Grabmusik / Bastien und Bastienne

£12.00

Continuing their complete Mozart opera recording cycle, The Mozartists’ latest release shines a light on two early opera works by Mozart.

Grabmusik was reported to be the product of a test set by the prince of Salzburg, who: “… not crediting that such masterly compositions were really those of a child, shut him up for a week, during which he was not permitted to see any one, and was left only with music paper, and the words of an oratorio … During this short time he composed a very capital oratorio, which was most highly approved of upon being performed.” Performed for Holy Week the title can be translated as ‘Cantata on Christ’s Grave’ (literally ‘Grave Music’), and the anonymous text takes the form of a dialogue between a tormented soul, who is desperately lamenting the tragedy of Christ’s death, and an angel.

Bastien und Bastienne is the only one of Mozart’s operas to have been written for performance in a private house rather than a theatre. Commissioned at some point in mid-1768 by the renowned and controversial German physician Franz Anton Mesmer, it tells the tale of two young shepherds, Bastien and Bastienne, being reconciled in love by the fortune teller and magician Colas after Bastien has briefly been lured away by the attractions of a noble lady from the city. This new recording uses Mozart’s original 1768 setting of the libretto by F. W. Weiskern & J. H. F. Müller, the provenance of which was only established in the 1980s.

The orchestra is the star of the showBBC Music Magazine

Ian Page and his crack team are clearly having a lot of fun, which comes across in this excellent recording. It’s a treat to experience – Gramophone

Page’s Classical Opera project goes from strength to strengthThe Sunday Times

If you are looking for a superb performance of one of Mozart’s young productions then this is very much the best place to invest – Music Web International

A little jewel not to be missed! – Crescendo (France)

Heavenly! – Stretto (Holland)

Ian Page’s subtle and dynamic gesture makes all the difference, and places his musical output among that of the best Mozartian interpreters of today – Classique News (France)

SKU: SIGCD547
 iTUNES  Spotify

The Mozartists

Ian Page conductor


RELEASE DATE: 14/09/2018

CATALOGUE NUMBER: SIGCD547

BARCODE: 635212054727

Grabmusik, K. 42/35a (Original 1767 Version)

1. No. 1, “Wo bin ich? bittrer Schmerz!” (Recitative)

2. No. 2, “Felsen, spaltet euren Rachen” (Aria)

3. No. 3, “Geliebte Seel’, was redest du?” (Recitative)

4. No. 4, “Betracht dies Herz und frage mich” (Aria)

5. No. 5, “O Himmel! was ein traurig Licht” (Recitative)

6. No. 6, “Jesu, was hab’ ich getan?” (Duet)

Bastien und Bastienne, K. 50 (Original 1768 Version)

7. Intrada

8. Scene 1: No. 1, “Mein liebster Freund hat mich verlassen” (Aria)

9. Scene 1: “Du fliehst von mir, Bastien?” (Dialogue)

10. Scene 1: No. 2, “Ich geh jetzt auf die Weide (Aria)

11. Entrance of Colas

12. Scene 2: No. 4, “Befraget mich ein zartes Kind” (Aria)

13. Scene 2: “Guten Morgen, Herr Colas!” (Dialogue)

14. Scene 2: No. 5, “Wenn mein Bastien im Scherze” (Aria)

15. Scene 2: “O, die Edelfrau vom Schloß” (Dialogue)

16. Scene 2: No. 6, “Würd ich auch, wie manche Buhlerinnen” (Aria)

17. Scene 2: “Gib dich zufrieden!” (Dialogue)

18. Scene 2: No. 7, “Auf den Rat, den ich gegeben” (Duet)

19. Scene 3: “Dieses Liebhaberpaar ist wahrlich ein rechtes Wunderwerk” (Dialogue)

20. Scene 4: No. 8, “Großen Dank dir abzustatten” (Aria)

21. Scene 4: “Es freut mich, daß du endlich zu dir” (Dialogue)

22. Scene 4: No. 9, “Geh! du sagst mir eine Fabel” (Aria)

23. Scene 4: “Das kann sein” (Dialogue)

24. Scene 4: No. 10, “Tätzel, Brätzel, Schober, Kober” (Aria)

25. Scene 4: “Ist die Hexerei zu Ende?” (Dialogue)

26. Scene 5: No. 11, “Meiner Liebsten schöne Wangen” (Aria)

27. Scene 6: “Da ist sie” (Dialogue)

28. Scene 6: No. 12, “Er war mir sonst treu und ergeben” (Aria)

29. Scene 6: “O, ich sehe schon, was dich verdrießt” (Dialogue)

30. Scene 6: No. 13, “Geh hin!” (Aria)

31. Scene 6: “Siehe da! bist du noch hier?” (Dialogue)

32. Scene 6: No. 14, “Dien Trotz vermehrt sich durch mein Leiden?” (Recitative)

33. Scene 6: Und sollte ich wohl ein solcher Narr sein” (Dialogue)

34. Scene 6: No. 15, Geh! geh! geh, Herz von Flandern!” (Duet)

35. Scene 7: No. 16 “Kinder! Kinder! seht, nach Sturm und Regen” (Trio)

Bastien und Bastienne, K. 50 (2nd 1769 Version)

36. Scene 4: No. 10, “Diggi, daggi, schurry, murry” (Aria)