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Nikolaus Friedrich DEUTSCHE The clarinettist Nikolaus Friedrich studied with Hermut Giesser and Karl-Heinz Lautner at SCHUBERT-LIED-EDITION • 26 the Musikhochschulen in Düsseldorf and Stuttgart. After graduating with distinction he participated in master-classes in England with Thea King and Anthony Pay. Since 1984 he has been principal clarinettist in the Mannheim National Theatre Orchestra. In addition to appearances as a soloist at the Würzburg Mozart Festival and the Berlin Festival Weeks, he is active in chamber music, appearing with the Nomos, Henschel and Mandelring Quartets, Trio Opus 8, and with his duo partner Thomas Palm. He is strongly involved in the performance of SCHUBERT contemporary music.

Photo courtesy of the artist Romantic Poets, Vol. 3 Sibylla Rubens, Soprano • Ulrich Eisenlohr, Piano Ulrich Eisenlohr Nikolaus Friedrich, Clarinet The pianist Ulrich Eisenlohr is the artistic leader of the Naxos Deutsche Schubert Lied Edition. He studied piano with Rolf Hartmann at the conservatory of music in Heidelberg/Mannheim and Lieder under Konrad Richter at Stuttgart. Specialising in the areas of song accompaniment and chamber music, he began an extensive concert career with numerous instrumental and vocal partners in Europe, America and Japan, with appearances at the Vienna Musikverein and Konzerthaus, the Berlin Festival Weeks, the Kulturzentrum Gasteig in Munich, the Schleswig-Holstein Music Festival, Concertgebouw Amsterdam, Edinburgh Festival, the Frankfurt Festival, the International Beethoven Festival Bonn and the

Photo: Wolfgang Detering Ludwigsburg Festival, the European Music Festival Stuttgart among many others. His Lieder partners include Hans Peter Blochwitz, Christian Elsner, Matthias Görne, Dietrich Henschel, Wolfgang Holzmair, Christoph Pregardien, Roman Trekel, Rainer Trost, Iris Vermillion, Michael Volle and Ruth Ziesak among others. Ulrich Eisenlohr has also appeared in numerous broadcast productions, live concert recordings and television tapings as well as recordings for leading record companies, of which several have been awarded major prizes, such as the German Record Critics’ Quarterly Award, a Grand Prix International from the Académie du Disque Lyrique in Paris and the Classical Internet Award. The conception and recording of all Schubert songs is by now an important focus of his artistic work. Ulrich Eisenlohr has been a lecturer at the conservatories of music in Frankfurt and Karlsruhe and has conducted master-classes in Lied and chamber music in Europe and Japan, with singers such as Ruth Ziesak, Jard van Nes and Rudolf Piernay. He has served as 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 of Music.

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Franz Peter breadth of tone and feeling. The compositional mastery Schubert’s last compositions, might well be described as and deeply intimate involvement of the composer are the summum opus of his work as a song composer. In SCHUBERT apparent in its discreet and yet lucid portrayal of the many respects it is quite exceptional: the compilation of (1797-1828) “soft tread” of the moon in the heavens; the outburst at the text drawn from three separate poems, written, the dark confession with violent discords at “wenn ein moreover, by two different authors, Wilhelm Müller and Romantic Poets, Volume 3 schrecklicher Geier an der Seele nagt” (when a terrible Helmina von Chézy, is unique; the introduction of the vulture preys on the soul); the gloriously cheerful clarinet as a second melody instrument (or perhaps more 1 Lied der Delphine (Delphine’s Song), D857/1 (Schütz) 4:23 dancing gesture at “hüpfende Knabe” (skipped as a fairly “song-instrument”) is to be found in only one 2 boy); the totally unexpected and overwhelming change other composition, Auf dem Strome, which is likewise a Der Blumenbrief (The Message of Flowers), D622 (Schreiber) 2:16 at “unbekannten Sehnen” (unfamiliar longing) that late work, scored with horn; the large-scale tripartite 3 An den Mond in einer Herbstnacht seizes the poet’s young heart; the tender, melancholy form approaches the overall structure of the classical (To the Moon on an Autumn Night), D614 (Schreiber) 7:14 loving care at “Stätte, wo meine Lieben ruhn” (places sonata in several of its formal aspects and follows the wherein my loves rest); the restrained but anxious sequence “slow-fast-slow”. Thus it goes far beyond the 4 Geistliches Lied: Marie/Ich sehe dich… realization at “mein wird man nicht mehr gedenken” “normal” dimensions of the lied; the diversity of styles, (Spiritual Song: Marie/I see you...), D658 (Novalis) 1:23 (mine will no longer be remembered) and the ranging from alpine yodelling motifs in the first section, 5 Hymne: Wenige wissen das Geheimnis resumption of the flow that follows at “auf dieser through the seemingly endless tension expressing the schönen Erde” (on this beautiful earth), a musical deepest grief in the aria-like melody of the middle (Hymn: Few know love’s secret), D659 (Novalis) 7:58 representation of the earth’s course continuing. In Der section (reminiscent of Pamina’s famous aria “Ach, ich 6 Geistliches Lied: Wenn ich ihn nur habe Blumenbrief (The Message of Flowers), D622 2, fühl’s…”), to the effusive virtuoso coloratura of the final Schubert brings musical hyperbole to the well-known section. Ostensibly disparate elements are united in an (Spiritual Song: If only I have him), D660 (Novalis) 4:11 lyrical theme of the admirer’s desperate pleas and harmonious whole, the musical genius of which serves a 7 Geistliches Lied: Wenn alle untreu werden memorable music to his amiable threats that is richly purpose one alone: to give purity of expression to the (Spiritual Song: If all should be false), D661 (Novalis) 4:31 melodious and tender. Sprinkled with dissonances and profoundest human feeling in the face of the pleasure sighing motifs, it succeeds in balancing fantastic and tragedy of existence. 8 Geistliches Lied: Ich sag’ es jedem gravity with yearning veneration in masterly fashion. (Spiritual Song: I say to all), D662 (Novalis) 2:11 As an individual lied, Der Hirt auf dem Felsen, Ulrich Eisenlohr 9 Nachthymne: Hinüber wall ich (The Shepherd on the Rock), D965 $ , one of English translation by Neil Coleman (Night Hymn: I shall pass on), D687 (Novalis) 5:52 Sibylla Rubens 0 Blanka (Das Mädchen) (Blanka: The Maiden), D631 With her pure, almost angelic voice, Sibylla Rubens is unquestionably one of today’s most (Friedrich von Schlegel) 2:08 sought-after sopranos both at home and abroad. She is particularly committed to the concert ! Vom Mitleiden Mariä (Mary’s Compassion), D632 tradition thanks to her long-standing cooperation with Helmuth Rilling, Philippe Herreweghe and the Windsbach Boys’ Choir. Soon after her début with the Deutsches Symphonie- (F. von Schlegel after Friedrich Spee) 4:21 Orchester Berlin, she was invited to appear at such important venues as the Amsterdam @ Die verfehlte Stunde (The Hour That Failed), D409 Concertgebouw and Carnegie Hall, New York and has hence collaborated with many leading (August Wilhelm von Schlegel) 5:05 conductors such as Christian Thielemann, Roger Norrington, Herbert Blomstedt, Fabio Luisi, Marek Janowski and Kent Nagano. She currently sings worldwide in Haydn’s Paukenmesse, # Lob der Tränen (Praise of Tears), D711

Photo courtesy of the artist Beethoven’s Egmont, Mendelssohn’s Lobgesang and both Brahms’s and Schumann’s (August Wilhelm von Schlegel) 4:46 Requiem. She is also much in demand for Lieder recitals at locations as varied as Barcelona, $ Der Hirt auf dem Felsen (The Shepherd on the Rock), D965 Amsterdam and the Rheingau Music Festival. Her many recordings, among them the two big Bach Passions with Philippe Herreweghe, Schubert’s Lazarus, Bach’s St Mark’s Passion, the Mozart Requiem, (Wilhelm Müller, von Chézy) 11:38 Schumann and Humperdinck Lieder, are further testament to an exceptionally versatile artist.

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of the two preceding contemplative settings. has a charm all of its own. The constant harmonic shifts THE DEUTSCHE SCHUBERT-LIED-EDITION Nachthymne (Night Hymn), D687 9, was written between major and minor are not expressive of in January 1820 as a “latecomer” to the other Novalis complete changes of mood in this case, but of an In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs which settings of May 1819. In its broad dimensions it is ambivalence of feeling caught between hope and fear. he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Schubert’s) similar to the hymn Wenige wissen… and yet it is quite Like the poem, the music has a fair amount of aesthetic luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Goethe: different in nature and even more so in comparison with appeal and is similarly highly stylised as if it were A selection of German songs will constitute the beginning of this edition; it will consist of eight volumes. The the other Novalis lieder. The orchestral richness of behind glass. By comparison, both settings by Friedrich first two (the first of which, as an example, you will find in our letter) contains poems written by your Excellency, colour, the series of tremolos in the middle section over Schlegel’s brother August Wilhelm, Die verfehlte the third, poetry by Schiller, the fourth and fifth, works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the which the voice unfolds in rapt, wide-ranging phrases at Stunde (The Hour That Failed), D409 @, and Lob der seventh and eighth contain songs by Ossian, whose works are quite exceptional. “ich schaue von oben herunter nach dir” (I gaze at you Tränen (Praise of Tears), D711 #, are kept more The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 from above); the next passage is similar in style to conventional, the first having an urgency and longing songs, will be grouped according to the poets who inspired him, or according to the circle of writers, operatic accompagnato recitative; and the closing that does not come to rest until the concluding words contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. section is written as an arioso grand finale (“Ich fühle “Das nur stillt mein Sehnen” (That alone stills my Fragments and alternative settings, providing their length and quality make them worth recording, and works for des Todes verjüngende Flut…”) which, in conjunction longing). The second song’s serenely flowing Italianate two or more voices with piano accompaniment will also make up a part of the edition. with Novalis’ extraordinary poetry on the subject of bel canto melody to Schlegel’s philosophical Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages death, makes the composition unique within Schubert’s outpouring on the uplifting effect of weeping that nobly and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, his considerable output as a composer of lieder. eschews the portrayal of individual scenes is, however, contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. In the course of his short life Novalis was not the highly apt in the way it reflects the at once wistfully The entire edition is scheduled for completion by 2008. Thanks to the Neue Schubert Ausgabe (New Schubert only one drawn to examine religious matters, nostalgic and conciliatory tone of Schlegel’s thoughts. Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the particularly in the form of Catholicism and medieval The war minister, poet and literary critic Christian performers have been able to benefit from the most recent research of the editorial team. For the first time, the mysticism. Other German Romantics went through Wilhelm von Schütz (also a convert to the Catholic listener and the interested reader can follow Schubert’s textual alterations and can appreciate the importance the similar conversions including Brentano and faith) was well acquainted with the circle of Berlin written word had for the composer. Eichendorff; and Zacharias Werner went so far as Romantics around August Wilhelm Schlegel and The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers ordination for the priesthood. Foremost amongst them Ludwig Tieck. His Lied der Delphine (Delphine’s who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he was Friedrich Schlegel, whose conversion to Song), D857/1 1, is Florio’s beloved in the play believes, will stand the test of time. Catholicism undertaken with his wife in 1808, marks a Lacrimas. Unlike the languorous Florio (see Romantics turning away from free-thinking to search for an Poets 2, Naxos 8.557831), her state of being in love intellectual focus of attention, hierarchy and a makes her restless and eager for excitement. The supposedly historically organic unified structure. In his “butterflies” in her stomach can be heard in the music Poetischen Taschenbuch für das Jahr 1806 Schlegel and only rarely does Schubert allow sopranos such an quoted a poem from the Trutznachtigall, a collection of effective long-held top C to express effusive emotion. spiritual songs by the Jesuit, moral theologian and lyric With Aloys Wilhelm Schreiber, a teacher, theatre poet of the Baroque, Friedrich Spee von Langenfeld. critic and professor of aesthetics, we encounter a self- Schubert found the two poems by Schlegel in the same proclaimed and determined opponent of the Romantic book and set them to music in 1816. Vom Mitleiden movement, which can scarcely be gleaned from the Mariä (Mary’s Compassion), D632 !, is another quite poetry settings alone here as they strike us immediately exceptional work amongst his lieder: a strict, three-part as being thoroughly romantic in effect, even wildly texture similar to medieval polyphony (which Schubert effusive in tone and in what they describe. would no more have known or studied than Bach’s) An den Mond in einer Herbstnacht (To the Moon without any performance indications, replete with on an Autumn Night), D614 3, is one of the most dissonances, archaic and pure, this brief, three-verse beautiful and perfect of Schubert’s many unjustly song has an immediacy to its profundity that is striking. neglected lieder. It displays at once an incomparably Blanka - Das Mädchen (Blanka: The Maiden), D631 0, calm and intimate atmosphere together with immense

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Franz Peter Schubert (1797-1828) strophic song, recitative and arioso – that acted as a is a through-composed work opening with an austere Settings of Poems by Romantic Poets, Vol. 3 counterbalance to the poetic simplicity and clear and objective yet impressive exposition of the first musical structure. This change of direction towards stanza; following this, at “Des Abendmahls göttliche “By giving a higher meaning to that which is common, Sophie von Kühn; he had been betrothed to the thirteen- external simplicity and succinctness of form (that is Bedeutung…” the previously unrelenting key of A the appearance of mystery to the ordinary, the dignity year-old in 1795, two years before her death. In a state nevertheless always subordinate to Schubert’s minor gives way more or less as it moves towards the of the unfamiliar to the well-known and infinite of shock Novalis developed a longing for death compositional mastery, although this is not exactly relative key of C major. At the words “Aber wer jemals significance to the finite, so I may be said to characterised by religious mysticism that found obvious) is the expression of an artistic maturing and von heißen, geliebten Lippen...” (But who then with hot romanticize it”. Thus reads the famously descriptive expression in his Hymnen an die Nacht (Hymns to the realignment that comes to completion finally in the adorable lips) the music surges eagerly ahead as the definition of “romantic” by the poet Novalis, (the pen Night). In Schubert’s setting of the extract taken from great cycles Winterreise and Schwanengesang, where harmony brightens, whereas “des Himmels name of Friedrich von Hardenberg) with which he the fourth hymn (“Hinüber wall ich …”), the aim of the greatest concentration and purity of expression is unergründlicher Tiefe” (Heaven’s unfathomable summarised the agenda of an entire artistic epoch. Novalis’s view of death becomes perfectly clear: it was achieved by subjecting the musical material to the depths) is given a dark pathos. Finally, in the German Romanticism, however, did not prove at all intended to be a bridge to eternal love, union and joy. A severest strictures. conclusion to the first part, “Wird essen von seinem consistent in its vision; in literature, mythological mixture of ecstatic mysticism and Christian spirituality It is not clear whether the five lieder D658 – D662 Leibe…” (Shall eat of his body), a relaxed, quietly transfiguration, self-centred and eccentrically becomes particularly clear at this point, but it also were conceived as some sort of cycle. They do in any confident assurance shows itself. Again and again in the subjective emotionalism and enraptured ecstasy are contains elements of intellectual and carnal love case demonstrate their own musical consistency as a course of the composition, Schubert writes “easy” found side by side with biting satire, reflections on the associated with Eros and “Thanatos” (Freud’s self-contained group in addition to having a certain music with static chords, declamatory recitative and unity of all things tinged with religiosity and razor- designation for the death wish): “I rush upwards to be inner logic. Wenige wissen das Geheimnis der Liebe short, clear motifs. In the final section of the poem, sharp analysis of real circumstances. there and every torment will be a stab of delight. In a (Few know love’s secret) takes the Last Supper as its where the symbolism of the Last Supper is openly As the opening quotation indicates, the entire short while I will be free and lie intoxicated in the lap of theme (Palmsonntag - Palm Sunday); Wenn ich ihn nur associated with the erotic (“Oh dass das Weltmeer Romantic movement in any case shares some inherent love”. The fifteen Geistlichen Lieder (Spiritual Songs) habe (If only I have him) and Wenn alle untreu werden schon errötete…” – Oh that the ocean blushed), the common ground: its alternately veiled and overt written at the same time are in the same mould although (If all should be false) concern the sufferings and death simple, unpretentious piano part consists of supportive, religious associations were symptomatic of a strong they were kept simpler. Novalis declared that he of Christ, the loyalty and otherwise of his disciples, and urgently pulsating chords over which the voice part necessity to work against the threat of the secularisation intended some of them for inclusion in the Protestant thoughts of redemption (Karfreitag - Good Friday); Ich rises fervently in delicious, ever more expansive and trivialisation of life brought about by the hymn-books of the nineteenth century. In these songs sag’ es jedem, dass er lebt (I say to all that he lives) melodic phrases with a gentle urgency. Finally, having Enlightenment, the increasing importance of science Christian themes are treated subjectively with childlike deals with the Resurrection (Easter). The Geistliche been held back momentarily at a dramatic pause, the and the incipient stages of the Industrial Revolution. Its devotion in emotional lyric poetry that is an expression Lied or spiritual song, Ich sehe dich in tausend Bildern music bursts forth at the words “Und so währt der Liebe mysteries were said to be held in check by any of the centuries-old mystical Christian tradition of (I see you in a thousand pictures), D658 4, probably Genuss…” (Thus the pleasure of love maintains…) enlightenment reasoning whatsoever, even of the personal feeling, conversion and dedication to Christ, incorrectly designated “Marie” or “Maria”, would then released in its entirety into a musical torrent of the slightest explicable being, and everyday activities made his Death, Resurrection and Redeeming Work. seem to be a casually added prologue or epilogue utmost sensuality that gives perfect expression as much barren by rationalisation, mechanisation and industrial Apart from the few surviving settings by Johann addressed to the Mother of God. Here we have our first to religious as erotic ecstasy. organization, being ever predictable and entirely Friedrich Reichardt and his daughter Louise, it is surprise as we listen to Schubert’s setting: the extreme Wenn ich ihn nur habe (If only I have him), D660 6, subject to their feasibility; these were meant to regain interesting that Schubert was the only Romantic economy of the music is non-sacred, a far cry from the and Wenn alle untreu werden (If all should be false), their meaning, significance and “divine” purpose. composer to set the lyric poetry of Novalis. This manner of the chorale or sacred oratorio; instead it is D661 7, are more straightforward in structure and Novalis was a leading proponent of this religious occurred at the time when Schubert was increasingly graceful and dance-like, shot through with an inner share the same key and time signature. They derive form of romanticism. Born into a Pietist family in 1772, involved with the works of Romantic poets around light and could also very well do duty as a love song. In their plasticity and urgency from the shift from minor to he was raised in the Lutheran town of Mansfeld, studied 1820 and was exploring several new avenues. This is this way, Schubert perfectly matches the subjective, major that occurs halfway through the verse. This law in Jena, Leipzig and Wittenberg and later mining clearly noticeable in the Novalis settings, which intimate tone of Novalis’s lyrics that hover, far represents the transformation of Christ’s suffering into science in Freiberg, was a close friend of the brothers likewise astonish us by the assurance with which the removed from any religious dogma, between religious the good of mankind in a musically accessible and Schlegel and Ludwig Tieck, and was acquainted with composer matches a particular tone in this highly and erotic intimacy. intelligible way. Ich sag’ es jedem, dass er lebt (I say to Goethe, Schiller and Hölderlin. He was employed by specialised lyric poetry: Novalis’s poetry of mystical With its vivid and complex style, the poem on all that he lives), D662 8, may take the listener aback the managers of the Weißenfels salt-works and died of Catholicism encouraged Schubert to write in a similarly which Hymne: Wenige wissen das Geheimnis der Liebe with its childlike piety and enthusiasm for the consumption at the age of only twenty-nine in 1801. rapturous, exuberant way, but also induced him to fall (Hymn: Few know love’s secret), D659 5 is based is Resurrection, but it fits seamlessly into the cycle of One of the main events in his life was the death of back on traditional methods of composition – chorale, unique amongst Schubert’s five Geistliche Lieder. This spiritual songs and brings it renewed vigour in the wake

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A co-production with SWR 8.557832 8 K Y M C

NAXOS SCHUBERT: Romantic Poets, Vol. 3 8.557832

& 2008 Naxos Rights International Ltd. Booklet notes in English 68:00 DDD Disc made in Canada. Printed and assembled in USA. 8.557832 Playing Time www.naxos.com 2:11 4:31 5:52 2:08 4:21 5:05 4:46 11:38 Romantic Poets (New Schubert (New by Benjamin Chai poets, and Heine. The Deutsche and Heine. poets, Neue Schubert-Ausgabe Schubert-Ausgabe Neue , over to the according grouped 700 songs, Geistliches Lied: Ich sag’ es jedem, D662 Nachthymne: Hinüber wall ich, D687 Blanka (Das Mädchen), D631 Mitleiden Mariä, D632 Vom Die verfehlte Stunde, D409 Lob der D711 Tränen, Der Hirt auf dem Felsen, D965* Geistliches Lied: Wenn alle untreu alle untreu Wenn Geistliches Lied: werden, D661 8 9 0 ! @ # $ 7 Biedermeier Biedermeier Lieder Schubert set the poetry of over poetry set the Schubert to music. writers 115 4:11 4:23 2:16 7:14 1:23 7:58 (1797-1828) Franz Peter SCHUBERT www.naxos.com/libretti/557832.htm Romantic Poets, Vol. 3 Vol. Poets, Romantic Ulrich Eisenlohr, Piano Ulrich Eisenlohr, Sibylla Rubens, Soprano Sibylla Rubens, Nikolaus Friedrich, Clarinet* Novalis (Friedrich von Hardenberg) (1772-1801) Novalis (Friedrich von Hardenberg) The sung texts and English translations can be found at The sung texts and English translations can be found Editor: Marlene Weber-Schäfer • Booklet Notes: Ulrich Eisenlohr Weber-Schäfer Editor: Marlene A with SWR • Producer: Michael Sandner • Engineer: Bernd Hagen co-production Cover Painting: Hymne: Wenige wissen das Wenige Hymne: Geheimnis, D659 ich Wenn Geistliches Lied: ihn nur habe, D660 Lied der Delphine, D857/1 Der Blumenbrief, D622 An den Mond in einer Herbstnacht, D614 Geistliches Lied: Marie/ Ich sehe dich…, D658 Recorded at the Sendesaal, SWR Studio, Karlsruhe, Germany, from 6th to 9th September, 2006 6th to 9th September, from Germany, Recorded at the Sendesaal, SWR Studio, Karlsruhe, 5 6 1 2 3 4

He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth- from Renaissance, the and Ages Middle the Greece, classical from poems selected He Romantics, authors, early German century Schubert’s all presents Schubert-Lied-Edition to Bärenreiter’s Thanks him. who inspired poets The Naxos Deutsche Schubert-Lied-Edition: Deutsche Naxos The Edition), Tübingen, which uses primary sources, the performers have been able to benefit from able to benefit have been the performers sources, uses primary Tübingen, which Edition), the part of disc is the third This team. of the editorial research the most recent 8.554797 and 8.557831. available on are Two One and Volumes series.

SCHUBERT: Romantic Poets, Vol. 3 Vol. Poets, Romantic 8.557832 NAXOS