Grabmusik / Bastien und Bastienne

Name: Grabmusik / Bastien und Bastienne
SKU: 421
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PRESTO CLASSICAL: Editor’s Choice
SPOTIFY: Classical Picks Playlist
THE OBSERVER: Critic’s Choice
THE SUNDAY TIMES: Critic’s Choice
2018 INTERNATIONAL CLASSICAL MUSIC AWARDS: Shortlisted
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“It only remains to add that Ian Page and his crack team – singers and players – are clearly having a lot of fun, which comes across in this excellent recording. It’s a treat to experience these faint anticipations of greatness in such winning performances.”

GRAMOPHONE

The latest release in our highly acclaimed recording cycle of Mozart’s operas shines a light on two of his earliest works.

Grabmusik is thought to be the product of a test set by the Prince-Archbishop 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 anyone, 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.” 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. The work was probably premièred in Holy Week 1767.

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 physician Franz Anton Mesmer, it tells the tale of two young shepherds being reconciled in love by the fortune teller and magician Colas (a character who has various similarities with Mesmer himself). 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 recently established following the rediscovery of Mozart’s autograph manuscript.

The shepherdess Bastienne has been abandoned by her sweetheart, the shepherd Bastien, who has been lured away by the attractions of a noble lady from the city. She wretchedly laments her plight and seeks the advice of Colas, who has established a reputation as a fortune-teller and magician. Colas reassures her that Bastien still loves her and will soon return, but recommends that when he does so she should feign indifference.

Bastienne departs to tend to her flock, and Bastien now arrives. He joyfully tells Colas that he has seen the error of his ways and is looking forward to being reunited with Bastienne. Colas congratulates him on his decision but warns him that he is too late and that Bastienne now has another admirer. Bastien, distraught, urges Colas to consult his Book of Magic. Colas casts a terrifying hocus-pocus spell, after which he predicts that Bastien will be able to win Bastienne back if he works hard to take better care of her.

Bastien is left alone, and when Bastienne returns she rebuffs him, saying that he cannot be her Bastien, for he was faithful and loving. Bastien tries to persuade her that Colas has banished the malevolent forces that were overpowering his judgement, but they continue to argue until Bastien declares himself ready to commit suicide. Bastienne wishes him good luck.

Eventually, however, they acknowledge that their love for each other remains.

	GRABMUSIK, K.42/35a (original 1767 version)
1	No. 1, Recitative: “Wo bin ich? bittrer Schmerz!” (Die Seele)
2	No. 2, Aria: “Felsen, spaltet euren Rachen” (Die Seele)
3	No. 3, Recitative: “Geliebte Seel’, was redest du?” (Der Engel)
4	No. 4, Aria: “Betracht dies Herz und frage mich” (Der Engel)
5	No. 5, Accompanied recitative: “O Himmel! was ein traurig Licht” (Die Seele)
6	No. 6, Duet: “Jesu, was hab’ ich getan?” (Der Engel, Die Seele)

	BASTIEN UND BASTIENNE, K.50 (original 1768 version)
7	Intrada
	SCENE ONE
8	No. 1, Aria: “Mein liebster Freund hat mich verlassen” (Bastienne)
9	Dialogue: “Du fliehst von mir, Bastien?” (Bastienne)
10	No. 2, Aria: “Ich geh jetzt auf die Weide” (Bastienne)
	SCENE TWO
11	No. 3: Entrance of Colas
12	No.4, Aria: “Befraget mich ein zartes Kind” (Colas)
13	Dialogue: “Guten Morgen, Herr Colas!” (Bastienne, Colas)
14	No. 5, Aria: “Wenn mein Bastien im Scherze” (Bastienne)
15	Dialogue: “O, die Edelfrau vom Schloß” (Colas)
16	No.6, Aria: “Würd ich auch, wie manche Buhlerinnen” (Bastienne)
17	Dialogue: “Gib dich zufrieden!” (Colas, Bastienne)
18	No.7, Duet: “Auf den Rat, den ich gegeben” (Colas, Bastienne)
	SCENE THREE
19	Dialogue: “Dieses Liebhaberpaar ist wahrlich ein rechtes Wunderwerk” (Colas)
	SCENE FOUR
20	No.8, Aria: “Großen Dank dir abzustatten” (Bastien)
21	Dialogue: “Es freut mich, daß du endlich zu dir” (Colas, Bastien)
22	No.9, Aria: “Geh! du sagst mir eine Fabel” (Bastien)
23	Dialogue: “Das kann sein” (Colas, Bastien)
24	No. 10, Aria: “Tätzel, Brätzel, Schober, Kober” (Colas)
25	Dialogue: “Ist die Hexerei zu Ende?” (Bastien, Colas)
	SCENE FIVE
26	No. 11, Aria: “Meiner Liebsten schöne Wangen” (Bastien)
	SCENE SIX
27	Dialogue: “Da ist sie” (Bastien, Bastienne)
28	No. 12, Aria: “Er war mir sonst treu und ergeben” (Bastienne)
29	Dialogue: “O, ich sehe schon, was dich verdrießt” (Bastien, Bastienne)
30	No. 13, Aria: “Geh hin!” (Bastien, Bastienne)
31	Dialogue: “Siehe da! bist du noch hier?” (Bastienne, Bastien)
32	No. 14, Accompanied recitative: “Dein Trotz vermehrt sich durch mein Leiden?” (Bastien, Bastienne)
33	Dialogue: “Und sollte ich wohl ein solcher Narr sein” (Bastien, Bastienne)
34	No. 15, Duet: “Geh! geh! geh, Herz von Flandern!” (Bastienne, Bastien)
35	No. 16, Trio: “Kinder! Kinder! seht, nach Sturm und Regen” (Colas, Bastienne, Bastien)
	APPENDIX
36	No. 10, Aria (2nd version, 1769): “Diggi, daggi, schurry, murry” (Colas)