[anvar]

Gustav Holst - Savitri & The Dream City
Жанр: Opera
Страна-производитель диска: England
Год издания диска: 1987
Издатель (лейбл): Hyperion
Номер по каталогу: CDH55042
Дата записи: 1983
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 57'49
Источник: собственный рип
Наличие сканов в содержимом раздачи: да
Треклист/Исполнители:

1. Savitri! Savitri! I am death
2. Greeting to thee, my loving Savitri!
3. The forest is to me a mirror wherein I see another world
4. Love to the lover
5. Once I knew maya
6. Savitri, Savitri! Mine arm is pow'rless
7. I am with thee; my arms are around thee
8. Savitri! Aah! All fades! Death is at my heart!
9. Welcome, Lord! Thou art called the Just One
10. Thine is the holiness
11. Then enter, Lord; dwell with me!
12. Stay! Grant me this boon!
13. Ah! Death, the Just One
14. Loneliness and pain are ended
15. Savitri! Is it thou?
16. Unto his kingdom Death wendeth alone
17. I am with thee, my arms around thee

Savitri - Felicity Palmer, mezzo-soprano
Satyavan - Philip Langridge, tenor
Death - Stephen Varcoe, bass
The Richard Hickox Singers
Richard Hickox

18. Persephone
19. Things lovelier
20. Now in these fairylands
21. A Little Music
22. The Floral Bandit
23. The Dream-City
24. Envoi
25. Rhyme
26. Journey's End
27. Betelgeuse

Patrizia Kwella, soprano
The City of London Sinfonia (Simon Standage leader)
Richard Hickox

Код:

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 27. July 2014, 12:59
Holst / Savitri &The Dream-City, Hickox
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Read mode               : Secure
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Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 6
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
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Selected bitrate                : High Lossless Compression
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Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\MAC\MAC.exe
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Range status and errors
Selected range
     Filename D:\EAC\Holst - Savitri &The Dream-City, Hickox.wav
     Peak level 100.0 %
     Extraction speed 4.5 X
     Range quality 100.0 %
     Test CRC F64B82BC
     Copy CRC F64B82BC
     Copy OK
No errors occurred
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Код:

REM GENRE Opera
REM DATE 1987
REM DISCID 910D991B
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Holst"
TITLE "Savitri &The Dream-City, Hickox"
FILE "Holst - Savitri &The Dream-City, Hickox.ape" WAVE
  TRACK 01 AUDIO
    TITLE "Savitri! Savitri! I am death"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 00 00:00:00
    INDEX 01 00:00:32
  TRACK 02 AUDIO
    TITLE "Greeting to thee, my loving Savitri!"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 04:22:20
  TRACK 03 AUDIO
    TITLE "The forest is to me a mirror wherein I see another world"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 06:20:20
  TRACK 04 AUDIO
    TITLE "Love to the lover "
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 07:51:05
  TRACK 05 AUDIO
    TITLE "Once I knew maya"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 08:34:32
  TRACK 06 AUDIO
    TITLE "Savitri, Savitri! Mine arm is pow'rless"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 10:18:20
  TRACK 07 AUDIO
    TITLE "I am with thee; my arms are around thee"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 11:31:35
  TRACK 08 AUDIO
    TITLE "Savitri! Aah! All fades! Death is at my heart!"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 13:21:37
  TRACK 09 AUDIO
    TITLE "Welcome, Lord! Thou art called the Just One"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 14:18:12
  TRACK 10 AUDIO
    TITLE "Thine is the holiness"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 15:32:30
  TRACK 11 AUDIO
    TITLE "Then enter, Lord; dwell with me!"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 17:23:20
  TRACK 12 AUDIO
    TITLE "Stay! Grant me this boon!"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 18:46:00
  TRACK 13 AUDIO
    TITLE "Ah! Death, the Just One"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 22:44:70
  TRACK 14 AUDIO
    TITLE "Loneliness and pain are ended"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 25:33:70
  TRACK 15 AUDIO
    TITLE "Savitri! Is it thou?"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 26:22:00
  TRACK 16 AUDIO
    TITLE "Unto his kingdom Death wendeth alone"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 29:26:52
  TRACK 17 AUDIO
    TITLE "I am with thee, my arms around thee"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 30:19:27
  TRACK 18 AUDIO
    TITLE "The Dream-City 01 Persephone"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 00 31:25:72
    INDEX 01 31:31:37
  TRACK 19 AUDIO
    TITLE "The Dream-City 02 Things lovelier"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 33:02:35
  TRACK 20 AUDIO
    TITLE "The Dream-City 03 Now in these fairylands"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 34:34:70
  TRACK 21 AUDIO
    TITLE "The Dream-City 04 A Little Music"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 35:53:42
  TRACK 22 AUDIO
    TITLE "The Dream-City 05 The Floral Bandit"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 00 38:08:02
    INDEX 01 38:13:42
  TRACK 23 AUDIO
    TITLE "The Dream-City 06 The Dream-City"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 40:27:60
  TRACK 24 AUDIO
    TITLE "The Dream-City 07 Envoi"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 00 44:43:37
    INDEX 01 44:44:30
  TRACK 25 AUDIO
    TITLE "The Dream-City 08 Rhyme"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 00 48:43:20
    INDEX 01 48:44:52
  TRACK 26 AUDIO
    TITLE "The Dream-City 09 Journey's End"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 50:22:70
  TRACK 27 AUDIO
    TITLE "The Dream-City 10 Betelgeuse"
    PERFORMER "Holst"
    FLAGS PRE
    INDEX 01 53:15:05

Introduction
Although Savitri is rightly considered to be Holst’s first successful opera, its success was only achieved after at least six earlier attempts at the medium: opera clearly obsessed Holst in his early years. He spent much of his time as a student reading and listening to the music of Wagner. In Imogen Holst’s words, ‘He ate and drank Wagner and took in huge draughts of Wagner with every gasp of air he breathed’.
The small scale of Holst’s earliest works for the stage—several unadventurous, though competent, operettas after the Sullivan model—soon gave way to more ambitious plans. The culmination was Sita (1900–06), whose three acts are in the grandest, most extravagant style, and whose musical language is, for the most part, saturated with Wagnerisms.
Yet by 1908, when Sita was eventually awarded Third Prize in the Ricordi competition for which he had entered it (the work was never performed), Holst had composed Savitri, and with it he completely turned his back on the whole Wagnerian apparatus. The opera is in one act with no overture; no curtain is required; there are only three characters; the plot is of the utmost simplicity; and the orchestra consists of no more than twelve musicians.
This revolution in Holst’s approach to opera can partly be explained by the subject. In Sita he had turned to the great Hindu epic, the Ramayana, and had tried to enter into its world of spirits and demons, gods and mortals—a world not far removed from Wagner’s ‘Ring’. In choosing Savitri, an episode from another great classic of Sanskrit literature, the Mahabharata, Holst found a subject that was still epic in its scope—the triumph of love over death—but whose setting was simple and homely. He responded with music of equal simplicity. Although in the final scene of Sita Holst had already begun to find his own voice and had shown that he was capable of expressing emotion with a telling economy of means, this new directness of Savitri is a remarkable achievement.
The opening of the work is like no other opera. The voice of Death is heard in the distance, summoning Satyavan, the husband of Savitri. Savitri herself joins Death in counterpoint (not dialogue), and their voices remain unaccompanied for fully three minutes.
When Satyavan sings of maya—illusion—his voice is set against the remote sound of a wordless female chorus. Their voices symbolize the divine world interacting with the mortal; they are heard again when Death reappears to claim Satyavan. They join too with Savitri as she rejoices in her victory over Death, who has yielded to Savitri’s plea that her life cannot be complete without Satyavan. And the opera ends as it began, with the voices of Death and Savitri, the one returning to his kingdom, the other—the ‘glorious woman’ as Death calls her—singing in quiet ecstasy of her love for her husband.
The poetry of Humbert Wolfe (1885–1940) has today virtually disappeared, even from the anthologies. In the 1920s his work, meticulous in its craftsmanship and in its sensibility, was well known and Holst became a great admirer and friend after reading the collection published in 1927 as Requiem.
In 1929, on his return from a much-needed winter holiday in Italy, Holst set twelve of Wolfe’s poems for high voice and piano. Apart from the Four Songs for voice and violin (composed in 1917) they were the first solo songs he had written for more than twenty years, and they reveal a lyricism and warmth often absent from his music. At their first performance in Paris they were grouped together under the title of The Dream-City. But they were not intended to form a cycle, and were published by Augener (after three other publishers had rejected them) as individual songs.
The intention in orchestrating ten of the songs was specifically to create an orchestral song-cycle, and so I have in a few places composed linking material. This is most in evidence in the third part of the work where the three songs play without a break. I have joined the first song (which is slightly expanded) to the second, and the third to the fourth. But in the second part, the work’s centre of gravity, the three poems remain separate.
The music is scored more elaborately, perhaps, than Holst might have allowed himself. But, bearing in mind the pianistic nature of the original, I hope that the result is as close to the spirit of the music as a conscious attempt to recreate Holst’s own orchestral idiom would be.