Vom Himmel hoch... Christmas Carols

Dietrich Fischer-Dieskau Rita Streich | Elisabeth Grümmer | Erna Berger ...

Vom Himmel hoch... Christmas Carols

Sopran: ErnaBerger•ElisabethGrümmer•MargotGuilleaume• UrsulaLüders•LisaOtto•MariaReith• RitaStreich•GunthildWeberAlt: JosephineVarga•AnneliesWestenBariton: Dietrich Fischer-DieskauTenor: WaltherLudwig

Blockflöte: JeannetteChemin-Petit•LindeHöffervonWinterfeldOboe/Englischhorn: FritjofFestFagott: Johannes ZutherLaute: Gerhard TucholskiKlavier: CharlotteKaufmann•MichaelRaucheisen•EtaWickopOrgel: FelixSchröder

Hendel-Quartett: GeorgFriedrichHendel,Violine•GerdGassen,Violine• SiegbertUeberschaer,Viola•RolfDommisch,CelloStreichquartettBerlin: RudolfSchulz,Violine•WillyKirch,Violine• WalterBrose,Viola•WalterLutz,CelloDirigent: GüntherArndt•FriedWalter•HansCarsteOrchester: Radio-OrchesterBerlin•RIAS-Unterhaltungsorchester• EinRIAS-Studioorchester...

Dietrich Fischer-Dieskau

Barberinonlythreeweeks,performingtheEuropeanpremierealongsideAdrianBoult.InDecember1950,arecordingofthisworkwasmadeforDeccatogetherwiththeNewSymphonyOrchestraunderthebatonofthecomposer.In1953,NelsovatookAmericancitizenship.Sheappearedonstagefordecades,herplayingmakingheadlinestimeandagain.In

1966,shewasthefirstAmericancellisttotourtheSovietUnion;sheplayedtheCelloSonatabySergeiRachmaninov,alongsideworksofBeethovenandKodály.AfterherrecitalinMoscow,therenownedmusiccriticLevGinsburgenthused:“Thenoblesseandtemperamentofherinterpretationwillremainunforgettable:thisbeautifulandexpressivetone.Herartistry,herinstrumentalprowessandthisunusuallypreciserhythm…”TheSüddeutsche Zeitung wroteon5February1969,followingNelsova’sperformancewiththeMunichPhilharmonicandGünterWand:“Thesoloistoftheeveningwas–muchapplaudedatherfirstappearanceonaMunichconcertstage–theCanadiancellistofRussiandescent,ZaraNelsova,whoperformedSchumann’sAminorConcerto,Op.129.Sheisagrande dameofherinstrument,apreciouscreationfromtheStradivariusworkshopinCremona,onwhichsheproducesasoundofwonderfulrichness,balanceandcolour.”ZaraNelsova’sstagepresencehadamajesticquality;assoonasshesatdownbehindherStradivariuscello,the“MarquisdeCorberon”of1726,sheimmediatelycommandedtheattentionofeveryonepresent.Herfull-bodied,earthyandfocussedtoneisinstantlymemorable,andnotonlyinpowerful,ecstaticoutbursts,butalsoinsubtlechambermusicmomentsinBach,Beethoven,BrahmsorReger.Nelsova’splayingisdocumentedonanumberofrecords,themostfamous(anddesirableamongstcollectors)beingherDeccarecordingsmadeinthe1950s.Theseinclude,amongstothers,arecordingofthecompleteworksforcelloandpianobyLudwigvanBeethoven(withArturBalsam)andrecordingsoftheCelloConcertosbyDvořák,LaloandSaint-Saëns(No1),whichsoldespeciallywell.However,ZaraNelsovawasnotonlyacelebratedsoloistandchambermusician,butalsoapassionatecellopedagogue.From1962shetaughtatsuchinstitutionsastheNewYorkJuilliardSchoolandtheRoyalAcademyofMusicinLondon.After1990Nelsovareducedthenumberofherconcertappearances,focussingonteaching.ShediedinNewYorkon10October2002followingalongillness.TherecordingsfromthesoundarchivesofRIASBerlin,madebetween1956and1965,complementherdiscographysubstantially,

givingamoreroundedimpressionofherartisticprofile.TheyincludeworkswhichZaraNelsovaneverrecordedcommerciallyandwhichareavailableofficiallyforthefirsttime.ParticularlynoteworthyaretheCelloConcertosbyDariusMilhaud(No1,1934)andDmitryKabalevsky(No1,1949)–workswhich,atthattime,didnotformpartofthecellorepertoire.ButZaraNelsovamain-tainedalifelonginterestinnewcompositionsandonceremarkedthatshewouldimmediatelyplayanyworknewlywrittenforherinstrument.

Norbert Hornig Translation: Viola Scheffel

Anonymus, arr. Gotthold Frotscher (1897-1967)Es blüh’n drei Rosen auf einem Zweig2:57Da droben auf dem Berge, da weht der Wind1:57Und unser lieben Frauen, der träumete ein Traum 2:06Maria durch ein’n Dornwald ging2:01AnneliesWesten,Alt•Hendel-QuartettAufnahme:08-12-1952•RIASFunkhaus,Berlin–Studio7

AnonymusMaria auf dem Berge2:12MariaReith,Sopran•MichaelRaucheisen,KlavierAufnahme:24-06-1950•Kleistsaal,Berlin-Schöneberg

Anonymus, arr. Georg WinterSchlaf, mein Kindelein(Strassburg1697) 1:59

Anonymus, arr. Heinrich Reimann (1850-1906)Schlaf wohl, du Himmelsknabe du2:04Text: Christian Friedrich Daniel Schubart (1739-1791)GunthildWeber,Sopran•EtaWickop,KlavierAufnahme:10-12-1958•RIASFunkhaus,Berlin–Studio7

Charlotte Kaufmann (20.Jahrhundert)Stille Nacht 2:37Die Frucht ist längst ins Haus gebrachtText: Hanns Korngiebel (1902-1969)RitaStreich,Sopran•CharlotteKaufmann,KlavierAufnahme:08-12-1951•RIASFunkhaus,Berlin–Studio7

Maria Reith

Barberinonlythreeweeks,performingtheEuropeanpremierealongsideAdrianBoult.InDecember1950,arecordingofthisworkwasmadeforDeccatogetherwiththeNewSymphonyOrchestraunderthebatonofthecomposer.In1953,NelsovatookAmericancitizenship.Sheappearedonstagefordecades,herplayingmakingheadlinestimeandagain.In

1966,shewasthefirstAmericancellisttotourtheSovietUnion;sheplayedtheCelloSonatabySergeiRachmaninov,alongsideworksofBeethovenandKodály.AfterherrecitalinMoscow,therenownedmusiccriticLevGinsburgenthused:“Thenoblesseandtemperamentofherinterpretationwillremainunforgettable:thisbeautifulandexpressivetone.Herartistry,herinstrumentalprowessandthisunusuallypreciserhythm…”TheSüddeutsche Zeitung wroteon5February1969,followingNelsova’sperformancewiththeMunichPhilharmonicandGünterWand:“Thesoloistoftheeveningwas–muchapplaudedatherfirstappearanceonaMunichconcertstage–theCanadiancellistofRussiandescent,ZaraNelsova,whoperformedSchumann’sAminorConcerto,Op.129.Sheisagrande dameofherinstrument,apreciouscreationfromtheStradivariusworkshopinCremona,onwhichsheproducesasoundofwonderfulrichness,balanceandcolour.”ZaraNelsova’sstagepresencehadamajesticquality;assoonasshesatdownbehindherStradivariuscello,the“MarquisdeCorberon”of1726,sheimmediatelycommandedtheattentionofeveryonepresent.Herfull-bodied,earthyandfocussedtoneisinstantlymemorable,andnotonlyinpowerful,ecstaticoutbursts,butalsoinsubtlechambermusicmomentsinBach,Beethoven,BrahmsorReger.Nelsova’splayingisdocumentedonanumberofrecords,themostfamous(anddesirableamongstcollectors)beingherDeccarecordingsmadeinthe1950s.Theseinclude,amongstothers,arecordingofthecompleteworksforcelloandpianobyLudwigvanBeethoven(withArturBalsam)andrecordingsoftheCelloConcertosbyDvořák,LaloandSaint-Saëns(No1),whichsoldespeciallywell.However,ZaraNelsovawasnotonlyacelebratedsoloistandchambermusician,butalsoapassionatecellopedagogue.From1962shetaughtatsuchinstitutionsastheNewYorkJuilliardSchoolandtheRoyalAcademyofMusicinLondon.After1990Nelsovareducedthenumberofherconcertappearances,focussingonteaching.ShediedinNewYorkon10October2002followingalongillness.TherecordingsfromthesoundarchivesofRIASBerlin,madebetween1956and1965,complementherdiscographysubstantially,

givingamoreroundedimpressionofherartisticprofile.TheyincludeworkswhichZaraNelsovaneverrecordedcommerciallyandwhichareavailableofficiallyforthefirsttime.ParticularlynoteworthyaretheCelloConcertosbyDariusMilhaud(No1,1934)andDmitryKabalevsky(No1,1949)–workswhich,atthattime,didnotformpartofthecellorepertoire.ButZaraNelsovamain-tainedalifelonginterestinnewcompositionsandonceremarkedthatshewouldimmediatelyplayanyworknewlywrittenforherinstrument.

Norbert Hornig Translation: Viola Scheffel

Dietrich Fischer-Dieskau

Charlotte Kaufmann (20.Jahrhundert)Die Himmelsbotschaft ist erklungen 2:48Text: Max von Schenkendorf (1783-1817)RitaStreich,Sopran•CharlotteKaufmann,KlavierAufnahme:08-12-1951•RIASFunkhaus,Berlin–Studio7

Anonymus (14.Jh.), arr. Albert Becker (1834-1899)Joseph, lieber Joseph mein 2:24

Anonymus (16.Jh.), arr. Albert BeckerZu Bethlehem geboren2:41Text: Friedrich Spee (1591-1635)

Johann Friedrich Reichardt(1752-1814)Christlied2:17Heilige Nacht, Nacht der unendlichen LiebeText: Luise Hensel (1798-1876)

AnonymusEs wird schon gleich dunkel2:12UrsulaLüders,Sopran•JosephineVarga,Alt•FelixSchröder,OrgelAufnahme:16-12-1964•RIASFunkhaus,Berlin–Studio7

Mark Lothar (1902-1985)Das himmlische Menuett3:50Es tanzen die Englein im himmlischen SaalErnaBerger,Sopran•Radio-OrchesterBerlin•FriedWalter,DirigentAufnahme:12-02-1962•Siemensvilla,Berlin-Lankwitz

Rita Streich

Barberinonlythreeweeks,performingtheEuropeanpremierealongsideAdrianBoult.InDecember1950,arecordingofthisworkwasmadeforDeccatogetherwiththeNewSymphonyOrchestraunderthebatonofthecomposer.In1953,NelsovatookAmericancitizenship.Sheappearedonstagefordecades,herplayingmakingheadlinestimeandagain.In

1966,shewasthefirstAmericancellisttotourtheSovietUnion;sheplayedtheCelloSonatabySergeiRachmaninov,alongsideworksofBeethovenandKodály.AfterherrecitalinMoscow,therenownedmusiccriticLevGinsburgenthused:“Thenoblesseandtemperamentofherinterpretationwillremainunforgettable:thisbeautifulandexpressivetone.Herartistry,herinstrumentalprowessandthisunusuallypreciserhythm…”TheSüddeutsche Zeitung wroteon5February1969,followingNelsova’sperformancewiththeMunichPhilharmonicandGünterWand:“Thesoloistoftheeveningwas–muchapplaudedatherfirstappearanceonaMunichconcertstage–theCanadiancellistofRussiandescent,ZaraNelsova,whoperformedSchumann’sAminorConcerto,Op.129.Sheisagrande dameofherinstrument,apreciouscreationfromtheStradivariusworkshopinCremona,onwhichsheproducesasoundofwonderfulrichness,balanceandcolour.”ZaraNelsova’sstagepresencehadamajesticquality;assoonasshesatdownbehindherStradivariuscello,the“MarquisdeCorberon”of1726,sheimmediatelycommandedtheattentionofeveryonepresent.Herfull-bodied,earthyandfocussedtoneisinstantlymemorable,andnotonlyinpowerful,ecstaticoutbursts,butalsoinsubtlechambermusicmomentsinBach,Beethoven,BrahmsorReger.Nelsova’splayingisdocumentedonanumberofrecords,themostfamous(anddesirableamongstcollectors)beingherDeccarecordingsmadeinthe1950s.Theseinclude,amongstothers,arecordingofthecompleteworksforcelloandpianobyLudwigvanBeethoven(withArturBalsam)andrecordingsoftheCelloConcertosbyDvořák,LaloandSaint-Saëns(No1),whichsoldespeciallywell.However,ZaraNelsovawasnotonlyacelebratedsoloistandchambermusician,butalsoapassionatecellopedagogue.From1962shetaughtatsuchinstitutionsastheNewYorkJuilliardSchoolandtheRoyalAcademyofMusicinLondon.After1990Nelsovareducedthenumberofherconcertappearances,focussingonteaching.ShediedinNewYorkon10October2002followingalongillness.TherecordingsfromthesoundarchivesofRIASBerlin,madebetween1956and1965,complementherdiscographysubstantially,

givingamoreroundedimpressionofherartisticprofile.TheyincludeworkswhichZaraNelsovaneverrecordedcommerciallyandwhichareavailableofficiallyforthefirsttime.ParticularlynoteworthyaretheCelloConcertosbyDariusMilhaud(No1,1934)andDmitryKabalevsky(No1,1949)–workswhich,atthattime,didnotformpartofthecellorepertoire.ButZaraNelsovamain-tainedalifelonginterestinnewcompositionsandonceremarkedthatshewouldimmediatelyplayanyworknewlywrittenforherinstrument.

Norbert Hornig Translation: Viola Scheffel

Walter Ludwig

Anonymus, arr. Hermann Schroeder(1904-1984)O Jesulein zart, dein Kripplein ist hart 2:34AnonymusWiegenlied in der Weihnacht1:44Kindelein zart von guter ArtMargotGuilleaume,Sopran•GerhardTucholski,LauteAufnahme:11-11-1953•RIASFunkhaus,Berlin–Studio7

Anonymus, arr. Hans Chemin-Petit(1902-1981)Kommt all herein, ihr Engelein2:45WaltherLudwig,Tenor•JohannesZuther,Fagott•FritjofFest,Englischhorn•RudolfSchulz,Violine•WalterBrose,Viola•WalterLutz,Cello

O Jesulein mild, o Jesulein zart3:18WaltherLudwig,Tenor•StreichquartettBerlinAufnahme:19-12-1953•RIASFunkhaus,Berlin–Studio7

Lobt Gott, ihr Christen allzugleich 2:40Text: Nikolaus Hermann (1480/1500-1561)DietrichFischer-Dieskau,Bariton•FritjofFest,Oboe•StreichquartettBerlinAufnahme:22-12-1953•RIASFunkhaus,Berlin–Studio7

Barberinonlythreeweeks,performingtheEuropeanpremierealongsideAdrianBoult.InDecember1950,arecordingofthisworkwasmadeforDeccatogetherwiththeNewSymphonyOrchestraunderthebatonofthecomposer.In1953,NelsovatookAmericancitizenship.Sheappearedonstagefordecades,herplayingmakingheadlinestimeandagain.In

1966,shewasthefirstAmericancellisttotourtheSovietUnion;sheplayedtheCelloSonatabySergeiRachmaninov,alongsideworksofBeethovenandKodály.AfterherrecitalinMoscow,therenownedmusiccriticLevGinsburgenthused:“Thenoblesseandtemperamentofherinterpretationwillremainunforgettable:thisbeautifulandexpressivetone.Herartistry,herinstrumentalprowessandthisunusuallypreciserhythm…”TheSüddeutsche Zeitung wroteon5February1969,followingNelsova’sperformancewiththeMunichPhilharmonicandGünterWand:“Thesoloistoftheeveningwas–muchapplaudedatherfirstappearanceonaMunichconcertstage–theCanadiancellistofRussiandescent,ZaraNelsova,whoperformedSchumann’sAminorConcerto,Op.129.Sheisagrande dameofherinstrument,apreciouscreationfromtheStradivariusworkshopinCremona,onwhichsheproducesasoundofwonderfulrichness,balanceandcolour.”ZaraNelsova’sstagepresencehadamajesticquality;assoonasshesatdownbehindherStradivariuscello,the“MarquisdeCorberon”of1726,sheimmediatelycommandedtheattentionofeveryonepresent.Herfull-bodied,earthyandfocussedtoneisinstantlymemorable,andnotonlyinpowerful,ecstaticoutbursts,butalsoinsubtlechambermusicmomentsinBach,Beethoven,BrahmsorReger.Nelsova’splayingisdocumentedonanumberofrecords,themostfamous(anddesirableamongstcollectors)beingherDeccarecordingsmadeinthe1950s.Theseinclude,amongstothers,arecordingofthecompleteworksforcelloandpianobyLudwigvanBeethoven(withArturBalsam)andrecordingsoftheCelloConcertosbyDvořák,LaloandSaint-Saëns(No1),whichsoldespeciallywell.However,ZaraNelsovawasnotonlyacelebratedsoloistandchambermusician,butalsoapassionatecellopedagogue.From1962shetaughtatsuchinstitutionsastheNewYorkJuilliardSchoolandtheRoyalAcademyofMusicinLondon.After1990Nelsovareducedthenumberofherconcertappearances,focussingonteaching.ShediedinNewYorkon10October2002followingalongillness.TherecordingsfromthesoundarchivesofRIASBerlin,madebetween1956and1965,complementherdiscographysubstantially,

givingamoreroundedimpressionofherartisticprofile.TheyincludeworkswhichZaraNelsovaneverrecordedcommerciallyandwhichareavailableofficiallyforthefirsttime.ParticularlynoteworthyaretheCelloConcertosbyDariusMilhaud(No1,1934)andDmitryKabalevsky(No1,1949)–workswhich,atthattime,didnotformpartofthecellorepertoire.ButZaraNelsovamain-tainedalifelonginterestinnewcompositionsandonceremarkedthatshewouldimmediatelyplayanyworknewlywrittenforherinstrument.

Norbert Hornig Translation: Viola Scheffel

Elisabeth Grümmer

Johann Sebastian Bach (1685-1750), arr. Hans Chemin-PetitIch steh’ an deiner Krippen hier, BWV 4693:40Text: Paul Gerhardt (1607-1676)DietrichFischer-Dieskau,Bariton•FritjofFest,Oboe•StreichquartettBerlin

Anonymus, arr. Hans Chemin-PetitGelobet seist du, Jesus Christ3:08Text: Martin Luther (1483-1546)DietrichFischer-Dieskau,Bariton•JohannesZuther,Fagott•FritjofFest,Englischhorn•StreichquartettBerlinAufnahme:23-12-1953•RIASFunkhaus,Berlin–Studio7

Anonymus, arr. Hans Chemin-PetitVom Himmel hoch, ihr Engel kommt 2:58ElisabethGrümmer,Sopran•LindeHöffervonWinterfeld,Blockflöte•JeannetteChemin-Petit,Blockflöte•RudolfSchulz,Violine•WalterBrose,Viola•WalterLutz,CelloAufnahme:23-12-1953•RIASFunkhaus,Berlin–Studio7

Es ist ein Ros’ entsprungen2:30ElisabethGrümmer,Sopran•LindeHöffervonWinterfeld,Blockflöte•JeannetteChemin-Petit,Blockflöte•WalterLutz,CelloAufnahme:23-12-1953•RIASFunkhaus,Berlin–Studio7

Barberinonlythreeweeks,performingtheEuropeanpremierealongsideAdrianBoult.InDecember1950,arecordingofthisworkwasmadeforDeccatogetherwiththeNewSymphonyOrchestraunderthebatonofthecomposer.In1953,NelsovatookAmericancitizenship.Sheappearedonstagefordecades,herplayingmakingheadlinestimeandagain.In

1966,shewasthefirstAmericancellisttotourtheSovietUnion;sheplayedtheCelloSonatabySergeiRachmaninov,alongsideworksofBeethovenandKodály.AfterherrecitalinMoscow,therenownedmusiccriticLevGinsburgenthused:“Thenoblesseandtemperamentofherinterpretationwillremainunforgettable:thisbeautifulandexpressivetone.Herartistry,herinstrumentalprowessandthisunusuallypreciserhythm…”TheSüddeutsche Zeitung wroteon5February1969,followingNelsova’sperformancewiththeMunichPhilharmonicandGünterWand:“Thesoloistoftheeveningwas–muchapplaudedatherfirstappearanceonaMunichconcertstage–theCanadiancellistofRussiandescent,ZaraNelsova,whoperformedSchumann’sAminorConcerto,Op.129.Sheisagrande dameofherinstrument,apreciouscreationfromtheStradivariusworkshopinCremona,onwhichsheproducesasoundofwonderfulrichness,balanceandcolour.”ZaraNelsova’sstagepresencehadamajesticquality;assoonasshesatdownbehindherStradivariuscello,the“MarquisdeCorberon”of1726,sheimmediatelycommandedtheattentionofeveryonepresent.Herfull-bodied,earthyandfocussedtoneisinstantlymemorable,andnotonlyinpowerful,ecstaticoutbursts,butalsoinsubtlechambermusicmomentsinBach,Beethoven,BrahmsorReger.Nelsova’splayingisdocumentedonanumberofrecords,themostfamous(anddesirableamongstcollectors)beingherDeccarecordingsmadeinthe1950s.Theseinclude,amongstothers,arecordingofthecompleteworksforcelloandpianobyLudwigvanBeethoven(withArturBalsam)andrecordingsoftheCelloConcertosbyDvořák,LaloandSaint-Saëns(No1),whichsoldespeciallywell.However,ZaraNelsovawasnotonlyacelebratedsoloistandchambermusician,butalsoapassionatecellopedagogue.From1962shetaughtatsuchinstitutionsastheNewYorkJuilliardSchoolandtheRoyalAcademyofMusicinLondon.After1990Nelsovareducedthenumberofherconcertappearances,focussingonteaching.ShediedinNewYorkon10October2002followingalongillness.TherecordingsfromthesoundarchivesofRIASBerlin,madebetween1956and1965,complementherdiscographysubstantially,

givingamoreroundedimpressionofherartisticprofile.TheyincludeworkswhichZaraNelsovaneverrecordedcommerciallyandwhichareavailableofficiallyforthefirsttime.ParticularlynoteworthyaretheCelloConcertosbyDariusMilhaud(No1,1934)andDmitryKabalevsky(No1,1949)–workswhich,atthattime,didnotformpartofthecellorepertoire.ButZaraNelsovamain-tainedalifelonginterestinnewcompositionsandonceremarkedthatshewouldimmediatelyplayanyworknewlywrittenforherinstrument.

Norbert Hornig Translation: Viola Scheffel

Dietrich Fischer-Dieskau Josephine Varga

Anonymus, arr. Herbert Baumann (*1925)Ave Maria zart, du edler Rosengart 2:09LisaOtto,Sopran• EinRIAS-Studioorchester•GüntherArndt,DirigentAufnahme:10-12-1961•Siemensvilla,Berlin-Lankwitz

Anonymus, arr. Rudolf Kühn (+1981)Süßer die Glocken nie klingen3:51Text: Friedrich Wilhelm Kritzinger (1816-1890)

Martin Luther, arr. Rudolf KühnVom Himmel hoch1:56Text: Martin LutherRitaStreich,Sopran•RIAS-Unterhaltungsorchester•HansCarste,DirigentAufnahme:10-12-1955•Siemensvilla,Berlin-Lankwitz

Barberinonlythreeweeks,performingtheEuropeanpremierealongsideAdrianBoult.InDecember1950,arecordingofthisworkwasmadeforDeccatogetherwiththeNewSymphonyOrchestraunderthebatonofthecomposer.In1953,NelsovatookAmericancitizenship.Sheappearedonstagefordecades,herplayingmakingheadlinestimeandagain.In

1966,shewasthefirstAmericancellisttotourtheSovietUnion;sheplayedtheCelloSonatabySergeiRachmaninov,alongsideworksofBeethovenandKodály.AfterherrecitalinMoscow,therenownedmusiccriticLevGinsburgenthused:“Thenoblesseandtemperamentofherinterpretationwillremainunforgettable:thisbeautifulandexpressivetone.Herartistry,herinstrumentalprowessandthisunusuallypreciserhythm…”TheSüddeutsche Zeitung wroteon5February1969,followingNelsova’sperformancewiththeMunichPhilharmonicandGünterWand:“Thesoloistoftheeveningwas–muchapplaudedatherfirstappearanceonaMunichconcertstage–theCanadiancellistofRussiandescent,ZaraNelsova,whoperformedSchumann’sAminorConcerto,Op.129.Sheisagrande dameofherinstrument,apreciouscreationfromtheStradivariusworkshopinCremona,onwhichsheproducesasoundofwonderfulrichness,balanceandcolour.”ZaraNelsova’sstagepresencehadamajesticquality;assoonasshesatdownbehindherStradivariuscello,the“MarquisdeCorberon”of1726,sheimmediatelycommandedtheattentionofeveryonepresent.Herfull-bodied,earthyandfocussedtoneisinstantlymemorable,andnotonlyinpowerful,ecstaticoutbursts,butalsoinsubtlechambermusicmomentsinBach,Beethoven,BrahmsorReger.Nelsova’splayingisdocumentedonanumberofrecords,themostfamous(anddesirableamongstcollectors)beingherDeccarecordingsmadeinthe1950s.Theseinclude,amongstothers,arecordingofthecompleteworksforcelloandpianobyLudwigvanBeethoven(withArturBalsam)andrecordingsoftheCelloConcertosbyDvořák,LaloandSaint-Saëns(No1),whichsoldespeciallywell.However,ZaraNelsovawasnotonlyacelebratedsoloistandchambermusician,butalsoapassionatecellopedagogue.From1962shetaughtatsuchinstitutionsastheNewYorkJuilliardSchoolandtheRoyalAcademyofMusicinLondon.After1990Nelsovareducedthenumberofherconcertappearances,focussingonteaching.ShediedinNewYorkon10October2002followingalongillness.TherecordingsfromthesoundarchivesofRIASBerlin,madebetween1956and1965,complementherdiscographysubstantially,

givingamoreroundedimpressionofherartisticprofile.TheyincludeworkswhichZaraNelsovaneverrecordedcommerciallyandwhichareavailableofficiallyforthefirsttime.ParticularlynoteworthyaretheCelloConcertosbyDariusMilhaud(No1,1934)andDmitryKabalevsky(No1,1949)–workswhich,atthattime,didnotformpartofthecellorepertoire.ButZaraNelsovamain-tainedalifelonginterestinnewcompositionsandonceremarkedthatshewouldimmediatelyplayanyworknewlywrittenforherinstrument.

Norbert Hornig Translation: Viola Scheffel

The raptured gaze: a 1950s Christmas in front of the radio

TheimageofafamilygatheringatChristmasinthe1950sincludes,fortoday’sobserver,aradioset–beitbecauseweexperiencedtheseyearsourselves,orthattheyfeelrecognisablefromfamilystoriesandfromfilms.Theradiooftenformedpartoftheradiogram,apieceoffurniturewhichunmistakablydominatedthedrawingroom.OncethefamilyhadcongregatedaroundthedecoratedChristmastreetoplayortosingtogether,musicalentertainmentwasreadilypassedintothehandsoftheprogramme-makersattheradio.Recordsoffestivemusicwererarelyavailableintheearlypost-waryears,formostrecordcompanieshadtore-establishthemselves,andwereableonlygraduallytoissuenewrecordings.Consequently,itwaslefttoresourcefulmusicproducersattheradiotoinvitesuitablemusiciansintotheradiostu-dios in order to create atmospheric Christmas programmes.ForRIAS,theBerlinradiostationunderAmericancontrol,theearly1950s

weretheheydayinthisrespect.Yearafteryear,distinguishedsingers,includ-ing Die trich Fischer-Dieskau and Rita Streich,ErnaBerger,ElisabethGrümmerandmanyothers,wereengagedtoperformfortheseshows.Despitetheirdoubtlessbusyschedules,theywerenotabovecomingintotheRIASstudiointherun-uptoChristmas.TheartisticproceedsoftheseChristmasproduc-tionswouldnothavebeenadecisivefactor,butrathertheprospectofaverylargeaudience,evenifthenumberofconnoisseurs–musicloverswhoscourradioprogrammesforgreatinterpreters–wouldnaturally,inthiscontext,haveremainedcomparativelysmall.Mostcarolsonthisdiscarefolksongsorfolk-like.Theirsimple,catchytunes,

settingwordsfromMartinLuther’stimethroughtothetwentiethcentury,tellofnaïvepiety.Renownedcomposersandchurchmusiciansofthe1950spro-duced,mostlyforsuchChristmasprogrammes,tastefularrangementsofthesecarols.TheBerlinmusichistorianGottholdFrotscher,forinstance,embeddedthevoiceintominiaturestringquartetmovements.HansChemin-Petit,acho-ralconductorwholaterbecamedeputyheadattheBerlinMusikhochschule,arrangedsevenoldtunesforvoicesandsmall-scaleinstrumentalaccompani-ment.Thespectrumofarrangementsonthisdiscstretchesfromthesparing

Lisa Otto

Barberinonlythreeweeks,performingtheEuropeanpremierealongsideAdrianBoult.InDecember1950,arecordingofthisworkwasmadeforDeccatogetherwiththeNewSymphonyOrchestraunderthebatonofthecomposer.In1953,NelsovatookAmericancitizenship.Sheappearedonstagefordecades,herplayingmakingheadlinestimeandagain.In

1966,shewasthefirstAmericancellisttotourtheSovietUnion;sheplayedtheCelloSonatabySergeiRachmaninov,alongsideworksofBeethovenandKodály.AfterherrecitalinMoscow,therenownedmusiccriticLevGinsburgenthused:“Thenoblesseandtemperamentofherinterpretationwillremainunforgettable:thisbeautifulandexpressivetone.Herartistry,herinstrumentalprowessandthisunusuallypreciserhythm…”TheSüddeutsche Zeitung wroteon5February1969,followingNelsova’sperformancewiththeMunichPhilharmonicandGünterWand:“Thesoloistoftheeveningwas–muchapplaudedatherfirstappearanceonaMunichconcertstage–theCanadiancellistofRussiandescent,ZaraNelsova,whoperformedSchumann’sAminorConcerto,Op.129.Sheisagrande dameofherinstrument,apreciouscreationfromtheStradivariusworkshopinCremona,onwhichsheproducesasoundofwonderfulrichness,balanceandcolour.”ZaraNelsova’sstagepresencehadamajesticquality;assoonasshesatdownbehindherStradivariuscello,the“MarquisdeCorberon”of1726,sheimmediatelycommandedtheattentionofeveryonepresent.Herfull-bodied,earthyandfocussedtoneisinstantlymemorable,andnotonlyinpowerful,ecstaticoutbursts,butalsoinsubtlechambermusicmomentsinBach,Beethoven,BrahmsorReger.Nelsova’splayingisdocumentedonanumberofrecords,themostfamous(anddesirableamongstcollectors)beingherDeccarecordingsmadeinthe1950s.Theseinclude,amongstothers,arecordingofthecompleteworksforcelloandpianobyLudwigvanBeethoven(withArturBalsam)andrecordingsoftheCelloConcertosbyDvořák,LaloandSaint-Saëns(No1),whichsoldespeciallywell.However,ZaraNelsovawasnotonlyacelebratedsoloistandchambermusician,butalsoapassionatecellopedagogue.From1962shetaughtatsuchinstitutionsastheNewYorkJuilliardSchoolandtheRoyalAcademyofMusicinLondon.After1990Nelsovareducedthenumberofherconcertappearances,focussingonteaching.ShediedinNewYorkon10October2002followingalongillness.TherecordingsfromthesoundarchivesofRIASBerlin,madebetween1956and1965,complementherdiscographysubstantially,

givingamoreroundedimpressionofherartisticprofile.TheyincludeworkswhichZaraNelsovaneverrecordedcommerciallyandwhichareavailableofficiallyforthefirsttime.ParticularlynoteworthyaretheCelloConcertosbyDariusMilhaud(No1,1934)andDmitryKabalevsky(No1,1949)–workswhich,atthattime,didnotformpartofthecellorepertoire.ButZaraNelsovamain-tainedalifelonginterestinnewcompositionsandonceremarkedthatshewouldimmediatelyplayanyworknewlywrittenforherinstrument.

Norbert Hornig Translation: Viola Scheffel

butemphaticlutedabswithwhichGerhardTucholskiaccompaniesthesopranoMargotGuilleaume,rightuptotheonomatopoeticexpansionoforchestralsonoritiesinRudolfKühn’sarrangementofthelasttwotracksofthedisc,whichdonotshyawayfromanodtowardsPuccini.ThefactthatallthesediverseChristmasofferingswereproducedwithouttheslightestwhiffofsen-timentalityislargelyduetotheperformerswhotransformedtheseminiaturesinto little gems.TheprogrammeopenswithfiveMariancarols,followedbyeightnumbers

abouttheholynightandthebirthofJesus. Das himmlische Menuett presents acuriouspiece–angelsdancinginheavenencouragebabyJesustoleapjoy-fullywhilstMotherMarydirectstheproceedings,althoughtheimageofangelsmakingmusicisnorarityinthegenreoftheChristmascarol.Thesecondhalfoftheprogrammereturns,withtheexceptionofoneMariancarol(Ave Maria zart, du edler Rosengart),tothecontemplationofthedivineinfantinthesilent,holynight.

Rüdiger Albrecht Translation: Viola Scheffel

Fried Walter • Erna Berger

Barberinonlythreeweeks,performingtheEuropeanpremierealongsideAdrianBoult.InDecember1950,arecordingofthisworkwasmadeforDeccatogetherwiththeNewSymphonyOrchestraunderthebatonofthecomposer.In1953,NelsovatookAmericancitizenship.Sheappearedonstagefordecades,herplayingmakingheadlinestimeandagain.In

1966,shewasthefirstAmericancellisttotourtheSovietUnion;sheplayedtheCelloSonatabySergeiRachmaninov,alongsideworksofBeethovenandKodály.AfterherrecitalinMoscow,therenownedmusiccriticLevGinsburgenthused:“Thenoblesseandtemperamentofherinterpretationwillremainunforgettable:thisbeautifulandexpressivetone.Herartistry,herinstrumentalprowessandthisunusuallypreciserhythm…”TheSüddeutsche Zeitung wroteon5February1969,followingNelsova’sperformancewiththeMunichPhilharmonicandGünterWand:“Thesoloistoftheeveningwas–muchapplaudedatherfirstappearanceonaMunichconcertstage–theCanadiancellistofRussiandescent,ZaraNelsova,whoperformedSchumann’sAminorConcerto,Op.129.Sheisagrande dameofherinstrument,apreciouscreationfromtheStradivariusworkshopinCremona,onwhichsheproducesasoundofwonderfulrichness,balanceandcolour.”ZaraNelsova’sstagepresencehadamajesticquality;assoonasshesatdownbehindherStradivariuscello,the“MarquisdeCorberon”of1726,sheimmediatelycommandedtheattentionofeveryonepresent.Herfull-bodied,earthyandfocussedtoneisinstantlymemorable,andnotonlyinpowerful,ecstaticoutbursts,butalsoinsubtlechambermusicmomentsinBach,Beethoven,BrahmsorReger.Nelsova’splayingisdocumentedonanumberofrecords,themostfamous(anddesirableamongstcollectors)beingherDeccarecordingsmadeinthe1950s.Theseinclude,amongstothers,arecordingofthecompleteworksforcelloandpianobyLudwigvanBeethoven(withArturBalsam)andrecordingsoftheCelloConcertosbyDvořák,LaloandSaint-Saëns(No1),whichsoldespeciallywell.However,ZaraNelsovawasnotonlyacelebratedsoloistandchambermusician,butalsoapassionatecellopedagogue.From1962shetaughtatsuchinstitutionsastheNewYorkJuilliardSchoolandtheRoyalAcademyofMusicinLondon.After1990Nelsovareducedthenumberofherconcertappearances,focussingonteaching.ShediedinNewYorkon10October2002followingalongillness.TherecordingsfromthesoundarchivesofRIASBerlin,madebetween1956and1965,complementherdiscographysubstantially,

givingamoreroundedimpressionofherartisticprofile.TheyincludeworkswhichZaraNelsovaneverrecordedcommerciallyandwhichareavailableofficiallyforthefirsttime.ParticularlynoteworthyaretheCelloConcertosbyDariusMilhaud(No1,1934)andDmitryKabalevsky(No1,1949)–workswhich,atthattime,didnotformpartofthecellorepertoire.ButZaraNelsovamain-tainedalifelonginterestinnewcompositionsandonceremarkedthatshewouldimmediatelyplayanyworknewlywrittenforherinstrument.

Norbert Hornig Translation: Viola Scheffel

Eine AufnahmevonRIASBerlin (lizenziertdurchDeutschlandradio)recording: P 1950-1964Deutschlandradio

studiorecording,monoresearch: Rüdiger Albrechtremastering: P LudgerBöckenhoff,2015

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