Utwory na płycie:

• Kommt, kommt!
• Els! Els!
• Das werdet Ihr nicht tun!
• Ziemlich langsam
• Ein ödes Nest!
• Tibi soli peccavi
• Elis! - Mutter!
• Genug! Macht ein Ende!
• Wie ich lebte, so lasst mich sterben
• Er ist von Sinnen!
• Was sagst du dazu?
• Lasst ab von dem
• Er kommt, er kommt morgen
• Els! Els!
• So hört, Herr König
• Lass mich!
• Ah! Ah!
• Soll ich?
• Mein Kind, Els?
• Halloh, halloh!
• Schön’ Abend
• So hört meinen Sang
• Was soll das?
• Allegro con spirito
• Nun, Narr, du hast es gelöst!
• Wenn Majestät geruh’n zu erlauben
• Am Ilsenstein in uralter Zeit
• Wie seid Ihr töricht
• Halt, o König!
• Ah! Hört auf!
• Ha, ha! Herr König
• Dank, Dank, Herr König
• Klein war ich noch
• Komm, komm, mein Bräutchen
• Sehr getragen
• Dank, dass Ihr kamt!
• Els! - Elis, endlich
• Rubato - Ziemlich langsam
• Geheimnisvoll kündet die Nacht sich an
• Kein Grauen, Freund!
• Ich bin kein Schemen
• In sanfter ruhiger Bewegung - Mehr und mehr gesteigert
• Du sollst mich nie fragen
• In fortwährender Steigerung

CD 1:
Der Schatzgräber (Vienna, 1915/1918) - First & Second Actt

CD 2:
Third & Fourth Act & Epilogue

Franz Schreker (1878-1934, austrian composer) was born in Monaco and grew up during travels across half of Europe and, after the early death of his father, the family moved to Vienna (1888) where in 1892, with the help of a scholarship, Schreker entered the Vienna Conservatory. Starting with violin studies, with Sigismund Bachrich and Arnold Rosé, he moved into the composition class of Robert Fuchs, graduating as a composer in 1900.

Schreker is well known for his operas and wrote the libretto and composed his opera "Der Schatzgräber" after the great success of "Der ferne Klang" (1912) and "Die Gezeichneten" (1918). "Der Schatzgräber", questioning the value of materialism versus love, was to prove particularly powerful in post-War Europe. After the Frankfurt premiere in January 1920, productions popped up in major cities across the continent and Schreker became one of the most performed composers of his generation. While his biggest competition Richard Strauss and Hugo von Hofmannsthal had pursued a similar path in the overtly Wagnerian "Die Frau ohne Schatten" – which opened in Vienna on 10 October 1919 – their ‘last Romantic opera’ lacked Schreker’s allegorical punch. Strauss retreated further into Gemütlichkeit, while Schreker continued to wrestle with the dilemma of being an artist in the modern world.

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Live recordings by Dutch National Opera, 30 September, 12, 15, 19 October 2012.