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CHAN 9620
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CHAN 9620

Hindemith: Sancta Susanna

The Classical Shop
release date: April 1998

Originally recorded in 1997


BBC Philharmonic

Yan Pascal Tortelier

Leeds Festival Chorus


New Broadcasting House, Manchester


Ralph Couzens

Brian Pidgeon


Don Hartridge

Record Label



Total Time - 68:50
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Sancta Susanna, Op. 21*

  Opera in one act from a text by August Stramm  
  Susan Bullock soprano  
  Della Jones mezzo-soprano  
  Ameral Gunson mezzo-soprano  
  Maria Treadaway spoken  
  Mark Rowlinson spoken  

Dances from Das Nusch-Nuschi

  Sehr lebhaft - Mässig lebhaft - Allegro marziale  

Suite from Tuttifäntchen

3 I Vorspiel (Introduction) - 1:13
4 II Lied (Song) - 0:59
5 III Intermezzo - 0:54
6 IV Lied (Song) - 1:52
7 V Marsch - 1:54
8 VI Musik zum Kaspertheater (Puppet Theatre Music) - 1:01
9 VII Tanz der Holspuppen (Dance of the Toy Dolls) - 3:04
10 VIII Lied (Song) - 2:37
11 IX Melodram 3:15
12 X Wiegenlied (Lullaby) 1:18
13 XI Schlußlied (Final Song) 1:13

Drei Gesänge (Three Songs), Op. 9

14 1 Mein Nächte sind heiser zerschrien 3:50
  (My nights are rent by hoarse screaming)  
15 2 Weltende (World's End) 6:02
16 3 Aufbruch der Jugend (Revolt of the Young) 7:41
  Susan Bullock soprano  
  Simon Wright chorus master  
 Yan Pascal Tortelier
  7-9 May 1997  

Tortelier’s acclaimed Hindemith series continues with one of the composer’s most shocking works, Sancta Susanna, as well as some rarely heard orchestral music.

Hindemith was drawn to the subject of Sancta Susanna by a text of Albert Bernhard Stramm which first published in the magazine Der Sturm. He set it for three female soloists, two speakers, a women’s chorus , and a large orchestra, including organ and celesta. The story is about Sister Susanna, who, inflamed by forces beyond her control, including the sight of a lovers’ tryst and another nun’s tale of sexual arousal, removes her clothes and clutches at the crucified Christ on a altar. The music is highly sympatheitc to her psychological state of mind and the drama is presented in a tightly wrought dramatic structure. A compelling, if rather shocking, experience.

The Drei Gesänge for soprano and large orchestra resulted from Hindemith’s discovery in 1917 of contemporary Expressionist poetry and drama, particularly through various literary journals, which transformed him into Germany’s leading young composer. These three songs represent Hindemith’s first raw reaction to an overwhelming creative urge he felt on dsicovering new artistic trends, though from a modern point of view, they are more akin to late Wagnerian romanticism than the Hindemith which was soon to come.

The Dances from Das Nusch-Nuschi were extracted from the opera of that name and first performed in November 1921. They are full of character and energy, and they are perhaps best summed up by Hindemith himself when speaking of the final march: "It has no other point than this: to fit into the stylistic framework of this scene and to give all the experts the opportunity to howl about the montrous bad taste of its creator. Hallelujah!"

The Suite from Tuttifäntchen was arranged from music of the opera which was first performed in 1922. The story tells of Tuttifant, a carver of puppets who creates a son for himself out of wood. The son is bought to life by a rather malign spirit. The music in may ways anticipates Hindemith’s younger contemporary, Kurt Weill.

"...this is an irresistable disc."

James H North - Fanfare - November/December 1998

"...Soprano Susan Bullock makes a heroic showing in the opulent Three Songs and she is no less convincing in  Sancta Susanna (in which she receives admirable support from Della Jones and Ameral Gundon). Tortelier conducts with sympathy throughout, and Chandos’s presentation is exemplary..."

Andrew Achenbach - Hi-Fi News - October 1998

"... Tortelier’s conducting is white-hot throughout, a roller-coaster ride from queasy late-romantic torpidity to expressionistic fury in a single unremitting span, while Bullock - her dark, voluptuous tone superbly captured by the Chandos engineers - is on tremendous form, scrupulous as ever in her musicianship, yet wringing every shred of hysteria from the text... The BBC Philharmonic plays with searing intensity, while the recording itseld is engineered with astonishing opulence... high recommended."

Tim Ashley - Opera - August 1998

                        Performances *****      Sound *****

"A new disc of expressionist works from Hindemith’s early maturity isa revelation ... a splendid disc."

Barry Millington - BBC Music Magazine - August 1998

"...Susan Bullock gives her all in the Hindemith cause, and Tortelier conducts everything with equal conviction."

Alan Blyth - The Daily Telegraph - 11 July 1998


The Guardian - 5 June 1998

"...Highly recommended."

The Observer - 31 May 1998

L Gine

G Taylerson