Paul BURKHARD (1911-1977)
Sieben Stufen des Lebens, begleitet von einer Nachtigall, der Bringerin
eines sanften Todes (1976) [24:14]
Emmy Hürlimann (harp); Manfred Preis (clarinet); Martin Suter (organl); Paul
Burkhard (conductor)
Hans SCHAEUBLE (1906-1988)
Die Rose und der Schatten, op.43, Ballett, Fassung für 2 Klaviere (1957-58)
[49:09]
Nico Kaufmann (piano) and Hans Schaeuble (piano)
rec. 2-3 June 1977 (Burkhard) and 19 December 1959 (Schaeuble)
GUILD GHCD 2357 [73:35]
Paul Burkhard was born in Zurich in 1911. His composition teacher was Volkmar
Andreae but he studied widely in his capacity as a pianist, and even took
up the cello. He was a noted conductor and from 1938 was active in his native
city as a theatre conductor, later becoming – at Hermann Scherchen’s instigation
– second conductor of the Studio Orchestra at Beromünster Radio. A composer
as well as a conductor and executant, he wrote in a variety of forms. Perhaps
his most celebrated work was Zäller Wiehnacht (Christmas at Zell) written
in 1960. One of his last works was written in 1976, the year before his death,
and was a birth-to-death reminiscence in seven acts, called Sieben Stufen
des Lebens, begleitet von einer Nachtigall, der Bringerin eines sanften Todes.
Its English title is ‘Seven steps of life, accompanied by a nightingale,
the bringer of a gentle death’.
It’s written for harp, clarinet, and organ and directed by the composer himself
in this broadcast performance made three months before Burkhard’s death in
September 1977. It’s invariably a colouristic and allusive chamber piece.
The harp’s dreamlike runs and the nightingale’s clarinet calls are pervasive
features, introduced benignly in the birth of the Infant – each estate of
man is represented by a different movement. Perkier writing announces the
Boy, edging towards jaunty, the organ moving from supportively chordal to
appropriately upbeat melodically. The harp’s arpeggios and the clarinet’s
musing are invariably more self-contained in Adolescence. Young adulthood
is represented by a pawky organ fanfare and a deal of self-confidence By now
we reach Senior aetas and the music becomes more emollient, more equable,
with writing that might not, at moments, be out of place in, say, Smetana.
Musing soliloquies dominate Old Age before the inevitable slow winding down
of all things. The music is clearly deeply personal, but offers playfulness
and sympathetic vitality into the bargain in a non-denominational, post-impressionist
sort of way. The recording is very good but there’s tape print through in
places which causes ghostly pre-echo
Burkhard’s Swiss contemporary Hans Schaeuble studied in Leipzig with a Reger
pupil. He too was a more than competent pianist. He then moved to Berlin where
he lived between 1931 and 1942, though he returned to his homeland from 1939-41.
Carl Schuricht conducted his Symphonic Music for Large Orchestra with
the Berlin Philharmonic in March 1939, and this apparently made an impression
but his German stay caused resentment back home and he had trouble getting
his works performed. His ballet Die Rose und der Schatten was finished
in 1958, and was his last stage work, one he revised in 1977 and again in
1979. It was recorded in 1959, the composer at the piano with Nico Kaufmann,
though I’m not sure whether it was commercial or broadcast. Certainly it’s
rather boxy and somewhat splintery too, and I’d guess it’s a private affair.
It’s not easy to reclothe the piano reduced version we hear, but it’s clear
that there are Stravinskian elements at work, as well as, perhaps, hints of
Frank Martin. I hear some Spanish rhythms in the First Act Ensemble [track
14] as well as some droll dance rhythms. There’s some nice lyric material
in the second of the Act II solos [track 16].
The booklet is in German and in English and sports an especially nice photograph
of Burkhard, Schaeuble and Kaufmann in dinner jackets enjoying themselves.
As for a ready market for the disc, this is not for the generalist, but for
the most particular of Swiss specialists – it’s an Archive Special.
Jonathan Woolf
As for a ready market this is for the most particular of Swiss specialists
– an Archive Special