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1 LP -
1C 063-30 103 - (p) 1972
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1 CD - 8
26469 2 - (c) 2000 |
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1 CD -
CDM 7 63430 2 - (c) 1991 |
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ROMAN
DE FAUVEL |
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DIE KARRIERE UND
DIE HEIRAT DES ESELS "BETRUG" |
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- Fanfare
(instrumental)
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0' 26" |
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Ci comenche le
Livre de Fauvel
(Sprecher) |
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1. Favellandi
vicium
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1' 47" |
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- Fauvel ne
giest mès en estable (v.
11) - (Sprecher)
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0' 21" |
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2. Quare
fremuerunt gentes et populi?
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0' 59" |
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Fortune, contraire a Raison
(v. 23) - (Sprecher)
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0' 35" |
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3. Mundus a
mundicia dictus per contraria |
0' 54" |
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- De Fauvel
descent Filaterie (v.
247) - (Sprecher)
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0' 42" |
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4.
In Mari miserie, maris stella |
0' 40" |
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- Saint Pere
vesqui sans richece (v.
563) - Hé las! com
mal entendement (v. 576)
- (Sprecher) |
0' 32" |
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5. Quasi non
ministerium (Quadruplum) - Trahunt in
pricipia (Triplum) - Ve, qui gregi
deficiunt (Motetus) |
1' 56" |
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- De Fauvel
bien oy avez (v.
1227) - En un
faudestuel fu assis (v.
1253) - (Sprecher) |
3' 49" |
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6.
Ad solitum vomitum (Motetus) |
1' 04" |
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- Entour le
sire qui est fauve (v.
1655) - Par la sale en
tour les piliers
(v. 1669) - Lors ne s'est
pas Fauvel teü (v. 1673)
- (Sprecher) |
2' 41" |
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7. Porchier
mieux estre ameroie
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1' 18" |
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- Trestout me
vient a volenté (v.
1715) - Or ay je pensé
d'autre part (v. 1749) -
(Sprecher) |
1' 02" |
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8.
La mesnie fauveline (Motetus)
- J'ai fait
nouveletement amie (Triplum) -
Grant despit ai
je, Fortune (Tenor) |
1' 04" |
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Sans regarder raison ne loy
(v. 1785) - Quand sire
Fauvel ot oy (v. 1837) -
Deux roez ot
devant Fortune (v. 1931)
- (Sprecher) |
1' 35"
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9.
Ductia (instrumental) |
0' 58" |
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Je suis Fortune, et une et
forte (v. 2179) -
(Sprecher) |
0' 45" |
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10.
O varium Fortunae lubricum |
1' 01" |
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Entent, beste au tant mal
renom (v. 2259) - Mon segont nom
est Destinée (v. 2269) -
(Sprecher)
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1' 19" |
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- Mon
tiers nom est Cas
d'Aventure (v.
2281) - Du quart nom
sui Fortune dite (v.
3131) - (Sprecher) |
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11.
Douce dame debonaire!
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2' 09" |
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Vez la Vaine Gloire, la belle
(v. 3157) - Favel, ce te
sera, par m'ame (v.
3179) - (Sprecher) |
0' 30" |
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DIE HOCHZEIT DES
ESELS "BETRUG" IN PARIS UND DAS
TURNIER DER TUGENDEN UND TEUFEL
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Fanfare (instrumental) |
0' 56"
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Entre deus braz d'une riviere
Siet (v. 12) -
(Sprecher) |
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12.
Servant regem misericordia
(Duplum) - O Philippe,
prelustris Francorum (Motetus) |
2' 05"
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La voult Fauvel faire ses
noces (v. 53) - Yvresce,
Outrage et Ribaudie (v.
65) - (Sprecher) |
0' 37"
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13.
Por recouvrer alegiance des maux
que je trai (mit Laute) |
3' 36" |
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Mais, par une especiauté
(v. 201) - Chasteté et
Religion (v. 217) - Sapience et
Verité (v. 230) -
(Sprecher) |
3' 36"
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14.
Favel est mal assegné |
1' 38" |
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Trompeurs saillent, si
cornerent (v. 385) -
(Sprecher) |
0' 46" |
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15.
Quant je le voi ou voirre cler
(Triplum) - Bon vin doit l'en
a li tirer (Motetus) |
1' 14" |
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Vins i ot bons et precieus
(v. 431) - (Sprecher) |
0' 25" |
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16.
Danse royale (instrumental) |
2' 33" |
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Cors sonne, trompes et araines
(v. 555) - La nuit vint,
qui le jour efface (v.
605) - Lors vi le
jour cler et luisant (v.
709) - (Sprecher) |
1' 10" |
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Fanfare (instrumental) |
1' 10" |
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Mais par grant prerogative
(v. 799) - Virginité qui
l'atendi (v. 1177) - Fortune a val
est descendue (v. 1459)
- (Sprecher) |
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17.
Thalamus puerpere (Triplum) -
Quomodo
cantabimus (Motetus) |
1' 43" |
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Fauvel si a ja tant jeü
(v. 1553) - Hé las!
France, con ta beauté
(v. 1636) - (Sprecher) |
0' 45" |
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18.
Celi domina (Triplum) - Maria virgo
virginum (Motetus) - Porchier
mieuz estre ameroie
(Tenor) |
1' 02" |
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Douz Jhesucristins, cueur
Fauvel seüre (v. 1785) -
(Sprecher) |
1' 00" |
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19.
Garrit Gallus flendo dolorose
(Triplum) - In nova fert
animus mutatas (Motetus) |
1' 59" |
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20.
Onnipotens domine (Motetus) -
Flagellaverunt
Galliam (Tenor) |
1' 30" |
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Ferrant fina, bien deust finer
Fauvel (v. 1799) - Explicit
expliceat - (Sprecher)
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0' 46" |
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STUDIO DER FRÜHEN
MUSIK / Thomas Binkley, Leitung
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Jean Bollery, Sprecher |
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Andrea von Ramm, Mezzosopran,
Harfe
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Willard Cobb, Tenor |
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Richard Levitt, Altus |
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Lucy Craig, Sopran |
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Sterling Jones, Lira, Fidel
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Johannes Fink, Fidel |
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Thomas Binkley, Laute |
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Karl-Heinz Klein, Bariton |
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Robert Eliscu, Schalmei |
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Caroline Bergius, Schalmei |
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Luogo
e data di registrazione |
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Séon-Studio,
München (Germania) - dicembre 1970 |
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Registrazione: live /
studio |
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studio |
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Producer / Engineer |
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Gerd
Berg / Dieter Tomsen
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Prima Edizione LP |
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EMI
Electrola "Reflexe" - 1C 063-30
103 - (1 lp) - durata 49' 19" -
(p) 1972 - Analogico |
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Prima Edizione CD |
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EMI
"Classics" - CDM 7 63430 2 - (1
cd) - durata 49' 19" - (c) 1991 -
ADD |
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Edizione CD |
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EMI
"Classics" - 8 26469 2 - (1 cd) -
durata 49' 19" - (c) 2000 - ADD |
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Note |
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- |
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ROMAN DE
FAUVEL
The
culmination of Gothic art, à
monumental "Singspiel" (lit.
"sung play") of the
fourteenth century spoken
drama rich in monodic and
polyphonic musical numbers,
the starting point for
Philippe de Vitry's "ars
nova": FAUVEL is all of
these things in one. In
addition to the text and
musical score, Manuscript
"E" (Paris, Bibl. Nat., fr.
146, facsimile edition by
Pierre Aubry) contains a
series of extremely
beautiful miniatures
illustrating various phases
in the development of the
plot, the multiple-level
stage and even
of stage properties - indeed
rich stimulation for a
producer of
the work. In other words, in
FAUVEL we have an allembracing
work of
art, an audio-visual “Gesamtkunstwerk"
as il were.
The story
related in the Book of
Fauvel is in itself also
higly interesting, fort it is
a crytically formulated
protest against the
Establishment, “heretical”
criticism of the King and
the Church. Oddly
enough, it sprang from a
circle of three officials to
the King of France, one of
whom later became a bishop:
Gervais du Bus, Raoul Chaillou
du Pesstain and Philippe de
Vitry.
In the years 1310 to 1314,
Gervais du Bus, a notary in
the royal chancellery at
Paris, wrote the “Singspiel”
in two books (containing some
3,300 verses) about a fallow
ass named "Humbug"
or "Fauvel".
Book I,
"The
Career of the Ass 'Humbug'",
exposes the disposition of the
State and the Church toward
misrepresentation and
defrauding. Book II, "The
Marriage of the Ass 'Humbug' to 'Vain
Glory'", points to the
dishonesty and avarice of
persons in public authority.
In an epilogue of 80 verses
Gervais du Bus tells how the
marriage of the two produced
countless little “Fauveaus” (i.e.,
“faux veaus” meaning “false
calves”) which have
contaminated the entire world
ever since. Excerpts of du
Bus’ work (the spoken text)
are presented on side I of
this record.
Beginning in 1316, a number of
his friends and colleagues -
among them Chaillou du
Pesstain and several Parisian
composers - saw cause to
develop the work further, both
text-wise and musically.
Chaillou du Pesstain simply
revised Gervais’ texts to
Books I
and II,
but replaced his epilogue by a
splendid additional section
containing 1,780 verses,
entitled "The
Wedding of the Ass 'Fauvel'
and the Tournament of Virtues
against Vices". By adapting
older songs and texts or
composing new ones (some
monodic, some polyphonic),
Philippe de Vitry and other
composers expanded and
developed the
work into a magnificent
“Singspiel”. Of the five
motets Philippe composed for
it, special mention must be
made of “ln nova fert/Garrit
gallus” (No. 19 on Record
Side 2) with which he raised
the style known as “ars
nova” to new heights. Songs
No.s 2 and 11 contain
“ballades", No.8 and
“Porchier” (Nos. 7 and 18),
however, are “rondeaus”.
Gervais’ idea of drawing the
figure of Fauvel as an ass
was taken from the old
French saying “savoir de la
fauve asnele” (to know about
the fallow, or false,
she-ass) which simply means
“to be a master rogue”.
The widespread allegorical
thinking in the thirteenth
century, resulting in
particular from the famous
“Roman de la Rose",
contributed strongly toward
the custom of using the
fallow ass “Fauvain” to
depict deceitfulness and
fraudulence. Jacquemart
Gielée around the time of
1280 and others wrote
“estrillier Fauvain” (to
curry Fauvain, the fallow
ass) to mean "to
be a humbug".
Gervais du Bus then
developed his own variation
of the name, "Fau
- vel"
from "Faux
- viel" which means "aged"
deceit, the habit of
cheating that is so old and
deeply embedded as to have
become a tradition. The “vain” in
the name Fauvain inspired
him to marry Fauvel to a
lady named "Vaine
Gloire" (Vainglory).
In
Book I we see how Fauvel,
living in the most menial
spot in the house - the
stable - with only a small
crib to call his own,
begins to thirst for
wealth and recognition.
Having grown ambitious, he
then sets up residence in
the great hall on the main
floor and has a gorgeous,
high hay-rack built for
himself.
Contrary to all reason,
Dame Fortune makes him
lord of the house (i.e.,
the world). Kings, dukes,
counts, viscounts,
provosts, high bailiffs,
burghers from all about
and even farmers from the
countryside stream into
the house to curry him
(that is, to pay homage to
humbuggery). Barefooted
friars (Franciscans) and
Dominicans, knights
templars, bishops and
cardinals, indeed the Pope
himself: all are eager to
serve him - the falseness
he represents - with due
respect (see verses 11,
23). They all want to
deceive, they all want to
“cheat right along with
Fauvel”.
In
Latin this reads
“favellare cum Fauvello”
which gave rise to a play
on words (see song No. 1
"Favellandi”). The six
letters in the name
F-A-U-V-E-L provide the
key to his six chief
characteristics: "F"
means "flaterie"(flattery),
"A"
means avarice. "U"
and "V" refer
to "vilenie"
(guile) and "varieté"
(inconstancy) since in the
Middle Ages only formal
distinction was made
between the two letters, "v"
being written at the
beginning of a line and "u"
within the line (see verse
247). "E"
stands for envie
(envy) while "L"
symbolizese "lacheté"
or cowardice.
The Church was brought
under the control of the
royal throne when Philip
IV the Fair forced Pope
Clement V - a Frenchman
from Bordeaux who had been
elected to the papacy
through Philip’s influence
- to reside in Avignon
(both the legal and
scholarly advisers to
Philip subscribed to the
concept of an imperial
kingdom centered in Rome).
The Pope not only fed
church taxes and the
wealth of the dissolved
Order of the Knights
Templars into the King’s
coffers, but also
initiated the final
decline of the Church (see
verse 563). More
and more the spiritual
climate of the world
became subject to
manipulation.
Book II was
written after the death of
Philip the Fair. In subdued
tones it tells how Fauvel
proposes to his “imperial”
court that he marry the
goddess Fortuna in order to
assure himself of her
continued favour forever. He
proceeds to Fortuna’s capital,
a city called Macrocosmos.
Fortuna displays two profiles:
one smiling and lovely, the
other frightfully hideous.
Just like the pope of the
time, she wears two crowns,
one over the other. The lower
crown is ornamented with
precious stones but is forever
pricking her; the upper crown
is ugly but, through the magic
power of its emeralds, makes
its wearer happy.
Enthusiastically, Fortuna
plays constantly with her
wheels of fortune, a machine
with two giant wheels each of
which has a smaller
counter-wheel or wheel of
misfortune (see "deux
roez ot devant Fortune",
performed in a rhythm
characteristic of a wheel-like
movement, verse 1931). Fortune
indignantly refuses Fauvel’s
offer but consoles him by
giving him a bride from among
her lovely ladies-in-waiting,
Vaine Gloire or Lady
Vainglory (verse 3157). The
excerpts from Gervais du Bus’
work take us to this point.
(End of record side 1).
Chaillou picks up the tale at
the time of the wedding and
portrays the magnificent
nuptial festivities that take
place somewhat to the north of
the (left) bank of the Seine
on the “Pre Saint-Germain”
(today "Faubourg
de Sant-Germain-des-Pres) in
the immediate vicinity of the
capital of "douce
France", i.e., of the
city of Paris, the center of
which was found on the only
island in the Seine at the
time (today called "Ile de
la Cité).
Unfortunately, the so-called
“City of Hope” is firmly ruled
by Greed, Niggardliness and
the Devil - and this during
the reign of King Philip V.
Then follows song No. 12, the
motet “O Philippe” which was
originally entitled “O
Ludovice” and had been
composed for Louis X “le
Hutin” (the Quarreller),
Philip’s short-lived son.
After Louis’ early death the
motet was altered to sing of
Philip V the Tall. Thus
historically this vehement
admonition concerns the later
Philip and not famed Philip
the Fair.
To the wedding Fauvel invites
no bishops or abbots, but
rather his girl friends:
Carnal Lust, Flirtation, the
Goddes of Adultery, Wild
Desire and even Venus. Led by
Virginity, the 30 Virtues
allow themselves to be
persuaded to attend the
wedding with the aim of
defeating the assembled tribes
of Vices and Sins at a
tournament scheduled as a
wedding festivity (see Ms.
"E", verses 53, 201). Trumpets
sound, the guests wash their
hands and sit down before the
wedding banquet's
richly laden table where
dozens of kinds of fowl, game
and fish as well as an
enormous assortment of top
French wines await them.
Gaiety reigns over the banquet
(see “Trompeurs saillent, si
cornerent”, verse 385). The
orchestra strikes up. Horns
and trumpets, fiddles,
cornemuses (a type of
bagpipes) and dulcimers can be
heard (see "Core
sonnent, trompes et
araines,/Vielles, muses et ...", verse
555).
At the tournament on the
following day the Virtues
fight bravely against the
Vices and Sins, but Dame
Fortune stops the battle
short, saying it is not yet
time for the hour of
ineluctable defeat to strike.
At this point Chaillou returns
to Gervais du Bus and the
later`s epilogue, to the birth
of the many little "Fauveaus",
the “false calves” that
bedevil the entire world. The
author then entreats Christ to
help the Virtues so that they
might still emerge victorious
at the future tournament (see
"Doux
Jhesuchrist",
verse 1785 on Record Side 2).
How splendidly Chaillou was
able to develop the tournament
scenes taken from Huon de
Méri's “Tournoiement de l`Antéchrist”
(1235) and to capitalize on
the banquet and bed scenes
from Jehan Maillart’s
“Roman du Comte d'Anjou”! The
masquerade and joiede-vivre,
the bright humour and biting
irony, the embittered duel and
hilarious revelry are all
finely woven into the fabric
of this drama in pantomime and
"Musical play".
It seems inconceivable that
Lady Fortune could have
allowed this masterpiece to
waste away for centuries,
hidden from view like a
musical Cinderella.
André de
Mandach
(Translation:
E.D. Echols)
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EMI Electrola
"Reflexe"
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