in the<br />
Seraphim Hospital in Stockholm and/ed ne<br />
oysters!<br />
Aksel Schiotz on the Messiah:<br />
The Messlah belongs to the personal heritage of<br />
every English-speaking person from his euliest<br />
school days and has become put of the cultural<br />
backgrounds not only of musicians but of educated<br />
persons in all nations. This great work retains its<br />
freshness and odginality in spite of being<br />
pertbmed every yer in every country and with<br />
every possible interpretation.<br />
The singers of Handel's time used<br />
embellishments and appoggiaturas lavishly. I<br />
doubt, however, that we should attempt historical<br />
correctness in this respect. Besides, today's<br />
fastidious musicians, be it right or wrong, would<br />
probably not be able to accept everything that was<br />
done by the Handelian singers. We should,<br />
however, get as close as possible to the heafi and<br />
core of Handel's music in our performances.<br />
Misinterpretations of Handel's perfect phrases<br />
can often be heild in performances of the Messiah<br />
today. Strmge ritardandi and fermata ile sffewn all<br />
through the score because the singers say, "this is<br />
the way wepel it in our church," and Handel's<br />
greatness is thereby tbolishly obscured. (This was<br />
written by AS in 1970.)<br />
The tenor's recitative "Comfofi ye, my<br />
people" and the aria "Every valley shall be exalted"<br />
open the work after the.hort . slalell orenure.<br />
The first "Comforl ye" should be sung<br />
preferably on the beat, simultaneously with the<br />
chord, freely phrased but without distortion of the<br />
rhythmical patten. The orchestra echoes this<br />
rubato phrase but sets the beginning tempo<br />
immediately at the following measure. The third<br />
"Comfort ye" is cd /ih, as prescribed, then back to<br />
tempo. The third line "and cry unto her" is also<br />
rubato, but with the two eight notes "that her"<br />
leading into tempo again.<br />
In what I would call the "real" recitative, "The<br />
voice of him that crieth in the wildemess, Prepre<br />
ye the way of the Lord, Make straight in the desert<br />
a highway for our God," the prophet's cry<br />
constitutes the central idea of the whole work. Here<br />
the singer might use a broad and dignified
phrasing. but he must definitely observe every one<br />
of the long rests. The rests add to the grandew of<br />
the prophet's line. which would be completely<br />
ruined by hunying. The architecture of the phrase<br />
is strengthened by placing the chords on the beats,<br />
but this is not always done. The final two chords<br />
must be on the second and third beats to avoid a<br />
dissonance that Handel certainly did not intend.<br />
The tempo of the aria "Every valley" is twice<br />
as tast as that of the rccitative. This enables the<br />
singer to handle the runs in one phrase, as Handel<br />
obviously intended. It also gives the aria the<br />
necessary elastic lightness.<br />
In the short recitative "Behold! A virgin shall<br />
conceive", Kathleen Fenier's voice still rings<br />
vividly in my ear from our Messia& performances<br />
in Liverpool in 1945. She sang it with all the<br />
etl'ective rests, thus obtaining the strong feeling of<br />
"God with us".<br />
Aksel Schiotz on Dowland:<br />
England in the sixteenth, seventeenth, and<br />
eighteenth centuries produced great song<br />
composers. John Dowland and the other<br />
Elizabethan composers wrote their songs mostly to<br />
lute accompaniment. Dowland himself was one of<br />
the most acomplished lute virtuosi who ever lived.<br />
With their complicated rhythms and great technical<br />
demands, these songs present a challenge to the<br />
singer of today.<br />
Also, their musical value and emotional<br />
impact have such a stimulating effect on both<br />
performer and listener that they re an exciting<br />
asset to every singer's repertoire. Even if they lose<br />
something in being accompanied by harpsichord<br />
(on the lute stop), some of these old songs sparkle<br />
like precious stones. "I Saw My Lady Weep,"<br />
"Flow My Teas," "Fine Knacks for Ladies," "Shall<br />
I Sue," and "Come Again" ile some of Dowland's<br />
best known songs.<br />
(John Dowland was in the service of King<br />
Christian IV 1598-1606. Dowland's "Songs or<br />
Ayres for the Lute", 1597, 1600, 1603. were in part<br />
composed at Elsinore.)<br />
Aksel Schi6tz on Egisto Tango<br />
Gerd Schiotz:<br />
Aksel allowed himself to be really extravagant in<br />
the autumn of 1942, an extravaganza that made<br />
him as happy as an eighten year old receiving a car<br />
for a birthday present - and costing him about as<br />
muchl He hired the Royal Orchestra with maestro<br />
Egisto Tango, and Edith Oldrup, the soprano.<br />
booked our linest concert hall, and invited to a<br />
Mozat-Carl Nielsen concert. It was one of the<br />
biggest days in his life...<br />
Aksel Schiotz:<br />
When my debut as Fenando in "Cosi fan tutte" had<br />
been decided, Egisto Tango gave me every possible<br />
help. I could not have been in better hands. It is an<br />
enormous support for an inexperienced singer to<br />
have a conductor in the dark pit who musically is<br />
holding your hand.<br />
During the Mozarl week in 1941 when the<br />
composer was celebrated in many ways, there was<br />
a concert perfbmance of "Don Giovanni" in which<br />
I sang Don Ottavio together with singers from the<br />
Royal Opera. The rehearsals were sheer delight for<br />
me. I was reminded of the advice once given me by<br />
Tango: "You must try to get in touch with a great<br />
musician. He can teach you more than the best of
teachers." This was what happened to me now. The<br />
small Italian magician had a funny accent and a<br />
peculiar mixture of Danish. German, and Italian.<br />
He also had a unique anistic instinct for balance<br />
and beauty. It showed in tender bel canto. as well<br />
as in full fortissimo.<br />
After the succesful "Don Giovanni"<br />
performance I made up my mind to hire Tango<br />
myself. if that was the only way I could work with<br />
him.<br />
When Don Ottavio sings Dalla sua pace I saw<br />
Tango lean back on the railing of the podium.<br />
Iooking as if he was enjoying himself. For me it<br />
was a treasurable moment.<br />
Egisto Tatryo<br />
ln Denmark we are indebted to Tango: His<br />
Verdi performances were wondertully festive and<br />
Italian. Mozart. with the highest quality in<br />
musicianship. In addition he has contributed in no<br />
small way to the appreciation of Carl Nielsen's<br />
ntuslc.<br />
I, too, am in his debt, not only ibr the Mozart<br />
recordings we made together. And his small loving<br />
signals later when I needed them. encouraged me<br />
nor ro glve up.<br />
Notus, AGerd Schiot: l95l qrtd 1970
Editor's note:<br />
Something should be added to the subject'Aksel<br />
Schigtz and Opera". There ile the Tchaikovsky and<br />
Gounod items to consider. They were recorded in<br />
1944, the last session during the war. They had<br />
been forgotten, it seems, because the 78 rpm record<br />
was not issued till the late 50s.<br />
Both items were in Aksel Schiptz's repertoire.<br />
They were programmed for a recital on April 13th<br />
19,+0. Hitler had occupied Denmmk on the 9th.<br />
Aksel Schiotz refused to cancel the recital, because<br />
in his view that would be submission.<br />
Faust's "Salut demeure" has a high C near the<br />
end. But it is hrdly the high C of an operatic tenor<br />
we heu. This recording illustrates limits. Aksel<br />
Schiotz had studied the paft of Faust with John<br />
Forsell at Stockholm and did sing it at the Royal<br />
Opera of Copenhagen. There he had also appeared<br />
in Wagner. No, I am not pulling your leg! I hasten<br />
to add that it was the pan ofWalther von der<br />
Vogelweide in Tannhduser, a part which consists in<br />
ensemble-singing.<br />
The Lenski aria is much more succesful. It is<br />
not the sound of a Russian tenor, of course. But<br />
sung as here, almost like a Lied, or as the inner<br />
monologue it is ("in deep thought", is the<br />
direction), the soft pain, those innermost feelings in<br />
the music, come out beautifully.<br />
Don Ottavio, that most ridiculed of operatic<br />
chilacters, has some likeness to Lenski. Soren<br />
Kierkegaud did not find him interesting, writing<br />
about "Don Giovanni" and making the point that<br />
Don Juan is the ideal theme for an opera, as<br />
sensual seduction is the nature of music, as it is<br />
Don Juan's ("Either-Or", part 1).<br />
Having found and recognized her seducer,<br />
Donna Anna describes to Don Ottavio, in much<br />
and unbelievable detail, her experience as an<br />
unsuccesful attempt of rape. (Which is not<br />
consistent with, at the start of the opera, her<br />
clinging to Don Juan and calling him "deceiver". It<br />
is really Donna Anna whose tragic fault it is that<br />
her father is killed. Edward J. Dent mentions that a<br />
British audience will usually give out a dirty<br />
laughter at the rape story, Don Ottavio being the<br />
laughing-stock for his nalve acceptance of the<br />
story.) In music of furious passion Donna Anna<br />
now orders Don Ottavio to be her revenger. Then<br />
she leaves. Don Ottavio, left alone, sings "Dalla<br />
sua pace". What other singer has put that kind of<br />
loving rapture and tendemess in this music? The<br />
inexperienced boy is a tragic fi.gure, as sung by<br />
Schigtz. IIis feelings are betrayed by the knot tied<br />
by Don Giovanni, the erotomaniac, and a Donna<br />
Anna whose passion has been moused,<br />
dangerously.<br />
If the reader cannot agree to all this. it still<br />
remains that Schiotz as he sings Don Ottavio's<br />
rias, found inner true feelings which musically<br />
and psychologically show up Don Giovanni, for<br />
inner true feelings are not in the seducer's<br />
repertoire. So we can understand Egisto Tango's<br />
behaviour on the podium.<br />
On the opera stage Aksel Schiotz had his<br />
finest successes in "Liden Kirsten" ("Fair Kirsten",<br />
a rommtic opera by Hans Christian Andersen and<br />
J.PE. Hartmann which Liszt had performed at<br />
Weimar) and in Britten's "The Rape of Lucretia".<br />
More about this in other volumes of the collection.<br />
A short dialogue between Mogens Wdldike<br />
and Aksel SchiOtz is included after the recorded<br />
rehearsal excer?ts:<br />
MW: Thank you! - we'll have a look on it during<br />
the interval before we go on.
AS: Yes. - I'm not sure - it should have more<br />
werght-<br />
MW:Yes. the rhythm lacks plasticity. The quavers<br />
are too light. All the notes which --{am, dam,<br />
dam. We'll listen to it.<br />
(At the beginning. when the conductor introduces<br />
the soloist one can hear how Aksel Schiotz's name<br />
is pronounced!)<br />
No doubt the listener will appreciate that this<br />
is a rehearsal. Personally, I am no longer tiustrated<br />
that we do not have have the finished concert.<br />
There is a striking sense of reality about the<br />
recorded rehearsal exerpts which have surfaced.<br />
Gerd SchiOtz and I selected the notes which derive<br />
fiom "Kunst og kamp" (Art and Struggle) t951,<br />
and from "The Singer and his Art" 1970.<br />
@Ante Helnnn 1996
I I ] From G. F. Handel "Messiah":<br />
Recit.; Comfbrt ye. comfort ye my peoplc,<br />
saith your God;<br />
\peak ) e comforlrbly to Jerusalem:<br />
and cry unto her, that her wafare is accomplished,<br />
that her iniquity is prdoned.<br />
The voice of him that crieth in the wildemess:<br />
prepare ye the way of the Lord:<br />
make straight in the desefi a highway<br />
for our God.<br />
Alr: Every valley shall be exalted,<br />
and every mountain and hill made low,<br />
the crooked straight and the rough places plain.<br />
[ 2 ] Diderik Buxtehude (Ahasverus Fritsch):<br />
Was mich auf dieser Welt bctdibt,<br />
Das wiihret kurze Zeit.<br />
Was aber meine Secle liebt,<br />
Das bleibt in Ewigkeit;<br />
Drum fahr. o Welt,<br />
Mit Ehr und Geld<br />
Und deiner Wollust hin,<br />
In Kreuz und Spott<br />
Kann mir mein Gott<br />
Erquicken Mut und Sinn.<br />
Die Thoren-Freude diescr Welt,<br />
Wie siisz sie immer lacht.<br />
Hat schleunig ihr Gesicht verstellt<br />
Und den in Leid gebracht,<br />
Der auf sie baut;<br />
Wer aber traut<br />
Allein auf Gottes Treu.<br />
Dcr siehet schon<br />
Die Himmels-Kron,<br />
Und freut sich ohne Reu.<br />
What wories me in this world<br />
will last but a short while.<br />
but what my soul loves<br />
will last fbr etemity:<br />
so away, o world<br />
with honour and riches<br />
and with you lust,<br />
in cross and mock<br />
my God rcvives<br />
my spirit and heilt.<br />
The mad joy of this world,<br />
how sweet she is laughing,<br />
has cunningly disguised her face<br />
and brought woe to him<br />
who builds on her;<br />
but he who puts<br />
all trust in God<br />
is seeing now<br />
the heavenly crown<br />
in joy without remorse.
Mein Jesus bleibet meine Freud,<br />
was frag ich nach der Welt?<br />
Welt ist nur Furcht und Traurigkeit,<br />
die letzlich selbst zerfallt:<br />
Ich bin ja schon<br />
mit Gottes Sohn<br />
am Glauben hier veftraut,<br />
der droben sitzt<br />
und hier beschiitzt<br />
sein auserwiihlte Braut.<br />
[ 3 ] From J. S. Bach: "Weihnachtsoratorium":<br />
Arier Frohe Hirten, eilt, ach eilet,<br />
eh ihr euch zu lang verweilet,<br />
eilt, das holde Kind zu sehen!<br />
Geht, die Freude heiBt zu schiin,<br />
sucht die Anmut zu gewinnen,<br />
geht. und labet Herz und Sinnenl<br />
[ 4 ] From J. S. Bach: "Matthiiusspassion":<br />
Recit; O Schmerz! Hier zittert das gequiilte Herz!<br />
Wie sinkt es hin. wie bleicht sein Angesicht!<br />
Der Richter fiihrt ihn vor Gericht.<br />
Da ist kein Trost, kein Helfer nicht.<br />
Er leidet alle Hcillenqualen,<br />
Er soll fiir fremden Raub bezahlen.<br />
Ach, kdnnte meine Liebe dir,<br />
Mein Heil, dein Zittem und dein Zagen<br />
Vemindern oder helfen tragen,<br />
Wie geme blieb ich hierl<br />
Solo. Ich will bei meinem Jesu wachen.<br />
Cfior. So schlafen unrre Sdnden ein.<br />
So/o. Meinen Tod biisset seiner Seelen Not.<br />
Sein Trauren machet mich voll Freuden.<br />
Cftor. Drum muss uns sein verdienstli.ch Leiden<br />
Recht bitter und doch siisse sein.<br />
My Jesus will remain my joy,<br />
what would I with the world?<br />
The world is but fear and grief<br />
which finally will collapse.<br />
I am already<br />
bethrothed in taith<br />
to God's Son<br />
who yonder sits<br />
and here protects<br />
his bride elect.<br />
Happy 'hepherd.. make ha.te. make hasle.<br />
lest you tany too long,<br />
make haste, that you may see the fair childl<br />
Go, welcome beautiful joy,<br />
try to win good graces,<br />
go and refiesh heart and soul.<br />
O sorrow! Here trembles the anxious heaft!<br />
How it sinks! How pales his countenance!<br />
The judge leads him to judgment,<br />
there is no comfoft, no helper<br />
He suffers all the pains of hell,<br />
he must pay fbr others' robbery.<br />
Ah, could my love for Thee,<br />
my Saviour, Thy fer and trembling<br />
diminish or help Thee bear,<br />
how gladly would I remain here!<br />
5olo. I will watch beside my Jesus.<br />
Chorus.Then our sins go to sleep<br />
So/o. His soul's distress atones for my death.<br />
His nourning makes me full ofjoy.<br />
Choras. So his meritorious Passion must for us<br />
be truly bitter and yet sweet.
Three Lute Songs by John Dowland:<br />
[ 5 ] Shall I sue? shall I seek fbr grace?<br />
Shall I pray? shall I prove?<br />
Shall I strive to a heavenly joy<br />
With an earthly love?<br />
Shall I think that a bleeding heart,<br />
Or a wounded eye,<br />
Or a sigh can ascend the clouds<br />
To attain so high?<br />
Silly wretch forsake these dreams<br />
Of a vain desire,<br />
O bethink what high regrd,<br />
Holy hopes do require.<br />
Favour is as fair as things are,<br />
Treasure is not bought,<br />
Favour is not won with words<br />
Nor the wish of a thought.<br />
Justice gives each man his own;<br />
Though love be just,<br />
Yet will she not pity my grief-<br />
Therefore die I must.<br />
SiUy heart, then yield to die,<br />
Perish in despair:<br />
Witness ye how fain I die<br />
When I die for the fair<br />
[ 6 ] Now cease, my wmd'ring eyes,<br />
Strange beauties to admire.<br />
In change least comfofi lies;<br />
Long joys yield long desire.<br />
One faith, one love<br />
Makes our frail pleasures etemal,<br />
And in sweetness prove.<br />
New hopes, new joys<br />
Are still with sonow declining unto deep annoys<br />
Nature two eyes hath given<br />
All beauty to impart<br />
As well in earth as heaven;<br />
But she hath given one heart;<br />
That, though we see<br />
Ten thousand beauties, yet in us one should be<br />
One steadfast love,<br />
Because our hearts stand fixed although our<br />
Eyes do move.<br />
[ 7 I Flow. my teils. [al] from your springs.<br />
Exiled for ever let me moum.<br />
Where night's black bird her sad infamy sings,<br />
There let me live fbrlom.<br />
Down, vain lights, shine you no more.<br />
No nights are dark enough for those<br />
That in despair their last fortunes deplore.<br />
Light doth but shame disclose.<br />
Never may my woes be relieved, since pity is fled;<br />
And tears and sighs and groans my wery days<br />
Of all joys have deprived.<br />
From the highest spire of contentment my fortune<br />
is thrown;<br />
And fear and grief and pain for my deserts<br />
Are my hopes, since hope is gone.<br />
Hark! you shadows that in dtrkness dwell,<br />
Lem to contemn light.<br />
Happy, happy they that in hell<br />
Feel not the world's despite.
[ 8 ] From W. A. Mozart "Die Zaubertliite"<br />
(Schikaneder):<br />
Tamino's Aria<br />
Dies Bildnis ist bezaubemd sch6n,<br />
wie noch kein Auge je gesehn!<br />
Ich fiihl' es, wie dies Gcitterbild<br />
mein Herz mit neuer Regung fiillt.<br />
Dies Etwas kann ich zwar nicht nennen,<br />
doch tiihl' ich's hier wie Feuer brmnen.<br />
Soll die Empfindung Liebe sein?<br />
Ja, ja! Die Liebe ist's allein.<br />
O wenn ich sie nur finden kiinnte!<br />
O wenn sie doch hier vor mir stdndel<br />
Ich wiirde... wiirde wam und rein.<br />
Was wiirde ich?<br />
Ich wilrde sie voll Entzticken<br />
an diesen heiBen Busen drticken,<br />
und ewig w:ire sie dann mein!<br />
[ 9 ] From W. A. Mozart "Cosi fan tutte"<br />
(da Ponte): Fenando' Aria<br />
Un'aura amotosa<br />
Del nostro tesoro<br />
Un dolce ristoro<br />
Al cor porgerd.<br />
Al cor che, nudrito<br />
Da speme d'amore,<br />
D'un'esca migliore<br />
Bisogno non ha.<br />
This portrait is bewitchingly tair.<br />
such as no eyes have ever seenl<br />
I feel this divine picture<br />
filling my heart with a new emotion<br />
This Something I cannot name;<br />
but I feel it here buming like fire.<br />
Can this sensation be love?<br />
Yes, yes ! It can only be love.<br />
Oh, if only I might find herl<br />
If only she stood betbre me!<br />
I uould... uould uarmly. chastely...<br />
What would I do?<br />
I would, in my great delight,<br />
press her to my ardent heart,<br />
and make her mine foreverl<br />
A breath of love<br />
From our treasures<br />
Will afford our heafts<br />
Sweet sustenance.<br />
A heaft nourished<br />
On the hope of love<br />
Has no need<br />
Of greater inducement
[10] From W. A. Mozart: "Don Giovanni"<br />
(da Ponte): Don Ottavio's Arias<br />
Dalla sua pace<br />
la m)a dipende<br />
Quel ch'a lci piace<br />
vita me rende.<br />
Quel che le incresce<br />
mofie mi da.<br />
S'ella sospira,<br />
sospiro anch'io;<br />
ts mla queil rra.<br />
quel pianto E mio<br />
E non ho bene,<br />
sc non I'ha.<br />
[ll] Il mio tesoro intanto<br />
andate a consolar,<br />
E del bel ciglio il pianto<br />
Cercate di asciugar.<br />
Ditele che i suoi torti<br />
A vendicar io vado,<br />
Che sol di stragi e moili<br />
Nunzio vogl'io tornar.<br />
[12] From W. A. Mozart r'Die Entfiihrung aus<br />
dem Serail" (Bretzner): Belmonte's Aria<br />
Hier soll ich dich denn sehen,<br />
Here I shall see you again,<br />
Konstanze! dich mein Gliick!<br />
Constanza, who are all my joy!<br />
Lall Himmel es geschehenl<br />
Oh heaven. let it be so<br />
Gib mir die Ruh zuriick.<br />
And restore my peace of mind.<br />
Ich duldete der Leiden o Liebe! allzuviel! Oh love. I have suffered too much!<br />
Schenk mir daiiir nun Freuden<br />
Und bringe mich ans Ziel !<br />
Upon her peace of mind<br />
my fate depends.<br />
When she is happy<br />
I f-eel so alive.<br />
Her misery<br />
makes me feel death.<br />
If she sighs<br />
I, too. must sigh.<br />
I am drawn into her wrath,<br />
I must share her tears.<br />
Therc cannot be a good li[e lor me<br />
if there is not one fbr her.<br />
You must go to my dearest one<br />
and try to bring her comfort.<br />
See if you cannot<br />
make her stop crying.<br />
Tell her that I have gone<br />
to avenge the abuse.<br />
I shall not myself go to her<br />
till death has brought an end to this<br />
Now bestow happiness upon me instead<br />
And lead me to my goal.
[13] Pedrillo's Romance:<br />
ln Mohrenlmd gefangen wu In Moorish lmds imprisoned lay<br />
Ein Mlidel hijbsch und fein; A girl, pretty and delicate;<br />
Sah rot und weiB, wr schwatz von Haar, Rosy cheeks, white skin, black hair,<br />
Seufzt Tag und Nacht und weinte gil She sighed day and night, she even wept,<br />
Woll't gem erldset sein. Longing to be rescued.<br />
Da kam aus femen Land daher Then came from foreign lands<br />
Einjunger Rittersmann; A young knight<br />
Den jammerte das Miidchen sehr; Who took pity on the maiden.<br />
Jach, rief er, wag ich Kopf und Ehr Hey, he cried, I'll risk my life and honour<br />
Wenn ich sie retten kann. If only I can rescue her.<br />
ll4l From Joseph Haydn "Die Schiipfung"<br />
(G. van Swieten):<br />
Mit Wiird' und Hoheit angetan, With dignity and nobility invested,<br />
Mit Schdnheit, Stiirk'und Mut begabt, with beauty, strength and courage endowed<br />
Gen Himmel aufgerichtet steht der Mensch, erect before heaven stands Man,<br />
Ein Mann und Kcjnig der Natur. a man and Nature's king.<br />
Die breit gewolbt'erhabne Stirn The broad and lofty brow bespeaks<br />
Verkiind't der Weisheit tiefen Sinn, the power of intellect,<br />
Und aus dem hellen Blicke strahlt and from the clear. bright glance<br />
Der Geist, des Schiipfers Hauch und Ebenbild. the spidt shines forth,<br />
An seinen Busen schmieget sich the breath of the Creator and his image.<br />
Fiir ihn, aus ihm gefomt, To his bosom clings,<br />
Die Gattin. hold und anmutsvoll. for him and from him formed,<br />
In froher Unschuld lachelt sie, his lovely, gracious wife.<br />
Des Friihlings reizend Bild, In happy innocence she smiles,<br />
ihm Liebe, Gliick und Wonne zu. O image of delightful springl<br />
And in her smile are love, joy and delight.
Len.ki's rie from P, Tchaikovskl<br />
"Eugene Onegin" rAdolph Hertzr.<br />
[15] Frentid har liv og dOd i eje<br />
Hvortbr hvorfor hvorfor er du forsvunden,<br />
o ungdomstid, o elskovsvirl<br />
Fremtid hr liv og dpd i eje,<br />
ak, ingen kender skrbnens veje!<br />
Hvad hviler nu i morgnens sk6d?<br />
En soldag? Eller nat og dpd?<br />
Men falder jeg og dgr for aren,<br />
og skiner mig Onegins skud,<br />
-jeg ved det, alt er sendt af Gud,<br />
hvis hind er over stjerneheren,<br />
hvis almagt skaber dagens glans<br />
og minenetters elverdans.<br />
Men morgnen, som af morke skygger<br />
nu stiger frem si luergd,<br />
miske dens flammer bilet bygger,<br />
hvor jeg skal lagges pi som dPd.<br />
Og slumrerjeg i gravens gemme,<br />
vil hastig man mig her forglemme<br />
i verdens travle lmm!<br />
Men du, Olga!<br />
Vil du bevare mindet om din ven?<br />
O, glade stund, jeg forst dig sa!<br />
smyk nu min grav med rosenranker!<br />
Ak, Olga! Skal jeg fra dig gi!<br />
O. kom, o, kom, min hjeftenskrr,<br />
o, f6lg din bejlers rgst,<br />
og skank ham hib og tr6st!<br />
O kom, o kom! Hpr, hvor jeg kalder, hjertenskerl<br />
o kom, ver mig i stunden ner!<br />
Hvorfor, hvorfor er du forsvunden,<br />
o ungdomstid, ufattelige elskovsfryd.<br />
Oh why oh why - oh why are you gone,<br />
my days of youth, my season of love!<br />
Life antl death are in the hands of the future,<br />
nobody knows the ways of destiny.<br />
What will tomonow hold for me?<br />
A sunfilled day? Or night and death?<br />
But whether I shall stoop for honour,<br />
or I suruive Onegin's shot<br />
- I know that all is in God's hand,<br />
he rules above the host of stils,<br />
he has created the light of day<br />
as well as moonlit nights.<br />
But the moming which from shadows<br />
now rises so flming red<br />
perhaps its flames will be in that pyre<br />
where my dead body will be placed.<br />
And when I sleep in my grave<br />
I shall be quickly forgotten<br />
by the noisy and busy world!<br />
But you, Olga!<br />
Will you keep the memory of your friend?<br />
The happy hour when I saw you firstl<br />
-adorn my grave with your roses!<br />
Alas Olgal Must I leave you !<br />
O come, o come my dearest one.<br />
o hea your lover's voice<br />
and bring him hope and comfbfi!<br />
O come, o come! Heu me calling, deilest one,<br />
o come, be ner to me in this hour!<br />
Oh why, oh why are you gone,<br />
my days of youth, my happy love.<br />
(This is a rendering in English of what Schigtz is<br />
singing: Danish verses based on a Geman<br />
translation. The aria is slightly abbreviated, no<br />
doubt because of 78 rpm playing time.)
U6l From Charles Gounod "Faust" [17] From G. F. Handel "Acis and Galathea"<br />
(AdolPh Heftz):<br />
Love sounds th'arilm.<br />
Var hilset, plet, min Fod betrader! And fem is aflying!<br />
Her lever hun glad i npjsom bolig When beauty's the prize,<br />
med salige engle fortrolig. What mortal fears dying?<br />
Ah hvilken pragt i denne simpelhed, In defence of my treasure,<br />
alt inder paradisisk salig fred. I'd bleed at each vein;<br />
o naturl her vantlred hun med bamlie ind<br />
without her no pleasure'<br />
og voksed og blev smuk, hvor bekymiing pi jord<br />
forjog din berkyttende hind.<br />
i:l.i:t^].:i"p"-<br />
Love souno\<br />
her r ed din moderpleje<br />
vandred hun dydens veje.<br />
from "solomon":<br />
Her fremstod pi dit bud Recit; Imperial Solomon, thy pray'rs are heard<br />
dit blomstrende, livsaligste rosenskud. See, from the op'ning skies<br />
Descending tlames involve the sacrifice;<br />
English rendering af this Danish text And 1o! within the sacred dome<br />
Be greeted, lovely place where I tread.<br />
Thaj..sleamv lisht'<br />
Here,inmodesrabode.herrifeish-i-py,<br />
inharmon; uithbles.edangel..<br />
lt"f,"ttlt.,bdgh':.<br />
ueclare\IneLoroorHosrslscome'<br />
",, -,<br />
Oh what splendour in this simplicity, Air: Sacred raptures cheer my breast,<br />
everything breathes a Paradisian peace. Rushing tides of hallow'd zeal,<br />
o nature! here she walked in chikiish soirit.<br />
grew up rnto a beaury, any worry;'#;"<br />
Joysloo fierce to be express'd'<br />
In this swelling heart I feel'<br />
kept out by your protecting hand, Wam enthusiastic flames<br />
here, in your motherly care, In my panting bosom roll,<br />
she wandered virtue's ways. Hope of bliss, that ne'er expires,<br />
On your command here grew up Dawns upon my ravish'd soul.<br />
an exquisite' blissful young rose<br />
sacred raptures cheer my breast, e/c.
The Complete Aksel<br />
Schi0tz Recordings<br />
1933 -1946<br />
Vol. 1 DACOCD 451<br />
Oratorio and Mozart arias 1940 - 45<br />
incl. never before issued Handel in<br />
rehearsal<br />
Vol. 2 DACOCD 452<br />
Schubert "Die schiine Miillerin" 1945<br />
and rare Grieg from 1943<br />
Vol. 3 DACOCD 453<br />
Schumann ttDichterliebe"<br />
and songs by Brahms, Grieg and<br />
Bellman (all 1946)<br />
Vol.4 DACOCD 454<br />
Hidden Tfeasure Records<br />
incl. unJinished I 939-10 " Milllerin"<br />
and Mozart test recording<br />
Vol. 5 DACOCD 455<br />
Romancer by C.E,F. Weyse<br />
and Scandinavian lute songs<br />
Vol. 6 DACOCD 456<br />
Danish Golden Age<br />
incl. ercerpts JiomWeyse Jilm 1910<br />
Vol. 7 DACOCD 457<br />
Songs of Summer<br />
I 93 8-40 Danish recordings<br />
Vo1. 8 DACOCD 458<br />
Romancer by Peter Heise<br />
and 1942-45 Danish recordings<br />
Vol. 9 DACOCD 459<br />
"Farinelli" and Light Orchestral<br />
Songs<br />
incl. rare 1933-38 popular music<br />
Vol. 10 DACOCD 460<br />
The Complete Carl Nielsen<br />
Recordings<br />
incl. rare alternative recordings<br />
(vols 4 - l0 to be released during 1997)