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Kleyne Lider
Yiddish and Ladino songs
Welcome!
This page
provides
song texts,
translations,
information and
musical samples
of Yiddish and Ladino songs
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Songs in Yiddish
1 Zun in Mayrev [3'31"]
2 A Maise [3'54"]
3 Vos Toyg Mir Der Sheyner Vayngortn? [2'09"]
4 Yome, Yome [2'14"]
5 Fisherlid [3'41"]
6 Unter Beymer [4'25"]
7 Shlof Main Fegele 2'40"]
8 Vi Shlekht Un Vi Bitter [2'12"]
9 Unter Di Grininke Beymelekh [1'52"]
10 Yoshke Yoshke [1'08"]
11 Rozhinkas mit Mandeln [3'04"]
12 Regndl [3'06"]
Songs in Ladino
13 El Dio Alto [3'43"]
14 Mi Coracón [1'40"]
15 La Vida Do Por El Raquí [1'26"]
16 Una Noche Al Lunar [1'13"]
17 Durme Durme [3'19"]
18 Era Escuro [2'14"]
19 La Rosa Enflorece [4'03"]
20 Como La Rosa En La Guerta [4'05"]
21 Adio Querida [2'43"]
22 Havlo Con Coraje [3'05"]
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LINKS
ENGLISH
DEUTSCH
ESPANOL
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Helene Schneiderman und Motti Kastón
in L'incoronatione di Poppea
Staatstheater Stuttgart
(photo Sandra Hastenteufel)
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Yiddish, ("Jewish-German") formed between the 9th and 12th centuries in Germany as a Jewish vernacular. Although originally used only by the Ashkenazi Jews in Germany, it moved east to become the prevalent spoken dialect of the eastern and Slavic Jewry. Like English, it is a Germanic language, with Hebrew, French and Slavic vocabulary, but differs from German in vocabulary, syntax, idiomatic constructions and pronunciation. Written using Hebrew characters, it was protected yet isolated too from the non - Jews of the diasphora. It remained a folk idiom and was not used for scholarship, which explains the rare scientific abstractions, yet its wealth of human and personal vocabulary. While borrowing from its surroundings, Yiddish also donated many words and expressions, some obvious (like Huzpah), some more subtle (the syntax of 'THIS you call a fresh fish?!). Despite the extermination of millions of its speakers in the holocaust and Hebrew's dominance in Israel, Yiddish is still alive and spoken, with a rich poetry and literary tradition ranging from 'Fiddler on the roof' to the Noble prize winner Isaac Bashevis Singer's work.
Ladino, unlike Yiddish, was not initially a particularly 'Jewish' language. The spoken and written Hispanic language of Jews of Spanish origin, it became 'Jewish' after the 1492 expulsion from Spain and later from Portugal. The Jews kept this language, assuming the expulsion to be temporary; yet over time, as they moved physically and linguistically further away from the Castillian source, 'Ladino' became a unique Jewish language, reflecting a mix of 14th century Spanish and Arabic, Hebrew, Turkish and Greek vocabulary. Like Yiddish, it was written using Hebrew characters or in ‘Rashi script’ - an alphabet used to discern Rashi’s commentary from the main text of the Torah (Bible). The Sephardi (Jews originally from the Iberian peninsula) tradition in Ladino is rich with folk songs, embracing all facets of daily life. These songs preserve not only many words long vanished from Spanish, but also a uniquely varied modal and oriental musical tradition.
The songs appear in many anthologies and arrangements. Among the best for Yiddish are by Eleanor Gordon Mlotek and Joseph Mlotek, (Published by the Workmen’s Circle, NY); For Ladino, by Nico Castel (published by Tara).
The songs are handed down from tradition as a melody with text, for this concert the piano arrangements were improvised.
1 Zun in Mayrev Text: J. Rolnick, Musik: Vladimir Heifetz
Zun in mayrev zetst zikh gikh,
Vos darf nokh a mentsh vi ikh?
Lider, kleyne lider, li li li lider.
Nit faranen oyf der erd
nokh a freyd vi di vos vert
oyfgevekt durkh lider - li li li lider.
Ver veys morgndikn tog?
Lider - alts vos ikh farmog
Zoln blaybn lider, li li li lider.
The sun sets swiftly in the west, what more would a man like me need? Songs, humble songs, just so-so-so-songs. Nothing on earth gives greater joy than the one awoken by songs. Who knows what tomorrow may bring? Songs - more than everything that I love, may it be songs.
2 A Maise
A mol iz geven a maise, di maise iz gor nit freylech,
Di maise heybt zich onet mit a yiddishen meylech.
Lyulinke main feygeleh, Lyulinke main kind.
'Chob ongevoyren aza libe, vey iz mir un vind.
Der meylech hot gehat a malke, Di malke hot gehat a vaingorten,
Der vaingorten hot gehat a boym, Lyulinke main kind...
In vaingorten iz geven a boymele, dos boymele hot gehat a tzvaigele,
Oyfn tzvaigele is geven a nestele, in nestele hot gelebt a fegele.
Der melech iz abgestorben, die malko iz gevoren fardorben,
dos boymele hot sich abgebrochen, die fegele is fun nest antlofen
Vu lernt man aza chochom,er zol kenen maine vunden tzelen?
vu nemt men aza doktor, vos zol kenen main hartz oyshelen?
Once there was this story: not at all a happy one, it began with a Jewish king... Lyulinke, my little bird, my child. Such a beloved I have lost, woe is me... The king had a queen, the queen had a vineyard, in the vineyard was a tree with a branch and a nest and little bird... The king died, the queen fell ill, the tree broke and the bird deserted the nest What does one learn from this tale? Who could count my wounds? Where do I find a doctor, who could heal my heart?
3 Vos Toyg Mir Der Sheyner Vayngortn?
Vos toyg mir der sheyner vayngortn, az flantsn ken ikh im nit?
Vos toyg mir a libe tsu shpiln, az nemen kenen mir zikh nit!
Oy, far vemen es iz likhtik di nakht, far mir iz finster der tog.
Oy far vemen s'iz nakhes un freyd, far mir iz a yomer un a klog!
What use to me is the prettiest vineyard, When I may not plant it? What use a love affair if I may not marry? Woe, for others is night full of light, yet for me day is dark. Woe, for others comfort and joy, for me merely wails and laments!
4 Yome, Yome
Yome, Yome, shpil mir a lidele, vos dos meydele vil.
- Dos meydele vil a por shikhelekh hobn.
Muz men geyn dem shuster zogn? - Neyn, mameshi, neyn,
Du konst mikh nisht farshteyn, Du veyst nisht vos ikh meyn.
Yome, Yome, shpil mir a lidele, vos dos meydele vil.
- Dos meydele vil a kleydele hobn.
Muz men geyn dem shnayder zogn? - Neyn, mameshi neyn.
Du konst mikh nisht farshteyn, Du veyst nisht, vos ikh meyn.
Yome, Yome, shpil mir a lidele, vos dos meydele vil
- Dos meydele vil a por hitele hobn.
Muz men geyn dem hutmacher zogn? - Neyn, mameshi, neyn,
Du konst mikh nisht farshteyn, Du veyst nisht, vos ikh meyn.
Yome, Yome, shpil mir a lidele vos dos meydele vil.
- Dos meydele vil a khosndl hobn.
Muz men geyn dem shadkhn zogn? - Yo, mameshi, Yo
Du kont mikh shoyn farshteyn, Du veyst shoyn, vos ikh meyn!
Yome, Yome, sing me a song of what the little girl craves. Does the girl want a pair of shoes? Sso off to the shoemaker! No, Mama, no! You don't understand, you don't know what it is that I want. Does the little girl want a hat ? - so off to the milliner! No, Mama, that's not what I want.... Does the girl want a groom? So off to the matchmaker! Yes, Mama, Yes! finally you understand me, now you got it...
5 Fisherlid Musik Aliza Greenblatt
Fort a fisher afn yam, er fort aroys baginen,
Es hoft der fisher, min-hastam, fishelekh gefinen.
Murmlen khvalyes shtil far zikh, der yam iz a batribter,
Tsi iz der yam azoy vi ikh, oykhet a farlibter?
Gey ikh mir baym breg ot do, un tu mayn kholem shpinen.
Efsher vel ikh ergets vu, mayn libstn nokh gefinen.
Kumt der fisher troyerik, er hot keyn fish gafangen.
Un ikh bin moreshkhoyredik, a kholem iz fargangen.
A fisherman sets out to sea at dawn, hoping obviously, to catch fish. Waves murmur to each other, the sea is downcast, is the sea as well in love like me? I meander along and spin my dream, perhaps I'll find my love yet. The fisher returns empty handed, and I am despaired: my dream is gone...
6 Unter Beymer Text: Cantor Moshe Oysher, Musik: Alexander Olshanetsky
Unter beymer vaksn grozn, Ay-lu-lu...
Un di beyze vintn blozn, schlof zhe zunenyu.
Zits, mayn kind, nit bay dem fentster, vayl du kenst dem vint derfiln,
Un ikh vil nit du, mayn shenster, zolst, kholile, zikh farkiln.
Himl iz shoyn khmarne shvarts, punkt azoy vo do bay mir in harts.
Unter beymer vaksn grozn, Ay-lu-lu...
Un di beyze vintn blozn, schlof zhe zunenyu,
Ay-lu-lu, schlof zhe, mayn kind, oy, harts mayns, blayb mir gezunt.
Under trees the grasses grow, ai-lu-lu... and the bitter winds do blow, now sleep my little child. Do not sit so near the window, for you may feel the wind’s cruel breath, and I would never wish, dear God , that you should catch your death. The sky is dark now, cloudy gray, just like my own heart today. Under trees the grasses grow, ai-lu-lu... and the bitter winds do blow, now sleep my child, oy, my heart, ai-lu-lu, just stay healthy...
7 Shlof Main Fegele
Shlof main fegele, mach tzu dain egele, Ai-lu-lu-lu.
Shlof geshmak main kind, shlof un zei gezund, Ai-lu-lu-lu.
Shlof un cholem zis, fun der velt genis, Ai-lu-lu-lu.
Kol z'man du bist yung, kenst-du shlofen gring,
lachen fon als-ding, Ai-lu-lu.
Sleep my little one, close your eyes, ai lu lu lu... Sleep, be healthy, relish your sleep. Dream sweetly, enjoy the world. As long as you are young you can sleep enough and laugh about everything. Ai lu lu lu.
8 Vi Shlekht Un Vi Bitter
Vi shlekht un vi biter s’iz tsu dinen bay yenemen,
Vi shlekht un vi biter un takish gemeyn.
Es drikt bay di leber, in hartsn a klemenish,
Ir tut dokh lakhn, un ikh nebekh veyn.
Ikh bin fun Zhitomir, kokht oyf dos blit in mir,
kokht es a gantsene vokh.
Mayn tay’re mamenyu, zol di madamenyu,
krign a fintstern brokh.
Er zogt er vet mikh nemen un makhn a khasene,
Er zogt er vet mikh nemen, mayn tayrer shats,
Er’t onton a tsilender, vi sheyn s’vet im pasenen,
Un di madamenyu vet krign di plats!
How awful and bitter is serving under someone, how awful and bitter and daily torture, it stresses the liver and squeezes the heart others all laugh while I just cry. I am from Zhitomir, my blood boils within me boils and boils the whole week. Oh my dear mother, may my mistress meet with an awful end! A young man tells me, he’ll take me and marry me, he will carry a top hat and be so handsome, my mistress will just explode from envy.
9 Unter di Grininke Beymelekh T.: Chaim N. Bialik, M.: Platon G. Brounoff
Unter di grininke beymelekh, Shpiln zikh Moyshelekh, Shloymelekh.
Tsitskes, kapotkelekh, peyelekh, Yidelekh frish fun di eyelekh.
Gufimlekh shtroy, roykh un federlekh, nem un tsebloz zey oyf gliderlekh,
khapn zey oyf gringe vintelekh, Un es tsetrogn zey feygelekh...
Under green trees, little Moses and Salomon play, fresh as if just burst out of their egg, as light as straw and delicate as feathers a single breeze may catch them and blow them away...
10 Yoshke
Yoshke Yoshke, shpan dem loshik, vet er gicher loyfen,
Tomer vet er zich opshtelen, velen mir ihm nit kenen farkoyfen.
Der Rebbe hot gehesen freilich zain, tai dai dai di dai...
Trinken bronfen nit kain vain, tai dai dai di dam.
Yoshke, Yoshke, make your horse go on, if it stops we cannot sell it anymore. The rabbi bid us to be merry so we drink brandy instead of wine, tai dai dai di dam.
11 Rozhinkes mit Mandlen aus der Operette Shulamis von Abraham Goldfaden
In dem beys-hamikdesh, in a vinkl kheyder,
Zitst di almone, Bas-Tsiyon aleyn.
Ir ben-yokhidl Yidelen vigt zi keseyder
Un zingt im tsum shlofn a lidele sheyn, Ay-lyu-lyu-lyu...
Unter Yideles vigele, shteyt a klor-vays tsigele.
Dos tsigele iz geforn handlen, - dos vet zayn dayn baruf:
Rozhinkes mit mandeln; Shlof zhe, Yidele, shlof.
In a temple corner room alone sits the widow, daughter of Zion. Her only child Yidele she rocks and sings to sleep with a pretty lullaby. Ay-lyu-luy... Beneath Yidele’s cradle stands a bleach white kid goat the little goat has been to the market that will be your profession too: selling raisins and almonds. Sleep now, Yidele, sleep.
12 Regndl Text: Abraham Kaplan et al.
Kh'hob gehat a mamenyu, Hot zi mir gezogt: main kind!
Zay nor gut un frum, un veys mer keyn khokhmes nit.
Regn, regn, regndl! Kh'bin a kleyner mentshele;
Kh'loz zikh mikh baregenen, kh'veys keyn khokhmes nit.
Kh'hob gehat a tatenyu, Hot er mir gelernt
Alef-beys oyf oysveynik, Un mer keyn khokhmes nit.
kh'hob gehat a rebenyu, Hot er mikh oysgelernt
Sider, khumesh, rashe, Un mer keyn khokhmes nit.
Kh'hob gehat a shadkhndl, a voyler mentsh iz er geven,
Hot er mir gebrakht a vayb, Vos veyst keyn khokhmes nit.
I once had a dear mother who said, „my child’, just be good and pietous, I know no greater wisdom”. Rain, little rain, I'm just a little man, I let myself be rained on, and know no greater wisdom. I once had a father who taught me the Alphabet by heart, a no greater wisdom. I once had Rabbi who taught me the bible and the Talmud, and no greater wisdom. Once I had a marriage broker, a good man was he, he got me a wife, that has no wisdom at all!
13 El Dio Alto
El dio alto, con su gracia, mos mande muncha ganancia.
Noveamos mal ni ansia, a nos i a todo Israel.
Benedicho el abastado que nos dio dia non rado.
Cados sabbat, mi jovado a nos i todo Israel.
Venid todos a giuntemos su nombre benedezimos.
I de el de mandaremos, la benedizion de Israel.
May great God in his grace send us good tidings. May he rid us and all Israel of illness and fear.We bless him and kneel before him that gave us the Sabbath, come all and join in praising his name, and God will send us the blessing of Israel.
14 Mi Coracón
Mi coracón debaxo la tu ventana
Lleno de dolor enbuelto en las flamas.
Yo ya me cansí de tanto sonar guitarra,
Yo no alcansí a ver tu linda cara.
My suffering heart beyond your window is engulfed with flames. I am tired from playing the guitar so long - and I have not yet succeeded in seeing your lovely face.
15 La Vida Do Por El Raquí
La vida do por el raquí, yo no puedo dexarlo,
de bever nunca me hartí, de tanto amarlo.
Cuando esta en el Barmil, no havlo con dinqunos,
cuando me hago kior kandil, me caigo en el lodo.
I'd trade my life for a glass of Raqui I can't exist without it, I'll never tire to love and to drink it. When full in the glass, I speak with no one. Even when I roll in the mud, I still drink and praise it!
16 Una Noche Al Lunar
Una noche al lunar,Yo salí a caminar,
un mancevo m'encontró, al café ya me llevó, dos bezicos él me dió.
Una noche al lunar, Yo salí a caminar...
On a moonlit night I went out to take a walk. A young man met me, took me to a café, and gave me two kisses. On a moonlit light, I went out just to take a walk...
17 Durme Durme
Durme durme 'rmozo hijico, Durme durme con sabor.
Cierra tuz luzios ojicos, Durme con sabor.
A la scola tu te iras, en la Ley t'ambezaras.
Sleep, my beautiful boy, sleep with relish, close your shining eyes; One day you will go to school, and embrace the law.
18 Era Escuro
Era escuro como la media noche,cuando la luna esclareciendo 'stava,
Todo callado, todo 'stava'n silencio, como la nuve'n la escuridad.
"Miseravle, por qué vienes agora? Arecordarme del mal que yo pasi?
Arecordarme de toda la mi vida?" - Estas palavras yo le havlí.
It was dark, almost midnight the moon was rising; all calm, bathed in stillness like clouds in obscurity. "Miserable one! Why do you come now? To make me recall the harm I suffered? To recall my whole life?!" - Those were the words that I spoke to him...
19 La Rosa Enflorece
La rosa enflorece / En el mes de May
Mi neshama s'escurece, / Sufriendo del amor
Los bilbilicos cantan / Con sospiros de amor
Mi neshama mi ventura / Estan en tu poder
Mas presto ven palomba / Mas presto ven con mi
Mas presto ven querida, / Corre y salvame
The rose blooms in May but my soul wilts from love sickness; The nightingales sing with sighs of love. In your hands are my soul and fate. Come quicker, dove, hurry and save me.
20 Como La Rosa En La Guerta
Como la rosa en la guerta y las flores sin avrir,
Ansi es una donzella a las hora del murir.
A rose in the garden with unopened blooms, is a young girl at the hour of her death.
21 Adio Querida
Tu madre cuando te pario, y te quito al mundo
corazon ella no te dio, para amar segundo.
Adio, adio querida, no quero la vida, me l'amargates tu.
Va buxcate otro amor, aharva otras puertas,
aspera otro ardor, que para mi sos muerta.
When your mother bore you and set you loose upon the world, she gave you no love compatible heart. Adio dear, I don't desire life anymore: you have made it too bitter. Go try another lover, knock at other doors inflame other men: for me you are dead. Adio darling...
22 Havlo Con Coraje
Havlo con coraje y sin espantar, que con una hija me quije bien amar.
Como ella 'rmoza yo no vo topar, care ser mi espoza por me conortar.
El amor es furte, fuego quemador, como un serpiente arrevatador.
Se metió enfrente como'l matador, menazas de muerte, mancevos del Dor.
Miro d'alexarme por no me quemar, mas quero echarme al dip de la mar.
I admit with courage and without fear: I fell in love with a girl a girl so pretty I will never find again - she must be my wife to console me. Love is strong as burning fire, as a killer snake. Love bars me like a matador, and the new generation of young men are to me like death threats. I try to stay away in order not to burn myself, I would like to throw myself into the bottom of the sea.
HELENE SCHNEIDERMAN, Mezzosoprano, was born in New Jersey. As the daughter of Holocaust survivors, (mother from Hungary-Czechoslovakia, father from Poland), Helene Schneiderman heard and spoke Yiddish at home. Her studies took her to Princeton and Cincinnati, where she earned a Masters of Music in 1980 and in 1982 , her Opera Diploma. After a 2-year engagement in Heidelberg, she joined the Stuttgart State Opera as soloist in 1984 where she has become an audience favorite. Among her most important roles: Dorabella, Rosina, Cenerentola, Isabella (L'italiana in Algeri), Carmen, Octavian, Bradamante (Alcina), Geesche Gottfried in the world premiere of 'Bremer Freiheit' from Adriana Hölzky, Smeton (Anna Bolena), Hänsel, Maddalena (Rigoletto), Nancy (Martha) and Suzuki (Madama Butterfly).
With her large repertoire of over fifty roles, she has guested in Munich, Dresden, Düsseldorf, Karlsruhe, Amsterdam, Rome and at the New York City Opera as well as in festivals such as Salzburg, Wiesbaden, Schwetzingen, Ludwigsburg, Pesaro and Edinburgh. At the Royal Opera House at Covent Garden, she sang Cherubino and Dorabella, in Tel Aviv, the role of Suzuki. This Fall, 2000, she will give her Debut at the Paris -Garnier Opera. Future engagements will bring Helene Schneiderman to the Seattle Opera in Washington, and the San Fransisco Opera in California. Helene Schneiderman is an active Concert and Recital singer. In addition to classical songs, Helene Schneiderman often performs Yiddish programs. In 1998 Helene Schneiderman was honored with the title, "Kammersängerin".
Helene Schneiderman Discography
Smeton (Anna Bolena) mit Edita Gruberova/Elio Boncompagni, Nightingale Classics
Lucilla (Jommell 'Il vologeso'), Frieder Bernius, Orfeo Records
Lieder von Clara und Robert Schumann, Mendelssohn, Brahms und anderen. Klavier:Laux
Eight Poems of Emily Dickinson (Copland), Dennis Russell Davies, Music Masters
MOTTI KASTÓN, baritone, was born in Tel- Aviv, Israel. After serving in the Israeli army, he studied voice in the Rubin Academy of Music, Tel-Aviv with Raffaele Arié and at the Manhattan School of Music with Marlena Malas. In 1987, he was chosen by James Levine for the Met Young Artists Program, where he worked for 3 years. He was then selected as a member of the principal ensemble, where he sang roles in 'Barber of Seville', 'Andrea Chenier', 'Salome', as well as Germont in 'La Traviata'. In 1991, he came to the Staatsoper Stuttgart, where he has established himself as a leading member of the ensemble. He has sung roles such as Wolfram, Germont, Rossini's Figaro, Graf in 'Figaro's Hochzeit', Silvio, Ezio in 'Attila', Dandini, Roderick in Debussy's 'La Chute de la Maison Usher', Marcello, Ottone in 'Poppea', Donner, Camoens in 'Don Sebastiano', Sprecher in 'Die Zauberflote', and many more.
Guest engagements have taken him to the Montpellier Festival as Monteverdi's 'Orfeo' (under Ingo Metzmacher), Paris at the Opera Comique and the Theatre des Champs Elysees as Alphonse in 'La Favorite', Teatro la Fenice and Frankfurt Opera for Rossini's Figaro, The Houston Grand Opera for Enrico in 'Lucia', The Semper Oper Dresden for Marcello in 'La Bohème', the
Metropolitan Opera for Wolfram in 'Tannhauser', and most recently Marcello at the Met in the Park series in June 1999. In his homeland, Israel, he has sung Dandini in the Del Monaco-Alberto Zedda production of 'La Cenerentola', and Ford in 'Falstaff' conducted by Maestro Gabriele Ferro, both with the New Israeli Opera. He has recently sung Ottone in 'Poppea' in Hannover for the Expo 2000.
His numerous concert engagements include, among others, Britten's War Requiem with Musica Sacra of NY, the world premiere of Leonard Bernstein's 'Arias and Barcarolles', with Berstein himself and Michael Tilson-Thomas at the piano. He sang the Bloch sacred service with the Staatskapelle of Berlin under Asher Fisch, Mendelssohn's 'Walpurgis Nacht' with the Berliner
Symphoniker, Carmina Burana in Taormina with Gabriele Ferro and the Accademia Santa Cecilia, as well as in Lisbon, Berlioz 'Les Nuits d'Èté' with Stephen Sloane and the Bochumer Symphoniker. He has recorded Busoni's 'Goethe Lieder' with RSO Berlin for Radio
Deutschland and sung numerous Lieder recitals with Eytan Pessen and Peter Schrottner as his main accompanists. Most recently, he has sung a programme of Zemlinsky, Mahler's 'Kindertotenlieder', and Brahms' 'Vier Ernste Gesaenge' at the Staatsoper Stuttgart in January 1999.
Eytan Pessen, Piano and musical arrangement, was born in Haifa, Israel. He graduated from the Rubin Academy of Music Cum Laude with a M.Mus in piano, composition and musicology. He studied with Nilli Shiloh, Walter Aufhäuser, Irena Zaritskaya and Dina Turgeman. At the Curtis Institute of music in Philadelphia he studied opera and accompanying with Dr. Vladimir Sokoloff and then went on to the Juilliard School in New York, where he worked with Marshal Williamson, Margo Garret and Alberta Massiello. As a composer his works were performed with the Herzelia chamber orchestra with Michal Shamir and Steven Sloane, on the Israeli radio with Mira Zakai and on WFLN Philadelphia. He played numerous recitals in the United States, Bermuda, Puerto Rico and Germany. He worked as a coach and pianist for the Metropolitan Opera Young Artist Program, where he also played masterclasses for Regine Crespin, Mignon Dunn and Sherril Milnes. As of 1991 is head of music staff at the Stuttgart Opera in Germany, as of 2000 also Artistic Projects Director, and continues activity as a pianist, cembalist and conductor. He has recently performed a series of baroque intermezzi by Pergolesi and Sarro.
CD information
Edition Hera 02111
Ton und Mastering / Master Recording: Charly Mutschler
A live concert in the Stuttgart State Theater, June 15th, 2000
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