{"title":"Opera vocal","description":"","products":[{"product_id":"frank-martin-das-marchen-vom-aschenbrodel-le-conte-de-cendrillon","title":"(2013) Frank Martin: Das Märchen vom Aschenbrödel (Le conte de Cendrillon)","description":"\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eLike César Franck or Leoš Janácek; Frank Martin belongs to those composers whose language went through a long period of development before maturing fully as they approached their fifties. He did not attend a music school but trained - at the same time as his classical studies – with a single master; Joseph Lauber. The latter; a prolific composer whom his pupil rightly deemed “a very good technician; but less of an artist”; imparted to him a mastery of musical writing that Frank Martin never ceased to better through his own studies of the great masters. \u003cbr\u003e\u003cbr\u003eAlthough his Trois Poèmes païens (1910); the first of his works to appear in his catalogue; is still under Post-romantic influence; Frank Martin soon freed himself from it to steer towards Impressionism (Les Dithyrambes; Pavane couleur du temps) before gradually turning towards other means of expression. Around 1925 he developed a passion for rhythmic research; leading him to become a disciple of Emile Jaques-Dalcroze; and of which such works as the Trio sur des thèmes populaires irlandais (Trio based on popular Irish melodies) or Rythmes (for full orchestra) are examples. During the following decade; his interest in dodecaphony and his approach towards emancipation from tonal music can be seen in his First Piano Concerto; the Symphony and the String Trio. All of this research; all these transcended influences filtered through the prism of his exceptional personality and talent; make up the language of his mature years. This language first appears in all its fullness in the secular oratorio Le Vin herbé (1938-41) that Frank Martin himself defined as «[…] the first important work in which I spoke my own language. » \u003cbr\u003e\u003cbr\u003eThe years 1940 to 1949 witnessed the creation of numerous ballets by Swiss composers such as Jean Binet (L’Ile enchantée); Henri Gagnebin (Printemps); Hans Haug (L’Indifférent) Arthur Honegger (La Naissance des couleurs; L’Appel de la montagne); André-François Marescotti (Les Anges du Greco) and Frank Martin who wrote Das Märchen vom Aschenbrödel during the autumn of 1941; shortly after completing Le Vin Herbé. The composer had already tried his hand at ballet music with Die blaue Blume; which had won a second prize in 1935 in a competition organized by the Zurich Theatre; but which was never staged and whose orchestration was never finished. \u003cbr\u003e\u003cbr\u003eDas Märchen vom Aschenbrödel was first performed at the Basel Municipal Theatre on 12th March 1942; conducted by Paul Sacher; together with a choreographic performance of Monteverdi’s Combattimento di Tancredi e Clorinda. It is based on Aschenputtel; the tale by the Grimm brothers – very similar to Charles Perrault’s Cinderella – onto which the dancer Marie-Eve Kreis built a scenario. Despite its great initial success; this remarkably innovative score was then totally and unjustly forgotten. \u003cbr\u003e\u003cbr\u003eThe work is divided into three acts and uses a small; unusual palette of instruments: a flute; an oboe; a trumpet; a trombone; two saxophones; a piano; percussion and strings. Four singers (soprano; mezzo-soprano; contralto and tenor) share the different character parts; their texts being mostly taken from Grimm’s original tale. The score shows an underestimated angle of Frank Martin’s art; a charm and sense of humour already visible in La Nique à Satan; a wonderful popular show composed in 1929; and again present in the opera Monsieur de Pourceaugnac. \u003cbr\u003e\u003cbr\u003eThe first act starts with a long sung introduction; presenting the characters and setting the action: after the death of his wife; Aschenbrödel’s father remarried; this nasty second wife and her two daughters proceed to turn the poor child’s life into absolute misery. The curtain rises on this evil household; the music portraying the opposing natures: suffering and kindness on one hand; materialism and meanness on the other. Frank Martin commented on this himself: In a most spontaneous fashion; the material element expressed itself in a style inspired by jazz music. Jazz holds an obvious esthetical value for me; it is invariably impregnated into each of us; ready to spring out at the first opportunity. But it is an art and esthetic beauty totally void of any ethical value; a purely material; soulless type of art and beauty. […] On the contrary; there is evolution in Aschenbrödel; although matter is unchanging; the spirit is by essence the source of all development. […] To represent Aschenbrödel’s humility; the oboe seemed to me the obvious choice; with its rustic yet profound sound. […] As for the Fairy; her formal yet mysterious intervention will be depicted by the flute and muted strings […]. Having outlined the heroine’s distress; the first act then hosts the intervention of the Fairy; who adorns Aschenbrödel for the ball held by the Prince; to which her step-mother refused to take her. \u003cbr\u003e\u003cbr\u003eAct two takes place at the Royal Palace. The ball is in full swing when Aschenbrödel appears; magnificent; no one recognizing her. The Prince is hypnotized; he leads her into a fabulous waltz; suddenly interrupted by the twelve strikes of midnight and the young lady’s flight; leaving the King’s son in despair. He swears he will only marry the one whose foot will fit into the shoe left behind by the mysterious visitor. \u003cbr\u003e\u003cbr\u003eAct three begins by a fugato – in which the four singers echo the Prince’s oath – then brings us back to the set of the first act. Aschenbrödel is dreaming about the events as the two sisters barge in; furious at having been eclipsed by her. They go as far as mutilating their foot to try to fit it into the shoe brought by the messenger; and the younger sister is about to succeed when the birds; Aschenbrödel’s friends; tell of the treachery. The Prince discovers the young girl whom the step-mother was trying to hide; takes her into a slow dance while the three vile women are punished by the birds and all the singers celebrate; as Frank Martin says; the victory of good over evil; of spirit over matter. \u003cbr\u003e\u003cbr\u003eJacques Tchamkerten - Head of the Library of the Geneva Music Conservatory\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.diapasonmag.fr\/\" rel=\"noopener\" target=\"_blank\"\u003eDiapason Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Le compositeur en exploite toutes les ressources expressives, et son inventivité nous vaut une fin d’acte I surnaturelle, une scène de bal enamourée, un final angoissant jusqu’au triomphant happy end. A l’écoute aveugle, rien ne distingue l’Orchestre de la Haute Ecole de Musique de Genève d’un ensemble professionnel. Ils servent une équipe de chanteurs engagés, d’où émerge le soprano velouté de Clémence Tilquin, sous la direction fine et légère du chef Gabor Takacs-Nagy. Un apport significatif à la discographie de Frank Martin.\" - Olivier Gutierrez, avril 2013\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.theartsdesk.com\/classical-music\/classical-cds-weekly-frank-martin-mei-yi-foo-powerplant\" rel=\"noopener\" target=\"_blank\"\u003eThe Arts Desk\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] His fairies are accompanied by music that’s just as delicate as Prokofiev’s, and I’d argue that Martin’s visceral depiction of midnight’s chimes is more terrifying, the texture abruptly thinning after the twelfth bell stroke. The vocal parts are delicious, particularly the pair of women’s voices used to portray the birds’ chorus. The closing chorus is magical. The orchestral playing is indecently accomplished, the players’ sense of shared discovery palpable. Unmissable, in other words. Track this CD down and buy multiple copies for friends and acquaintances. They’ll be grateful.\" - Graham Rickson, May 2013\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/mutheute.com\/\" rel=\"noopener\" target=\"_blank\"\u003eMusik und Theater\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] «Le conte de Cendrillon» erzählt die bekannte Aschenputtel-Geschichte, der (deutsche) Text von Marie-Eve Kreis bleibt eng an der Grimm’schen Vorlage. Das gut einstündige Ballett wurde nun nach dem grossen Erfolg der Uraufführung seinem langen Dornröschenschlaf entrissen. Dank Genfer Interpreten: Die Musikhochschule und das Grand Théâtre brachten das Stück vor drei Jahren mit wiederum grossem Erfolg auf die Bühne, das Orchester der «Haute École de musique» der Rhonestadt unter der Leitung von Gábor Takács-Nagy ging anschliessend ins Studio und spielte es für Claves ein. Zwar kämpfen einige der vier Sänger manchmal ein bisschen mit den Tücken der deutschen Sprache, aber sonst gibt es an dieser wundervollen Aufnahme nichts auszusetzen: Sängerisch haben die Solisten ihre Partien mit ausdrucksvollem und souveränem Gesang im Griff, und das Instrumental ensemble, das insbesondere in den immer wieder mit virtuosen oder jazzigen Soli herausgefordert ist, macht beste Figur in diesem hörenswerten Martin-Ballett.\" - Reinmar Wagner, August 2013\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.letemps.ch\/culture\/musiques\/un-ballet-retrouve-chaussure-pied\" rel=\"noopener\" target=\"_blank\"\u003eLe Temps\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Si vous assimilez la musique de Frank Martin uniquement à l’austérité grandiose de Golgotha et de ses autres oeuvres d’inspiration religieuse, vous avez une idée limitée de la diversité de ses registres. Le compositeur genevois a cultivé tous les genres. Le moins connu est bien celui du ballet! Au beau milieu de la guerre, alors qu’il vient de terminer Le Vin herbé.[..]\" - Pierre Michot, janvier 2013\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cominmag.ch\/tag\/lhebdo\/\" rel=\"noopener\" target=\"_blank\"\u003eL'Hebdo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] L’enregistrement de la RTS a immédiatement aiguisé la curiosité puis l’intérêt du label Claves, installé à Pully et dirigé depuis peu par Patrick Peikert. «Cette redécouverte d’une partition totalement oubliée entre parfaitement dans l’esprit de notre maison», s’enthousiasme le producteur, bluffé non seulement par l’oeuvre, mais encore par l’interprétation fabuleuse des étudiants genevois dirigés par Gábor Takács-Nagy. «L’enregistrement est accessible depuis trois semaines sur plateforme électronique et suscite déjà beaucoup de réactions, jusqu’au Japon.» [..]\" - Dominique Rosset, février 2013\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.nzz.ch\/\" rel=\"noopener\" target=\"_blank\"\u003eNeue Zürcher Zeitung\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Den Charakter der Stiefmutter und der ambitiösen Schwestern geben Saxofon und Blechbläser in jazznahem Stil wieder. Für Aschenbrödel stehen Oboe und Flöte sowie die Streicher mit noblen Klängen ein. Das Genfer Hochschulorchester bringt die unterschiedlichen Tanzweisen auf ansprechendem Niveau zum Klingen. Die vier Solisten pflegen nicht immer ein astreines Deutsch, geben aber die Charaktere der Märchenfiguren treffend wieder. Pikant, dass die böse Stiefmutter und die gute Fee von derselben Solistin gesungen werden. [..] - Mai 2013\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 1202 \/ 1 \/ Gábor Takács-Nagy","offer_id":39924539916323,"sku":"1202","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"887845252555 \/ upc \/ Gábor Takács-Nagy","offer_id":32151996497955,"sku":"1202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"01.01.2013 \/ release \/ Gábor Takács-Nagy","offer_id":32151996530723,"sku":"1202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Orchestre de la Haute Ecole de Musique de Genève \/ orchestra \/ Gábor Takács-Nagy","offer_id":32151996563491,"sku":"1202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Gábor Takács-Nagy \/ conductor \/ Gábor Takács-Nagy","offer_id":39487884525603,"sku":"1202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/frank-martin-das-marchen-vom\/id592678602 \/ iTunes \/ Gábor 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Together with the Zurich Chamber Orchestra; the Zurich Boys’ Choir and conductor Howard Griffiths; Claves is pleased to present Benjamin Britten’s (all too) rarely heard «Saint Nicolas» Cantata. \u003cbr\u003e\u003cbr\u003e Composed for the centenary celebration of Lancing College; Sussex; in 1948 (St. Nicolas is the patron saint of children and the co-patron of Lancing College) and based on a text by Eric Croziers; the work traces in nine episodes the life of the saint born in Patara; an important Byzantine port in Turkey. It is a story filled with light that will appeal to the whole family; especially during the long winter evenings; one can even join in since Britten intended the work to be accessible to amateurs (with the exception of the solo tenor part and the lead strings and percussionist). \u003cbr\u003e\u003cbr\u003e This world premiere recording of the German version featuring tenor Mark Tucker was made «live» at the Zurich Tonhalle on 14 and 15 December 2002 and is complemented by a more well-known orchestral work by the English composer: the Variations on a Theme by Frank Bridge; an extraordinary portrait of the English musician who was Britten’s professor and mentor in a theme with… ten character traits!","brand":"Claves Records","offers":[{"title":"CD 2302 \/ 1 \/ Zürcher Kammerorchester","offer_id":40119962632227,"sku":"2302","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"829410488167 \/ upc \/ Zürcher Kammerorchester","offer_id":13668963713059,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/britten-saint-nicolas-live\/id286195179?l=fr \/ iTunes \/ Zürcher Kammerorchester","offer_id":32339008258083,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2003 \/ release \/ Zürcher Kammerorchester","offer_id":45895723470,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/open.spotify.com\/album\/5KLWzJSOYTsQrzGciSqD0E \/ Spotify \/ Zürcher Kammerorchester","offer_id":16254439939,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_ldaJWJzel_0vcjOY6vWXb82ILDJpq1fvQ \/ Youtube Music \/ Zürcher Kammerorchester","offer_id":39496033173539,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/benjamin-britten-saint-nicolas\/0829410488167 \/ Qobuz \/ Zürcher Kammerorchester","offer_id":16254440067,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/132841 \/ Deezer \/ Zürcher Kammerorchester","offer_id":16254440131,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/amzn.to\/1KdBiqt \/ AmazonMp3 \/ Zürcher Kammerorchester","offer_id":16254440195,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2302 \/ Naxos \/ Zürcher Kammerorchester","offer_id":31663183566,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/benjamin-britten\/saint-nicholas-variations-on-a-theme-of-frank-bridge\/11246937\/ \/ eMusic \/ Zürcher Kammerorchester","offer_id":16254440259,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Zürcher Kammerorchester","offer_id":16254440323,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=_j8gM3LgiAs\u0026list=OLAK5uy_ldaJWJzel_0vcjOY6vWXb82ILDJpq1fvQ \/ Video \/ Zürcher Kammerorchester","offer_id":39497275965475,"sku":"2302","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2302.jpg?v=1414594401"},{"product_id":"russian-works-for-soprano-string-quartet","title":"(2003) Russian Works for Soprano \u0026 String Quartet","description":"Realized in collaboration with M. 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He studied the piano; violin and viola (which became his instrument of preference) and joined in 1880 (at the age of 44) an amateur orchestra in St. Petersburg directed by Anatole Liadov. \u003cbr\u003e\u003cbr\u003e This experience proved to be a revelation; a breach in the dam that had (unconsciously?) kept him sheltered from the surging wave of contemporary Russian music. Through Liadov he came into contact with the circle of musicians around Balkirev (better known as “The Five” in English); lance-head of the new nationalistic movement in music. Belaieff; who up to this point had listened only to German music; saw open a new universe of unexpected expressive dimensions which he quickly made his own.","brand":"Claves Records","offers":[{"title":"CD 2303 \/ 1 \/ Quatuor Sine Nomine","offer_id":40119962664995,"sku":"2303","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"829410488068 \/ upc \/ Quatuor Sine Nomine","offer_id":13668963745827,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/russian-works-for-soprano\/id286553382?l=fr \/ iTunes \/ Quatuor Sine Nomine","offer_id":32339008290851,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2003 \/ release \/ Quatuor Sine Nomine","offer_id":45895723534,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/open.spotify.com\/album\/7JxxdePxsxQuGXVO0lFsks?si=vFb4EtfNTj-ybaIeyTXinA \/ Spotify \/ Quatuor Sine Nomine","offer_id":39844176330787,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_lAEMrvzbtWIv5I6L2PIu4Z_-tTFa2-j1E \/ Youtube Music \/ Quatuor Sine Nomine","offer_id":39496033206307,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/elena-vassilieva-soprano-musique-russe-contemporaine\/0829410488068 \/ Qobuz \/ Quatuor Sine Nomine","offer_id":16254440707,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/132833 \/ Deezer \/ Quatuor Sine Nomine","offer_id":16254440771,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.fr\/gp\/product\/B0000DD2X1\/ref=dm_dp_cdp?ie=UTF8\u0026qid=1366096768\u0026s=music\u0026sr=1-1-catcorr \/ AmazonMp3 \/ Quatuor Sine Nomine","offer_id":16254440899,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2303 \/ Naxos \/ Quatuor Sine Nomine","offer_id":31663183630,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/elena-vassilieva-quatour-sine-nomine\/contemporary-russian-music\/11246855\/ \/ eMusic \/ Quatuor Sine Nomine","offer_id":16254440963,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Quatuor Sine Nomine","offer_id":16254441027,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=iUbS0hOcEXY\u0026list=PLy5IRCYvmbSzWELg7RawbPW9Z14ipyYEh \/ Video \/ Quatuor Sine Nomine","offer_id":56512417169794,"sku":"2303","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2303.jpg?v=1414747749"},{"product_id":"romantic-recital-for-voice-orchestra","title":"(2003) Romantic Recital for Voice \u0026 Orchestra","description":"This recording features one of Switzerland's brightest vocal stars, mezzo-soprano Yvonne Naef, performing masterpieces by romantic giants Hector Berlioz and Richard Wagner. Yvonne Naef regularly performs with eminent conductors such as Harnoncourt, Boulez, Maazel, Russel Davies and Levine and has appeared at all the major European operas, including the Vienna State Opera, the Royal Opera House, Covent Garden and the Scala in Milan. She is accompanied by the Capella Istropolitana under the direction of Swiss conductor David Heer, who also leads the Radio Symphony Orchestra Pilsen in the performance of two instrumental chef d'oeuvres by Wagner and Gustav Mahler: Siegfried Idyll and the Adagietto from the fifth symphony. \u003cbr\u003e\u003cbr\u003e The three songs by Berlioz are very much bound to the programme of their texts. Zaïde features prominent Spanish inflections (including castanets in the refrain)and alternating passages of melancholy and sensuality. La captive was origi- nally a strophic song with an exquisitely shaped melody that Berlioz revised it into a through-composed song characterized by an enchanting stillness and beauty. 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Among the eight singers selected to perform in the concert series “Voices at Four”, it was Wallén who made a particularly strong impression on the jury of specialists that had been gathered in an informal manner for the occasion; this included, among others, Marguerite Dütschler-Huber, the founder of Claves Records and a member of the festival committee, and Claude Starck, cellist of international renown. A recording was born from this wonderful moment, thanks to the support of the Sommets Musicaux of Gstaad, the Edmond de Rothschild Private Bank (the event’s principal partner and a major benefactor of young musicians) and the Association of Young Artists. \u003cbr\u003e\u003cbr\u003e Edvard Grieg’s Den Bergtekne (the mountain prisoner) transports us into the heart of Norwegian traditions. The text was taken from an anthology of popular Norwegian poetry. 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\u003cbr\u003e\u003cbr\u003e The most beautiful works for voice and large orchestra by Schönberg, Zemlinsky, Berg and Mahler within the four walls of your living room: it’s possible thanks to arrangements for voice and chamber ensembles, most of which arose through the catalyst of Schoenberg’s Verein für musikalische Privataufführungen (society for private music concerts, founded in 1918). \u003cbr\u003e\u003cbr\u003e This recording offers a wonderful sampling of such works, all brought to life through the remarkable musicianship of Maria Riccarda Wesseling, mezzo-soprano from the Canton of the Grisons and the principal winner of the Eliette von Karajan Cultural Foundation Prize in 2002, and Pierre-Alain Monot’s Nouvel Ensemble Contemporain (contemporary music ensemble), well-known for its eclectic programs. \u003cbr\u003e\u003cbr\u003e This collection of songs offers a portrait of a world in metamorphosis, exulting in complex and rich sonorities that capture the clash between the last 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Schoeck never particularly liked this occupation; his manner often was considered unconventional and at times even disdainful by his decidedly traditional and conservative choirs. In spite of this he was very successful as conductor; approaching his work with great energy and leading his choirs to perform demanding programs at a high level. And at times he took his choirs to the limits of their abilities; particularly with his own compositions; occasionally in retaliation for the artistic ignorance and insularity of the Swiss choral system. \u003cbr\u003e\u003cbr\u003e At home like with Schubert \u003cbr\u003e\u003cbr\u003e After having composed some half-dozen principally a cappella choral works Schoeck wrote his first major choral composition in September 1909: Der Postillon [the postilion] to a poem by Nikolaus Lenau. The work is still completely in the tradition of late-romantic choral music; the strings gently paint the mood of a May night; the horns sound the song; at times boldly; at times melancholically; of the departed postilion. Schoeck’s friend Hermann Hesse; who heard the premiere of the work in Zurich in 1911; wrote enthusiastically about it in his memoirs: “I felt at home with this music; like with Schubert.” \u003cbr\u003e\u003cbr\u003e Schoeck struck a completely different tone in his short but monumental Dithyrambe. He set Goethe’s three lines (from a letter to Auguste zu Stolberg in July 1777) to music for double choir and large orchestra with organ in 1911; the lugubrious; romantic swan song of the postilion was followed a year later by a roaring burst of personal expression driven by an enormous elemental force. The ten minutes of music are most demanding on the choir. One only has to listen to the drawn-out final chord; the exhausted singers must sing a crescendo beginning fff and at times without orchestral accompaniment. But it was exactly with this excess and intransigence that Schoeck captured the spirit of Goethe’s three lines. \u003cbr\u003e\u003cbr\u003e A deeply felt love for freedom \u003cbr\u003e\u003cbr\u003e Composed in 1949; Vision is a wonderful gem for male choir; instruments and string orchestra that Schoeck wrote for the Schwyz Singing Society and the Lachen Male Choir (Lachen; Lake Zurich). Once again written to a poem by Gottfried Keller; this time; however; without the patriotic pathos but with an honest; deeply felt love for freedom. Schoeck transcended late-romantic choral music and transformed it into the personal language of his late style. 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The anachronistic and relentless polemic against contemporary society was published together with another setting of a Hesse poem; Gestutzte Eiche [truncated oak]; a work commissioned by the male choir in Thun and completed in 1953. \u003cbr\u003e\u003cbr\u003e Beat A. 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Ettore Causa and Marc Pantillon did not know one another before this recording. They both have one or more recordings in the Claves catalogue; Causa is the author of a collection of transcriptions of romantic music that cried out for a follow-up with a “weightier” repertoire; and Pantillon; father of a solo recording featuring Brahms that likewise demanded a sequel. \n\u003cbr\u003e\u003cbr\u003e\nOne might think that they were made for each other. Wager won! Not only did the Italian viola player and the Swiss pianist immediately hit it off; but they created the image of a perfect communion with Brahms and his music for Jean-Claude Gaberel’s recording microphones. \n\u003cbr\u003e\u003cbr\u003e\nNorthern Autumn\n\u003cbr\u003e\u003cbr\u003e\nBrahms has been Ettore Causa’s composer of preference since he was a young boy. Marc Pantillon; for his part; didn’t really begin to understand the composer until the beginning of adolescence; in contrast to his other “idol”; Beethoven; “whose language was always perfectly natural and evident to me”. “For me; Brahms’ writing is situated at the point of perfect equilibrium: his harmonies; so expressive and rich in colors; are always underlined by a voice leading which is both rigorous and inventive. \n\u003cbr\u003e\u003cbr\u003e\nHis phrases; marked by exuberant lyricism; are sensual without ever turning to sentimentality.” Ettore Causa likewise believes the German composer’s music to have reached a form of perfection. “It is filled with powerful emotions and perfectly constructed. 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Our recording of Schubert’s «Winterreise» [winter journey] was made in 1980 and represents a landmark in Claves’ history. Although one of the most frequently recorded song cycles, the interpretation by Ernst Haefliger and Jörg Ewald Dähler for Claves quickly earned a place of honor among the numerous other recordings and is now considered by many as the recording of Schubert’s masterpiece against which all others are measured. Haefliger and Dähler also performed numerous concerts together at this time, and their performances of the «Winterreise» formed one of the high points of their careers. The recording was awarded the celebrated «Prix Mondial du Disque de Montreux» in 1981. \u003cbr\u003e\u003cbr\u003e «This prize (Prix Mondial du Disque de Montreux) was completely merited, believe me. The interpretations are marked by a modesty and lack of pretension that is matched by a profound understanding of this work.» (Monde et Vie, Paris) \u003cbr\u003e\u003cbr\u003e «The two musicians join and become one! They are a unity of expression that gives shape to the «Winter Journey», but a shape that has an infinite number of facets. The piano part is performed with the utmost subtlety, the accompaniment masterfully follows the singer. One would like to speak of a historic document when holding this interpretation in one’s hands.» (Peter Mieg, Badener Tagblatt) \u003cbr\u003e\u003cbr\u003e The new cover of the «Winterreise» features a detail from a painting by Klimt, here depicted next to the other recordings by the same artists of Schubert’s music.\u003cbr\u003e","brand":"Claves Records","offers":[{"title":"CD 8008 \/ 1 \/ Ernst Haefliger","offer_id":40119956045859,"sku":"8008","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410497060 \/ upc \/ Ernst Haefliger","offer_id":13669086429219,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/schubert-winterreise-d.-911\/id284160287?l=fr \/ iTunes \/ Ernst Haefliger","offer_id":32339013795875,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/5zPIcaGJgBS81BoWzSNf1I \/ Spotify \/ Ernst Haefliger","offer_id":18129026115,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"1985 \/ release \/ Ernst Haefliger","offer_id":45895604750,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_n9fft5fx7yBzCEtF0wpmXraSKWOPDXEyw \/ Youtube Music \/ Ernst Haefliger","offer_id":39496039301155,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/franz-schubert-franz-schubert-winterreise\/0829410497060 \/ Qobuz \/ Ernst Haefliger","offer_id":18129026243,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/195254 \/ Deezer \/ Ernst Haefliger","offer_id":18129026371,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.com\/Schubert-Ewald-D%C3%A4hler-Ernst-Haefliger\/dp\/B001BW8PGC \/ AmazonMp3 \/ Ernst Haefliger","offer_id":18129026435,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-8008 \/ Naxos \/ Ernst Haefliger","offer_id":35068696654,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/play.google.com\/store\/music\/album\/Ernst_Haefliger_Schubert_Winterreise_D_911?id=Bogijb74fral3pkzqf3owcsrj2a \/ eMusic \/ Ernst Haefliger","offer_id":18129026499,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/listen.tidalhifi.com\/album\/9632195 \/ Tidal \/ Ernst Haefliger","offer_id":31355517390,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.rhapsody.com\/artist\/ernst-haeflinger\/album\/franz-schubert-winterreise \/ Rhapsody \/ Ernst Haefliger","offer_id":18129026627,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Ernst Haefliger","offer_id":18129026691,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=Ei_gvGX5qrA\u0026list=PLy5IRCYvmbSz2rfdanwgZhoFuDLAv90u9 \/ Video \/ Ernst Haefliger","offer_id":46089308942,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Franz Schubert \/ Composers \/ Ernst Haefliger","offer_id":45606790030,"sku":"8008","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_8008.jpg?v=1414749127"},{"product_id":"c-loewe-kaiser-karl-v-historische-balladen-op-99-gregor-auf-dem-stein-legende-op-38","title":"(1987) C. 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There she received a thorough musical training at the conservatoire in singing, piano, organ, harmony and conducting. She also belonged to the chamber choir ‘Cantores de Madrid’ - as a child she had already been a member of the chamber choir “Massa Coral de Madrid'.\u003c\/p\u003e\n\u003cp\u003eAt the age of 18 she was admitted to the classes of the great singing teacher Lola Rodriguez de Aragon who had been a pupil of Elisabeth Schumann. In 1956, Teresa Berganza won the conservatoire's singing competition and was awarded the “Lucrezia-Arana-Prize”. Even at this early date her preference for German and French songs was apparent.\u003c\/p\u003e\n\u003cp\u003eHer first official concert in the Madrid Atheneum was devoted to Schumann’s “Woman's love and life\" (Frauenliebe und Leben). Her stage career began in 1957 at the Aix-en-Provence festival with the part of Dorabella in “Così fan tutte’. In the following year she was invited to the Glyndebourne festival, and since then she performed at all the famous opera houses (the Vienna Staatsoper, the Scala of Milan, the Paris Opera, Covent Garden London, Metropolitan Opera New York, Teatro Colón Buenos Aires), during the last years above all with her remarkable interpretation of ‘Carmen”.\u003c\/p\u003e\n\u003cp\u003eBesides her stage performances, Teresa Berganza has developed a brilliant career as a concert soloist and lieder singer. Thanks to her talent for languages, her repertoire has become many-sided, covering German, French, Italian, Russian, Portuguese lieder as well as Spanish songs of which she is known as the best contemporary interpreter. The artist says about herself: “I am seeking for truth, quality and beauty. My only motives are hard work and constant endeavor to give my best”.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRicardo Requejo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/ricardo-requejo\"\u003eRicardo Requejo\u003c\/a\u003e was born in Irun, Vasconia, Spain, in 1938. He began his musical studies in San Sebastian where he received - at the age of 16 - a first piano award, went on to study in Paris under Vlado Perlemuter at the Conservatoire National de Musique; here too he received a first prize.\u003c\/p\u003e\n\u003cp\u003eHe continued with Louis Hiltbrand at the Conservatoire de Genève, where he was unanimously awarded the first \"Prix de virtuosité\", with distinction in 1965. After other successes in competitions in Spain and Portugal, Ricardo Requejo completed his musical education with Helen Costa, Sándor Végh and Karl Engel. In Hamburg he was assistant to Conrad Hansen.\u003c\/p\u003e\n\u003cp\u003eSince 1974 he lives and teaches in Madrid, but he is also active in San Sebastián and in teaching master courses. In addition to his activities as a soloist in several European countries and to his several recordings, Ricardo Requejo acquired a reputation as a chamber musician, as partner of \u003ca href=\"https:\/\/www.claves.ch\/collections\/christian-ferras\"\u003eChristian Ferras\u003c\/a\u003e, Salvatore Accardo, \u003ca href=\"https:\/\/www.claves.ch\/collections\/ingo-goritzki\"\u003eIngo Goritzki\u003c\/a\u003e, \u003ca href=\"https:\/\/www.claves.ch\/collections\/claude-starck\"\u003eClaude Starck\u003c\/a\u003e and above all to the singer Teresa Berganza on her tour in Europe and Japan. He has acquired renown first of all by his complete interpretation of the \"\u003ca href=\"https:\/\/www.claves.ch\/products\/cd-8003-4\" title=\"Spanish Music for Piano\"\u003eIberia-Suite\u003c\/a\u003e\" of \u003ca href=\"https:\/\/www.claves.ch\/collections\/isaac-albeniz\"\u003eIsaac Albéniz\u003c\/a\u003e, the Claves recording of which has been awarded in France the “\u003ca href=\"https:\/\/www.claves.ch\/collections\/diapason-dor\" title=\"Diapason d'Or - Claves records\"\u003eDiapason d'or\u003c\/a\u003e”.\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 8204 \/ 1 \/ Teresa Berganza","offer_id":40119956471843,"sku":"8204","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410507660 \/ upc \/ Teresa Berganza","offer_id":13669107269667,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/schumann-frauenliebe-und-leben\/id261708029?l=fr \/ iTunes \/ Teresa Berganza","offer_id":32339014516771,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"1983 \/ release \/ Teresa Berganza","offer_id":45895607118,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/55q4T6uzdf2yFTCO4zqpqG \/ Spotify \/ Teresa Berganza","offer_id":18129038211,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_lRTdtxXmEQoIaviVQCJKwTtxPtWoEQ3cc \/ Youtube Music \/ Teresa Berganza","offer_id":39496039727139,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/schumann-frauenliebe-und-leben-mussorgsky-kinderstube\/0829410507660?qref=dac_2 \/ Qobuz \/ Teresa Berganza","offer_id":18129038339,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/136288 \/ Deezer \/ Teresa Berganza","offer_id":18129038403,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/amzn.to\/1RpArk8 \/ AmazonMp3 \/ Teresa Berganza","offer_id":18129038467,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos \/ Teresa Berganza","offer_id":35068698318,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/teresa-berganza-ricardo-requejo\/schumann-frauenliebe-und-leben-mussorgsky-kinderstube\/11078972\/ \/ eMusic \/ Teresa Berganza","offer_id":18129038531,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/listen.tidalhifi.com\/album\/11665462 \/ Tidal \/ Teresa Berganza","offer_id":31357345486,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.rhapsody.com\/artist\/ricardo-requejo\/album\/schumann-frauenliebe-und-leben--mussorgsky-kinderstube \/ Rhapsody \/ Teresa Berganza","offer_id":18129038595,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Teresa Berganza","offer_id":18129038659,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=nJU4TVt5S-Y\u0026list=OLAK5uy_k8pFIogEx5EaGrksMcmV4Q3xVnSAMgU-U \/ Video \/ Teresa Berganza","offer_id":31267070312483,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Robert Schumann \/ Composers \/ Teresa Berganza","offer_id":45606800206,"sku":"8204","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_8204.jpg?v=1414749183"},{"product_id":"musiche-veneziane-per-voce-e-strumenti","title":"(1983) Musiche Veneziane Per Voce E Strumenti","description":"\u003ca href=\"\/collections\/teresa-berganza\"\u003eTeresa Berganza\u003c\/a\u003e was born in Madrid and studied at the Madrid Conservatory while at the same time a member of the chamber choir “Cantores de Madrid.\" At the age of eighteen she was admitted to Lola Rodriguez de Aragon's Voice Class.\n\u003cp\u003eIn 1956 MS Berganza won the conservatory's singing Competition and was also awarded the “Lucrecia Arana Prize.\" Her stage career began very early at the Aix-en-Provence festival with Dorabella's part in “Così fan tutte.”\u003c\/p\u003e\n\u003cp\u003eSince then she has performed at all the great opera houses throughout the world. 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The middle notes of this instrument, which sound particularly warm and distinct, are often used, while the high register, which is clearer and sometimes aggressive, is hardly used at all.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe Lieder constitute twenty stations that represent the experiences of a young man facing his first and painful encounter with love and suffering. The cycle ends indefinitely: does the young miller rush into the liquid element that has accompanied him throughout the story in the form of the mill stream? Water is indeed the symbol of the incessant change of things. As in a short story, the hero is confronted with a series of characters: the capricious and coquettish miller's daughter, the master miller, a hunter who appears in a cannon to the sound of a horn. 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This music avoids, so to speak, any violent accent; the essential lies in subtlety.\u003c\/p\u003e\n\u003cp\u003eTranslated from French by www.DeepL.com\/Translator (free version)\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 8301 \/ 1 \/ Ernst Haefliger","offer_id":40119956570147,"sku":"8301","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"829410487368 \/ upc \/ Ernst Haefliger","offer_id":13669107367971,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/franz-schubert-die-schone\/id284160347?l=fr \/ iTunes \/ Ernst Haefliger","offer_id":32339014844451,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"1983 \/ release \/ Ernst Haefliger","offer_id":45895607502,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/4nuMWUtvGgVoMBKUTEfZg1 \/ Spotify \/ Ernst Haefliger","offer_id":18129041155,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_m5TnR21z8AAS34Wj2eM4omECmXVMDXnKI \/ Youtube Music \/ Ernst Haefliger","offer_id":39500814942243,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/franz-schubert-la-belle-meuniere-d-795\/0829410487368 \/ Qobuz \/ Ernst Haefliger","offer_id":18129041347,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/195231 \/ Deezer \/ Ernst Haefliger","offer_id":18129041475,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.fr\/gp\/product\/B000027FWP\/ref=dm_dp_cdp?ie=UTF8\u0026qid=1366036155\u0026s=music\u0026sr=1-1-catcorr \/ AmazonMp3 \/ Ernst Haefliger","offer_id":18129041539,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-8301 \/ Naxos \/ Ernst Haefliger","offer_id":35068698958,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/ernst-haefliger-jorg-ewald-dahler\/franz-schubertdie-schone-mullerin\/11240052\/ \/ eMusic \/ Ernst Haefliger","offer_id":18129041667,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/listen.tidalhifi.com\/album\/9200948 \/ Tidal \/ Ernst Haefliger","offer_id":31357345806,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.rhapsody.com\/artist\/ernst-haefliger\/album\/franz-schubertdie-schone-mullerin \/ Rhapsody \/ Ernst Haefliger","offer_id":18129041731,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Ernst Haefliger","offer_id":18129041795,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Video \/ Ernst Haefliger","offer_id":18129041859,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Franz Schubert \/ Composers \/ Ernst Haefliger","offer_id":45606800910,"sku":"8301","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_8301.jpg?v=1439217364"},{"product_id":"wolfgang-amadeus-mozart-opera-concert-arias","title":"(1984) Wolfgang Amadeus Mozart: Opera \u0026 Concert Arias","description":"«He is one of the few tenors who truly understands what he sings. 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He was impressive both on the operatic stage and as a recitalist, and in each of these realms his repertory was broad, from Baroque era (J.S. Bach's St. Matthew Passion and St. John Passion) to the contemporary (Boris Blacher's Zwischenfälle bei einer Notlandung).\u003c\/p\u003e\n\u003cp\u003eHaefliger received high praise for his Schubert lieder, particularly for Winterreise and Die schöne Müllerin. His 1949 Salzburg Festival debut as Tiresias in Orff's Antigonae received critical acclaim. Haefliger was probably best known for his Mozart (Pamina, Ferrando, Don Ottavio, and others), and for his portrayals of the Evangelist in the Bach Passions.\u003c\/p\u003e\n\u003cp\u003eHe was one of the first tenors to record Mahler's Das Lied von der Erde in stereo (Bruno Walter, conducting; 1960). The tone of Haefliger's voice, while appealing, was generally regarded as not particularly outstanding; yet, because of his precision in articulation and deft sense for phrasing, he achieved a vocal style quite unforgettable, quite distinct from other tenors of his generation. Though most of his recordings are decades old, many remain available on Philips (the largest source), Decca, Sony, DG, Naxos, Orfeo, Berlin Classics, Preiser Records, Testament, and other labels.\u003cbr\u003e\u003cbr\u003e Ernst Haefliger was born in Davos, Switzerland, on July 6, 1919. He studied at the Zurich Conservatory and at the Geneva Conservatory, where his most important teacher was Fernando Capri; he later took vocal lessons in Vienna from iconic tenor Julius Patzak. Haefliger debuted in 1942 in Geneva singing the Evangelist in the St. John Passion. The following year he joined the Zurich Opera, remaining there until 1952.\u003cbr\u003e\u003cbr\u003e From 1952-1974 he was a member of the Deutsche Oper, but frequently appeared at other major operatic venues and in recitals and orchestral concerts. Many important debuts took place during this 22-year run, including at Glyndebourne (1956) singing Tamino in Die Zauberflöte, Chicago's Lyric Opera (1966), in the same role, and Moscow (1968) as the Evangelist.\u003cbr\u003e\u003cbr\u003e Haefliger remained active well past his 1972 retirement from the Deutsche Oper. In fact, he was singing Schubert's Winterreise in recital as late as 1995 (London's Wigmore Hall), when he was 76! Even after he finally retired from singing, Haefliger made concert appearances in speaking roles, as in the 2002 performance of Schoenberg's Gurrelieder at the Proms (in London), where he was narrator. 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to the few great singers of our day who represent the culture of a “lyric” tenor. His mastership, now lasting nearly half a century, has brought about a stability which is rare. Haefliger’s high standard is guaranteed by connecting natural technical perfection with extreme artistic intelligence that never overrates the possibilities of a voice.\u003c\/p\u003e\n\u003cp\u003eAs a professor at the Musikhochschule in Munich and in numerable master classes all over the world Haefliger passes this quality on to his students. His own musical education began at the Conservatory of Zurich; later he studied with Julius Patzak in Munich, who enabled him to follow in the tradition of the real “lyric” singers.\u003c\/p\u003e\n\u003cp\u003eThen, in Prague and Geneva studies followed with Carpi. In 1943 Volkmar Andreae engaged the young Haefliger for Bach’s St. John's Passion on Good Friday in Zurich. This was the “birth” of the evangelist Haefliger, whose interpretation of all evangelist parts still stands as an ideal.\u003c\/p\u003e\n\u003cp\u003eHaefliger's career as an opera singer led him to all the music centres of the world, to the international festivals. He became “Kammersänger” at the “Deutsche Oper Berlin”, where over many years he incorporated the ideal of a Mozart tenor. His repertory has always been extensive, always courageous, but never daring. Never, since Patzak, could an interpretation of the tenor part of Mahler’s “Lied von der Erde” become so exemplary as Haefliger's; it may in fact be called a worldwide success, as had been his evangelist and \u003ca href=\"https:\/\/www.claves.ch\/collections\/Wolfgang-amadeus-Mozart\"\u003eMozart\u003c\/a\u003e roles.\u003c\/p\u003e\n\u003cp\u003eHere Haefliger has set standards. Beside his career in opera and the oratorio Haefliger has always devoted himself to the “Lied”. It is a lucky chance that the mature artist now is able to concentrate on it my means of recording. Haefliger knows that experiment and experience are the components which lead to those ideals Haefliger, like few other artists of our day, was able to fulfil. The Schubert cycles may be the best proof of it.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/jorg-ewald-dahler\"\u003eJörg Ewald Dähler\u003c\/a\u003e was born in Berne. During the last decade he not only attracted attention as a \u003ca href=\"https:\/\/www.claves.ch\/collections\/harpsichord\"\u003eharpsichord\u003c\/a\u003e player (he studied with Fritz Neumeyer), but also through the unspectacular way of finding a new approach to interpretation by means of a critical understanding of music history.\u003c\/p\u003e\n\u003cp\u003eHis interpretations of classical masterpieces – particularly in the case of \u003ca href=\"https:\/\/www.claves.ch\/collections\/Franz-Schubert\"\u003eSchubert\u003c\/a\u003e – on original instruments, without any historizing attitudes and without exaggerating his stylistic ideologies, attracted attention. Working with Ernst Haefliger on the Schubert songs, he created so called models.\u003c\/p\u003e\n\u003cp\u003eDähler is professor for harpsichord, basso continuo and \u003ca href=\"https:\/\/www.claves.ch\/collections\/chamber\"\u003echamber music\u003c\/a\u003e at the Conservatory of Berne; as conductor of the “Berner Kammerchor” he endeavors to find and perform unknown masterpieces. The remarkable rediscovery of \u003ca href=\"https:\/\/www.claves.ch\/collections\/all-albums\/Jan-Dismas-Zelenka\"\u003eZelenka\u003c\/a\u003e’s oratories, which are recorded by Claves, is one of his merits in this field.\u003c\/p\u003e\n\u003cp\u003eDähler's art is based on a thorough knowledge of the subject, a knowledge founded on theory as well as on experience. He performs as a soloist, he accompanies, he conducts and plays chamber music, and in each of these different functions he excels: being discrete, obliged to detail, conscious of the historical reality of the work, giving it nevertheless a new interpretation.\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 8506 \/ 1 \/ Ernst Haefliger","offer_id":40119957192739,"sku":"8506","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410479462 \/ upc \/ Ernst Haefliger","offer_id":13669107990563,"sku":"8506","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/franz-schubert-schwanengesang\/id286202059?l=fr \/ iTunes \/ Ernst Haefliger","offer_id":32339015467043,"sku":"8506","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"1986 \/ release \/ Ernst 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die!”). One is tempted to understand these laments as symbols of Granados’ character and fate, of this quiet, introverted, fine man and artist – especially when we know that on his way back from the greatest success of his life, the first stage performance of the “Goyescas” at the New York Metropolitan Opera, he lost his life in a shipwreck in the English Channel on March 24\u003csup\u003eth\u003c\/sup\u003e, 1916.\u003c\/p\u003e\n\u003cp\u003eThe ferry-boat from Liverpool to Dieppe was torpedoed by a German submarine and sank. Granados, who had already been rescued by a safety boat, jumped back into the water to save his life, in the course of which attempt both of them drowned. Quite in opposition to his friend and contemporary Albéniz he was averse to brilliance and virtuosity, although he, too, composed mainly for the piano, yet in a more introspective way. His style seeks significance, seeks the idea behind the outer appearance. 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