(Oratorio) Vogel - Thyl Claes (Didi, Winiger, Letorney - Choeur des XVI / Orchestra della Svizzera Italiana, Pfaff) - 2007, APE (image+.cue) lossless


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Wladimir Vogel - Thyl Claes
Жанр: Oratorio
Страна-производитель диска: Germany
Год издания диска: 2007
Издатель (лейбл): CPO
Номер по каталогу: 999 960-2
Дата записи: 1996
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 58:19 + 51:04
Источник: собственный рип
Наличие сканов в содержимом раздачи: да
Треклист:

CD1

1. Introduction
2. La mort planait sur la terre de Flandre
3. Thyl, fils de Claes et de Soetkin
4. A Damme, en Flandres, quand Mai ouvrait les fleurs aux aubépines
5. Les cruches sont pleines
6. Ce jour-là, Sa Sainte Majesté Charles
7. Le roi morne détestant toute face joyeuse
8. En ce temps-là, les pauvres Rivageois avaient grand-faim
9. Ulenspielgel était à peine un petit homme
10. A quinze ans Ulenspielgel éleva à Damme
11. L'infant Philippe, ayant quinze ans
12. S'empereur Charles, étant revenu de guerre
13. Mais il en était d'autres qui n'étaient point des guenons

CD2

1. Chaconne d'amour
2. Ce dimanche-là
3. Nele et Soetkin étaient revenues de Bruges
4. La nouvelle courut bientot dans les villages voisins
5. La cloche dite borgstorm
6. En la chaumine de Katheline Soetkin
7. Le lendemain ils interrogeaient de nouveau Claes
8. Les Adieux de Claes Il fut accordé à Ulenspiegel et Soetkin
9. Le landemain, qui était le jour de supplice
10. Jour de supplice, jour des tortures
11. Une flamme!
12. Et la tete de Claes se pencha
13. Au dehors, dans le silence nocturne
14. Postlude
Исполнители:
Wladimir Vogel - Thyl Claes
Oratorio for 2 narrators, voice, choir & orchestra
Marie Terese Letorney, Soprano
Jean Winiger, Le Récitateur
Eveline Didi, La Récitante
Choeur des XVI de Fribourg
André Ducret
Orchestra della Swizzera Italian
Luca Pfaff

Лог создания рипа

CD1

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CD2

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 2. January 2015, 19:23
Vogel / Thyl Claes, Pfaff CD2
Used drive : TS8XDVDSTRANSCEND Adapter: 1 ID: 1
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Read offset correction : 6
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Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : Monkey's Audio Lossless Encoder
Selected bitrate : High Lossless Compression
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\MAC\MAC.exe
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3 | 11:07.18 | 2:34.68 | 50043 | 61660
4 | 13:42.11 | 1:21.21 | 61661 | 67756
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8 | 28:07.31 | 4:52.55 | 126556 | 148510
9 | 33:00.11 | 2:39.34 | 148511 | 160469
10 | 35:39.45 | 3:56.15 | 160470 | 178184
11 | 39:35.60 | 4:13.48 | 178185 | 197207
12 | 43:49.33 | 2:54.32 | 197208 | 210289
13 | 46:43.65 | 2:09.02 | 210290 | 219966
14 | 48:52.67 | 2:11.53 | 219967 | 229844
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Peak level 98.8 %
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Track 2 not present in database
Track 3 not present in database
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Содержание индексной карты (.CUE)

CD1

REM GENRE Oratorio
REM DATE 2007
REM DISCID BB0DAB0D
REM COMMENT "ExactAudioCopy v1.0b3"
CATALOG 0761203996025
PERFORMER "Vogel"
TITLE "Thyl Claes, Pfaff CD1"
FILE "Vogel - Thyl Claes, Pfaff CD1.ape" WAVE
TRACK 01 AUDIO
TITLE "Introduction"
PERFORMER "Vogel"
ISRC DEB209696001
INDEX 00 00:00:00
INDEX 01 00:00:30
TRACK 02 AUDIO
TITLE "La mort planait sur la terre de Flandre"
PERFORMER "Vogel"
ISRC DEB209696002
INDEX 00 05:26:22
INDEX 01 05:28:22
TRACK 03 AUDIO
TITLE "Thyl, fils de Claes et de Soetkin"
PERFORMER "Vogel"
ISRC DEB209696003
INDEX 00 11:21:46
INDEX 01 11:23:46
TRACK 04 AUDIO
TITLE "A Damme, en Flandres, quand Mai ouvrait les fleurs aux aubépines"
PERFORMER "Vogel"
ISRC DEB209696004
INDEX 00 14:59:11
INDEX 01 15:01:11
TRACK 05 AUDIO
TITLE "Les cruches sont pleines"
PERFORMER "Vogel"
ISRC DEB209696005
INDEX 00 17:54:04
INDEX 01 17:56:04
TRACK 06 AUDIO
TITLE "Ce jour-là, Sa Sainte Majesté Charles"
PERFORMER "Vogel"
ISRC DEB209696006
INDEX 00 19:25:39
INDEX 01 19:27:39
TRACK 07 AUDIO
TITLE "Le roi morne détestant toute face joyeuse"
PERFORMER "Vogel"
ISRC DEB209696007
INDEX 00 23:00:35
INDEX 01 23:02:35
TRACK 08 AUDIO
TITLE "En ce temps-là, les pauvres Rivageois avaient grand-faim"
PERFORMER "Vogel"
ISRC DEB209696008
INDEX 00 25:52:30
INDEX 01 25:54:30
TRACK 09 AUDIO
TITLE "Ulenspiegel était à peine un petit homme"
PERFORMER "Vogel"
ISRC DEB209696009
INDEX 00 29:52:47
INDEX 01 29:54:47
TRACK 10 AUDIO
TITLE "A quinze ans Ulenspiegel éleva à Damme"
PERFORMER "Vogel"
ISRC DEB209696010
INDEX 00 31:26:27
INDEX 01 31:28:27
TRACK 11 AUDIO
TITLE "L'infant Philippe, ayant quinze ans"
PERFORMER "Vogel"
ISRC DEB209696011
INDEX 00 41:51:67
INDEX 01 41:53:67
TRACK 12 AUDIO
TITLE "S'empereur Charles, étant revenu de guerre"
PERFORMER "Vogel"
ISRC DEB209696012
INDEX 00 46:21:40
INDEX 01 46:23:40
TRACK 13 AUDIO
TITLE "Mais il en était d'autres qui n'étaient point des guenons"
PERFORMER "Vogel"
ISRC DEB209696013
INDEX 00 50:26:11
INDEX 01 50:28:11

CD2

REM GENRE Oratorio
REM DATE 2007
REM DISCID CB0BF80E
REM COMMENT "ExactAudioCopy v1.0b3"
CATALOG 0761203996025
PERFORMER "Vogel"
TITLE "Thyl Claes, Pfaff CD2"
FILE "Vogel - Thyl Claes, Pfaff CD2.ape" WAVE
TRACK 01 AUDIO
TITLE "Chaconne d'amour"
PERFORMER "Vogel"
ISRC DEB209696014
INDEX 00 00:00:00
INDEX 01 00:00:30
TRACK 02 AUDIO
TITLE "Ce dimanche-là"
PERFORMER "Vogel"
ISRC DEB209696015
INDEX 00 07:22:59
INDEX 01 07:24:59
TRACK 03 AUDIO
TITLE "Nele et Soetkin étaient revenues de Bruges"
PERFORMER "Vogel"
ISRC DEB209696016
INDEX 00 11:05:18
INDEX 01 11:07:18
TRACK 04 AUDIO
TITLE "La nouvelle courut bientot dans les villages voisins"
PERFORMER "Vogel"
ISRC DEB209696017
INDEX 00 13:40:11
INDEX 01 13:42:11
TRACK 05 AUDIO
TITLE "La cloche dite borgstorm"
PERFORMER "Vogel"
ISRC DEB209696018
INDEX 00 15:01:32
INDEX 01 15:03:32
TRACK 06 AUDIO
TITLE "En la chaumine de Katheline Soetkin"
PERFORMER "Vogel"
ISRC DEB209696019
INDEX 00 21:48:10
INDEX 01 21:50:10
TRACK 07 AUDIO
TITLE "Le lendemain ils interrogeaient de nouveau Claes"
PERFORMER "Vogel"
ISRC DEB209696020
INDEX 00 23:08:65
INDEX 01 23:10:65
TRACK 08 AUDIO
TITLE "Les Adieux de Claes il fut accordé a Ulenspiegel et Soetkin"
PERFORMER "Vogel"
ISRC DEB209696021
INDEX 00 28:05:31
INDEX 01 28:07:31
TRACK 09 AUDIO
TITLE "Le lendemain, qui était le jour de supplice"
PERFORMER "Vogel"
ISRC DEB209696022
INDEX 00 32:58:11
INDEX 01 33:00:11
TRACK 10 AUDIO
TITLE "Jour de supplice, jour des tortures"
PERFORMER "Vogel"
ISRC DEB209696023
INDEX 00 35:37:45
INDEX 01 35:39:45
TRACK 11 AUDIO
TITLE "Une flamme!"
PERFORMER "Vogel"
ISRC DEB209696024
INDEX 00 39:33:60
INDEX 01 39:35:60
TRACK 12 AUDIO
TITLE "Et la tete de Claes se pencha"
PERFORMER "Vogel"
ISRC DEB209696025
INDEX 00 43:47:33
INDEX 01 43:49:33
TRACK 13 AUDIO
TITLE "Au dehors, dans le silence nocturne"
PERFORMER "Vogel"
ISRC DEB209696026
INDEX 00 46:41:65
INDEX 01 46:43:65
TRACK 14 AUDIO
TITLE "Postlude"
PERFORMER "Vogel"
ISRC DEB209696027
INDEX 00 48:50:67
INDEX 01 48:52:67
Доп. информация:
In his otherwise excellent insert notes, Carlo Piccardi states that Charles De Coster’s picaresque epic novel Les Aventures d’Ulenspiegel et de Lamme Goedzack au pays de Flandres et ailleurs (1868) may be regarded as the national epic needed by the then young kingdom of Belgium; a Belgium that had gained its independence as recently as 1830.
This is but partly true especially at the time of Ulenspiegel’s adventures. At that time, Belgium did not exist at all. A number of western provinces roughly covering present-day Flanders were occupied by the Spanish - earlier still, they were under French rule. The eastern provinces belonged to the Principality of Liège, part of the German empire and ruled by the Prince-Bishop. The Principality lasted until the French Revolution when it became a French département. So, in short, Ulenspiegel represents the Flemish rebel opposing the Spanish and the Inquisition rather than any thing approaching a ‘Belgian’ hero.
At a deeper level, however, De Coster’s novel is far more wide-ranging and unquestionably possesses a more universal message. More accurately it is a manifesto for freedom against fanaticism and oppression. Like Flanders at the time of Ulenspiegel’s adventures, Belgium had been occupied by the Dutch before gaining its independence and, ironically, was occupied by the Germans at the time of the planned first performance of Vogel’s oratorio.
The historical background of Ulenspiegel’s adventures is the Spanish occupation and the black years of the Inquisition. This is played out against the backdrop of the war of religion between the Spanish Catholics and the Dutch Protestants. The novel also parallels Ulenspiegel’s birth and youth with that of Flanders’ future oppressor, King Philip II. De Coster’s large-scale epic has attracted a number of artists, musicians and comedians. One can mention Richard Strauss’s Till Eulenspiegel lustige Streiche Op.28 (1895) and Gérard Philippe’s film Les aventures de Till l’espiègle (1956, score by Georges Auric). There is yet more including Nikolaï Karetnikov’s opera completed in 1985 and based on a somewhat earlier film score; this has been recorded but I have never been able to track down a copy. Then there’s Willem Kersters’ full-length ballet Uilenspiegel, de geus Op.67 (1976), Flor Alpaerts’ symphonic poem Thyl Uilenspiegel (1927) and Luigi Dallapiccola’s opera Il Prigioniero (1944/8), although the latter is but obliquely inspired by De Coster’s novel.
Then we come to Vogel’s large-scale epic oratorio. Both Strauss’s symphonic poem and Philippe’s film only emphasise the impish, rebellious side of Ulenspiegel’s character, whereas some of the other works have a more global approach. This is certainly the case for Vogel’s magnum opus Thyl Claes, Fils de Kolldraeger. Vogel’s epic oratorio is in two large-scale parts: Part 1 “Oppression” was composed between 1937 and 1939. It was to be first performed in Brussels, but that did not happen because of the German invasion and occupation. The score was lost in Brussels and Vogel reconstructed it in 1942. It was eventually first performed in Switzerland with Ansermet conducting. Part 2 “Liberation” was completed in 1945 and first performed by Ansermet in 1947. What we have here is the first part of a live recording made in 1996 probably to mark Vogel’s centenary.
The central character Thyl Ulenspiegel is not De Coster’s creation, but rather a legendary character already mentioned in popular works in the 16th century. As you may have noticed in the above, the name itself may be spelled in different ways. It may be encountered as Uilenspiegel, Ulenspiegel, Uylenspiegel and Eulenspiegel, the latter being the German spelling. The name may be explained in a number of ways, but we may stick to De Coster’s own explanation that occurs in the Damme Fair episode, in which Ulenspiegel mocks various people coming past his small hut by playing their mirror: “Ik ben ulieden spiegell” (“I am your mirror”) which many understood as “Ik ben Ulenspiegel” (“I am Ulenspiegel”).
The work is scored for two narrators, soprano, speaking chorus and orchestra. The whole thing plays for more than three hours. Vogel had already used a speaking chorus in his earlier oratorio Wagadus Untergang durch die Eitelkeit (1930, rev. 1948) and was to use speaking voices repeatedly in his later output. Incidentally I reviewed the only recording of Wagadus Untergang several years ago. Anyone, who has heard the earlier oratorio, will immediately notice that Vogel’s use of the speaking chorus is much more complex and considerably more sophisticated in Thyl Claes. Unlike the earlier work, the composer uses the speaking chorus in an almost contrapuntal way, juxtaposing and superimposing words and phrases in an overtly dramatic manner that strongly contrasts with the rather straightforward and ‘homophonic’ manner briefly displayed in Wagadus Untergang. Moreover, the speaking chorus only plays a minor part in Wagadus Untergang; here it is the main protagonist representing some of the characters of the novel - there are actually some ‘soloists’ drawn from the chorus. It also acts as an antique chorus complementing and – at times – counter-pointing the narrators, very often to grand effect. The music is clearly 20th century mainstream, with – to these ears at least – some kinship with that of, say, Frank Martin, particularly so in the passages with soprano.
Part 1 of Thyl Claes falls into several sections : Introduction (CD1 – Tracks 1-3), Claes (CD1 – Tracks 4-9), Thyl à la foire de Damme (CD1 – Track 10), Charles V and his son (CD1 – Tracks 11-12), Katheline’s ordeal (CD – Track 13), Chaconne d’amour (CD2 – Track 1), Josse’s messenger (CD2 – Track 2), Claes’ arrest (CD2 – Tracks 3-4), La cloche dite ‘borgstorm’ (CD2 – Track 5-7), Les adieux de Claes (CD2 – Tracks 8-10), Le supplice de Claes (CD2 – Tracks 11-13) and Postlude (CD2 – Track14). Note that I have just added a few titles (in italics) to some, otherwise unidentified sections, for comprehension’s sake.
The introduction opens with ominous, martial fanfares alternating with more reflective material. The narrator, mostly unaccompanied, sets the scene, the historical background of Thyl’s adventures. He recalls how the Spanish authorities fought against heresy – real or not – by imprisonment, decapitation, torture and death at the stake. The speaking chorus and the orchestra have the next episode (“La mort planait sur la terre de Flandre”) which blends speaking chorus and singing chorus. The next episode deals with the birth of Thyl and of the Infant Philip. A shortened restatement of the opening fanfare leads into a succinct, dramatic aria for soprano and orchestra. Ulenspiegel’s birth is joyfully welcomed by everyone but “A little black spot on the babe’s shoulder; it’s the black mark of the devil’s finger...” However, Claes encourages his son to be brave and honest. This scene is capped by a splendid sunrise (“... behold his majesty the sun coming to salute the land of Flanders”). In full contrast with this simple domestic scene, Philip’s birth is to be celebrated with munificence by Charles V; but the news of the pope’s imprisonment in Rome puts an end to the rejoicing “and the babe was baptised while swaddling, the swaddling of royal sorrow”. The unmarried Katheline gives life to her daughter Nele. She fears for her life and that of her child, so that Claes and his wife Soetkin decide to ‘adopt’ the baby. The Damme Fair section is the only amusing episode evoking Thyl’s impish, rebellious character mocking fatuous priests and burgers. “Ik ben ulieden spiegel” (“I am your mirror”). The music, including an important part for saxophones, is lighter and often rather ironic, with some jazzy accents.
The next episode is in full contrast to the joyous, earthy Damme Fair. It tells of Philip’s loveless youth marked by cruelty and solitude, as the horrendous scene in which Charles V and members of his court find Philip recoiling in a dark room and watching a small stake on which a little monkey is tied. Charles V wants to punish the Infant but the archbishop is of a different opinion: “Some day His Highness will be a great burner of heretics”. Katheline is accused of sorcery and cruelly tortured before being sentenced to punishment by fire - by having her hair burnt. She is banned from Damme. The Chaconne d’amour, that follows, is the lyrical core of the work, a beautiful aria for soprano and orchestra singing Thyl’s and Nele’s mutual love. A man tells Claes of the death of his brother Josse who had joined the heretics and gives him money provided Thyl is not educated in the Catholic orthodoxy. Claes is accused of heresy and arrested. He is brought to the tribunal and sentenced to death at the stake. This is the dramatically gripping episode of La cloche dite ‘borgstorm’. In another poignant scene for soprano and orchestra, Thyl and Soetkin visit Claes in his jail. The tension accumulated in all the preceding episodes is forcefully unleashed in the powerfully dramatic, spine-chilling scene of Claes’ ordeal, in which soprano, speaking chorus and orchestra unite to grand effect. At night, after the execution, Soetkin and Thyl come to the stake where Claes’s body still hangs. Thyl takes some ashes from Claes’ heart. Soetkin puts them in a small sack that she gives to Ulenspiegel for him to carry around his neck. The first part ends with a short, nocturnal postlude.
This live performance was recorded as far back as 1996, possibly on the occasion of Vogel’s centenary. Why has it lingered for so long before being – at long last – released? I could not find anything seriously wrong with it. True, narrators, soprano and chorus have occasional pronunciation problems with some of the Flemish names, but nothing serious enough to deter anyone from listening to this deeply sincere, generous and often gripping major work. I keep my fingers crossed hoping that Part 2 was also recorded on the same occasion. Anyway, I urge CPO to release a recording of Part 2. Thyl Claes is not only its composer’s opus magnum but also a truly great and important work from the first half of the 20th century. It definitely deserves to be widely known for “our era too has had and has musicians who resonate in unison with humankind, and Wladimir Vogel, who during eight years, from 1937 to 1945, dedicated the greatest part of his energies to the composition of Thyl Claes, stands in the front rank among them”. I wish that I had written this myself, but Luigi Dallapiccola did so in 1948. Not to be missed.
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