Randy Weston, “African Village/Bedford-Stuyvesant” from “The Spirits of Our Ancestors” (1992). The master work from the stately (6′ 6″) piano player, who spent major portions of his life in Africa absorbing music.

Abdullah Ibrahim, “Bra Timing from Phomolong” from Ekaya (Blackhawk, 1984). The original LP by Ibrahim’s Eyaya (home) band. Never put on CD. Hard to find. Worth looking for. Maybe Pete’s all-time favorite jazz record.

Crusaders “Put It Where You Want It” (1974). 70s groove jazz at its best.

Dizzy Gillespie and Charlie Parker, “Hot House” (1945). Original be-bop.

Trombone Shorty, “Hurricane Season” from Backatown (2010, Verve), Shorty’s major label debut. Young funk-jazz player at the top of the local New Orleans scene.

Ken Vandermark/Hamid Drake, “Street Named Hell” from Spaceways, Inc. (Atavista, 2000). CD of Sun Ra and George Clinton songs. Avant, but you can dance to it.

Randy Weston, “Blue Moses” from Spirits of Our Ancestors (1992). Extended composition … and exotic blowing.

Ali Farka (guitar, vocals) and Tourmani Diabete (kora). A reminder of fantastic Carbondale visit by African percussionist and kora (21-string gord instrument) last August.

Herbie Hancock, “Watermelon Man” from Headhunters (1973). Fusion/African update of Herbie’s 1964 soul-jazz hit (a much bigger hit when covered by Mongo Santamaria).

Abdullah Ibrahim, “Sotho Blue” from Ekaya. As fellow South African Dave Mathews says, music from “some place very old.”

Billy Cobham, “Stratus” from classic 1973 fusion LP Spectrum. Tommy Bolin, latter of T-Rex, on guitar.

So called „Chandos Portrait“ of George Frederic Handel, formerly attributed to James Thornhill. (Image via Wikipedia)

A few days after last week’s show, wherein we heard a wonderful rendition of Georg Friederich Handel‘s Hercules, I discovered that Handel’s birthday is coming up on February 23rd (he would be 327 years old).  As I do like to use birthdays and other such anniversary occasions as a musical programming device (something that I’ve done on The Galaxy for years), I am breaking a personal rule of thumb and playing some more Handel this week.  Of course, its not like the recipient of such special favors is undeserving, as the two works that we have for tonight are more than deserving of special attention.  Not only are they excellent performances of Handel’s great art, but they are also relatively recent recordings that feature a bevy of quality modern talent, something that I’ve always enjoyed doing.

We started the show with a wonderful recording of Handel’s 1718 opera Acis and Galatea.  Composed while Handel was the house composer at Cannons in Middlesex to a libretto by John Gay, and using a story that he had used in a 1708 serenata, the work was revised and adapted by Handel on several occasions over the years.  For a number of years it was his most popular dramatic work, and his only work for the stage that never left the general repertory (Mozart made an arrangement of the piece in 1788).  While most performances use a modified arrangement, including some Handel arias that were not written for the piece, tonight’s recording uses “the Original Cannons Performing Version of 1718″.

The recording, a lovely package that offers an SACD layer as well as standard stereo, was a finalist in the Baroque Vocal category in the 2009 Gramophone Awards, and also won an Opus d’Or.  It makes striking use of smaller vocal and instrumental ensembles, with the soloists also forming the choir (quite unusual these days), and features Susan Hamilton, Nicholas Mulroy, Thomas Hobbs, Nicholas Hurndall Smith and Matthew Brook; the Dunedin Consort and Players was directed by John Butt.  It should be noted that this is one of a series of striking performances of Baroque-era pieces by this ensemble.  They have also made notable recordings of Messiah, and Bach’s Matthaus-Passion and B-minor Mass.

A title page from a printed copy of the Ezio libretto (Image via Wikipedia)

For our second opera, we heard his 1732 composition Ezio.  Set to a libretto by Metastasio that had been used multiple times in the 10 years prior (and which would be used multiple times for the next 50 years, including two separate operas by Christoph Gluck; a title page from one of those later works can be seen at left), Ezio is notable for the complete absence of vocal ensembles, making it an excellent sample of opera seria.

Unlike tonight’s earlier opera, this opera was notably unsuccessful, and in fact may have been Handel’s worst earning opera, seeing only five performances before being shelved (it would not be resurrected until 1977).  However, like tonight’s earlier opera, it comes to us through a lovely recent recording, part of a series of Handel recordings by Alan Curtis with Il Complesso Barocco.  Also like the previous recording, it makes striking use of a smaller instrumental ensemble.  The soloists were Ann Hallenberg, Karina Gauvin, Sonia Prina, Marianne Andersen, Anicio Giustiniani, and Vito Priante.

Georg Frideric Handel, from The Royal Collection (Image via Wikipedia)

When understanding the depth of the works of Georg Frideric Handel, I think it is good to start with some of his keyboard works.  Handel had written most, if not all, of his material for keyboard prior to 1717, but did not publish his first volume of keyboard compositions until 1720.  This was prompted in part because, as he put it in the preface to the volume, “Surrepticious (sp) and incorrect copies of them had got abroad.”  Eventually, he would publish and republish a number of harpsichord works, both as individual pieces and as larger suites.  Tonight we heard first an individual piece, the Passacaile in G minor, HWV 432, then we heard the Suite in F minor, HWV 433, both performed by harpsichordist Bob van Asperen.

A band named after an animal this big should be heavy, right? (Image via Wikipedia)

For several weeks now, I’ve been trying to insert some Mastodon into the playlist, primarily material from their most recent album, The Hunter.  I finally managed to do so tonight, mixing a few new tracks in with some material from older albums Blood Mountain and Leviathan.  We heard Black Tongue (from The Hunter), Hand of Stone (Blood Mountain), Blood and Thunder (Leviathan), Dry Bone Valley (The Hunter), Capillarian Crest (Blood Mountain), and ended the set with Hearts Alive, from Leviathan.

I love it when I have the opportunity to premiere new material, and I have the opportunity tonight to play material that is both old and new at the same time.  Allesandro Striggio (b. 1536/37, d. 1592) was a member of the court of Duke Cosimo I di Medici, and was a friend of Vincenzo Galilei, the father of the infamous Galileo Galilei.  Striggio’s son, of the same name, would eventually write the libretto for Monteverdi’s Orfeo.  He wrote both madrigals and dramatic music, and by combining the two is credited with creating the musical form known as madrigal comedy, an important precursor to opera.  The first mention of tonight’s work, the Missa Ecco si beato giorno, comes in early 1567, when Striggio made a rather difficult journey from Florence to visit Vienna, Munich, and Paris as part of a diplomatic mission for Cosimo I de’ Medici, impressing those in attendance (including the great composer Orlando di Lassus, who was at this time working in Munich).  He eventually made his way to London, where the mass is believed to be one of several works performed.  Enough of an impression was made that noted English composer Thomas Tallis composed his own 40 voice masterwork Spem in Alium in response.  Striggio’s mass was believed lost until musicologist Davitt Moroney unearthed it in Paris in 2005.

For further reading:

• SFGate CD Review: Alessandro Striggio

Johnny Cash at San Quentin album cover (Image via Wikipedia)

We finished the show with a Johnny Cash set, taken from his Live at San Quentin album.  The San Quentin album was one of his first recordings without his longtime guitarist Luther Perkins, who had passed away 7 months earlier.  The differences between the San Quentin album and the previous Folsom Prison album are striking, as Cash replaced Perkins with not one but two guitarists (including Carl Perkins), and also added a drummer.  We heard Big River, I Still Miss Someone, Wreck of the Old 97, I Walk The Line, Darlin’ Companion (with June Carter Cash), I Don’t Know Where I’m Bound, Starkville City Jail, and San Quentin.

Handel, painted by Balthasar Denner (Image via Wikipedia)

Tonight we are going to focus our efforts on two relatively recent recordings, something that I really enjoy doing.  We opened the show with a lovely recording of Handel’s “musical drama” Hercules.  It was composed in the summer of 1744, using a libretto by the Reverend Thomas Broughton, which in turn was based on Sophocles‘s Women of Trachis and the ninth book of Ovid’s Metamorphoses.  The work was premiered on 5 January 1745, as a concert, as opposed to a stage drama.  As with other Handel works of his oratorio period, the work was written, and is performed, in English.  The late-Baroque era listening public found the piece, with its description of Hercules as an uncommunicative, war-scarred veteran, and its in-depth psychological examination of Hercules’ psyche, a bit too harrowing, and the piece was a relative failure, with only two performances in its original run (Handel was forced to suspend his season), and three more between 1748 and 1752.  However, such things are more common for our modern audiences, and its recent revival began in Münster in 1925.  More recently, Peter Sellars directed a production of the piece for Lyric Opera of Chicago in 2011, with Richard Croft and David Daniels from tonight’s 2001 recording reprising their recorded roles.

For further reading:

• Opera review: Peter Sellars stages Handel’s ‘Hercules’ in Chicago
• OperaToday reviews a Luc Bondy production of Hercules at the 2004 Aix en Provence Festival

Tonight’s recording features Anne Sofie von Otter, Gidon Saks, Richard Croft, Lynne Dawson, David Daniels, and Marcos Pujol.  Les Musiciens Du Louvre were directed by Marc Minkowski.

Original 1896 La bohème poster by Adolfo Hohenstein (Image via Wikipedia)

For our next opera, we are going to hear a fairly recent recording of a great work by Giacomo Puccini, La Bohème.  The libretto was written by  Luigi Illica and Giuseppe Giacosa, which in turn was based on the novel by Henri Murger, Scènes de la vie de bohème.  It was premiered in 1896, in a performance conducted by a very young Arturo Toscanini.  The work was immediately successful, with its modern instrumentation and soaring tenor and soprano arias and duets, and that success only increased going into the 20th century.  It is ranked as the fourth most frequently performed opera in the repertoire, and is one of the major items in the repertoire for both sopranos and tenors.  The great Enrico Caruso was closely associated with the lead tenor role of Rodolfo, and made recordings of several arias from the opera, going back as far as 1906.  One particular aria, “Che gelida manina“, has been recorded by 500 different tenors between 1900 and 1980, and the aria’s melody is one of the most easily recognized arias in the entire repertoire.  Toscanini, the conductor of the premiere, made a complete recording of the piece in 1946 that is the only Puccini opera recorded by the original director.  More recently, the libretto was turned into Rent, a Tony-winning musical, in 1996.

Puccini with Arturo Toscanini, 1900 (Image via Wikipedia)

Another point to note about Puccini’s operas is that he tends to point the way towards the verismo operatic tradition.  Verismo (from the Italian “vero”, meaning “true”), denotes a shift in plots away from the supernatural (i.e. the gods and goddesses of Wagner, or the ancient Egypt of Aida), towards more realistic characterizations.  The music in verist operas tend to blend together seamlessly, offering fewer identifiable solo “numbers”, although there are still some that are frequently isolated and highlighted.  Verismo is associated primarily with composers such as Mascagni, Leoncavallo, or Giordano, but some experts also classify Puccini as being at least partially “verist”.  There are some who describe La Bohème as possibly being the perfect “realist” opera.   In any case, when one listens to Puccini, one hears a distinct progression into the 20th century.  Puccini used lietmotifs to represent characters and concepts, not unlike Wagner, but his lietmotifs tended to be more static.  Puccini also displayed a bit of influence from a number of contemporary trends, including that of impressionism, and this is something that I think can be heard in his arrangement of strings (not terribly unlike the Debussy that we heard last week).  One might make a comparison between Puccini and Richard Strauss – there are clear differences of style and direction, but each composer’s music shows similar qualities in terms of their use of the string section, and the arrangement of the arias.

Tonight’s recording is an excellent recording from 2008, possibly the most recent rendition available, and features the great combo of Anna Netrebko and Rolando Villazón in the lead roles, along with Nicole Cabel, Boaz Daniel, Stéphane Degout and Vitalij Kowaljow.  Bertrand De Billy conducting the Bavarian Radio Symphony Orchestra & Chorus.

The Carpenters, meeting with Richard Nixon, 1972 (Image via Wikipedia)

After last night’s Valentine’s Ball (which was truly a blast, hope you enjoyed it as much as Dana and I did!), I wanted to at least start the show tonight with something that fit into a Valentine’s Day theme.  Of course, as I’ve been playing the Carpenters for my girlfriend for the past couple of days (turns out that she didn’t realize that I have some Carpenters in my library).  So that made the choices for my opening set quite easy.  We heard a lovely selection of their classic material: We’ve Only Just Begun, Top of the World, (They Long to Be) Close to You, A Song for You, and Goodbye to Love.

Dave Brubeck Quartet, 1959 (during the Time Out sessions). l-r: Joe Morello, Paul Desmond, Dave Brubeck, Eugene Wright (Image via Wikipedia)

While watching the Grammys this evening, I was saddened to hear of the passing of the great jazz drummer Joe Morello.  He did some great work with the Dave Brubeck Quartet, and was a fantastic live drummer.  So we heard a few cuts from their classic 1959 album Time Out: Blue Rondo a la Turk, Strange Meadow Lark, Take Five, and finally Kathy’s Waltz (which was marred by a rather grievous technical disruption).

During our Dave Brubeck set, we received a telephone call from a happy listener who wanted to hear some more Carpenters.  I am always happy to take requests, especially when I can actually fill them.  So although I do not have the song that he specifically requested, we were still able to fulfill the request with two more classics: Superstar, and Rainy Days and Mondays.

Milton Babbitt, 1999 (Image via Wikipedia)

Also during the Grammys, I heard of the passing last year of the avant garde composer Milton Babbitt.  Most folks will not be familiar with the work of Milton Babbitt, who actually worked as a math professor at Princeton from 1943-1945, before joining their music faculty.  From there he moved to the faculty of the Julliard School in 1972.  He was hired by RCA, possibly in the late 50s – early 60s, to work on the RCA Mark II Sound Synthesizer, the first programmable synthesizer, and created a number of works for that early keyboard.  The fact is that, while Babbitt’s work was extremely avant guard, using serialist and twelve-tone compositional techniques (about which he wrote several scholarly papers), his work was instrumental in the establishment of the electronic synthesizer as a viable musical instrument – thus, without the work done by Milton Babbitt, the modern musical world as we know it today would be vastly different.  Tonight we heard recordings of two such pieces, his Reflections for Piano and Synthesized tape, as performed by Robert Miller on piano, then his Philomel for Soprano, recorded soprano, and synthesized sound, with Bethany Beardslee singing (the person for whom it was written).

We close the show with some live Jimi Hendrix, from the recently released Winterland box set, recorded live in October of 1968: Tax Free, and Lover Man.

Dave Douglas and Keystone, “Moonshine” (2008). Electo-trumpet. Top modern jazz cat plays different styles with different bands.

Abdullah Ibrahim & Ekaya “Sotho Blue” (2010). Recalls his great Ekaya (home) band of the early/mid-1980s.

Afro-Cubism, “Jurab” (Nonesuch, 2010)

Gato Barbieri, “Milonga Triste” from Chapter Four: Live in New York (Impluse, 1975 — last of the great Latin Chapters series of early 70s recording by Argentine saxist.

Max Roach, “Driva Man” from We Insist! Freedom Now Suite (1960). Powerful record at dawn of civil rights movement. Earned Max years of being blackballed by the recording industry of America.

Ronald Shannon Jackson, “Lola” from Mandance (1982, Antilles). Harmalodic world music.

Brown/Roach Quintet, “George’s Dilemma” from Study in Brown (1955). The great but ill-fated young trumpeter featured by Max.

Steve Lehaman Octet, “Echos” from Travail, Transformation, and Flow (PI, 2009). Nice modern jazz with vibes in rhythm section.

Don Pullen, “At the Cafe Centrale” from New Beginnings (Blue Note, 1989). Great trio record with Tony Williams on drums. Power Trio jazz.

Bobby Hutcherson, “Little Niles” from In the Vanguard (1986 recording at Village Vanguard). More good vibes.

Dave Holland, “Sands of Time” from Not for Nothing (2001, ECM). More vibes in the great bassist’s tight band that performed at SIU in 2004 or so.

John Scofield (under and out)

Mary Garden, the original Mélisande (Image via Wikipedia)

We began the show with a rather distinctive piece of music, the only opera completed by Claude Debussy.  Debussy began Pelléas et Mélisande in 1893, although he had wanted to write an opera for at least a decade prior.  His delay was in part because he was having difficulty finding a play that would fit the vision that he had for “musical theater”.  He suffered through several aborted attempts, including a libretto based on the legend of El Cid, as he was wanting to avoid the standard operatic plot devices that were popular in that period.  Also important was the influence of Richard Wagner, in an odd sort of way – by 1892 he was tiring of the Wagnerian operatic style, and wanted to go in a completely different direction.  In an 1890 letter, he wrote:

“The ideal would be two associated dreams. No time, no place. No big scene [...] Music in opera is far too predominant. Too much singing and the musical settings are too cumbersome [...] My idea is of a short libretto with mobile scenes. No discussion or arguments between the characters whom I see at the mercy of life or destiny.”

Jean Périer, the original Pelléas (Image via Wikipedia)

In 1892, he found a stage play by Maurice Maeterlinck that he thought would be perfect for the concept that he had envisioned.  Materlinck’s plays were quite popular in the avant garde community in Paris, and Maeterlinck’s Symbolist work was perfectly in line with the material that Debussy was at that time using for his numerous chansons.

The result is like nothing else in the opera canon, a work which is uniquely and distinctively Debussy’s.  Whereas Wagner’s work brings across images of heroes and heroines (i.e. Wotan, Brunhilde, Tristan, Isolde), Debussy’s work is the stuff of dreams, manifested in music.  Instead of writing music, Debussy is sculpting sound.  This sort of thing pretty much falls in line with the rest of Debussy’s work, i.e. La Mer, Prélude à l’après-midi d’un faune, or aforementioned chansons, and easily ranks among Debussy’s best work.  The opera was premiered in 1902 with great success, and is still regularly performed.

In researching other recordings of this great masterpiece, I have stumbled upon this rather revelatory reminiscence by Andre Messager, the conductor who convinced the Opera-Comique to schedule the opera’s premiere, and who conducted it quite successfully.  It is quite interesting:

Andre Messager, who conducted the premiere of Pelléas et Mélisande

“The singers read through Pelléas at my house, with no one else present. Debussy played his score on the piano, singing all the roles in that deep, cavernous voice of his which often meant transposing lines an octave down, but whose delivery gradually became irresistible. The impression produced by that music on that occasion was, I believe, unique. To begin with there was a kind of mistrust, a resistance, then an ever closer attention, with the emotional temperature rising until the last notes of ‘Melisande’s death’, which fell amid silence and tears. At the end all of us were carried away with excitement, burning to get down to work as soon as possible.

During the weeks that followed, rehearsals took place amid growing enthusiasm; each scene was gone over twenty times without any of the singers showing the least sign of temper in the face of the composer’s demands – and he was very difficult to satisfy. With the first orchestral read-through began a series of gloomy days and discouraging rehearsals. Debussy had had the generous but unfortunate idea of getting the orchestral material copied by a friend who was hard up, but who was a mediocre copyist and a somewhat rudimentary musician, and it took three or four rehearsals simply to get the corrections sorted out. In the meantime a new difficulty had arisen, of some seriousness, to do with the changes of scene. Although the stage of the Opera-Comique looks fairly large, it has such small exits and such narrow wings that it is impossible to manoeuvre even a flat through them, and we were having to make on average three rapid changes per act! Debussy, imagining that these changes would be more or less instantaneous, had linked the different scenes with music that was far too short. He had to return to work, grumbling and raving, and I went to see him every day to snatch away the notes he had written between one rehearsal and another; that is how he wrote the wonderful interludes which provide such a moving commentary on the action.”

Andre Messager, ‘Les premieres representations de Pelleas,’ ReM, 7, 1 May 1926, pp. 110-12, as quoted in from “Debussy Remembered” by Roger Nichols

Tonight’s recording is a 2000 recording that features Anne Sophie von Otter, Wolfgang Holzmair, Laurent Laouri, with Orchestre National De France and the Choeur de Radio De France, under the baton of Bernard Haitink.

The last of the paintings in A Rake's Progress, by William Hogarth, in which Tom Rakewell has gone insane and has been committed to an asylum (Image via Wikipedia)

For our second opera this evening, we’re going to hear Igor Stravinski’s The Rake’s Progress.  Stravinski wrote the opera in 1951, using a libretto written by his friend W.H. Auden and Chester Kalmann, which in turn was based on a series of paintings by William Hogarth (called A Rake’s Progress) done in 1732-1733.  It was premiered on 9/11-1951, with noted soprano Elisabeth Schwartzkopf creating the role of Anne Trulove (we’ve heard a number of her recordings in the last few months).  The Rake’s Progress was the last work of Stravinsky’s neo-classical period, and he would begin writing serialist music in 1952 (I personally think that one can detect a hint of that sort of direction throughout the opera, although it is definitely in a neo-classical mode; I also think that I detect a bit of Broadway musical influence as well).  Stravinsky was living in the United States at the time, having left Europe in 1939 upon the outbreak of WWII, and I have no doubt that this is part of the reason why this opera was written in English, which we are told was quite a struggle for him.

Igor Stravinsky (Image via Wikipedia)

Tonight’s recording is a 1994 recording, currently out of print but can be acquired used (possibly reissued here), that features Jon Garrison, Jayne West, Arthur Woodley, Shirley Love and John Cheek.  The Orchestra of St. Luke, and the Greg Smith Singers, are directed by Robert Craft, who was a close confidant of Stravinsky’s during the writing of the opera.  Interestingly enough, a bit of research suggests several recordings can be found with Stravinsky himself conducting, including a recording of the world premiere, with Elisabeth Schwartzkopf and Robert Rounseville.

An 1897 painting of a Schubertiade, by Julius Schmid (Image via Wikipedia)

There are several things that I enjoy doing on an annual basis as part of my Galaxy schedule.  One of these things came about last week, my annual observance of Mozart’s birthday.  I also enjoy doing Bach’s birthday when it comes along.  This week finds us doing another one of those things, my observance of the birthday of Franz Schubert.  I like to call it my own little “Schubertiade“, after the annual celebrations of Schubert’s life and music that are held in many places around Europe, most notably the annual festival held in Schwarzenberg and Hohenems, in western Austria (near Lake Constance).  The Austrian Schubertiades are the result of a tradition that extends back to Schubert’s lifetime (he is said to have attended many), and the Schwarzenberg/Hohenems festival annually attracts some of the biggest names in lieder and chamber music performance, many of whose recordings can be heard on this program (and on WDBX Opera Overnight, which follows The Galaxy) on a regular basis.

Schubert's autograph of the Octet, according to some scholars a possible version of his so-called Gastein Symphony

We started tonight’s set with a favorite recording of Schubert’s Octet in F major, from 1987.  The Octet was composed in 1824, during the same time period as two of his other major works, Rosamunde and Der Tod und Der Madchen string quartets.  The composition was requested by Ferdinand Troyer, an Austrian nobleman and renowned amateur clarinetist, who wanted a work similar to Beethoven’s Septet in E-flat major (Op. 20).  Schubert took the concept but fleshed it out by adding a second violin, making it an octet.  The composition was completed on 1 March 1824, and Troyer participated in the work’s premiere.  Tonight’s recording is by a combo led by Gidon Kremer, with Isabelle van Keulen, Tabea Zimmermann, David Geringas, Alois Posch, Eduard Brunner, Radovan Vlatkovic, and Klaus Tunnemann.

Der Tod und das Mädchen, Hans Baldung Grien, 1517 (Image via Wikipedia)

1824 was an important year for Schubert, as he wrote, in addition to the Octet and the Rosemunde string quartet, his Die schöne Müllerin song cycle, 20 individual songs, a number of light piano pieces, and the String Quartet No. 14 in D Minor, a string quartet that he based on one of his songs, Der Tod und das Mädchen (from 1817).  The quartet was first performed in a private home in 1826, and was not published until 3 years after Schubert’s death, yet has become one of the staples of string quartet performance.  The original lied is quoted at the beginning of the second movement, and another lied that is associated with death, Der Erlkönig, is quoted in the fourth movement.  Tonight’s recording is a 1994 recording by the Lydian String Quartet.

We closed out the show with a brief but lovely selection of Schubert’s lieder.  Really, it is hard to have an effective retrospective of Schubert’s crucial works without the inclusion of at least some of his lieder.  Through the lied one not only hears his amazing ability at composing a cunning melody, but also his ability to write a piano line that is simultaneously light yet virtuosic, a part that supports the vocalist yet stands on its own as being worthy of attention.  He wrote over 600 songs, many of which fit into specific song cycles such as Die schöne Müllerin and Winterreise.  We heard a pair of songs tonight that do not come from such song cycles, starting with Das Lied im Grünen, D.917, an 1827 setting of verses by the Austrian actor Frederich Reil.  Lastly, we heard his 1817 setting of a Goethe verse, Liebhaber In Allen Gestalten, D. 558.  These come from a classic set of recordings from 1972 and 1973 by the fine Dutch recitalist Elly Ameling, accompanied by Dalton Baldwin.