{"product_id":"horenstein-busoni-doktor-faust-fischer-dieskau-shirley-us-premiere-1964-paco188","title":"HORENSTEIN Busoni: Doktor Faust - Fischer-Dieskau, Shirley (US Première, 1964) - PACO188","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBUSONI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDoktor Faust\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLive US concert première, 1964\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 6:12\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eDoktor Faust - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDietrich Fischer-Dieskau\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWagner - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMalcolm Smith\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMephistopheles -\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e George Shirley\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDuke of Parma - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePaul Franke\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDuchess of Parma - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIngrid Bjoner\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAmerican Opera Society Chorus and Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus Director: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMargaret Hillis\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eConducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO188.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe still enigmatic and underappreciated figure of Ferruccio Busoni\n(1866-1924) features quite prominently in Jascha Horenstein’s life during\nthe Weimar era. Shortly after moving to Berlin in 1920 he attended a series\nof rehearsals and concerts of music conducted by Busoni and at the same\ntime became close to several members of the composer’s circle. These\nincluded Wladimir Vogel and Kurt Weill, who suggested that he accompany\nthem to the open house that Busoni held every afternoon at his residence in\nBerlin:\n\n\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\nFrom two to three in the afternoon at his home, Busoni hosted musicians,\nstudents and sometimes also painters, writers, poets, architects and\nscientists from all over the world, and we had the enormous pleasure of\nbeing in his company for an hour every day. I attended these gatherings\nmany times but we did not have any conversations, it was he who spoke and\nwe who listened. We studied every word he uttered, it was like being at a\nsermon in church and we were all too shy to say anything to him. He was\nvery highly organized and worked extremely long hours so that exactly at\nthree o’clock he would leave the room, even if we were in the middle of a\ndiscussion, to go back to his composing. I saw this happen several times.\nHe always used to say that inspiration is not a gift that appears by itself\nbut comes only as a result of hard work.\n\u003c\/p\u003e\n\u003cp\u003e\nHorenstein’s early experiences of Busoni included witnessing his artistry\nas a pianist (“he went to the stratosphere”), and continued after the\ncomposer’s death when he attended a gala memorial performance of \u003cem\u003eDoktor Faust\u003c\/em\u003e in Frankfurt conducted by Clemens Krauss in 1927. The\nfollowing year he included the \u003cem\u003eIndian Fantasy\u003c\/em\u003e with Busoni’s\ndisciple Egon Petri as soloist at one of his Philharmonic concerts in\nBerlin but thereafter did not return to Busoni’s music until 1962 when he\nconducted the premiere in Milan of the Piano Concerto. This concert renewed\nhis interest in the Italian composer, whose music he subsequently featured\nin his programs with some regularity. He considered \u003cem\u003eDoktor Faust\u003c\/em\u003e\n“by far” Busoni’s greatest and most representative composition, a work that\n“has moments of very great inspiration, the culmination of everything he\nstrived for”, and was delighted by the opportunity to conduct its American\npremiere. Given in concert form at Carnegie Hall, the occasion marked\nHorenstein’s first appearance on a New York stage for over twenty years as\nwell as the operatic debut in America of baritone Dietrich Fischer-Dieskau.\nFor the New York Times the event “made an immense impression... a\nwonderful, exciting, provocative evening, one of the most distinguished of\nthe past few seasons.” The in-house recording, made possibly on\nHorenstein's instructions and published here for the first time, preserves\na masterfully shaped performance of beauty, concentrated power and impact\nthat can stand on an equal footing with some of his most successful\nconcerts.\n\u003c\/p\u003e\n\u003cp\u003e\nCuriously, the performance of \u003cem\u003eDoktor Faust\u003c\/em\u003e did not result in any\nfurther engagements for Horenstein in New York until five years later, but\nwas followed almost immediately in the UK by the start of a comprehensive\nBBC project for which he recorded fourteen of Busoni’s orchestral works to\ncommemorate the composer’s centenary in 1966. If \u003cem\u003eDoktor Faust\u003c\/em\u003e is\nincluded, this collection constitutes the most complete traversal of any\ncomposer’s music conducted by Horenstein but the recordings, although\npreserved in the BBC’s archive, still await their first publication.\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eYou can download an annotated libretto in German and English by clicking \u003c\/b\u003e\u003cfont color=\"#0000FF\"\u003ehere\u003c\/font\u003e\u003cb\u003e.\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eYou can find a 1968 radio interview with Jascha Horenstein on the subject of Busoni (in French) on YouTube here: \u003c\/b\u003ehttps:\/\/www.youtube.com\/watch?v=OUZWzTYslzE\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eBUSONI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003eDoktor Faust\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eDISC ONE (71:33)\u003cbr\u003e\u003cbr\u003e1. Vorspiel 1  (0:57)\u003cbr\u003e2. Euerer Magnifizenz Verzeihung  (2:15)\u003cbr\u003e3. Faust, Faust, nun erfült sich dein Augenblick!  (1:57)\u003cbr\u003e4. Euere Magnifizenz, die Studenten sind hier  (3:55)\u003cbr\u003e5. Seid Ihr den Studenten begegnet?  (0:52)\u003cbr\u003e6. Vorspiel II  (1:47)\u003cbr\u003e7. Die Sanduhr zeigt die Mitternacht  (3:28)\u003cbr\u003e8. Wie konnt' es alsobald gelingen?  (6:21)\u003cbr\u003e9. Ein einzelner blieb  (3:49)\u003cbr\u003e10. Faust, Ich bin geschwind als wie des Menschen Gedanke  (1:56)\u003cbr\u003e11. Willst du mir dienen?  (2:12)\u003cbr\u003e12. Ich dir dienen?  (3:36)\u003cbr\u003e13. Schlau wußtest du die Schlingen zu legen  (2:09)\u003cbr\u003e14. Credo in unum Deum  (2:08)\u003cbr\u003e15. Et resurrexit tertia die  (1:11)\u003cbr\u003e16. Et iterum venturus est  (4:19)\u003cbr\u003e17. Hauptspiel - Erstes Bild - Orchestral Introduction  (2:33)\u003cbr\u003e18. Sie nahn! Der Fürst, die Fürstin!  (2:20)\u003cbr\u003e19. Wagen - und dabei gewinnen  (5:39)\u003cbr\u003e20. Ah! ho, hol  (6:06)\u003cbr\u003e21. Komm, o komm!  (2:40)\u003cbr\u003e22. Er ruft mich  (6:55)\u003cbr\u003e23. Was Wichtges sagt Ihr?  (2:28)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eDISC TWO (54:39)\u003cbr\u003e\u003cbr\u003e1. Symphonisches Intermezzo (Sarabande)   (6:10)\u003cbr\u003e2. Zweites Bild - So lang man Jugend hat  (0:45)\u003cbr\u003e3. Daß ihr mir die Platonische lehre recht begreifet  (1:25)\u003cbr\u003e4. Beim nächsten Gang prügl ich dich windelweich  (0:44)\u003cbr\u003e5. Der Meister spreche  (2:45)\u003cbr\u003e6. Freunde, seid mir doch über Teufel  (2:34)\u003cbr\u003e7. Ihr, Doktor, weit gereist erfahren  (0:53)\u003cbr\u003e8. Nur der blickt heiter, der nach vorwärtsschaut  (6:06)\u003cbr\u003e9. Also verbrenn' ich das, was gewesen ist  (4:22)\u003cbr\u003e10. Traum der Jugend  (2:12)\u003cbr\u003e11. Ich schaue dich  (6:29)\u003cbr\u003e12. Letztes Bild  (0:55)\u003cbr\u003e13. Ihr Männer und Frauen, laßt euch sogen  (4:21)\u003cbr\u003e14. Das Haus ist mir bekannt, es war das meine  (6:29)\u003cbr\u003e15. Verdammnis! Gibt es keine Gnade?  (8:29)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003eDoktor Faust: \u003cb\u003eDietrich Fischer-Dieskau\u003c\/b\u003e\u003cbr\u003eMephistopheles\/Sixth Voice\/Night Watchman: \u003cb\u003eGeorge Shirley\u003c\/b\u003e\u003cbr\u003eWagner, his assistant, later University Rector: \u003cb\u003eMalcolm Smith\u003c\/b\u003e\u003cbr\u003eThe Duke of Parma: \u003cb\u003ePaul Franke\u003c\/b\u003e\u003cbr\u003eThe Duchess of Parma: \u003cb\u003eIngrid Bjoner\u003c\/b\u003e\u003cbr\u003eMaster of Ceremonies: \u003cb\u003eLee Cass \u003c\/b\u003e\u003cbr\u003eTheologist: \u003cb\u003eWilliam Medcalf\u003c\/b\u003e\u003cbr\u003eThree Students from Cracow: \u003cb\u003eL. D. Clements, Adib Fazah, Lee Cass\u003c\/b\u003e\u003cbr\u003eFour Students from Wittenberg: \u003cb\u003eGene Bullard, L. D. Clements, Adib Fazah, William Metcalf\u003c\/b\u003e\u003cbr\u003eFive Voices: \u003cb\u003eLee Cass, Adib Fazah, William Metcalf, Gene Bullard, L. D. Clements\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAmerican Opera Society Chorus and Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus Director: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMargaret Hillis\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eConducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eAmerican premiere, Carnegie Hall, New York, 1 December 1964\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR Remastered by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of Dietrich Fischer-Dieskau and Jascha Horenstein\u003cbr\u003eSpecial thanks to Misha Horenstein\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNB. \u003c\/b\u003eAlthough Busoni died in 1924 the opera was completed by Philipp Jarnach (1892-1982) and thus remains in copyright throughout the EU (and some other countries) and we are therefore unable to offer a copy of the score with our downloads. If you live elsewhere and wish to acquire the score a copy can be downloaded from the following webpage: https:\/\/imslp.org\/wiki\/Doktor_Faust_(Busoni%2C_Ferruccio)\u003cbr\u003e\u003cbr\u003eAs Busoni wrote the libretto himself we're pleased to include an annotated version in German and English with CD track points indicated to correspond with this release. My thanks to Misha Horenstein for his exceptional work in helping realise this project and his extensive work matching up libretto and performance.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 6:12  \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO188.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO188.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNY Times article \u0026amp; review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 24px; font-weight: bold;\"\u003eMusic: Busoni’s ‘Doktor Faust’ Is Presented at Carnegie Hall\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"color: rgb(35, 62, 122); font-size: 24px; font-weight: bold;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 19px; font-style: italic;\"\u003eOpera Society Gives It First Hearing\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cp\u003e\u003cfont face=\"Times New Roman\" color=\"#000000\"\u003e\u003cbr\u003e\u003c\/font\u003e\u003c\/p\u003e\u003cp\u003e\u003cfont face=\"Times New Roman\" color=\"#000000\"\u003e\u003cspan style=\"font-size: 19px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTHE Fausts\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e with which we are familiar was not the Faust we heard last night in Carnegie Hall. This one was “Doktor Faust” by Ferruccio Busoni, an opera he never completed. Busoni died in 1924, but he left all of the essential materials for the final scene, which was recon­structed by his pupil, Philip Jarnach.\u003c\/span\u003e\u003c\/span\u003e\u003c\/font\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe opera has had a few performances in Europe, and only last summer it was one of the features of the Maggio Musieale in Florence. Wheth­er it can enter the repertory is a moot question; but about its fascination, its importance, its nobility and beauty, there can be little dispute. “Dok­tor Faust” made an immense impression last night, and Carnegie Hall intermission talk was unanimously of a where-has-this-score-been-all-my-life variety.\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 19px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eBusoni is beginning to come into his own. He was a transitional figure. His music con­tains elements of the past, present and future. The curi­ous thing is that despite cer­tain obvious derivations in Busoni’s writing — '‘Doktor Faust” recalls, at times, Ber­lioz, Liszt, Wagner, Strauss and early Schoenberg — his music is Busoni all the way through. After several hear­ings of “Doktor Faust” those derivations, which at first bulk rather large, are ab­sorbed and forgotten. What overrides all is a tremendous vision, couched in a very per­sonal kind of language that is never trite, never conven­tional, and that has its own kind of magic.\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 19px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThis was the first Ameri­can performance of the opera, and thus to most in the audi­ence it came as a new experi­ence. One of the striking things about the work is its prophetic foreshadowing of the world of “Wozzeck\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e”\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e and “Lulu.” Often there are the­matic snatches, including a disjunct melodic kind of vocal writing, that are startlingly like some sections in “Lulu.” Busoni’s harmonic language was tonal and post-romantic, but the entire spirit of the opera is intensely modern.\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 19px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe construction of “Doktor Faust,” too, is modern. Busoni often fell back on abstract musical forms — variation, rondo and the like - just as Berg did in his two operas. Also very advanced was Bu­soni’s concept of operatic writ­ing, in which declamation is as important as aria, in which the orchestra takes the main burden of the music, in which there are hardly any set pieces. The big solo of the Duchess is about the only thing in the entire work that can be called an aria.\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 19px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eAll this would be imma­terial if the opera did not have substance. But it does. It immediately sets a gripping mood and follows it through with hair-raising intensity. Busoni wrote his own libretto, and. its symbolism is typical of his strong mind, it is hard to think of any composer in history, Wagner especially in­cluded, who has written a text of equal merit. The final scene is poetic symbolism of high order\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e.\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 19px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe trouble is that “Doktor Faust” is a work that de­mands several hearings. Bu­soni did not flaunt his emo­tions, and often leaned toward reserve. He was an intellec­tual, and his music is not go­ing to make the kind of im­mediate impact that lesser scores can make. Now that the American Opera Society has led the way, perhaps other groups around the country may investigate this striking score. We are in the debt of the American Opera Society for having had the imagina­tion to present this work.\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 19px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eIt was presented under most favorable conditions. Dietrich Fischer-Dieskau sang the title role, rounding out a busy fortnight in New York. His artistry and vocal accomplish­ments are known factors, though not even he could en­tirely fit this assignment into his schedule. He sang from the printed note; the other participants from memory.\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 19px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe other two principals were George Shirley as Mephistopheles and Ingrid Bjoner as the Duchess of Parma. Both of these singers are su­perior artists. Busoni’s Devil is a tenor, and a high tenor at that; and Mr. Shirley’s voice just fit the tessitura of the part. He also conveyed a good deal by facial expres­sion: a sly, urbane, devilish, devil he. Miss Bjoner, with less to do, sang her big aria with fullness of voice and a secure sense of style. In the small role of the Duke there was Paul Franke, reliable and big-voiced as always.\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 19px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein conduct­ed. He has not been active in New York for some years, and this was his local debut as an operatic conductor. Quietly, without, ostentation, he held everything together smoothly, his rhythm was im­peccable and he fully con­veyed the depth and passion of the score. He could have stood a few more violins in his orchestra. At that, though, the American Opera Society used a much larger group than it normally does, and there is just so much room on the stage of Carnegie Hall. It was a wonderful, exciting, provocative evening, one of the most distinguished of the past few seasons.\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cp\u003e\u003cfont face=\"Times New Roman\" color=\"#000000\"\u003e\u003cbr\u003e\u003c\/font\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-weight: bold; font-size: 19px;\"\u003eHAROLD C. SCHONBERG\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cfont face=\"Times New Roman\"\u003e\u003cspan style=\"font-weight: bold; font-size: 14px;\"\u003eThe New York Times, \u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003eDecember 2, 1964\u003c\/span\u003e\u003c\/font\u003e\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":44064692731994,"sku":"hit1789303345134","price":26.73,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064692764762,"sku":"hfg1789303345135","price":18.38,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064692797530,"sku":"rny1789303345136","price":12.74,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/horenstein-busoni-doktor-faust---fischer-dieskau-shirley-us-premiere-1964---paco_1_5288f378-e4d8-45e7-a731-ab211ad862f5.jpg?v=1789303352","url":"https:\/\/vestorawear.shop\/products\/horenstein-busoni-doktor-faust-fischer-dieskau-shirley-us-premiere-1964-paco188","provider":"My Store","version":"1.0","type":"link"}