P O R T R AY I N G P A S S I O N

W O R K S B Y W E I L L / PA U S / I V E S

T O R A A U G E S T A D MEZZO-SOPRANO
O S LO P H I L H A R M O N I C O R C H E S T R A
J O S H U A W E I L E R S T E I N CONDUCTOR
C H R I S T I A N E G G E N CONDUCTOR
 FROM the middle of divorce proceedings (finalized
on 18 September). Weill and the Nehers
Picasso, among others. “It has been quite a
few years since Paris has felt so intense and
would also be performed there. Cocteau
declined the offer citing time constraints
arrived in Paris safely on 23 March. It would so noble a tremor,” wrote Emile Vuillermoz and James suggested that instead Brecht
DISSONANT become his home for the next two years, in Candide for his review on 15 December. be brought in on the project, as the public
where he would compose some of his most Perhaps more significantly, was that the already were familiar with him through the
H I S TO R I E S memorable works. concert had been also attended by the Opéra de quat’sous. With an offer sent to
wealthy Englishman Edward James, who Brecht, the plans for a ballet chanté (a sung
TO Weill did not arrive in Paris an unknown. His
Opéra de quat’sous (Three Penny Opera)
was especially impressed by the composer. ballet) could now move forward.

had been previously performed there on 14 Choreographer George Balanchine, who had The commission to Brecht was something
TRANSCENDENT October 1930 at the Theatre Montparnasse formed the Les Ballets 1933 troupe in Paris of an olive branch offered by Weill. The two
to critical and public acclaim. Its success together with artistic director Boris Kochno, had been engaged in antagonistic bickering
ART had created further interest in his works,
resulting in the wealthy Parisian patron of
sought out ballet works to perform for a
showcase evening of new works. Edward
and legal battles after their Mahagonny
success. Violence had been threatened, and
On the morning of 21 March 1933, the music, the Vicomte de Noailles, to write to James would be the generous backer, on lawsuits engaged, as each demanded their
composer Kurt Weill received a telephone Weill in Berlin in August of 1932 inviting him condition that Weill must compose one of respective contributions take precedence.
call at the home of his stage designer to perform other compositions in Paris. They the works in the programme, and that his Brecht, now living in exile in Switzerland and
Casper Neher, whom he was visiting with his agreed that Weill’s Mahagonny songspiel, wife, the German dancer Tilly Losch, be in need of funds, accepted the proposed
wife, the actor-singer Lotte Lenya. A friend Der Jasager and four pieces from Aufsteig offered one of the roles. offer. By 10 April he was in Paris to begin
working at a local police station notified him und Fall der Stadt Mahagonny were to be work on the libretto.
that the SS were on their way to apprehend performed in German concert form, with KURT WEILL – SEVEN DEADLY SINS
him at his apartment, charging him with Lenya engaged as a soloist along with other On 9 April James met with Weill and offered The difficulties were not over. Brecht argued
“Jewish cultural bolshevism” and of being a artists imported from Berlin. On 11 December him a commission to compose a ballet. with the production team over their concept
“degenerate artist.” Quickly, Weill gathered the concert was performed at the Salle Weill’s terms for accepting was that his work for the ballet, ultimately threatening to leave
what he could into a small suitcase from his Gaveau, conducted by Maurice Abravanel, not be an ordinary ballet but instead be a the production altogether. Weill stepped
apartment before joining Lenya in Neher’s resulting in unanimous critical praise. The ballet with song and performed as story, in to offer a compromise, in that instead of
car, where together with Neher’s wife Erika impressive list of luminary cultural figures complete with dance and acting singers. He the Freudian psychological plot of the split
they quickly made their escape towards the who attended was also noted, consisting of also requested that Cocteau be the librettist, personality as wished for by Balanchine and
French border. On arriving, Lenya departed André Gide, Igor Stravinsky, Jean Cocteau, and that James also produce his first Paris Kochno, it could be further enhanced by
by train to Vienna, as she and Weill were in Fernand Léger, Darius Milhaud, and Pablo concert in London while the ballet itself Brecht’s critique of the individual existing

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in a capitalist society, thus maintaining his Schubert, Milhaud, Saugeuet, Mozart, and was secondary to James’ and Kochno’s and changes, simultaneously promoting both
Marxist ideology. Brecht had been interested Beethoven. dismissed the ballet as second rate. Weill the satirical and the deadly serious using a
in the Marxist view of the personality formed responded that it was “the finest score I’ve classical symphonic methodology.
by socio-economic processes since 1926 The press reviews the next day were mixed. written up to now.” It was to be the very last
and it can be found in many of his earlier It certainly didn’t help that the songs were collaboration by Weill and Brecht. The scenes are provided commentary by
plays. With the advent of psychoanalysis, sung in German, creating a language barrier Anna’s Family (mother, father, and two
the concept of the split-personality had that was imperceptible to most Frenchmen, By the summer of 1935, Lenya had reunited sons all sung by a male quartet), with the
been in vogue within the arts, so both Weill and used a contradicting French title – with Weill, each having abandoned their mother as a basso profundo exclaiming
and Brecht were familiar with the concept. Les Sept Péchés Capitaux. However, the other romantic pursuits. As the Nazi terror her anxious concerns. Together they
But Brecht’s libretto offered no stage or audience response was overwhelmingly approached, they emigrated to America, caricature the German Singverein style,
ballet directions of any kind, so Balanchine positive. It would receive a total of seven long mythologized in Brecht’s and Weill’s functioning as the voice of Anna’s Family,
lessened its Marxist social criticism in performances in Paris, ending on 19 June, works, arriving in New York City on 10 interjecting their critical observations of her
exchange for the psychological disparity with the production traveling onwards to September 1935. The two would remarry journey abroad via their correspondence
between the spirit and flesh. Indeed, Brecht London to open on 28 June at the Savoy again in 1937. Like the two Annas, they had with her. Brecht’s hymnal prayers to the
had no hand in the staging or setting the Theatre, featuring the same cast as in Paris. now come together, building a new home almighty dollar mocks the religious chorale
scenario of the work. as Weill would embrace the style of the through its use of its tragic-comic barber-
In London, the Lord Chamberlain’s Office Broadway stage. shop-style commentary. Throughout, the
The premiere of The Seven Deadly Sins insisted on changing the title to Anna performances are in typical Brechtian
occurred on 7 June 1933 at the Théatre des Anna, fearful religious sensibilities would Die sieben Todsünden shows Weill at the Verfremdungseffekt (“distancing effect”)
Champs-Elysées in Paris. The stage sets be offended. It received mostly negative peak of his European compositional style. by all of the singers, underscored by the
were created by Neher, with Balanchine reviews, with critics not understanding the The work is for large orchestra, fusing an caustic satire of the text. Moral choices are
responsible for all choreography, and text nor the work’s intent, nor Lenya’s broken alternating play between virtuosic strings and equated as “sins” by Anna I and her family,
Abravanel conducting. The two Annas English that she phonetically had learned the wind section, into a lush and stylistically and Anna II has no choice but to comply,
were performed by Lenya, together before the performance. The work would consistent work. He incorporates popular in scenes where Brecht displays the seven
with Tilly Losch with the Les Ballets 1933 only be performed one more time during idioms such as the shimmy, the march, sins as virtues. For him, a capitalist society
troupe of dancers. Otto Pasetti and Albert Weill’s and Brecht’s lifetimes, at the Royal foxtrot, waltz, and tarantella, and sets the forces the petite bourgeois to deny a
Peters (tenors), Erich Fuchs (baritone), and Theatre in Copenhagen on 12 November jazz-referenced banjo against the opening natural life, resulting in the fragmented
Heinrich Gerler (bass) sang the roles of the 1936, and that production was halted due to clarinets, into a cantata-like musical score. persona. The text reveals Brecht in his
Family, and the work was performed with the protests from the German ambassador. Throughout, we experience unanticipated most minimalist style, with a characteristic
five other short ballets set to music by Also, Brecht was resentful that his billing harmonic shifts and oscillating major-minor cynicism set against Weill’s expressive

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melodic passages. It is this underlying Pride (Memphis): After Anna II has failed her of her greed, noting that her value is being sentimental and self-indulgent, and to
tension in the work, enhanced by each as a cabaret dancer in Memphis, Anna I only as good as her waistline (stipulated by triumph over the desires of the human spirit.
resigned reply by Anna II to her sister, that encourages her to put aside her aspirations her contract) and attractiveness, limited to The Family reminds us that only by sacrificing
engages the listener in deep empathy. as an artist and to toss away her clothing for 110 pounds. They remind her of their house the Self can one obtain the Reward.
more applause. What use is pride, she asks, in Louisiana.
SYNOPSIS noting that it is only for the rich who can Epilogue (Louisiana): After seven years of
Prologue: Anna I introduces herself as the afford it. There is no use for artistic integrity Lust (Boston): Anna I notes that unselfish living in the cities, Anna I and Anna II return
“practical” manager, and her dancer sister if it does not lead to more income and your love is in reality the sin of lust, as it brings in to their little house on the Mississippi, now
Anna II as the beautiful one, telling us they audience is uninterested. Anna II is goaded no money. To be dependent on no one is the having made their fortune from virtue and
have set out from Louisiana four weeks prior, to set her pride aside and relinquish art, best path, and it is better to accept money self-righteousness, or more to the point, the
with the intention of earning enough money and become a nude dancer, set to Weill’s from men for love than to love. The profane lack of it. Anna I asks, “Isn’t that so?” Anna II
to send back to their family to build a small harmonic setting of a waltz. view of the world is the only route to follow. replies, resigned, “Yes, Anna…”
house beside the Mississippi. The journey The Family offer a prayer for prosperity and
will take seven years. Anna informs us that Anger (Los Angeles): The Family complains richness as the only true Way.
she is really one person, not two. that Anna is not sending enough money. MARCUS PAUS – HATE SONGS
Now living in Los Angeles, the two Annas Avarice (Baltimore): The Family is delighted Marcus Paus’ Hate Songs, composed in
Sloth (Unnamed City): The Family sing of have found work as circus-film extras. to find that Anna II is a celebrated star, 2013–14, received its premiere in 2014
Anna as one and hope that she will soon Seeing a horse mistreated, Anna II protests and that her fame and mention in the with the Kristiansand Symphony Orchestra,
show results in obtaining money for the the cruelty. Anna I admonishes her sister newspapers will lead to more income. Men conducted by Jonathan Stockhammer.
house. The sisters engage in blackmail to accept injustice and brutality, noting are killing themselves for her, and the family Commissioned by mezzo-soprano Tora
schemes on married couples in the first city that they will get no further in their goal if warns that perhaps a little constraint might Augestad, Paus has created a work that
they visit. Anna II grows tired of this and stopped by a troublesome morality. This be needed to increase her income. The displays the many nuanced qualities of
wishes to sleep, but is scolded by Anna I, only leads to loss of employment, as Anna father reaches a high A, reminding us to give her voice by scaling down its instruments
reminding her of their goal. Anna II falls II soon discovers. Anna II resigns herself by and take, but not too much. from the full orchestra. Having previously
asleep on a park bench. Brecht makes kissing her employer’s hand and apologizes written works using poems by the legendary
a jibe to Christianity in the last strophe to get her job back. Envy (San Francisco): Anna II is weary, and somewhat notorious writer Dorothy
with a chorale-styled prayer by the family and envies those who are too proud to Parker, Paus chose to return again to her
for prosperity, richness, and happiness, Gluttony (Philadelphia): The Family warns sell themselves, who rage against injustice, satirical poems for creating a composition
repeated throughout the ballet. Anna of eating too much in her new position who can afford to be slothful, or who can reminiscent of the cabaret song. This sense
as a solo dancer in Philadelphia. They warn indulge in true love. Anna I chastises her for of directness is enhanced by its use of

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parlando vocal lines and an allowance for paraphrasing this vocal line, followed by an many of his contemporaries emulated. His Down East (1919)
tempo and dynamical a piacere phrasing emotional, stark severity of only the voice music is intimately bound to the American Ives’ own lyrics here provide a sense of
in certain instrumental and vocal passages. and double bass. Part three issues in Parker’s experience of church revivals, camp nostalgia for some distant childhood
Sectioned with three cadenzas, each serves Frustration (also from Sunset Gun), in a meetings, popular tunes, and off-hand memory, set to a melodic line that could
to introduce a new poem by Parker, framed building up of sarcastic bile and vehemence, references to European classical tradition. have easily been written by Stephen
by the initial opening of lines taken from ending to remind us of the singer’s hatred of Yet his compositional style is based solely in Foster, the father of American parlor songs
her Men: A Hate Song (1917). With its men once more. Scathing as it is humorous, the development of his own inner creative before the turn of the century. It displays
startling, angry declamation of “I hate men,” the listener is left somewhat unsure of its vision, strengthened by his adherence Ives’ willingness to allude to popular song,
repeated three times serving to link the work intent, creating an anxiousness that the to New England Transcendentalism. ingeniously incorporating it against an
together, we are introduced to Parker’s ironic ironic Parker herself would no doubt have Polytonality, microtones, and non-resolving ethereal, dissonant backdrop.
complaint. been delighted with. dissonances characterize Ives’ compositions,
which Adams has reverently remained Cradle Song (1919)
Each cadenza functions as a kind of faithful to. These Five Songs derive from Ives has taken select stanzas from a larger
satirical section before the introduction of CHARLES IVES – FIVE SONGS Ives’ self-published collections of 114 Songs poem written by one of his relatives,
a new poem. After the first cadenza we are Charles Ives’s Five Songs are presented and Thirty-Four Songs (1922). Augusta L. Ives, found originally in The
introduced to Parker’s Men, from her first here in modern arrangements by John Musical Spelling Book (1846). Ives owned
published book of poetry Enough Rope Adams. Long relegated to the margins of Thoreau (1915) a copy of this collection of children’s songs.
(1926), and in the second cadenza two solos international concert programming, the past Its opening broken chord set against This lullaby summons the sleep of autumn,
from the double bass and clarinet return us few decades have seen Ives’ works claiming the cluster of the orchestra followed by as winter approaches and the falling leaves
to the original poem, in select lines chosen the rightful recognition they deserve. This shimmering flutes and strings evokes the anticipate the changing of the seasons.
by Paus. A muted trumpet enhances the highly innovative American composer is mysticism found in Transcendentalism, Adams’ arrangement remains faithful to
cabaret-song atmosphere, taking us through noted for his early compositional techniques where divinity pervades in all of humanity Ives’ modernist vision with the inclusion of
shimmering string slurs and varied time such as the inclusion of chance, polytonal and nature. Ives lightly paraphrases the text bluesy-folk Americana, evident in the violin
changes. In turn, Parker’s Incurable, from harmonies, atonal dissonance, and cluster of Henry David Thoreau’s Walden; or, Life slides.
her Sunset Gun (1928), offers a bittersweet tones, anticipating later music developments in the Woods (1854), a central work in the
respite before delivering a more sinister of the 20th Century. Encouraged by his philosophical movement he followed. Often At the River (1916)
mood elevated by somber strings. Cadenza father to experiment, Ives developed a self- referencing his other works, segments of this American clergyman and gospel song writer
three opens with the familiar “I hate men” referential style of quintessential American song can also be found in his Sonata No. 2 Robert Lowry wrote the original text set
repeated to emphasize its rage, and further music, leaving behind the reliance on for Piano (1904–15). to his own tune Beautiful River, published
into the section features a trumpet solo European styles of Romanticism that so in his Happy Voices (1865). Ives has taken

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segments of the text and arranged it from Weill’s orchestrations, yet brings something
material he composed sometime during entirely new to the equation, especially in its
1914-16 (drawing in part on material startling text and cabaretesque performance.
composed earlier in 1905). This practice Parker and Brecht could just as well walk
of borrowing from his earlier compositions arm in arm down the conceptual pathway
can be found in many of his works. The of understated satire, counterbalanced by
traditional down-home church melodies the ethereal, transcendental text of Ives’
of small-town congregations, juxtaposed songs into a complimentary whole. Add
against minimalistic chord progressions, is a Augestad’s unique approach to these works
perfect example of the Ives style. into the equation, and the listener is served
with a program certain to make them re-
Serenity (1919) examine any former assumptions, and
Taken from an original poem The Brewing delight at the outcome. And therein lies the
of Soma, written by John Greenleaf Whittier timeless dimension of this mezzo-soprano’s
and first published in 1872. The following considerable artistry. Enjoy!
decades it had appeared in various forms
as a hymn by other composers, ultimately – TOM GARRETSON
finding its way into most Protestant hymnals
by the turn of the century. Ives further edited
down the text, selecting two stanzas from a
hymn version rather than from the original
poem.

Tora Augestad’s repertoire selection for this

CD takes the musical qualities of modernist,
individualistic composers and places it
squarely within the context of the twenty-first
century. Paus’ contemporary composition
enhances the visionary dissonance of Ives
as well as the contrasting melodic shifts of

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D I E S I E B E N TO D S Ü N D E N Anna II Anna II
Ja, Anna. Right, Anna.
KURT WEILL (1900–1950)
TEXT: BERTHOLT BRECHT (1898–1956) Anna I Anna I
Meine Schwester ist schön, ich bin praktisch. She’s the one with the looks, I’m realistic;
PROLOG PROLOGUE Sie ist etwas verrückt, ich bin bei Verstand. she’s just a little mad, my head is on straight.
Wir sind eigentlich nicht zwei Personen, You may think that you can see two people,
Anna I Anna I sondern nur eine einzige. but in fact you see only one.
Meine Schwester und ich stammen aus Louisiana, So my sister and I left Louisiana Wir heißen beide Anna. And both of us are Anna.
wo die Wasser des Mississippi where the moon on the Mississippi Wir haben eine Vergangenheit und eine Zukunft, Together we’ve but a single past, a single future,
unterm Monde fließen. is a-shining ever, ein Herz und ein Sparkassenbuch, one heart and one savings account,
wie Sie aus den Liedern erfahren können. like you always hear in the songs of Dixie. und jede tut nur, was für die andre gut ist. and we only do what is best for each other.
Dorthin wollen wir zurückkehren, We look forward to our home-coming Nicht wahr, Anna? Right, Anna?
lieber heute als morgen. And the sooner the better.
Anna II Anna II
Anna II Anna II Ja, Anna. Right, Anna.
Lieber heute als morgen! And the sooner the better!
Anna I Anna I
Wir sind aufgebrochen vor vier Wochen It’s a month already since we started FAULHEIT SLOTH
nach den großen Städten, for the great big cities
unser Glück zu versuchen. where you go to make money. Familie Family
In sieben Jahren haben wir’s geschafft, In seven years our fortune will be made, Hoffentlich nimmt sich unsre Anna auch Will she now?...will our Anna pull herself
dann kehren wir zurück. and then we can go back. zusammen. together?
– Müßiggang ist aller Laster Anfang. – Lazy Bones are for the Devil’s stockpot.
Anna II Anna II Sie war ja immer etwas eigen und bequem. For she was always quite a one for an armchair;
Aber lieber schon in sechs! In six would be nicer. – Müßiggang ist aller Laster Anfang. – Lazy Bones are for the Devil’s stockpot.
Anna I Anna I Und wenn man die nicht aus dem Bett Unless you came and hauled her off the
Denn auf uns warten Our Mom and Dad and both our brothers herauswarf. mattress
unsre Eltern und zwei Brüder in Louisiana; wait in old Louisiana – Müßiggang ist aller Laster Anfang. – Lazy Bones are for the Devil’s stockpot.
ihnen schicken wir das Geld, das wir verdienen, and we’ll send them all our money as we make it, dann stand das faule Stück nicht auf am Morgen. the Lazy slug would lie abed all morning.
und von dem Gelde soll gebaut werden for all the money’s got to go to build – Müßiggang ist aller Laster Anfang. – Lazy Bones are for the Devil’s stockpot.
ein kleines Haus, a little home Andrerseits ist ja unsre Anna ein sehr Otherwise, Anna was, we must admit,
ein kleines Haus am Mississippi in Louisiana. down by the Mississippi in Louisiana. aufmerksames Kind. a most respectful child.
Nicht wahr, Anna? Right, Anna? – Müßiggang ist aller Laster Anfang. – Lazy Bones are for the Devil’s stockpot.

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Sie war immer folgsam Did what she was told Also wollte sie eine Künstlerin sein She began talking about art (of all things),
und den Eltern treu ergeben. and showed affection for her parents. und wollte Kunst machen in dem Kabarett, about the Art (if you please) of Cabaret.
– Müßiggang ist aller Laster Anfang. – Lazy Bones are for the Devil’s stockpot. in Memphis, der zweiten Stadt unsrer Reise. In Memphis, the second big town we came to.
Und so wird sie es, wir möchten hoffen: This is what we told her when she left home: Und das war nicht, was dort die Leute wollen, It wasn’t Art that sort of people came for.
– Müßiggang ist aller Laster Anfang. – Lazy Bones are for the Devil’s stockpot. was dort die Leute wollen, war das nicht. That sort of people came for something else;
‘nicht am nöt’gen Fleiße fehlen lassen ‘Think of us, and mind you keep your nose
in der Fremde’. down to the grindstone.’ Denn diese Leute zahlen und wollen, And when a man has paid for his evening
– Müßiggang ist aller Laster Anfang. – Lazy Bones are for the Devil’s stockpot. dass man etwas herzeigt für ihr Geld. he expects a good show in return.
Und wenn da eine ihre Blöße versteckt, So if you cover up your bosom and thighs
Der Herr erleuchte unsre Kinder, O Lord, look down upon our daughter, wie ‘nen faulen Fisch, like you had a rash,
dass sie den Weg erkennen, show her the way kann sie auf keinen Beifall rechnen. don’t be surprised to see them yawning.
der zum Wohlstand führt. That leads the Good to Thy reward, Also sagte ich meiner Schwester Anna: So I told my art-loving sister Anna:
Er gebe ihnen in all her doings serve her
die Kraft und die Freudigkeit, and comfort her, ‘Stolz ist etwas für die reichen Leute; ‘Leave your pride to those who can well afford it.
dass sie nicht sündigen gegen die Gesetze, incline her heart to observe all Thy commandments tu was man von dir verlangt und nicht Do what you are asked to do and not what you want,
die da reich und glücklich machen. that her work on earth may prosper. was du willst, das sie von dir verlangen.’ for that isn’t what is wanted.’

Manchen Abend hatt’ ich meine Mühe, Oh but I had trouble, I can tell you,
ihr den Hochmut abzugewöhnen. with her fancy pig-headed notions.
STOLZ PRIDE Manchmal brachte ich sie zu Bette, Many nights I sat by her bedside,
tröstete sie und sagte ihr: holding her hand and saying this:
Anna I Anna I
‘Denk an das kleine Haus in Louisiana!’ ‘Think of our home in Louisiana!’
Als wir aber ausgestattet waren, So we saved up, bought ourselves an outfit,
Wäsche hatten, Kleider und Hüte, Nighties, nylons, beautiful dresses. Familie Family
fanden wir auch bald eine Stelle Soon we found a job that was going, Der Herr erleuchte unsre Kinder, O Lord, look down upon our daughter,
in einem Kabarett als Tänzerin, a job as a dancer in a cabaret, dass sie den Weg erkennen, show her the way
und zwar in Memphis, a job in Memphis, der zum Wohlstand führt. that leads the good to Thy reward.
der zweiten Stadt unsrer Reise. the second big town we came to. Wer über sich selber den Sieg erringt, Who fights the good fight and all self subdues,
der erringt auch den Lohn. wins the Palm, gains the Crown.
Ach, es war nicht leicht für Anna. Oh how hard it was for Anna!
Kleider und Hüte machen ein Mädchen hoffärtig. Beautiful clothes can make a good girl particular.
Wenn die Tiger trinkend When the drinking tigress
sich im Wasser erblicken, meets herself in the pool,
werden sie oft gefährlich! she’s apt to become a menace.

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ZORN ANGER Anna I Anna I
Wer dem Unrecht in den Arm fällt, If you take offense at injustice,
Familie Family den will man nirgends haben, Mister Big will show he’s offended;
Das geht nicht vorwärts! We’re at a stand-still! und wer über die Rohheit in Zorn gerät, if a curse or a blow can enrage you so
Was die da schicken, What she’s been sending, der lasse sich gleich begraben. your usefulness here is ended.
das sind keine Summen, it’s not any money Wer keine Gemeinheit duldet, Then mind what the Good Book tells us
mit denen man ein Haus baut! a man can build a home with. wie soll der geduldet werden? when it says: ‘Resist not Evil’.
Die verfressen alles selber! She’s as giddy as a cyclone! Wer da nichts verschuldet, Unforgiving anger
Denen muss man mal den Kopf waschen, All the profits go for her pleasure! der sühnt auf Erden. is from the Devil.
sonst geht das nicht vorwärts! And we’re at a stand-still! Und so hab’ ich meiner Schwester It took time to teach my sister
Denn was die da schicken, For what she’s been sending, den Zorn abgewöhnt wrath wouldn’t do
das sind keine Summen, it’s not any money in Los Angeles, der dritten Stadt der Reise, in Los Angeles, the third big town we came to
mit denen man ein Haus baut! a man can build a home with. und die offene Missbilligung des Unrechts, where her open disapproval of injustice
Die verfressen alles selber! Won’t she settle down to business? die so sehr geahndet wird. was so widely disapproved.
Denen muss man mal den Kopf waschen! Won’t she ever learn to save something? Immer sagte ich ihr: I forever told her:
Denn was die dummen Tiere schicken, For what the feather-brain is sending ‘Halte dich zurück, Anna, ‘Practise self-control, Anna,
das sind doch wirklich keine Summen, is not any kind of money denn du weißt, wohin die Unbeherrschtheit führt’. for you know how much it costs you if you don’t.’
mit denen man ein kleines Haus baut! a man can build a little home with. Und sie gab mir Recht und sagte: And she understood and answered:
Anna I Anna I Anna II Anna II
Jetzt geht es vorwärts! We’re making progress! Ich weiß es, Anna. Yes I know, Anna.
Wir sind schon in Los Angeles! We have come to Los Angeles!
Und den Statisten stehen alle Türen offen. And every door is open here to welcome extras.
Wenn wir uns jetzt zusammennehmen We only need a bit of practise,
und jeden Fehltritt vermeiden, avoiding possible faux pas,
dann geht es unaufhaltsam weiter nach oben. and what can stop us going straight to the top then?

Familie Family
Der Herr erleuchte unsre Kinder; O Lord, look down upon our daughter,
dass sie den Weg erkenen, Show her the way
der zum Wohlstand fürht! that leads the Good to Thy reward.

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VÖLLEREI GLUTTONY UNZUCHT LUST

Familie Family Anna I Anna I

Da ist ein Brief aus Philadelphia: We’ve gotten word from Philadelphia: Und wir fanden einen Mann in Boston, Then we met a wealthy man in Boston
Anna geht es gut. Sie verdient jetzt endlich. Anna’s doing well, she’s making lots of money. der bezahlte gut, und zwar aus Liebe. and he paid her a lot because he loved her.
Sie hat einen Kontrakt als Solotänzerin; Her contract has been signed to do a solo turn, Und ich hatte meine Not mit Anna, But I had to keep a watch on Anna
danach darf sie nicht mehr essen, was sie will it forbids her ever eating when denn auch sie liebte, aber einen andern, who was too loving, and she loved another,
und wann sie will. or what she likes to eat. und den bezahlte sie, and she paid him a lot
Das wird schwer sein für unsre Anna, Those are hard terms for little Anna, und auch aus Liebe. because she loved him.
denn sie ist doch so sehr verfressen, who has always been very greedy.
ach, wenn sie sich da nur an den Kontrakt hält, Oh if she will only stick to her contract! Ach, ich sagte ihr oft: ‘Ohne Treue So I said: ‘Cheat the man who protects you
denn die wollen kein Nilpferd in Philadelphia. There’s no market for hippos in Philadelphia! bist du höchstens die Hälfte wert. and you’ve lost half your value then:
Man bezahlt doch nicht immer aufs neue, he may pay once although he suspects you,
Sie wird jeden Tag gewogen. Every single day they weigh her, sondern nur für das, was man verehrt! but he won’t pay time and time again.
Wehe, wenn sie ein Gramm zunimmt! gaining half an ounce means trouble,
Denn die stehen auf dem Standpunkt: they have principles to stand by: Das kann höchstens eine machen, You can have your fun with money,
52 Kilo haben wir erworben, it’s a hundred and twenty that you were signed for die auf niemand angewiesen ist. when you’ve no provider you must face;
52 Kilo ist sie wert. only for the weight agreed we pay! Eine andre hat nichts zu lachen, but for girls like us, it’s not funny
Wehe, wenn sie ein Gramm zunimmt! Gaining half an ounce means trouble, wenn sie einmal ihre Situation vergisst.’ if we ever even once forget our place.’
Und was mehr ist, ist vom Übel! more than that would mean disaster! Ihr sagte ich: I told her:
Aber Anna ist ja sehr verständig, But our Anna isn’t all that stupid, ‘Setz dich nicht zwischen zwei Stühle!’ ’Don’t try to sit between two stools!’
sie wird sorgen, dass Kontrakt Kontrakt ist. and she knows a contract is a contract. Und dann besuchte ich ihn Then I went to visit her young friend
Sie wird sagen: So she’ll reason: After all und sagte ihm: ‘Solche Gefühle and said: ‘If you’re kind, you won’t hold her,
Essen kannst du schließlich in Louisiana, Anna. you can still eat like little Anna in Louisiana – sind für meine Schwester Anna der Ruin’. for this love will be your sweetheart’s bitter end’.
Hörnchen! Schnitzel! Spargel! Hühnchen! Crabmeat! Porkchops! Sweet-corn! Chicken! Das kann höchstens eine machen, Girls can have their fun with money,
Und die kleinen gelben Honigkuchen! And those golden biscuits spread with honey! die auf niemand angewiesen ist. when the money is their own to give.
Denk an unser Haus in Louisiana! Think of our house in Louisiana! Eine andre hat nichts zu lachen, But for girls like us, it’s not funny
Sieh, es wächst schon, Look – it’s growing! wenn sie einmal ihre Situation vergisst. if we even once forget the way we live.
Stock um Stockwerk wächst es! More and more it needs you! Leider traf ich Fernando noch öfter. But alas, I then saw him quite often.
Darum halte an dich: Therefore curb your craving! Es war gar nichts zwischen uns. There was nothing going on.
Fresssucht ist vom Übel. Gluttons will be punished! (Lächerlich!) (Naturally!)
Halte an dich, Anna! Curb your craving, Anna! Aber Anna sah uns und leider Until Anna found out and, worse luck,
denn die Fresssucht ist vom Übel. Gluttons never go to Heaven! stürzte sie sich gleich auf mich. Blamed the whole affair on me.
20 21
Familie Family HABSUCHT COVETOUSNESS
Der Herr erleuchte unsre Kinder, O Lord, look down upon our daughter,
dass sie den Weg erkennen, show her the way Familie Family
der zum Wohlstand führt, that leads the good to Thy reward, Wie hier in der Zeitung steht, Anna, so the papers say,
dass sie nicht sündigen gegen die Gesetze, incline her heart to observe all Thy commandments ist Anna schon in Baltimore, is now set up in Baltimore:
die da reich und glücklich machen. that her works on earth may prosper. und um sie schießen lots of folk seem to be
sich allerhand Leute tot. shooting themselves for her.
Anna I Anna I
Und sie zeigt ihren kleinen weißen Hintern, Now she shows off her little round white fanny, Da wird sie viel Geld verdienen, She must be near the top and raking it in,
mehr wert als eine kleine Fabrik, worth twice a little Texas motel, wenn sowas in der Zeitung steht. to get in the news like that!
zeigt ihn gratis den Gaffern und Straßenkindern. and for nothing the poolroom can stare at Annie, Das ist gut, das macht einen Namen Well, so far, so good; to be talked about
der Welt profanem Blick. as though she’d nothing to sell. und hilft einem Mädchen vorwärts. helps a young girl up the ladder.

Das gibt immer solche Sachen, That’s why most girls don’t get rich, Wenn sie da nur nicht zu gierig ist, Let her beware of overdoing it,
wenn man sich ein einz’ges Mal vergisst. for they go wrong when they forget their place: sonst macht man sich nichts mehr aus ihr; some people might think she was mean;
Das kann höchstens mal eine machen, you’re not free to buy what you itch for sonst macht man bald folks shy away from a girl who’s said to be mean,
die auf keinen Menschen angewiesen ist. when you’ve got a good provider you must face. einen großen Bogen um sie. folks give a wide, wide berth.

Familie Family Wer seine Habsucht zeigt, To those who grab all they can get,
Wer über sich selber den Sieg erringt, Who fights the good fight and all self subdues um den wird ein Bogen gemacht. point unfriendly fingers at
der erringt auch den Lohn. wins the Palm, gains the Crown. Mit Fingern zeigt man auf ihn, those whose greed goes
dessen Geiz ohne Maßen ist! beyond all bounds.
Anna I Anna I Wenn die eine Hand nimmt, In the measure you give
Ach war das schwierig, It wasn’t easy muss die andere geben. you will surely be given,
alles einzurenken, putting that in order: Nehmen für geben, so muss es heißen, and as you do, so will you be done by:
Abschied zu nehmen von Fernando saying goodbye to young Fernando Pfund für Pfund, so heißt das Gesetz! fair is fair. All must keep this law.
und sich bei Edward zu entschuldigen, then back to Edward to apologise,
und die langen Nächte, then the endless nights, Darum hoffen wir. dass unsere Anna We sincerely hope our smart little Anna
wo ich meine Schwester weinen hörte und sagen: I heard my sister sobbing bitterly and repeating: auch so vernünftig ist also has common sense
und den Leuten nicht ihr letztes Hemd wegnimmt and will let them keep a shirt or two
Anna II Anna II und ihr letztes Geld. when she lets them go for good.
Es ist richtig so, Anna, aber so schwer! It’s right like this, Anna, but so hard! Nackte Habsucht gilt nicht als Empfehlung. Shameless hoarders earn themselves a bad name.

22 23
NEID ENVY Schwester, folg mir, du wirst sehen, am Ende Sister, you know, when our life here is over,
gehst im Triumph du aus allem hervor, those who were good go to bliss unalloyed,
Anna I Anna I Sie aber stehen, o schreckliche Wende, those who were bad are rejected forever,
Und die letzte Stadt der Reise war And the last big town we came to zitternd im Nichts vor verschlossenem Tor’. gnashing their teeth in a gibbering void’.
San Francisco. was San Francisco.
Alles ging gut, Life, there, was fine, Familie Family
aber Anna war oft müde und beneidete jeden, only Anna felt so tired and grew envious of others: Wer über sich selber den Sieg erringt, Who fights the good fight and all self subdues
der seine Tage zubringen durfte in Trägheit, of those who pass the time at their ease der erringt auch den Lohn. wins the Palm, gains the Crown.
nicht zu kaufen und stolz, and in comfort, those too proud to be bought,
in Zorn geratend über jede Roheit, of those whose wrath is kindled by injustice,
hingegeben seinen Trieben, ein Glücklicher, those who act upon their impulses happily, EPILOG EPILOGUE
liebend nur den Geliebten lovers true to their loved ones,
und offen nehmend, was immer er braucht. and those who take what they need without shame. Anna I Anna I
Und ich sagte meiner armen Schwester, Whereupon I told my poor tired sister, Darauf kehrten wir zurück nach Louisiana, Now we’re coming back to you, in Louisiana,
als sie neidisch auf die andern sah: when I saw how much she envied them: wo die Wasser des Mississippi where the moon on the Mississippi
unterm Monde fließen. is a-shining ever.
‘Schwester, wir alle sind frei geboren, ‘Sister, from birth we may write our own story, Sieben Jahre waren wir in den Städten, Seven years we’ve been away in the big towns
und wie es uns gefällt, können wir gehen in Licht. and anything we choose we are permitted to do. unser Glück zu versuchen; where you go to make money;
Also gehen aufrecht im Triumphe die Toren, But the proud and insolent who strut in their glory – Jetzt haben wir’s geschafft! and now our fortune’s made,
aber wohin sie gehn, das wissen sie nicht. little they guess the fate they’re swaggering to. Jetzt steht es da, and now you’re there,
Schwester folg mir und verzieht’ auf die Freuden, Sister, be strong! You must learn to say no to unser kleines Haus in Louisiana. little home in old Louisiana.
nach denen es dich wie die andern verlangt. the joys of this world, for this world is a snare; Jetzt kehren wir zurück in unser kleines Haus We’re coming back to you,
Ach überlass sie den törichten Leuten, Only the fools in this world will let go, am Mississippifluss in Louisiana. our little home beside the Mississippi in Louisiana.
denen es nicht vor dem Ende bangt! who don’t care a damn, will be made to care. Nicht wahr, Anna? Right, Anna?
Iss nicht und trink nicht und sei nicht träge, Don’t let the flesh and its longings get you.
Anna II Anna II
die Strafe bedenk, die auf Liebe steht. Remember the price that a lover must pay,
Ja, Anna. Right, Anna.
Bedenk, was geschieht, and say to yourself
wenn du tätst, was dir läge! when temptations beset you
Nütze sie nicht, nütze sie nicht, what is the use?
English translation:
nütze die Jugend nicht, denn sie vergeht. Beauty will perish and youth pass away.
W.H. Auden and Chester Kallman

24 25
H AT E S O N G S (2014) They influence and educate. INCURABLE For four nights.
MARCUS PAUS (B. 1979) They’d alter all that they admired. And if my heart be scarred and burned,
They stagger from one cabaret to another,
They make me sick, they make me tired. The safer, I, for all I learned;
TEXT: DOROTHY PARKER (1893–1967)
The calmer, I, to see it true They hint darkly at the terrible part
That ways of love are never new— That alcohol plays in their lives.
CADENZA I CADENZA II The love that sets you daft and dazed And then they shake their heads
(Excerpts from Men: A hate Song) (Excerpts from Men: A hate Song) Is every love that ever blazed; And say Heaven must decide what is going
The happier, I, to fathom this: to become of them,—
I hate men. There are the Cave Men,— A kiss is every other kiss. I wish I were Heaven!
They irritate me. The Specimens of Red-Blooded Manhood. The reckless vow, the lovely name,
There are the Serious Thinkers,— They eat everything very rare, When Helen walked, were spoke the same;
There ought to be a law against them. The weighted breast, the grinding woe, FRUSTRATION
They talk in loud voices,
They see life, as through shell-rimmed glasses, darkly. When Phaon fled, were ever so. If I had a shiny gun,
Using short Anglo-Saxon words.
They are always drawing their weary hands Oh, it is sure as it is sad I could have a world of fun
Across their wan brows. And they slap people on the back, That any lad is every lad, Speeding bullets through the brains
They talk about Humanity And tell them what they need is exercise. And what’s a girl, to dare implore Of the folk who give me pains;
As if they had just invented it; Her dear be hers forevermore?
(…) And then there are the Sensitive Souls Or had I some poison gas,
Though he be tried and he be bold,
Who do interior decorating, for Art’s sake. I could make the moments pass
And swearing death should he be cold,
They always smell faintly of vanilla Bumping off a number of
He’ll run the path the others went....
MEN They look at a woman languorously, But you, my sweet, are different. People whom I do not love.
They hail you as their morning star through half-closed eyes, But I have no lethal weapon—
Because you are the way you are. And tell her, in low, passionate tones, Thus does Fate our pleasure step on!
If you return the sentiment, What she ought to wear. CADENZA III So they still are quick and well
They’ll try to make you different; (Excerpts from Men: A hate Song) Who should be, by rights, in hell.
And once they have you, safe and sound, The wrong shade of purple
They want to change you all around. Gives them a nervous breakdown. I hate men.
Your moods and ways they put a curse on; They irritate me.
They’d make of you another person. Then there are the ones Who are Simply Steeped in Crime.
They cannot let you go your gait; They tell you how they haven’t been to bed

26 27
FIVE SONGS
CHARLES IVES (1874–1954) At the river Down East Cradle Song
Text: Robert Lowry (1826–1899) Text: Charles Ives Text: A. L. Ives

Thoreau Shall we gather at the river, Songs! Visions of my homeland, Hush thee, dear child to slumbers;
Text: Charles Ives Where bright angel feet have trod, come with strains of childhood, We will sing softest numbers;
With its crystal tide forever Come with tunes we sang in school days Nought thy sleeping encumbers.
...His meditations are interrupted only Flowing by the throne of God? and with songs from mother’s heart;
by the faint sound of the Concord bell. Gather at the river. Way down east in a village by the sea, Summer is slowly dying;
“A melody, as it were, imparted into the stands an old, red farm house Autumnal winds are sighing;
wilderness. At a distance over the woods Yes, we’ll gather at the river, that watches o’er the lea; Faded leaflets are flying.
the sound acquires a certain vibratory hum The beautiful, the beautiful river, All that is best in me,
as if the pine needles in the horizon were Yes, we’ll gather at the river, lying deep in memory, Brightly the willows quiver;
the strings of a harp which it swept...a That flows by the throne of God. draws my heart where I would be, Peacefully flows the river;
vibration of the universal lyre, just as the Shall we gather, shall we gather at the river? nearer to thee. So shall love flow forever.
intervening atmosphere makes a distant Ev’ry Sunday morning,
ridge of earth, interesting to the eyes by when the chores were almost done,
the azure tint it imparts.” from that little parlor
(Henry David Thoreau (1817–1862): Serenity
sounds the old melodeon,
Walden) Text: John Greenleaf Whittier (1807–1892)
“Nearer my God to Thee, nearer to Thee,”
He grew in those seasons like corn in the night, With those strains a stronger hope
O, Sabbath rest of Galilee! O, calm of hills
rapt in revery, on the Walden shore, comes nearer to me.
above, Where Jesus knelt to share with
amidst the sumach, pines and hickories, Thee, The silence of eternity Interpreted by love.
in undisturbed solitude. Drop Thy still dews of quietness, Till all our
strivings cease: Take from our souls the strain
and stress, And let our ordered lives confess,
The beauty of Thy peace.

28 29
 TO R A master’s degree in cabaret singing from
the Norwegian Academy of Music. A
A U G E S TA D fascination with German cabaret led her to
Berlin where she has resided since 2007.
MEZZO-SOPRANO
In 2004 she founded the ensemble Music
for a While with exquisite performers from
Tora Augestad’s versatility inspires
the Norwegian music scene. Her ensemble,
composers, theatre directors, conductors,
BOA explores the landscape between
and fellow musicians alike. Her vocal
avant-garde and pop music. In 2015 she
capabilities defy easy classification: she is
was nominated for the Nordic Council Music
flexible, expressive yet precise, theatrically
Prize. In addition, she works closely with the
convincing with a compelling personality.
composer and saxophonist Trygve Seim.
Augestad (b. 1979) sings a broad variety
Since 2014, Tora Augestad is joint artistic
of genres, primarily devoting herself to
director of the Hardanger Musikkfest.
repertoire of the 20th and 21st centuries.
She regularly commissions new works,
Augestad regularly performs with orchestras
amongst them a feministic chamber opera
such as the Bergen Philharmonic, Oslo
by Cecilie Ore that premiered at the Bergen
Philharmonic Orchestra, Bamberg and NDR
International Festival in 2015. Since 2010
Symphony Orchestras, Ensemble Modern,
she has collaborated with the Swiss director
and Klangforum Wien. In 2019 she will make
Christoph Marthaler, spanning opera
her debut at both the Philharmonie de Paris
projects with music by Handel, Verdi, and
and Elbphilharmonie Hamburg with a world
Beat Furrer, to the playful combination of
premiere by Philippe Manoury.
classical, jazz, cabaret, and pop music in
Marthaler’s own projects.

Born in Bergen, Norway, she studied

classical music and jazz singing in Oslo
and Stockholm before graduating with a

30
 the Norwegian National Opera. Thorbjørn Melien works extensively with new music,
MAGNUS THORBJØRN is a passionate lieder singer performing and collaborations with composers such
S TAV E L A N D GULBRANDSØY such repertoire as Schumann’s Dichterliebe,
Liebeslieder-Walzer by Brahms, and
as Ørjan Matre, Eivind Buene, Øyvind
Mæland, and John Frandsen have resulted
TENOR TENOR Beethoven’s An die ferne Geliebte. in several world premieres and CD
recordings. The German art song genre is
The Norwegian Tenor Magnus Staveland Norwegian tenor Thorbjørn Gulbrandsøy particularly significant in Melien’s career,
(b. 1979) is renowned for his rich and varied (b. 1979) lives in Amsterdam and performs and he is currently working on several Lied
artistry both as a singer and actor in a vast regularly throughout Europe since H A LV O R projects that include the music of Schubert,
number of operatic roles. Staveland has
appeared at opera houses and festivals
graduating from The Royal Academy of
Music in London. Thorbjørn has appeared
FESTERVOLL Schumann, Brahms, Mahler, and Webern.

such as Teatro alla Scala Milan, Teatro La with the Glyndebourne Festival Opera, MELIEN
Fenice Venice, Staatsoper Berlin, Opéra Opera North, Grand Teatro del Liceu, and
Garnier Paris, Théâtre de La Monnaie on numerous occasions with the Oslo and
BARITONE OLLE
Brussels, Norwegian National Opera, Royal
Danish Opera, Festival d’Aix-en-Provence,
Bergen Philharmonics. Operatic roles include
Pelléas in Independent Opera’s production The Norwegian baritone Halvor F. HOLMGREN
and Innsbrucker Festwochen. He regularly of Pelléas et Mélisande at Sadler’s Wells Melien (b. 1984) is a concert and opera BASS-BARITONE
works with conductors such as Rinaldo Theatre in London, Rodolfo in La Bohème singer performing all over Europe.
Alessandrini, Fabio Biondi, René Jacobs, with Nationale Reisopera in Holland and His concert repertoire spans the 17th Olle Holmgren (b. 1980) is from Borlänge,
Andrew Manze, Kent Nagano, Andrew on tour in the UK, Tenor 1 in Martin’s Le Vin century up until the music of today, and Sweden. He is a versatile singer and
Parrott, Christophe Rousset, Jukka-Pekka Herbé at Deutsche Staatsoper Berlin, and he is particularly recognized for his Bach performs a variety of musical genres, from
Saraste, and Marc Soustrot. Romeo in Gounod’s Romeo et Juliette with interpretations. Melien has worked with all ballads, songs, and opera, to Lieder and
Malmö Opera. of the Norwegian symphonic orchestras, ensemble work. He is a senior member
Staveland is also a much sought after concert BBC Philharmonic, Les Talens Lyriques, of the Norwegian Soloist Choir since 2005.
and oratorio singer and regularly appears Additional highlights include Lili Boulanger’s Concertgebouw Kamerorkest, Musica Olle has a passion for church music and has
in concert venues and festivals throughout Faust et Hélène with the Oslo Philharmonic. Saeculorum, Danish National Symphony performed the roles of Adam in Haydn’s The
Europe and Asia. He has built an unusually From 2015-2017 he performed a variety Orchestra, The Norwegian Chamber Creation, Jesus in Bach’s many Passions, and
vast concert repertoire that spans the early of roles such as Vana Kundrjas in Katja Orchestra, Barokkanerne, and many others. has sung Michael Haydn’s Requiem with the
17th century up to the contemporary. Kabanova, Steuermann in The Flying He has also been part of the soloist ensemble Nidaros Oratorio Choir, Nidaros Cathedral
Dutchman and Tamino in The Magic Flute at at the Norwegian National Opera. Choir, and Trondheim Barokk.

32 33
Additional highlights include the world he returns each season, the Danish Joshua Weilerstein believes passionately in As a conductor, he is known as one of
premiere of Ragnar Söderlind’s Requiem, the National Symphony Orchestra, Stockholm programming traditional and contemporary Europe’s finest interpreters of contemporary
European premiere of Lera Auerbach’s Philharmonic, and the Swedish Chamber repertoire side by side and aims to include music and has worked closely with composers
opera The Blind, a performance of Sir John Orchestra. a work by a living composer in each of his such as Morton Feldman, John Cage, and
Stainer’s The Crucifixion, the world premiere concert programs. He is a strong advocate Helmut Lachenmann. As artistic director
of Cecilie Ore’s opera Adam & Eve – a Weilerstein has also lead the London for open communication between the of the Oslo Sinfonietta, he has developed
Divine Comedy, at the Bergen International Philharmonic Orchestra, BBC Philharmonic, stage and audience. In 2017 he launched Norwegian sinfonietta repertoire since
Festival and Ultima Oslo Contemporary Royal Liverpool Philharmonic, Royal Sticky Notes: The Classical Music Podcast, the nineties, and regularly appears on the
Music Festival, and the world premiere of Concertgebouw Orchestra, Rotterdam a podcast for music lovers of any level European contemporary music scene with
Kjell Habbestad’s opera Karlstad 1905. Philharmonic, Netherlands Philharmonic, of expertise. He is accessible on social groups such as the Ensemble MusikFabrik
Deutsche Kammerphilharmonie Bremen, media for further discussion on all aspects and Ensemble InterContemporain. He has
NDR Hannover, SWR Stuttgart, Bamberg of classical music and the experience of worked with many orchestras including the
Symphony, Orchestre Philharmonique de concert-going. Oslo Philharmonic Orchestra, the Orchestra
JOSHUA Radio France, Czech Philharmonic, Lahti Filarmonica della Scala in Milan, and the
WEILERSTEIN Symphony Orchestra, West Australian
Symphony, and the Melbourne Symphony
Royal Philharmonic in London.

CONDUCTOR Orchestra. In North America, he has CHRISTIAN He has written music for a vast range of

Joshua Weilerstein (b. 1987) is the Artistic

appeared with the Vancouver Symphony,
National Symphony Orchestra, Milwaukee
EGGEN formations and settings. His first opera,
Franz Kafka Pictures, received its complete
Director of the Orchestre de Chambre de Symphony, Baltimore Symphony, St. Paul CONDUCTOR world premiere at the Norwegian National
Lausanne. Recognized for his integrity, Chamber Orchestra, and the New York Opera in the autumn of 2013. Sections
clarity of musical expression, and profound, Philharmonic, where he was Assistant and Conductor, composer, and pianist Christian of the opera have been performed since
natural musicianship, he is committed to Associate Conductor. Eggen (b. 1957) is one of the most influential 2009. As a pianist, Eggen is internationally
performing a wide range of repertoire figures on the Norwegian music scene. His renowned for his interpretations of Mozart
and aims to bring new audiences into the In 2017, Weilerstein made his debut at the field of expertise ranges from contemporary and Carl Nielsen, the latter presented on the
concert hall. BBC Proms at London’s Royal Albert Hall music via genre-merging projects, recording Carl Nielsen: Piano Music on the
where he conducted the BBC Symphony installations, television and radio drama Victoria label.
He maintains a number of close relationships Orchestra with his sister, Alisa Weilerstein as productions to film, theatre, jazz, opera, and
with leading international orchestras, soloist. classical music. Christian Eggen has collaborated on a
including the Oslo Philharmonic, where multitude of recordings within all aspects

34 35
of his faceted musical career. He was were coming to conduct it, relishing its depth that Jansons had instilled; under
the Festival Artist of the Year at the youth and enthusiasm. Igor Stravinsky Chief Conductor Vasily Petrenko, it works
Bergen International Festival in 2007 and Maurice Ravel visited Oslo to coach at the highest levels of detail and style. Still
and was awarded The Royal Norwegian the musicians through brand new music. the orchestra travels the globe, but it has
Order of Saint Olav for his contribution National broadcaster NRK began to hang never felt more at home. Its subscription
to contemporary music in Norway and microphones at the orchestra’s concerts, season in Oslo features the best musicians
abroad. transmitting them to the whole of Norway. in the business. Outdoor concerts attract
tens of thousands; education and outreach
Over the next half-century, the Oslo programmes connect the orchestra with
Philharmonic’s reputation grew steadily. many hundreds more. In 2019/2020 the
THE OSLO Then, in 1979, it changed forever. A young thriving city of Oslo will celebrate 100 years
Latvian arrived in Norway, taking the of the Oslo Philharmonic, the first-class
PHILHARMONIC orchestra apart section-by-section, putting it orchestra it still deserves.
back together a finely tuned machine with a
On 27 September 1919, a new orchestra whole new attitude. Under Mariss Jansons,
took to the stage of the old Logan Hall the orchestra became a rival to the great
in Oslo to give its first public concert. Philharmonics of Vienna, Berlin and New
Conductor Georg Schnéevoigt presided York. It was soon playing everywhere, from
over thrilling performances of Edvard Seattle to Salzburg, Lisbon to London. Back
Grieg’s Piano Concerto and Christian home in Oslo, it got a modern, permanent
Sinding’s First Symphony. After forty years concert hall of its own. In 1986, EMI drew up
of making-do, the Norwegian capital had at the largest orchestral contract in its history,
last got the orchestra it deserved. The Oslo ensuring the world would hear the rich,
Philharmonic was born. visceral sound of the Oslo Philharmonic.

In the eight months that followed, the Oslo Three decades after that, the world is still
Philharmonic gave 135 concerts, most listening. The Oslo Philharmonic retains
of which sold out. It tackled passionate its spirit of discovery and its reputation
Mahler, glistening Debussy and thrusting for finesse. Under Jukka-Pekka Saraste
Nielsen. Soon, world famous musicians it cultivated even more the weight and

36 37
 KURT W E I L L and works for stage and screen. Paus adult life, Ives divided his energy between
has been performed by leading artists life as a successful insurance agent and as
Kurt Weill (1900–1950) is widely regarded and ensembles worldwide, in venues a composer. If there is one place to look
as one of the great artistic voices of the first ranging from Carnegie Hall to Norwegian for the source of Ives’ originality, it is likely
half of the 20th Century. Weill studied with television, and he has fulfilled more than in the almost 160 songs he wrote. In these
Ferruccio Busoni in the early 1920’s, and his 50 commissions to date. Paus is a noted works, one can find his love for the tradition
collaboration with Bertolt Brecht brought him representative of a reorientation towards he grew up with: The church music and
international fame already in 1928, first and tonality and melody, and his works have the hymn traditions of New England, the
foremost through their masterpiece ”The been lauded worldwide for their expressivity depiction of everyday life in a late 19th
Threepenny Opera” – which is a landmark in and virtuosity. Unabashedly tuneful, Paus century small-town, along with cowboy
modern musical theatre. When Hitler came colors his canvas with a rich and eclectic songs and country ballads. Everything
to power in 1933, Weill – who was Jewish – palette, yet always with an unmistakable, seems to find its direct expression in this
fled Germany, first to Paris, later to the USA. darkly lyrical signature. Paus’ works are unique collection of songs.
In New York, he found a new base for his published by Norsk Musikforlag AS.
work in the Broadway theaters, and became
one of the most revered names of the music
theatre scene. With an impeccable knack
for melody and harmony, his songs have CHARLES IVES
survived as standard repertoire for singers
of all genres. Charles Ives (1874–1954), is widely regarded
as one of the most extraordinarily gifted
composers of the early 20th century. His
father was a musician, renowned for his
MARCUS PAUS experiments with tone clusters, polytonality,
quarter tones and using the acoustic
Marcus Paus (b.1979) is one of the most spaces in the town. Largely self-taught as
sought after Norwegian composers of his a composer, Charles Ives later incorporated
generation. His catalog includes chamber many of these ideas in his own work,
music, solo works, choral music, concerti ideas which would later become standard
and other orchestral works, several operas, techniques of contemporary music. In his

40 41
 MALE QUARTET:
(1900–1950)
MARCUS PAUS (*1979)
RECORDED IN OSLO CONCERT HALL,
KURT WEILL MAGNUS STAVELAND – TENOR 1 3–5 MAY AND 22–24 MAY 2017

DIE SIEBEN TODSÜNDEN HATE SONGS (2013–14)

THORBJØRN GULDBRANDSØY – TENOR 2 PRODUCER: VEGARD LANDAAS

Ballet with singing in 8 parts for Voice & Orchestra BALANCE ENGINEER: THOMAS WOLDEN
HALVOR MELIEN – BARITONE
EDITING: VEGARD LANDAAS
OLLE HOLMGREN – BASS-BARITONE
Edited by Wilhelm Brückner-Rüggeberg Text: Dorothy Parker (1893–1967) MASTERING: THOMAS WOLDEN

Text: Bertholt Brecht (1898–1956) 10| Cadenza I 01:17 CONCERTMASTERS: BOOKLET NOTES: TOM GARRETSON

1| Prolog. Andante sostenuto 11| I. Men 01:33 EDITING: LEANN CURRIE

ELISE BÅTNES (WEILL: DIE SIEBEN TODSÜNDEN /
IVES: THE UNANSWERED QUESTION) BOOKLET EDITOR: HEGE WOLLENG
(Anna I and Anna II) 03:33 12| Cadenza II 05:06 PAULS EZERGAILIS (PAUS: HATE SONGS / IVES: FIVE SONGS) COVER DESIGN: ANNA-JULIA GRANBERG / BLUNDERBUSS

2| Faulheit. Allegro vivace (Family) 04:15 13| II. Incurable 05:26 COVER AND ARTIST PHOTOS (AUGESTAD): THOMAS KOLBEIN OLSEN

3| Stolz. Allegretto, quasi Andantino 14| Cadenza III 03:01 SOLOISTS: ARTIST PHOTO (ORCHESTRA): CF WESENBERG

IVES: THE UNANSWERED QUESTION

(Anna I and Family) 04:30 15| III. Frustration 01:53 BRYNJAR KOLBERGSRUD – TRUMPET BERTHOLD BRECHT DIE SIEBEN TODSÜNDEN LIBRETTO

4| Zorn. Molto agitato

© BY PERMISSION OF SCHOTT MUSIC, MAINZ, GERMANY
PAUS: HATE SONGS DOROTHY PARKER POEMS

(Anna I, Anna II and Family) 04:45 CHARLES IVES (1874–1954) DAN STYFFE – DOUBLE BASS © BY PERMISSION OF NAACP, BALTIMORE, USA
The composer wishes to thank the National Association for the
5| Völlerei. Largo (Family) 03:32 FIVE SONGS BRYNJAR KOLBERGSRUD – TRUMPET
Advancement of Colored People for authorizing the use of
LEIF ARNE PEDERSEN – CLARINET Dorothy Parker’s work.
6| Unzucht. Moderato Arranged for Orchestra by John Adams INGVILL HAFSKJOLD – CLARINET

(Anna I, Anna II and Family) 05:30 16| Thoreau (Text: Charles Ives / Henry David Thoreau) 00:00 KATHARINA HAGER-SALTNES – CELLO

7| Habsucht. Allegro guisto (Family) 03:19 17| At The River (Text: Robert Lowry) 01:27 DAVID FRIEDEMANN STRUNCK – OBOE

BIRGITTE VOLAN HÅVIK – HARP

8| Neid. Allegro non troppo 18| Serenity (Text: John Greenleaf Whittier) 02:03
(Anna I and Family) 05:32 19| Down East (Text: Charles Ives) 02:36
9| Epilog. Andante sostenuto 20| Cradle Song (Text: Amelia Ives) 01:45
(Anna I and Anna II) 01:31
21| THE UNANSWERED QUESTION
for Orchestra 07:31 LWC1164 π 2018 LAWO © 2018
LAWO CLASSICS www.lawo.no

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