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Deutsche Schubert Lied Edition Vol. 5 Deutsche Schubert Lied Edition Vol. 12 DEUTSCHE Die schöne Müllerin Mayrhofer-Lieder, Vol. 2 Christian Elsner, Tenor Erlafsee • Uraniens Flucht • Auflösung a.o. SCHUBERT-LIED-EDITION • 18 Ulrich Eisenlohr, Piano ...... 8.554664 Christiane Iven, Mezzo-Soprano Burkhard Kehring, Piano ...... 8.554739 Deutsche Schubert Lied Edition Vol. 6 Schiller-Lieder, Vol. 1 Deutsche Schubert Lied Edition Vol. 13 Der Alpenjäger • Der Kampf • Der Taucher a.o. Goethe Lieder, Vol. 2 SCHUBERT Martin Bruns, Baritone Lieder der Mignon • Gretchen-Lieder • Suleika I,II a.o. Ulrich Eisenlohr, Piano ...... 8.554740 Ruth Ziesak, Soprano • Ulrich Eisenlohr, Piano Christian Elsner, Tenor...... 8.554666 Schiller-Lieder, Vols. 3 and 4 Deutsche Schubert Lied Edition Vol. 7 European Poets, Vol. 1 Deutsche Schubert Lied Edition Vol. 14 Maya Boog, Soprano • Lothar Odinius, Tenor Ellens Gesänge • Lied des gefangenen Jägers, European Poets, Vol. 2 Normans Gesang • Lodas Gespenst a.o Edward • An Silvia • Vedi quanto adoro Ulrich Eisenlohr, Piano Ruth Ziesak, Soprano / Roman Trekel, Baritone Petrarca-Sonette a.o. Ulrich Eisenlohr, Piano...... 8.554795 Maya Boog, Soprano / W. M. Friedrich, Bass-Baritone Ulrich Eisenlohr, Piano...... 8.557026-27 Deutsche Schubert Lied Edition Vol. 8 Schiller-Lieder, Vol. 2 Deutsche Schubert Lied Edition Vol. 15 Die Bürgschaft • Gruppe aus dem Tartarus a.o. Schubert's Friends Vol. 2 Regina Jakobi, Mezzo-soprano Nacht und Träume, Wehmut, Vergißmeinnicht a.o. Ulrich Eisenlohr, Piano...... 8.554741 Brigitte Geller, Soprano Ulrich Eisenlohr, Piano...... 8.557171 Deutsche Schubert Lied Edition Vol. 9 Schubert’s Friends, Vol. 1 Deutsche Schubert Lied Edition Vol. 16 Schatzgräbers Begehr • Jägers Liebeslied a.o. Goethe Lieder Vol. 3 Markus Eiche, Baritone / Jens Fuhr, Piano. . . 8.554799 Erlkönig, Geheimes, Der Musensohn Johannes Kalpers, Tenor Deutsche Schubert Lied Edition Vol. 10 Burkhard Kehring, Piano...... 8.554667 Austrian Contemporaries, Vol. 1 Drang in die Ferne • Die Sterne • Am Fenster a.o. Deutsche Schubert Lied Edition Vol. 17 Christoph Genz, Tenor Austrian Contemporaries Vol. 2 Wolfram Rieger, Piano...... 8.554796 Die Allmacht, Das Heimweh, Der Unglückliche Detlef Roth, Baritone Deutsche Schubert Lied Edition Vol. 11 Ulrich Eisenlohr...... 8.557172 North German Poets Auf der Bruck • Im Frühling • Der Wanderer a.o. Hanno Müller-Brachmann, Bass-Baritone Ulrich Eisenlohr, Piano ...... 8.555780 2 CDs 8.557369-70 12 557369-70 bk Schubert US 16/03/2005 10:14am Page 2

Ulrich Eisenlohr THE DEUTSCHE SCHUBERT-LIED-EDITION The pianist Ulrich Eisenlohr is the artistic director of the Naxos Deutsche Schubert In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs which Lied Edition. He studied piano with Rolf Hartmann at the conservatory of music in he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Schubert’s) Heidelberg/Mannheim and Lieder under Konrad Richter at Stuttgart. Specialising in luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Goethe: the areas of song accompaniment and chamber music, he began an extensive concert A selection of German songs will constitute the beginning of this edition; it will consist of eight volumes. The career with numerous instrumental and vocal partners in Europe, America and Japan, first two (the first of which, as an example, you will find in our letter) contains poems written by your Excellency, with appearances at the Vienna Musikverein and Konzerthaus, the Berlin Festival the third, poetry by Schiller, the fourth and fifth, works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the Weeks, the Kulturzentrum Gasteig in Munich, the Schleswig-Holstein Music Festival, seventh and eighth contain songs by Ossian, whose works are quite exceptional. Concertgebouw Amsterdam, Edinburgh Festival, the Frankfurt Festival, the The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 International Beethoven Festival Bonn and the Ludwigsburg Festival, among many songs, will be grouped according to the poets who inspired him, or according to the circle of writers, others. His Lieder partners include Hans Peter Blochwitz, Christian Elsner, Matthias contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. Görne, Dietrich Henschel, Wolfgang Holzmair, Christoph Pregardien, Roman Trekel, Fragments and alternative settings, providing their length and quality make them worth recording, and works for Rainer Trost, Iris Vermillion, Michael Volle, Ruth Ziesak and others. Ulrich Eisenlohr two or more voices with piano accompaniment will also make up a part of the edition. has also appeared in numerous broadcast productions, live concert recordings and Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages television tapings as well as recordings for leading record companies, of which several and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, his have been awarded major prizes, such as the German Record Critics’ Quarterly contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. Award, a Grand Prix International from the Académie du Disque Lyrique in Paris and the Classical Internet The entire edition is scheduled for completion by 2005. Thanks to the Neue Schubert Ausgabe (New Schubert Award. The conception and recording of all Schubert songs is by now an important focus of his artistic work. The Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the series is planned to be finished by 2006. Ulrich Eisenlohr has been a lecturer at the conservatories of music in performers have been able to benefit from the most recent research of the editorial team. For the first time, the Frankfurt and Karlsruhe and has conducted master-classes in Lied and chamber music in Europe and Japan, with listener and the interested reader can follow Schubert’s textual alterations and can appreciate the importance the singers such as Ruth Ziesak, Jard van Nes and Rudolf Piernay. He has served as assistant and accompanist for written word had for the composer. master-classes with Hans Hotter, Christa Ludwig, Elsa Cavelti, Daniel Ferro (Juilliard School, New York) and The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers Geoffrey Parsons. Since 1982 he has taught a Lieder class at the Mannheim Conservatory of Music. who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he believes, will stand the test of time.

Also available on Naxos: Deutsche Schubert Lied Edition Vol. 3 Goethe-Lieder, Vol. 1 Deutsche Schubert Lied Edition Vol. 1 An den Mond • Der Fischer • Ganymed • Meeres Stille Winterreise Prometheus • Wandrers Nachtlied I & II a.o. Roman Trekel, Baritone Ulf Bästlein, Baritone / Stefan Laux, Piano. . .8.554665 Ulrich Eisenlohr, Piano...... 8.554471 Deutsche Schubert Lied Edition Vol. 4 Deutsche Schubert Lied Edition Vol. 2 Mayrhofer-Lieder, Vol. 1 Schwanengesang • Auf dem Strom • Herbst Der Alpenjäger • An die Freunde • Auf der Donau Lebensmut • Lieder on texts by Ludwig Rellstab Aus “Heliopolis” I & II • Der Hirt a.o. Michael Volle, Baritone / Ulrich Eisenlohr, Piano Cornelius Hauptmann, Bass Sjön Scott, Horn...... 8.554663 Stefan Laux, Piano...... 8.554738

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Maya Boog Franz Peter Schubert (1797-1828) Settings of poems by Schiller, Vols. 3 and 4 The Swiss soprano Maya Boog studied singing and church music in Lucerne, completing her training at the Cologne Musikhochschule in The two great classical writers of German literature, October 1814, a day generally seen as the birth-date of 1993, the winner of various awards, notably in the Barcelona Francisco Goethe and Schiller played, in very different ways, romantic German song, there had been eight Schiller Viñas Singing Competition. She made her début at the Municipal Theatre important rôles in Schubert’s career as a song settings, among them major works such as the already in Lucerne and also participated in the Zurich International Opera Studio. composer. Together with Schubert’s friend and admirer mentioned Leichenfantasie, D.7, or inspired monsters Her career has brought her engagements particularly in Baroque and Johann Mayrhofer they are also the poets most often set such as the first setting of Des Mädchens Klage, D.6 Mozart operas in Darmstadt, at the Komische Oper in Berlin, in among Schubert’s body of more than seven hundred (The Maiden’s Lament), after the first-born Hagars Mannheim, St Gallen and Drottningholm, in the Salzburg Mozart Week songs. Yet why did Schubert’s settings of Gretchen am Klage, D.5 (Hagar’s Lament), the earliest of the and with the Vienna Volksoper. In 2000 she took the title rôle in Rimsky- Spinnrade (Gretchen at the Spinning-Wheel), Erlkönig completed songs. Korsakov’s The Golden Cockerel at the Bregenz Festival, the following (The Erl King), and Heidenröslein (The Wild Rose) Schubert came across Schiller through another year making her début as Ilia in La clemenza di Tito and joining the Basel achieve worldwide fame far beyond the circle of composer, in whose works, during his schooldays, he Opera, where she has been seen as Pamina, Nanetta, Mélisande and dedicated song-lovers, while his settings of poems by could ‘revel the day long’, as his friend Josef von Spaun Semele, among other rôles. She has appeared in oratorio and in Lieder recitals throughout Europe and in 2000 Schiller such as Der Jüngling am Bache (The Young later reported. The Kleine Lieder und Balladen (Little made her American début at Ann Arbor in Bach’s St Matthew Passion. Man by the Brook), Thekla - eine Geisterstimme Songs and Ballads) of Johann Rudolph Zumsteeg (Thekla- A Phantom Voice), or his settings of the (1760-1802) appeared in seven volumes between 1800 famous ballads Die Bürgschaft (The Hostage) and Der and 1805, and they included, with settings of other Taucher (The Diver) until now bloom unseen, seldom poets, compositions on Schiller’s poems. In general finding their way into song recitals, although they can Zumsteeg seems to have played an important part in the in no way be regarded as inferior compositions? early Schubert choice of texts, since all the other poets If the two groups of Goethe and Schiller settings he chose for preference, Kosegarten, Matthisson, Lothar Odinius are compared, it may be seen that, although there are 61 Goethe, Claudius, Hölty, and Ossian, are represented in Goethe and 32 Schiller settings, the body of Schiller the early songs of Schubert. Above all Zumsteeg’s Lothar Odinius was born in Aachen and from 1991 to 1995 studied with Anke Eggers at the Berlin Hochschule der songs is altogether about the same in length. This is ballad settings with their strength of expression and Künste, graduating with distinction and attending master-classes with Ingrid Bjoner, Bernd Weikl, Alfredo Kraus because there are several different versions of fifteen illustrative directness inspired Schubert and offered him and Dietrich Fischer-Dieskau. He has collaborated with leading conductors in his concert career, and in poems, ranging from partial revisions to complete a challenge, since he consciously and deliberately chose performances for television and recording, and has participated in a number of major festivals, including Bad rewriting. By comparison nine of Goethe’s poems exist some texts that he set differently (and better) than his Hersfeld, Ludwigsburg, Schwetzingen, the Schleswig-Holstein Music Festival and the Mecklenburg-Vorpommern in different settings, and not a single one of musical predecessor. In this way Die Erwartung Festival, the Haydn-Festspielen Eisenstadt, the Schubertiade Feldkirch/ Hohenems, the BBC Promenade Concerts Mayrhofer’s. Then in the Schiller settings with the (Expectation), for example, looks directly to in London and the Edinburgh Festival. From 1995 to 1997 he served as a lyric tenor with the Brunswick ballads Der Taucher (Naxos 8.554740), Zumsteeg’s setting, and others perceptibly follow his Staatstheater, undertaking, among other rôles, those of Ferrando in Così fan tutte and Tamino in Die Zauberflöte. Leichenfantasie (Funereal Fantasy), and Klage der style of composition. Guest engagements took him to Bonn to sing Tamino, to Copenhagen to sing Charles Lindbergh in Kurt Weill’s Ceres (The Lament of Ceres) we have some of the Schiller and Zumsteeg were friends in their Der Lindberghflug, to Zurich for Alfonso in Schubert’s Alfonso und Estrella, and, in 2003, to the Salzburg longest Schubert songs. And finally there are, as a small younger days. Both were forced to become students at Mozartwoche to sing Ferrando. In 2004 he appeared in the world première of Mendelssohn’s Der Onkel aus addition to the songs, more than a mere curiosity, some Duke Karl Eugen of Württemberg’s Military Academy; Boston, and at the Berlin Komische Oper in Hans Zender’s Don Quijote. His many recordings are testimony to the early settings of verses from Schiller’s poems Elysium, they also later enjoyed friendly contact, and Schiller breadth of his repertoire and the distinction of his career. Der Triumph der Liebe (Love’s Triumph), texts after knew Zumsteeg’s settings well and valued them. How Confucius, and so on, which were written as Terzette as would he have reacted if he had heard Schubert’s songs part of his composition lessons with Salieri. Besides, based on his poems? Like Goethe, who met Schubert’s Schiller was, much more than Goethe, Schubert’s initial settings of his poems with lack of understanding and inspiration as a composer of songs. Up to the indifference? He always said that music should follow composition of Gretchen am Spinnrade on 19th the texts, accompanying the words decently and

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inconspicuously. Does this suggest that out of a certain When we hear the second, completely new version Schubert as a simple strophic song for his brother listener, without further persuasion. vanity he could not bear to hear with his work music of this Wallenstein text (D191), written three to four Ferdinand for teaching purposes. Not to be numbered With Schiller, however, Schubert struggled, and yet that held its place by its side, newly illuminating and years later, we are astonished to have before us a simple among his art-songs, it is included here above all he always returned to him again, challenged by his interpreting it? We do not know. When the fourteen- periodically constructed strophic song that does without because of its melodic charm. On the contrary Die texts, adapting to them, competing with them. Schiller year-old Schubert set the Leichenfantasie, Schiller was any word-painting and restricts itself, with clear, simple Götter Greichenlands, D677 (The Gods of Greece) himself often struggled with the definitive form of his already six years dead. musical means, to reflecting the basic character of the must be reckoned among the high points not only of works, as he thought and felt in such complex ways and Dealing with the Schiller settings is in general like poem. Here there is a change from the complex to the Schubert’s songs but of all song literature. Very seldom could not or would not separate what he instinctively a tour through Schubert’s workshop as a song simple, from the chaotic to the structured, from the has there been a song so successfully united in felt went together: ‘Usually the poet hurried me on composer. All devices, compositional possibilities from exuberant to the concentrated. The quietly flowing simplicity of outward structure and depth of expression where I should philosophize, and the philosophical simple and varied strophic song to the recitative-aria chordal piano accompaniment and the cautious wave- as this. We listen and are amazed. spirit where I would write poems’. This thoroughly operatic model and to freely composed song fantasies like up and down of the vocal part create on the one We come back to the question first posed about the self-critical commentary on his poetic work shows too, are found, all compositional strategies available at the hand a narrative tranquillity that preserves distance different reception of the Goethe and Schiller songs. however, his special character, his often contradictory, beginning of the nineteenth century are present. from the persons speaking or singing, but at the same Goethe’s poems came directly to Schubert, many of stubborn individuality. This is reflected in Schubert’s Notable, however, is the development not from simple time produces an astonishing emotional depth. The them he set quickly, often as if intoxicated, in one day, music with his at times hybrid flights of genius. The to complex, but, taken altogether, from the grand, music acts magically as an ‘expression’ of what is said at one stretch. The differing precondition for this final concentration on the absolute essence too is luxuriant and exuberant form of the very early songs to and a declaration of sympathy, of the compassion of the impetuous ‘chemical reaction’ was Goethe’s personally common to both. In this way Schubert’s Schiller songs the concentrated, extremely economical structure of the narrator and listener - a balancing act that Schubert here coloured poems drawn from experience, his instinctive are often difficult to absorb, not always basking in late compositions. What Schubert ‘learned’ from manages successfully with the surefootedness of a grasp of concrete situations in life, his concentrated balanced harmonies but always exciting, challenging working with Schiller’s poems was economy of means. sleepwalker. It is not easy to understand why, almost a narrative art in the ballads, his art of generating and, at first hearing, surprising. His path led here from the dramatic pictorial illustration year later, he took on a further setting of the poem unmistakable moods with a few words. All this met of individual elements to the lyrical, musically unified (Third Version, D389). The restless piano figuration absolutely the requirements of musical setting. This is Ulrich Eisenlohr meaning of the poem as a whole. and the wider intervals of the melodic line suggest that naturally reflected in Schubert’s music; the Goethe We notice too, in this connection, at first the he was again broadly attempting a more dramatic settings are almost all easily accessible to the ‘prepared’ English version by Keith Anderson different versions of the same poems on the two CDs. accentuation of the music, but keeping strictly to the The first setting of Des Mädchens Klage (The Maiden’s strophic lay-out. Lament) is a breakneck gallop through the heights and Completely similar stages in development can be shallows of tempestuous and impulsive feeling, observed in the three settings of Der Jüngling am Bache common to Schubert and Schiller in their adolescence. (The Young Man by the Brook). The first version (D30) Highly dramatic, passages recklessly ignoring every is again through-composed, but in comparison with the rule of vocal writing alternate with sections of the first, probably earlier version of Des Mädchens Klage highest sensibility and tenderness. The metrical very much more clearly structured: Schubert gives the division of the poem, its strophic structure, is same music to the first pair of lines of all four stanzas, continuously disregarded and is cruelly sacrificed to the then continuing each of them differently. This impetuous flow of the music. In this respect we may successful early attempt at a pseudo-strophic structure hear the quite deliberate musical connection of the third while preserving the freedom of through-composition is and fourth stanzas; the poem would at this point, by the formally astonishing, even if the relatively harmless- change of persons speaking, have suggested a distinct sounding melody of the stanza openings may seem to us musical break. Nevertheless, here a young composer somewhat foreign to Schiller’s elegiac text. Instead responds to the text, having undertaken an Schubert surprises us at the end of the second stanza unmistakably demanding task, and in many passages (‘wecken in dem tiefen Busen …’ / ‘wake in the depths his music is actually and in the original sense of the of my heart’) with a dramatic break, the fearless word, overwhelming. gloominess of which would have done honour to a

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element. Less gifted composers could not consistently mother on Olympus. In Greco-Roman mythology this ghostly baroque ombra scene. With its gently enticing phrases of the song, appoggiaturas, restless achieve the same, and at the end of this mighty work, in explained the change of the seasons between summer horn fifths, the final invitation to the maiden to leave semiquavers at ‘und er sah sie fortgerissen’, a shift to the ninth stanza, the impressive return of the opening and winter, fruitfulness and barrenness. Winter is the her proud castle sounds thoroughly optimistic, in rapider sextuplets at ‘Und so fliehen …’ as the music bears witness, at the least, to the intention to expression (in Schiller ‘Sprache’, eighth stanza) of complete opposition to the two later versions (D192 and equivalent of transitoriness. The ‘simplicity’ of this provide a formal rounding-off and conclusion. mourning for the departed, summer of joy at being D638). There the use of the continued strophic form kind of Schubert song is something quite other than In comparison Die Erwartung, D159, sounds together again. produces a change of meaning: the mournful minor of naïve lack of reflection or literal simplicity. harmless, a setting of Schiller’s poem on the waiting Back to the opera composer. In contrast to both versions is not abandoned in the final stanza, and Our third triple setting is of Schiller’s poem Thekla lover, who, after his eyes and ears have again and again Erwartung the piano part here is conceived orchestrally the wish for union with the ‘sweet fair one’ is relegated - eine Geisterstimme (Thekla - A Phantom Voice). It conjured up the arrival of his beloved, disappointed and throughout; the introductory part (Stanza 1) suggests to the realm of Utopia. The poem expresses hope, while seems that Schiller wrote the poem to answer the exhausted by long waiting, falls asleep and is finally the sound of woodwind, the first arioso (‘Ach wie lang the music is already resigned. The second version, question of a friend on the final whereabouts and health wakened ‘with kisses’. Here the structure is clearly and ist’s’ / ‘Ah how long it is’) (Stanza 2) the soft sound of written almost four years before the last version, is of Thekla, Max Piccolomini’s beloved in the play openly presented through the constant alternation of strings, the following with the depiction of the dark inclusive and convincing; it takes up the basic melodic Wallenstein, after Max’s death. The tragic recitative and arioso passages. Yet the music in no way Underworld is clearly for brass and string timbres, the and rhythmically declamatory elements of the first and entanglements and catastrophes of the Wallenstein slips into operatic drama; Schubert’s song achieves its depiction of the onset of winter (‘Wenn des Frühlings changes them into a melodic gesture that truly reflects drama here become resolved into a so-to-speak effect through its discreet and yet unbelievably Kinder sterben’ / ‘When Spring’s children die’) (Stanza the basic mood of the poem, while retaining sufficient posthumous, utopian, other-worldly ‘All is well’. charming musical transformation, which often suggests 8) is accompanied by dry pizzicato imitations, the flexibility for an analogous and differentiating Appropriately the first three stanzas of the poem are an almost rococo style and only here and there, as if closing section (‘O so lasst euch froh begrußen’ / ‘O so representation of the different stanzas and their nuances respectively questions and answers of varying length. with a sly smile, assumes a pose of pathos - one of the let me greet you’) (Stanza 11) is inspired by the higher of expression. The five-bar prelude alone with its Schubert’s first version (D73), again in through- few examples in Schubert’s songs without any and lower orchestral groups with sections of tutti urgent sighs and chromatically painful progress offers composed form, embarks on this structure with a seriousness and melancholy, unconcerned, humorous (‘meinem Schmerz und meiner Lust’ / ‘my pain and my an inimitable representation of the emotional situation constant change between recitative and arioso passages, and playful, a splendid counterpart of Schiller’s poem. pleasure’). The vocal part continues with a wide- of the young man. After that it is worth noting the vocal the question the recitative, the answer as arioso. As the Klage der Ceres, D323, is much more violently ranging rich palette between dry parlando, the purest writing, rather more exact in its relationship with the fourth stanza does not start with a question, accordingly dramatic. In the structure and expression of this great cantabile and dramatic vehemence. It makes the highest text; after the initially simple steps mostly of a second here there is no recitative. At the liberating words work we experience Schubert as the potential opera demands of the singers, both in the more tranquil with generally downward contour the movement ‘Dorten wirst auch du uns wiederfinden …’ (‘There you composer: recitativo secco, arioso, recitativo passages requiring the qualities of the lyric soprano, changes at the words ‘und er sah sie fortgerissen’ (‘and will find us again …’) the music flows freely and accompagnato, and arias alternate with fine regularity and in the Underworld scenes those of a dramatic he saw them carried away’) pressing upwards (as the unchecked. Although now the fifth and sixth stanzas and make up the great monologue of the protagonist mezzo. At the same time the ‘classical’ style of this narrator craned his neck, startled, to see the flowers too are not built on the pattern of question and answer, Ceres. The goddess of the earth, of growth and composition is surprising, at the beginning recalling floating away), and similarly again at ‘treiben in der Schubert returns for these last two passages to the initial fruitfulness (in Greek Demeter), she has been robbed by Haydn, in the middle Gluck, finally Mozart. It may be Wellen Tanz’ (‘floating away in the dance of the structure. In this way he achieves, on the one hand, a Hades/Pluto, with the consent of Zeus/Jupiter (who is that Schubert intended a style of composition waves’), letting it sink down. The following ‘Und so formal end to the composition, while, on the other hand the brother of Demeter/Ceres and her daughter’s corresponding to the ancient classical theme of the fliehen meine Jugend’ (‘And so flies my youth’) brings the recitative-arioso arrangement once again fits into father), of her daughter Persephone/Proserpina, whom poem. The musical structure of the composition arises, hesitant circling melodic movement, as the young man the structure of the text. The second halves of both he has taken down to Orcus. At the beginning of the with the formal operatic lay-out, from the dramatic now wavers in direct speech between resignation and stanzas consist of summaries of the poem; ‘Denn wie poem we see Ceres during her nine-day search for her range of the fictional ‘plot’, the development of the revolt. Finally at ‘und so bleichet meine Jugend’ (‘and jeder wägt, wird ihm gewogen …’ (‘For as each man lost daughter (first and second stanzas). From Helios, ideas and emotions of Ceres. In the whole bulk of the so my youth fades’) there follows a characteristic, as it judges shall he be judged’), and ‘Wagen du zu irren und the all-seeing Titan, she finally learns where she is, but text there arises a single grandiose mythological were weakly falling diminished seventh, as well as a zu träumen …’ (‘Dare to err and to dream’) are brought entry to Orcus is denied the goddess. In her bitterness of panorama, comparable in the whole body of Schubert’s sudden leap of an octave at ‘wie die Kränze schnell out and stressed through the melodic setting. heart she does not return to Olympus and lays the earth work only with the very similar Uraniens Flucht, D554 verbün’ (‘as the garlands quickly wither’), which In all of the threefold settings we find works that in waste with barrenness. Finally a compromise is reached (Urania’s Flight) (Naxos 8.554739). expresses the young man’s fear, without falling into the beginning were through-composed, but in the later between her and Zeus: Proserpina must spend half the There remain two ‘outsiders’ among the songs mere word-painting. To this one may add the pattern of versions brought a clear musical structure increasingly year in the Underworld with Hades, her ‘gloomy presented here: Der Graf von Habsburg, D990 (Count the piano accompaniment with its unobtrusive yet to the fore. In Thekla - eine Geisterstimme (D595, spouse’, while she lives for the other half with her von Habsburg), a twelve-stanza ballad, written by precise modifications, continuous motion with the first Second Setting, Versions 1 and 2) too Schubert moves

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towards a structurally unified setting in strophic form, to convey the formal intellectual and emotional levels strophic musical material. These changes are generally This tendency appealed to the fourteen-year-old and here he perhaps succeeds at his most gifted. While of a poem so exactly and at the same time with such small and on the surface not obvious, almost Schubert who astonishingly was preoccupied in many the first version of the second setting is without a apparently economical naturalness and assurance in the imperceptible, yet they must not be underestimated. of his early poems with the themes of death and the prelude and in the unusual key of C sharp minor/major, musical structure of his settings. Schubert does not Perhaps since they are only unnoticed or half noticed, transitory. Yet the preference for such subjects surely although only the two first stanzas are prepared for accompany the text, he does not illustrate it, he presents they lead the listeners’ feelings unobtrusively, carefully sprang not only from the musings on longing for death performance, the second version is transposed into the not only its feeling, but lets it grow anew out of the and truly through the intellectual paths and changing of a boy coming to puberty, but also from his actual more conventional but also elementary key of C music, word for word, sentence for sentence. Schiller’s emotions of the poem. background. Four siblings who ‘survived’ childhood minor/major and provided with a prelude that is more poetry was a good training-ground for him, since it There remain the three most extended works here can be set against nine who died between the ages of than an introduction, but rather summarises an essential forced him finally to concentrate on the essential, if he included, Leichenfantasie (Funereal Fantasy), Die one day and five years - these numbers were normal for musical and intellectual aspect of the whole wanted to develop further from his chaotically inspired Erwartung (Expectation) and Klage der Ceres (The the time. Moreover, leaving aside such matters, composition. Here Schubert combines two of the beginnings. Lament of Ceres). They follow the principle of Schubert passed the first four years of his life with his stanzas of the poem into one big musical stanza. This This poetry was at the same time very dear to him sectional through-composition, a procedure that parents and siblings in a 35 square metre ‘apartment’ again consists of four sections: the second (‘Hab ich and was a challenge, so that he often had to work hard, Schubert, as we have seen, turned to above all in his with a kitchen (in which he was born) and a room, nicht beschlossen …’ /’Have I not finished …’) is a as the many different versions show, but it also early years, together with Schiller’s poems, particularly without any sanitary arrangements, and in such living repetition of the first (‘Wo ich sei …’ / ‘Where am I sometimes brought cheerful social occasions, as for the great epic of Ossian (alias James Macpherson) conditions nothing remained hidden, birth, death, pain, …’), nevertheless changing from the initial gloomier example in the form of the light-hearted poem An den (Naxos 8.554795 and 8.557026-27). To these two poets illness, love, quarrels. In contrast to this was surely the minor to a warmer consolatory major. In this way it is Frühling (To Spring). After a first dance-like we owe music by Schubert that in its formal freedom, brilliant description of the now destroyed, once glowing made clear to the listener by musical means as simple as composition in 1815 (D283), in the following year he harmonic skill and illustrative emotional directness is future of the dead young man: in the middle of the they are practical that the phantom voice that speaks to wrote a quartet version for male voices (D338); in 1817 unique in the whole body of his work. The last poem an ideal focus for the dreams and wishes for the him, is not horrific, but has good news to tell. The third Schubert took the poem in hand again, writing a second composition of this kind is Einsamkeit (D620) future of Schubert, who at the time of composition had section (‘Willst du nach den Nachtigallen fragen …’ / version for voice and piano (D587), which is similar in (Solitude) by Mayrhofer from July 1818. After that already spent three years as a pupil at the Stadtkonvikt ‘Will you ask the nightingales …’) begins on the character to the first but has completely new music. It Schubert took a completely new course in his setting of and at this time may have started to think about his own dominant; this is ambivalent, insofaras it may lead seems to be not the result of a wish to do better as rather longer poems; he settled on uniformity rather than future beyond the narrow confines of the school walls either to the minor or the tonic major. In fact at first it a ‘You could also sing it like this’. He revised this diversity of musical material. The great settings of as a great musician and artist. leads back to the initial dark minor, which nevertheless second version slightly once more, in 1819. poems by Ernst Schulze (Naxos 8.555780) mark the With Leichenfantasie then came a gifted young is not able to establish itself. The harmony changes to The first of the two versions of Das Geheimnis culmination and end of this kind of compositional man’s monster-work, in which he developed, the mediant (‘Die mit seelenvoller Melodie’ / ‘Who (250) (The Secret) was written in August 1815 and procedure. apparently unconcerned with overheated identification with soulful melodies’) and then, surprisingly, in the shows Schubert at the time of his first storm-and-stress The three aforementioned works, however, show with the images of the poem, his in part drastically middle of the fourth section (‘… in des Lenzes Tagen’ / phase. A strophic song with simple continuing crotchet different kinds of inner structure and again offer realistic musical ideas for the text, illustrating these ‘… in the days of spring’) reaches the major key, which beats, as if walking on tiptoe, at the beginning recalls evidence of Schubert’s development as a song with never tiring fantasies of sound. We hear the pale is then firmly established until the end. These harmonic the old passacaglia form, and in the middle with composer. Schiller wrote his Leichenfantasie (D7) in unison of voice and piano, for example, at ‘Sterne changes, fluctuations and developments in their attractive unconventional chromatic clashes. In this 1780 after the sudden death of a friend and dedicated it trauern bleich herab’ (‘Stars look palely down in unobtrusive and subtly effective presence can be heard way Schubert’s music comes close to the discreet to the latter’s father. Many poems from his early years mourning’) in the first stanza, the melodic change in the and interpreted as the fulfilment of the vagaries of charm of Schiller’s poem that changes between a are, as a contemporary poet writes ‘in shape and form vocal part at ‘seine Silberhaare bäumen sich’ (‘His Thekla’s life and its good ending. The music as a declaration of love and a philosophical discourse on the … nevertheless wild and raw productions, full of silver hair stands on end’) in the second, the extreme whole, apparently so simple and unified, conceals a threatened existence of love in spiteful reality. The exuberantly sensual fantasies that partly lose melodic leaps at ‘Stolz wie die Rosse sich sträuben und very highly complex harmonic structure that forms an changes in the second version, written almost eight themselves in metaphysical effusiveness, partly carry schäumen’ (‘Proud as horses that rear up and foam’) in indissoluble textual and musical unity between the years later (D793), sound modest, but are decisive and on a repulsive game with images of the past and decay the fifth stanza, or the strangling upward motion at words and the song. The vocal part manages with the of inspired profundity to careful listeners. From the behind the smiling appearance of life …’. Perhaps ‘wimmernd schnurrt das Totenseil empor’ (‘humming range of a fourth, that is, it restricts itself in both minor simple version came a varied strophic song; little today one might no longer judge the young Schiller so and rattling the grave-rope rises’) in the eighth. Ideas of and major to a range of four whole tones. variations in melody, harmony and accompaniment drastically; that the poem, nevertheless, shows a more this kind are found by the dozen, but this is in no way No other song composer has at any time been able figuration throw, as it were, new light on the recurrent than obvious tendency to the morbid cannot be denied. detrimental to the astonishing artistic skill of each

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towards a structurally unified setting in strophic form, to convey the formal intellectual and emotional levels strophic musical material. These changes are generally This tendency appealed to the fourteen-year-old and here he perhaps succeeds at his most gifted. While of a poem so exactly and at the same time with such small and on the surface not obvious, almost Schubert who astonishingly was preoccupied in many the first version of the second setting is without a apparently economical naturalness and assurance in the imperceptible, yet they must not be underestimated. of his early poems with the themes of death and the prelude and in the unusual key of C sharp minor/major, musical structure of his settings. Schubert does not Perhaps since they are only unnoticed or half noticed, transitory. Yet the preference for such subjects surely although only the two first stanzas are prepared for accompany the text, he does not illustrate it, he presents they lead the listeners’ feelings unobtrusively, carefully sprang not only from the musings on longing for death performance, the second version is transposed into the not only its feeling, but lets it grow anew out of the and truly through the intellectual paths and changing of a boy coming to puberty, but also from his actual more conventional but also elementary key of C music, word for word, sentence for sentence. Schiller’s emotions of the poem. background. Four siblings who ‘survived’ childhood minor/major and provided with a prelude that is more poetry was a good training-ground for him, since it There remain the three most extended works here can be set against nine who died between the ages of than an introduction, but rather summarises an essential forced him finally to concentrate on the essential, if he included, Leichenfantasie (Funereal Fantasy), Die one day and five years - these numbers were normal for musical and intellectual aspect of the whole wanted to develop further from his chaotically inspired Erwartung (Expectation) and Klage der Ceres (The the time. Moreover, leaving aside such matters, composition. Here Schubert combines two of the beginnings. Lament of Ceres). They follow the principle of Schubert passed the first four years of his life with his stanzas of the poem into one big musical stanza. This This poetry was at the same time very dear to him sectional through-composition, a procedure that parents and siblings in a 35 square metre ‘apartment’ again consists of four sections: the second (‘Hab ich and was a challenge, so that he often had to work hard, Schubert, as we have seen, turned to above all in his with a kitchen (in which he was born) and a room, nicht beschlossen …’ /’Have I not finished …’) is a as the many different versions show, but it also early years, together with Schiller’s poems, particularly without any sanitary arrangements, and in such living repetition of the first (‘Wo ich sei …’ / ‘Where am I sometimes brought cheerful social occasions, as for the great epic of Ossian (alias James Macpherson) conditions nothing remained hidden, birth, death, pain, …’), nevertheless changing from the initial gloomier example in the form of the light-hearted poem An den (Naxos 8.554795 and 8.557026-27). To these two poets illness, love, quarrels. In contrast to this was surely the minor to a warmer consolatory major. In this way it is Frühling (To Spring). After a first dance-like we owe music by Schubert that in its formal freedom, brilliant description of the now destroyed, once glowing made clear to the listener by musical means as simple as composition in 1815 (D283), in the following year he harmonic skill and illustrative emotional directness is future of the dead young man: in the middle of the they are practical that the phantom voice that speaks to wrote a quartet version for male voices (D338); in 1817 unique in the whole body of his work. The last poem an ideal focus for the dreams and wishes for the him, is not horrific, but has good news to tell. The third Schubert took the poem in hand again, writing a second composition of this kind is Einsamkeit (D620) future of Schubert, who at the time of composition had section (‘Willst du nach den Nachtigallen fragen …’ / version for voice and piano (D587), which is similar in (Solitude) by Mayrhofer from July 1818. After that already spent three years as a pupil at the Stadtkonvikt ‘Will you ask the nightingales …’) begins on the character to the first but has completely new music. It Schubert took a completely new course in his setting of and at this time may have started to think about his own dominant; this is ambivalent, insofaras it may lead seems to be not the result of a wish to do better as rather longer poems; he settled on uniformity rather than future beyond the narrow confines of the school walls either to the minor or the tonic major. In fact at first it a ‘You could also sing it like this’. He revised this diversity of musical material. The great settings of as a great musician and artist. leads back to the initial dark minor, which nevertheless second version slightly once more, in 1819. poems by Ernst Schulze (Naxos 8.555780) mark the With Leichenfantasie then came a gifted young is not able to establish itself. The harmony changes to The first of the two versions of Das Geheimnis culmination and end of this kind of compositional man’s monster-work, in which he developed, the mediant (‘Die mit seelenvoller Melodie’ / ‘Who (250) (The Secret) was written in August 1815 and procedure. apparently unconcerned with overheated identification with soulful melodies’) and then, surprisingly, in the shows Schubert at the time of his first storm-and-stress The three aforementioned works, however, show with the images of the poem, his in part drastically middle of the fourth section (‘… in des Lenzes Tagen’ / phase. A strophic song with simple continuing crotchet different kinds of inner structure and again offer realistic musical ideas for the text, illustrating these ‘… in the days of spring’) reaches the major key, which beats, as if walking on tiptoe, at the beginning recalls evidence of Schubert’s development as a song with never tiring fantasies of sound. We hear the pale is then firmly established until the end. These harmonic the old passacaglia form, and in the middle with composer. Schiller wrote his Leichenfantasie (D7) in unison of voice and piano, for example, at ‘Sterne changes, fluctuations and developments in their attractive unconventional chromatic clashes. In this 1780 after the sudden death of a friend and dedicated it trauern bleich herab’ (‘Stars look palely down in unobtrusive and subtly effective presence can be heard way Schubert’s music comes close to the discreet to the latter’s father. Many poems from his early years mourning’) in the first stanza, the melodic change in the and interpreted as the fulfilment of the vagaries of charm of Schiller’s poem that changes between a are, as a contemporary poet writes ‘in shape and form vocal part at ‘seine Silberhaare bäumen sich’ (‘His Thekla’s life and its good ending. The music as a declaration of love and a philosophical discourse on the … nevertheless wild and raw productions, full of silver hair stands on end’) in the second, the extreme whole, apparently so simple and unified, conceals a threatened existence of love in spiteful reality. The exuberantly sensual fantasies that partly lose melodic leaps at ‘Stolz wie die Rosse sich sträuben und very highly complex harmonic structure that forms an changes in the second version, written almost eight themselves in metaphysical effusiveness, partly carry schäumen’ (‘Proud as horses that rear up and foam’) in indissoluble textual and musical unity between the years later (D793), sound modest, but are decisive and on a repulsive game with images of the past and decay the fifth stanza, or the strangling upward motion at words and the song. The vocal part manages with the of inspired profundity to careful listeners. From the behind the smiling appearance of life …’. Perhaps ‘wimmernd schnurrt das Totenseil empor’ (‘humming range of a fourth, that is, it restricts itself in both minor simple version came a varied strophic song; little today one might no longer judge the young Schiller so and rattling the grave-rope rises’) in the eighth. Ideas of and major to a range of four whole tones. variations in melody, harmony and accompaniment drastically; that the poem, nevertheless, shows a more this kind are found by the dozen, but this is in no way No other song composer has at any time been able figuration throw, as it were, new light on the recurrent than obvious tendency to the morbid cannot be denied. detrimental to the astonishing artistic skill of each

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element. Less gifted composers could not consistently mother on Olympus. In Greco-Roman mythology this ghostly baroque ombra scene. With its gently enticing phrases of the song, appoggiaturas, restless achieve the same, and at the end of this mighty work, in explained the change of the seasons between summer horn fifths, the final invitation to the maiden to leave semiquavers at ‘und er sah sie fortgerissen’, a shift to the ninth stanza, the impressive return of the opening and winter, fruitfulness and barrenness. Winter is the her proud castle sounds thoroughly optimistic, in rapider sextuplets at ‘Und so fliehen …’ as the music bears witness, at the least, to the intention to expression (in Schiller ‘Sprache’, eighth stanza) of complete opposition to the two later versions (D192 and equivalent of transitoriness. The ‘simplicity’ of this provide a formal rounding-off and conclusion. mourning for the departed, summer of joy at being D638). There the use of the continued strophic form kind of Schubert song is something quite other than In comparison Die Erwartung, D159, sounds together again. produces a change of meaning: the mournful minor of naïve lack of reflection or literal simplicity. harmless, a setting of Schiller’s poem on the waiting Back to the opera composer. In contrast to both versions is not abandoned in the final stanza, and Our third triple setting is of Schiller’s poem Thekla lover, who, after his eyes and ears have again and again Erwartung the piano part here is conceived orchestrally the wish for union with the ‘sweet fair one’ is relegated - eine Geisterstimme (Thekla - A Phantom Voice). It conjured up the arrival of his beloved, disappointed and throughout; the introductory part (Stanza 1) suggests to the realm of Utopia. The poem expresses hope, while seems that Schiller wrote the poem to answer the exhausted by long waiting, falls asleep and is finally the sound of woodwind, the first arioso (‘Ach wie lang the music is already resigned. The second version, question of a friend on the final whereabouts and health wakened ‘with kisses’. Here the structure is clearly and ist’s’ / ‘Ah how long it is’) (Stanza 2) the soft sound of written almost four years before the last version, is of Thekla, Max Piccolomini’s beloved in the play openly presented through the constant alternation of strings, the following with the depiction of the dark inclusive and convincing; it takes up the basic melodic Wallenstein, after Max’s death. The tragic recitative and arioso passages. Yet the music in no way Underworld is clearly for brass and string timbres, the and rhythmically declamatory elements of the first and entanglements and catastrophes of the Wallenstein slips into operatic drama; Schubert’s song achieves its depiction of the onset of winter (‘Wenn des Frühlings changes them into a melodic gesture that truly reflects drama here become resolved into a so-to-speak effect through its discreet and yet unbelievably Kinder sterben’ / ‘When Spring’s children die’) (Stanza the basic mood of the poem, while retaining sufficient posthumous, utopian, other-worldly ‘All is well’. charming musical transformation, which often suggests 8) is accompanied by dry pizzicato imitations, the flexibility for an analogous and differentiating Appropriately the first three stanzas of the poem are an almost rococo style and only here and there, as if closing section (‘O so lasst euch froh begrußen’ / ‘O so representation of the different stanzas and their nuances respectively questions and answers of varying length. with a sly smile, assumes a pose of pathos - one of the let me greet you’) (Stanza 11) is inspired by the higher of expression. The five-bar prelude alone with its Schubert’s first version (D73), again in through- few examples in Schubert’s songs without any and lower orchestral groups with sections of tutti urgent sighs and chromatically painful progress offers composed form, embarks on this structure with a seriousness and melancholy, unconcerned, humorous (‘meinem Schmerz und meiner Lust’ / ‘my pain and my an inimitable representation of the emotional situation constant change between recitative and arioso passages, and playful, a splendid counterpart of Schiller’s poem. pleasure’). The vocal part continues with a wide- of the young man. After that it is worth noting the vocal the question the recitative, the answer as arioso. As the Klage der Ceres, D323, is much more violently ranging rich palette between dry parlando, the purest writing, rather more exact in its relationship with the fourth stanza does not start with a question, accordingly dramatic. In the structure and expression of this great cantabile and dramatic vehemence. It makes the highest text; after the initially simple steps mostly of a second here there is no recitative. At the liberating words work we experience Schubert as the potential opera demands of the singers, both in the more tranquil with generally downward contour the movement ‘Dorten wirst auch du uns wiederfinden …’ (‘There you composer: recitativo secco, arioso, recitativo passages requiring the qualities of the lyric soprano, changes at the words ‘und er sah sie fortgerissen’ (‘and will find us again …’) the music flows freely and accompagnato, and arias alternate with fine regularity and in the Underworld scenes those of a dramatic he saw them carried away’) pressing upwards (as the unchecked. Although now the fifth and sixth stanzas and make up the great monologue of the protagonist mezzo. At the same time the ‘classical’ style of this narrator craned his neck, startled, to see the flowers too are not built on the pattern of question and answer, Ceres. The goddess of the earth, of growth and composition is surprising, at the beginning recalling floating away), and similarly again at ‘treiben in der Schubert returns for these last two passages to the initial fruitfulness (in Greek Demeter), she has been robbed by Haydn, in the middle Gluck, finally Mozart. It may be Wellen Tanz’ (‘floating away in the dance of the structure. In this way he achieves, on the one hand, a Hades/Pluto, with the consent of Zeus/Jupiter (who is that Schubert intended a style of composition waves’), letting it sink down. The following ‘Und so formal end to the composition, while, on the other hand the brother of Demeter/Ceres and her daughter’s corresponding to the ancient classical theme of the fliehen meine Jugend’ (‘And so flies my youth’) brings the recitative-arioso arrangement once again fits into father), of her daughter Persephone/Proserpina, whom poem. The musical structure of the composition arises, hesitant circling melodic movement, as the young man the structure of the text. The second halves of both he has taken down to Orcus. At the beginning of the with the formal operatic lay-out, from the dramatic now wavers in direct speech between resignation and stanzas consist of summaries of the poem; ‘Denn wie poem we see Ceres during her nine-day search for her range of the fictional ‘plot’, the development of the revolt. Finally at ‘und so bleichet meine Jugend’ (‘and jeder wägt, wird ihm gewogen …’ (‘For as each man lost daughter (first and second stanzas). From Helios, ideas and emotions of Ceres. In the whole bulk of the so my youth fades’) there follows a characteristic, as it judges shall he be judged’), and ‘Wagen du zu irren und the all-seeing Titan, she finally learns where she is, but text there arises a single grandiose mythological were weakly falling diminished seventh, as well as a zu träumen …’ (‘Dare to err and to dream’) are brought entry to Orcus is denied the goddess. In her bitterness of panorama, comparable in the whole body of Schubert’s sudden leap of an octave at ‘wie die Kränze schnell out and stressed through the melodic setting. heart she does not return to Olympus and lays the earth work only with the very similar Uraniens Flucht, D554 verbün’ (‘as the garlands quickly wither’), which In all of the threefold settings we find works that in waste with barrenness. Finally a compromise is reached (Urania’s Flight) (Naxos 8.554739). expresses the young man’s fear, without falling into the beginning were through-composed, but in the later between her and Zeus: Proserpina must spend half the There remain two ‘outsiders’ among the songs mere word-painting. To this one may add the pattern of versions brought a clear musical structure increasingly year in the Underworld with Hades, her ‘gloomy presented here: Der Graf von Habsburg, D990 (Count the piano accompaniment with its unobtrusive yet to the fore. In Thekla - eine Geisterstimme (D595, spouse’, while she lives for the other half with her von Habsburg), a twelve-stanza ballad, written by precise modifications, continuous motion with the first Second Setting, Versions 1 and 2) too Schubert moves

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inconspicuously. Does this suggest that out of a certain When we hear the second, completely new version Schubert as a simple strophic song for his brother listener, without further persuasion. vanity he could not bear to hear with his work music of this Wallenstein text (D191), written three to four Ferdinand for teaching purposes. Not to be numbered With Schiller, however, Schubert struggled, and yet that held its place by its side, newly illuminating and years later, we are astonished to have before us a simple among his art-songs, it is included here above all he always returned to him again, challenged by his interpreting it? We do not know. When the fourteen- periodically constructed strophic song that does without because of its melodic charm. On the contrary Die texts, adapting to them, competing with them. Schiller year-old Schubert set the Leichenfantasie, Schiller was any word-painting and restricts itself, with clear, simple Götter Greichenlands, D677 (The Gods of Greece) himself often struggled with the definitive form of his already six years dead. musical means, to reflecting the basic character of the must be reckoned among the high points not only of works, as he thought and felt in such complex ways and Dealing with the Schiller settings is in general like poem. Here there is a change from the complex to the Schubert’s songs but of all song literature. Very seldom could not or would not separate what he instinctively a tour through Schubert’s workshop as a song simple, from the chaotic to the structured, from the has there been a song so successfully united in felt went together: ‘Usually the poet hurried me on composer. All devices, compositional possibilities from exuberant to the concentrated. The quietly flowing simplicity of outward structure and depth of expression where I should philosophize, and the philosophical simple and varied strophic song to the recitative-aria chordal piano accompaniment and the cautious wave- as this. We listen and are amazed. spirit where I would write poems’. This thoroughly operatic model and to freely composed song fantasies like up and down of the vocal part create on the one We come back to the question first posed about the self-critical commentary on his poetic work shows too, are found, all compositional strategies available at the hand a narrative tranquillity that preserves distance different reception of the Goethe and Schiller songs. however, his special character, his often contradictory, beginning of the nineteenth century are present. from the persons speaking or singing, but at the same Goethe’s poems came directly to Schubert, many of stubborn individuality. This is reflected in Schubert’s Notable, however, is the development not from simple time produces an astonishing emotional depth. The them he set quickly, often as if intoxicated, in one day, music with his at times hybrid flights of genius. The to complex, but, taken altogether, from the grand, music acts magically as an ‘expression’ of what is said at one stretch. The differing precondition for this final concentration on the absolute essence too is luxuriant and exuberant form of the very early songs to and a declaration of sympathy, of the compassion of the impetuous ‘chemical reaction’ was Goethe’s personally common to both. In this way Schubert’s Schiller songs the concentrated, extremely economical structure of the narrator and listener - a balancing act that Schubert here coloured poems drawn from experience, his instinctive are often difficult to absorb, not always basking in late compositions. What Schubert ‘learned’ from manages successfully with the surefootedness of a grasp of concrete situations in life, his concentrated balanced harmonies but always exciting, challenging working with Schiller’s poems was economy of means. sleepwalker. It is not easy to understand why, almost a narrative art in the ballads, his art of generating and, at first hearing, surprising. His path led here from the dramatic pictorial illustration year later, he took on a further setting of the poem unmistakable moods with a few words. All this met of individual elements to the lyrical, musically unified (Third Version, D389). The restless piano figuration absolutely the requirements of musical setting. This is Ulrich Eisenlohr meaning of the poem as a whole. and the wider intervals of the melodic line suggest that naturally reflected in Schubert’s music; the Goethe We notice too, in this connection, at first the he was again broadly attempting a more dramatic settings are almost all easily accessible to the ‘prepared’ English version by Keith Anderson different versions of the same poems on the two CDs. accentuation of the music, but keeping strictly to the The first setting of Des Mädchens Klage (The Maiden’s strophic lay-out. Lament) is a breakneck gallop through the heights and Completely similar stages in development can be shallows of tempestuous and impulsive feeling, observed in the three settings of Der Jüngling am Bache common to Schubert and Schiller in their adolescence. (The Young Man by the Brook). The first version (D30) Highly dramatic, passages recklessly ignoring every is again through-composed, but in comparison with the rule of vocal writing alternate with sections of the first, probably earlier version of Des Mädchens Klage highest sensibility and tenderness. The metrical very much more clearly structured: Schubert gives the division of the poem, its strophic structure, is same music to the first pair of lines of all four stanzas, continuously disregarded and is cruelly sacrificed to the then continuing each of them differently. This impetuous flow of the music. In this respect we may successful early attempt at a pseudo-strophic structure hear the quite deliberate musical connection of the third while preserving the freedom of through-composition is and fourth stanzas; the poem would at this point, by the formally astonishing, even if the relatively harmless- change of persons speaking, have suggested a distinct sounding melody of the stanza openings may seem to us musical break. Nevertheless, here a young composer somewhat foreign to Schiller’s elegiac text. Instead responds to the text, having undertaken an Schubert surprises us at the end of the second stanza unmistakably demanding task, and in many passages (‘wecken in dem tiefen Busen …’ / ‘wake in the depths his music is actually and in the original sense of the of my heart’) with a dramatic break, the fearless word, overwhelming. gloominess of which would have done honour to a

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Maya Boog Franz Peter Schubert (1797-1828) Settings of poems by Schiller, Vols. 3 and 4 The Swiss soprano Maya Boog studied singing and church music in Lucerne, completing her training at the Cologne Musikhochschule in The two great classical writers of German literature, October 1814, a day generally seen as the birth-date of 1993, the winner of various awards, notably in the Barcelona Francisco Goethe and Schiller played, in very different ways, romantic German song, there had been eight Schiller Viñas Singing Competition. She made her début at the Municipal Theatre important rôles in Schubert’s career as a song settings, among them major works such as the already in Lucerne and also participated in the Zurich International Opera Studio. composer. Together with Schubert’s friend and admirer mentioned Leichenfantasie, D.7, or inspired monsters Her career has brought her engagements particularly in Baroque and Johann Mayrhofer they are also the poets most often set such as the first setting of Des Mädchens Klage, D.6 Mozart operas in Darmstadt, at the Komische Oper in Berlin, in among Schubert’s body of more than seven hundred (The Maiden’s Lament), after the first-born Hagars Mannheim, St Gallen and Drottningholm, in the Salzburg Mozart Week songs. Yet why did Schubert’s settings of Gretchen am Klage, D.5 (Hagar’s Lament), the earliest of the and with the Vienna Volksoper. In 2000 she took the title rôle in Rimsky- Spinnrade (Gretchen at the Spinning-Wheel), Erlkönig completed songs. Korsakov’s The Golden Cockerel at the Bregenz Festival, the following (The Erl King), and Heidenröslein (The Wild Rose) Schubert came across Schiller through another year making her début as Ilia in La clemenza di Tito and joining the Basel achieve worldwide fame far beyond the circle of composer, in whose works, during his schooldays, he Opera, where she has been seen as Pamina, Nanetta, Mélisande and dedicated song-lovers, while his settings of poems by could ‘revel the day long’, as his friend Josef von Spaun Semele, among other rôles. She has appeared in oratorio and in Lieder recitals throughout Europe and in 2000 Schiller such as Der Jüngling am Bache (The Young later reported. The Kleine Lieder und Balladen (Little made her American début at Ann Arbor in Bach’s St Matthew Passion. Man by the Brook), Thekla - eine Geisterstimme Songs and Ballads) of Johann Rudolph Zumsteeg (Thekla- A Phantom Voice), or his settings of the (1760-1802) appeared in seven volumes between 1800 famous ballads Die Bürgschaft (The Hostage) and Der and 1805, and they included, with settings of other Taucher (The Diver) until now bloom unseen, seldom poets, compositions on Schiller’s poems. In general finding their way into song recitals, although they can Zumsteeg seems to have played an important part in the in no way be regarded as inferior compositions? early Schubert choice of texts, since all the other poets If the two groups of Goethe and Schiller settings he chose for preference, Kosegarten, Matthisson, Lothar Odinius are compared, it may be seen that, although there are 61 Goethe, Claudius, Hölty, and Ossian, are represented in Goethe and 32 Schiller settings, the body of Schiller the early songs of Schubert. Above all Zumsteeg’s Lothar Odinius was born in Aachen and from 1991 to 1995 studied with Anke Eggers at the Berlin Hochschule der songs is altogether about the same in length. This is ballad settings with their strength of expression and Künste, graduating with distinction and attending master-classes with Ingrid Bjoner, Bernd Weikl, Alfredo Kraus because there are several different versions of fifteen illustrative directness inspired Schubert and offered him and Dietrich Fischer-Dieskau. He has collaborated with leading conductors in his concert career, and in poems, ranging from partial revisions to complete a challenge, since he consciously and deliberately chose performances for television and recording, and has participated in a number of major festivals, including Bad rewriting. By comparison nine of Goethe’s poems exist some texts that he set differently (and better) than his Hersfeld, Ludwigsburg, Schwetzingen, the Schleswig-Holstein Music Festival and the Mecklenburg-Vorpommern in different settings, and not a single one of musical predecessor. In this way Die Erwartung Festival, the Haydn-Festspielen Eisenstadt, the Schubertiade Feldkirch/ Hohenems, the BBC Promenade Concerts Mayrhofer’s. Then in the Schiller settings with the (Expectation), for example, looks directly to in London and the Edinburgh Festival. From 1995 to 1997 he served as a lyric tenor with the Brunswick ballads Der Taucher (Naxos 8.554740), Zumsteeg’s setting, and others perceptibly follow his Staatstheater, undertaking, among other rôles, those of Ferrando in Così fan tutte and Tamino in Die Zauberflöte. Leichenfantasie (Funereal Fantasy), and Klage der style of composition. Guest engagements took him to Bonn to sing Tamino, to Copenhagen to sing Charles Lindbergh in Kurt Weill’s Ceres (The Lament of Ceres) we have some of the Schiller and Zumsteeg were friends in their Der Lindberghflug, to Zurich for Alfonso in Schubert’s Alfonso und Estrella, and, in 2003, to the Salzburg longest Schubert songs. And finally there are, as a small younger days. Both were forced to become students at Mozartwoche to sing Ferrando. In 2004 he appeared in the world première of Mendelssohn’s Der Onkel aus addition to the songs, more than a mere curiosity, some Duke Karl Eugen of Württemberg’s Military Academy; Boston, and at the Berlin Komische Oper in Hans Zender’s Don Quijote. His many recordings are testimony to the early settings of verses from Schiller’s poems Elysium, they also later enjoyed friendly contact, and Schiller breadth of his repertoire and the distinction of his career. Der Triumph der Liebe (Love’s Triumph), texts after knew Zumsteeg’s settings well and valued them. How Confucius, and so on, which were written as Terzette as would he have reacted if he had heard Schubert’s songs part of his composition lessons with Salieri. Besides, based on his poems? Like Goethe, who met Schubert’s Schiller was, much more than Goethe, Schubert’s initial settings of his poems with lack of understanding and inspiration as a composer of songs. Up to the indifference? He always said that music should follow composition of Gretchen am Spinnrade on 19th the texts, accompanying the words decently and

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Ulrich Eisenlohr THE DEUTSCHE SCHUBERT-LIED-EDITION The pianist Ulrich Eisenlohr is the artistic director of the Naxos Deutsche Schubert In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs which Lied Edition. He studied piano with Rolf Hartmann at the conservatory of music in he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Schubert’s) Heidelberg/Mannheim and Lieder under Konrad Richter at Stuttgart. Specialising in luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Goethe: the areas of song accompaniment and chamber music, he began an extensive concert A selection of German songs will constitute the beginning of this edition; it will consist of eight volumes. The career with numerous instrumental and vocal partners in Europe, America and Japan, first two (the first of which, as an example, you will find in our letter) contains poems written by your Excellency, with appearances at the Vienna Musikverein and Konzerthaus, the Berlin Festival the third, poetry by Schiller, the fourth and fifth, works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the Weeks, the Kulturzentrum Gasteig in Munich, the Schleswig-Holstein Music Festival, seventh and eighth contain songs by Ossian, whose works are quite exceptional. Concertgebouw Amsterdam, Edinburgh Festival, the Frankfurt Festival, the The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 International Beethoven Festival Bonn and the Ludwigsburg Festival, among many songs, will be grouped according to the poets who inspired him, or according to the circle of writers, others. His Lieder partners include Hans Peter Blochwitz, Christian Elsner, Matthias contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. Görne, Dietrich Henschel, Wolfgang Holzmair, Christoph Pregardien, Roman Trekel, Fragments and alternative settings, providing their length and quality make them worth recording, and works for Rainer Trost, Iris Vermillion, Michael Volle, Ruth Ziesak and others. Ulrich Eisenlohr two or more voices with piano accompaniment will also make up a part of the edition. has also appeared in numerous broadcast productions, live concert recordings and Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages television tapings as well as recordings for leading record companies, of which several and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, his have been awarded major prizes, such as the German Record Critics’ Quarterly contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. Award, a Grand Prix International from the Académie du Disque Lyrique in Paris and the Classical Internet The entire edition is scheduled for completion by 2005. Thanks to the Neue Schubert Ausgabe (New Schubert Award. The conception and recording of all Schubert songs is by now an important focus of his artistic work. The Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the series is planned to be finished by 2006. Ulrich Eisenlohr has been a lecturer at the conservatories of music in performers have been able to benefit from the most recent research of the editorial team. For the first time, the Frankfurt and Karlsruhe and has conducted master-classes in Lied and chamber music in Europe and Japan, with listener and the interested reader can follow Schubert’s textual alterations and can appreciate the importance the singers such as Ruth Ziesak, Jard van Nes and Rudolf Piernay. He has served as assistant and accompanist for written word had for the composer. master-classes with Hans Hotter, Christa Ludwig, Elsa Cavelti, Daniel Ferro (Juilliard School, New York) and The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers Geoffrey Parsons. Since 1982 he has taught a Lieder class at the Mannheim Conservatory of Music. who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he believes, will stand the test of time.

Also available on Naxos: Deutsche Schubert Lied Edition Vol. 3 Goethe-Lieder, Vol. 1 Deutsche Schubert Lied Edition Vol. 1 An den Mond • Der Fischer • Ganymed • Meeres Stille Winterreise Prometheus • Wandrers Nachtlied I & II a.o. Roman Trekel, Baritone Ulf Bästlein, Baritone / Stefan Laux, Piano. . .8.554665 Ulrich Eisenlohr, Piano...... 8.554471 Deutsche Schubert Lied Edition Vol. 4 Deutsche Schubert Lied Edition Vol. 2 Mayrhofer-Lieder, Vol. 1 Schwanengesang • Auf dem Strom • Herbst Der Alpenjäger • An die Freunde • Auf der Donau Lebensmut • Lieder on texts by Ludwig Rellstab Aus “Heliopolis” I & II • Der Hirt a.o. Michael Volle, Baritone / Ulrich Eisenlohr, Piano Cornelius Hauptmann, Bass Sjön Scott, Horn...... 8.554663 Stefan Laux, Piano...... 8.554738

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Deutsche Schubert Lied Edition Vol. 5 Deutsche Schubert Lied Edition Vol. 12 DEUTSCHE Die schöne Müllerin Mayrhofer-Lieder, Vol. 2 Christian Elsner, Tenor Erlafsee • Uraniens Flucht • Auflösung a.o. SCHUBERT-LIED-EDITION • 18 Ulrich Eisenlohr, Piano ...... 8.554664 Christiane Iven, Mezzo-Soprano Burkhard Kehring, Piano ...... 8.554739 Deutsche Schubert Lied Edition Vol. 6 Schiller-Lieder, Vol. 1 Deutsche Schubert Lied Edition Vol. 13 Der Alpenjäger • Der Kampf • Der Taucher a.o. Goethe Lieder, Vol. 2 SCHUBERT Martin Bruns, Baritone Lieder der Mignon • Gretchen-Lieder • Suleika I,II a.o. Ulrich Eisenlohr, Piano ...... 8.554740 Ruth Ziesak, Soprano • Ulrich Eisenlohr, Piano Christian Elsner, Tenor...... 8.554666 Schiller-Lieder, Vols. 3 and 4 Deutsche Schubert Lied Edition Vol. 7 European Poets, Vol. 1 Deutsche Schubert Lied Edition Vol. 14 Maya Boog, Soprano • Lothar Odinius, Tenor Ellens Gesänge • Lied des gefangenen Jägers, European Poets, Vol. 2 Normans Gesang • Lodas Gespenst a.o Edward • An Silvia • Vedi quanto adoro Ulrich Eisenlohr, Piano Ruth Ziesak, Soprano / Roman Trekel, Baritone Petrarca-Sonette a.o. Ulrich Eisenlohr, Piano...... 8.554795 Maya Boog, Soprano / W. M. Friedrich, Bass-Baritone Ulrich Eisenlohr, Piano...... 8.557026-27 Deutsche Schubert Lied Edition Vol. 8 Schiller-Lieder, Vol. 2 Deutsche Schubert Lied Edition Vol. 15 Die Bürgschaft • Gruppe aus dem Tartarus a.o. Schubert's Friends Vol. 2 Regina Jakobi, Mezzo-soprano Nacht und Träume, Wehmut, Vergißmeinnicht a.o. Ulrich Eisenlohr, Piano...... 8.554741 Brigitte Geller, Soprano Ulrich Eisenlohr, Piano...... 8.557171 Deutsche Schubert Lied Edition Vol. 9 Schubert’s Friends, Vol. 1 Deutsche Schubert Lied Edition Vol. 16 Schatzgräbers Begehr • Jägers Liebeslied a.o. Goethe Lieder Vol. 3 Markus Eiche, Baritone / Jens Fuhr, Piano. . . 8.554799 Erlkönig, Geheimes, Der Musensohn Johannes Kalpers, Tenor Deutsche Schubert Lied Edition Vol. 10 Burkhard Kehring, Piano...... 8.554667 Austrian Contemporaries, Vol. 1 Drang in die Ferne • Die Sterne • Am Fenster a.o. Deutsche Schubert Lied Edition Vol. 17 Christoph Genz, Tenor Austrian Contemporaries Vol. 2 Wolfram Rieger, Piano...... 8.554796 Die Allmacht, Das Heimweh, Der Unglückliche Detlef Roth, Baritone Deutsche Schubert Lied Edition Vol. 11 Ulrich Eisenlohr...... 8.557172 North German Poets Auf der Bruck • Im Frühling • Der Wanderer a.o. Hanno Müller-Brachmann, Bass-Baritone Ulrich Eisenlohr, Piano ...... 8.555780 2 CDs 8.557369-70 12 K Y M C

NAXOS SCHUBERT: Schiller-Lieder, Vols. 3 and 4 8.557369-70 h & g 2005 Naxos Rights International Ltd. Booklet notes in English

DDD Made in Canada 1:38:30 Playing Time

8.557369-70 www.naxos.com Neue 2:27 1:35 4:25 5:05 3:26 3:39 3:21 1:42 4:59 16:36 47:15 by Benjamin Chai † An den Frühling (2nd setting, 2nd version), D587 An den Frühling (1st setting), D283 An den Frühling (1st setting), Die Götter D677 Griechenlands, Des Mädchens Klage (1st setting), D6 Des Mädchens Klage (2nd setting, 1st version), D191 Des Mädchens Klage (3rd setting), D389 Klage der D323 Ceres, Thekla (eine Geisterstimme) (1st setting), D73 Thekla (eine Geisterstimme) (2nd setting, 1st version), D595 Thekla (eine Geisterstimme) D595 (2nd setting, 2nd version), 0 CD 2 1 2 3 4 5 6 7 8 9 1:54 3:00 5:32 4:50 3:36 3:03 (1797-1828) 18:52 10:28 Franz Peter 51:15 Schubert set the poetry of over of poetry the set Schubert He selected to music. writers 115 SCHUBERT • Lothar Piano • Ulrich Eisenlohr, Tenor* Odinius, † and from December 2nd to 4th, 2003 (CD 2) poets, and Heine. The Deutsche Schubert-Lied-Edition presents all Schubert’s all presents Schubert-Lied-Edition The Deutsche Heine. and poets, Johann Christoph Friedrich von Schiller (1759-1805) Johann Christoph Friedrich von Schiller (1759-1805) (New Schubert Edition), Tübingen, which uses primary sources, the performers have been the performers sources, uses primary which Tübingen, Edition), (New Schubert Biedermeier Biedermeier Produced and edited by Andreas Werner • Booklet Notes: Ulrich Eisenlohr • Booklet Notes: Ulrich Werner Andreas Produced and edited by Recorded at DRS, Zurich, Switzerland, from November 10th to 13th, 2004 (CD 1), Recorded at DRS, Zurich, Switzerland, from November Leichenfantasie, D7 Der Habsburg, D990 Graf von Der am Bache Jüngling (2nd setting), D192 Die Erwartung, D159 Das Geheimnis (2nd setting), D793 Der am Bache Jüngling (3rd setting, 1st version), D638 Der am Bache Jüngling (1st setting), D30 Das Geheimnis (1st setting), D250 Cover Painting: 3 4 5 6 7 8 CD 1* 1 2 Maya Boog, Soprano

The sung texts and English translations can be found at www.naxos.com/libretti/schiller-lieder.htm The sung texts and English translations can be found The Naxos Deutsche Schubert-Lied-Edition: Deutsche Naxos The authors, German eighteenth-century from the Renaissance, and Ages Middle the Greece, classical from poems Romantics, early Schubert-Ausgabe Schubert-Ausgabe poems by of settings of double album This editorial team. of the research recent the most benefit from able to as a composer inspiration and foremost first Schubert’s Schiller, triple double and focusses on the of songs, songs developed into the concentrated, form of the very early how the grand and exuberant settings, illustrating compositions. of the late structure economical extremely Lieder, overLieder, to Bärenreiter’s Thanks him. who inspired to the poets according 700 songs, grouped

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