Claude Debussy: Pelléas et Mélisande, suite symphonique (arr. Jonathan Nott)

Act 1

  1. 1) A forest

    1.36

  2. 2) Golaud & Mélisande

    5.30

  3. 3) A forest (interlude)

    4.03

  4. 4) Pelléas – A room in the castle

    0.32

  5. 5) Mélisande, Golaud, Pelléas

    3.22

Act 2

  1. 6) A well in the garden – Pelléas & Mélisande

    3.30

  2. 7) Golaud, Mélisande

    3.30

Act 3

  1. 8) Mélisande, Pelléas – One of the castle’s towers

    4.27

  2. 9) Golaud appears

    3.03

Act 4

  1. 10) A room in the castle – Golaud & Mélisande

    5.54

  2. 11) A well in the garden – Pelléas, Mélisande

    2.13

  3. 12) Golaud appears; the death of Pelléas

    1.41

Act 5

  1. 13) A room in the castle

    2.52

  2. 14) Castle maids appear

    1.37

  3. 15) The immutability of destiny

    3.07

Arnold Schoenberg: Pelleas und Melisande, op. 5

  1. 1) Part I: First Movement Sonata Form - Introduction, Die Achtel ein wenig bewegt (A forest – Mélisande – The immutability of destiny – Appearance of Golaud)

    4.17

  2. 2) Part I: First Theme Group, Heftig; Sehr warm, in breiter Bewegung (“ne me touche pas” – Golaud & Mélisande)

    3.29

  3. 3) Part I: Second Theme Group, Lebhaft (Pelléas; Pelléas et Mélisande (Codetta: Awakening of mutual love; Short Recapitulation: Golaud and the ring)

    4.03

  4. 4) Part II: Scherzo with Episodes, Sehr rasch (A well in the garden – Pelléas & Mélisande)

    1.01

  5. 5) Part IIb (Ring falls into the well, Golaud falls from his horse)

    0.40

  6. 6) Part IIc (Golaud wounded in bed, Golaud’s jealousy)

    0.48

  7. 7) Part IId (Pelléas & Mélisande: Love)

    0.36

  8. 8) Part II: Episode I, Sehr langsam (One of the castle’s towers – Pelléas & Mélisande (Hair Scene))

    1.26

  9. 9) Part II: Episode Ib (Golaud appears (Hair-pulling scene))

    0.45

  10. 10) Part II: Episode II, Sehr langsam, gedehnt (The castle's vaults - Golaud & Pelléas)

    1.28

  11. 11) Part III: Slow Movement - Introduction, Ein wenig bewegt (A well in the garden - Pelléas & Mélisande)

    1.14

  12. 12) Part IIIa: Love theme, Langsam (Love scene, Pelléas & Mélisande)

    1.06

  13. 13) Part IIIb: Im Zeitmaß

    2.20

  14. 14) Part IIIc: Development, Ein wenig bewegter

    2.52

  15. 15) Part IIId: Coda (Intervention of Golaud and death of Pelléas)

    0.57

  16. 16) Part IV: Recapitulatory Finale – Recapitulation of Introduction, Sehr langsam (A room in the castle)

    4.37

  17. 17) Part IV: Recapitulation of First Theme, Etwas bewegt (Golaud)

    0.31

  18. 18) Part IV: Recapitulation of Love Theme

    1.46

  19. 19) Part IV: In gehender Bewegung (Castle maids appear; death of Mélisande)

    2.05

  20. 20) Part IV: Epilogue, Breit (The remorse of Golaud)

    5.58

CD information

PELLÉAS & MÉLISANDE IN A NEW LIGHT

This new OSR recording presents the two most ambitious musical responses to Maurice Maeterlinck’s 1893 epoch-making play Pelléas et Mélisande.
Conductor Jonathan Nott has created a new suite of Debussy’s opera, which is much more extensive, and focuses more on the actual drama and symphonic development than existing suites that rely heavily on Debussy’s interludes.
Schoenberg’s Pelleas und Melisande is often perceived as relatively “amorphous”, its narrative structure obscure, leaving concealed all but the most explicit references to the drama on which Schoenberg based it. In this recording, Jonathan Nott introduces a novel track division and analytical track titles that make the music’s relation to the story much more tangible to the listener. Programming it next to the music of Debussy’s opera allows us to compare both works, and to see how the most important innovators of turn-of-the-century music responded to this haunting, Symbolist story.

The arrangement of Debussy’s music on this recording is the work of Jonathan Nott. This arrangement, of which he is the sole author, may not be recorded, performed or used in any way without his permission © jonathan-nott.com.

Released physically as a 2 Hybrid SACD set.