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3 CD
& 1 DVD - 004.2012 - (c) 2012
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Bedřich Smetana
(1824-1884)
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Die Verkaufte Braut (The
Bartered Bride) |
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Opera in three acts - Text
by Karel Sabina (1813-1877) |
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Ouverture |
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7' 10" |
CD1-1 |
1. AKT |
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52' 50" |
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- Szene 1 - "Lasst uns
jubeln, lasst uns singen" - (Marie, Jeník,
Chor) |
10' 09" |
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CD1-2
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- Szene 2 - "So soll es doch
zur Wahrheit werden heut?" - (Marie, Jeník) |
2' 06" |
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CD1-3 |
- Szene 2 - Arie: "Brichts
du je den Schwur der Treue" - (Marie) |
5' 08" |
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CD1-4 |
- Szene 2 - Rezitativ:
"Sonderbar ist deine Jugend" - (Marie,
Jeník) |
1' 14" |
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CD1-5 |
- Szene 2 - Duett: "Mit der
ersten, wahren Mutter" - (Marie, Jeník) |
8' 31" |
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CD1-6 |
- Szene 3 - "Wie gesagt,
mein lieber G'vatter" - (Kecal, Krušina,
Ludmila) |
5' 42" |
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CD1-7 |
- Szene 3 - Rezitativ:
"Freilich, Mícha, den kenn ich" - (Kecal,
Krušina, Ludmila) |
0' 59" |
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CD1-8 |
- Szene 3 - Terzett: "Ein
braver Junge von trefflichem Herzen" -
(Kecal, Krušina, Ludmila) |
4' 49" |
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CD1-9 |
- Szene 4 - Quartett: "Da
seht sie wandeln" - (Marie, Kecal,
Krušina, Ludmila) |
6' 11" |
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CD1-10 |
- Szene 4 - Rezitativ: "Jeník
gibt ja nicht nach" - (Marie, Kecal,
Krušina, Ludmila) |
2' 10" |
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CD1-11 |
- Szene 4 - Finale (Chor):
"Komm zum Tanze, holde Kleine" |
5' 17" |
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CD1-12 |
2. AKT |
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48' 00" |
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- Szene 1 - "Der Gerstensaft
ist doch ein wahrer Göttertrank" - (Jeník,
Kegal, Chor) |
6' 14" |
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CD2-1 |
- Szene 1 - Furiant |
2' 20" |
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CD2-2 |
- Szene 2 - "Lie- lie- lie-
liebes Kind" - (Vašek) |
2' 55" |
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CD2-3 |
- Szene 3 - Rezitativ: "Ihr
seid gewiss der Bräutigam" - (Marie, Vašek) |
2' 06" |
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CD2-4 |
- Szene 3 - Duett: "Ich kenn
ein Mägdlein schön und hold" - (Marie,
Vašek) |
9' 17" |
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CD2-5 |
- Szene 4 - Rezitativ: "Sie
ist schön, sag ich dir" - (Kecal, Jeník) |
0' 54" |
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CD2-6 |
- Szene 4 - Duett: "Nun,
mein Lieber, höre doch" - (Kecal, Jeník) |
10' 31" |
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CD2-7 |
- Szene 4 - Rezitativ: "Wenn
du von Marie Ablässest" - (Kecal, Jeník) |
4' 24" |
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CD2-8 |
- Szene 5 - "Wenn du
wüsstest" |
4' 48" |
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CD2-9 |
- Szene 6 - Finale: "Schnell
ihr Leutchen" - (Kecal, Jeník,
Krušina, Chor) |
4' 32" |
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CD2-10 |
3.
AKT |
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63' 00" |
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- Szene 1 - "Ich bin schon
marode" - (Vašek) |
4' 31" |
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CD3-1 |
- Szene 2 - Marsch der
Komödianten |
0' 54" |
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CD3-2 |
- Szene 2 - Rezitativ:
"Kundgetan wird dem verehrlichen Publikum"
- (Principal) |
1' 20" |
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CD3-3 |
- Szene 2 - Skočná. Tanz und
Produktion der Komödianten |
6' 21" |
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CD3-4 |
- Szene 2 - Rezitativ: "O,
das wird schön sein" - (Vašek, Esmeralda,
Indianer, Principal) |
5' 13" |
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CD3-5 |
- Szene 2 - Duettino: "An
ein goldnes Schnürchen" - (Principal,
Esmeralda) |
2' 10" |
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CD3-6 |
- Szene 3 - Rezitativ: "O,
ich bin unglüchlich!" - (Vašek, Háta,
Mícha, Kecal) |
1' 19" |
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CD3-7 |
- Szene 3 - Quartett: "Ei!
Wie! Was dieser Trotz?" - (Vašek, Háta,
Mícha, Kecal) |
3' 17" |
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CD3-8 |
- Szene 4 - "Nein, das glaub
ich nicht!" - (Marie, Krušina, Ludmila,
Háta, Mícha, Kecal) |
5' 10" |
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CD3-9 |
- Szene 5 - "Was wollt ihr
zum Guckuk?" - (Marie, Krušina, Ludmila,
Háta, Mícha, Kecal, Vašek) |
1' 19" |
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CD3-10 |
- Szene 6 - Sextett: "Wohl
bedacht, lieb Mariechen" - (Marie,
Krušina, Ludmila, Háta, Mícha, Kecal,
Vašek) |
3' 16" |
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CD3-11 |
- Szene 6 - "O welch ein
Schmerz, welch eine Qual" - (Marie) |
7' 19" |
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CD3-12 |
- Szene 7 - "Mein lieber
Schatz" - (Jeník, Marie) |
5' 27" |
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CD3-13 |
- Szene 8 - Rezitativ: "Ei,
mein Lieber, wartest du schon" - (Kecal, Jeník, Marie) |
1' 46" |
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CD3-14 |
- Szene 8 - Terzett:
"Vertraue mir, mein liebes kind" - (Kecal,
Marie,
Jeník) |
4' 20" |
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CD3-15 |
- Szene 9 - Finale: "Sprich!
Hast du, Mariechen, auch wohl bedacht" -
(alle, Chor) |
5' 43" |
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CD3-16 |
- Szene 10 - "Rettet euch,
der Bär ist los!" - (alle, Chor) |
4' 16" |
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CD3-17 |
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BONUS: Film 1 - "Die
verkaufte Braut" (The track numbers on
the DVD and the CDs are identical) |
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180' 00" |
DVD
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BONUS: Film 2 - Nikolaus
Harnoncourt probt "Die verkaufte Braut" |
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16' 00" |
DVD |
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Anton
Scharinger, Krušina, a
paesant (Bariton) |
Philippe
Harnoncourt, Stage direction |
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Elisabeth
Kulman, Ludmila, his wife
(Mezzosopran) |
Judith
S. Morgane, Stage manager |
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Dorothea
Röschmann, Marie, their
daughter (Sopran) |
Christina
Russ, Lighting manager |
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Yasushi
Hirano, Mícha, a landowner
( Bass) |
Christian
Bader, Technical direction |
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Elisabeth
von Magnus, Háta, his wife
(Mezzosopran)
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Daniel
Huber, Model making |
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Markus
Schäfer, Vašek. their son
(Tenor) |
Bettina
Dreissger, Costume support |
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Kurt
Streit, Jeník, Mícha son
by a former marraige (Tenor) |
Lydia
Schoberwalter, Costume manager |
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Ruben
Drole, Kecal, a
marraige-broker (Bass) |
Susanne
Malik, Make up |
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Heinz
Zednik, Principal,
ringmaster (Tenor) |
Werner
Kmetitsch, Photographer |
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Bibiana
Nwobilo, Esmeralda, dancer
and comedienne (Sopran) |
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Nenad
Marinković, Indianer, an
Indian comedian (Tenor) |
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Arnold Schoenberg
Chor / Erwin Ortner, Choir
director / Michal Kucharko, Assistant |
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Chamber Orchestra
of Europe
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Lorenza
Borrani, Violin (concert master) |
Woward
Penny, Violoncello |
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Maria
Bader-Kubizek, Violin |
Luis
Zorita, Violoncello |
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Sophie
Besançon, Violin |
Enno
Senft, Kontrabass |
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Fiona
Brett, Violin |
Denton
Roberts, Kontrabass |
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Christian
Eisenberger, Violin |
Lutz
Schumacher, Kontrabass |
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Lily
Francis, Violin |
Clara
Andrada, Flute |
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Matilda
Kaul, Violin |
Eilidh
Gillespie, Flute |
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Sylwia
Konopka, Violin |
Ricardo
Borrull, Piccolo |
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Stefano
Mollo, Violin |
Kai
Frömbgen, Oboe |
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Fredrik
Paulsson, Violin |
Tjadina
Würdinger, Oboe |
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Joseph
Rappaport, Violin |
Michael
Whight, Clarinet |
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Hĺkan
Rudner, Violin |
Marie
Lloyd, Clarinet |
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Aki
Sauličre, Violin |
Matthew
Wilkie, Bassoon |
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Henriette
Scheytt, Violin |
Christopher
Gunia, Bassoon |
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Gabrielle
Shek, Violin |
Peter
Francomb, Horn |
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Annika
Thiel, Violin |
David
Tollington, Horn |
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Martin
Walch, Violin |
Jan
Harshagen, Horn |
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Malin
William-Olsson, Violin |
Peter
Richards, Horn |
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Pascal
Siffert, Viola |
Nicholas
Thompson, Trumpet |
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Gert-Inge
Andersson, Viola |
Julian
Poore, Trumpet |
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Claudia
Hofert, Viola |
Helen
Vollam, Trombone |
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Simone
Jandl, Viola |
Karl
Frisendahl, Trombone |
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Wouter
Raubenheimer, Viola |
Nicholas
Eastop, Trombone |
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Dorle
Sommer, Viola |
Jen
Bjợrn-Larsen, Tuba |
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William
Conway, Violoncello |
Dieter
Seiler, Timpani |
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Luise
Buchberger, Violoncello |
Karin
Meissl, Percussion |
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Tomas
Djupsjöbacka, Violoncello |
Daniel
Piedl, Percussion |
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Nikolaus
Harnoncourt, Dirigent
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Luogo e data
di registrazione
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Helmut-List-Halle, Graz
(Austria) - 2 luglio 2011 |
Registrazione
live / studio
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live |
Producer / Engineer
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Helmut Gesslbauer / ORF
Steiermark / STYRIARTE Festspiele |
Prima Edizione
CD
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Styriarte - 004.2012 -
(3 cd) - 60' 00" + 48' 00" + 63' 00" -
(c) 2012 - DDD
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Prima
Edizione DVD
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Styriarte - 004.2012 -
(1 dvd) - 196' 00" - (c) 2012 - NTSC
16:9 - Stereo
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Notes
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THE
RECOVERED BRIDE
The
premiere of the authentic German
version
When Nikolaus Harnoncourt
presented the styriarte 2011 central
project, Smetana’s The Bartered
Bride, at a styriarte 2010 press
conference, it went without saying that
the version performed would be the
poetic 1892 translation by Brahms’
Viennese biographer, Max Kalbeck. It
was this version, not the Czech
original, which became a worldwide
success after conquering the Vienna
stage, and it was this version that
seemed to us to be the closest to the
original, despite the fact that Kalbeck’s
flowery depiction of Bohemian provincial
life does not exactly correlate to the
social realities Smetana describes.
A seed of doubt, however, had already
been sown at the press conference. Being
familiar with Nikolaus Harnoncourt’s
text-critical work methods, styriarte
had commissioned a literal translation
of Smetana’s opera. By studying this
literal translation, Harnoncourt became
ever more aware of the fact that Kalbeck’s
translation, despite its virtues, had
essentially created a different opera.
The many other translations which were
then considered for the project were
deemed unsuitable for one reason or
another and so, in autumn 2010, it was
back to the drawing board for us.
Help came in the form of a coincidence,
a deus ex machina if you will, when we
discovered a printed piano score of
Prodaná nevĕsta
- The Bartered Bride - from 1872 in an
online antiques catalogue. We bought it
as it might prove to be a worthwhile
source, and it turned out to be the
piano score that Smetana himself had
written and published two years after
the final version of the piece had been
performed in Prague - the first ever
published piano score of a Czech opera.
To our delight, we discovered a complete
German text, which had been added to the
score under the original Czech text, but
the author was still unknown to us.
Smetana had meticulously inserted the
text and adapted the notes to each text
version. This was obviously an edition
to be used for performances.
Nikolaus Harnoncourt’s initial reaction
to the text was excitement. This was
obviously a German text that Smetana
himself had used, and it was an
excellent one! His second reaction was
the discovery of a problem. All of the
musical numbers were included in the
score but none of the recitatives. The
anxious question as to where to find the
German recitatives therefore remained.
At that point, we suddenly remembered a
certain passage in Smetana’s diary from
1869 in which he wrote that he had paid
a certain Emanuel Züngel 45
florins for a translation into German.
Furthermore, Smetana scholar František
Bartoš had written in an
essay that Smetana had personally added
it to his autograph score in red ink.
The autograph score of The Bartered
Bride, however, cannot simply be
taken from a bookshelf lika a facsimile
edition of Mozart’s Idomeneo,
or accessed like a data file of
Gershwin’s Porgy and Bess from
the Library of Congress. There is no
copy to lend; it can only be found in
the vault of the Smetana Museum in
Prague. If we wanted to find the missing
text segments, we had to go to Prague.
I was very warmly received in the
Smetana Museum, on the banks of the
River Vltava, where I was given three
volumes, one for each act of The
Bartered Bride. Smetana’s immortal
masterpiece in his own handwriting! Such
a sacred object must of course only be
handled with white gloves, though the
natural awe it inspires had to be
quickly set aside; there was work to be
done. There are approximately 600 pages
of notes, all in beautiful script, with
the Czech text in Latin letters and the
complete German translation inserted in
red ink in German kurrent script. In the
recitatives, which were the main reason
for my visit, I found not only the
German text written down in red ink, but
also slight and subtle changes in the
music, due to German declamation.
Therefore, I had to copy not only the
German text in the recitatives, but also
the music.
By the time the museum closed for the
night, I had just finished
my work. for the next few
weeks, the styriarte office in the
Palais Attems in Graz was turned into a
publishing house. Working closely,
nearly daily with Nikolaus and Philipp
Harnoncourt, we transformed the treasure
we had unearthed into a piano score for
our production in Graz. In December the
score was completed and the singers
could finally begin to learn their new
parts.
Further investigations have left no
doubt that styriarte 2011 would be
presenting the German version of The
Bartered Bride that Smetana
himself had commissioned for audiences
outside of his homeland but which was
never performed, neither during his
lifetime, nor after his death. Hence,
the audience in Graz enjoyed a world
premiere in 2011, the original
performance of the forgotten first
German version of the Bartered Bride,
commissioned by the composer himself,
translated by the poet Emanuel Züngel
and reconstructed by the styriarte team.
Only later did we discover how amazingly
closely the 1869 translation by Emanuel
Züngel resembled the
literal translation we had commissioned
in 2010 from Kateřina Černá,
a young Graz Slavist.
Mathis
Huber
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Nikolaus
Harnoncourt (1929-2016)
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