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Also available on Naxos: Deutsche Schubert Lied Edition Vol. 8 DEUTSCHE Schiller-Lieder, Vol. 2 Deutsche Schubert Lied Edition Vol. 1 Die Bürgschaft • Gruppe aus dem Tartarus a.o. SCHUBERT-LIED-EDITION • 17 Winterreise Regina Jakobi, Mezzo-soprano Roman Trekel, Baritone Ulrich Eisenlohr, Piano...... 8.554741 Ulrich Eisenlohr, Piano...... 8.554471 Deutsche Schubert Lied Edition Vol. 9 Deutsche Schubert Lied Edition Vol. 2 Schubert’s Friends, Vol. 1 SCHUBERT Schwanengesang • Auf dem Strom • Herbst Schatzgräbers Begehr • Jägers Liebeslied a.o. Lebensmut • Lieder on texts by Ludwig Rellstab Markus Eiche, Baritone / Jens Fuhr, Piano. . . 8.554799 Michael Volle, Baritone / Ulrich Eisenlohr, Piano Sjön Scott, Horn...... 8.554663 Deutsche Schubert Lied Edition Vol. 10 Austrian Contemporaries Vol. 2 Austrian Contemporaries, Vol. 1 Deutsche Schubert Lied Edition Vol. 3 Drang in die Ferne • Die Sterne • Am Fenster a.o. Detlef Roth, Baritone Goethe-Lieder, Vol. 1 Christoph Genz, Tenor An den Mond • Der Fischer • Ganymed • Meeres Stille Wolfram Rieger, Piano...... 8.554796 Prometheus • Wandrers Nachtlied I & II a.o. Ulrich Eisenlohr, Piano Ulf Bästlein, Baritone / Stefan Laux, Piano. . .8.554665 Deutsche Schubert Lied Edition Vol. 11 North German Poets Deutsche Schubert Lied Edition Vol. 4 Auf der Bruck • Im Frühling • Der Wanderer a.o. Mayrhofer-Lieder, Vol. 1 Hanno Müller-Brachmann, Bass-Baritone Der Alpenjäger • An die Freunde • Auf der Donau Ulrich Eisenlohr, Piano ...... 8.555780 Aus “Heliopolis” I & II • Der Hirt a.o. Cornelius Hauptmann, Bass Deutsche Schubert Lied Edition Vol. 12 Stefan Laux, Piano...... 8.554738 Mayrhofer-Lieder, Vol. 2 Erlafsee • Uraniens Flucht • Auflösung a.o. Deutsche Schubert Lied Edition Vol. 5 Christiane Iven, Mezzo-Soprano Die schöne Müllerin Burkhard Kehring, Piano ...... 8.554739 Christian Elsner, Tenor Ulrich Eisenlohr, Piano ...... 8.554664 Deutsche Schubert Lied Edition Vol. 13 Goethe Lieder, Vol. 2 Deutsche Schubert Lied Edition Vol. 6 Lieder der Mignon • Gretchen-Lieder • Suleika I,II a.o. Schiller-Lieder, Vol. 1 Ruth Ziesak, Soprano • Ulrich Eisenlohr, Piano Der Alpenjäger • Der Kampf • Der Taucher a.o. Christian Elsner, Tenor...... 8.554666 Martin Bruns, Baritone Ulrich Eisenlohr, Piano ...... 8.554740 Deutsche Schubert Lied Edition Vol. 14 European Poets, Vol. 2 Deutsche Schubert Lied Edition Vol. 7 Edward • An Silvia • Vedi quanto adoro European Poets, Vol. 1 Petrarca-Sonette a.o. Ellens Gesänge • Lied des gefangenen Jägers, Maya Boog, Soprano / W. M. Friedrich, Bass-Baritone Normans Gesang • Lodas Gespenst a.o Ulrich Eisenlohr, Piano ...... 8.557026-27 Ruth Ziesak, Soprano / Roman Trekel, Baritone Ulrich Eisenlohr, Piano...... 8.554795 Further volumes are listed on www.naxos.com 8.557172 24 557172bk USA 15/6/04 10:52 am Page 2

Dann glänzt das Leben heiter, Life looks cheerful, Mild lächelt jeder Schmerz, Smiles gently at every pain, Die Freude hält umfangen Joy is held confined Das ruhige, klare Herz. In the quiet clear heart. THE DEUTSCHE SCHUBERT-LIED-EDITION In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs ¡ Die Fröhlichkeit Joyfulness , D262 (1815) which he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Martin Joseph Prandstetter (1760-1798) Martin Joseph Prandstetter (1760-1798) Schubert’s) luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von D262 (1815), veröffentlicht 1895 published 1895 Goethe: A selection of German songs will constitute the beginning of this edition; it will consist of eight volumes. The Wess’ Adern leichtes Blut durchspringt, He in whose veins blood runs lightly first two (the first of which, as an example, you will find in our letter) contains poems written by your Der ist ein reicher Mann; Is a rich man; Excellency, the third, poetry by Schiller, the fourth and fifth, works by Klopstock, the sixth by Mathison, Hölty, Auch keine goldnen Ketten zwingt Also with no gold chains Salis etc., the seventh and eighth contain songs by Ossian, whose works are quite exceptional. Ihm Furcht und Hoffnung an. Do fear and hope hold him. The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 songs, will be grouped according to the poets who inspired him, or according to the circle of writers, Wohin sein muntrer Blick sich kehrt, Wherever his cheerful gaze turns contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to Ist alles schön und gut, All is fair and good, music. Fragments and alternative settings, providing their length and quality make them worth recording, and Ist alles heil und liebenswert, All is hale and lovable, works for two or more voices with piano accompaniment will also make up a part of the edition. Und fröhlich wie sein Mut. And joyful as his mood. Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, his Denn Fröhlichkeit geleitet ihn Then Joyfulness leads him contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. Bis an ein sanftes Grab To a gentle grave The entire edition is scheduled for completion by 2006. Thanks to the Neue Schubert Ausgabe (New Schubert Wohl durch ein langes Leben hin Through a long life Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the An ihrem Zauberstab. With its magic wand. performers have been able to benefit from the most recent research of the editorial team. For the first time, the listener and the interested reader can follow Schubert’s textual alterations and can appreciate the importance the Das Originalgedicht hat zwölf Strophen The original poem has twelve verses. written word had for the composer. The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers English versions by Keith Anderson who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he believes, will stand the test of time.

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Getäuschtes Paris! Paris is overthrown! Franz Peter Schubert (1797-1828) Der schmeichelnde Wahn ist verflogen; Her flattering delusion is gone; Settings of Poems by Austrian Contemporaries, Vol. 2 Die Väter der Teutschen, den Cäsar des Nordens The fathers of the Germans, the Caesar of the North Empörten die Gräuel des Raubens und Mordens. Were angered by the horrors of rapine and murder. In May 1821 Schubert received a letter from Johann people with all their possibilities and vicissitudes). This Der Edlen Verheißung - sie hat nicht betrogen; The promise of the nobles they did not betray; Ladislav Pyrker, the Patriarch of Venice: ‘Honoured may explain the passionate engagement, the almost Sie sind in Paris! They are in Paris! Sir, I accept with the greater pleasure your proposal to overheated intensity of both songs. The personal gift of Nun ist uns der Friede gewiß! Now peace for us is certain! dedicate to me the fourth volume of your incomparable the poems by Pyrker may also have played a part, since songs, in that there often now return memories of that they both seem to have held each other in high esteem. Befreites Paris! Paris is liberated! evening when I was so moved by the profundity of your A further circumstance could similarly have Aus dir floß die Lava der Kriege; From you flowed the lava of war; mind, also explicitly expressed in the music of your brought about the particular strength of feeling of Das In dir sprießt die Palme, sie haben’s verheißen, In you grows the palm that they have promised, Wanderer …’. Ladislav Pyrker, born in 1773, had an Heimweh. The idea of longing is actually central to Die Väter von Östreich, von Rußland, von Preußen, The fathers of Austria, of Russia, of Prussia, important career in the Church, as Abbot and then Schubert’s songs, yet this longing is almost always Die liebliche Frucht ihrer glänzenden Siege The lovely fruit of your brilliant triumph Archbishop. Throughout his life he was socially directed towards an ideal ‘milderes Land’ (gentler Ist Friede gewiß! Is certain peace! engaged. In Karlsruhe and Gastein he founded, during country), as Mayrhofer expressed it, a ‘bessre Welt’ Sie senden ihn bald aus Paris. They send it soon from Paris. the war with France, sanatoria for the war wounded, (better world) in the words of Schober, a goal beyond, and he wrote poetry. He appears at two important points unattainable on earth. Here, though, it is concrete, in Das Originalgedicht hat acht Strophen The original poem has eight verses in Schubert’s artistic development. The two first met in this world, and precisely related to the mountains that 1820 through their common friend Matthäus von so deeply influenced Schubert, a citizen of Vienna. ) Abschied (Melodram) Farewell (Melodrama), D829 (1826) Collin. The Opus 4 then dedicated to him by Schubert Accordingly his music is direct, robust, concise and Adolf von Pratobevera (1806-1875) Adolf von Pratobevera (1806-1875) included the aforementioned famous Wanderer, really tightly constructed, filled with harmonic colours, aus der dramatischen Dichtung “Der Falke” from the dramatic poem ‘The Falcon’ central for Schubert’s creative career, a setting of verse melodic Alpine yodelling turns of phrase in his D829 (1826), veröffentlicht 1873 published 1873 by Schmidt von Lübeck (Deutsche Schubert-Lied- conception of the longed for land, but also deeply sad, Edition 11, North German Poets). In 1825 they depressive and of high dramatic intensity in its Leb’ wohl, du schöne Erde! Farewell, fair earth! probably met again, when Schubert, with the famous depiction of the pain of parting. Die Allmacht gave him Kann dich erst jetzt versteh’n, Now first can I understand you, singer Michael Vogl, the most important interpreter of an opportunity to express his form of piety and Wo Freude und wo Kummer Where joy and where care Schubert’s songs during the latter’s lifetime, undertook devotion: God manifests himself in the ‘beating hearts’ An uns vorüberweh’n. Pass away for us. his third great journey to Upper Austria, staying in of men, not in the sermons of priests, experienced in Linz, Steyr, Salzburg and Gmunden, and in Bad nature, not in church. From this directly approachable Leb’ wohl, du Meister Kummer! Farewell, Master Care! Gastein. There he received from Pyrker himself the pantheism in the poem came one of the most dramatic Dank dir mit nassem Blick! I thank you with tear-filled eyes! poems Die Allmacht (Omnipotence) and Das Heimweh of all Schubert’s songs, almost beyond comprehension, Mit mir nehm’ ich die Freude, With me I take joys, (Homesickness), which gave Schubert texts for two of yet credible, in its unbroken pathos untypical of the Dich laß’ ich hier zurück. You I leave behind here. the most substantial songs included here. Schubert was composer. profoundly moved and inspired by his impressions of Like these two poems, all the other texts here Sei nur ein milder Lehrer, Be only a gentle teacher, this journey, the landscape, nature, culture, and artistic belong to a relatively restricted contemporary and Führ’ alle hin zu Gott, Lead them all to God, and human encounters. This is evident from two localised part of Schubert’s life. Yet a characteristic of Zeig’ in den trübsten Nächten Show in the cloudiest nights unusually comprehensive and detailed reports of his this repertoire is its contrast of opposites, its almost Ein Streiflein Morgenrot! Rays of dawn! travels to his brother Ferdinand. Pyrker’s poems unharmonically realised heterogeneity: the profound directly or indirectly provide a theme for these philosophy of life of Die abgeblühte Linde (The Faded Lasse sie Liebe ahnen, Let them have an idea of love, impressions, Das Heimweh, the connection of the Lime Tree) stands against the carefree Frohsinn (Joy) So danken sie dir noch, And they will thank you mountain people to the landscape, the grandeur of and Die Fröhlichkeit (Joyfulness); heaven-storming Der früher und der später, Sooner and later, which could not fail to impress him, Die Allmacht the pantheism in Die Allmacht alternates with Biedermeier Sie danken weinend doch. They will thank you, yet weeping. praise of a God who could create such a thing (and the songs in praise of the joys of friendship and of wine,

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women and song, in Der Zufriedene (The Contented atmosphere that is between sadness of spirit and the * Skolie Drinking Song, D306 (1815) Man) and Skolie (Drinking Song); the individual, with a tender mood of a lullaby to the dramatic, almost Johann L. von Deinhardstein (1794-1859) Johann Ludwig von Deinhardstein (1794-1859) creed verging on the exhibitionist in Der Unglückliche physical outburst of consciousness of passion, the short D306 (1815), veröffentlicht 1895 published 1895 (The Unhappy One) is in contrast with the cliché-ridden hectically ecstatic look back at past happiness and its genre picture of happy country people in Ferne von der breakdown up to the irrevocable condition of loneliness. Laßt im Morgenstrahl des Mai’n Let us in the morning light of May großen Stadt (Far from the great city), and this again Musical breaks, abrupt as real disasters, of such drastic Uns der Blume Leben freun, Enjoy the flowers of life with the sensitive, individual, contemporary depiction severity as at the end of this song, are found in Eh’ ihr Duft entweichet! Before its fragrance fades! of the homesick mountain-dweller in Das Heimweh, the Schubert’s compositions from the 1820s onwards, Haucht er in den Busen Qual, If it breathes trouble in the heart chauvinist political song of victory of Die Befreier particularly in his piano and chamber music. Certainly it Glüht ein Dämon im Pokal, There glows a demon in the cup Europas in Paris (The Liberators of Europe in Paris) is not unreasonable to connect this with the shock of Der sie leicht verscheuchet. That easily puts it to flight. with the hymn of Die erste Liebe (First Love). No other syphilis that he contracted at the end of 1822. Naturally song composer has set texts so divergent in style, this is not to be taken as a single programmatic Schnell wie uns die Freude küßt, Quickly as joy kisses us, content and quality, and in the present collection not all explanation. Winkt der Tod, und sie zerfließt; Death beckons, and it melts away; the poems are of a high literary level, since most of the Karoline Pichler, inspired admirer of Schubert and Dürfen wir ihn scheuen? Should we fear it? writers were dilettanti and not professional. Yet owner of the most important literary salon of the time, is Von den Mädchenlippen winkt From girls’ lips beckons Schubert was never careless in setting his chosen texts, represented by two further texts set by Schubert, which Lebensatem, wer ihn trinkt, The breath of life; who drinks of it, always concerned to bring out the core of the work and are a world away from the depth of unhappiness of Lächelt seinem Dräuen. Laughs at its menaces. e find a musical equivalent for it. That in this way his Der Unglückliche, but provide fine examples of writing er music brought inferior poems to a level of expression and music from the shallower reaches of the Skolie (od.Skolion) ist ursprünglich ein that the texts themselves in no way held is a clear proof Biedermeier. Der Sänger am Felsen (The Singer on the vierzeiliges, altgriechisches Trinklied e of his genius. Good poems were for him ones that Rock), from the idyll of the same name, is, like the 2 affected him in his feelings and situation in life and pastoral scenario of the text, a typical lament with a ( Die Befreier Europas in Paris The Liberators of Europe in Paris, D104 (1814) spoke to him from the soul. These inspired his sensitive prelude and postlude to which Schubert added Johann Christian Mikan (1769-1844) Johann Christian Mikan (1769-1844) enormous creativity, with them came, as he said, what the direction ‘flute’ (the pastoral instrument), probably D104 (1814), veröffentlicht 1895 published 1895 seemed right. Here versatility should not be taken as more a suggestion for tone colour than for a real lack of discrimination. performance with a flautist. Sie sind in Paris! They are in Paris! Der Unglückliche demonstrates directly and with Ferne von der großen Stadt (Far from the great city) Die Helden! Europa’s Befreier! The heroes! Europe’s liberators! incredible force one side of Schubert’s view of life, offers a criticism of civilisation and an idealisation of Der Vater von Östreich, der Herrscher der Reußen The father of Austria, the lord of the Russians despair over unhappiness in love: Versenke dich in nature. In Schubert’s time there were people who (=Russen) deines Kummers Tiefen, … berechne die verlornen preferred the idyll of country life to the noise, dirt and Der Wiedererwecker der tapferen Preußen! The reawakener of the brave Prussians! Seligkeiten … du hast ein Herz, das dich verstand, chaos of the city, poets rather in their poems than in Das Glück Ihrer Völker, es war ihnen teuer, The happiness of their peoples was so dear to them, gefunden … da stürzte dich ein grausam Machtwort fact. At the end of the song comes a musical quotation Sie sind in Paris! They are in Paris! nieder … zerrissen sind nun alle süßen Bande … (Sink from Haydn’s Emperor’s Hymn (to which Hoffmann Nun ist uns der Friede gewiß! Now peace for us is certain! into the depths of your sorrow … think of your lost von Fallersleben in 1922 gave the words Deutschland, happiness … you have found a heart that understands Deutschland über alles, with a third verse in 1952 for Du stolzes Paris! You proud Paris! you … then arose a cruel voice of power … now all the the Bundesrepublik). Whether this was intended as an Schon schriebst du der Erde Gesetze; You write the laws of the earth; sweet bonds are torn apart). All these snatches from old-fashioned ironic comment or as a tribute to the Doch, Herrschaft und Übermut plötzlich zu enden, Yet, lordship and insolence suddenly to end Karoline Pichler’s poem are related to Schubert’s life, composer of The Creation, which praised also the Durchstrich Alexander die Rechnung mit Bränden. Alexander settled the account with fire. and yet the musical setting goes far beyond a personal ‘natural’ work of God and not the civilising work of Von Moskau begann nun die Jagd und die Hetze, From Moscow now began the hunt and the chase, lament. Just as five years earlier in the poem mentioned man, is hard to decide. Bis hin nach Paris! Even to Paris! by Pyrker, Der Wanderer (originally bearing the title In Die abgeblühte Linde (The Faded Lime Tree) Nun ist uns der Friede gewiß! Now peace for us is certain! Der Unglückliche) there is a wide curve from the and Der Flug der Zeit (The Flight of Time) there restrained, subdued beginning in a nocturnal appears again a theme central to Schubert, that of 8.557172 4 21 8.557172 557172bk USA 15/6/04 10:52 am Page 20

Meinen Schlummer kürzer macht, Makes short my sleep, friendship. It is represented as the only constant in the Vorgefühl des Schönen (Presentiment of beauty) bring, Und ein ewig heitrer Himmel And an ever serene sky fleeting nature of time, in the second song through a with running repeated chords and endless arcs of Über sel’gen Fluren lacht! Smiles over the happy plain! definite quietening of musical movement at the end of melody in the vocal line, the reflection of the beloved, the song, in the first, with its recitative-aria form, with a in all her purity. A great manly rejoicing at the final Freuden, die die Ruhe beut, Joys that peace brings curious final stretta that sings of the fidelity of the apotheosis, Sie ist die Meine (She is mine), and the Will ich ungestört hier schmecken, Will I here taste undisturbed, gardner to his tree. pedal point in the postlude seem to underpin the Hier, wo Bäume mich bedecken, Here where trees shelter me Frohsinn (Joy), Lob des Tokayers (Praise of unalterable nature of this fact. All this idealistic Und die Linde Duft verstreut. And the lime tree scatters its fragrance. Tokay), Der Zufriedene (The Contented Man), Skolie transfiguration, which knows nothing and will know Diese Quelle sei mein Spiegel, Let this spring be my mirror, (Drinking Song) and Die Fröhlichkeit (Joyfulness) are nothing of possible disaster, can only be found in Mein Parkett der junge Klee, My flooring the young clover, in style and content set between the Nestroy-type Schubert’s early years. Und der frischberas’te And the freshly grassed hill couplet, a simple but witty drinking song, and a Widerspruch (Contradiction) (for male voice (=mit frischem Rasen bedeckte) Hügel composed toast. They seem to have been dashed off quartet as well as a solo song) sets a poem by Johann Sei mein grünes Kanapee. Be my green sofa. with a lighter hand. Closer consideration, nevertheless, Seidl, a poet of importance for Schubert’s late songs shows that Schubert also in this kind of more elevated (qv. Deutsche Schubert-Lied-Edition 10, Austrian Hebt der milde Herbst sein Haupt, The gentle autumn raises its head, occasional music, in spite of his audible pleasure in Contemporaries Vol.1) and is an extreme composition Mit dem Früchtenkranz geschmücket, Decked out with a garland of fruit, light-hearted song, worked carefully on such too. Written more than ten years later and almost at the Aus den Fluren und erblicket From the plain and looks compositions. An example is in Skolie where he shows end, therefore, of Schubert’s career as a composer, it Rings die Gärten, halb entlaubt: About the gardens, half stripped of leaves: transitoriness through a 2+2+2-bar structure of the develops the incredibly energetic, vital drive of the song O wie laben dann den Gaumen Oh how they refresh the palate, vocal line (in contrast to a normal periodic structure on the basis of a single, repeated ground pattern. This, Trauben, die mein Weinstock trägt, The grapes that my vine bears, lacking two bars), where time too soon passes. There however, does not produce monotony. An enormous Oder blau bereifte Pflaumen Or blue ripened plums are many examples of this kind. dynamic range, surprising modulations, constant Von dem Baum, den ich gepflegt. From the tree that I tended. Labetrank der Liebe (Refreshing Drink of Love), changes between full chords in the piano part and basic and An die Geliebte (To the Beloved), also set by unison create continuing new moments of surprise. The Endlich, wenn der Nordwind stürmt In the end, when the North wind storms Beethoven, like Die Sterne (The Stars) by Johann Georg song seems to balance in its radical unbridled course, its Durch die blätterlosen Wälder, Through the leafless forests Fellinger, are strophic songs of quietly elegiac lack of restraint, always on the verge of collapse, this Und auf die erstarrten Felder And on the frozen fields character, all three of them examples in Schubert of a too a sign and expression of a changed view of life. Ganze Schneegebirge türmt, Whole mountains of snow are piled, rather seldom found untroubled and uninterrupted Glaube, Hoffnung und Liebe (Faith, Hope and Dann verkürzet am Kamine Then by the hearth friendship feeling that all is well. Love) is one of Schubert’s last songs, written more or Freundschaft mir die Winternacht, Will shorten for me the winter nights, Vergebliche Liebe (Love in Vain) was written on less at the same time as the songs in Schwanengesang Bis, geschmückt mit frischem Grüne, Until, decked out with fresh greenery, the same day as Die Sterne and could not be in greater (Swan-Song). Chorale-type simplicity and an extreme Neu der junge Lenz erwacht. The young spring wakens again. contrast. Pain and despair of the lover at the cruelty of reduction of means produce the meditative and at the the beloved are set with harmonic daring, sometimes same time urgent character of the composition. In the Das Originalgedicht hat acht Strophen The original poem has eight verses harsh and implacable, unusually ‘modern’ and three middle minor-key verses can be heard the musically expressive. The form follows the recitative- movement, melodic structure and piano bass imitation arioso operatic model and thus contributes to the of Der Wegweiser (The Signpost) of Winterreise exciting drama of the short, roughly-sketched (Winter Journey). For Schubert, too, love was ‘the composition. Perhaps here not everything is rounded greatest among them’ (Brahms: Four Serious Songs), and successful, all the same it is thrilling and fascinating the melodic structure at the beginning and end of the when a young composer challenges the boundaries of song lets this be clearly heard. accepted tradition and exceeds them. With Die Befreier Europas in Paris (The Liberators Die erste Liebe (First Love), in content and of Europe in Paris) we return again to the initial period expression the absolute opposite of the preceding song, of Schubert’s career as a composer, and see him here as is a regular hymn. 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political life of the time. The poem celebrates the entry 17th February 1826 at the end of the one-act Der Falke ^ Der Sänger am Felsen The Singer on the Rock , D482 (1816) of the Austrian Emperor Franz I and his Prussian and (The Falcon) by Adolf von Pratobevera for his father’s Karoline Pichler Karoline Pichler Russian allies into Paris on 15th April 1814. The openly birthday, it is Schubert’s only melodrama. So moving Eingangsverse des Alexis aus der Idylle Opening verse of Alexis in the idyll chauvinistic triumphalist tone can only be explained by and naïve is this glance back at life, so puzzling a detail. „Der Sänger am Felsen” ‘The Singer on the Rock’ the traumatic humiliation that had been experienced by The piano figuration is borrowed from the famous D482 (1816), veröffentlicht 1895 published 1895 people in Austria and Prussia with the earlier campaigns Forelle (Trout), where it was concerned with loss of of Napoleonic conquests after the progressive ideals of freedom, a hidden suggestion, perhaps, that this idyll Klage, meine Flöte, klage Mourn, my flute, mourn the French Revolution. It is interesting and fascinating, too could be deceptive. We do not know. Die entschwundnen schönen Tage The fair days that have gone nevertheless, that Schubert is not a prey to arrogance. Und des Frühlings schnelle Flucht, And the swift flight of spring, His prelude tells of war, but his postlude sings of peace Hier auf den verwelkten Fluren, Here on the faded field and is more than twice as long. Ulrich Eisenlohr Wo mein Geist umsonst die Spuren Where my spirit vainly seeks Abschied (Farewell) is a real rarity. Performed on English version by Keith Anderson Süß gewohnter Freuden sucht. The traces of sweet accustomed joys.

Klage, meine Flöte, klage! Mourn, my flute, mourn! Detlef Roth Einsam rufest du dem Tage, Alone you call out to the day Born in Freudenstadt, the baritone Detlef Roth studied voice with Georg Jelden at the Musikhochschule Stuttgart. Der dem Schmerz zu spät erwacht. Which to pain too late awakes. Awarded several scholarships while studying, he also won numerous competitions including the Belvedere Einsam schallen meine Lieder; Alone my songs sing out Competition in Vienna 1992 and the Concours pour Voix Wagnériennes in Strasbourg in 1994. During his studies Nur das Echo hallt sie wieder Only the echo returns them he made his first stage appearances, at the Staatstheater Stuttgart (1993), and at the Festivals of Ludwigsburg and Durch die Schatten stiller Nacht. Through the shades of quiet night. of Schwetzingen, and was invited by John Eliot Gardiner to perform the rôle of The Speaker in Die Zauberflöte on tour through Europe, followed by a recording for DGG. After completing his studies, engagements followed as Klage, meine Flöte, klage! Mourn, my flute, mourn! Papageno in Die Zauberflöte and Herr Fluth in Die lustige Weiber von Windsor in Paris, as Escamillo in Lyons, as Kürzt den Faden meiner Tage Soon the steel of the stern Fates Papageno, Marcello, Eugene Onegin and Dulcamara in Frankfurt, as Wolfram in Tannhäuser and the Tsar in Zar Bald der strengen Parze Stahl; Will cut the thread of my life; und Zimmermann in Hamburg, as Donner in Rheingold, Gunther in Götterdämmerung and Jeletzki in The Queen O dann sing’ auf Lethes Matten Oh sing then on the shores of Lethe of Spades in Geneva, as Kothner in Die Meistersinger in London, as Wolfram in Rome and Bern, and as Hans Irgend einem guten Schatten To some good shade Heiling in Strasbourg. He sang Masetto at the 1999/2000 Salzburg Festival under Lorin Maazel and Valery Meine Lieb’ und meine Qual! Of my love and my torment! Gergiev, and at the Festival of Schwetzingen in 2001 under Thomas Hengelbrock Creonte in Haydn’s L’anima del filosofo and in summer 2002 Dulcamara in L’elisir d’amore in Ludwigsburg. As a concert performer, Detlef Roth Das Originalgedicht hat fünf Strophen The original poem has five verses has appeared with distinguished orchestras all over Europe. Specialties of his vast repertoire are the works of Mendelssohn (Elijah, St Paul, Walpurgisnacht), the works of Gustav Mahler, Orff’s Carmina Burana, and the Im Originaltext: In the original text: Requiem by Brahms, as well as the Passions by J.S.Bach among others. High points in his career have been Elijah 1,1: Klag’, o meine Flöte klage 1.1: Mourn, O my flute … under Wolfgang Gönnenwein in Ludwigsburg, under Philippe Herreweghe in Salzburg, and under Wolfgang Sawallisch in Tel Aviv, Faust-Szenen in Bad Urach under Jeffrey Tate in Rome, and under Wolfgang Sawallisch & Lied/Ferne von der großen Stadt Song: Far from the Great City, D483 (1816) in Munich, as well as Wolfram under Myung-Whun Chung with the Accademia Santa Cecilia in Rome. Detlef Karoline Pichler Karoline Pichler Roth has worked together with many famous conductors such as Semyon Bychkov, Riccardo Chailly, Daniele Lied der Lydia aus der Idylle “Der Sommerabend” Lydia’s Song from the Idyll ‘The Summer Evening’ Gatti, Bernard Haitink, Armin Jordan, Lorin Maazel, Neville Marriner, Kent Nagano, John Nelson, Trevor D483 (1816), veröffentlicht 1895. published 1895 Pinnock, Kurt Sanderling, Wolfgang Sawallisch, Giuseppe Sinopoli, Pinchas Steinberg, Jeffrey Tate, Christian Thielemann and David Zinman. Ferne von der Großen Stadt, Far from the great city Nimm mich auf in deine Stille, Take me into your quietness, Tal, das mit des Frühlings Fülle Valley that with the fullness of spring Die Natur geschmücket hat! Nature has decked out! Wo kein Lärmen, kein Getümmel Where no tears, no turmoil

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O köstlicher Tokayer, O delicious Tokay, Ulrich Eisenlohr Du königlicher Wein, You royal wine, The pianist Ulrich Eisenlohr is the artistic director of Naxos Deutsche Schubert Lied Edition. He studied piano Dir soll, als Gramzerstreuer, To you, as destroyer of sorrows, with Rolf Hartmann at the conservatory of music in Heidelberg/Mannheim and Lieder under Konrad Richter at Dies Lied geweihet sein! Let this be dedicated! Stuttgart. Specialising in the areas of song accompaniment and chamber music, he began an extensive concert In schwermutsvollen Launen In sad moods career with numerous instrumental and vocal partners in Europe, America and Japan, with appearances at the Beflügelst du das Blut, You give wings to my blood, Vienna Musikverein and Konzerthaus, the Berlin Festival Weeks, the Kulturzentrum Gasteig in Munich, the Bei Blonden und bei Braunen To blond and to brunette Schleswig-Holstein Music Festival, Concertgebouw Amsterdam, Edinburgh Festival, the Frankfurt Festival, the Giebst du dem Blödsinn Mut. You give courage to the shy. International Beethoven Festival Bonn and the Ludwigsburg Festival, among many others. His Lieder partners Dir soll, als Gramzerstreuer, To you, as destroyer of sorrows, include Hans Peter Blochwitz, Christian Elsner, Matthias Görne, Dietrich Henschel, Wolfgang Holzmair, Dies Lied geweihet sein, Let this be dedicated, Christoph Pregardien, Roman Trekel, Rainer Trost, Iris Vermillion, Michael Volle, Ruth Ziesak and others. Ulrich O köstlicher Tokayer, O delicious Tokay, Eisenlohr has also appeared in numerous broadcast productions, live concert recordings and television broadcasts Du königlicher Wein! You royal wine! as well as recordings for leading record companies, of which several have been awarded major prizes, such as the German Record Critics’ Quarterly Award and a Grand Prix International from the Académie du Disque Lyrique in % Der Zufriedene The Contented Man, D320 (1815) Paris. The conception and recording of all Schubert songs for Naxos is now an important focus of his artistic work. Christian Ludwig Reissig (1783-1822) Christian Ludwig Reissig (1783-1822) Ulrich Eisenlohr has been a lecturer at the conservatories of music in Frankfurt and Karlsruhe and has conducted D320 (1815), veröffentlicht 1895 published 1895 master-classes in Lied and chamber music in Europe and Japan, with singers such as Ruth Ziesak, Jard van Nes and Rudolf Piernay. He has served as assistant and accompanist for master-classes with Hans Hotter, Christa Zwar schuf das Glück hienieden Fortune has made me, down here, Ludwig, Elsa Cavelti, Daniel Ferro (Juilliard School, New York) and Geoffrey Parsons. Since 1982 he has taught Mich weder reich noch groß, Neither rich nor great, a Lieder class at the Mannheim Conservatory. Allein ich bin zufrieden, Alone I am contented, Wie mit dem schönsten Los. As with the fairest lot.

So ganz nach meinem Herzen So completely after my heart Ward mir ein Freund vergönnt, Was a friend granted me, Denn Küssen, Trinken, Scherzen Since in kisses, drinking, joking, Ist auch sein Element. He is also in his element.

Mit ihm wird froh und weise With him merrily and wisely manch Fläschchen ausgeleert! Many bottles we have emptied! Denn auf der Lebensreise For on the journey of life ist Wein das beste Pferd. Wine is the best mount.

Wenn mir bei diesem Lose If than this lot Nun auch ein trüb’res fällt, Now a worse befall me, So denk’ ich: keine Rose I think that there is no rose Blüht dornlos in der Welt. That flowers thornless in the world.

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Lieder nach Gedichten österreichischer Settings of Poems by Austrian Und Tage rieseln hin auf Liebestönen. And days ripple by in the music of love. Zeitgenossen, Folge 2 Contemporaries, Vol. 2 Du siehst nur sie allein im Widerscheine, You see her only in reflection, 1 Der Unglückliche The Unhappy One, D713 (1821) Die Holde, der du ganz dich hingegeben, The loved one, to whom you have given your whole Karoline Pichler (1769-1843) Karoline Pichler (1769-1843) self, D713, op. 87,1 (1821), veröffentlicht 1827 published 1827 as Op. 87 No. 1 Nur sie durchschwebt deines Daseins Räume. Only she dwells in the chambers of your being.

Die Nacht bricht an, mit leisen Lüften sinket Night falls, with gentle breezes sinks down Sie lächelt dir herab vom Goldgesäume, She smiles at you from the gold edge of heaven, Sie auf die müden Sterblichen herab; Over weary mortals; Wenn stille Lichter an den Himmeln schweben, When the quiet lights hover in the sky, Der sanfte Schlaf, des Todes Bruder, winket, Soft sleep, brother of death, beckons on Der Erde jubelst du: Sie ist die Meine! You cry in triumph to the whole world: She is mine! Und legt sie freundlich in ihr täglich Grab. And lays them in friendship in their daily grave. $ Lob des Tokayers In Praise of Tokay, D248 (1815) Jetzt wachet auf der lichtberaubten Erde Now there watches over the light-deprived earth Gabriele von Baumberg (1768-1839) Gabriele von Baumberg (1768-1839) Vielleicht nur noch die Arglist und der Schmerz, Perhaps only guile and pain. D248 (1815), veröffentlicht 1829 published 1829 Und jetzt, da ich durch nichts gestöret werde, And now, since I am disturbed by nothing, Laß deine Wunden bluten, armes Herz. Let your wounds bleed, poor heart. O köstlicher Tokayer, O delicious Tokay, Du königlicher Wein, You royal wine, Versenke dich in deines Kummers Tiefen, Sink down in the depths of your wretchedness, Du stimmest meine Leier You tune my lyre Und wenn vielleicht in der zerrißnen Brust And if perhaps in your tortured breast Zu seltnen Reimerei’n. To rare rhyming. Halb verjährte Leiden schliefen, Half forgotten sorrows slept, Mit lang entbehrter Wonne With delight long lost So wecke sie mit grausam süßer Lust. Wake them again with cruel, sweet pleasure. Und neu erwachtem Scherz And newly woken pain, Erwärmst du, gleich der Sonne, You warm, like the sun, Berechne die verlornen Seligkeiten, Reckon lost happinesses, Mein halb erstorbnes Herz. My half dead heart. Zähl’ alle, alle Blumen in dem Paradies, Count all, all the flowers in paradise, Du stimmest meine Leier You tune my lyre Woraus in deiner Jugend goldnen Zeiten From which in your youth’s golden times Zu seltnen Reimerei’n, To rare rhyming, Die harte Hand des Schicksals dich verstieß. The hard hand of Fate banished you. O köstlicher Tokayer, O delicious Tokay, Du königlicher Wein! You royal wine! Du hast geliebt, du hast das Glück empfunden, You have loved, you have felt happiness, Dem jede Seligkeit der Erde weicht. By the side of which every earthly bliss fades. O köstlicher Tokayer, O delicious Tokay, Du hast ein Herz, das dich verstand, gefunden, You have found a heart that understands you, Du königlicher Wein, You royal wine, Der kühnsten Hoffnung schönes Ziel erreicht. Realised the boldest hopes of your fair goal. Du gießest Kraft und Feuer You pour strength and fire Durch Mark und durch Gebein. Through marrow and through bones. Da stürzte dich ein grausam Machtwort nieder, Then the cruel voice of power cast you down, Ich fühle neues Leben I feel new life Aus deinen Himmeln (nieder), und dein stilles Glück, From your heaven (down), and your quiet happiness, Durch meine Adern sprühn, Surge through my veins, Dein allzuschönes Traumbild kehrte wieder Your all too fair dream returned again Und Deine Nektarreben And your nectar grapes Zur bessern Welt, aus der es kam, zurück. Back to the better world from which it came. In meinem Busen glühn. glow in my bosom. Du gießest Kraft und Feuer You pour strength and fire Zerrissen sind nun alle süßen Bande, Now torn apart are all the sweet bonds, Durch Mark und durch Gebein, Through marrow and through bones, Mir schlägt kein Herz mehr auf der weiten Welt. For there no longer beats a heart in the wide world. O köstlicher Tokayer, O delicious Tokay, Du königlicher Wein. You royal wine.

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@ Die Sterne The Stars, D176 (1815) 2 Widerspruch Contradiction Johann Georg Fellinger (1781-1816) Johann Georg Fellinger (1781-1816) Johann Gabriel Seidl (1804-1875) Johann Gabriel Seidl (1804-1875) D176 (1815), veröffentlicht 1872 published 1872 D865, op. 105,1 (1826 ?), veröffentlicht 1828 published in 1828 as Op. 105, No. 1

Was funkelt ihr so mild mich an? Why do you shine so gently at me? Wenn ich durch Busch und Zweig When I through bush and bough Ihr Sterne, hold und hehr! You stars, lovely and sublime! Brech auf beschränktem Steig, Break on the narrow path, Was treibet euch auf dunkler Bahn What prompts you on your dark course Wird mir so weit, so frei, Things are so wide, so free, Im äther-blauen Meer? In the sea of ethereal blue? Will mir das Herz entzwei. My heart is rent in two. Wie Gottes Augen schaut ihr dort, Like the eyes of God you look down Aus Ost und West, aus Süd und Nord From East and West, from South and North Rings dann im Waldeshaus Round about then in the forest house So freundlich auf mich her. So friendly to me. Rücken die Wänd’ hinaus, The walls move out, Wölbt sich das Laubgemach The laurel arches Und überall umblinkt ihr mich And everywhere you shine on me Hoch mir zum Schwindeldach, High over me to make a flimsy roof, Mit sanftem Dämmerlicht. With gentle twilight. Die Sonne hebt in Morgen sich, The sun rises in the morning, Webt sich der Blätter schier All the leaves weave Doch ihr verlaßt mich nicht. Yet you leave me not. Jedes zur Schwinge mir, Their wings over me Wenn kaum der Abend wieder graut, When scarcely the evening dims again, Daß sich mein Herz so weit So that my heart so much So blickt ihr mir so fromm und traut You look at me so gentle and loving Sehnt nach Unendlichkeit. Longs for the infinite. Schon wieder ins Gesicht. Again shining on my face. Doch wann im weiten Raum Yet when in the broad space O lächelt nur, o winket nur, Oh only smile, oh only beckon, Hoch am Gebirgessaum, High on the mountain’s brow Mir still zu euch hinan. Quietly to you Über dem Tal ich steh, Over the valley I stand, Mich führet Mutter Allnatur Mother Nature leads me Nieder zum Tale seh, See down into the valley, Nach ihrem großen Plan. According to her great plan. Mich kümmert nicht der Welten Fall, The end of the world does not trouble me, Ach, wie beschränkt, wie eng, Ah, how narrow, how confined, Wenn ich nur dort die Lieben all’ If I only there can find Wird mir’s im Luftgedräng. It seems to me in the breeze. Vereinet finden kann. Those I love all together. Rings auf mein Haupt so schwer Round about over my head so heavily Nicken die Wolken her, The clouds nod, Das Originalgedicht hat fünf Strophen The original poem has five verses. Nieder zu stürzen droht Sunset threatens, # Die erste Liebe First Love, D182 (1815) Rings mir das Abendrot, To come down about me, Johann Georg Fellinger Johann Georg Fellinger Und in ein Kämmerlein And in a little room D182 (1815), veröffentlicht 1842 published 1842I Sehnt sich mein Herz hinein. My heart is longing.

Die erste Liebe füllt das Herz mit Sehnen First love fills the heart with longing Nach einem unbekannten Geisterlande, For an unknown spirit land. Die Seele gaukelt an dem Lebensrande, The soul hovers on the verge of life, Und süße Wehmut letzet sich in Tränen. And sweet sadness finds freedom in tears.

Da wacht es auf, das Vorgefühl des Schönen, Then there awake presentiments of beauty, Du schaust die Göttin in dem Lichtgewande, You see the goddess in robes of light, Geschlungen sind des Glaubens leise Bande, The tender bonds of faith are joined

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3 Glaube, Hoffnung und Liebe Faith, Hope and Love, D955 (1828) Wie von Seraphim umrauscht: As if amid the Seraphim Christoph Kuffner (1780-1846) Christoph Kuffner (1780-1846) Reichst du mir im Engelbilde You offer me in angel guise D955, op. 97 (1828), veröffentlicht 1828 published in 1828 as Op. 97 Liebewarmen Labetrank, Love-warm refreshment, Wenn im schnöden Staubgefilde As into the vile dust of the fields Glaube, hoffe, liebe! Faith, hope, love! Schmachtend meine Seele sank. My yearning soul sank. Hältst du treu an diesen Dreien, If you hold true to these three, Wirst du nie dich selbst entzweien, You will never be false to yourself, 0 An die Geliebte To the Beloved, D303 (1815) Wird dein Himmel nimmer trübe. Your heaven will never be clouded over. Joseph Ludwig Stoll Joseph Ludwig Stoll D303 (1815), veröffentlicht 1887 published 1887 Glaube fest an Gott und Herz! Have faith firmly in God and heart! Glaube schwebet himmelwärts. Faith flies to heaven. O, daß ich dir vom stillen Auge Oh, that I from your quiet eyes Mehr noch als im Sternrevier, More than in the starry sky, In seinem liebevollen Schein In their lovely shining Lebt der Gott im Busen dir. God lives in your bosom. Die Tränen von der Wange sauge, Might drink the tears from your cheeks, Wenn auch Welt und Menschen lügen, When the world and men lie, Eh sie die Erde trinket ein! Before the earth drinks them up! Kann das Herz doch nimmer trügen. The heart yet never lies to you. Wohl hält sie zögernd auf der Wange They stay hesitating on your cheeks Hoffe dir Unsterblichkeit, Hope in the eternal, Und will sich heiß der Treue weihn. And will assure your loyalty. Und hienieden beß’re Zeit! And here below better times! Nun ich sie so im Kuß empfange, Now I catch them with a kiss, Hoffnung ist ein schönes Licht, Hope is a fair light, Nun sind auch deine Schmerzen mein. Now your pain is mine too. Und erhellt den Weg der Pflicht. And makes clear the way of duty. Hoffe, aber fordre nimmer! Hope, but never seek! ! Vergebliche Liebe Love in Vain, D177 (1815) Tag wird mählig, was erst Schimmer. Day comes gradually, after the first glimmer. Joseph Karl Bernard (1780 od. 81-1850) Joseph Karl Bernard (1780/81-1850) D177 (1815), veröffentlicht 1867. published 1867 Edel liebe, fest und rein! Nobly love, firm and pure! Ohne Liebe bist du Stein. Without love you are stone. Ja, ich weiß es, diese treue Liebe Yet, I know, this true love Liebe läutre dein Gefühl, Love purifies your feelings, Hegt umsonst mein wundes Herz! Vainly does my wounded heart keep! Liebe leite dich ans Ziel! Love leads you to your goal! Wenn mir nur die kleinste Hoffnung bliebe, If only the slightest hope remained for me, Soll das Leben glücklich blühen, Life blossoms in happiness Reich belohnet wär’ mein Schmerz! My pain would be richly rewarded! Muß der Liebe Sonne glühen. If the warmth of love glows. Aber auch die Hoffnung ist vergebens, But hope too is in vain, Willst du nie dich selbst entzweien, If you will never be false to yourself, Kenn’ ich doch ihr grausam Spiel! I know its cruel sport! Halte treu an diesen Dreien! Hold true to these three! Trotz der Treue meines Strebens In spite of my true efforts Daß nichts deinen Himmel trübe: That nothing cloud your heaven: Fliehet ewig mich das Ziel! My goal always flies from me! Glaube, hoffe, liebe! Faith, hope, love! Dennoch lieb’ ich, dennoch hoff’ ich immer, Yet I love, yet I always hope, Im Originaltext: In the original text: Ohne Liebe, ohne Hoffnung treu; Without love, without true hope; 1,3: Wirst du dich nie selbst entzweien, 1.3: dich nie instead of nie dich Lassen kann ich diese Liebe nimmer! Never can I abandon this love! 5,1: Willst du dich nie selbst entzweien, 5.1: dich nie instead of nie dich Mit ihr bricht das Herz entzwei! It breaks my heart in two!

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8 Die Allmacht Omnipotence , D852 (1825) 4 Frohsinn Joy, D520 (1817) Johann Ladislaus Pyrker Johann Ladislaus Pyrker Ignaz Franz Castelli (1781-1862) Ignaz Franz Castelli (1781-1862) D852, op. 79,2 (1825), veröffentlicht 1827 published 1827 as Op. 79, No. 2 D520 (1817), veröffentlicht 1850 published in 1850

Groß ist Jehova, der Herr! Denn Himmel und Great is Jehovah, the Lord! For heaven and earth declare Ich bin von lockerem Schlage, I am of a lighthearted kind, Erde verkünden Genieß ohne Trübsinn die Welt, I enjoy the world without sadness, Seine Macht. Du hörst sie im brausenden Sturm, His might. You hear it in the roaring storm, Mich drückt kein Schmerz, keine Plage, No pain oppresses me, no worry, in des Waldstroms in the woodland stream’s Mein Frohsinn würzt mir die Tage, My joy gives spice to my life, Laut aufrauschendem Ruf; (groß ist Jehova der Herr, Loud rushing cry; (great is Jehovah the Lord, Ihn hab ich zum Schild mir gewählt. I have chosen it as my shield. groß ist seine Macht, great is his might, Du hörst sie*) in des grünenden Waldes Gesäusel; You hear*) in the green forest’s murmur; Fortuna pflegt sich zu wenden, Fortune is apt to change, Siehst sie in wogender Saaten Gold, in lieblicher Blumen You see in gold waving fields, in lovely flowers’ Das hab ich schon lange gewußt, That I have long known, Glühendem Schmelz, im Glanz des sternebesäeten Himmels! Glowing bloom, in the brightness of the star-strewn sky! weiß heute Güter zu spenden, I know today how to spend my wealth, Furchtbar tönt sie im Donnergeroll, und flammt Fearful it sounds in the rolling thunder, and flames Und morgen sie zu entwenden, And in the morning to pilfer, in des Blitzes in the lightning’s Und doppelt schmerzt dann ihr Verlust. Then their loss hurts twice as much. Schnell hinzuckendem Flug. Doch kündet das Rapid flight. Yet your beating heart really tells you pochende Herz dir Gelehrte Schnurpfeifereien*) Learned gasbags Fühlbarer noch Jehovas Macht, des ewigen Gottes, Of the might of Jehovah, the eternal God, Sind wahrlich entbehrlicher Tand; Are really dispensable rubbish; Blickst du flehend empor und hoffst auf Huld If you look up praying and hope for grace and mercy. Man kann auf Erden sich freuen, One can enjoy oneself on earth, und Erbarmen. auch ohne darüber zu schreien, Also without shouting about it, wie oder woraus sie entstand. How or whence it came. * von Schubert eingefügt * Added by Schubert Den Tod mal’ ich nach Gefallen Death I picture as a favour Im Originaltext: In the original text: Als Jüngling mit heiterm Gesicht, I am a young man with a cheerful face 10: ...und hoffst von ihm Huld und Erbarmen. 10: … and hope from him grace and mercy. und muß hinüber ich wallen And must go there in jene düsteren Hallen,- Into those dark halls - 9 Labetrank der Liebe Refreshing Drink of Love, D302 (1815) wohlan! mich schrecken sie nicht. Well then! They do not scare me. Joseph Ludwig Stoll (1778-1815) Joseph Ludwig Stoll (1778-1815) D302 (1815), veröffentlicht 1895 Published 1895 Nicht Tränenweiden und Krüge No mourning willows and urns Setzt an meinem Grabe ihr dann, Set then on my grave, Wenn im Spiele leiser Töne When in the playing of gentle music ein kleiner Stein tut Genüge A little stone is enough Meine kranke Seele schwebt, My ailing soul flies, und sag’ dem Wandrer: Hier liege And tell the wanderer: Here lies Und der Wehmut süße Träne And the sadness of sweet tears ein freier, stets fröhlicher Mann. A free man, always happy. Deinem warmen Blick entschwebt: Disperse under your warm glance, Sink’ ich dir bei sanftem Wallen I sink on the gentle movement *) Anmerkung: Evt. Zusammensetzung aus Deines Busens sprachlos hin; of your bosom, speechless; “Schnurren” (=brummen, schwirren) und “Pfeifen”, Engelmelodien schallen, Angel melodies sound im Sinne von: Viel leeres, nichtssagendes Geräusch Und der Erde Schatten fliehn. And earth’s shadows flee. Das Originalgedicht hat neun Strophen The original poem has nine verses. So in Eden hingesunken, So, sunk down in Eden, Lieb’ mit Liebe umgetauscht, Love exchanged with love, Küsse lispelnd wonnetrunken, Whispering kisses, drunk with delight,

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5 Die abgeblühte Linde The Faded Lime Tree, D514 (1817?) 7 Das Heimweh Homesickness , D851 (1825) Ludwig von Széchényi (1781-1855) Ludwig von Széchényi (1781-1855) Johann L. Pyrker von Felsö-Eör (1772-1847) Johann Ladislaus Pyrker von Felsö-Eör (1772-1847) D514, op. 7,1 (1817 ?), veröffentlicht 1821 published 1821 as Op. 7, No. 1 Aus dem Heldengedicht “Tunisias” published 1827 as Op. 79, No. 1 D851, op. 79,1 (1825), veröffentlicht 1827 Wirst du halten, was du schwurst, Will you hold to what you swore, Wenn mir die Zeit die Locken bleicht? When time has made my hair grey? Ach, der Gebirgssohn hängt mit kindlicher Lieb’ an Ah, the son of the mountains clings with childish love Wie du über Berge fuhrst, As you go away over the mountains, der Heimat. to his homeland. Eilt das Wiedersehn nicht leicht. Meeting again does not come soon or easily. Wie, den Alpen geraubt, hinwelket die Blume, so welkt er, As the alpine flower fades, taken from its place, so he fades, Ihr entrissen, dahin. Stets sieht er die trauliche Hütte, Taken away from his home. Always he sees the snug cottage Ändrung ist das Kind der Zeit, Change is the child of time, Die ihn gebar, im hellen Grün umduftender Matten; Where he was born, in the fragrant green fields; Womit Trennung uns bedroht, That threatens us with parting, Sieht das dunkele Föhrengehölz, die ragende Felswand Sees the dark pine woods, the towering cliff Und was die Zukunft beut (=bietet), And what the future holds Über ihm, und noch Berg auf Berg in erschütternder Above him, and mountain on mountain in Ist ein blässer’s Lebensrot. Is a paler glow of life. Hoheit frightening height Aufgetürmt, und glühend im Rosenschimmer des And the rosy light of evening. Sieh, die Linde blühet noch, See, the lime tree still flowers, Abends. Als (=wenn) du heute von ihr gehst; As you go today; Immer schwebt es ihm vor, (ach! die trauliche Hütte, Always does it hover before him (Ah! the snug cottage, Wirst sie wieder finden, doch You will find it here again, yet Im Rosenschimmer des Abends, immer schwebt es ihm vor,*) In the rosy light of evening, always hovers before him,*) Ihre Blüten stiehlt der West. Its flowers will be taken by the setting sun. Verdunkelt ist alles um ihn her. Dark is all about him.

Einsam steht sie dann, vorbei Then it will stand alone, by it Ängstlich horcht er; ihm deucht, er höre das Muhen der Kühe Anxiously he listens; he thinks he hears the lowing of the cows Geht man kalt, bemerkt sie kaum. People go coldly, hardly noticing it. Vom nahen Gehölz, und hoch von den Alpen herunter From the nearby woods, and high down from the Alps Nur der Gärtner bleibt ihr treu, Only the gardener remains true to it, Glöcklein klingen; ihm deucht, er höre das Rufen the cowbells ringing; he thinks he hears the cry of Denn er liebt in ihr den Baum. Since he loves the tree itself. der Hirten, the shepherds, Oder ein Lied der Sennerin, die mit umschlagender Stimme Or the dairymaid’s song, who with shifting voice 6 Der Flug der Zeit The Flight of Time, D515 (1817?) Freudig zum Widerhall aufjauchzt Melodien des Alplands; Joyfully sings out the echoing melodies of the Alps; Ludwig von Széchényi Ludwif von Széchényi Immer tönt es ihm nach. Ihn fesselt der lachenden Ebnen It always sounds for him. The charm of the smiling plains D515, op. 7,2 (1817 ?), veröffentlicht 1821 published 1821 as Op. 7, No. 2 Anmut nicht, er fliehet der Städt’ einengende Mauern, Cannot hold him back, he flees the confinement of city walls, Einsam, und schaut aufweinend vom Hügel die Alone, and looks, in tears, from the hill to his Es floh die Zeit im Wirbelfluge Time flew by in a whirlwind heimischen Berge; home mountains; Und trug des Lebens Plan mit sich. And took with it my life’s plan. Ach, es zieht ihn dahin mit unwiderstehlicher Sehnsucht. Ah, they draw him back there with irresistible longing. Wohl stürmisch war es auf dem Zuge, It was very stormy on the journey, Beschwerlich oft und widerlich. Hard often and loathsome. * von Schubert eingefügt * Added by Schubert

So ging es fort durch alle Zonen, So it went on through all stages, Im Originaltext: In the original text: Durch Kinderjahre, durch Jugendglück, Through childhood years, through happy youth, 2,2: “von dem nahen Gehölz”... (im Hexameter-Versmaß 2.2: Von dem nahen Gehölz in the hexameter of the Durch Täler, wo die Freuden wohnen, Through valleys, where joys dwell des Gedichts) poem. Die sinnend sucht der Sehnsucht Blick. Recalled with longing.

Bis an der Freundschaft lichten Hügel Until time, now gentler quieter flew, Die Zeit nun sanfter, stiller flog, And reached the light hill of friendship, Und endlich da die raschen Flügel And finally folded together its quick wings In süßer Ruh’ zusammenbog. In sweet rest.

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8.557172 most dramatic songs, some unknown gems from the early, middle and late years, and as a curiosity, the only

melodrama Schubert wrote. DDD SCHUBERT: Franz Peter 8.557172 SCHUBERT Playing Time (1797-1828) 65:00

1 Der Unglückliche, D713 (Pichler) 6:08 7 2 Widerspruch, D865 (Seidl) 2:14 47313 3 Glaube, Hoffnung und Liebe, D955 (Kuffner) 4:46 Austrian Contemporaries Vol. 2 4 Frohsinn, D520 (Castelli) 2:17 5 Die abgeblühte Linde, D514 (Széchényi) 3:37 21722 6 Der Flug der Zeit, D515 (Széchényi) 1:31 7 Das Heimweh („Ach, der Gebirgssohn“), D851 (Pyrker) 6:48 8 Die Allmacht, D852 (Pyrker) 5:12 9

Labetrank der Liebe, D302 (Stoll) 2:41 9 0 An die Geliebte, D303 (Stoll) 1:47 Made in Canada German sung texts with English translations Booklet notes in English ! Vergebliche Liebe, D177 (Bernard) 2:03 www.naxos.com h @ Die Sterne („Was funkelt ihr so mild mich an?“), D176 (Fellinger) 3:00 & g # Die erste Liebe, D182 (Fellinger) 2:47 2004 $ Austrian Contemporaries Vol. 2 Vol. Austrian Contemporaries Lob des Tokayers, D248 (von Baumberg) 2:48 % Der Zufriedene, D320 (Reissig) 2:07 Naxos Rights International Ltd. ^ Der Sänger am Felsen, D482 (Pichler) 3:00 & Lied („Ferne von der großen Stadt“), D483 (Pichler) 3:06 * Skolie („Laßt im Morgenstrahl des Mai’n“), D306 (Deinhardstein) 1:04 ( Die Befreier Europas in Paris, D104 (Mikan) 4:01 ) Abschied („Leb wohl, du schöne Erde“), D829 (Pratobevera) 2:18 ¡ Die Fröhlichkeit, D262 (Prandstetter) 1:45 SCHUBERT:

Detlef Roth, Baritone • Ulrich Eisenlohr, Piano 8.557172 Recorded in Radiostudio 1, Zurich, from 24th to 28th May, 2003 A Co-production with DRS 2 Zurich, Switzerland Producer and Engineer: Andreas Werner • Booklet Notes: Ulrich Eisenlohr Cover Engraving: Ladislaus von Pyrker (Antiquariat Klaus Hille, Berlin) NAXOS