;i1r,,*-==::xr - Chandos
;i1r,,*-==::xr - Chandos ;i1r,,*-==::xr - Chandos
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.
- Page 1: ;i1r,,*-= (@il*il),
- Page 4 and 5: John Dowland: [6]Shalllstez:04 [ 7
- Page 6 and 7: Aksel Schiotz 1906 - 1975 Aksel Sch
- Page 8 and 9: Introduktion Det er et stort Onske
- Page 10 and 11: snenede de begge to, og rode i kamm
- Page 12 and 13: neret pe cembalo (med lut register)
- Page 14 and 15: Lucretia". Mere herom senere i sene
- Page 16 and 17: Introduction This collected edition
- Page 18 and 19: given solos. As a good teacher he h
- Page 20 and 21: teachers." This was what happened t
- Page 24 and 25: Mein Jesus bleibet meine Freud, was
- Page 26 and 27: [ 8 ] From W. A. Mozart "Die Zauber
- Page 28 and 29: [13] Pedrillo's Romance: ln Mohrenl
- Page 30 and 31: U6l From Charles Gounod "Faust" [17
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
Change language