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8.554666 Bk Schubert 15/4/03 1:45 PM Page 28 8.554666 bk Schubert 15/4/03 1:45 PM Page 28 DEUTSCHE Also available on Naxos: SCHUBERT-LIED-EDITION • 13 SCHUBERT Goethe Lieder, Vol. 2 Ruth Ziesak, Soprano • Ulrich Eisenlohr, Piano Christian Elsner, Tenor 8.554741 8.555780 8.554795 8.554796 8.554666 28 8.554666 bk Schubert 15/4/03 1:45 PM Page 2 THE DEUTSCHE SCHUBERT-LIED-EDITION Also available on Naxos: In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs Deutsche Schubert Lied Edition Vol. 1 which he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Winterreise Deutsche Schubert Lied Edition Vol. 7 Schubert’s) luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Roman Trekel, Baritone The European Poets, Vol. 1 Goethe: Ulrich Eisenlohr, Piano. 8.554471 Cronnan • Das Mädchen von Inistore A selection of German songs will constitute the beginning of this edition; it will consist of Ellens Gesang I, II & III • Gesang der Norna Kolmas eight volumes. The first two (the first of which, as an example, you will find in our letter) Deutsche Schubert Lied Edition Vol. 2 Klage • Lied des gefangenen Jägers • Lied der Anne contains poems written by your Excellency, the third, poetry by Schiller, the fourth and fifth, Schwanengesang • Auf dem Strom • Herbst Lyle • Lodas Gespenst • Normans Gesang works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the seventh and eighth contain Lebensmut • Lieder on texts by Ludwig Rellstab Ossians Lied nach dem Falles Nathos songs by Ossian, whose works are quite exceptional. Michael Volle, Baritone • Ulrich Eisenlohr, Piano Shilrik und Vinvela Sjön Scott, Horn. 8.554663 Ruth Ziesak, Soprano / Roman Trekel, Baritone The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over Ulrich Eisenlohr, Piano. 8.554795 700 songs, will be grouped according to the poets who inspired him, or according to the circle of writers, Deutsche Schubert Lied Edition Vol. 3 contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to Goethe-Lieder, Vol. 1 Deutsche Schubert Lied Edition Vol. 8 music. Fragments and alternative settings, providing their length and quality make them worth recording, and An den Mond • Der Fischer • Ganymed • Meeres Stille Schiller-Lieder, Vol. 2 works for two or more voices with piano accompaniment will also make up a part of the edition. Prometheus • Wandrers Nachtlied I & II a.o. Amalia • Die Bürgschaft • An Emma Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ulf Bästlein, Baritone / Stefan Laux, Piano. .8.554665 Gruppe aus dem Tartarus • Hektors Abschied Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, his Das Mädchen aus der Fremde • Der Mächens Klage contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. Deutsche Schubert Lied Edition Vol. 4 Der Pilgrim • Die Hoffnung • Die Hoffnung The entire edition is scheduled for completion by 2005. Thanks to the Neue Schubert Ausgabe (New Schubert Mayrhofer-Lieder, Vol. 1 Die vier Weltalter • Ritter Toggenburg • Sehnsucht, Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the Der Alpenjäger • An die Freunde • Auf der Donau D52, Sehnsucht, D636 performers have been able to benefit from the most recent research of the editorial team. For the first time, the Aus “Heliopolis” I & II • Der Hirt • Der Schiffer Regina Jakobi, Mezzo-soprano listener and the interested reader can follow Schubert’s textual alterations and can appreciate the importance the Über allen Zauber Liebe a.o. Ulrich Eisenlohr, Piano. 8.554741 written word had for the composer. Cornelius Hauptmann, Bass The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers Stefan Laux, Piano. .8.554738 Deutsche Schubert Lied Edition Vol. 9 who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he Schubert’s Friends, Vol. 1 believes, will stand the test of time. Deutsche Schubert Lied Edition Vol. 5 Schatzgräbers Begehr • Jägers Liebeslied Die schöne Müllerin Genügsamkeit • Der Strom • Grablied • Pilgerweise Christian Elsner, Tenor Der Liedler • Der Vater mit dem Kind • Pax Vobiscum Franz Peter Schubert (1797-1828) Ulrich Eisenlohr, Piano . .8.554664 Der Jüngling und der Tod (2nd version) Goethe Songs Vol. 2 Schiffers Scheidelied • Am Bach im Frühling Deutsche Schubert Lied Edition Vol. 6 Markus Eiche, Baritone “Yearning for tender love is symbolized in music” who is praised here is, as everyone knows, not Schubert, Schiller-Lieder, Vol. 1 Jens Fuhr, Piano. .8.554799 Women’s Songs by Schubert to texts by Goethe but Karl Friedrich Zelter (1758-1832) and his simple, Der Alpenjäger • Der Kampf • Der Taucher plain (today almost completely forgotten) melodies. Franz Dithyrambe • Elysium a.o. Deutsche Schubert Lied Edition Vol. 10 Goethe was happy with the composer who set his poems Schubert would have been counted by Goethe, if he had Martin Bruns, Baritone Austrian Contemporaries, Vol. 1 to music: He hits the character of such a one, in similar actually been aware of him, one of those other intrusive Ulrich Eisenlohr, Piano . .8.554740 Drang in die Ferne • Die Sterne • Der Winterabend strophes, the whole returning excellently so that it is felt ‘through-composers’ and for that reason alone in 1816 Am Fenster • Der Wanderer an den Mond • Sehnsucht again in each individual part, whereas others, by so- and 1825 the two collections of settings of his poems, Vor meiner Wiege • Am Fenster • Im Freien called through-composition, destroy the impression of the which the Vienna composer had sent to Weimar in search Bei dir allein! • Wiegenlied • Das Zügenglöcklein whole through emphasizing particular elements. The one of acknowledgement, had been carelessly brushed aside. Christoph Genz, Tenor Wolfram Rieger, Piano. .8.554796 8.554666 2 27 8.554666 8.554666 bk Schubert 15/4/03 1:45 PM Page 26 Paradoxically the poet, whose works ‘fell like sparks of 1815 (D 310). The second (D 359) and the third settings Kennst du das Haus? Auf Säulen ruht sein Dach. Do you know the house? On pillars rests its roof. fire in the fresh, youthful, yet completely unprejudiced (D 481) were written about a year later, while the last (D Es glänzt der Saal, es schimmert das Gemach, The hall shines, the room shimmers, soul of Schubert’ (Eduard von Bauernfeld), could so little 877/4) is dated 1826. Common to all settings is the three- Und Marmorbilder stehn und sehn mich an: and marble statues stand and look at me: relate to ‘his’ composer. Yet Schubert too had started part structure of the twelve lines of the verse. After the Was hat man dir, du armes Kind, getan? do you know it? ‘traditionally’, completely in the Goethe and Zelter way, lyrical interlude ‘Ach! Der mich liebt und kennt’ there Kennst du es wohl? There! There but in his Goethe settings Schubert gradually moved away follows, the dramatic outburst ‘Es schwindelt mir’ Dahin! dahin would I go with you, O my protector. from the strophic pattern, for example with his numerous accompanied by piano tremolo and bold harmonic Möcht ich mit dir, o mein Beschützer, ziehn. versions, between 1815 and 1826, of the four Mignon progressions, after which the song returns to the musical songs from Wilhelm Meister, which had appeared in 1795. mood of the opening lines, perhaps most convincingly Kennst du den Berg und seinen Wolkensteg? Do you know the mountain and its clouded path? The mysterious child Mignon embodies poetry in a effected in the last treatment. This setting, which was Das Maultier sucht im Nebel seinen Weg; The muleteer seeks his way in the mist; prosaic world and is the central figure in the novel. written only at the insistence of the publisher as an In Höhlen wohnt der Drachen alte Brut; in caves lives the old brood of the dragon; Indeed, Goethe declared that it was ‘for this character’ alternative to the duet mentioned above, is part of a short Es stürzt der Fels und über ihn die Flut! there plunges down the cliff and over it the water! that he had ‘written the whole work’. ‘The special nature cycle with two other Mignon songs, which Schubert Kennst du ihn wohl? Do you know it? of the good child … consists almost in a profound published in 1826 as Opus 62 (D 877), first of all with the Dahin! dahin There! There yearning’, and this ‘reaches into an endless distance’, it poem ‘Heiß mich nicht reden, heiß mich schweigen’, in Geht unser Weg! O Vater, laß uns ziehn! our way leads! O father, let us go! says in the novel, and in the wanderlust ballad Kennst du which Mignon describes the loneliness and isolation of das Land (D 321), that appeared in 1782 and was set by her ‘rootless’ being, and which Schubert had already set in English versions by Keith Anderson Schubert on 23rd October 1815, is found the exact stage April 1821. This first setting (D 726) was in the ‘death’ direction for the musical performance of the ‘little song’. key of B minor and quoted the ‘slow pavane rhythm’ In the third strophe the song became gloomier and darker’ known in Schubert as the ‘death motif’. The second (Schubert changes here into the minor and marks the setting (D 877/2) brings, in the return of the theme (‘Ein passage at ‘es stürzt der Fels’ with a darker unison); ‘the jeder sucht’), an unexpected shift into the major and forms words ‘kennst du es wohl’ she expressed mysteriously and the end of the song (‘Allein ein Schwur’) with inexorable deliberately’ (Schubert holds back the music in a fermata), piano chords and the expressive repetition ‘…nur ein ‘in the ‘dahin! dahin!’ lay an irresistible yearning, and in Gott, ein Gott’, intensified and rising to a fortissimo.
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