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DEUTSCHE Also available: SCHUBERT-LIED-EDITION • 35 SCHUBERT Rarities, Fragments, and Alternative Versions Rubens • Roth • Grosgurin • Jungwirth • Kuppel • Riehm Ulrich Eisenlohr, Piano

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Franz Peter Ulrich Eisenlohr

SCHUBERT Ulrich Eisenlohr studied at the conservatory of music in Heidelberg/Mannheim (1797-1828) (Rolf Hartmann, piano) and Lieder under Konrad Richter at Stuttgart. Specialising in the areas of song accompaniment and chamber music, he began Rarities, Fragments, and Alternative Versions an extensive concert career with numerous instrumental and vocal partners in Europe, America and Japan, with appearances at the Vienna Musikverein and 1 Konzerthaus, the Berlin Festival Weeks, the Kulturzentrum Gasteig in Munich, Das Mädchen aus der Fremde, D. 117 (Schiller) 2:40 the Schleswig-Holstein Music Festival, Concertgebouw Amsterdam, the 2 Laura am Klavier, 1st version, D. 388 (Schiller) 4:51 Edinburgh Festival, Frankfurt Festival, International Beethoven Festival Bonn

Photo: Wolfgang Detering and the Ludwigsburg Festival, among many others. He has collaborated with a 3 Entzückung an Laura, 2nd setting, D. 577 (Schiller)* 3:59 number of leading singers in Lieder recitals and has also appeared in numerous 4 Gesang in C / Song sketch, D. 1a (no text) 11:49 broadcasts, live concert recordings and television transmissions, as well as in recordings for leading record companies, several of which have been awarded 5 Zur Namensfeier des Herrn Andreas Siller, D. 83 (Anon.) 1:19 major prizes, including the German Record Critics’ Quarterly Award, a Grand 6 Auf den Sieg der Deutschen, D. 81 (Anon.) 4:02 Prix International from the Académie du Disque Lyrique in Paris and the Classical Internet Award. The conception and recording of all Schubert songs for 7 Lebenstraum / Ich saß an einer Tempelhalle, D. 39 Naxos is now an important focus of his artistic work. The series will be finished (Gabriele von Baumberg)* 9:37 in 2009. The recording of Hugo Wolf’s complete songs is planned for the near future. Ulrich Eisenlohr has been a lecturer at the conservatories of music in 8 Lied eines Kindes, D. 596 (Anon.) 1:04 Frankfurt and Karlsruhe and has conducted master-classes in Lied and chamber music in Europe and Japan. He has 9 Bei dem Grabe meines Vaters, D. 496 (Matthias Claudius) 3:04 served as accompanist for master-classes with Hans Hotter, Christa Ludwig, Elsa Cavelti, Daniel Ferro (Juilliard School, New York) and Geoffrey Parsons. Since 1982 he has taught a Lieder class at the Mannheim Conservatory 0 Der Knabe in der Wiege, 2nd version, D. 579 of Music. (Anton Ottenwald) (Incomplete) 1:31 ! Nur wer die Liebe kennt, D. 513a (Werner)* 1:19 @ Gruppe aus dem Tartarus, 1st setting, D. 396 (Schiller) (Incomplete) 0:46 # So laßt mich scheinen, 1st setting, D. 469 (Goethe) (Incomplete) 1:09 $ Liedentwurf in A / Song Sketch in A minor, D. 555 (no text) (Incomplete) 0:51 % Das große Halleluja, D. 442 (Klopstock) 2:31 ^ Evangelium Johannis, Cap. 6, 55-58, D. 607* 3:00 & Schlachtgesang, D. 443 (Klopstock) 2:48 * Gesang der Geister über den Wassern, 1st setting, D. 484 (Goethe)* 5:52

* Fragments completed by Peter Reinhard van Hoorickx

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Reto Kuppel THE DEUTSCHE SCHUBERT-LIED-EDITION

Reto Kuppel studied at the Music Academy in Hamburg with Andreas Röhn and In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs which attended master-classes with the Amadeus Quartet, Ralf Gothoni, Herman Krebbers he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Schubert’s) and Zakhar Bron. Further studies took him to the Juilliard School of Music in New luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Goethe: York, where he was taught by Dorothy DeLay. He won the Hamburg Academy A selection of German songs will constitute the beginning of this edition; it will consist of eight volumes. The Competition and the International Violin Competition in Château de Courcillon and first two (the first of which, as an example, you will find in our letter) contains poems written by your Excellency, then appeared in several European countries and the United States as a soloist with the third, poetry by Schiller, the fourth and fifth, works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the renowned orchestras. He was also introduced to a wider audience through radio and seventh and eighth contain songs by Ossian, whose works are quite exceptional. television broadcasts. Since 1997 he has been associate concert-master in the Bavarian The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 Radio Symphony Orchestra. Besides a number of solo and chamber music appearances, songs, will be grouped according to the poets who inspired him, or according to the circle of writers, he has also taught since 2006 at the Franz Liszt Music Academy in Weimar as well as contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. giving master-classes at home and abroad. Fragments and alternative settings, providing their length and quality make them worth recording, and works for two or more voices with piano accompaniment will also make up a part of the edition. 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 contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. The entire edition is scheduled for completion by 2010. Thanks to the Neue Schubert Ausgabe (New Schubert Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the Peter Riehm 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 Peter Riehm took his first violin lessons at the age of five. He won a number of prizes at written word had for the composer. the Jugend musiziert competition and was a preparatory student of Lukas David at the The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers North German Music Academy in Detmold for twelve years. Three years later he who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he continued his studies with Tibor Varga, in whose chamber orchestra he took part for believes, will stand the test of time. many years as concert-master. In 1986 Peter Riehm was engaged as a first violinist in the Bavarian Radio Symphony Orchestra and since 1995 he has been a member of the Bayreuth Festival Orchestra. Photo: Private

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Franz Peter Schubert (1797-1828) Daniel Grosgurin Rarities, Fragments, and Alternative Versions The cellist Daniel Grosgurin was born in Geneva and received his first musical training This last instalment of our complete recording of varied strophic form. In the second version D. 252 at the Conservatory of Music there, before studying with János Starker at the Schubert’s songs contains two which Schubert intended (Schiller-Lieder Vol. 2), written nine months later, one University of Indiana and in Geneva with Pierre Fournier. He won prizes at the to be accompanied by instruments other than the piano, can hear no trace of any stylistic development when international Geneva and Cassado Competitions, and after his début at the Wigmore and fragments and drafts for songs which are compared with the earlier one; on the contrary Schubert Hall in London in 1976 began performing as a soloist with various well known sometimes heard exactly as they have come down to us seems to have been so affected by Schiller’s poetic orchestras in Europe and America. He has performed with some of the best known and at other times in subsequent completions. Many of parable of the girl, who comes to mankind from pianists and violinists of his generation, and has been invited to Europe’s most these fragments were left uncompleted by Schubert and unknown regions, from “another sunlight”, endowed prestigious Festivals, as well as being a frequent guest of the American Eastern Music in other cases parts of the autograph manuscript are with her gifts from “a happier nature”, that he wrote Festival. From 1995 to 2005 he was Music Director of Les Solistes de Genève, and missing so that one can only speculate how they would two quite different settings of equal value but of a from 2006 to 2008 he was a member of the Beethoven Quartet. In 1978 he was have continued. Also included are some alternative similarly simple beauty. appointed Professor at the Mannheim Musikhochschule and since 1990 he has taught versions and arrangements of previously recorded Schiller’s poem Laura am Klavier 2 (Laura at the exclusively at the Geneva Conservatoire Supérieur de Musique, giving master-classes songs which are worth hearing, two drafts for songs Piano) posed Schubert a difficult compositional task: he at various institutions in Europe, the United States and Japan. His recordings include a which have survived without texts, and compositions had to make audible simultaneously both Laura’s release devoted to the music of the Spanish cellist-composer Gaspar Cassadó and an which fall between song and other genres (sacred songs marvellous piano playing, praying “for life and death”, album under the title Violoncelle & Opéra. and sacred choruses). as well as the rhapsodic reaction of the lyrical “self”. We begin with three songs reminiscent of the Two versions of the song, D. 388, were written in Schiller settings (cf. Schiller-Lieder Vols. 1-4, Naxos March 1816. The musical character of both songs is 8.554740, 8.554741, 8.557369-70). In all, Schubert set closely related, yet the first version, heard here, appears Uta Jungwirth 32 poems by Schiller, fifteen of them even two or three clearly to be a precursor of the more mature second times, so it is a case partly of rearrangements and partly version (in Schiller-Lieder Vol. 1): what here sounds Born in Munich, Uta Jungwirth was only eight years old when her parents gave her a of new works. This high tally of new revisions of the simple, but musically somewhat conventional in its harp, the instrument to which she has dedicated her entire musical career since that same text hints at the difficulty of setting Schiller’s cantata-like alternation between recitative and arioso is, time. As a child, she took her first lessons from Maria Graf. During her school years, lyrics. Whereas Goethe was mostly an intuitive creator, in the later version, heightened substantially with the she won prizes at Jugend musiziert and became a member of the Bavarian State Youth basing his work on personal experience – producing, as retention of the thematic material and the formal Orchestra. Following secondary school she began her studies in Maria Graf’s harp it were, a psychological “lyrical experience” – structure, but moulded into a musical equivalent of class at the Academy of Music and the Performing Arts in Hamburg. At the academy Schiller’s poetry is more reflective, often inflated by Schiller’s highly artificial writing. competition in Hanover, she won second prize, and her work was then furthered philosophical thought. “The poet usually rushed past The second version of Schubert’s Entzückung an through solo and chamber music concerts. The experience gained from participation in Photo: Yuriy Yurchenko me, when I should have philosophized and I should Laura, D. 577 3 (Enchanted by Laura), has survived international youth orchestras, a trainee position at the Hamburg State Opera and an have set the philosophical spirit to poetry,” he admitted only in two substantial fragments; the missing section, assistant’s job in the Philharmonic Orchestra of Kiel enabled her, even before in respect of Goethe. And yet – but probably just which came between these fragments, was obviously completing her studies, to assume the post of solo harpist with the Munich Radio because of that – Schubert, particularly in his youth, written on a page of manuscript paper which has since Orchestra under Marcello Viotti. Back in Munich, she intensified her chamber music seems to have felt a special affinity with Schiller’s been lost, while Schubert did not set the last three activity, playing in the ensemble Villa Musica and making music, among other poems; he was probably fascinated by the relationship verses of the final verse. Our recording contains a partners, with Ulf Hölscher. between the powerfully eloquent flexibility of the completion of this fragment by the Franciscan father metaphorical language and the philosophical depth of and Schubert-researcher Reinhard van Hoorickx. the thoughts. Completions of musical fragments are problematic in His first setting of Schiller’s poem Das Mädchen many instances, yet this one can be justified by the fact aus der Fremde, D. 117 1 (The Maiden from Afar), of that Schubert had, as it were, already composed October 1814 is in a rocking siciliano rhythm; it has a something in between the missing sections. In this case catchy melody, is folk-like in style and composed in a for instance the probable continuation can be worked

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Sibylla Rubens out from the musical-thematic material at the beginning Baumberg’s poem, or that he had a long-lost draft of it. of the second verse, so it must not simply be composed For that reason our recording presents the work with the The German soprano Sibylla Rubens studied singing at the Staatliche Musikhochschule anew in a speculative manner. The same principle cello as the melody instrument; so, apart from a few in Trossingen and at the Hochschule für Musik in Frankfurt/Main. She participated in applies to the end of the work. So the completed version octave transpositions, Schubert’s work remains numerous master-classes, and was a student of Irwin Gage’s class for Lieder reveals an interplay, rich in contrasts, between untouched. In spite of this, the work is astonishing in interpretation in Zurich. A much sought-after artist in Germany and abroad, she made enthusiastically forward-moving and gently-sung many ways: at 394 bars long it is anything but the her début with the Berlin German Symphony Orchestra in Mendelssohn’s Lobgesang- sections; a recitative section represents a significant modest beginner’s song of a gifted thirteen-year old Sinfonie under Vladimir Ashkenazy, returning for concerts of Schumann’s Scenes from punctuation point before the final passage. Although pupil. It is highly ambitious in the sophisticated Faust conducted by Marek Janowski. These appearances form only a part of a the song is “through-composed” a reversion to organization of its individual musical sections, dynamic distinguished career that has brought collaboration with leading conductors and in previously-used musical motifs gives rise to a rounded, in its dramaturgical structure and in the contrasts particular with Helmuth Rilling and the Stuttgart Bach Academy. As a Lieder singer totally unified overall musical picture. Looking back at between the parts, even if it is sometimes long-winded, she had a great success with her first recital with Irwin Gage at the Ludwigsburger the completely different, strictly-structured strophic even “eloquent” and wonderfully “singable” from time Schlossfestspiele in 1999, the beginning of a continuing collaboration with her former first version D. 390 (Schiller-Lieder Vol. 1), Schubert to time, and touching in its command of melody. With teacher in recitals in Barcelona, Amsterdam and Nuremberg. She won acclaim for her here comes closer to the Laura poem but with a this work a new kid on the block announces himself; a collaboration with Thomas Quasthoff in Hugo Wolf’s Italienische Liederbuch at the completely different formal structure. newcomer who was clearly not happy simply to adopt Schwarzenberg Schubertiade and in 2006 sang Schumann’s Myrten in Ludwigsburg. To describe the Gesang in c, D. 1a 4 (Song in C the models of the classical, modestly-strophic settings Photo: Maddalena Her recordings include Schumann Lieder and songs by Humperdinck. minor), as the earliest surviving Schubert song is only of lyrics following the aesthetic principles of a Zelter or half the truth. Written probably in 1810, or even earlier, a Reichardt. Lebenstraum, D. 39 7 (Dream of Life), it is only an outline of a song; the text is missing and it shows itself to be of a similarly high standard. Its was not composed right through to the end. That it must formal structure is similar, with its succession of Detlef Roth be a song (or an aria with piano accompaniment) can contrasting sections and in its alternation between easily be deduced from the behaviour of the melodic recitative and arioso passages. Its fragmented form is Born and raised in the Black Forest of Germany, the baritone Detlef Roth studied at the line: its speech-like gestures, its many repetitions of extended on this recording by the recitation of the final Musikhochschule Stuttgart, winning several international voice competitions, including notes and syllables and recitative sections leave no sections of the poem which Schubert did not set. So at the Belvedere in Vienna, and the inaugural Voix Wagnériennes in Strasbourg. In 1995 other possible conclusion. As far as the text that least the full, even vaulting artistic, ambition of the he made his début as a principal at the Paris Opéra Comique as Fluth in The Merry Schubert had in front of him is concerned, there has truly creative person can be heard in the setting of this Wives of Windsor. He has since then sung dozens of rôles on the stages of leading opera long been speculation; to this day no definite poem. Schubert might have felt enthusiastic about it as houses worldwide. He is equally well-known for his extensive concert repertoire, conclusions have been reached. From the fact that the a visionary anticipation of his own compositional path. especially for the German oratorios of Bach and Mendelssohn or works by Schumann, same thematic material can be heard in certain places in The missing sections of text (like all the other Brahms and Mahler, as well as world premières of contemporary music. His career has the later Lebenstraum, D. 39, one can draw the completions of fragments on this recording) have been brought collaboration with a number of major orchestras and distinguished conductors. conclusion that the Song in C minor uses the same text. provided by Reinhard van Hoorickx. His recordings include Mahler’s Symphony No. 8, Beethoven’s Choral Symphony, Yet even in D. 39 the completion of the text is very Zur Namensfeier des Herrn Andreas Siller, D. 83 5 Bach’s Christmas Oratorio, and a prize-winning recording of little-known Schubert problematic in some places: here Schubert wrote out the (For the Name Day of Herr Siller) and the work with an Lieder with the pianist Ulrich Eisenlohr for Naxos. In addition he can be heard on DVD text only up to bar 20 of the melody and the complete “aria” entitled Auf den Sieg der Deutschen, D. 81 6 (On in Orff’s Carmina Burana and Mozart’s Die Zauberflöte. www.detlefroth.com poem had been unknown for a long time. From this the Victory of the German Armies), both by unknown discovery the continuation of the text could be tackled, poets, are given here not with piano but accompanied yet it appeared that this had to mesh throughout with the by other instruments: the first song, with harp and melodic character, in order to make it fit the text. violin accompaniment is, as the name suggests, an In the Song in C minor, D. 1a. the underlay of the occasional work of a cheerfully relaxed character. same poem would be possible in many places but would Nothing is known about Herr Siller’s relationship to the be harder to achieve and often have to be forced into Schubert family. Auf den Sieg der Deutschen, D. 81, for shape, and so it must be assumed either that Schubert voice, two violins and cello, to an anonymous text, had a very different version of Gabriele von refers to the famous Battle of the Nations at Leipzig in

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October 1813, in which the allied powers of Prussia, of its sound: the second version has been transposed Schubert’s first rapprochement with Goethe’s meditative and, in some passages, melodically intense Austria and Russia overthrew Napoleon, so ending from C major down to A flat major, so that this song is a Mignon poem So laßt mich scheinen, D. 469 # (Such and insistent. It is Schubert’s only composition to set a French domination of Europe. Like the song Die third lower. But at the same time Schubert has written let me seem, until such I be) has survived in two prose text. Befreier Europas in Paris, D. 104, (The Liberators of the piano part, which was originally an octave below the fragments. The first, of seven bars, Schubert crossed Schubert set Goethe’s Gesang der Geister über den Europe in Paris), (Austrian Contemporaries Vol. 2, voice, a sixth higher, so that the piano and vocal parts out in the manuscript, while the second, eleven bars Wassern * (Song of the Spirits over the Waters) four Naxos 8.557172) of the following year, it is written in a are in the same register, blending to produce a quite long, has been identified in a sheet which is now lost. times in all. The parable of the wandering of the human chauvinistic patriotic style which can only be accounted new, less separated, almost more intimate sound- Both are of a fragile beauty, like isolated pieces of soul through life, which is likened to water rising from for by the traumatic humiliation experienced by the spectrum. Occasionally small alterations can bring about mosaic, which scarcely allow one to guess the shape of its mountainous sources and proceeding to the peoples of Austria and Prussia afflicted by Napoleon’s significant effects in the music. The sketch for the song the whole; and yet, or perhaps because of their lapidary “smooth” sea, might have spoken to Schubert’s campaigns and the effect which these had on the Nur wer die Liebe kennt, D. 513a ! (Only He Who brevity, they are of a rare intensity. The same can be innermost heart as well, and furnished him with a forward-looking ideals of the French revolution. Knows Love), is based on a poem by Zacharias Werner. said of the Liedentwurf in a, D555 $ (Fragment in A variety of possibilities to depict in music the flowing, There follow four songs which can be heard as a It paraphrases Goethe’s famous Mignon song Nur wer minor), which appears, with no text, on a sheet of foaming, splashing and raging of water. Throughout his coherent mini-cycle tracing a girl’s phases of life from die Sehnsucht kennt (Only he who knows what longing manuscript paper; perhaps there once existed a second life Schubert represented these elements of water in childhood to youth. A copy of the Lied eines Kindes, D. is) with which Schubert had wrestled in a total of five sheet on which the work was continued. The contrast countless different ways and it inspired from him some 596 8 (A Child’s Song), poet unknown, has survived different versions. This, together with the title between the austere, poignant minor-key beginning and of his greatest music. The first version of Gesang der almost intact; only the setting of the last line of verse is “Impromptu”, a title borrowed from the language of the gently-flowing dance-like section in the major has, Geister über den Wassern, D. 484, which is recorded missing but it has been completed on our recording. music, could have sparked Schubert’s interest in the even with no text, eloquence and expressiveness in this here, was probably a complete work, but only a The cheerfully-naive character of this little song and its poem. The first half of the fragment is complete, but realisation by the cello. Four sacred songs, in the widest fragment of it has survived. It comprises a setting from idyllic carefree quality lend it a Mozartian charm. Bei thereafter there is only a vocal part, without piano sense, close this recording. Schubert notated Das große the end of the second verse (‘Leis rauschend dem Grabe meines Vaters, D. 496 9 (At My Father’s accompaniment, up to the end of the sixth line of the Halleluja, D. 442 % (The Great Hallelujah) and dann…’/’Then gently murmuring’) up to the beginning Grave), to a text by Matthias Claudius, is more a song poem; the last seven lines of the poem were not set. We Schlachtgesang, D. 443 & (Battle Song), after of the sixth and last verse (‘wie gleichst du dem of thanksgiving than one of mourning of a young man present here a complete version to the end of what Klopstock, with two systems, rather than the usual three Wasser’/’How like the water’). Perhaps this version is for his dead father. The classically-simple harmony Schubert wrote down musically, which should be fairly used for solo songs with piano, with the text placed not as inspired as the later ones for four- and eight- adheres closely to the home key of E flat major and authentic at least in terms of the harmonic progression, between the two systems. As a result it cannot be parts, yet the fact that Schubert re-used passages from avoids any kind of chromaticism. Set against this the since this is essentially a given from the written melody. known whether he had conceived them as solo songs or this version in the following ones, is a sign of an inner melody is a wide-ranging arioso, with predominantly The excited musical momentum of the opening, with its as choral pieces – or perhaps he had not reached a relationship, for further development and perfection. downward-moving lines; the piano accompaniment is wide-ranging melody, carries us though to the end of the definite decision on the matter. Das große Halleluja The completion here, once again by Reinhard van rich in its various uses of broken chords, repetition and sketch. could easily be realised as a three-part choral movement Hoorickx, sensibly uses Schubert’s music of the changes between legato and staccato: at the words ‘und A fourteen-bar fragment of Schubert’s first version with continuo accompaniment while Schlachtgesang beginning of the last verse of the poem (‘Seele des ich kann’s ihm nicht vergelten’ (‘and I can never repay of Schiller’s Gruppe aus dem Tartarus, D. 396 @ (Group could be a three- or four-part movement for chorus. Yet Menschen, wie gleichst du dem Wasser’/‘Soul of man, him’) it stops on a chord on the dominant and at first the from Tartarus), has survived. The work was probably it is perhaps a performance by a solo voice, as on our how like the water’) similar in form to the beginning vocal part yields but then repeats its melodic phrase continued on a second, now lost, sheet. In comparison recording, that produces the most most convincing (‘Des Menschen Seele gleicht dem Wasser’/‘The soul of intensified in a higher register, only finally to come with the famous, second complete version of the song (D. results. Das große Halleluja sounds like a substantial man is like the water’). So an impression of a closed together with the accompaniment of the continuation 583, Schiller-Lieder Vol. 2) the fragment presented here dramatic hymn to Almighty God, in a quasi Baroque form emerges, but with related opening and closing and completion of the verse of the melody, as though in is, right from the beginning with its two-bar prelude, style, while Schlachtgesang is an odd hybrid between sections. The almost-complete three contrasting middle sympathy with it. Der Knabe in der Wiege, D. 579 0 shorter, more concentrated and less expansive. It seems an invocation to God and a military quick march. Of a sections give rise to music of wonderful vividness and (The Baby in the Cradle), in its second version has noticeable that, after the opening vocal phrases, the quite different character is Evangelium Johannis, D. highly-suggestive power; Schubert really seems to have survived only as a fragment; the extant autograph harmonic and melodic development after ‘weint ein 607 ^ (The Gospel according to Saint John), the been in his element here. breaks off at the end of the second page, so it was Bach’ (‘A brook sobs’), the tension mounts, thrusting autograph of which consists only of a vocal part and a presumably written down to the end. Although upwards as in the later version, but descends into an figured-bass part. This work, written at the suggestion Ulrich Eisenlohr musically it is not substantially different from the first almost bottomless depth, before in the last bar, at the of Schubert’s friend Anselm Hüttenbrenner, flows past version (see Schubert’s Friends Vol. 2, Naxos words ‘Schmerz verzerret’ (‘Pain distorts’), there is a quietly, with quasi-liturgical gestures; it is narrative, English version: David Stevens 8.557171) there is an interesting divergence in respect counter-movement almost like a composed outcry.

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October 1813, in which the allied powers of Prussia, of its sound: the second version has been transposed Schubert’s first rapprochement with Goethe’s meditative and, in some passages, melodically intense Austria and Russia overthrew Napoleon, so ending from C major down to A flat major, so that this song is a Mignon poem So laßt mich scheinen, D. 469 # (Such and insistent. It is Schubert’s only composition to set a French domination of Europe. Like the song Die third lower. But at the same time Schubert has written let me seem, until such I be) has survived in two prose text. Befreier Europas in Paris, D. 104, (The Liberators of the piano part, which was originally an octave below the fragments. The first, of seven bars, Schubert crossed Schubert set Goethe’s Gesang der Geister über den Europe in Paris), (Austrian Contemporaries Vol. 2, voice, a sixth higher, so that the piano and vocal parts out in the manuscript, while the second, eleven bars Wassern * (Song of the Spirits over the Waters) four Naxos 8.557172) of the following year, it is written in a are in the same register, blending to produce a quite long, has been identified in a sheet which is now lost. times in all. The parable of the wandering of the human chauvinistic patriotic style which can only be accounted new, less separated, almost more intimate sound- Both are of a fragile beauty, like isolated pieces of soul through life, which is likened to water rising from for by the traumatic humiliation experienced by the spectrum. Occasionally small alterations can bring about mosaic, which scarcely allow one to guess the shape of its mountainous sources and proceeding to the peoples of Austria and Prussia afflicted by Napoleon’s significant effects in the music. The sketch for the song the whole; and yet, or perhaps because of their lapidary “smooth” sea, might have spoken to Schubert’s campaigns and the effect which these had on the Nur wer die Liebe kennt, D. 513a ! (Only He Who brevity, they are of a rare intensity. The same can be innermost heart as well, and furnished him with a forward-looking ideals of the French revolution. Knows Love), is based on a poem by Zacharias Werner. said of the Liedentwurf in a, D555 $ (Fragment in A variety of possibilities to depict in music the flowing, There follow four songs which can be heard as a It paraphrases Goethe’s famous Mignon song Nur wer minor), which appears, with no text, on a sheet of foaming, splashing and raging of water. Throughout his coherent mini-cycle tracing a girl’s phases of life from die Sehnsucht kennt (Only he who knows what longing manuscript paper; perhaps there once existed a second life Schubert represented these elements of water in childhood to youth. A copy of the Lied eines Kindes, D. is) with which Schubert had wrestled in a total of five sheet on which the work was continued. The contrast countless different ways and it inspired from him some 596 8 (A Child’s Song), poet unknown, has survived different versions. This, together with the title between the austere, poignant minor-key beginning and of his greatest music. The first version of Gesang der almost intact; only the setting of the last line of verse is “Impromptu”, a title borrowed from the language of the gently-flowing dance-like section in the major has, Geister über den Wassern, D. 484, which is recorded missing but it has been completed on our recording. music, could have sparked Schubert’s interest in the even with no text, eloquence and expressiveness in this here, was probably a complete work, but only a The cheerfully-naive character of this little song and its poem. The first half of the fragment is complete, but realisation by the cello. Four sacred songs, in the widest fragment of it has survived. It comprises a setting from idyllic carefree quality lend it a Mozartian charm. Bei thereafter there is only a vocal part, without piano sense, close this recording. Schubert notated Das große the end of the second verse (‘Leis rauschend dem Grabe meines Vaters, D. 496 9 (At My Father’s accompaniment, up to the end of the sixth line of the Halleluja, D. 442 % (The Great Hallelujah) and dann…’/’Then gently murmuring’) up to the beginning Grave), to a text by Matthias Claudius, is more a song poem; the last seven lines of the poem were not set. We Schlachtgesang, D. 443 & (Battle Song), after of the sixth and last verse (‘wie gleichst du dem of thanksgiving than one of mourning of a young man present here a complete version to the end of what Klopstock, with two systems, rather than the usual three Wasser’/’How like the water’). Perhaps this version is for his dead father. The classically-simple harmony Schubert wrote down musically, which should be fairly used for solo songs with piano, with the text placed not as inspired as the later ones for four- and eight- adheres closely to the home key of E flat major and authentic at least in terms of the harmonic progression, between the two systems. As a result it cannot be parts, yet the fact that Schubert re-used passages from avoids any kind of chromaticism. Set against this the since this is essentially a given from the written melody. known whether he had conceived them as solo songs or this version in the following ones, is a sign of an inner melody is a wide-ranging arioso, with predominantly The excited musical momentum of the opening, with its as choral pieces – or perhaps he had not reached a relationship, for further development and perfection. downward-moving lines; the piano accompaniment is wide-ranging melody, carries us though to the end of the definite decision on the matter. Das große Halleluja The completion here, once again by Reinhard van rich in its various uses of broken chords, repetition and sketch. could easily be realised as a three-part choral movement Hoorickx, sensibly uses Schubert’s music of the changes between legato and staccato: at the words ‘und A fourteen-bar fragment of Schubert’s first version with continuo accompaniment while Schlachtgesang beginning of the last verse of the poem (‘Seele des ich kann’s ihm nicht vergelten’ (‘and I can never repay of Schiller’s Gruppe aus dem Tartarus, D. 396 @ (Group could be a three- or four-part movement for chorus. Yet Menschen, wie gleichst du dem Wasser’/‘Soul of man, him’) it stops on a chord on the dominant and at first the from Tartarus), has survived. The work was probably it is perhaps a performance by a solo voice, as on our how like the water’) similar in form to the beginning vocal part yields but then repeats its melodic phrase continued on a second, now lost, sheet. In comparison recording, that produces the most most convincing (‘Des Menschen Seele gleicht dem Wasser’/‘The soul of intensified in a higher register, only finally to come with the famous, second complete version of the song (D. results. Das große Halleluja sounds like a substantial man is like the water’). So an impression of a closed together with the accompaniment of the continuation 583, Schiller-Lieder Vol. 2) the fragment presented here dramatic hymn to Almighty God, in a quasi Baroque form emerges, but with related opening and closing and completion of the verse of the melody, as though in is, right from the beginning with its two-bar prelude, style, while Schlachtgesang is an odd hybrid between sections. The almost-complete three contrasting middle sympathy with it. Der Knabe in der Wiege, D. 579 0 shorter, more concentrated and less expansive. It seems an invocation to God and a military quick march. Of a sections give rise to music of wonderful vividness and (The Baby in the Cradle), in its second version has noticeable that, after the opening vocal phrases, the quite different character is Evangelium Johannis, D. highly-suggestive power; Schubert really seems to have survived only as a fragment; the extant autograph harmonic and melodic development after ‘weint ein 607 ^ (The Gospel according to Saint John), the been in his element here. breaks off at the end of the second page, so it was Bach’ (‘A brook sobs’), the tension mounts, thrusting autograph of which consists only of a vocal part and a presumably written down to the end. Although upwards as in the later version, but descends into an figured-bass part. This work, written at the suggestion Ulrich Eisenlohr musically it is not substantially different from the first almost bottomless depth, before in the last bar, at the of Schubert’s friend Anselm Hüttenbrenner, flows past version (see Schubert’s Friends Vol. 2, Naxos words ‘Schmerz verzerret’ (‘Pain distorts’), there is a quietly, with quasi-liturgical gestures; it is narrative, English version: David Stevens 8.557171) there is an interesting divergence in respect counter-movement almost like a composed outcry.

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Sibylla Rubens out from the musical-thematic material at the beginning Baumberg’s poem, or that he had a long-lost draft of it. of the second verse, so it must not simply be composed For that reason our recording presents the work with the The German soprano Sibylla Rubens studied singing at the Staatliche Musikhochschule anew in a speculative manner. The same principle cello as the melody instrument; so, apart from a few in Trossingen and at the Hochschule für Musik in Frankfurt/Main. She participated in applies to the end of the work. So the completed version octave transpositions, Schubert’s work remains numerous master-classes, and was a student of Irwin Gage’s class for Lieder reveals an interplay, rich in contrasts, between untouched. In spite of this, the work is astonishing in interpretation in Zurich. A much sought-after artist in Germany and abroad, she made enthusiastically forward-moving and gently-sung many ways: at 394 bars long it is anything but the her début with the Berlin German Symphony Orchestra in Mendelssohn’s Lobgesang- sections; a recitative section represents a significant modest beginner’s song of a gifted thirteen-year old Sinfonie under Vladimir Ashkenazy, returning for concerts of Schumann’s Scenes from punctuation point before the final passage. Although pupil. It is highly ambitious in the sophisticated Faust conducted by Marek Janowski. These appearances form only a part of a the song is “through-composed” a reversion to organization of its individual musical sections, dynamic distinguished career that has brought collaboration with leading conductors and in previously-used musical motifs gives rise to a rounded, in its dramaturgical structure and in the contrasts particular with Helmuth Rilling and the Stuttgart Bach Academy. As a Lieder singer totally unified overall musical picture. Looking back at between the parts, even if it is sometimes long-winded, she had a great success with her first recital with Irwin Gage at the Ludwigsburger the completely different, strictly-structured strophic even “eloquent” and wonderfully “singable” from time Schlossfestspiele in 1999, the beginning of a continuing collaboration with her former first version D. 390 (Schiller-Lieder Vol. 1), Schubert to time, and touching in its command of melody. With teacher in recitals in Barcelona, Amsterdam and Nuremberg. She won acclaim for her here comes closer to the Laura poem but with a this work a new kid on the block announces himself; a collaboration with Thomas Quasthoff in Hugo Wolf’s Italienische Liederbuch at the completely different formal structure. newcomer who was clearly not happy simply to adopt Schwarzenberg Schubertiade and in 2006 sang Schumann’s Myrten in Ludwigsburg. To describe the Gesang in c, D. 1a 4 (Song in C the models of the classical, modestly-strophic settings Photo: Maddalena Her recordings include Schumann Lieder and songs by Humperdinck. minor), as the earliest surviving Schubert song is only of lyrics following the aesthetic principles of a Zelter or half the truth. Written probably in 1810, or even earlier, a Reichardt. Lebenstraum, D. 39 7 (Dream of Life), it is only an outline of a song; the text is missing and it shows itself to be of a similarly high standard. Its was not composed right through to the end. That it must formal structure is similar, with its succession of Detlef Roth be a song (or an aria with piano accompaniment) can contrasting sections and in its alternation between easily be deduced from the behaviour of the melodic recitative and arioso passages. Its fragmented form is Born and raised in the Black Forest of Germany, the baritone Detlef Roth studied at the line: its speech-like gestures, its many repetitions of extended on this recording by the recitation of the final Musikhochschule Stuttgart, winning several international voice competitions, including notes and syllables and recitative sections leave no sections of the poem which Schubert did not set. So at the Belvedere in Vienna, and the inaugural Voix Wagnériennes in Strasbourg. In 1995 other possible conclusion. As far as the text that least the full, even vaulting artistic, ambition of the he made his début as a principal at the Paris Opéra Comique as Fluth in The Merry Schubert had in front of him is concerned, there has truly creative person can be heard in the setting of this Wives of Windsor. He has since then sung dozens of rôles on the stages of leading opera long been speculation; to this day no definite poem. Schubert might have felt enthusiastic about it as houses worldwide. He is equally well-known for his extensive concert repertoire, conclusions have been reached. From the fact that the a visionary anticipation of his own compositional path. especially for the German oratorios of Bach and Mendelssohn or works by Schumann, same thematic material can be heard in certain places in The missing sections of text (like all the other Brahms and Mahler, as well as world premières of contemporary music. His career has the later Lebenstraum, D. 39, one can draw the completions of fragments on this recording) have been brought collaboration with a number of major orchestras and distinguished conductors. conclusion that the Song in C minor uses the same text. provided by Reinhard van Hoorickx. His recordings include Mahler’s Symphony No. 8, Beethoven’s Choral Symphony, Yet even in D. 39 the completion of the text is very Zur Namensfeier des Herrn Andreas Siller, D. 83 5 Bach’s Christmas Oratorio, and a prize-winning recording of little-known Schubert problematic in some places: here Schubert wrote out the (For the Name Day of Herr Siller) and the work with an Lieder with the pianist Ulrich Eisenlohr for Naxos. In addition he can be heard on DVD text only up to bar 20 of the melody and the complete “aria” entitled Auf den Sieg der Deutschen, D. 81 6 (On in Orff’s Carmina Burana and Mozart’s Die Zauberflöte. www.detlefroth.com poem had been unknown for a long time. From this the Victory of the German Armies), both by unknown discovery the continuation of the text could be tackled, poets, are given here not with piano but accompanied yet it appeared that this had to mesh throughout with the by other instruments: the first song, with harp and melodic character, in order to make it fit the text. violin accompaniment is, as the name suggests, an In the Song in C minor, D. 1a. the underlay of the occasional work of a cheerfully relaxed character. same poem would be possible in many places but would Nothing is known about Herr Siller’s relationship to the be harder to achieve and often have to be forced into Schubert family. Auf den Sieg der Deutschen, D. 81, for shape, and so it must be assumed either that Schubert voice, two violins and cello, to an anonymous text, had a very different version of Gabriele von refers to the famous Battle of the Nations at Leipzig in

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Franz Peter Schubert (1797-1828) Daniel Grosgurin Rarities, Fragments, and Alternative Versions The cellist Daniel Grosgurin was born in Geneva and received his first musical training This last instalment of our complete recording of varied strophic form. In the second version D. 252 at the Conservatory of Music there, before studying with János Starker at the Schubert’s songs contains two which Schubert intended (Schiller-Lieder Vol. 2), written nine months later, one University of Indiana and in Geneva with Pierre Fournier. He won prizes at the to be accompanied by instruments other than the piano, can hear no trace of any stylistic development when international Geneva and Cassado Competitions, and after his début at the Wigmore and fragments and drafts for songs which are compared with the earlier one; on the contrary Schubert Hall in London in 1976 began performing as a soloist with various well known sometimes heard exactly as they have come down to us seems to have been so affected by Schiller’s poetic orchestras in Europe and America. He has performed with some of the best known and at other times in subsequent completions. Many of parable of the girl, who comes to mankind from pianists and violinists of his generation, and has been invited to Europe’s most these fragments were left uncompleted by Schubert and unknown regions, from “another sunlight”, endowed prestigious Festivals, as well as being a frequent guest of the American Eastern Music in other cases parts of the autograph manuscript are with her gifts from “a happier nature”, that he wrote Festival. From 1995 to 2005 he was Music Director of Les Solistes de Genève, and missing so that one can only speculate how they would two quite different settings of equal value but of a from 2006 to 2008 he was a member of the Beethoven Quartet. In 1978 he was have continued. Also included are some alternative similarly simple beauty. appointed Professor at the Mannheim Musikhochschule and since 1990 he has taught versions and arrangements of previously recorded Schiller’s poem Laura am Klavier 2 (Laura at the exclusively at the Geneva Conservatoire Supérieur de Musique, giving master-classes songs which are worth hearing, two drafts for songs Piano) posed Schubert a difficult compositional task: he at various institutions in Europe, the United States and Japan. His recordings include a which have survived without texts, and compositions had to make audible simultaneously both Laura’s release devoted to the music of the Spanish cellist-composer Gaspar Cassadó and an which fall between song and other genres (sacred songs marvellous piano playing, praying “for life and death”, album under the title Violoncelle & Opéra. and sacred choruses). as well as the rhapsodic reaction of the lyrical “self”. We begin with three songs reminiscent of the Two versions of the song, D. 388, were written in Schiller settings (cf. Schiller-Lieder Vols. 1-4, Naxos March 1816. The musical character of both songs is 8.554740, 8.554741, 8.557369-70). In all, Schubert set closely related, yet the first version, heard here, appears Uta Jungwirth 32 poems by Schiller, fifteen of them even two or three clearly to be a precursor of the more mature second times, so it is a case partly of rearrangements and partly version (in Schiller-Lieder Vol. 1): what here sounds Born in Munich, Uta Jungwirth was only eight years old when her parents gave her a of new works. This high tally of new revisions of the simple, but musically somewhat conventional in its harp, the instrument to which she has dedicated her entire musical career since that same text hints at the difficulty of setting Schiller’s cantata-like alternation between recitative and arioso is, time. As a child, she took her first lessons from Maria Graf. During her school years, lyrics. Whereas Goethe was mostly an intuitive creator, in the later version, heightened substantially with the she won prizes at Jugend musiziert and became a member of the Bavarian State Youth basing his work on personal experience – producing, as retention of the thematic material and the formal Orchestra. Following secondary school she began her studies in Maria Graf’s harp it were, a psychological “lyrical experience” – structure, but moulded into a musical equivalent of class at the Academy of Music and the Performing Arts in Hamburg. At the academy Schiller’s poetry is more reflective, often inflated by Schiller’s highly artificial writing. competition in Hanover, she won second prize, and her work was then furthered philosophical thought. “The poet usually rushed past The second version of Schubert’s Entzückung an through solo and chamber music concerts. The experience gained from participation in Photo: Yuriy Yurchenko me, when I should have philosophized and I should Laura, D. 577 3 (Enchanted by Laura), has survived international youth orchestras, a trainee position at the Hamburg State Opera and an have set the philosophical spirit to poetry,” he admitted only in two substantial fragments; the missing section, assistant’s job in the Philharmonic Orchestra of Kiel enabled her, even before in respect of Goethe. And yet – but probably just which came between these fragments, was obviously completing her studies, to assume the post of solo harpist with the Munich Radio because of that – Schubert, particularly in his youth, written on a page of manuscript paper which has since Orchestra under Marcello Viotti. Back in Munich, she intensified her chamber music seems to have felt a special affinity with Schiller’s been lost, while Schubert did not set the last three activity, playing in the ensemble Villa Musica and making music, among other poems; he was probably fascinated by the relationship verses of the final verse. Our recording contains a partners, with Ulf Hölscher. between the powerfully eloquent flexibility of the completion of this fragment by the Franciscan father metaphorical language and the philosophical depth of and Schubert-researcher Reinhard van Hoorickx. the thoughts. Completions of musical fragments are problematic in His first setting of Schiller’s poem Das Mädchen many instances, yet this one can be justified by the fact aus der Fremde, D. 117 1 (The Maiden from Afar), of that Schubert had, as it were, already composed October 1814 is in a rocking siciliano rhythm; it has a something in between the missing sections. In this case catchy melody, is folk-like in style and composed in a for instance the probable continuation can be worked

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Reto Kuppel THE DEUTSCHE SCHUBERT-LIED-EDITION

Reto Kuppel studied at the Music Academy in Hamburg with Andreas Röhn and In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs which attended master-classes with the Amadeus Quartet, Ralf Gothoni, Herman Krebbers he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Schubert’s) and Zakhar Bron. Further studies took him to the Juilliard School of Music in New luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Goethe: York, where he was taught by Dorothy DeLay. He won the Hamburg Academy A selection of German songs will constitute the beginning of this edition; it will consist of eight volumes. The Competition and the International Violin Competition in Château de Courcillon and first two (the first of which, as an example, you will find in our letter) contains poems written by your Excellency, then appeared in several European countries and the United States as a soloist with the third, poetry by Schiller, the fourth and fifth, works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the renowned orchestras. He was also introduced to a wider audience through radio and seventh and eighth contain songs by Ossian, whose works are quite exceptional. television broadcasts. Since 1997 he has been associate concert-master in the Bavarian The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 Radio Symphony Orchestra. Besides a number of solo and chamber music appearances, songs, will be grouped according to the poets who inspired him, or according to the circle of writers, he has also taught since 2006 at the Franz Liszt Music Academy in Weimar as well as contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. giving master-classes at home and abroad. Fragments and alternative settings, providing their length and quality make them worth recording, and works for two or more voices with piano accompaniment will also make up a part of the edition. 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 contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. The entire edition is scheduled for completion by 2010. Thanks to the Neue Schubert Ausgabe (New Schubert Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the Peter Riehm 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 Peter Riehm took his first violin lessons at the age of five. He won a number of prizes at written word had for the composer. the Jugend musiziert competition and was a preparatory student of Lukas David at the The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers North German Music Academy in Detmold for twelve years. Three years later he who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he continued his studies with Tibor Varga, in whose chamber orchestra he took part for believes, will stand the test of time. many years as concert-master. In 1986 Peter Riehm was engaged as a first violinist in the Bavarian Radio Symphony Orchestra and since 1995 he has been a member of the Bayreuth Festival Orchestra. Photo: Private

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Franz Peter Ulrich Eisenlohr

SCHUBERT Ulrich Eisenlohr studied at the conservatory of music in Heidelberg/Mannheim (1797-1828) (Rolf Hartmann, piano) and Lieder under Konrad Richter at Stuttgart. Specialising in the areas of song accompaniment and chamber music, he began Rarities, Fragments, and Alternative Versions an extensive concert career with numerous instrumental and vocal partners in Europe, America and Japan, with appearances at the Vienna Musikverein and 1 Konzerthaus, the Berlin Festival Weeks, the Kulturzentrum Gasteig in Munich, Das Mädchen aus der Fremde, D. 117 (Schiller) 2:40 the Schleswig-Holstein Music Festival, Concertgebouw Amsterdam, the 2 Laura am Klavier, 1st version, D. 388 (Schiller) 4:51 Edinburgh Festival, Frankfurt Festival, International Beethoven Festival Bonn

Photo: Wolfgang Detering and the Ludwigsburg Festival, among many others. He has collaborated with a 3 Entzückung an Laura, 2nd setting, D. 577 (Schiller)* 3:59 number of leading singers in Lieder recitals and has also appeared in numerous 4 Gesang in C / Song sketch, D. 1a (no text) 11:49 broadcasts, live concert recordings and television transmissions, as well as in recordings for leading record companies, several of which have been awarded 5 Zur Namensfeier des Herrn Andreas Siller, D. 83 (Anon.) 1:19 major prizes, including the German Record Critics’ Quarterly Award, a Grand 6 Auf den Sieg der Deutschen, D. 81 (Anon.) 4:02 Prix International from the Académie du Disque Lyrique in Paris and the Classical Internet Award. The conception and recording of all Schubert songs for 7 Lebenstraum / Ich saß an einer Tempelhalle, D. 39 Naxos is now an important focus of his artistic work. The series will be finished (Gabriele von Baumberg)* 9:37 in 2009. The recording of Hugo Wolf’s complete songs is planned for the near future. Ulrich Eisenlohr has been a lecturer at the conservatories of music in 8 Lied eines Kindes, D. 596 (Anon.) 1:04 Frankfurt and Karlsruhe and has conducted master-classes in Lied and chamber music in Europe and Japan. He has 9 Bei dem Grabe meines Vaters, D. 496 (Matthias Claudius) 3:04 served as accompanist for master-classes with Hans Hotter, Christa Ludwig, Elsa Cavelti, Daniel Ferro (Juilliard School, New York) and Geoffrey Parsons. Since 1982 he has taught a Lieder class at the Mannheim Conservatory 0 Der Knabe in der Wiege, 2nd version, D. 579 of Music. (Anton Ottenwald) (Incomplete) 1:31 ! Nur wer die Liebe kennt, D. 513a (Werner)* 1:19 @ Gruppe aus dem Tartarus, 1st setting, D. 396 (Schiller) (Incomplete) 0:46 # So laßt mich scheinen, 1st setting, D. 469 (Goethe) (Incomplete) 1:09 $ Liedentwurf in A / Song Sketch in A minor, D. 555 (no text) (Incomplete) 0:51 % Das große Halleluja, D. 442 (Klopstock) 2:31 ^ Evangelium Johannis, Cap. 6, 55-58, D. 607* 3:00 & Schlachtgesang, D. 443 (Klopstock) 2:48 * Gesang der Geister über den Wassern, 1st setting, D. 484 (Goethe)* 5:52

* Fragments completed by Peter Reinhard van Hoorickx

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DEUTSCHE Also available: SCHUBERT-LIED-EDITION • 35 SCHUBERT Rarities, Fragments, and Alternative Versions Rubens • Roth • Grosgurin • Jungwirth • Kuppel • Riehm Ulrich Eisenlohr, Piano

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8.572110

A co-production with Bayerischer Rundfunk 8.572322 12 K Y M C

NAXOS SCHUBERT: Rarities • Fragments 8.572322

ൿ & Ꭿ 2010 Naxos Rights International Ltd. Booklet notes in English Disc made in Canada. Printed and assembled in USA. 62:13 DDD 8.572322 Playing Time www.naxos.com 1:09 0:51 2:31 3:00 2:48 5:52 1:19 0:46 5 2-3, 5-7, 12, 15-18 6 1-4, 7-18 Booklet Notes: Ulrich Eisenlohr by Benjamin Chai Uta Jungwirth, Harp So laßt mich scheinen, 1st setting, So laßt mich scheinen, 1st D. 469 (Incomplete) Song sketch, D. 555 (Incomplete) D. 442 Halleluja, Das große 6, 55-58, Evangelium Johannis, Cap. D. 607* Schlachtgesang, D. 443 Gesang der Geister über Wassern, den 1st setting, D. 484* Nur wer D. 513a* die Liebe kennt, 1st setting, Tartarus, Gruppe aus dem D. 396 (Incomplete) • # $ % ^ & * ! @ Detlef Roth, Baritone Detlef Roth, Baritone • The Deutsche Schubert-Lied-Edition presents all presents Schubert-Lied-Edition Deutsche The 4, 6, 14 Anton Billmayer • (1797-1828) 9:37 1:04 3:04 1:31 2:40 4:51 3:59 1:19 4:02 11:49 Franz Peter 1, 8-11, 13 1, 8-11, Franz Peter Schubert ngineer: SCHUBERT Ulrich Eisenlohr, Piano Ulrich Eisenlohr, Cover painting: Reto Kuppel and Peter Violins Riehm, A complete track list can be found on page 2 of the booklet , over volume final This him. who inspired poets to the according grouped songs, 700 * Fragments completed by Peter* Fragments completed Reinhard van Hoorickx Daniel Grosgurin, Cello Daniel Grosgurin, Rarities, Fragments, and Alternative Versions Alternative Fragments, and Rarities, Lieder A • Executive producer: Pauline Heister co-production with Bayerischer Rundfunk Recorded at August-Everding-Saal, Grünwald, Germany, from 29th April to 2nd May, 2009 April to 2nd May, from 29th August-Everding-Saal, Grünwald, Germany, Recorded at Lebenstraum / Ich saß an einer Lebenstraum / Ich saß an D. 39* Tempelhalle, Lied eines Kindes, D. 596 D. 496 Vaters, Bei dem Grabe meines Der Knabe in der 2nd version, Wiege, D. 579 (Incomplete) Das Mädchen aus derDas Mädchen D. 117 Fremde, D. 388 1st version, Laura am Klavier, setting, Entzückung an Laura, 2nd D. 577* Song Sketch, D. 1a Zur Namensfeier des Herrn D. 83 Siller, Andreas Auf den Sieg der Deutschen, D. 81 Sibylla Rubens, Soprano Sibylla Rubens, Soprano Producer and editor: Jörg Moser • E Producer and editor: Jörg

7 8 9 0 1 2 3 4 5 6 The sung texts and English translations can be found at www.naxos.com/libretti/572322.htm The sung texts and English translations can be found

in Naxos’s acclaimed edition includes a number a includes edition acclaimed in Naxos’s by Pater completed works, some fragmentary of Schubert songs which edition includes acclaimed Naxos’s volume in This last van Hoorickx. Reinhard other by instruments to be accompanied intended for and drafts and fragments than the piano, songs or down to us have come as they sometimes exactly heard are which completions. in subsequent songs. recorded of previously and arrangements alternative versions are Also included Schubert’s Schubert’s The Naxos Deutsche Schubert-Lied-Edition: Deutsche Naxos The

NAXOS SCHUBERT: Rarities • Fragments • Rarities 8.572322