SUSANNE RYDEN - Soprano

SUSANNE R Y D E N
-
Soprano
Two centuries of Italian music
Two centuries of Italian music, in this that the solo voice was singled out in
selection by SusanneRydin, illustrate the earnest and musical form was subebb and flow of the classicaldispute about ordinated to emotive expression of the
which has primacy in the art of singingtext.Thisnew monodicstyle, championed
the music or the words.
by Giulio Caccini, flourishedonly briefly
PhilippeVerdelottorepresents the 16th in its perfected form - the recitative
century, more particularly the early imitation of speech was soon rejected as
decades when Flemish and French being too amorphous. Even composers of
polyphonic compositions were bonded Caccini's generation tended to include
tomoremonophonic Italian types of song. occasional arioso sections of a more
This resulted in the madrigal, a multi- regular character, aswell as dancerhythms
voiced, expressive setting of
(a style that in sacred music is described
generally on the subject of s 1 i ~ R E i ~ as
2 mixed or hybrid, "stile misto o
unattainable love. Verdelotto composed imbastardo").
madrigals for four voices but often
Alessandro Grandi, assistant to
highlighted the upper partwith descriptive Monteverdi at St Mark's in Venice, is one
bursts and figures. It is therefore hardly of the masters of this new soloistic
surprising that his madrigalswere already development in religious music. He
being published in 1536 in arrangements frequently achieves an almost perfect
that transformed the three lower parts balance bctween free and regular passages
into a lute accom animent.
as well as between textual expression and
Verdelotto catcKes the cadences of the musical cohesion. This is particularly
Italian lan uage and is able to mirror its evident in his settings of love poetry from
changes o temperament in the music. the "Song of Songs".
Thestyle is, however, still restrained, even
In the duet by Tarquinio Merula,
harking back at times to the strict verse Cantate Jtrbilate, there is a similar
forms of the late medieval compositions. alternation between short sections in
Itwasnot until the endof the 16th century contrasting styles, though this verbal
f
ornamentation of the refrain "Praise
Father, Son and Holy Ghost" does not
providemuch scope for affectivepainting.
The piece witnesses more to Merula's
primary role as an organist and violinist
who delighted in experimental
instrumental music in the manner of
Frescobaldi and Castello.
Claudio Monteverdi, the $rand master,
is represented here by some hghter pieces.
The three secular songs come from
"Scherzi musicali", Monteverdi's
collections of musical 'ests. The texts are
ready-made for t e metres and
proportions of the dance. With the verses
joined together by instrumental ritornelli,
these scherzi are not far removed from the
pastoral and comic interludes in early
tra 'c opera.
~ f e m u s iof
c ~ l e s s a n d r ~carlatti
o
has a
tonal lan age that is perha s associated
morereaywithBach,Viv a! diandabove
all Handel.Today, Scarlattiis best known
for a couple of cantatas with virtuoso
trumpet parts, some mediocre orchestral
works and for the unfair reputation of
havinginvented that characteristicfeature
of Nea olitan opera, the aria da capo. In
fact, e!lt six hundred and more solo
cantatas by his hand contain far greater
musical treasures. At his best, Scarlatti
h
dis lays an understanding of harmon
anBcounterpart that is fuIly e4ua! t o ~ a c g
- fugues, canons, genuine twelve-tone
themes and the most unexpected
modulations. But unlike Bach, his
intention is never to explore and codify
knowledge; the aim, rather, is to enhance
the ex ressive character of vocal music.
Scar atti furthered the distinction
between recitative and aria. The practice
of word paintin in recitatives (descending
notes in the Jeclamation of "d in
extendedcoloratura for " flyin ",aJspf$
of baroque singing styles to iBustrate the
nightingale's lament, and so on) ivesway
to the aim of expressingthe psyc ological
niceties of a situation and rounding out
the rather conventional characters
portrayed by the text (as in Belka Madre
de'Fiori, where Clori, pining for Fileno,
seeks comfort in bird song and flowers).
The arias in turn focus on a particular
imageor emotion andexpress this inways
that admit ingenious compositional
characterization and bravura performance.
P
a
Mins TengnCr
Translation by Patrick Hort
Alessandro Scarhtti
Bella Madre de' fiori
Thou lovely mother of flowers
Bell? Madre de' fiori
,
Rec.
tu rimml vezzosa
a s argere nel suol soavi odori
e &Ida e pietosa al suon dell'aure
e de$i augelli al canto
tena arrestare al mio gran duolo il pianto:
ma pur forza t che mesta
lontana dal be1 Idolo ch'adoro
piango l'ora funesta che mi rapi dal seno
11 mi0 m o m
e sol pub consolar quest'alma fida
o &lo torni a goderlo
0'1 duo1 m'uccida
Thou lovely mother of flowers
Who returns graciously
to cover the earth with sweet scents.
Calmly, mercifully
to the tone of birds' songs on high
trylng to ease my tears, my great pain.
But, alas, there is no choice -sorrowful
and far removed from my handsome idol
whom I adore I mourn the dark hour
that tore my loved one from my breast
and the only comfort I can give my faithful soul
is that if I cannot love him
the pain will take my life.
Tortorella dai flebili accend
io comprendo ch'ai lungi il tuo bene
O r sepali a noi sono le pene
giust'e ancor che sian pari ai lamenti.
Aria
Tiny dove with thy weak song
I think thy love, too, must be far away.
If we are sufferingthe same pain
it's right for us to raise the same lament.
Onda chiara veloce tra scogli
lieta corn a mvare il mo vnante
deh ytessi almen dare un istante
anch io tregua a' miei fieri cordogli.
White wave, rapid amongst the stones
cheerily thou runs to meet thy love
O h that my great suffering, at least for a moment,
might find surcease.
Ah Pieno, Pileno
Ree.
adorata cagion de' miei mvdri
misera Clori
per te si strugge e langue la
e tu non r i d
dimmi forse no1 credi.
Oh Fileno, Pieno
Thou cherished cause of my suffering
Thy poor Clori will pine and wail
if thou dost not renun.
Tell me, perhaps I will not be believed.
Aria
Vanne o car0 su le sponde
ove il mar freme incbstante
e vedrai correr quell'onde a dar baci le me
Go, my dear one, to the shore
where ihe sea roars uneasily
and thou shall see the waves m h
to kiss thy feet
beause they bear, God knows,
their own water
and my tears.
perchi portano oh Dio
mieme queltacque
il pianto mio.
Rec.
Ma folle e con chi parla
a chi mercede io chieggo
se non m'ascolta
e non ub darmi aita
chi l'zma m'ha rapita.
Abborita lontananza
troppo crud0 Y1 NO velen.
Che sari se il ma1 s'avanza
man- il cor, I'alma vien men
lassa o w e per mercl.
chieggio solo un di seren.
Minuetto
Thou fearful distance
Thy poison is too cmel.
What will happen if evil approaches
my heart fails, my soul hesitates,
Ah, I beg thy mercy
please just leave one quiet day.
If thou couldst be moved to mercy
facing so much pain, thou God of love,
if my wound was made by thy shaft
then only thou canst heal it
Ah, why only for me
must thou arm thyself with cruelty?
A ied di tanto male
deK ti movi oh Dio d'amor.
Se la piaga fe'l NO strale
sol tu pol sanarla ancor
hi
sol per me
d e v ~a r m 4 cL rigor.
Cosi, la bella Clori
piangea le sue sventure
e Arnore intanto col sonno
col sonno lusiighier
la tolse al pianto.
But I am mad, and with whom will I speak,
whose help will I beseech
if he does not listen
if he annot help me
he who stole away my soul?
Finale
Thus wept the lovely Clori
of her misery
while Cupid with the aid of sleep
with librating sleep
freed her from her tears.
Philippe Verdolotto
Madonna il tuo be1 viso
My lady, your fair face
Madonna il tuo be1 vim
Che nel gran mar d'Amor m'l. duc' e scorta,
Hora tien viva mia speranz', hor morta,
My lady, your fair face
Which is my leader and guide on the great sea of
Love,
Et qual-hor scorg'in esso un be1 sereno,
Spiega la vela al vento
Senza temer di scogli' o di procella:
Ma se la luce nel camin vien meno,
di spavento,
a la vela alla sua navicella,
All' instabil tua stella
Scorre l'onde fallace a dritt' e a tono,
Et tem' e sper' e mai non vede'l porto.
Now revives myhope, and now slays it,
And whenever it sees therein fair weather,
It spreads its sails to the wind
Without fear or reefs or storms:
But if the light falls on its path,
Filled with terror, It lowers the sails of its buk,
In the light of your flickering star
It drifts hither and thither on the treacherous
waves,
And fears and hopes and never espies the port.
tp
Madonna, qual certezza
My lady, what greater proof
Madonna, q u a certeua
Haver si puo maggior del mio gran foco,
Che veder consumarmi a poco a poco?
Hiam*! non conoscete
Che per mirarvi fiso
Son col pensier da med tanto diviso
Che transformarmi sento in quel che sete:
Lasso! non v'accorgete
Che poscia chio fu pres' al vosuo Iaccio,
Arrosci' inpallidisco, ardo et aggiaccio;
Donque se db vedete,
Madonna, qua1 certeua
Haver si pub maggior del mio gran foco,
Che veder consumarmi a poco a poco?
My lady, what gteater proof
Can there be of my flame
Than to see me wasting away by slow degrees?
Ah me! you do not know
That by steadily looking on you
I am so much divided from myself in mind
That I feel myself transformed into you:
Alas! you do not realize
That since I was caught in your noose,
I blush, I grow pale, I burn, I freeze,
And so if you see it,
My lady, what greater proof
Can there be of my flame
Than to see me wasting away by slow degrees?
Madonn'io sol vorrei
My lady, I would only wish
Madonn'io som vorrei
Che volesti voler quel che vo lio io,
Et fosse'l vostro qual eylmio ksio,
Gia non v'offenderei,
Che se piacess'a voi quel ch'a me piace,
Tra noi sarebbe sempre amor e pace.
My lady, I would only wish
That you would wish to wish what I wish,
And were but your desire like unto mine,
Never would I offend you,
For if what pleases me pleased you,
There would ever be between us love and peace.
7
Madonna, per voi ardo
My lady, I burn for you
Madonna, per voi ardo,
Et voi non me'l credete,
Perche non pia quanto beUa sere:
Ogn'hora miro e guardo,
Se tanta crudel& cangiar volete;
Donna, non v'accorgete
Che per voi mor' e ardo,
E per mirar vostra belt; infinita,
E voi sola servir, bramo la vita.
My lady, I burn for you,
And you do not believe it of me,
Since you are not as kind as you are fair;
Always I look to see
If you will depart from such cruelty;
Lady,you do not notice
That I die and burn for you
And to look on your infinite beauty,
And serve you alone, I long to live.
Fuggi, fuggi, cor mio
Flee, flee, my heart
Fuggi, fuggi, cor mio
L'ingrat' e crud' Amore!
Che uopp' b grand errore,
Fars' un cieco fanciul si alto iddio.
Conosci il tempo erso,
Per una finta se coyma d'iqanni!
Esci di s e r v i esci
~ d'affam~!
Non istar, pih sommerso
In gelosia, sospetti, sdegn' e pianti!
Che'l fin de ciechi amanti
E in van pentirsi fiiir in dolore,
Fars' un cieco fanciul si alto iddio.
Flee, flee, my heart,
Ungrateful, cruel Love!
For it is too great an error
To make a blind boy so great a god.
Realise the wasted time,
For a feigning woman one is loaded with deceits!
Go forth from slavery, from labours!
Be no more whelmed
In jealousy, suspicion, humiliation and plaints!
For the destiny of blind lovers
Is to repent in vain and end in grief,
Since it is too great an error
To make a blind boy so great a god.
Ckaudio Monteverdi
Fugge il verno dei dolori
The winter of sorrows flees
Fugge il verno dei dolori
Primavera degli amori
Se ne torna
Tutt'adorna
Di fioretti
lascivetti
Ma non torni tu gih mai
The winter of sorrows flees
the spring of love
returns
ornamented
with tiny blossoms
that mock me.
But you never return
8
Filli ingrata
Di spietata
A dar fine a li miei guai
ungrateful Phyllis
you are not moved to pity
nor do you free me from my woes.
Senti Zeffiro che spira
Vedi Amor che I'arco tira,
E c'invita
A dolce vita
Vita quieta
Vita lleta
E tu sorda, e cieca ahi lasso
Neghitosa
Disdegnosa
Ti starai q u a duro sasso.
Hear Zephyr blow
See Cupid tighten his bow
inviting us
to a wond'rous life
a peaceful life
a cheerful life
And you are deaf and blind -woe is me.
You, my rejecting one,
humiliating one,
remain hard as stone.
Senti piange Tortorella
Q u a s ~afflltta vedovella,
Che non trova
Che le @ova
I1 suo errante
Caro amante
E tu viver sempre vuoi
Sola in noie
D a le gioie
Nascondendo i sensi tuoi
Hear the little dove weep
like a grieving widow
to whom no one can return
her lost
beloved one.
And you want to go on living
alone in sorrow
while from happiness
you turn your senses.
T u non sai che lieto stato
E il trovarsi accompagnato
Mira Filli
Amarilli
Quanto ode
Con suaqode
Di star sempre a Tirsi in braccio,
Filli o h quanto
Farai pianto
Se disprezzi questo laccio.
You do not know the joy
of being two
See, Phyllis,
Amaryllis
see her pleasure
see her proclaim her happiness
at sharing Tirsis' embrace
Phyllis, see what
sorrow there is in store
if you hold our union in contempt.
Quel sguardo sdegnosetto
-
That insolent gaze
Quel sguardo sdegnosetto
lucente e minaccioso
quel dardo velenoso a ferirmi il petto
belezze ond'io
tutt'ardo <son d a m e diviso
piagatemi col sguardo
sanatemi col riso.
That insolent gaze
bright and threatening
that poison shaft which pains my breast
beauty for which I
burn and which is kept from me
wound me with your gaze
heal me with your smile.
Armatevi pupille
d'asprissimo rigore
versatemi su'l core un nembi di faville
ma'l labro non s$ tardo
a rawlvarmi ucclso
feriscami quel sguardo
ma sanimi quel riso.
Arm your eyes
with forbidding sternness
pour showers of sparks onto my heart
yet your lips will not be late
to wake me when I have died from this.
May your gaze hurt me
but your smile heal me
Begl'occhi a l'armi a l'armi
io vi preparo il seno
gioite di piagarmi
in fin ch'lo venga meno
e se da vostri dardi
io resterb con uiso
ferischino
sguardi
ma sanami quel riso.
Take pleasure in wounding me
Until, at last, I faint
and if your shafts
Do vanquish me
May I be hurt by their gazes
but won over by their smiles.
Dolci miei sospiri
My sweet sighs
Dolci miei sospiri
Dolci miei martiri
Dolce mio desio
E voi dolci canti
E voi dolci pianti
Rimanete a Dio.
My sweet sighs
my sweet torment
my sweet longing
and you, sweet songs,
and you, sweet tears,
stay on, and may all be as it is now.
quJ
Lovely eyes, take up your weapons
I offer you my breast
A la ria partita
Vento, e mare invita
0 volubili hore,
Ma non pih querele
Duro Amor crudele
Ama il mio dolore.
To a hateful farewell
the wind and seas call
Ah, fickle times but I shall lament no more.
Stern, cruel Cupid
loves to see me suffer.
E se mai solena
Suoi pensier diletta
Per solingo loco,
A lei dolci canti
A lei dolcipianti
Dite del mlo foco.
And if no spark of light
brings her spirit succour
in that desolate place.
For her, sweet songs
For her, sweet tears
Tell of my ardour.
Meco mova il piede
Lamia ura fede
Come Zce oogn'hora
Voi d'intorno state
Ala gran beltate
Che per me s'indora.
May love stay, faithful,
stay with me
just as she has, every moment,
And as it is close by now
In the presence of the great beauty
who gilds my senses.
Alessandro Grandi
0 dulce nomen Jesus
Jesus, oh sweet name
0 dulce nomen Jesus,
s lendor aeterni luminis.
u salus mundi,
tu gloria coeli,
tu verus delitiarum Paradisus.
Salve mi Jesus,
ad te toto corde venio;
quia amore tui Langueo.
0 flamma vitalis
in divina caritate ardere.
0 mors uiumphalis,
in nomine Jesu vitam terminari.
0 Jesus, sitio pro te,
Jesus, oh sweet name,
Sheen of the everlasting light
Thou redeemer of the world.
Thou delight of heaven
Thou true paradise of joy
Redeem me, Jesus.
I seekThee with all my heart
As I am sick with love of Thee.
Oh flame of life,
To burn in divine love.
Oh death in triumph,
To end my life in Jesus' name.
Oh Jesus, I thirst for thee
Q
quam pulchra es, formosa mea,
o quam tu pulchra es.
Oculi tUi columbarum,
capilli tui sicut greges caprarum
et dentes tui sicut greges tonsarum..
0 quam tu ulchra es.
Veni, veni Libano,
veni, arnica mea, columba mea, formosa mea.
0 quam tu pulchra es,
venl, veni, coronaberis.
Surge, surge, propera,
surge sponsa mea, surge, dilecta mea, surge,
immaculata mea.
Surge, veni.
Q u ~ amore
a
langueo.
2
Thou an fair, my beauty
Oh how fair thou art
Thine eyes are as the eyes of doves
Thy hair as herds of goats
And thy teeth are as a flock of ewes
Oh how fair thou art.
Come, come from Lebanon
Come, my love, my dove, my fair one.
Oh how fair thou art.
Come, come thou shalt be crowned
Rise up, rise up, away,
rise up my bride, rise up, my love, rise up,
my undefiled.
Rise up, come,
as I am sick with love.
Tarquino Merula
Cantate Iubilate
Sing, celebrate
Cantate, iubilate, exultate et psallite
Alleluia
Gloria Paai
qui nos creavit
Alleluia
Gloria Filio
qui nos redamit
Alleluia
Gloria Spiritui Sancto
qui nos sanctificavit
Alleluia
Sing, celebrate, rejoice and sing psalms
Hallelujah.
Praised be the Lord
our Creator,
Hallelujah.
Praised be the Son
who has delivered us.
Hallelujah.
Praised be the Holy Spirit,
our Sanctifier.
Hallelujah.
Alessandro Scarlatti
I1 Ruosignolo
Qui dove a1 fin m'assido odo mesto usignol
che si larnenta
Ed or che sono in questi orror notturni
he Nightingale
Here, as I settle down at last, I hear the mournful
nightingale's lament.
And now I am siezed with nocturnal terror
13
I1 doloroso canto tacito e sol vo'accompagnar
col pianto.
Ben che amaro si f i car0
il penar quand'altri pena.
E car0 il enar quand'altri pena.
Par che d?ca l'altrui duolo
In penar non sei N solo
Datti pace e il duo1 raffrena
M i o h Dio che ogni dolore
Quanto diletta ~ i htant'k
,
maggiore
Lo si, lo s i pur ~ o p p o
Quel misero augeletto
Che sfogando il suo affetto.
D i quel duo1 che l'accora
Sempre pih s'addolora
Lento prima incornincia
E tutto pende da una tremola voce
E par che mora
Quando rinforza il fiato
E resto ascende,
trila, scioglie pih note
E ~ osospira
i
poi cessa e si ritira
Mormorando nel sen ~ r o f u n d enote
Indi irato si scuote, si sfeda,
si r i s ~ o n d e poi s'ascolta
Ed agitando in mille guise e mille la gola
armoniosa
Tal o r si stanca m i non mai riposa.
Quel be1 canto t si grato
Che al mio cor la pena molce
E addormenta ogni dolor.
Pur deliro e sospiro
Che quel canto ch'k si dolce, dolce
Fa ch'io pensi al core ingrato
Ch'il mio cor che l'arno tanto, tanto
sol tradi per d u o arnor.
and, silent and lonely, I add my tears to the
suffering song.
Although it is a bitter thing, it is also fine
To suffer when others are suffering.
It is good to suffer when others are suffering.
The suffering of the others seems to say
that you are not alone with your pain
Brings you peace and curbs your misery.
But, oh God, how each pain
is enlarged with each sense of pleasure
and this he knows, unfortunately knows
the unhappy little bird.
And as he ventilates his love
the pain in his heart
grows more sorrowful still.
He begins slowly at first
And everything hangs on one trembling tone
that seems to fade away
until he gets his breath
And it rises rapidly,
uills, plays different notes,
to sigh, hesitate and withdraw
as be rumbles deep notes from his chest
then ruffles himself roughly up, shouts something
to which he himself replies and listens.
And he hears his melodious song
in many thousand different ways.
Sometimes he tires, but yet he never rests.
His song is so lovely
that the suffering in my heart is consoled
and all my pain sleeps.
Still I pine and sigh
as this lovely, lovely song
reminds me of the ungrateful heart
that abandoned my heart,
wich had loved it so dearly, for another love.
Per dar lampo a tuoi
lumi maggiore
Per dar lamPo a tuoi lumi maggiore
tolsi amore dal ciel le faville
ma vedute si ciare pupille
rese a gl'astri il rapito s~lendore.
Pianse I'alba e la stilla cadente
s'indurb nella conca del riso
rise il ciel et a1 sol del be1 viso
formb l'arco pih vago e lucente.
To make your eyes shine brighter
To make your eyes shine brighter
I stole, my love, the stars' spark from the sky
but when I found how brightly your eyes shone
I returned to the stars their stolen sheen.
The dawn wept and the star which fell
froze on the smiling firmament
The skies smiled and made the lightest loveliest
arch
in the sunshine of that lovely face.
PETER C R O T O N was born 1957 in New at the Consewatoire in Paris. Today he is a
York Ci . H e began classical guitar lessons in trumpeter in theorchestre duTheatreinReims,
1969 w i x Leon Atkinson, and subse uently as well as being a trumpet teacher.
William Dongois has specialised in the music
studied lute and guitar with Loris 01annes
Choanian at the Oberlin Conservatory of fromthe 16thand 17thcenturies. Hehas studied
cornet
with Jean Pierre Canihac and at the
Music. After raduating from Oberlin in 1979
with a " ~ a c i e l o rof Music" Peter Croton Schola Cantorum in Basel with Bruce Dickey.
continued lute studies with EugenM.Dombois Inrecent ears,WilliamDon ~ i s h a s ~ e r f o r m e d
och Hopkinson Smith at the ScholaCantorum and m a L recordings witk ensembles and
Basiliensis in Basel, Switzerland. In 1984 he outstanding soloists includingJordi Savall, RenC
w o n first prize a t the "Erwin Bodky Jacobs, Jan Koopmann, ConcertoPalatino, and
Competition for Early Music" in Cambridge, others. H e also plays with newer ensembles
Massachusets, and has also won prizes at including Pontormo, Le Consert BrisC and Le
international competitions in New York City Genice, winner of the 1990 Early Music
and Toronto. Peter Croton performs and Ensemble Competition in Brugge.
records fre uently throughout Euro e as a
soloist and &amber musician, and teacfes lute A N N WALLSTROX, violin, studied at the
andcontinuoattheScholaCantorum Basiliensis RoyalCollegeofMusicinStockholm, rimarily
and the Conservatory of Music in BielIBienne, for Professor Josef Griinfarb, and !as been
engaged mainly in various forms of chamber
Switzerland.
muslc, f o r instance w i t h I Q u a t t r o
WILLIAM D O N G O I S was born in Langis, Temperamenti, Drottnin~holm's,Baroque
France. H e studied trumpet in Reims and then Ensemble and, as first vio lnlst, w ~ t hBach-
15
Colle ium Stockholm. As soloist she appears
annua%y at the Iceland Festival of Baroque
Music, where she is also director of studies and
artistic director for the festival chamber
orchestra. As an instructor in baroque
performance she has worked for the colleges of
music in Stockholm and Malmo, Sweden, as
well as in ReykjavikShe has made several
records andperformed on radio and television.
Karajan Academy in Berlin. From 1983- 89she
was alternatin solo cellist in the Court
Orchestra and t t e Ro al Opera in Stockholm
and has now launchelan independent career,
playinginanumberofBaroqueensemblesand
alsoperformingmorerecentmusic, for instance
with the Pollicino Ensemble. She has given
concerts in other Scandinavian countries as
well as in other parts of Europe, Australia and
China.
BJORN G ~ ~ F V E Rstudied
T
organ and
harpsichord at the Royal College of Music in
Stockholmandhasconcentratedonearlymusic.
He performs regular1 with leading. Swedish
ensembles and cioirs, for Instance
Dr~ttnin~holm's
Baroque Ensemble, BarockModem, Adolf Fredrik's Bach Choir and Eric
Ericson's Chamber Choir. The countries in
which he has given concerts include Australia,
China,Japan and the Soviet Union. He has also
participated in a number of recordings and in
performances on radio and television.
MARIT BERGMAN studied violin for Otto
Kyndel and Gosta Finnstrom at the Royal
College of Music in Stockholm and has been an
independent musician for many years, playing
mainly in the Court Orchestra, the Radio
Sweden Symphony Orchestra and the
Drottningholm Theatre Orchestra. She also
articipates in a number of baroque ensembles,
for hstance~apella~uova,
the~rottnin~holm
Baro ue Ensemble and Bach-Collegium
~ t o c d o l mShe
. has taken part in a great many
concerts, tours and recordings both in and
A ~ ~ A ~ ~ ~ ~ ~ ~ ~ s tatut hde i~ de sdb ec r e~outside
l l o Sweden.
Institute of Music in Stockholm and at the
THIS RECORDING took place in Peuuskyrkan, Stocksund, on May 4 - 6, 1990. The
recording engineerwas Bertil Gripe who used a Fostex D-20DAT and a AKG C422 stereo
microphone. Digitally editied. Glassmaster: CD-mastering, Malmo. Manufactured by
DanDisc, SaksLbing, Denmark. Produced by Erland Boethius. Cover design: Cecilia
Billstrom/I~v1sl~~~
GRAPHICS.
Coverphotographs: Cecilia Billstrom and Nikolaus Frank.
Translation of song texts: Linda Schenck, Blenda Holm61 and Gunilla Carlson.
O & 8 1990 PROPHONE
MUSICm, Stockholm, Sweden.
MADE I N DENMARK

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