Mozart US 16/4/08 11:10 Page 12

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Also available: MOZART 2 CDs Complete Songs Ruth Ziesak, Soprano • Lothar Odinius, Tenor Ulrich Eisenlohr, Piano With Ariane Lorch, Mandolin

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CD 1 53:40 CD 2 43:07 Ariane Lorch

1 Sehnsucht nach dem Frühlinge, KV 596* Die Zufriedenheit: Was frag ich viel nach Born in Berlin in 1974, Ariane Lorch started mandolin lessons at the age of six, later going on (Text: Christian Adolph Overbeck) 2:34 Geld und Gut, KV 349** to study the guitar, piano, singing and conducting. She studied music education, with 2 Der Frühling, KV 597** (Johann Martin Miller) mandolin her principal subject, at the Kassel Music Academy with Gertrud Weyhofen. She (Christian Christoph Sturm) 3:02 1 1. Version with mandolin accompaniment† 2:40 has won a number of prizes in international competitions as a mandolin-player, including, in 3 Das Kinderspiel, KV 598* (Overbeck) 1:47 2 2. Version with piano accompaniment 1:43 1993, first solo prize in the Jugend musiziert, first prize in 1996 at the Fifteenth International 4 Auf die feierliche Johannisloge, KV 148** Solo Competition for Mandolin at Kuwana, in Japan, and in 1998 an award from the German (Ludwig Friedrich Lenz) 2:19 3 An die Freude, KV 53* (Johann Peter Uz) 2:57 Music Competition. As conductor of the Brandenburg-Berlin Regional Youth Orchestra she 5 Lied zur Gesellenreise, KV 468** 4 Verdankt sei es dem Glanz der Großen, KV 392** was victorious in the 2001 Giacomo Sartori Competition at Ala, in Italy, and in 2004 took (Joseph Franz von Ratschky) 2:19 (Johann Thimotheus Hermes) 2:27 third prize in the Prague International Orchestral Competition. In 2006 she was prize-winner 6 Kantate: Die Ihr des Unermeßlichen Weltalls 5 Sei du mein Trost, KV 391* (Hermes) 2:43 in the special orchestral competition of the Union of German Orchestral Federations. Since Schöpfer ehrt, KV 619** 6 Ich würd auf meinem Pfad, KV 390** 1998 she has lived and worked in North Hesse. Together with her husband, the guitarist (Franz Heinrich Ziegenhagen) 6:47 (Hermes) 1:59 Wolfgang Lorch, she has published a four-volume children’s Mandolin School and comprehensive playing material 7 Wie unglücklich bin ich nit, KV 147* 7 Die Zufriedenheit: Wie sanft, wie ruhig fühl’ for children’s plucked-string orchestra. They both appear as the Duo Lorch. (author unknown) 0:55 ich hier, KV 473* ** (Weiße) 2:54 8 Komm, liebe Zither, komm, KV 351** † 8 Die Alte, KV 517* (Friedrich von Hagedorn) 3:17 (author unknown) 2:05 9 Die kleine Spinnerin, KV 531* (author unknown) 2:17 9 Die Verschweigung, KV 518* 0 Lied beim Auszug in das Feld, KV 552** (Christian Felix Weiße) 4:13 (author unknown) 1:42 Ulrich Eisenlohr 0 An Chloë, KV 524** (Johann Georg Jacobi) 2:30 ! Der Zauberer, KV 472* (Christian Felix Weiße) 2:12 Zwei deutsche Kirchenlieder, KV 343 The pianist Ulrich Eisenlohr is the artistic leader of Naxos Deutsche Schubert Lied Edition. @ Das Lied der Trennung, KV 519** (author unknown) He studied piano with Rolf Hartmann at the conservatory of music in Heidelberg/Mannheim (Klamer Eberhard Karl Schmidt) 4:51 ! O Gottes Lamm, dein Leben* 2:02 and Lieder under Konrad Richter at Stuttgart. Specialising in the areas of song accompaniment # Franz Schubert: Luisens Antwort, D.319* @ Als aus Ägypten Israel ** 1:38 and chamber music, he began an extensive concert career with numerous instrumental and (Ludwig Theobul Kosegarten/Franz Schubert) 3:08 vocal partners in Europe, America and Japan, with appearances at the Vienna Musikverein $ Die betrogene Welt, KV 474** # Des kleinen Friedrichs Geburtstag, KV 529* and Konzerthaus, the Berlin Festival Weeks, the Kulturzentrum Gasteig in Munich, the (Christian Felix Weiße) 3:17 (Johann Eberhard Friedrich Schall) 2:19 Schleswig-Holstein Music Festival, Concertgebouw Amsterdam, Edinburgh Festival, the % Als Luise die Briefe ihres ungetreuen $ Das Veilchen, KV 476* Frankfurt Festival, the International Beethoven Festival Bonn and the Ludwigsburg Festival,

Liebhabers verbrannte, KV 520* (Johann Wolfgang von Goethe) 2:38 Photo © Wolfgang Detering the European Music Festival Stuttgart among many others. His Lieder partners include Hans (Gabriele von Baumberg) 1:39 % Das Traumbild, KV 530** Peter Blochwitz, Christian Elsner, Matthias Görne, Dietrich Henschel, Wolfgang Holzmair, ^ Lied der Freiheit, KV 506** (Aloys Blumenauer) 2:20 (Ludwig Heinrich Christoph Hölty) 3:56 Christoph Pregardien, Roman Trekel, Rainer Trost, Iris Vermillion, Michael Volle, Ruth & Oiseaux, si tous les ans, KV 307* ^ Abendempfindung an Laura, KV 523* Ziesak among others. Ulrich Eisenlohr has also appeared in numerous broadcast productions, (Antoine Ferrand) 1:29 (Joachim Heinrich Campe?) 4:44 live concert recordings and television tapings as well as disk and CD recordings for leading record companies, of * Dans un bois solitaire, KV 308** & Einsam bin ich, meine Liebe, KV.Anh.26** which several have been awarded major prizes, such as the German Record Critics’ Quarterly Award, a Grand Prix (Antoine Houdart de la Motte) 2:52 (Fragment, author unknown) 1:12 International from the Académie du Disque Lyrique in Paris and the Classical Internet Award. The conception and ( Josef Mysliveãek (arr. Mozart): Ridente la calma, recording of all Schubert songs is by now an important focus of his artistic work. The series is planned to be finished KV 152* (author unknown) 3:19 by 2008. Ulrich Eisenlohr has been a lecturer at the conservatories of music in Frankfurt and Karlsruhe and has conducted master-classes in Lied and chamber music in Europe and Japan, with singers such as Ruth Ziesak, Jard *Ruth Ziesak, Soprano • **Lothar Odinius, Tenor van Nes and Rudolf Piernay. He has served as accompanist for master-classes with Hans Hotter, Christa Ludwig, Elsa Cavelti, Daniel Ferro (Juilliard School, New York) and Geoffrey Parsons. Since 1982 he has taught a Lieder †Ariane Lorch, Mandolin • Ulrich Eisenlohr, Piano (all tracks except †) class at the Mannheim Conservatory of Music.

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Ruth Ziesak Wolfgang Amadeus Mozart (1756-1791) Mozart’s songs - more than marginalia? The soprano Ruth Ziesak studied in Frankfurt am Main with Elsa Cavelti and began her singing career as a member of the Heidelberg Municipal Theatre. Success in several Mozart loved song and the human voice which he used as sweeping ballads which strongly impressed and competitions quickly paved the way for an international career. After her début at the German the predominant instrument of musical expression influenced the young Schubert. Yet the period of the song Opera on the Rhine Düsseldorf/Duisburg, her operatic career led her to Munich, Stuttgart, throughout his compositional career. Vocal works – as a vehicle for the expression of the personal, the Berlin, Dresden, Milan, Florence, Vienna, Paris, London and New York, among other places. eighteen completed operas and Singspiels, fifty arias with intimate and the romantically-lyrical lay far in the future. This multifaceted artist is also a much sought-after concert soloist, collaborating with leading orchestral accompaniment as well as songs for several So why did Mozart write songs anyway? To answer orchestras in Europe, the United States and Japan. She is a frequent guest at the festivals in voices, canons, eighteen Masses including the Requiem, this question it is helpful to look more closely at the Salzburg and Lucerne, Berlin and Frankfurt, at the Schleswig-Holstein Music Festival and the litanies, vespers, oratorios, cantatas and other sacred circumstances of their genesis. First of all there are the Photo © Anne Hoffmann BBC Proms. Ruth Ziesak has sung under under conductors including Herbert Blomstedt, works with voices – occupy a central place in his total external reasons; there were enquiries from music Daniele Gatti, Riccardo Muti, Kent Nagano, Riccardo Chailly, Heinz Holliger, Jun Märkl and output. It is not simply due to the fact that the easiest and publishers and almanacs (fourteen of Mozart’s songs Lothar Zagrosek and appears in song recitals throughout the world with Ulrich Eisenlohr and quickest path to fame for a composer of Mozart’s time were published in his lifetime), social events, for example Gerold Huber. was to write operas. Mozart was ambitious and Des kleinen Friedrichs Geburtstag (Little Frederick’s throughout his whole life wanted to be recognised as his Birthday), written for the hereditary Prince Friedrich von talent and the quality of his work merited. This outward Anhalt-Dessau, Lied beim Auszug in das Feld (Song drive was allied to the indispensable creative need that Upon Departure for Battle), composed on the occasion of impels every artistic genius to produce work restlessly the Turkish campaign under Emperor Joseph ll and and constantly. In a short life-span of little more than commissions and requests from friends and Lothar Odinius thirty years this resulted in one of the most astonishing acquaintances - “Pieces for Friends” as Mozart used to and most complete artistic outputs in the history of call them. Then there were works written in connection The tenor Lothar Odinius studied in Berlin and was awarded the Orpheus Prize for best vocal mankind. with his activities as a freemason - Auf die feierliche newcomer in 1995. Thereafter he appeared in the main rôles of his repertoire on stages in Within this œuvre are about thirty songs which are Johannisloge (At the ceremonial Johannes-Lodge) and Europe and abroad. He has been heard in Mozart’s Così fan tutte, Die Zauberflöte, La clemanza only of peripheral importance, probably accidental by- Lied zur Gesellenreise (Song for the Initiate’s Journey), di Tito, Lucio Silla and Idomeneo, and has also sung in Schubert’s Alfonso und Estrella under products of a huge building-site from which other for example. the baton of Nikolaus Harnoncourt and in Kurt Weill’s Lindberghflug at the Royal Opera projects were created. The genre of the piano- The two songs with French texts, Oiseaux, si tous les Copenhagen. A remarkable interpreter of baroque and classical repertoire, Lothar Odinius accompanied solo art-song was in its infancy. Works of ans (Birds, if every year…) and Dans un bois solitaire (In performs regularly with renowned conductors, including Philippe Herreweghe, Neville the so-called Second Berlin Lieder School, written by the a solitary wood) were written for the exceedingly Marriner, Adam Fischer, Helmuth Rilling, András Schiff, Carl St. Clair, Bruno Weil and Franz composers Abraham Peter Schulz, Johann Friedrich attractive Gustl Wendling, daughter of the Mannheim

Photo © Hans Jörg Michel Welser-Möst. He is a sought-after Lied singer and has given recitals at the Schubertiade Reichardt and Karl Friedrich Zelter, were devoted more flautist Johann Baptist Wendling, who gave Mozart the Feldkirch, as well as in Paris, Cologne, Dortmund, Basel, Frankfurt, Heidelberg, Hamburg, the or less to the ideal of a folk-song-like simplicity, tailor- texts herself. She must also have been an excellent singer Schleswig-Holstein Music Festival, and at the International Beethovenfest Bonn. made for the cultural needs of an enlightened bourgeoisie for, according to Mozart, she sang one of the songs which demanded catchy and edifying songs for its salons ‘incomparably’. The wonderful song Das Traumbild and living-rooms. Yet other composers were (The Vision) is a very special kind of favour to a friend, experimenting and trying to do things differently. In his as is the no less inspired Als Luise die Briefe ihres Odes and songs to be sung at the piano, published in ungetreuen Liebhabers verbrannte (When Louisa burned 1785, Christoph Willibald Gluck, through his choice of the letters of her unfaithful lover). Mozart gave these two elaborate dramatic poems by Klopstock, and a complete songs to his friend Gottfried von Jacquin, whereupon subordination of the music to word-setting and metrical Jacquin published them under his own name, together verse, experimented with an ‘antique’ style. The Swabian with four of his own songs, and dedicated them to two of composer Johann Rudolf Zumsteeg on the other hand his countless girlfriends. Mozart had assigned him opted for a non-strophic, through-composed, form in his authorship expressly.

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But perhaps Mozart did not always need specific song for children. With its energetic glorification of Frederick’s Birthday) is a cheerfully sentimental birthday “…since death in particular is the true ultimate aim of our occasions to write songs. After his death his sister creatures and creation, its colourfulness and its avowedly serenade which stresses the extremely wholesome and life, so for a few years now I have got to know the true Nannerl pointed out that he had a certain sudden interest positive attitude to life, it anticipates somewhat Haydn’s endearing qualities of the birthday-boy by means of an best friend of man so well that his image holds no terrors in the genre: “We have collections of beautiful songs (i.e. great Creation. affectionate melody and a gently-flowing piano for me any more, only much reassurance and poems), written out in Mozart’s own hand as he came If the state of childhood is virtually sublimated and accompaniment. consolation.” This attitude to life comes out in Mozart’s across them, and occasionally he set them to music.” stylized in Sehnsucht nach der Frühling then in Das With the next three works we reach the real absolute setting of the poem, ascribed to Johann Heinrich Campe, Kinderspiel KV 598 (Children’s Games) it appears direct highpoint of Mozart’s small body of songs. In its without denying a certain apprehension and melancholy CD 1 and undisguised. The music is boisterous, breathlessly symbiosis of text and music Das Veilchen, KV 476 (The in the face of death. The poetic train of thought and high-spirited, almost over-excited and, if we are to Violet) is an especially accomplished total work of art - consequently the presentiment of death of the ‘lyrical Mozart wrote the first three songs on disc 1 in a single believe the accounts of Mozart’s temperament and his and unfortunately it is the only song by Mozart which has self’ grow from the “moon’s silver gleam”. The tears, like day, 14th January 1791. They were published by his pace of life, then this little song reveals the more natural, a text of literary substance. Because of that it has been pearls, of his friends commemorate his death and their friend Ignaz Alberti in a “Collection of songs for children the more personal Mozart. accidentally shoved into a “collection of German songs” empathy and sympathy build a bridge, in an all- and young friends”. Sehnsucht nach der Frühlinge, KV The following freemasonic songs inhabit an where the poem was even published erroneously under embracing way, between the living and the dead. This is 596 (Longing for Spring) attained the status of a folk- altogether different world. In December 1784 Mozart was the name of Johann Wilhelm Ludwig Gleims. One can so plausibly and movingly realized through a song and so became perhaps the best-known of all admitted to the Masonic lodge Zur Wohltätigkeit (To only speculate as to why Mozart did not seek out lyrics of characteristically falling seventh, which is heard in the Mozart’s works. Its character is so childlike, serene and Beneficence) and he remained faithful to Masonic circles quality. He sought poems less for their inspiration or voice at the beginning of the song („…der Mond strahlt carefree and so perfect in its compositional structure. In to the end of his life. He was profoundly influenced by, artistic challenge and more as a trigger for pure musical Silberglanz“ / “…the moon casts a silvery gleam”) and its recurring melody and harmony it conforms precisely and attracted to, the predominantly liberal and spiritual composition. Das Veilchen demonstrates to us what could which pervades the whole work right up to “the jewel in to what a composition lesson would epitomize as an attitudes, as well as the cult of friendship, which he found have been had Mozart only involved himself with Goethe my crown” at the end. Formally and as regards the text, exemplary ‘simple song-form’. Yet at the end is an there. or with other poets of his calibre. It is a perfect song, cast the poem and the song are related to the ‘limelight’ arias unmistakeable stroke of genius: a witty piano postlude in Mozart wrote Auf die feierliche Johannisloge, KV in the form of a dramatic scene, which shows all the of baroque opera, in which the singer, in a kind of ritornello form which breaks up and counteracts the 148 (At the Ceremonial Johannes-Lodge) and Lied zur qualities of the highest art of characterization: the moralising lecture or personal request, addressed the formality of what had gone before with amusing staccati, Gesellenreise, KV 468 (Song for the Initiate’s Journey) sensitive theme of the violet, which begins unassumingly public directly: „Schenk auch Du ein Tränchen mir“ cheeky little embellishments and a lively country dance to for Masonic gatherings. These works were not written but ends in a powerful and manly fashion (the theme (“Shed a little tear for me”). Yet this speech is far end with. Any number of second-rate composers of the with any high artistic ambition but were designed to be belongs also to the young man in love), the dancing motif removed from the demonstrative gesture of the tradition; eighteenth century could have written the first part of the within the capabilities of the assembled company when it of the shepherdess, whose glorious song we hear in the rather, it marks a huge step forward to the spiritualised song but the ending is pure Mozart. He re-used the sang. The first is chorale-like and its final line is to be piano interlude, the dramatic intensification up to the dialogue - or monologue - of the ‘lyrical self’ and it opens melody of the song in the final movement of his last repeated by the brothers singing together. The second he catastrophe of the trampling underfoot of the violet, the the door wide on the romantic song. piano concerto, though in that context it was imbued with wrote for the initiation of a brother into the Masonic sympathetic commentary of the narrator („…das arme The closing song fragment Einsam bin ich, meine different tonal qualities and emotional undertones. It order; it is highbrow in tone, with an extended self- Veilchen…“ / “…the poor violet…”), the rounding off, Liebe, KV 26 Appendix (I am lonely, my love) is, in spite shows that Mozart did not regard yearning in a naïvely contained introduction and postlude. The instruction: yet at the same time distanced, ending - all this is perfect of its brevity, an estimable piece of music. The grief, childish or unrefracted way but rather as full of “with organ or piano accompaniment” shows us that, as and indispensable, right down to the smallest note. expressed in just a few notes, is actually profound. The ambivalence and with that bitter-sweet expressiveness far as writing for a specific occasion was concerned, the Das Traumbild KV 530 (The Vision) is an elegiac eight bars have the effect of a short alarming revelation of which would later acquire such an important resonance in instrumental means was of secondary importance for and yearningly-tender love song. In its key, expression the darkest side of Mozart’s feelings. Here the the Romantic period. Mozart - the song had to fit the occasion and be played by and motivic details it is related to the Countess’s cavatina fragmentary form not only makes sense but is an element Der Frühling, KV 597 (The Spring) is on an whatever instrument was to hand, whether it be organ, from The Marriage of Figaro. Whether the vision in of what the form itself tells us. It appears meaningful and, altogether higher stylistic level: the dramatic opening, piano or harmonium. question can ever be found in reality the text and the so to speak, as the essence of the message of a work of with its solemn chords on the piano, the fanfare-like The composition Die Ihr des Unermeßlichen Weltalls music leave undecided. art: something is lacking, someone is lacking and the gap beginning of the vocal line, the alternation of diatonic and Schöpfer ehrt, KV 619 (You who honour the creator of Abendempfindung an Laura, KV 523 (Evening is not to be filled. chromatic harmonies, the dramatic pauses, the insistent the measureless universe) occupies a special place. Its thoughts of Laura) can possibly be regarded as Mozart’s organ pedal in the middle of the song and the virtuoso scale went beyond the scope of the song with piano most personal song composition. In a letter to his father in Ulrich Eisenlohr piano postlude all make this work more than merely a accompaniment; its form, with its alternations of 1787 Mozart had mentioned the subject of death thus: English version by David Stevens

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(Sophie’s Journey from Memel to Saxony). In these the old woman and her moaning and groaning, harping on recitative and aria, as well as the orchestral gestures of the For the music, at the start at least, sounds anything but pieces Mozart follows the type of “uplifting song” after about the now bygone good old days, by picking up on accompaniment, show it to be a sacred solo-cantata. unhappy; only at the word „schmachtend“ (“yearning”) the example of Carl Philipp Emanuel Bach. According to the concluding motif in the vocal line and speeding it up Franz Heinrich Ziegenhagen’s hymn puts an enlightened and at „Seufzern“ (“sighs”), at the mounting sorrows, are his biographer, Alfred Einstein, it was Mozart’s only and doubling the time in the piano postlude. All that is body of thought into the clothing of freemasonry. In fact, there musical figures which correspond to these excursion into the world of “sensibility” current at that absolutely masterly. many Masonic lodges of the second half of the eighteenth emotions. This is so, above all, at „…wenn ich an Dich time. The unusual performance indications (“Indifferent Die kleine Spinnerin, KV 531 (The Little Spinning- century were places in which the tenets of the denke“ (“when I think of you”), when the music suddenly and happy”, “Sad but collected”, “Moderato, in a walking Girl) is, like Des kleinen Friedrichs Geburtstag (Little Enlightenment - reason, tolerance, man’s self- changes character, becoming seemingly carefree and tempo”) indicate a corresponding response to the texts. In Frederick’s Birthday) and Das Kinderspiel (Children’s determination - were pondered, discussed and guarded, dancing elatedly. So we are touched by this early, the first song the philosophy of life of an enlightened and Games), close to the world of the Viennese Singspiel. It is and at the same time brought into line with a religiousness charming testament to a Mozartian song composition, but democratic body of thought of the European bourgeoisie - characterized by a lively declamatory vocal line moving founded on ethics. Of course a text that would allow we are left wondering about it. between modesty and self-awareness - is expounded : “It in regular quavers, and by a simple supporting piano believers to name a “creator of the measureless universe” Komm, liebe Zither, komm, KV 351 (Come, Dear is no shame to be small” it says. And, in a letter to his accompaniment with a witty and pointed prelude and as Jehova, God, Fu or Brahma, would have no place in a Zither, Come) is a musical precursor of Don Giovanni’s father in 1778, Mozart wrote in similar vein: “The heart postlude which represent here the laborious getting- Christian church. Nevertheless, or perhaps even because serenade “Deh vieni alla finestra”. The original mandolin ennobles mankind and although I am no Count perhaps I going, then the quick whirring, of the spinning-wheel. of that, Mozart was not held back from an intense accompaniment contributes marvellously to the discreet have more honour in me than many a Count”. Mozart’s The Lied beim Auszug in das Feld, KV 552 (Song emotional and compositional engagement by charm of this little song. music is simple, yet in no way subdued; rather it is clear, Upon Departure for Battle) can really be regarded as a Ziegenhagen’s sometimes very dramatic statements. Die Die Verschweigung, KV 518 (The Silence) and Der self-assured and has, in a certain sense, a didactic tone of commission. It was intended as propaganda for young Ihr des Unermeßlichen Weltalls Schöpfer ehrt, written in Zauberer, KV 472 (The Sorcerer) are based on poems by voice. Quite out of the ordinary is the pair of songs Sei du people to support the unpopular Turkish campaign of the few months before his death, at roughly the same time the ‘anacreontic’ poet Christian Felix Weiße. His texts, mein Trost and Ich würd auf meinem Pfad. Both Emperor Joseph II in 1788. Whether Mozart himself took as The Magic Flute, is surely one of the strangest and with their typical figures of the pastoral idyll, Damon and compositions deepen the “sensibility” of the poems to the commission and subject-matter entirely seriously is most surprising among Mozart’s vocal works. The Chloë, inspired Mozart to write two masterly miniatures. their very core, with a heavily-chromatic, musically- open to doubt, if the subtle and humorous music is introduction and first section of the piece teem with a In their musical form, and using only a few notes, these intractable form and a melancholic expression. anything to go by. The big pause between „... rief Joseph proselytizing zeal, changing to melodious insistence at two songs paint the delicate depictions of the situations Unusually, both songs are exactly thirteen bars long - seinen Heeren“ (“…Joseph summoned his armies”) and the humanistic appeal to the love of God and brotherly and qualities of the poems’ subjects. At the same time the evidence perhaps of a Mozartian number-symbolism? „sie eilten flügelschnell herbei“ (“they hurried quickly to love („Liebt mich in meinen Werken“ / “Love me in my music has enough flexibility to satisfy the varying Die Zufriedenheit, KV 473 (Contentment) („Wie him”) has the effect of an irritating delay in the alleged works”). The following Allegro („Zerbrechet dieses demands of the text of each verse. sanft, wie ruhig fühl“ / “How gentle, how peaceful I feel lightning-quick and eager drawing-up of the army, while Wahnes Bande“ / “Smash the bonds of this illusion”) is The final phrases of both poems are typical: Mozart here”) is virtually a big sister to the aforementioned song the violent and somewhat grotesque outburst right at the invested with a piquantly distinctive fanfare-like motif of sets the first of these („…und er ist jung, und sie ist with the same title. Its message is similar but, in its start of the piano postlude can be seen as having missionary zeal and then, in an almost Beethovenian fury, schön, ich will nichts weiter sagen“ / “…and he is young, mature, cantabile beauty, its rich harmony and fullness, subversive potential. moves on to the demand for iron („…das Menschenblut and she is pretty, I will say nothing more”) with an with its nine-bar introduction and three-bar postlude, the The Two German Church Songs O Gottes Lamm, bisher vergoss“ / “…that hitherto shed the blood of men”) unforgettable musical dash, with a postlude in the ‘galant’ music of this setting towers above its predecessor. dein Leben (O Lamb of God) and Als aus Ägypten Israel, to forge sickles. In a brilliant closing stretto the music style which, without actually saying anything, reveals Die Alte, KV 517 (The Old Woman) shows us a KV 343 (When out of Egypt), also owe their existence to a summons up the vision („…wahren Lebensglücks“ / everything. In the famous Der Zauberer (The Sorcerer) charmingly comic, even roughly-sketched, character- favour for a friend. The director of the première in Prague “…life’s true happiness”), when it is finally reached. In the rhythm and melody of the vocal part in the last line of study close to opera buffa. How Mozart portrays the of The Marriage of Figaro, which was a huge success for every bar it can be heard how ambitious and inspired verse is written in such a way that the decisive phrase of excitement of the funny old woman through short- Mozart, was also the choir-master of a parish church. It Mozart was as he embraced this text so whole-heartedly, the last verse (“Just then, by good luck, my mother came winded, upward-spiralling melodic motifs, as well as the was here that the songs were first sung and later were also a text which surely accorded with his own beliefs and by”) sounds almost inevitable, as though the mother’s almost identical repeated phrases emphasizing her know- published in a Prague song-book. In their simple choral which spoke to him from the heart. appearance was nothing more than welcome and wished- all manner; how he creates a powerfully didactic tone incarnation the songs were obviously not art-songs but The following group of love songs begins with an for by the young girl. And so the composer turns out to be with little rhythmic stretchings („…doch…“ / “…yet…”) were intended as functional music for the congregation of unprepossessing piece, just fifteen bars long - Wie an ironic commentator on Weiße’s poem and undermines and accelerations („…alles mit Bescheidenheit“ / “…all the church. Nevertheless one can admire in these songs unglücklich bin ich nit, KV 147 (How unhappy I am). It the strict moral ending with his music. with modesty…”) and even her gesture of the raised Mozart’s perfect harmonic and melodic structure. poses the problem: who wrote the text - perhaps even the An Chloë, KV 524 (To Chloë) brings together vitality, forefinger!; how, at the end of the verses, he caricatures Des kleinen Friedrichs Geburtstag, KV 529 (Little sixteen-year old Mozart himself? Is it meant seriously? enthusiastic exuberance and musical con brio. In this

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respect, as well as having the same basic key and motivic nothing operatic about it but serves emotional and of greed. The man who: “…can live happily by his For a long time the canzonetta Ridente la calma, KV parallels, it is closely related to one of Mozart’s most intensification and emphasis. hearth, for himself and not for others” is free of all these 152 (Smiling, tranquility fills my soul) was thought to be fascinating stage characters - Cherubino from The Luisens Antwort was set by Schubert, with obvious complications - and can easily be seen perhaps as a by Mozart. After his death his wife Constanze offered it Marriage of Figaro - and his aria “No sò piú cosa son, musical echoes of Mozart, which suggests that perhaps forerunner of today’s “singletons”. for publication as an original work of his, but recent cosa faccio” (“I don’t know where I am, what to do”). As Schubert even knew Mozart’s song. So the recording of Mozart wrote the two songs to French texts, Oiseaux, research indicates that the composition was from the pen in the opera, the subject here is earthly love, and Mozart’s Schubert’s song here makes literary sense and is si tous les ans, KV 307 (Birds, if every year…) and Dans of the Czech composer Josef Mysliveãek. Mozart met composition style shows an ambiguous/unambiguous text musically interesting. un bois solitaire, KV 308 (In a lonely wood) during his Mysliveãek in Bologna in 1772 and they became friends. in „Den berauschten Blick umschattet/eine düstre Wolke Die betrogene Welt, KV 474 (The Deceived World) stay in Mannheim in 1777/78. They are his first through- Since there exists in the National Library in Paris, under mir“ (“A dark cloud casts a shadow over my enchanted offers Mozart the possibility of composing a sharply- composed songs (i.e. not in a strophic form) and were Mysliveãek’s name, a version of this work for voice and gaze”). The words are separated from one another by theatrical and comedically-sarcastic characterization of written in the style of the ariettas usually found in French orchestra, with slight alterations and different opening irregular short pauses („Den berausch - ten Blick - situations and of people. „Der reiche Tor“ (“The rich opéra comique. The first tells of the birds of passage words, it is assumed that the extended version with piano umschattet - eine düst - re Wol - ke mir“); so there comes fool”) appears in a showy ascending scale and the which escape the winter, not only because of the bare accompaniment which appears today in all the Mozart into being an almost hectically-breathless, panting magnetic attraction of his wealth to Selimena is almost trees and the cold, but because it is in their nature only to song editions, is merely an arrangement by Mozart. expression which leaves one in no doubt at all as to what tangible in the following extended phrases. The „wackre love in the season of flowers. When this season is over, Whatever the truth of the matter, Ridente la calma is a sort of “dark cloud” this is. Then Mozart, again with the Mann“ (“duped man”) is accompanied by a well-behaved wherever they are they seek sunny climes elsewhere so wonderful, light, calm and carefree flowing cantilena, full last line of text, passes on to us a further frivolous point: regular cadential sequence, while on the other hand the that they can love all year round. The melody is oriented of Italian elegance and delicacy, which sings of the peace “And I sit next to you, exhausted but contented”. From „Stutzer“ (“dandy”) is characterized by affectedly strongly to linguistic declamation and the meaning of the of mind of a man in love. that Mozart stresses the line „Und ich sitze dann ermattet, chromatic ornamentation. The following magnificent text, the harmony, rhythm and form are pithily and aber selig neben dir“ (“And I sit exhausted but contented wedding celebration consists of murmuring trills and charmingly composed. The second song can be heard as a CD 2 next to you ...contented next to you”) increasingly slurred notes in the accompaniment, ending in accented dramatic scene and tells of a young man, wandering alone strongly and more demonstratively until the tiny word unisons. After a pregnant pause, the inevitable repentance through a forest, who unexpectedly happens upon Cupid Die Zufriedenheit, KV 349 (Contentment) („Was frag ich „neben“ (“next to”), which naturally provokes the limps behind, with pitiful sighs and dark minor-chord asleep under a tree. He approaches him carelessly to look viel nach Geld und Gut“ / “What need have I of money discreet question, where was he before, if not “next to” repetitions. Finally, the music is suspended over a at him - and sees in him the features of a beautiful but and property”) exists in two versions, one with piano her…? connecting cadence, parodying bel canto, into the unfaithful lover. But he lets slip a sigh, Cupid wakes and, accompaniment and the other with mandolin. Mozart Mozart’s Das Lied der Trennung, KV 519 (Song of cynically-happy refrain: “The world wishes to be furious at being so rudely disturbed, runs him through carefully adapted the vocal line to fit the differing Separation) and Schubert’s Luisens Antwort, D.319 deceived, so it will be deceived.” This farewell with one of his terrible arrows; for the rest of his life he characteristics of each instrument. The original, and (Louisa’s Answer) make a curious literary pair. The oft- celebration can be clearly heard; Mozart obviously will now have to languish at Sylvia’s feet and suffer for probably earlier, version for the mandolin is easier and repeated refrain “Perhaps Louisa will forget me for ever” agrees, in grim pleasure, with Weiße’s cynicism. having woken Cupid. Musically the piece is extremely more folk-song-like than the musically richer-sounding in the fifteen long elegiac verses of Klamer-Schmidt’s The protagonist of the next song, Als Luise die Briefe rich: between the lyrical opening and closing sections, in and later version for piano. poem Lied der Trennung is answered by Ludwig Theobul ihres ungetreuen Liebhabers verbrannte, KV 520 (When a dark, mysterious A flat major, a key extremely rarely An die Freude, KV 53 (To Joy) is Mozart’s earliest Kosegarten’s poem Luisens Antwort: “No, never, Louisa burned the letters of her unfaithful lover) has used by Mozart, the music changes from the sounding of extant song, written at the age of twelve. It is a basso William, Louisa will never forget you”, a declaration nothing literary to do with the aforementioned Louisa. the fateful sigh (“…un soupir m’échappe” / “…I let slip a continuo song, an unassuming, cheerful and relaxed repeated nineteen times in as many verses. In fact Das Mozart describes this Louisa in an effusive “forced-ride” sigh”) in a dramatic gesture, then in the form of an hymn of praise to joy but it has absolutely nothing in Lied der Trennung is a remarkable work. It begins as a through passionate despair, painful melancholy, burning orchestral accompanied recitative, then in a large-scale common with the exalted paean of Schiller and strophic song (which clearly allows the performers the jealousy and embittered lamentation in a graphic, intensification, building up to the catastrophe of the Beethoven. commendable option of shortening Klamer’s too urgently precise and insistent way. This song can be seen arrow-shot and the collapse of the victim. After a further Verdankt sei es dem Glanz der Großen, KV 392 (I numerous verses) then suddenly breaks out in the middle as a prime example of Mozart’s abiding interest in opera, short recitative section the whole work is rounded off in a thank the glory of the great), Sei du mein Trost, KV 391 into a through-composed section in order to return at the far removed from romantic introspection and much more slightly altered return of the opening music. Both songs (Be my comfort) and Ich würd auf meinem Pfad, KV 390 end to the strophic melody of the beginning. Furthermore akin musically to a dramatic stage monologue. testify to Mozart’s huge compositional ambition, here (I would go on my path) are all by Johann Timotheus this music testifies to Mozart’s powerful inner The Lied der Freiheit, KV 506 (Song of Freedom), completely achieved. Of Mozart’s antipathy to the French Hermes and form a literary as well as a musical unity. involvement. It sounds inwardly nervous and restless and written in the style of a folk-song, puts an end to the language - he once described it as: “…so dastardly The poems were written as interpolations in the then very its apparently musical theatricality throughout has palaver of the sorrows of love, of dependence on princes damnable for [setting to] music” - there is no sign. popular novel Sophiens Reise von Memel nach Sachsen

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CD 1 53:40 CD 2 43:07 Ariane Lorch

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Also available: MOZART 2 CDs Complete Songs Ruth Ziesak, Soprano • Lothar Odinius, Tenor Ulrich Eisenlohr, Piano With Ariane Lorch, Mandolin

8.557369-70 8.554666

Get this free download from Classicsonline! Kraus: German Songs: An mein Madchen (To My Girl), VB 87 Copy this Promotion Code NaxLMtrwne6B and go to http://www.classicsonline.com/mpkey/mgirl_main.

8.557900-01 12 CMYK NAXOS NAXOS

Mozartº loved the human voice, which he used as an instrument of musical expression throughout his compositional career from the age of six or seven. His Lieder, written largely in response to requests and commissions from acquaintances, friends and publishers deal with everyday subjects such as friendship and romance but also with social and political occasions such as the Emperor Joseph II’s Turkish

MOZART: campaign. Some were written in connection with Mozart’s activities as a freemason. Only one, the DDD MOZART: bitter-sweet Das Veilchen (The Violet) is set to the words of a major poet, Goethe. The many miniature masterpieces to be heard on this recording include Komm, liebe Zither, komm (Come, dear Zither), a 8.557900-01 musical precursor, with mandolin accompaniment, of Don Giovanni’s serenade Deh vieni alla finestra, the idyllic Der Zauberer (The Sorcerer) and the dramatically graphic Als Luise die Briefe ihres Playing Time ungetreuen Liebhabers verbrannte (When Louisa burned the letters of her unfaithful lover). 1:36:47

Complete Songs Wolfgang Amadeus Complete Songs MOZART (1756-1791) Complete Songs

CD 1 53:40 CD 2 43:07

Ruth Ziesak, Soprano www.naxos.com Disc made in Canada. Printed and assembled USA. Booklet notes in English &

Lothar Odinius, Tenor

Ulrich Eisenlohr, Piano 2008 Naxos Rights International Ltd. With Ariane Lorch, Mandolin

A co-production with DeutschlandRadio Kultur Includes Free Downloadable Bonus Track available at www.classicsonline.com. Please see inside booklet for full details. A detailed track list can be found on page 2 of the booklet The sung texts and translations can be accessed at www.naxos.com/libretti/557900.htm Recorded at the DeutschlandRadio Kultur Studio, Siemens Villa, Berlin Lankwitz, Germany, 8.557900-01 from 25th to 30th September, 2006, and from 12th to 14th February, 2007 8.557900-01 Producer and editor: Jens Schünemann • Engineer: Martin Eichberg • Booklet notes: Ulrich Eisenlohr Cover image: Still Life of Roses and Gladioli by Ellen Mary Rosenberg (19th century) (© Victoria Art Gallery, Bath and North East Somerset Council / The Bridgeman Art Library)