DESCRIPTION :  Up for auction is s NICELY and BOLDLY HAND SIGNED original  AUTOGRAPH- AUTOGRAMME - SIGNATURE  ( With fountain pen ) of the beloved English - British conductor and composer KARL RANKL which is beautifuly and  professionaly matted beneath a vintage REPRODUCTION ACTION PHOTO , Conducting , Holding his baton , During a rehearsal or a recording. The ORIGINAL AUTOGRAPH and the  PHOTO are nicely matted together , Suitable for immediate framing or display . ( An image of a suggested framing is presented - The frame is not a part of this sale - An excellent framing - Buyer's choice - is possible for extra $ 80). The size of the mat is around 10 x 8 " . The size of the photo is around  5 x 5 " . The size of the original hand signature -autograph is around 2.5 x 1.0 " . Very good condition of the hand signed autograph, The photo and the decorative mat .  ( Pls look at scan for accurate AS IS images )  Authenticity guaranteed.  Will be sent inside a protective rigid packaging . 
 
PAYMENTS : Payment method accepted : Paypal & All credit cards.

SHIPPMENT :SHIPP worldwide via registered airmail is $ 29  . Will be sent inside a protective packaging. Handling around 5-10 days after payment. 

Karl Rankl (1 October 1898 – 6 September 1968) was a British conductor and composer who was of Austrian birth. A pupil of the composers Schoenberg and Webern, he conducted at opera houses in Austria, Germany and Czechoslovakia until fleeing from the Nazis and taking refuge in England in 1939. Rankl was appointed musical director of the newly formed Covent Garden Opera Company in 1946, and built it up from nothing to a level where it attracted some of the best known international opera singers as guest stars. By 1951, performances under guest conductors, such as Erich Kleiber and Sir Thomas Beecham were overshadowing Rankl's work, and he resigned. After five years as conductor of the Scottish National Orchestra, he was appointed musical director of the Elizabethan Theatre Trust's opera company, the forerunner of Opera Australia. In his last years, Rankl concentrated on composing. Throughout his career he had written a series of symphonies and other works, including an opera. His symphonies were politely received, but did not enter the regular orchestral repertoire. The opera has never been performed. Contents  [hide]  1 Life and career 1.1 Early years 1.2 Covent Garden 1.3 Later years 2 Compositions and recordings 3 Notes 4 References 5 External links Life and career[edit] Early years[edit] Rankl was born in Gaaden, near Vienna, the fourteenth child of a peasant couple.[1] He was educated in Vienna, and from 1918 studied composition there with Arnold Schoenberg and later with Anton Webern.[1] Many years later, Rankl was invited by the composer to complete Schoenberg's choral piece Die Jakobsleiter but he declined the invitation.[2][3] Rankl's first professional post was as chorus master and répétiteur under Felix Weingartner at the Volksoper in Vienna in 1919, where he later became an assistant conductor.[4] In 1923 he married Adele Jahoda (1903–1963).[1] Over the next few years he held appointments in Liberec in 1925, Königsberg in 1927 and the Kroll Oper in Berlin where he was assistant to Otto Klemperer from 1928 to 1931.[5] At the Kroll, Rankl strongly supported Klemperer's policy of promoting new music and radical productions.[5] He was appointed principal conductor of the opera at Wiesbaden in 1931, but when the Nazis came to power in 1933, he had to leave Germany; his wife was Jewish, and Rankl's politics were strongly hostile to the Nazis.[6] He moved back to Austria to head the opera at Grazin 1933,[1] and in 1937 he was appointed principal conductor of the Neues Deutsches Theater in Prague. In 1939, once again displaced by the Nazis, Rankl fled Prague, and with the help of Sir Adrian Boult, head of music at the BBC, and Boult's assistant Kenneth Wright, he escaped to London.[7] In wartime Britain Rankl was unable to obtain a permit to work as a conductor until 1944, and he devoted much of his time to composition.[8] His widow later recalled that Rankl also played the viola in a string quartet during this period.[9] When he was eventually given the necessary work permit to resume his conducting career, Rankl conducted the Liverpool Philharmonic,[6] BBC Northern[10] and London Philharmonic Orchestras.[11] He made a favourable impression; The Times praised his "boundless energy … clear-cut performance and with a strong feeling for the shapely line of a melody."[11] William Glock in The Observer praised the "natural firmness" of his "splendid" and "authoritative" conducting of Beethoven.[10] Among those whom Rankl impressed was David Webster, chairman of the Liverpool Philharmonic.[6]In 1944, Webster was invited to set up a new opera company at the Royal Opera House, Covent Garden in London. He turned to Rankl for advice and soon decided to appoint him musical director of the fledgling company.[8] Covent Garden[edit] Since 1939 there had been no opera or ballet at the Royal Opera House. Until the war, Covent Garden opera had consisted of privately sponsored seasons, principally in the summer months, with international stars, lavish productions, and a major symphony orchestra brought in to play in the orchestra pit.[12] In 1944, the British government introduced a modest measure of state subsidy for the arts, and as part of this it established a Covent Garden Trust to present opera and ballet at the Royal Opera House. Webster successfully negotiated with Ninette de Valois to get her Sadler's Wells Ballet company to move its base to Covent Garden, but he had to build up an opera company from scratch.[13] He initially approached famous conductors including Bruno Walter and Eugene Goossens, but found them unwilling to accommodate themselves to the new brief of the Covent Garden opera company: to present opera in English, with a permanent company, all year round on a very tight budget. Rankl was on the verge of going to Australia in response to an invitation from the Australian Broadcasting Corporation to conduct a 13-week season of 20 concerts.[14] He and the corporation were unable to agree terms, and in April 1946, he accepted the Covent Garden post. His appointment immediately caused controversy in musical circles. To those who hankered after the glamour of the pre-war seasons he was a minor figure among international maestros.[15] Among those outraged by Rankl's appointment was Sir Thomas Beecham, who had been in control of Covent Garden for much of the period from 1910 to 1939, and was furious at being excluded under the new regime. He publicly stated that the appointment of an alien, especially one bearing a German name was the "mystery of mysteries", and called the Covent Garden trustees a "hapless set of ignoramuses and nitwits".[16] Webster, however, realised that what the new Covent Garden company needed at this stage in its existence was not a star conductor but one of those who, in the words of the critic Desmond Shawe-Taylor "know the whole complex business of opera inside out, and retain in their blood the pre-war standards of a good continental opera house."[17] A biographer of Webster has written that under Rankl, "amazing progress" was made. He assembled and trained an orchestra and a chorus. He recruited and trained musical assistants.[18] Having recruited and trained a largely British company of singers, Rankl, with Webster's strong support, persuaded international singers including Elisabeth Schwarzkopf, Ljuba Welitsch, Hans Hotter and Paolo Silveri to appear with the company, singing in English. The company performed a wide repertory of German, Italian, Russian and English opera. It made its debut in January 1947 with Carmen, in a performance greeted by The Times as "worthy of the stage on which it appeared ... It revealed in Mr. Karl Rankl a musical director who knew how to conduct opera."[19] The company, headed by Edith Coates and including Dennis Noble, Grahame Clifford, David Franklin and Constance Shacklock, was warmly praised.[19] In the next two operas presented by the company, Rankl was thought a little stolid in The Magic Flute, but was praised for "weaving Strauss's flexible rhythms" in Der Rosenkavalier.[20] Rankl tackled the Italian repertoire, and new English works, winning praise for his Rigoletto, though with Peter Grimes he was compared to his disadvantage with the original conductor, Reginald Goodall.[21] A production of The Masteringers with Hotter as Sachs was judged "a further stage in the consolidation of the Covent Garden company".[22] Despite the good notices for his early seasons, Rankl had to cope with a vociferous public campaign by Beecham against the very idea of establishing a company of British artists; Beecham maintained that the British could not sing opera, and had produced only half a dozen first rate operatic artists in the past 60 years.[23] In the next three years, Rankl built the company up, reluctantly casting foreign stars when no suitable British singer could be found, and resisting attempts by Webster to invite eminent guest conductors.[24] When Webster and the Covent Garden board insisted, Rankl took it badly that star conductors such as Erich Kleiber, Clemens Krauss and Beecham were brought into "his" opera house.[25] In a biographical article in the Grove Dictionary of Music and Musicians, the critic Frank Howes wrote of Rankl: "By 1951 he had made the Covent Garden Company a going concern, but had also revealed, notably in his 1950 performances of the Ring, his limitations as a conductor – he was considered difficult with singers, orchestras and producers."[5] Rankl was also difficult in his relations with the Opera House's director of productions, Peter Brook, who left after two years.[26] Critics and operagoers did not fail to notice the difference in standards between performances under Rankl and under the guests.[27] Rankl resigned in May 1951, and conducted for the last time at the Royal Opera House on 30 June. The work was Tristan und Isolde with Kirsten Flagstad; as it was announced in advance that this would be her last appearance in the role of Isolde[28] and her farewell performance at Covent Garden, the fact that it was also Rankl's farewell received little attention.[29] He was never invited to conduct there again, and did not set foot in the building for another 14 years, until 1965 for the first night of Moses und Aron by his old teacher, Schoenberg; the conductor then was Georg Solti. After the end of the 1951 London season, Rankl conducted the Covent Garden company on tour; his final performance with the company was Der Rosenkavalier in Liverpool on 27 July 1951.[30] Later years[edit] In 1952, Rankl was appointed conductor of the Scottish National Orchestra, in succession to Walter Susskind.[31] He held the post for five years, and gained good notices. In 1953, Neville Cardus wrote that Rankl and his orchestra held their own even when compared against Wilhelm Furtwängler and the Vienna Philharmonic, when both orchestras played at that year's Edinburgh Festival.[32] Rankl was praised for enterprising programming, presenting the then-unknown early work of Schoenberg Gurrelieder at the 1954 Edinburgh Festival,[33] and Mahler's Fifth Symphony, also then a rarity, at the same festival.[34] Cardus also praised Rankl's conducting of Bruckner as "grand and comprehensive … of rare quality".[35] In December 1957, Rankl was appointed musical director of the Elizabethan Trust Opera Company in Australia.[36] In his first season he conducted Carmen, Peter Grimes, Fidelio, Lohengrin and The Barber of Seville.[37] He conducted the company at the inaugural Adelaide Festival in 1960, in Richard Strauss's Salome and Puccini's Il trittico.[38] Towards the end of his life, Rankl retired to St. Gilgen, near Salzburg in Austria. He died there at the age of 69.[39] Compositions and recordings[edit] As a composer, Rankl wrote eight symphonies, a string quartet, and 60 songs.[39] He also wrote an opera, Deirdre of the Sorrows (based on J.M. Synge's play), which won one of the prizes offered by the Arts Council for the Festival of Britain in 1951. Rankl's reputation today however, lies almost entirely on his work as a conductor. His opera has never been performed and little of his music has ever been published.[5] Rankl made few recordings for the gramophone. In the late 1940s, for Decca he conducted Beethoven's First Symphony, Schubert's Fourth Symphony, Brahms's Fourth Symphony and Dvořák's New World Symphony; Dvořák's Cello Concerto (with Maurice Gendron) and Violin Concerto (with Ida Haendel); a Bach Cantata (Schlage Doch, BWV 53) and overtures and other shorter pieces by Beethoven, Cimarosa, Dvořák, Rossini, Smetana, Richard Strauss, Wagner and Weber.[40] Rankl recorded excerpts from the operatic repertory with the bass-baritone Paul Schöffler in Sarastro's arias from Die Zauberflöte, the "Wahnmonolog" from Die Meistersinger, the closing scene of Die Walküre, and Iago's arias from Otello. With his Covent Garden chorus and orchestra he recorded choruses from Die Zauberflöte, Rigoletto, Carmen, Il trovatore and Pagliacci, though only the first two of the five were released on disc.[40] Karl Rankl (Conductor) Born: October 1, 1898 - Gaaden, near Vienna, Austria Died: September 6, 1968 - Salzburg, Austria The Austrian-born English conductor and composer, Karl Rankl was a pupil of Arnold Schoenberg (private sudies for four years beginning in 1918) and Anton Webern in Vienna. From them he acquired fine understanding of the problems of modern music. Karl Rankl's first appointment was as chorus master at the Volksoper in Vienna in 1922 where he later became an assistant conductor. This was followed by appointments in Liberec in 1925, Königsberg in 1927 and the Kroll Oper in Berlin where he served as assistant to Otto Klemperer from 1928 to 1931. He became associated with Otto Klemperer's advocacy of modern music. After a brief conducting stints in Wiesbaden and Graz (1932-1937), he became director of the Neues Deutsches Theater in Prague (1937-1939). While there he conducted the first performance of Krenek's Karl V. At the outbreak of World War II in 1939, Karl Rankl took refuge in England and became a British citizen. He became music director of the Royal Opera House, Covent Garden, in 1946, where he significantly reorganized the establishment. He recruited a new company of singers drawing not only from established British singers but also international singers, including Elisabeth Schwarzkopf, Ljuba Welitsch, and Paolo Silveri. He significantly expanded the repertory of the company which included German, Italian, Russian and English opera. Inspite of these many positive changes, Rankl garnered a reputation for being difficult with singers, orchestras and producers. Some also criticized his conducting, and his weaknesses were particularly criticized in in his 1950 performances of the Ring Cycle. However, others such as Reginald Goodall, then an assistant conductor, considered these criticisms unfair and felt Rankl was "under-rated". Nevertheless, Rankl resigned as musical director in 1951 and, in the following year, became conductor of the Scottish National Orchestra, with which he remained for five years (1952-1957). From 1958 to 1960 he conducted the Elizabethan Opera Trust in Sydney2 (according to Wikipedia2, he accepted the post of director of the proposed Sydney Opera, but because of the delay in the completion of the opera house he never had the chance to take up the appointment). As a composer, Karl Rankl wrote eight symphonies and a string quartet, the latter of which was first performed at Graz in 1936. He also wrote one opera, Deirdre of the Sorrows (based on J.M. Synge's play), which won one of the prizes offered by the Arts Council for the Festival of Britain in 1951. He also write an oratorio Der Mensch and many choral works. His reputation today however, lies almost entirely on his work as a conductor. His opera has never been performed and none of his music has ever been published. Chronology 1898 Born in Gaaden, Austria, October 1st 1925 Conductor in Liberec 1927 Conductor in Konigsberg 1928-1931 Klemperer's assistant at the Kroll Opera, Berlin 1931-1932 Director of the Opera House at Wiesbaden 1933-1937 Conductor in Graz 1937-1939 Director of the German Theatre, Prague 1938 Conducted the first performance of Ernst Krenek's "Karl V" 1939 Arrived in Britain three weeks before war broke out 1946-51 Music Director of the new Covent Garden Opera Company 1949 Conducted the first performance of Bliss's "The Olympians" at Covent Garden 1950 Conducted Wagner's Ring cycle at Covent Garden 1952-57 Conductor of the Scottish Orchestra 1958-60 Music Director of the Elizabethan Theatre Trust, Australia 1968 Died in St Gilgen, Salzburg September 6th List of Works Orchestral Works Symphony no 1 (1938) Symphony for large orchestra and three female voices (soprano, mezzo-soprano and alto) in the second movement. Score: soprano, mezzo, alto, 2 piccolos, 3 flutes, 3 oboes, cor anglais, 3 clarinets in A, bass clarinet, 3 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B, 3 trombones, tuba, timpani, bass drum, side drum, cymbals, triangle, wood block, tambourine, tam tam, xylophone and strings (8,8,7,6,5) In three movements: Un poco maestoso pp1-78 (of the score) Krassa 03/08/38 Sehr ruhevoll pp79-113 Prague 10/09/38 Lebhaft, doch nicht zu schell pp114-194 Zurich 19/11/38 Texts of the songs in the second movement: i) Ein Volkslied, ii) Ein Volkslied, iii) by Mathias Claudius. First performance: 29th January in Liverpool (Liverpool Philharmonic Orchestra under Karl Rankl). Symphony no 2 (1941) Score: 2 piccolos, 3 flutes, 3 oboes, cor anglais, 2 clarinets in A, clarinet in E flat, bass clarinet in B, 3 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B, 3 trombones, tuba, timpani, triangle, cymbals, side drum, glockenspiel and strings. Written in 1941, England In three movements: Allegro energico pp1-96 Oxford 30/09/41 Adagio pp97-137 Oxford 02/07/41 Burlesque pp138-222 Oxford 12/06/41 Symphony no 3 (1944) Score: 2 piccolos, 2 flutes, 2 oboes, 2 bassoons, 2 clarinets in B, 4 horns in F, 3 trumpets in B, 3 trombones, tuba, timpani, strings (8,7,6,5,4) Written between 1943 and 1944 in England In three movements: Allegro non troppo pp1-75 Boar's Hill 24/07/43 Adagio pp76-100 Boar's Hill 15/08/43 Allegro molto pp101-169 Boar's Hill 08/11/43 Dedicated "to Lady Mary and Dr Gilbert Murray in affectionate admiration and sincerest gratitude" Symphony no 4 (1953) Score: 2 piccolos, 3 flutes, 3 oboes, cor anglais, 3 clarinets in A, bass clarinet in B, 3 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B, 3 trombones, tuba, timpani, bass drum, side drum, cymbals, triangle, wood block, tambourine, tam tam, glockenspiel and strings (8,7,6,5,4) Written between 1952 and 1953 in Austria and England In three movements: Allegro energico pp1-42 London 18/01/53 Variations on an old folksong, Andante pp43-66 London 27/01/53 Rondo Finale. Allegro ma non troppo pp67-111 London 16/04/53 Also sketched movements 1 and 3 in Schloss Huttenstein on 14/08/52 and 28/08/52 On 16/04/53 finished the score in London. First performance: 20th January 1954 in Vienna (Vienna Symphony Orchestra under Karl Rankl). Symphony no 5 (1954) Score: piccolo, 3 flutes, 2 oboes, cor anglais, 2 clarinets in A, clarinet in E flat, bass clarinet in B, 3 bassoons, contrabassoon, 4 horns in F, 3 trumpets in C, 3 trombones, tuba, timpani, cymbals, strings (8,7,6,5,4). Written between the summer of 1953 and the summer of 1954 in Austria and England. In four movements: Tema con variazione (un poco sostenuto) pp1-6 Huttenstein 15/08/53 Scherzo pp7-18 Huttenstein 22/08/53 Adagio pp19-25 Huttenstein 13/07/54 Finale (Allegro, ma non troppo) pp25-52 Huttenstein 03/08/54 First performance: 25th January 1957 in Edinburgh (Scottish National Orchestra under Hans Swarowsky) Second performance: 26th January in Glasgow (SNO under Hans Swarowsky) Third performance: 10th July at the BBC, London (SNO under Karl Rankl) (Recorded in Glasgow on May 1957 with the SNO under Karl Rankl) Symphony no 6 (1961) Score: piccolo, 3 flutes, 2 oboes, cor anglais, 3 clarinets in A, bass clarinet in B, 3 bassoons, contrabassoon, 4 horns, 3 trumpets in C, 3 trombones, tuba and strings (8,8,7,6,5) Written between 1959 and 1961 in Austria and Australia In four movements: Allegro pp1-39 St Gilgen 30/10/60 Scherzando pp39-75 St Gilgen 04/12/60 Adagio pp76-93 St Gilgen 25/12/60 Allegro giocoso pp94-130 St Gilgen 25/02/61 Finished at Hochreithaus St Gilgen 25/02/61 Dedicated "to my friend Franz Holford in memory of happy days in Australia" Symphony no 7 (1962) Score: piccolo, 3 flutes, 2 oboes, cor anglais, 3 clarinets in A, 3 bassoons, contrabassoon, 4 horns in F, 3 trumpets in C, 3 trombones, tuba and strings (8,8,7,6,5) Written in 1962 in Austria and England In four movements: Vivace pp1-29 London 18/03/62 Scherzo pp30-72 London 15/01/62 Adagio (attaca) pp73-82 London 01/02/62 Finale pp83-121 London 10/05/62 Orchestral parts finished 11/05/62 Dedicated to "Herrn Hofrat Professor, Joseph Marx, in Verehrung und Zuneigung gewidmet, 11. Mai 1962" Symphony no 8 (1963) Score: piccolo, 3 flutes, 2 oboes, cor anglais, 3 clarinets in A, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in C, 3 trombones, tuba and strings Written in 1963 in Austria and England In four movements: Maestoso, alla marcia funebre pp1-14 Hochreithaus, St Gilgen 25/08/63 Adagio pp14-24 Hochreithaus, St Gilgen 05/09/63 Scherzo pp25-45 London 04/10/63 Allegro molto pp46-75 London 05/11/63 Sinfonietta no 1 (1957) Score: piccolo, 3 flutes, 3 oboes, cor anglais, 2 clarinets in A, clarinet in E flat, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in C, timpani, triangle, side drum and strings (8,7,6,5,4) Finished on 08/01/57 In one movement: Allegro capriccioso (ma non troppo) pp1-71 Sinfonietta no 2 (1961) Score: piccolo, 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 4 horns in F, 2 trumpets in C and strings. In three movements: Moderato pp1-12 Tema con variazione pp13-21 Allegro commodo pp21-34 Written in 1961 in Austria Finished at Hochreithaus, St Gilgen on Saturday 2nd September 1961 Music from the Opera "Deirdre" - Suite for large orchestra (1956) Score: 2 piccolos, 3 flutes, 2 oboes, cor anglais, 2 clarinets in A, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B, 3 trombones, tuba, timpani, cymbals, side drum, tambourine, glockenspiel, harp and strings (8,7,6,6,6) Written in 1956 in Austria Finished 15/07/56 In three movements: (i) Adagio, (ii) Molto tranquilo, (iii) Poco maestoso Suite for Strings (1953) Score: Violin 1, Violin II, Viola, 'Cello and Double Bass In five movements: (i) Prelude and Fugue, (ii) Valse, (iii) Fandango, (iv) Andante con variazione, (v) Scherzo Written in Austria between July 1st and July 18th 1953 Dedicated "to my friend John Gardner and the Haslemere Musical Society" Two Dances for Strings (Valse and Fandango from the Suite) were published separately by OUP in 1954 Weihnachts-Ouverture (Christmas Overture) (1957) Score: piccolo, 3 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 4 horns in F, 3 trumpets in C, 3 trombones, tuba, timpani, triangle, glockenspiel in B, F and F sharp and strings Finished 20/10/57 in London Variations on "Waltzing Matilda" (1959) Score: piccolo, 3 flutes, 2 oboes, cor anglais, 3 clarinets in A, bass clarinet in B, 2 bassoons, contrabassoon, 4 horn in F, 3 trumpets in C, 3 trombones, tuba, timpani, side drum, cymbals, triangle and strings 15 Variations and Coda (pp1-78) Written in 1959 in Australia Dedicated "to Sir Bernard Heinze, the Doyen of Music in Australia" Finished 30/08/59 in Sydney Symphonic March for large orchestra (1952) Score: piccolo, 2 flutes, 2 oboes, 2 clarinets in B, 2 bassoons, 4 horns in F, 3 trumpets in B, 3 trombones, tuba, timpani, bass drum, side drum, cymbals, triangle and strings Tempo di Marcia ma non troppo (pp1-16) Written in 1952 in England Finished 15/02/52 in London Vocal Works Der Mensch (1964) Oratorio in three parts after pastiche-like texts. Rankl uses some of his own older compositions, or their different treatments. Teil I "Jugend" ("Youth) Teil II "Kreig" ("War") Teil III "Alter" ("Old Age") Score: soprano, alto, tenor, baritone, bass, Male and female choir, gem. Chor, piccolo, 3 flutes, 2 oboes, cor anglais, 3 clarinets in A, bass clarinet in B, bass clarinet in A, 3 bassoons, contrabassoon, 4 horns in F, 3 trumpets in C, 3 trombones, tuba, timpani, wood block, tam tam, xylophone, harp and strings Verwendet wurden folgende texte von: Matthias Claudius: "Der Mensch" ("Empfangen und genaehret") Joseph v. Eichendorff: "Wiegenlied" ("Das Kind ruht aus") Emil A Hermann: "Wiegenlied" ("und was she' ich den") Dettlev v. Liliencron: "Wiegenlied" ("vor der Ture schlaft der Baum") Paul Fleming: "Tanzlied" ("Lasst uns tanzen") Walther von der Vogelweide: "Tandaradei" ("Unter der Linde") John M Synge: aus dem Schauspiel "Dierdre" (Textubers: Furegg) Heinrich v. Kleist: "Das Kathchen von Heilbronn" (Akt 4, 2. Auftritt bis Ende des 3. Auftritts. In RuB: S.82 z. ( - S.87 z. 17) Mathias Claudius: "Kriegslied" ("'s ist Krieg") Karl Kraus: "Chor der erfrorenen Soldaten" ("Kalt war die Nacht") Volkslied: "Bohmisches Rekrutenleid" ("Als ich noch ein kleiner Junge") Siegfried Sassoon: "Traumer" ("Soldaten sind Burger") Joseph v. Eichendorff: "Der Soldat" ("Und wenn es einst dunkelt") Anton Ulrich, Hzg. Zu Braunschweig-Luneburg: "Abschied" ("Mein matter Sinn") Anonymous (aus dem Liederbuch eines Schwarzwalder Uhrmachers): ("Die Uhr schlaegt eins) Volkslied: ("Wir leben und wissen nicht warum") Matthias Claudius: "Der Tod" ("Ach, es ist so dunkel") Matthias Claudius: "Motett") ("Der Mensch lebt") Written between 1963 and 1964 in England Finished Saturday 21/03/64 in London Four Scottish Songs Score: 1 high voice (alto), 2 flutes, 2 piccolos, 2 clarinets in A, 2 bassoons, 2 oboes, 4 horns in F, 2 trumpets in C, 3 trombones, timpani, harp, celesta and strings 1 Scottish folksong: An Eriksay Love Lilt arr Rankl "Bhair mi oro bharo" 2 Scottish folksong: Kishmul's Gallery, A' Bhirlin Bharrich arr Rankl "High form the Bena Haylich" 3 Highland Cradle Song: "O can ye sew cushions" arr Rankl 4 Robert Burns: "O whistle and I'll come to you" arr Rankl Dedicated "to Constance Shacklock" Deirdre of the Sorrows (1950) Opera in three Acts after a play by John Millington Synge (1871-1908) Written in the summer of 1948, 1949 and 1950 in Schloss Huttenstein Scored in 1950 in London. Songs with piano: Songs for a Female Voice (1920-22) A Chinese Picture-Book op5 (1941-42, England) 7 Songs for Baritone op6 (1939-42, England) 9 Songs for Soprano op7 (Jan-Oct 1942, England) 7 Songs for Tenor op8 (1941-42, England) 7 Songs for Mezzosoprano op9 (1942-42, rev. 1952, England) War - 11 Songs for Baritone op10 (Oct-Nov 1939-42, England) "Mutter" (3rd March 1962, London) Choral works with instrumental ensemble: Litanei der Gutsarbeiter (19 Feb 1933, Berlin) Schlusschor der Arbeiter (17 March 1932, Wiesbaden) Lied der Arbeiter (1 March 1932, Wiesbaden) Miscellaneous choral works: Schnitterlied (24 Oct 1932, Berlin) Budjongs Regiment (24 Oct 1932, Berlin) Tanzlied (29 June, 1964, London) Ballade von der Arbeit (30 Sep 1930, Berlin) Chor von der Arbeit (1 Mar 1932, Wiesbaden) Leid vom Abbau (30 Oct 1930, Berlin) Chorstuck fur Naturschwarmer (an einen Baum) (30 Oct 1932) Kneipenlied (2 Sep 1930, Berlin) Gehn zwei Buben (30 July 1953) Chamber Music String Quartet (written in the summer of 1935) Quartettsatz: Scherzo. Sehr rasch Quartettsatz: Menuett. Allegro moderato Quarettsatz: Scherzo and Trio. Sehr lebhaft Quartettsatz: Trio. Ruhiger Sonata for Double bass and piano (1957) Written in August 1957 in Austria. In three movements: (i) Moderato, (ii) Tema con variazione, (iii) Rondo Works for solo piano: Include: Scherzos, Menuetts, Rondos, Allegros, Menuett and Trio and Maessig Langsam                ebay3817a