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Benjamin appl sings schuBert Franz von Schober’s ‘Am Bach im Frühling’ for a song, in which the most subtle nuances describes a young man sitting beside a stream, as should not be lost. It would have been heard spring melts the ice and rejuvenates the whole to better advantage in a drawing-room.’ Wigmore earth – except, of course, the disconsolate poet. Hall, though no drawing-room, is surely the The nineteen year-old Schubert wrought magic on perfect size for such songs. these minor verses: above a smooth accompani - Goethe’s ‘Geheimes’ dates from 1815 and ment of triplet quavers flows one of his wateriest originally bore the title ‘Liebchen’, which fails to melodies, just as bitter-sweet as the better-known convey the secrecy of the little poem that is ‘Im Frühling’. The final verse expresses, in recita - closely modelled on a ghasel by Hafis. Schubert tive, the poet’s sadness, and after a long fermata clearly relished the trochaic rhythm of the original Schubert repeats the aching opening melody. poem, and created by his liberal use of quaver Another minor poet in the Schubert circle rests a miracle of complicity, which in a good was Johann Gabriel Seidl. Schubert appreciated performance can seem like one of his most tender at once how Seidl’s poems lent themselves love songs. to musical setting, and the critic Cajetan Cerri, ‘Das Lied im Grünen’ was composed at writing in the Graz periodical Iris in 1850, Dornbach, a small village outside Vienna, where described Seidl’s lyrical verse as being: ‘deeply Schubert and Schober were recovering from felt, warmhearted, gemütlich, and tremendously the summer heat of the capital. The song first musical’. ‘Der Wanderer an den Mond’ contrasts appeared on 13 October 1827 in the Vienna the wanderer’s sad lot with the moon’s serenity, Allgemeine Theaterzeitung, with an accompanying minor contrasts with major, strongly accented gloss by the poet Friedrich Reil: ‘[it] was frequently chords, depicting the wanderer’s tread through sung in the open fields during this summer by the landscape, contrast with the flowing semi - a group of cheerful people to a lively and quavers of the moon’s light. ‘Im Freien’ describes agreeable tune by Schubert’. Reil’s euphoric and, a traveller returning home, overcome with at times, humorous depiction of spring, inspired emotion at seeing once more the familiar scenes Schubert to one of his happiest melodies – or he had so sorely missed. This intimate song rather two: one in A major, and the other (verses 2 was reviewed in the ‘Sammler’ on 28 June 1827 and 3) based on the subdominant D major. by a critic (M***) who, though praising the ‘Fischerweise’ was sung by Vogl and accompanied performance by Tietze and Schubert, objected to by the composer at Schubert’s benefit concert on the size of the hall: ‘However beautiful both 26 March 1828. The poem, set from manuscript, composition and performance were, your critic clearly bewitched Schubert, who responded with has to say that the hall was in his opinion too large a delicious figure in the bass on the subdominant 2 b0082_WH booklet template.qxd 13/04/2016 19:50 Page 3

chord, which is then cheekily repeated above the stave on the dominant. The song is basically strophic, but the final verse, at ‘schlauer Wicht’, ingeniously displaces the rhythm to draw attention to the ‘sly minx’ on the bridge. Schubert never wrote a sunnier song. ‘Verklärung’, Herder’s translation of Alexander Pope’s ‘The dying Christian to his soul’, dates from 1813 and is Schubert’s first experiment with English verse. Pope’s celebrated final couplet (‘O grave, where is your victory? / Where O Death, your arrow?’) fits the melody well enough – for the rest, the German rhythms are different from the English and inspired the sixteen year-old Schubert to write a song in which recitative and aria alternate in a way that is frequently encountered in the early Lieder. Christian Friedrich Schubart, the poet of four Schubert songs, including the ever popular ‘Die Forelle’, was imprisoned for a decade in the redoubtable Hohenasperg fortress for penning satirical attacks on the Duke of Württemberg and his mistress. Schubart described the misery of these years in his Leben und Gesinnungen and in such poems as ‘An den Tod’ which, in its original version of sixteen verses, commented bleakly on his life in prison. Franz Schubert This powerful song deserves to be much better known. ‘Der Zwerg’, one of Schubert’s most cheeks, then lowers her with his own hands deep striking dramatic ballads, takes place on the open into the sea. Such is his longing that he will never sea. The dwarf of the title sails the high seas at again set foot on land. Schubert transforms this night, alone with his Queen, who has forsaken ghoulish tale into a chilling masterpiece of sexual him to marry the King. The dwarf wreaks revenge obsession. The fatalistic rhythm that runs through by strangling her with a chord of red silk; before the piece, acts as a symbol for the dwarf’s she dies, she pardons him; he kisses her pale obsessive desire. The use of this leitmotiv, 3 b0082_WH booklet template.qxd 13/04/2016 19:50 Page 4

coupled with the dwarf’s Flying Dutchman-like literature and the Classical world, was the most fate, lends the song a Wagnerian dimension that intellectual – nine years older than Schubert, he makes us wonder whether Schubert would have was the composer’s most important cultural had any more success with his operas, had he mentor. ‘Memnon’ (1817) is clearly a metaphor lived to know Wagner’s music-dramas. that enabled Mayrhofer to express his anguish at Schubert’s setting of ‘An die Leier’, a free living in a hostile world from which he longs to translation of verses by the Greek poet Anacreon, escape – his suffering is transfigured in his art. was reviewed by a music critic in the Frankfurter Johann Friedrich Rochlitz, the poet of ‘Alinde’, Allgemeiner Musikalischer Anzeiger of 8 July 1826, was a writer, composer, music critic and editor who took Schubert to task for his inclination to who lived in Vienna for a while during 1822, when over-dramatise. Although the song does use huge he made Schubert’s acquaintance. Schubert set sforzando chords to characterise the poet’s heroic four of his poems, three of them in January 1827: utterances, they gradually dwindle to p and then ‘An die Laute’, ‘Zur guten Nacht’ and this recital’s to pp, before ushering in the beautiful cantilena ‘Alinde’, which with its irresistible 6/8 lilt is floating on a sequence of simple arpeggios that arguably the finest. accompany the poet’s apostrophe to love. Schubert’s source for ‘Der Kampf’ was The most famous of Schubert’s forty-seven Schiller’s revised version (1786) of an originally Schiller settings is, perhaps, ‘Gruppe aus dem longer poem. It tells of a young man who initially Tartarus’, which he first tackled in March 1816, a renounces his love for a married woman; but she, whole year before the definitive second version admiring his moral resolve, finally returns his love, that dates from September 1817. This is music of thus causing an even more violent commotion astonishing imaginative power. The Cocytus (the in her admirer. Schubert depicts this conflict river derives its name from the Greek verb ‘to between love and duty in a scena that bristles weep and lament’) winds its way through barren with wide vocal leaps and arpeggio flourishes. It rocks, and the upward chromaticism in Schubert’s is, not surprisingly, marked con fuoco and was accompaniment symbolises with wonderful said to have been Vogl’s favourite Schubert song. realism the groans of the damned, as they ask one The last four lines of Friedrich von Schlegel’s another if their suffering will ever end. ‘Die Gebüsche’, the final poem of his Abendröte Johann Mayrhofer, the poet of forty-seven sequence, describe the hypersensitivity of the other Schubert songs, worked in Vienna as a book chosen few who can hear the hidden music in censor and shared lodgings with Schubert for a nature. It was not published until 1885 – which while in the Wipplingerstraße, from the autumn of means that Schumann, who used the final four 1818 until the winter of 1820. Of all Schubert’s lines of the poem as a motto for his C major friends, Mayrhofer, with his interest in philosophy, Fantasia Op. 17, must have had a copy of 4 b0082_WH booklet template.qxd 13/04/2016 19:50 Page 5

Schlegel’s poem, written in either 1800 or 1801. ‘Wiedersehn’ was originally ascribed wrongly Benjamin Appl and Graham Johnson end their to his brother Friedrich, when the song was programme with ‘Im Abendrot’, the most cele - first published in 1843 as a supplement to brated of all Schubert’s sunset Lieder. The poet Lebensbilder aus Österreich, an anthology edited Karl Lappe died in Stralsund across the water from by Andreas Schumacher. August’s romantic poem the Island of Rügen, familiar to lovers of art from of innocent love inspired Schubert to write one of Caspar David Friedrich’s wonderful painting his loveliest pages that must be, unjustly, one of ‘Chalk cliffs on Rügen’ (1819, Oskar Reinhart his least performed songs – almost certainly Foundation, Winterthur), in which three sightseers because it does not appear in the Peters Edition. look out onto a sundrenched sea. I like to think The song was written in 1825 at a time when that this was the scene Lappe had in mind when Schubert had been deeply depressed about his he wrote his lovely poem. Schubert’s song, illness – but his spirits were now lifting, as we marked sehr langsam and, below the stave, con hear in the serenely beautiful melody. pedale – an instruction to the pianist, very rare in ‘Die Taubenpost’, the second encore and last Schubert’s songs, to use the sustaining pedal to song on this album, was chosen by the publisher heighten the glow of the setting sun – dates from Haslinger to close Schwanengesang when he 1825, six years after Friedrich’s picture was published the songs posthumously in 1829. Like painted. many of Schubert’s Lieder, it is set from manu - August Wilhelm von Schlegel, the poet of the script, since it does not appear in the two volume first encore, was a poet, critic and philosopher. He edition of Seidl’s verse that was published in and his brother Friedrich, whom Schubert set 1826. No song of Schubert’s demonstrates better sixteen times, founded Das Athenaeum, a literary his delight in life and the bitter-sweet magic of periodical that became the organ of many of the his melodies. The song, Schubert’s last, was early Romantic writers, including Novalis and composed in October 1828; a month later he was Schleiermacher. Though more celebrated as a dead. translator of Shakespeare, Schlegel’s best poems Notes by Richard Stokes © 2016 deserve a place in any anthology of German verse.

www.wigmore-hall.org.uk/live

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01 Am Bach im Frühling D361 (?1816) By the stream in spring Du brachst sie nun die kalte Rinde, Now you have broken the cold crust, Und rieselst froh und frei dahin; and ripple along, free and happy; Die Lüfte wehen wieder linde, the breezes blow gently again, Und Moos und Gras wird neu und grün. moss and grass grow fresh and green. Allein mit traurigem Gemüte Alone and heavy-hearted, Tret’ ich wie sonst zu deiner Flut, I come to your banks, as of old, Der Erde allgemeine Blüte the flowering of the entire earth Kommt meinem Herzen nicht zu gut. cannot gladden my heart. Hier treiben immer gleiche Winde, Here the same winds still are blowing, Kein Hoffen kommt in meinen Sinn – no hope enters my heart – Als daß ich hier ein Blümchen finde, unless I find a flower here, Blau, wie sie der Erinn’rung blühn. blue, like the flowers of remembrance. (Franz von Schober, 1796–1882) 02 Der Wanderer an den Mond D870 (1826) The wanderer addresses the moon Ich auf der Erd’, am Himmel du, I on earth, you in the heavens, Wir wandern Beide rüstig zu: – both of us journey briskly on: Ich ernst und trüb, du mild und rein, I sad and cheerless, you pure and gentle, Was mag der Unterschied wohl sein? I wonder what the difference can be? Ich wandre fremd von Land zu Land, I journey, a stranger, from land to land, So heimatlos, so unbekannt; so homeless, so unknown; Bergauf, bergab, waldein, waldaus, up and down mountains, into forests and out, Doch bin ich nirgend, ach! Zu Haus. but nowhere, alas! am I at home. Du aber wanderst auf und ab But you journey up and down Aus Ostens Wieg’ in Westens Grab, – from eastern cradle to western grave, Wallst Länder ein und Länder aus, wander, a pilgrim, from land to land, Und bist doch, wo du bist, zu Haus. yet are, wherever you be, at home. Der Himmel, endlos ausgespannt, The infinite expanse of sky Ist dein geliebtes Heimatland: is your beloved native land: O glücklich, wer wohin er geht, O happy is he who, wherever he goes, Doch auf der Heimat Boden steht! still stands upon his native soil! (Johann Gabriel Seidl, 1804–1875) 03 Im Freien D880 (1826) In the open Draußen in der weiten Nacht Once more I stand outside Steh’ ich wieder nun: in the vastness of the night: Ihre helle Sternenpracht its bright starry splendour Läßt mein Herz nicht ruhn! grants my heart no peace!

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Tausend Arme winken mir A thousand arms beckon me Süßbegehrend zu, with sweet longing, Tausend Stimmen rufen hier, a thousand voices call: „Grüß’ dich, Trauter, du!“ ‘Greetings, dear friend!’ O ich weiß auch, was mich zieht, Oh, I am well aware Weiß auch, was mich ruft, what draws me and what calls me, Was wie Freundesgruß und Lied like a friendly word and song Locket durch die Luft. floating enticingly through the air. Siehst du dort das Hüttchen stehn, Can you see that cottage there, Drauf der Mondschein ruht? where the moon sheds its light? Durch die blanken Scheiben sehn From its shining windows Augen, die mir gut! a pair of loving eyes look out! Siehst du dort das Haus am Bach, Can you see the house by the stream, Das der Mond bescheint? lit up by the moon? Unter seinem trauten Dach Underneath its cosy roof Schläft mein liebster Freund. my dearest friend is sleeping. Siehst du jenen Baum, der voll Can you see that tree over there, Silberflocken flimmt? laden with silver flakes? O wie oft mein Busen schwoll, Oh! how often my heart Froher dort gestimmt! used to swell there with joy! Jedes Plätzchen, das mir winkt, Every little place that beckons me Ist ein lieber Platz; is dear to my heart, Und wohin ein Strahl nur sinkt, and wherever a moonbeam shines, Lockt ein teurer Schatz. a dear loved one entices. Drum auch winkt mir’s überall So everything here So begehrend hier, beckons me with longing, Drum auch ruft es, wie der Schall calling to me with the sounds Trauter Liebe mir. of true love. (Johann Gabriel Siedl) 04 Geheimes D719 (1821) A secret Über meines Liebchens Äugeln The way my beloved makes eyes Stehn verwundert alle Leute; causes everyone to wonder; Ich, der Wissende, dagegen, but I, the knowing one, Weiß recht gut was das bedeute. am well aware of what she means. Denn es heißt: ich liebe diesen, For she’s saying: It’s him I love, Und nicht etwa den und jenen. and not, for instance, him or him. Lasset nur ihr guten Leute So no more wondering, good people, Euer Wundern, euer Sehnen! and no more longing either!

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Ja, mit ungeheuren Mächten Though she looks about her Blicket sie wohl in die Runde; with infinite fervour, Doch sie sucht nur zu verkünden she only seeks to tell him Ihm die nächste süße Stunde. of their next sweet hour together. (Johann Wolfgang von Goethe, 1749–1832) 05 Das Lied im Grünen D917 (1827) Song of the open air Ins Grüne, ins Grüne! Into the open, the open! Da lockt uns der Frühling der liebliche Knabe, Spring, that sweet youth, invites us, Und führt uns am blumenumwundenen Stabe, and leads us with his flowertwined staff Hinaus, wo die Lerchen und Amseln so wach, to where larks and blackbirds are wide-awake, In Wälder, auf Felder, auf Hügel, zum Bach, to woods and fields, over hills to the brook, Ins Grüne, ins Grüne. into the open, the open. Im Grünen, im Grünen! In the open, the open! Da lebt es sich wonnig, da wandeln wir gerne, Life is blissful, we love to roam there, Und heften die Augen dahin schon von ferne; we fix our eyes there even from afar; Und wie wir so wandeln mit heiterer Brust, and on our way with cheerful hearts, Umwallet uns immer die kindliche Lust, a childlike joy envelops us, Im Grünen, im Grünen. in the open, the open. Im Grünen, im Grünen, In the open, the open Da ruht man so wohl, empfindet so Schönes, we find such peace, sense such beauty, Und denket behaglich an Dieses und Jenes, we gently muse on this and that, Und zaubert von hinnen, ach! was uns bedrückt, and conjure away, ah! all our troubles, Und alles herbei, was den Busen entzückt, and conjure up our heart’s delight, Im Grünen, im Grünen. in the open, the open. Im Grünen, im Grünen, In the open, the open, Da werden die Sterne so klar, die die Weisen how brightly shine the stars, which the wise men Der Vorwelt zur Leitung des Lebens uns preisen, of old commend for life’s guidance. Da streichen die Wölkchen so zart uns dahin, Gossamer clouds drift gently by, Da heitern die Herzen, da klärt sich der Sinn our hearts grow light, our senses clear, Im Grünen, im Grünen. in the open, the open. Im Grünen, im Grünen, In the open, the open, Da wurde manch Plänchen auf Flügeln getragen, many a little scheme took wing Die Zukunft der grämlichen Ansicht entschlagen, and the future was stripped of its gloomy aspect. Da stärkt sich das Auge, da labt sich der Blick, Our eye is strengthened, our gaze refreshed, Sanft wiegen die Wünsche sich hin und zurück our desires sway gently to and fro, Im Grünen, im Grünen. in the open, the open.

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Im Grünen, im Grünen, In the open, the open, Am Morgen, am Abend, in traulicher Stille, in the morning and evening in intimate quiet, Entkeimet manch Liedchen und manche Idylle many songs and idylls burgeon, Und Hymen oft kränzt den poetischen Scherz. and Hymen often crowns the poetic flirtation. Denn leicht ist die Lockung, empfänglich das Herz For enticement is easy, receptive the heart Im Grünen, im Grünen. in the open, the open. O gerne im Grünen I loved, as a boy and youth, Bin ich schon als Knabe und Jüngling gewesen, to be in the open Und habe gelernt und geschrieben, gelesen, where I learnt and wrote and read Im Horaz und Plato, dann Wieland und Kant, Horace and Plato, then Wieland and Kant, Und glühendes Herzens mich selig genannt, and with glowing heart counted myself happy, Im Grünen, im Grünen. in the open, the open. Ins Grüne, ins Grüne, Into the open, the open, Laßt heiter uns folgen dem freundlichen Knaben! let us happily follow the friendly youth! Grünt einst uns das Leben nicht fürder, so haben when life one day is no longer green, wisely Wir klüglich die grünende Zeit nicht versäumt we’ll not have missed the verdant years, Und, wann es gegolten, doch glücklich geträumt, and will, when it mattered, have happily dreamed, Im Grünen, im Grünen. in the open, the open. (Johann Anton Friedrich Reil, 1773–1843) 06 Fischerweise D881 (1826) Fisherman’s song Den Fischer fechten Sorgen The fisherman’s not bothered Und Gram und Leid nicht an, by cares or grief or sorrow, Er löst am frühen Morgen with a light heart he unties Mit leichtem Sinn den Kahn. his boat in the early morning. Da lagert rings noch Friede Peace still lies all around Auf Wald und Flur und Bach, over forest, field and stream, Er ruft mit seinem Liede his singing causes Die gold’ne Sonne wach. the golden sun to wake. Er singt zu seinem Werke He sings while he’s working Aus voller frischer Brust, with a lusty, cheerful voice, Die Arbeit gibt ihm Stärke, his work gives him vigour, Die Stärke Lebenslust! his vigour – a love of life! Bald wird ein bunt Gewimmel Soon a colourful throng In allen Tiefen laut, can be heard deep down below, Und plätschert durch den Himmel splashing through the sky Der sich im Wasser baut – reflected in the water.

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Doch wer ein Netz will stellen Yet he who wants to cast a net Braucht Augen klar und gut, needs a pair of good clear eyes, Muß heiter gleich den Wellen he must be as cheerful as the waves Und frei sein wie die Flut; and as free as the tide. Dort angelt auf der Brücke Up there on the bridge the shepherdess Die Hirtin – schlauer Wicht, fishes – sly minx, Gib auf nur deine Tücke, give up your tricks, Den Fisch betrügst du nicht! this is a fish you’ll never catch! (Franz Xaver von Schlechta, 1796–1875) 07 Verklärung D59 (1813) Transfiguration Lebensfunke, vom Himmel entglüht, Heaven-kindled spark of life, Der sich loszuwinden müht, that toils to wrench itself away, Zitternd, kühn, vor Sehnen leidend, trembling, brave, enduring longing, Gern und doch mit Schmerzen scheidend! gladly, yet in agony, departing! End’, o end’ den Kampf, Natur! End, oh end the battle, nature! Sanft ins Leben Only let me into life gently Aufwärts schweben, upwards float Sanft hinschwinden laß mich nur! and gently vanish! Horch, mir lispeln Geister zu: Hark, spirits whisper to me: „Schwester Seele, komm’ zur Ruh’.“ ‘Sister-soul, come to rest.’ Ziehet was mich sanft von hinnen? Does something draw me gently hence? Was ist es, was mir meine Sinnen, What is it that threatens to deprive me Mir den Hauch zu rauben droht? of my sense and of my breath? Seele, sprich! Ist das der Tod? Speak, soul, is it Death? Die Welt entweicht, sie ist nicht mehr. The world vanishes, it is no more. Engel-Einklang um mich her! All around me angel harmony! Ich schweb’ im Morgenrot! In the dawn of day I float! Leiht, o leiht mir eure Schwingen, Lend, oh lend me your wings, Ihr Brüder, Geister, helft mir singen: brothers, spirits, help me sing: „O Grab, wo ist dein Sieg? ‘O grave, where is your victory? Wo ist dein Pfeil, o Tod?!“ Where, O Death, your arrow?’ (Alexander Pope, 1688–1744, translated Johann Gottfried Herder, 1744–1803) 08 An den Tod D518 (1817) To Death Tod, du Schrecken der Natur, Death, terror of nature, Immer rieselt deine Uhr: your hour-glass trickles ceaselessly; Die geschwung’ne Sense blinkt, the swinging scythe flashes, Gras, und Halm und Blume sinkt. grass, stalk and flower fall.

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Mähe nicht ohn’ Unterschied, Do not mow down indiscriminately Dieses Blümchen, das erst blüht, this little flower just bloomed, Dieses Röschen, erst halbrot; this rose half-opened; Sei barmherzig, lieber Tod! be merciful, dear death! Und den Jüngling schone mir, And spare the youth Der am fühlenden Klavier who on the sensitive keyboard Goldne Saiten wiegt und schwingt makes the golden strings vibrate Und ein Lied von Liebe singt. and sings a song of love. Ach, den Sünder tödte nicht! Ah, do not kill the sinner! Schreck’ ihn nur mit dem Gericht; Rather terrify him with the Last Judgement Daß er bang zusammen fährt, that he starts in fear, Buße weint, und sich bekehrt. weeps tears of penitence, and mends his ways. Tod, wann kommst du, meine Lust? Death, when will you come, my joy, Ziehst den Dolch aus meiner Brust? To draw the dagger from my breast, Streifst die Fesseln von der Hand? and slip the fetters from my hands? Ach, wann deckst du mich mit Sand? Ah, when will you cover me with sand? Komm, o Tod, wenn's dir gefällt, Come, o death, if it pleases you, Hol' Gefang'ne aus der Welt: fetch this prisoner from the world. Komm, vollende meine Not; Come, end my distress; Sei barmherzig, lieber Tod! be merciful, dear death! (Christian Friedrich Schubart, 1739–1791) 09 Der Zwerg D771 (c. 1822) The dwarf Im trüben Licht verschwinden schon die Berge, The mountains already fade in the gloom, Es schwebt das Schiff auf glatten Meereswogen, the ship drifts on the sea’s smooth swell, Worauf die Königin mit ihrem Zwerge. with the queen and her dwarf on board. Sie schaut empor zum hochgewölbten Bogen, She gazes up at the high arching vault, Hinauf zur lichtdurchwirkten blauen Ferne, at the distant blue woven with light, Die mit der Milch des Himmels blaß durchzogen. streaked by the pale Milky Way. Nie habt ihr mir gelogen noch, ihr Sterne, ‘Never, stars, have you lied to me yet,’ So ruft sie aus, bald werd’ ich nun entschwinden, she cries, ‘Soon I shall be no more, Ihr sagt es mir, doch sterb’ ich wahrlich gerne. you tell me so, yet truly I shall gladly die.’ Da tritt der Zwerg zur Königin, mag binden The dwarf then steps up to the queen, Um ihren Hals die Schnur von roter Seide, to tie the red silk cord about her neck, Und weint, als wollt er schnell vor Gram erblinden. and weeps, as though he’d go blind with grief. Er spricht: Du selbst bist schuld an diesem Leide, He speaks: ‘You yourself are to blame for this torment, Weil um den König du mich hast verlassen, because you forsook me for the king, Jetzt weckt dein Sterben einzig mir noch Freude. your death alone can gladden me.

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Zwar werd ich ewiglich mich selber hassen, Though I shall always hate myself Der dir mit dieser Hand den Tod gegeben, for killing you with this hand, Doch mußt zum frühen Grab du nun erblassen. you must now perish, go early to your grave.’ Sie legt die Hand auf’s Herz voll jungem Leben, She lays her hand on her young heart, Und aus dem Aug’ die schweren Tränen rinnen, and heavy tears stream from her eyes, Das sie zum Himmel betend will erheben. she now raises to heaven in prayer. „Mögst du nicht Schmerz durch meinen Tod gewinnen!“ ‘May you suffer no anguish through my death!’ Sie sagt’s, da küßt der Zwerg die bleichen Wangen, She says; the dwarf then kisses her pale cheeks, Drauf alsobald vergehen ihr die Sinnen. and forthwith she falls unconscious. Der Zwerg schaut an die Frau vom Tod befangen, The dwarf looks down at his dying lady, Er senkt sie tief in’s Meer mit eignen Handen. lowers her with his hands deep into the sea. Ihm brennt nach ihr das Herz so voll Verlangen. His heart burns for her with such desire. An keiner Küste wird er je mehr landen. He will never again set foot on shore. (Matthäus von Collin, 1779–1824) 10 An die Leier D737 (?1822) To the lyre Ich will von Atreus’ Söhnen, I would sing of Atreus’s sons, Von Kadmus will ich singen! and of Cadmus too! Doch meine Saiten tönen But my strings sound Nur Liebe im Erklingen. forth nothing but love. Ich tauschte um die Saiten, I have changed the strings, Die Leier möcht’ ich tauschen, I would gladly change the lyre, Alcidens Siegesschreiten let Alcides’ victory march Sollt’ ihrer Machtentrauschen! thunder from its mighty heart! Doch auch die Saiten tönen But these strings too sound Nur Liebe im Erklingen. forth nothing but love. So lebt denn wohl, Heroen, Farewell, then, heroes, Denn meine Saiten tönen, for my strings, Statt Heldensang zu drohen, instead of threatening with heroic song, Nur Liebe im Erklingen. sound forth nothing but love. (Franz von Bruchmann, 1798–1867, after Anacreon) 11 Gruppe aus dem Tartarus D583 (1817) Scene from Hades Horch – wie Murmeln des empörten Meeres, Hark! – like the angered ocean’s murmuring, Wie durch hohler Felsen Becken weint ein Bach, like a brook weeping through rocky hollows, Stöhnt dort dumpfigtief ein schweres, leeres, there rises up, dank and deep, Qualerpreßtes Ach! a heavy, empty tormented cry!

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Schmerz verzerret Pain distorts Ihr Gesicht, Verzweiflung sperret their faces, despair opens Ihren Rachen fluchend auf. wide their jaws in imprecation. Hohl sind ihre Augen – ihre Blicke Their eyes are hollow – their gaze Spähen bang nach des Cocytus Brücke, fixes fearfully on Cocytus Bridge, Folgen tränend seinem Trauerlauf. weeping they follow the river’s doleful course. Fragen sich einander ängstlich leise, Anxiously, softly, they ask each other Ob noch nicht Vollendung sei? – if the end is nigh? – Ewigkeit schwingt über ihnen Kreise, Eternity sweeps in circles above them, Bricht die Sense des Saturns entzwei. breaks Saturn’s scythe asunder. (Friedrich von Schiller, 1759–1805) 12 Memnon D541 (1817) Memnon Den Tag hindurch nur einmal mag ich sprechen, The whole day long I may speak but once, Gewohnt zu schweigen immer und zu trauern: eternal silence and sorrow being my wont: Wenn durch die nachtgebornen Nebelmauern when Aurora’s purple rays break lovingly Aurorens Purpurstrahlen liebend brechen. through the night-born walls of mist. Für Menschenohren sind es Harmonien. To the ears of man it is music. Weil ich die Klage selbst melodisch künde, Since I voice my lament in melody Und durch der Dichtung Glut das Rauhe ründe, and smooth its harshness in poetry’s fire, Vermuten sie in mir ein selig Blühen. they think that rapture blooms in me. In mir – nach dem des Todes Arme langen, Me – to whom death stretches out his arms, In dessen tiefstem Herzen Schlangen wühlen; while serpents writhe in the depths of my heart; Genährt von meinen schmerzlichen Gefühlen – I am nourished by my anguished feelings – Fast wütend durch ein ungestillt Verlangen: almost maddened with unappeased desire: Mit dir, des Morgens Göttin, mich zu einen, To be united with you, goddess of dawn, Und weit von diesem nichtigen Getriebe, and far from this futile commotion to shine down Aus Sphären edler Freiheit, aus Sphären reiner Liebe, from spheres of noble liberty and pure love, Ein stiller, bleicher Stern herab zu scheinen. as a pale and silent star. (Johann Baptist Mayrhofer, 1787–1836) 13 Alinde D904 (1827) Alinde Die Sonne sinkt ins tiefe Meer, The sun sinks into the deep ocean, Da wollte sie kommen. she was due to come. Geruhig trabt der Schnitter einher, Calmly the reaper walks by. Mir ist’s beklommen. My heart is heavy.

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,,Hast, Schnitter, mein Liebchen nicht gesehn? ‘Reaper, have you not seen my love? Alinde, Alinde!“ Alinde!’ ,,Zu Weib und Kindern muß ich gehn, ‘I must go to my wife and children, Kann nicht nach andern Dirnen sehn; I cannot look for other girls. Sie warten mein unter der Linde.“ They are waiting for me beneath the linden tree.’ Der Mond betritt die Himmelsbahn, The moon entered its heavenly course, Noch will sie nicht kommen. she still does not come. Dort legt ein Fischer das Fahrzeug an, There a fisherman lands his boat. Mir ist’s beklommen. My heart is heavy. ,,Hast, Fischer, mein Liebchen nicht gesehn? ‘Fisherman, have you not seen my love? Alinde, Alinde!“ Alinde!’ ,,Muß suchen, wie mir die Reusen stehn, ‘I must see how my oyster baskets are, Hab nimmer Zeit nach Jungfern zu gehn, I never have time to chase after girls; Schau, welch einen Fang ich finde.“ look what a catch I have!’ Die lichten Sterne ziehn herauf, The bright stars appear, Noch will sie nicht kommen. she still does not come. Dort eilt der Jäger in rüstigem Lauf. The huntsman rides swiftly along. Mir ist’s beklommen. My heart is heavy. ,,Hast, Jäger, mein Liebchen nicht gesehn? ‘Huntsman, have you not seen my love? Alinde, Alinde!“ Alinde!’ ,,Muß nach dem bräunlichen Rehbock gehn. ‘I must go after the brown roebuck, Hab nimmer Lust nach Mädeln zu sehn; I never care to look for girls; Dort schleicht er im Abendwinde.“ there he goes in the evening breeze!’ In schwarzer Nacht steht hier der Hain, The grove lies here in blackest night, Noch will sie nicht kommen. she still does not come. Von allen Lebend’gen irr ich allein, I wander alone, away from all mankind, Bang und beklommen. anxious and troubled. ,,Dir, Echo, darf ich mein Leid gestehn: ‘To you, Echo, I can confess my sorrow: Alinde, Alinde!“ Alinde!’ ,,Alinde“ ließ Echo leise herüberwehn; ‘Alinde!’ came the soft echo; Da sah ich sie mir zur Seite stehn: then I saw her at my side. ,,Du suchtest so treu, nun finde!“ ‘You searched so faithfuly. Now you find me.’ (Johann Friedrich Rochlitz, 1769–1842) 14 Der Kampf D594 (1817) The battle Nein, länger, länger werd’ ich diesen Kampf No! I shall fight this battle nicht kämpfen, no longer, Den Riesenkampf der Pflicht. this mighty battle of duty. Kannst du des Herzens Flammentrieb nicht dämpfen If you cannot cool the fierce ardour within my heart So fordre, Tugend, dieses Opfer nicht. then, Virtue, do not demand this sacrifice.

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Geschworen hab ich’s, ja, ich hab’s geschworen, I took a vow, yes, I took a vow, Mich selbst zu bändigen. to master myself. Hier ist dein Kranz. Er sei auf ewig mir verloren, Here is your crown; let it be lost to me for ever, Nimm ihn zurück, und lass mich sündigen. take it back and let me sin. Zerrissen sei, was wir bedungen haben, Let us tear up the bond we have made, Sie liebt mich – deine Krone sei verscherzt. she loves me – your crown shall be forfeit. Glückselig, wer, in Wonnetrunkenheit begraben, Happy he who, drunk with ecstasy, So leicht wie ich den tiefen Fall verschmerzt. takes his precipitous fall as lightly as I. Sie sieht den Wurm an meiner Jugend Blume nagen She sees the worm gnawing at the flower of my youth, Und meinen Lenz entfloh’n; she sees the spring of my life slip by; Bewundert still mein heldenmütiges Entsagen, she silently admires my heroic renunciation, Und grossmutvoll beschließt sie meinen Lohn. and generously decides on my reward. Misstraue, schöne Seele, dieser Engelgüte! Fair soul, distrust this angelic kindness! Dein Mitleid waffnet zum Verbrechen mich, Your compassion steels me for my crime. Gibt’s in des Lebens unermesslichem Gebiete, Is there in life’s vast realm Gibt’s einen andern schönern Lohn – als dich? a fairer reward than you? Als das Verbrechen, das ich ewig fliehen wollte? Than the crime which I sought to flee for ever? Tyrannisches Geschick! Tyrannical fate! Der einz’ge Lohn, der meine Tugend krönen sollte, The sole reward which was to crown my virtue Ist meiner Tugend letzter Augenblick. is my virtue’s final moment. (Friedrich von Schiller) 15 Die Gebüsche D646 (1819) The bushes Es wehet kühl und leise The breeze blows cool and soft Die Luft durch dunkle Auen, through dark meadows, Und nur der Himmel lächelt and only the heavens smile Aus tausend hellen Augen. from a thousand bright eyes. Es regt nur eine Seele Only one soul stirs Sich in des Meeres Brausen, amid the roaring ocean, Und in den leisen Worten, and in the soft words Die durch die Blätter rauschen. that whisper through the leaves. So tönt in Welle Welle, Thus wave echoes wave Wo Geister heimlich trauren; where spirits secretly mourn; So folgen Worte Worten, thus words follow words Wo Geister Leben hauchen. where spirits breathe life. Durch alle Töne tönet Through all the sounds in the Im bunten Erdentraume, earth’s many-coloured dream, Ein leiser Ton gezogen, one faint sound echoes Für den, der heimlich lauschet. for him who secretly listens. (Friedrich von Schlegel, 1772–1829) 15 b0082_WH booklet template.qxd 13/04/2016 19:50 Page 16

16 Im Abendrot D799 (1825) Sunset glow O wie schön ist deine Welt, Ah, how lovely is your world, Vater, wenn sie golden strahlet! Father, when it gleams with gold! Wenn dein Glanz herniederfällt, When your radiance descends, Und den Staub mit Schimmer malet; and paints the dust with glitter; Wenn das Rot, das in der Wolke blinkt, when the red that glows from the clouds In mein stilles Fenster sinkt! sinks into my quiet window! Könnt’ ich klagen, könnt’ ich zagen? Could I complain, could I lose heart? Irre sein an dir und mir? Despair of you and me? Nein, ich will im Busen tragen No, I shall bear your heaven Deinen Himmel schon allhier. here within this breast. Und dies Herz, eh’ es zusammenbricht, And this heart, before it breaks, Trinkt noch Glut und schlürft noch Licht. shall still drink fire and savour light. (Karl Gottlieb Lappe, 1773–1843)

encores 17 Wiedersehn D855 (1825) Reunion Der Frühlingssonne holdes Lächeln The sweet smile of the spring sun Ist meiner Hoffnung Morgenrot; is the dawn of my hope; Mir flüstert in des Westes Fächeln in the stirring of the west wind Der Freude leises Aufgebot. I hear joy’s softly whispered call. Ich komm’, und über Tal und Hügel, I am coming! And over hill and dale, O süße Wonnegeberin, sweet bestower of delight, Schwebt auf des Liedes raschem Flügel, love sails to greet you Der Gruß der Liebe zu dir hin. on swift wings of song. Der Gruß der Liebe von dem Treuen, It is love’s greeting from one who is devoted, Der ohne Gegenliebe schwur, who, without ritual, swore Dir ewig Huldigung zu weihen to pay eternal homage to you Wie der allwaltenden Natur; and to all-powerful nature; Der stets, wie nach dem Angelsterne who forever watches and listens alone, Der Schiffer, einsam blickt und lauscht, like the sailor for the pole star, Ob nicht zu ihm in Nacht und Ferne for the sound of that star to come down to him Des Sternes Klang herniederrauscht. through the remote expanses of the night. (August Wilhelm von Schlegel) 18 Die Taubenpost D965a (1828) Pigeon Post Ich hab’ eine Brieftaub in meinem Sold, I have a carrier pigeon in my pay, Die ist gar ergeben und treu, devoted and true; Sie nimmt mir nie das Ziel zu kurz, she never stops short of her goal Und fliegt auch nie vorbei. and never flies too far.

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Ich sende sie viel tausendmal Each day I send her out Auf Kundschaft täglich hinaus, a thousand times on reconnaissance, Vorbei an manchem lieben Ort, past many a beloved spot, Bis zu der Liebsten Haus. to my sweetheart’s house. Dort schaut sie zum Fenster heimlich hinein, There she peeps furtively in at the window, Belauscht ihren Blick und Schritt, observing her every look and step, Gibt meine Grüße scherzend ab conveys my greeting breezily, Und nimmt die ihren mit. and brings hers back to me. Kein Briefchen brauch’ ich zu schreiben mehr, I no longer need to write a note, Die Träne selbst geb’ ich ihr: I can give her my very tears; O sie verträgt sie sicher nicht, she will certainly not deliver them wrongly, Gar eifrig dient sie mir. so eagerly does she serve me. Bei Tag, bei Nacht, im Wachen, im Traum, Day or night, awake or dreaming, Ihr gilt das alles gleich: it is all the same to her; Wenn sie nur wandern, wandern kann, as long as she can roam Dann ist sie überreich! she is richly contented. Sie wird nicht müd’, sie wird nicht matt, She never grows tired or faint, Der Weg ist stets ihr neu; the route is always fresh to her; Sie braucht nicht Lockung, braucht nicht Lohn, she needs no enticement or reward, Die Taub’ ist so mir treu! so true is this pigeon to me. Drum heg’ ich sie auch so treu an der Brust, I cherish her as truly in my heart, Versichert des schönsten Gewinns; certain of the fairest prize; Sie heißt – die Sehnsucht! her name is – Longing! Kennt ihr sie? Die Botin treuen Sinns. Do you know her? The messenger of constancy. (Johann Gabriel Seidl)

Translations of Am Bach im Frühling, Der Wanderer an den Mond, Im Freien, Geheimes, Das Lied im Grünen, Fischerweise, Der Zwerg, An die Leier, Gruppe aus dem Tartarus, Memnon, Prometheus and Im Abendrot by Richard Stokes from The Book of Lieder published by Faber & Faber, with thanks to George Bird, co-author of The Fischer-Dieskau Book of Lieder. Translation of An den Tod by Richard Wigmore. Alinde, Der Kampf, Die Gebüsche, Wiedersehn and Die Taubenpost by Richard Wigmore from Schubert – The Complete Song Texts published by Victor Gollancz Ltd. Verklärung by George Bird and Richard Stokes from The Fischer-Dieskau Book of Lieder published by Victor Gollancz Ltd.

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Benjamin appl Benjamin Appl is a BBC New Generation Artist for Eötvös’s Tri Sestri (Baron Tusenbach) for the 2014–16 and an ECHO Rising Star, through which Deutsche Staatsoper Berlin, Owen Wingrave at the he performs at Europe’s leading concert halls. He Banff Festival, and Bernhard Gander’s Am Rande studied at the Hochschule für Musik und Theater der Milchstrasse for the Bregenz Festival. He has and the Bayerische Theaterakademie August appeared with the Akademie für Alte Musik Berlin, Everding, and graduated from the Guildhall all the BBC Orchestras, the Orchestra of the Age of School of Music & Drama. He was the last private Enlightenment at the BBC Proms, at Wigmore Hall, pupil of Dietrich Fischer-Dieskau, continuing his Carnegie Hall, Tonhalle Zürich, Concertgebouw studies with Rudolf Piernay, and is a member of Amsterdam, the BBC Proms in Australia, and at the Yehudi Menuhin Foundation Live Music Now. the Ravinia, Rheingau, Aldeburgh, Brighton and Recent opera appearances include La bohème Oxford Lieder festivals. Benjamin is regularly (Schaunard) with the Munich Radio Orchestra, invited to perform at the Schubertiade Festival.

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graham johnson Graham Johnson studied at the Royal Academy of Music and with the late Geoffrey Parsons. He formed the Songmakers’ Almanac in 1976. He has appeared in recital with Thomas Allen, Felicity Lott, Ann Murray, Victoria de los Angeles, Ian Bostridge, Alice Coote, Brigitte Fassbaender, Matthias Goerne, Thomas Hampson, Simon Keenlyside, Angelika Kirchschlager, Philip Lang - ridge, Christopher Maltman, Edith Mathis, Peter Pears, Lucia Popp, Christoph Prégardien, Margaret Price, Thomas Quasthoff, Dorothea Röschmann, Kate Royal, Christine Schäfer, Peter Schreier, and Elisabeth Schwarzkopf. His ex tensive discography includes the entire Schubert and Schumann Lieder for Hyperion Records. Graham Johnson is Senior Professor of Accompaniment at the Guildhall School of Music & Drama. He was made an OBE in 1994, created Chevalier dans l’Ordre des Arts et Lettres by the French Government in 2002, and became an Honorary Member of the Royal Philharmonic Durham University and the New England Con - Society in 2010. In 2013 he was awarded The servatory of Music. He was awarded the Hugo Wolf Wigmore Medal, and Honorary Doctorates from Medal for his services to the art of song.

Engineered by Steve Pornoi www.outhouseaudio.com Produced by Jeremy Hayes Recorded live at Wigmore Hall, London, on 27 March 2015 Director: John Gilhooly Wigmore Hall Live — General Manager: Darius Weinberg Photography by Benjamin Ealovega Photograph of Graham Johnson by Malcolm Crowthers Manufactured by Repeat Performance Multimedia, London 19 b0082_WH booklet template.qxd 13/04/2016 19:50 Page 20

WHLive0082 Made & Printed in England Benjamin appl baritone graham johnson piano Recorded live at Wigmore Hall, London, on 27 March 2015

FRAnZ ScHuBeRT (1797–1828) 01 Am Bach im Frühling, D361 03.52 02 Der Wanderer an den Mond, D870 02.04 03 Im Freien, D880 05.32 04 Geheimes, D719 01.48 05 Das Lied im Grünen, D917 05.31 06 Fischerweise, D881 03.24 07 Verklärung, D59 03.38 08 An den Tod, D518 03.04 09 Der Zwerg, D771 05.37 10 An die Leier, D737 03.37 11 Gruppe aus dem Tartarus, D583 02.52 12 Memnon, D541 04.16 13 Alinde, D904 04.06 14 Der Kampf, D594 05.16 15 Die Gebüsche, D646 02.59 16 Im Abendrot, D799 03.38 encores 17 Wiedersehn, D855 02.14 18 Die Taubenpost, D965a 03.35

Total time: 72.19