111287 bk Schwarzkopf Schubert EU 13/3/08 10:52 Page 4 Great Singers • Elisabeth Schwarzkopf (1915-2006) FRANZ SCHUBERT (1797-1828): # Litanei auf das Fest Allerseelen, D343 5:35 1 An die Musik, D547 2:39 SCHUBERT 2 Im Frühling, D882 4:27 Die schöne Müllerin, D795 3 Wehmut, D772 2:58 $ No. 7: Ungeduld 2:58 4 Ganymed, D544 4:46 Lieder 5 Das Lied im Grünen, D917 4:30 Gerald Moore, piano 6 Gretchen am Spinnrade, D118 3:24 Recorded 9th and 10th January, 1954 7 Nähe des Geliebten, D162 3:16 in EMI Abbey Road Studio 1, London SCHW 8 Die junge Nonne, D828 4:46 First issued on Columbia 33CX 1044 TH AR 9 BE Z An Silvia, D891 3:04 A K 0 S O Auf dem Wasser zu singen, D774 3:18 LUDWIG VAN BEETHOVEN (1770-1827): I P ! Nachtviolen, D752 2:48 % Ah, perfido! – Concert Aria, Op. 65 14:18 L F @ Der Musensohn, D764 2:05 E Fidelio, Op. 72: Act I Edwin Fischer, piano ^ Abscheulicher! Wo eilst du hin? * 7:51 Recorded 4th - 7th October, 1952 in EMI Abbey Road Studio 1A, London Philharmonia Orchestra • Herbert von Karajan First issued on Columbia 33CX 1040 Recorded 20th September, 1954 in Watford Town Hall First issued on Columbia 33CX 1278 and *33CX 1266 1 s 952 ing -1954 Record Producer and Audio Restoration Engineer: Mark Obert-Thorn Elisabeth Schwarzkopf Edwin Fischer • Gerald Moore 8.111287 4 111287 bk Schwarzkopf Schubert EU 13/3/08 10:52 Page 2 Great Singers • Elisabeth Schwarzkopf (1915-2006) das Fest Allerseelen (Litany for the Festival of All Souls) that before the expected ministerial visit the following day employs a text by Johann Georg Jacobi (1740-1814) that Florestan must be murdered. Left alone, Leonore/Fidelio SCHUBERT (1797-1828) Lieder • BEETHOVEN (1770-1827) Arias dates from August 1816. It is a very exacting song for the denounces Pizarro as a monster, a man impervious to any Franz Schubert (1797-1828) wrote in excess of 600 Das Lied im Grünen (the Song of the Greenwood) singer’s technique, demanding the ability to spin out an form of human decency. In the recitative and following hundred Lieder. The genre covers the entire period of this sets a text by J.A. Friedrich Reil. Written in June 1827 in endless legato. The nine verses pose many problems of aria she invokes rage and the spirit of hope and love, composing life from 1810 until his death. These include between the first and later parts of the cycle Winterreise interpretation for the singer. Ungeduld (Impatience) determined to enter her husband’s cell and save him. The the song cycles Die schöne Müllerin, Winterreise and the which occupied Schubert in the spring and autumn of that comes from Die schöne Müllerin, a cycle of twenty poems aria begins with the words “Komm, Hoffnung” (Come, posthumous arranged collection Schwanengesang. year, the Lied is a tribute to the season of spring and its by Wilhelm Müller (1794-1827), composed during Hope) culminating in a horn-led coda imbued with true The concept of the German Lied (or Song) grew from unfailing ability to heal and renew. The piano part plainly October and November 1823. Beethovenian fervour. the arietta of Haydn and Mozart the form of which was explains that the song is about the stream and water. Beethoven wrote his concert aria Ah, perfido! in 1796 The German soprano Elisabeth Schwarzkopf (1915- predominately strophic. Beethoven in his early years Gretchen am Spinnrade (Gretchen at the Spinning-wheel) (to a text by the Roman poet Pietro Trapassi) for the 2006) studied at the Berlin Hochschule für Musik and continued in a similar manner until he composed the song is a setting of a text by Goethe and dates from October soprano Josepha Duschek for whom Mozart had written later with the soprano Maria Ivogün, before making her cycle An die ferne Geliebte (To the distant beloved). This 1814. Its lyrical nature characterizes well Schubert’s early earlier his concert aria Bella mia fiamma, K528. Whilst début as one of the Flowermaidens in Parsifal with the setting covered a wider arc than hitherto, through period and the song can be claimed to be an example of the older composer’s vocal piece may have served as a Städtische Oper, Berlin in 1938. Originally a lyric soprano changing moods and episodes before returning to the the composer’s first truly Romantic Lied in which the model, Beethoven’s concept is most definitely that of the she undertook rôles such as Adele in Die Fledermaus, original melody followed by an attractive coda. Then lyrical and dramatic elements are intertwined. Note how nineteenth century. The work was not published until Musetta in La Bohème and Zerbinetta in Ariadne auf there were the influences of lesser composers such as cleverly the composer changes the melody and harmonies 1805 so that the opus number does not relate to the period Naxos when she joined the Vienna State Opera under Karl Johann Friedrich Reichardt (1752-1814) and Karl at the beginning of each stanza. Nähe des Geliebten of composition. The text of Ah, perfido! Spergiuro, Böhm in 1943. Her first overseas appearance was with Friedrich Zelter (1758-1832), who wrote many popular (Nearness of the Beloved) is another Goethe setting, barbaro traditore, tu parti? (Ah, unfaithful liar! Vile this company on their visit to London in 1947, when she songs. A greater influence on Schubert possibly was dating from February 1815. The subject is love and deceiver, you leave me?) conveys the cry of a young sang Donna Elvira and Marzelline in Fidelio. She then Johann Rudolf Zumsteeg (1760-1802), whose musical sunlight. woman who has been betrayed in love. The music is joined the fledgling Covent Garden Company, where for style and language is apparent in the young Schubert’s Die junge Nonne (The Young Nun) takes a text of dramatic in its message. Initially she pleads for the gods to five seasons she sang a variety of rôles, mostly in English, music. Schubert, however, was far more innovative and Jakob Nikolaus Reichsfreiherr Craigher de Jachelutta punish him, but the mood softens as her feelings change to including Manon, Madama Butterfly and Violetta in La significantly developed the genre of the Lied into the (1797-1855), which Schubert set in early 1825. It is in the one of mercy, even offering to die for him. The music Traviata. Alongside these appearances, Schwarzkopf nineteenth century form of a dramatic monologue. Schubert employs a dark sounds more Mozartian in this section. The tensions rise sang at the Salzburg Festival (1946-1964), at Teatro alla An die Musik (To Music) is a setting of a text by Franz almost storm-like mood and the inclusion of convent bell once again as the soloist furiously denounces her fate at Scala, Milan (1948-1963), San Francisco (1955-1964) von Schober (1796-1882). Dating from March 1817, it sounds only heightens the atmosphere. An Sylvia (Who is the hands of her cruel lover. and, finally, the Metropolitan in New York in 1964. She recalls how a poet’s life has been enriched by the language Sylvia) is a German translation by Eduard von Bauernfeld Beethoven’s only opera Fidelio is drawn from the was greatly admired in the rôles of the Marschallin, of music. Im Frühling (In Springtime) dates from March (1802-1890) of a song by Shakespeare from his Two drama Léonore, ou l’amour conjugal by Nicolas Bouilly, Fiordiligi, the Countess in Le nozze di Figaro and Donna 1826 and is a setting of a poem by Ernst Konrad Friedrich Gentlemen of Verona, dating from July 1826. This simple based on a true event in the author’s native Tours during Elvira. Schwarzkopf also created Anne Trulove in Schulze (1789-1817) in which the season of spring and almost improvisatory setting is one of the composer’s the Jacobin Terror in France. Earlier settings of this story Stravinsky’s The Rake’s Progress in Venice in 1951. She young love are depicted. The poet recalls the happiness of most touching. Auf dem Wasser zu singen is a memorable had been made by Pierre Gaveaux in 1798, Ferdinand also enjoyed a highly distinguished parallel career as a love that has gone, leaving just love itself, and sadness setting of a text by Friedrich Leopold, Graf zu Stolberg- Paër (1804) and Simon Mayr (1805). Beethoven’s opera Lieder singer in the concert hall, a field to which she regained. With its gentle flowing movement it remains Stolberg (1750-1819) and was composed in 1823. The was originally called Leonore (a three-act opera) but after turned increasingly following her retirement from the one of the finest of all Schubert songs. Wehmut distinguished German singer Dietrich Fischer-Dieskau an unsuccessful première in Vienna in November 1805, stage. In her later years she was renowned for the quality (Melancholy), to a text by Matthäus von Collin (1779- considers this “perhaps the most telling of Schubert’s he reluctantly changed the name but tightened and revised of her series of master-classes. She was the wife of the 1824), dates from 1822-23. Note the major and minor water-studies” (Schubert’s Songs – a biographical study. his score into two acts. This was slightly more successful impresario and recording producer Walter Legge, whom clash at the words “so wohl, so weh” (so happy, so sad). New York, 1984). The piano writing aptly justifies this but it was not until the final revision of 1814 that the opera she married in 1953.