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Schubert ~ 4 ~ CD Booklet RPM WH Booklet Template.Qxd 15/02/2018 11:47 Page 2 CD Booklet RPM_WH booklet template.qxd 15/02/2018 11:47 Page 1 Ian Bostridge Julius Drake Songs by SchuBert ~ 4 ~ CD Booklet RPM_WH booklet template.qxd 15/02/2018 11:47 Page 2 Ian BostrIdge sIngs schuBert ~ 4 Matthäus von Collin (1779–1824) was 18 years obsessive desire. The use of this leitmotiv, older than Schubert, and a reasonably successful coupled with the dwarf’s Flying Dutchman-like dramatist, poet and critic, who qualified as a fate, lends the song a Wagnerian dimension that lawyer at the University of Vienna, spent some makes us wonder whether Schubert would have time in the capital as censor, and ended up had any more success with his operas, had he working in the ministry of finance. His minor lived to know Wagner’s music-dramas. ‘Nacht und poetry inspired four indisputable Schubert Träume’ is only eight lines long, but from this masterpieces: ‘Wehmut’, ‘Der Zwerg’, ‘Nacht und seemingly insignificant poem Schubert created Träume’ and the duet ‘Licht und Liebe’. ‘Wehmut’, one of his greatest masterpieces. With its dark originally entitled ‘Naturgefühl’ (‘Feeling for semiquavers, it looks like night on the page, and nature’) by the poet, expresses like other spring bears the sole dynamic pp. Beautiful tone and an songs such as ‘Im Frühling’ and ‘Frühlingsglaube’, unwavering legato are required, and though Schubert’s love of nature – the modulation to Schubert’s original marking is langsam, the pulse F sharp major at ‘Schönheit’ implies with great must be maintained. The second verse brings with poignancy that all is ephemeral. This wonderful it an intensification of rapture: B modulates to G, song of love for the transient nature of earth’s and the singer cries out with swelling tone for beauty lasts a mere 39 bars, and ends on a hollow night to remain. descending fifth. It was composed, significantly, The autograph of the next group of songs, in 1822, at the very time that Schubert’s syphilis dated December 1822, contains four Goethe was diagnosed. Lieder (‘Der Musensohn’, ‘An die Entfernte’, ‘Am ‘Der Zwerg’, one of Schubert’s most striking Fluße’ and ‘Willkommen und Abschied’) that dramatic ballads, takes place on the open sea. Schubert probably intended to be performed The dwarf of the title sails the ocean at night, as a group. He quotes the beginning of ‘Der alone with his Queen, who has forsaken him to Musensohn’ in his autobiography Dichtung und marry the King. The dwarf wreaks revenge by Wahrheit (part 4, chapter 16) as exemplifying the strangling her with a chord of red silk; before she way in which his poetical effusions used to pour dies, she pardons him; he kisses her pale cheeks, out of him. He describes how he would wake up then lowers her with his own hands deep into in the middle of the night and rush to his desk the sea. Such is his longing that he will never in order to write down poems such as ‘Der again set foot on land. Schubert transforms this Musensohn’ (he quotes the opening two lines) ghoulish tale into a chilling masterpiece of sexual that were already fully formed in his brain; obsession. The fatalistic rhythm that runs through and how he preferred to use a pencil, since the piece acts as a symbol for the dwarf’s the scratching of the quill would disturb his 2 CD Booklet RPM_WH booklet template.qxd 15/02/2018 11:47 Page 3 ‘somnambulistic writing’. Having flitted his Neueste Folge nachgelassener Lieder und indefatigable way through the landscape, the son Gesänge by the Viennese firm of JP Gotthard. of the Muses asks when he too will rest ‘in his If the theme of ‘An die Entfernte’ is rejection, beloved’s embrace’ – an image of the lonely that of ‘Willkommen und Abschied’ is passionate Schubert springs to mind playing his music at mutuality. The ‘geschwind’ marking and the 12/8 the Schubertiaden while his friends dance the rhythm were clearly suggested by the iambics of evening away. There is a sadness in the final bars, Goethe’s first two verses, and the whole song suggested by the pianissimo marking in the final is dominated by the pounding of the horses’ verse, and an exquisite ritardando on ‘Busen’. hooves/poet’s heart. It is a magnificent song of ‘An die Entfernte’, addressed to Charlotte von exalted love but scarcely matches the subtlety of Stein after Goethe’s return from Italy, is one of the poem. Particularly worth noting is Goethe’s the poet’s rare poems of unrequited love (he had change of rhythm in the third stanza. The iambics broken with Charlotte), and Schubert responds of the first two stanzas change to a rhythm that with a song that seems half declamation, half stresses the first syllable (‘Dích sah ich ...’): the song – a wonderfully intimate, simple and heart- journey to his beloved is ended and the poet’s felt response, and one of the greatest Goethe pent-up emotion is released in the enjambement Lieder that is still not as well known as it should (‘und die milde Freude/Floss ...’) that breaks a be. Goethe’s ‘Am Fluße’, written in 1768, reflects succession of no fewer than seven end-stopped his obsession with Kätchen (‘Annette’) Schönkopf lines. After a night of love, the poet turns to go – in Leipzig, to which he refers in Dichtung und unwillingly, as the tell-tale commas inform us Wahrheit. Schubert’s first setting is marked (‘Doch ach! schon mit der Morgensonne ...’ and wehmütig (sadly) – unsurprisingly, since the poet ‘Ich ging, du standst und sahst zur Erden ...’). The enjoins the river to bear his songs of unrequited lachrymose tone soon vanishes, however, and love into oblivion. The semiquavers, however, that the exultant mood is restored in the passionate Schubert usually employs to depict the river, are mutuality of the final two lines. Schubert does here only sparingly used – as though he were not give musical expression to this psychological more intent on conveying the numb sadness of probing, but as in all the Goethe settings, he the poet’s mood. It was not until 1822 that responded with rapture to the outpourings of a Schubert returned to the poem a second time, a great poet’s lyrical genius. few months before the composition of Die schöne There is no more frequently anthologised Müllerin, and this time he focusses not on the poem in the German language than Goethe’s poet’s sadness but on the image of the rippling ‘Ein Gleiches’ – the original title of the poem stream. This second version, which we hear this that Schubert set as ‘Wandrers Nachtlied II’. evening, was published posthumously in the In Goethe’s collected works the poem appears 3 CD Booklet RPM_WH booklet template.qxd 15/02/2018 11:47 Page 4 immediately after ‘Wandrers Nachtlied’ (‘Der du friend of Schubert’s. The date of their first meeting von dem Himmel bist’), and the title simply is not recorded, but they were clearly close from means ‘The Same’ or ‘Another one’. Part lyric, part 1822 to 1824, when Schubertiaden were held at epigram, its theme – the transience of existence – Bruchmann’s home, and Bruchmann attended has attracted more than 60 composers, including others at Franz von Schober’s. ‘An die Leier’ is one Reichardt, Zelter, Loewe, Schumann, Liszt and of those songs which, like ‘Wehmut’, combine Charles Ives (‘Ilmenau’). The poem was written by declamation (expressing the poet’s resolve to Goethe on the evening of 6 September 1780; write only heroic verse) and melodic outpouring, apparently spontaneous, it was scribbled by the as he sings an apostrophe to love. The deliciously poet on a wall of Duke Carl August’s shooting- undulating melody of ‘Im Haine’ attempts to box on the Gickelhahn, the highest of the hills convey the delights of lying in a pool of sunlight surrounding Ilmenau, near Weimar. On the same that filters through a fragrant fir forest. ‘Am See’ is day he wrote to Charlotte von Stein: ‘I spent the set as a watery barcarolle, embroidered by florid night on the Gickelhahn to get away from the vocal phrases in the final line. turmoil of the town and the incorrigible confusion ‘Erlkönig’ appears at the beginning of Die of human kind. The sky is utterly clear and I walk Fischerin, a Singspiel written in 1782 for open-air to enjoy the sunset. The view is immense but performance at Weimar, where it is sung by the simple.’ Goethe was actually known as ‘Der heroine Dortchen, as she waits impatiently for her Wanderer’ among his family and closest friends father and fiancé, Niklas, to return. To punish (see Dichtung und Wahrheit, Book 12), and them for their lack of attention, she simulates her the poem is undeniably autobiographical; the own death by drowning; the men return, search for notion of impending death is suggested by the her frantically in the River Ilm – only for Dortchen progression from large open spaces (‘Gipfeln’), via to reappear at the height of the suspense. The tree-tops (‘Wipfeln’), to the enclosed forest and lesson works and Niklas arranges their wedding the coffin. There is no better example in all music for the next day. Schubert magnificently conveys of how a great poem, even though it is corrupted the eeriness of the scene in the repeated quaver by Schubert’s repetition of certain words, can be octaves of the right hand and the triplet rhythm recreated and perhaps even surpassed by a that throbs throughout. Spaun, in his memoirs of composer of genius. the composer, describes his astonishment as he ‘Willkommen und Abschied’, discussed and Mayrhofer witnessed the gestation and birth above, was published together with ‘An die of the great song – Schubert pacing the room, Leier’ and ‘Im Haine’ in July 1826 as Op.
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