The complete Decca recordings of German conductor Horst Stein cover an astonishingly wide range of repertoire, with Friedrich Gulda in the 'very spontaneous, very lyrical Beethoven concerto cycle' (Gramophone), through music by Cherubini and Weber, to critically-acclaimed recordings of Bruckner, Wagner and Wolf. Included are four discs of his colourful Sibelius: 'free-wheeling readings of great thrust, drive and a big line... The sound is at once biting and smooth' wrote High Fidelity. The complete Decca recordings of a Horst Stein, directed with the unfussy authority of his many appearances at Bayreuth and the Vienna State Opera. The recordings in this set, cover an astonishingly broad range of repertoire. Beethoven concertos (with Friedrich Gulda, once a staple of the Decca catalogue), Cherubini, Prokofiev, Bruckner, Sibelius: all writing in completely contrasting idioms, and yet all brought stylishly to life here under the baton of Horst Stein. Stein learnt his craft as an opera conductor in postwar Bayreuth, where he served as an assistant to Karajan, Keilberth and Knappertsbusch in celebrated performances of the Ring and Parsifal. He later became known for the expert pacing and dramatic pulse of his own Wagner conducting, which is represented in this set by an album of orchestral highlights with the Vienna Philharmonic. Stein worked in Bayreuth and Vienna throughout his career, and later in life became a revered figure in Japan. He represented the best of the German Kapellmeister tradition, which produced straightforwardly eloquent and powerful performances of whatever music was at hand. When Stein conducted Bruckner - the Second and Sixth, again recorded in Vienna - he sounded like a natural Brucknerian. When he recorded Sibelius - four albums of tone poems and the Second Symphony from Geneva - he sounded like a complete Sibelian, and so on. As an addendum to his Decca output comes an album of Russian opera arias with the bass Kim Borg recorded for Deutsche Grammophon. Just as Stein lends noble support to Borg in the Death Scene from Boris Godunov, he is a detailed accompanist to Josef Siv� in violin concertos by Glazunov and Prokofiev, and to Friedrich Gulda in the piano concertos of Beethoven. Horst Stein's conducting will impress many modern listeners with it's rhythmic power and lack of ego, and this set is the most comprehensive survey of his legacy on record ever issued.

Paul Badura-Skoda Plays Mozart: Piano Concertos: No. 25 in C, K503, with Horst Stein conducting the Vienna Philharmonic Orchestra (performed live 15 June 1978) and No. 22 in Eb, K482, with George Szell conducting the Amsterdam Concertgebouw Orchestra (performed live 19 & 20 Dec. 1959). K503: first release; K482: first time on CD. Extensive notes on the music and on these performances by Badura-Skoda. Booklet includes his CD discography. A co-production with the VPO and ORF1 (Austrian Radio). Sparkling performances of two Mozart gems by one of his foremost 20th century interpreters, in the best possible sound.

STRAUS Der Tapfere Soldat • Siegfried Köhler, cond; Caroline Stein ( Nadina ); Johannes Martin Kränzie ( Bumerli ); Martina Borst ( Mascha ); John Dickie ( Alexius ); Gertraud Wagner ( Aurelia ); Helmut Berger ( Popoff ); WDR RO; Händel Collegium Köln • CAPRICCIO C5089 (2 CDs: 88:06)


The irascible playwright and man of letters George Bernard Shaw seems to have had a gift for producing stories that were ripe for adaption as light musical comedy. Shaw did not live to see his Pygmalion turned by Lerner and Loewe into the megahit My Fair Lady and make superstars of Rex Harrison, Julie Andrews, and Audrey Hepburn. The British pundit (and one-time opera critic) was front and center, however, as his little antiwar drama Arms and the Man was turned by Oscar Straus and his Viennese librettists into the operetta Der Tapfere Soldat (The Valiant Soldier) and became an international hit. In fact, Shaw worried about his satirical play being turned into bad musical comedy. He agreed to let the story be used only if (1) none of his dialog or character names were used, (2) the operetta were to be advertised as a parody of his work, and (3) no remuneration was to be made. Never widely popular in the pre-World War I Germanic countries where soldiers were heroes and the military a revered institution, Der Tapfere Soldat went on to become a smash hit in New York in 1909 as the more aptly titled Chocolate Soldier , and then one year later scored another triumph right under Shaw’s nose in London. The old man publicly denigrated Straus’s popular operetta but lived to regret his lack of share in its box-office success.


The story involves a likeable young soldier in the Bulgarian army who, to avoid the fierce raging battle outside, climbs up the drainpipe and into the home of a mother, daughter, and another young friend, whose menfolk are also off at the war (actually, he drops right into the daughter’s bedroom). When threatened by his own gun by daughter Nadina, the soldier, Bumerli, laughs and tells her his cartridge case is full of chocolates; he has no bullets for his weapon. In spite of his not being the type of romantic hero she has been dreaming of, Nadina falls for her little chocolate soldier, as do the two other women. They hide him when soldiers come searching and provide him civilian clothes to aid his escape. Trouble comes when Nadina’s father and fiancé return with the regiment. Bumerli also turns up, ostensibly to return the clothes, but he is in love with Nadina. Outrage and hurt feelings ensue, but Alexius, Nadina’s intended, shows a marked preference for the young friend, Mascha. The typical operetta muddle is eventually sorted out and the parents are made happy when it turns out the chocolate soldier is the son of a wealthy Swiss businessman. So much for true love.


Straus wrote many catchy melodies for the early Viennese silver-age work, the most famous of which is Nadina’s solo “Komm, komm, Held meiner Traume” (Come, Come, Hero of My Dreams). Also popular was the humorous duet between the two leads, “Ach, du kleiner Praliné-Soldat” (Ah, You Little Praline Soldier). This recording was made for WDR radio in Cologne in 1993 and features clear, pure-voiced, light soprano Caroline Stein in the lead role of Nadina. She sings very well both alone and in ensemble and is much the best singer on the recording. Baritone Johannes Martin Kränzie sings Bumerli in a pleasant voice but has a noticeable wobble when he pushes his upper range. He blends in well in the ensembles, of which there are many in this light work. The second romantic couple of tenor John Dickie and mezzo Martina Borst sing well in this style of music, as do Mom and Dad, contralto Gertraud Wagner and bass-baritone Helmut Berger.


As far as I am aware, this is the only recording of Der Tapfere Soldat in German. The Ohio Light Opera Company recorded it in English in the late ’90s on the Newport label, where it is still available. A 1958 recording of highlights in English on RCA features much the best voices led by mezzo Risë Stevens and baritone Robert Merrill. That recording is out of print but can be obtained as a facsimile CD-R from ArkivMusic. Capriccio sadly does not provide a libretto, but there is a more than adequate synopsis and some brief bios. If, like me, you want these operettas in their original language, this is the one to buy. It will provide you an hour and a half of very enjoyable, frothy light music. Recommended.


FANFARE: Bill White


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Oscar Straus (note the spelling of Straus – only one ‘s’ at its end) was born in Vienna on 6 March 1870 but was not related to the famous Strauss dynasty.

He began his career emulating the satirical Offenbach, with Die Lustigen Nibelungen (The Merry Nibelungs). Richard Traubner in his excellent book, Operetta, A Theatrical History, suggests that it was “too musically advanced for Viennese ears” and national-socialist pro-Wagnerians were not amused. Those who relish the idea of lampooning of The Ring might like to know that Capriccio have a one-CD Köln recording of Oscar Straus’s The Merry Nibelungs again conducted by Köhler (C5088). Noticing the great success of Lehár’s The Merry Widow, in 1905, Straus decided to capitulate to public taste and entered the comfortable dream world of sentimental Viennese operetta with his smash success - in Austria and Germany if not in America and England - of Ein Waltztraum (A Waltz Dream) of 1907.

Straus’s The Chocolate Soldier (German title: Der tapfere Soldat or Der Praliné-Soldat) followed in 1908. It was based on George Bernard Shaw's 1894 play, Arms and the Man and the libretto was by Rudolf Bernaur and Leopold Jacobson. G.B. himself was not at all keen on such an adaptation of his play which had been successful in its Viennese run and only accepted the situation provided that Straus’s operetta was promoted as an unauthorized parody of his play and that he received no royalties for it. A bad mistake - because the show was a big hit in London and New York - but not quite so in Europe because of political sensitivities surrounding the Balkans where the action of the story was set. Later, Shaw tried to recoup some of his financial losses when M-G-M approached him for the film rights for The Chocolate Soldier. Louis B. Mayer refused Shaw’s exorbitant demands and the film went ahead with a mix of Straus’s and other’s music but to a different plot based on Ferenc Molnár's play Testor . The 1941 film starred Nelson Eddy and Risë Stevens – although Jeanette MacDonald had originally been pencilled in to star with Eddy.

There’s a very good Wikipedia article on Straus’s The Chocolate Soldier that also details all the songs. Briefly the story is set in Bulgaria in 1885 during the war between Serbia and Bulgaria. Nadina, her friend Mascha and her mother are missing their menfolk away at the hostilities. Suddenly a soldier, handsome and charming bursts into her bedroom. He is Bumerli, a Swiss mercenary serving in the Serbian army. He is an ordinary soldier quite unlike her supposedly heroic fiancée Alexius. Bumerli carries chocolates in his pouch instead of ammunition! His charm captivates the ladies and as Act I closes all three are smitten. They all give him photographs of themselves inscribed with loving messages. He puts all three in his great coat and promptly forgets them. But he cannot forget Nadina. Six months later he returns for her but the three photographs are produced. Jealousy flare up between Nadina and Mascha, Bumerli is thought to be fickle and faithless and comic complications ensue. All is happily resolved at the end.

The big hit of the show is the well-known and popular waltz song, ‘Komm, komm, Held meiner Träum’ (‘Come, come hero of my dreams’). Here it is sung most beguilingly by sweet-voiced Caroline Stein as Nadina. She is singing about her Alexius in Act I, her fiancée and imagined hero, who turns out to be nothing of the kind. The lower tenor timbre of Kränzle makes Bumerli sound just that little bit too mature for Nadina. However the charm of their duet ‘Weill’s Leben suss und herzlich ist’ (‘Because life is sweet and beautiful’) cannot be diminished. Much of the music comprises ensemble writing - quartets, quintets, and sextets and soloists with choir. The Act I ensemble song with comic material for the soldiers searching for Bumerli and an interpolated stirring patriotic song lustily sung by Nadina is a highlight – so, too, is the following charming waltz-song trio for Nadina, Mascha and Aurelia They sing ‘Tiralala’ as all besotted, they dream of their Chocolate soldier. This number has some lovely orchestral felicities in the strings and woodwinds. Kränzle’s wistful Act II song ‘If one can, as one wants’ has an introduction that echoes the ‘Tiralala’. Kränzle has another charming if argumentative duet ‘Es war einmal ein Fräulein’ (‘There was once a maiden’) with Nadina before Act II’s exuberant finale closes with a ringing reprise of the big number, ‘Komm, komm, Held meiner Träum’ (‘Come, come hero of my dreams’). Conductor, Köhler consistently delivers telling sentimental and witty accompaniments to all the numbers. Mention should be made of the delicious irony of the orchestral accompaniments to the waspish numbers of Act II like the bickering between Nadina and Bumerli in ‘Pardon, pardon pardon! Ich steig ja nur auf den Balkon’ (Pardon, I rise only on the balcony)

A charming recording of a delightful operetta.

Ian Lace, MusicWeb International

Elisabeth Schilz Grummer was a German soprano. She has been described as "a singer blessed with elegant musicality, warm-hearted sincerity, and a voice of exceptional beauty" (Gregory Berg, Journal of Singing). BR Klassik presents this historical recording from the years 1956, 1960 and 1962.

Frederick II, King of Prussia, was a gifted musician who built up a court orchestra noted both for its quality and its size. Great musicians such as Graun, Quantz and C.P.E. Bach were members and contributed hugely to its standing. A patron of the fine arts, Frederick was a highly accomplished flautist whose works, performed in small private concerts, show a remarkable range of forms and expressive effects with slow movements offering long-breathed arcs of melody. The pieces by Alessandro De Marchi, conceived in the spirit of improvisation, provide a revealing impression of contemporary performance practice. This new release of Frederick the Great’s flute sonatas relates to the450th anniversary of the Staatskapelle Berlin, first established as the Royal Prussian Court Orchestra by the monarch. Claudia Stein became first flute of the orchestra at the age of 23. She recorded Weinberg’s Flute Concertos for Naxos in 2019 (8.573931), which received 5 stars from Pizzicato: ‘Stein plays them absolutely ravishingly, with a touch of melancholy.’

A 2019 New York Times Gift Guide Selection

This is the second release ever of Henzes famous Oratorio, after the release of the general rehearsal for the world's first premiere from 1968 by Deutsche Grammophon. Excellent sound technique, first class singers and orchestra (conducted by none other than Peter Eötvös) as well as a booklet containing detailed liner notes and the libretto contribute in making this album a very important testimony about the music of the 20th century. Henze wrote the Oratorio as a Requiem for Che Guevara and set it to a text by Ernst Schnabel. It tells the story of the French frigate Meduse, which ran aground off the west coast of Africa in 1816, immortalized in the painting of the same name by Theodore Gericault. The work employs a large orchestra, a speaker, a soprano, a baritone, and choruses. In the course of a performance, the chorus members move from left side of the stage, “the Side of the Living,” to the right side, “the Side of the Dead.”

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REVIEWS:

Looking for that special something for that special someone this holiday?

Flowers? Those die.

Jewelry? Too bougie.

A day at the spa? Namaste!

An hour-long modernist requiem on the death of Che Guevara featuring a head of snakes, sung/spoken/sprechtimme’d IN GERMAN? Dear, you are so generous. I cannot possibly repay the kindness.

– New York Times 2019 Gift Guide

Anyone who wants to know Henze or know him better would be well-served and enlivened by this one. And it would be a valuable addition to the confirmed Henze fan's library. Recommended.

– Gapplegate Classical-Modern Music Review

The 18th century experienced a mass migration of musicians from Italy – hitherto regarded as “the home of music” – seeking better fortunes in nations to the north. Giacobbe Basevi Cervetto, Giambatista Cirri and Francesco Geminiani went to London, Luigi Boccherini to Madrid. Antonio Vivaldi aimed for Dresden though never arrived, having died en route in Vienna. These Italian instrumentalists / composers and others are the focus of Out of Italy, a survey of sonatas and duos for two cellos and continuo by eminent baroque cellist Phoebe Carrai and her protégé Beiliang Zhu, many of them quite rare. “full-bodied… distinguished performances that offer a genuine point of view” (Classics Today on Phoebe Carrai’s Bach Cello Suites) “elegant and sensual, stylishly wild” (The New Yorker on Beiliang Zhu)

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REVIEW:

Most composers in the programme are anything but familiar to most music lovers. This disc should contribute to making them better known. Phoebe Carrai and Beiliang Zhu are ideal advocates of their instrument and of its music from the 18th century. They deliver technically brilliant and musically compelling performances, and receive excellent support from Charles Weaver and Avi Stein.

– MusicWeb International

In a review of Jason Stein's debut album, The Story This Time (Delmark 2013), JazzTimes said "This record kills. The double-horn front line allows for torrid, bop-rooted synchronicity and numerous moments of unfettered exploration." Stein understands the bass clarinet's history and seeks to extend it's comfort zone, and he's not prone to move into the stratosphere, staying in the natural range on his instrument, but picking up the pace manually, the overland route, through force of will. Add to a couple tracks the contrabass clarinet of Keefe Jackson, which ratchets the sound down into the substrata a few notches, and the uncanny play between the anchor and the waves is even more pronounced.

In a review of Jason Stein's debut album, The Story This Time (Delmark 2013), JazzTimes said "This record kills. The double-horn front line allows for torrid, bop-rooted synchronicity and numerous moments of unfettered exploration." Stein understands the bass clarinet's history and seeks to extend it's comfort zone, and he's not prone to move into the stratosphere, staying in the natural range on his instrument, but picking up the pace manually, the overland route, through force of will. Add to a couple tracks the contrabass clarinet of Keefe Jackson, which ratchets the sound down into the substrata a few notches, and the uncanny play between the anchor and the waves is even more pronounced.

The debut album of the Jason Stein Quartet, the Story This Time, brings together Chicago bass clarinetist Jason Stein with three of his favorite improvisers. With Joshua Abrams on bass, Frank Rosaly on drums, and Keefe Jackson on tenor saxophone and contrabass clarinet, the album features five original compositions by Stein and six under explored compositions by jazz luminaries Lee Konitz, Warne Marsh, Lenny Tristano, and Thelonious Monk. Following three critically acclaimed albums with his trio Locksmith Isidore, Stein's new Chicago quartet seamlessly integrates rigorous written material with fierce and imaginative improvisational flights.