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DEUTSCHE Also available: SCHUBERT-LIED-EDITION • 33 SCHUBERT Part-Songs, Vol. 2 (Mehrstimmige Gesänge, Folge 2) Rubens • Schwarz • Jakobi • Danz • Wiedemann • Schäfer Ullmann • Bauer • Flaig • Schmidl • Ulrich Eisenlohr, Piano

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Franz Peter Gesualdo. has since developed a wide repertoire of oratorio and his first solo recording was devoted to cantatas by Bach, Telemann and Graupner. He has toured extensively throughout Europe, in Central and South SCHUBERT America and the Far East, and since 1997 has collaborated in Lieder repertoire with the pianist Jörg Schweinbenz. (1797-1828) Part-Songs, Vol. 2 Marcus Schmidl Markus Schmidl had his early training as a chorister at Regensburg Cathedral, going on to 1 Gott in der Natur (God in Nature), D. 757 (Kleist) 5:38 study at the Munich Musikhochschule with Raimund Grumbach and Wolfgang Brendel, and 2 thereafter working free-lance as a singer and arranger in Munich. In addition to appearances Der 23. Psalm, Op. 132, D. 706 (Transl. by ) 5:03 as a soloist he is particularly involved in ensemble work in various groups, including the 3 Das Leben (Life), D. 269 (Wannovius) 1:37 Stimmwerck Vocal Quartet. 4 La pastorella al prato (The shepherdess in the meadow), D. 513 (Goldoni) 2:00 5 Naturgenuß (Delight in Nature) (2nd setting), D.422 (Matthisson) 3:55 Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri (Contribution to the 50th jubilee celebrations of Herr Salieri), D. 407 (Schubert) Ulrich Eisenlohr 6 I. Gütigster, Bester, Weisester: Terzett, Sostenuto 2:17 7 II. So Güt’ als Weisheit strömen mild: Aria für Tenor, Andantino 2:03 Ulrich Eisenlohr studied at the conservatory of music in Heidelberg/Mannheim (Rolf 8 III. Unser aller Großpapa: Kanon für 3 Stimmen mit Coda 0:45 Hartmann, piano) and Lieder under Konrad Richter at Stuttgart. Specialising in the areas of song accompaniment and chamber music, he began an extensive concert 9 Licht und Liebe (Nachtgesang) (Light and Love: Night Song), D. 352 (M. von Collin) 4:26 career with numerous instrumental and vocal partners in Europe, America and Japan, with appearances at the Vienna Musikverein and Konzerthaus, the Berlin Festival 0 und Ödip (Antigone and Oedipus), Op. 6, No. 2, D. 542 (Mayrhofer) 5:32 Weeks, the Kulturzentrum Gasteig in Munich, the Schleswig-Holstein Music Festival, Concertgebouw Amsterdam, the Edinburgh Festival, Frankfurt Festival, ! Linde Weste wehen (Gentle west winds blow), D. 725 (fragment, Anonymous) 0:41 International Beethoven Festival Bonn and the Ludwigsburg Festival, among many

Photo: Wolfgang Detering others. He has collaborated with a number of leading singers in Lieder recitals and @ Kantate zum Geburtstag des Sängers Johann Michael Vogl has also appeared in numerous broadcasts, live concert recordings and television (Cantata for the Birthday of the Singer Johann Michael Vogl), D. 666 (Stadler) 9:45 transmissions, as well as in recordings for leading record companies, several of which have been awarded major prizes, including the German Record Critics’ Quarterly # Klage um Ali Bey (Lament for Ali Bey) (1st setting), D. 140 (Claudius) 4:34 Award, a Grand Prix International from the Académie du Disque Lyrique in Paris and the Classical Internet Award. The conception and recording of all Schubert songs for $ Gondelfahrer (The Gondolier) (2nd setting), Op. 28, D. 809 (Mayrhofer) 3:36 Naxos is now an important focus of his artistic work. The series will be finished in % 2009. The recording of Hugo Wolf’s complete songs is planned for the near future. Coronach (Totengesang der Frauen und Mädchen) Ulrich Eisenlohr has been a lecturer at the conservatories of music in Frankfurt and Karlsruhe and has conducted (Coronach: Dirge of the Women), Op. 52, No. 4, D. 836 (Scott/Storck) 5:32 master-classes in Lied and chamber music in Europe and Japan. He has served as accompanist for master-classes with Hans Hotter, Christa Ludwig, Elsa Cavelti, Daniel Ferro (Juilliard School, New York) and Geoffrey Parsons. ^ Bootgesang (Boat Song), Op. 52, No. 3, D. 835 (Scott/Storck) 4:04 Since 1982 he has taught a Lieder class at the Mannheim Conservatory of Music. & Ständchen (Serenade), Op. 135, D. 920 (Grillparzer) 5:49

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Marcus Ullmann THE DEUTSCHE SCHUBERT-LIED-EDITION

The lyric tenor was born in 1967 in Olbernhau near Dresden, and started In 1816 , together with his circle of friends, decided to publish a collection of all the songs which singing as a member of the Dresden Kreuzchor at the age of ten, thereafter studying with he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Schubert’s) Hartmut Zabel and Margaret Trappe-Wiel at the Hochschule für Musik in Dresden. Later he luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Goethe: studied with Dietrich Fischer-Dieskau in Berlin and with Marga Schiml in Karlsruhe. His A selection of German songs will constitute the beginning of this edition; it will consist of eight volumes. The early career brought engagements in various opera houses in Germany and abroad, and he first two (the first of which, as an example, you will find in our letter) contains poems written by your Excellency, has appeared successfully in most of the major Mozart rôles, in addition to staged versions the third, poetry by Schiller, the fourth and fifth, works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the of Bach’s and B Minor Mass and Haydn’s The Creation and The Seasons. seventh and eighth contain songs by Ossian, whose works are quite exceptional. He has appeared in concert as a soloist in North and South America and throughout Europe, The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 and has worked together with leading conductors, often performing with the Dresden songs, will be grouped according to the poets who inspired him, or according to the circle of writers, Kreuzchor, the Windsbach Knabenchor and the Thomanerchor Leipzig. As a recitalist, he contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. has been a guest at major festivals both in Germany and internationally. Most frequently he Fragments and alternative settings, providing their length and quality make them worth recording, and works for works together with Alexander Schmalcz and Camillo Radicke. Radio and television broadcasts as well as two or more voices with piano accompaniment will also make up a part of the edition. numerous recordings are evidence of his talent as a remarkable tenor. Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, his Thomas E. Bauer contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. The entire edition is scheduled for completion by 2010. Thanks to the Neue Schubert Ausgabe (New Schubert The Thomas Bauer was a chorister at Regensburg Cathedral, and studied under Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the Hanno Blaschke and Siegfried Mauser at the Munich Musikhochschule. He made his operatic performers have been able to benefit from the most recent research of the editorial team. For the first time, the début at the Prinzregententheater in Munich in 1997, going on to undertake leading rôles at the listener and the interested reader can follow Schubert’s textual alterations and can appreciate the importance the , the Ruhr Triennale and the Munich Biennale. He has worked together with a written word had for the composer. number of distinguished conductors, including , Jos van Immerseel, Ivan The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers Fischer, Markus Stenz, , Sigiswald Kuijken, Jos van Immerseel, and who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he Peter Ruzicka, with performances at the Philharmonic Halls of Munich and Berlin, at the believes, will stand the test of time. Leipzig Gewandhaus, the Vienna Konzerthaus, the Accademia di Santa Cecilia in Rome, the Amsterdam Concertgebouw, the Palais des Beaux Arts in Brussels, the Paris Cité de la Musique, the Teatro Solis in Montevideo, the Triphony Hall in Tokyo and in the Moscow Tchaikovsky Conservatory, among others. He has been awarded numerous prizes, including the Bavarian Federal Government and the Ernst von Siemens Music Endowment Fund. Other awards have come from the Paris Cité Internationale des Arts and the German Music Competition. For his excellent performances in the field of contemporary music, in 2003 he was awarded the first Schneider Schott Music Prize to be given to a vocalist. For his fine Lieder evening début in the old imperial city of Kyoto in Japan he received the 2003 Aoyama Music Award. Markus Flaig

Born in Horb am Neckar, Markus Flaig studied school and church music at the Freiburg im Breisgau Musikhochschule, going on to study singing with Beata Heuer-Christen and in the opera class of Gerd Heinz. He went on to further study with in Frankfurt am Main, until 2004, followed in 2006 with study under Carol Meyer-Bruetting in Frankfurt. Early appearances included rôles in Britten’s The Burning Fiery Furnace and Noyes Fludde, Purcell’s The Fairy Queen and collaboration in madrigals by Monteverdi and

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Franz Peter Schubert (1797-1828) Part Songs, Vol. 2, for Female, Mixed and Male Voices German contralto Ingeborg Danz studied with Heiner Eckels in Detmold, and as a student Schubert occupied himself with the genre of the mixed- while the piano repeats its opening bars in a slightly was awarded several prizes, with scholarships from the Deutscher Musikrat and Richard- voice part-song throughout the whole of his varied form. After a surprising modulation from the Wagner-Federation. Although she has appeared in opera, her main focus is on oratorio, compositional life; around 130 individual works, from solemn key of C major, the lighter, blazing D flat major concert and Lieder. She works closely with and the Internationale simple canons to straightforward homophonic (‘Die Himmel ohne Zahl … Sturm und donnerndes Bachakademie Stuttgart and and Philippe Herreweghe. She has movements, from elaborate part-songs with piano Gewölk’ / ‘The countless heavens … storm and thunder collaborated with leading conductors and orchestras and boasts a wide-ranging repertoire, accompaniment to cantatas in several parts with clouds’) is underpinned by menacing tremolos of the with a particular reputation for her performances of Bach. In Lieder she has appeared in soloists, chorus and orchestra all testify to that. The orchestra-like piano part, and the flashing lightning recital with , Christoph Prégardien and Olaf Bär, and with . Her German Schubert Song Edition presents, on three CDs, proceeds with impressive onomatopoeia through many recordings include discs devoted to the songs of Brahms, as well as recordings of all the songs with piano accompaniment which are to be individual voice parts. After a repetition of the opening major repertoire by Bach and Mozart in collaboration with Nikolaus Harnoncourt, Philippe performed with soloists (i.e. without chorus). Just as the bars of the song a short interlude leads into new Herreweghe and Helmuth Rilling. musical forms, as well as the themes of the songs in this expressive regions, for ‘Die Morgenröth’ ist wie ein genre, are many and diverse, so too are the Widerschein von seines Kleides Saum’/‘The dawn is Hildegard Wiedemann circumstances of the writing of individual only a reflection of the hem of his garment’) presents compositions. After his early studies under the tutelage gentler, lyrical, sounds and melodic variations; Hildegard Wiedemann studied classical voice with Thomas Moser and Sylvia Greenberg at of Schubert produced many part-songs, especially wonderful, following on from the the University for Music and Performing Arts in Munich, and attended master classes with either as works written to commission or as ‘social homophonic movement of the underparts, is the rising Helmut Deutsch and Céline Dutilly. The broad spectrum of her repertoire encompasses music’ for performance among his circle of friends or cantilena of the sopranos which provides the most works by Monteverdi, Telemann and Handel, contemporary works such as Miss acquaintances: surprise serenades to celebrate affecting moments of the work. Again, dramatic and Donniethorne’s Maggot by Peter Maxwell Davies, and the world première of Philippe birthdays, songs of thanksgiving for recovery from lyrical passages alternate. The last section of the first Schoeller’s dance opera Trans Warhol. In her Lieder recitals, she is accompanied by the illness, as theatrical entertainment, as drinking-songs part, ‘Er schilt, es fähret Feuer vom Felsen auf’/‘At his pianists Mizuko Uchida, Philip Meyers, Gilles Vonsattel, Ulrich Naudé and Kathrin Dasch. and songs for convivial gatherings. But there are also reproof, fire shoots up from the rock’, with its angrily Recently, Hildegard Wiedemann performed together with the pianist and composer Steffen simple part-songs, written for no particular reason, flaring melodic lines, ‘und Himmel und Meer Schleiermacher in the Musica Nova Series at the Gewandhaus in Leipzig. which merely owe their existence to the inspiration of a bebt’/‘and sea and sky tremble’ with its cowering poem having been read to the composer. downward movements, and the imposing polyphonic While Schubert’s numerous works for male-voice closing section (‘Lobt den Gewaltigen’…/‘Praise the Markus Schäfer ensembles were circulated widely, those for female Almighty’...) leaves us in no doubt that this is the God voices remained to a large extent unknown; yet in this of the Old Testament – all-powerful, inaccessible, Markus Schäfer studied singing and church music in Karlsruhe and in Düsseldorf, winning genre Schubert produced ambitious works of the fearsome. competitions in Berlin and Milan. His operatic début was with Zurich Opera, followed by the highest order. From them, among others, the first two At the same time the music makes us surmise that and the Düsseldorf Deutsche Oper am Rhein, where he was under songs on this recording, Gott in der Natur 1 (God in this was not Schubert’s view of God for it is written in contract until 1993. He has made guest appearances in major opera houses and festivals, with Nature), D. 757, and the 23rd Psalm 2 testify to that. such an imposing and sovereign manner, at once a particular focus on Mozart’s great tenor rôles and as the in Bach’s . He The first is in the form of a substantial cantata, whose abstract and impersonal. For clarification one could has collaborated with leading conductors in the opera house, concert hall, recording and contrasting musical sections flow into one another. The compare it with the solo song Die Allmacht, D. 852, broadcast studios. As a renowned Lieder interpreter, Markus Schäfer has performed at the

piano introduction, in triple time, makes use of a (Austrian Contemporaries Vol. 2, Naxos 8.557172) with Photo: Laurens Schäfer Schwarzenberg, at the Hugo-Wolf-Gesellschaft in Stuttgart and at the New powerful opening in unison, ‘grinding’ upwards which it is closely related thematically: here, too, the York Lincoln Center. His recordings include Lieder by Reger and Karg-Elert. dramatically, with mighty trills, followed by a sequence subject is God’s omnipotence, but described in the of chords ending with a solemn dotted-note context of the forces of nature; but Johann Ladislaus introduction to the entry of the voices in the formulaic Pyrker’s text goes one step further: ‘Doch kündet das repertoire of the ‘elevated’ manner of the Baroque and pochende Herz dir fühlbarer noch Jehovas Macht’/‘The Classical styles. The singers start their part in chords, beating heart tells you yet more clearly of Jehova’s

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Sibylla Rubens might …’. Here there is a direct connection between piano accompaniment; with some refinement the first God and man, an ‘accessibility’, and this circumstance tenors spice up the straightforward style of the song The German soprano studied singing at the Staatliche Musikhochschule in inspired Schubert, above all in its ample pathos, to write with occasional melismatas. In comparison with this, Trossingen and at the Hochschule für Musik in Frankfurt am Main. She participated in a much more pronouncedly personal and humane music. the solo version is in a pastoral 6/8 rhythm; the female numerous master-classes, and was a student of Irwin Gage’s class for Lieder interpretation Schubert’s setting of the 23rd Psalm, D. 706, was voice alternates chastely between sensibility and in Zurich. A much sought-after artist in Germany and abroad, she made her début with the written for the girls in the singing class of Anna virtuosity. So the multiple-voice version brings to bear, Deutsches Symphonie-Orchester Berlin (DSO) in Mendelssohn’s -Sinfonie under Fröhlich at the Vienna Conservatory. Anna was one of as it were, the prospect of the world of men onto the Vladimir Ashkenazy, returning for concerts of Schumann’s Scenes from Faust conducted by the four Fröhlich sisters who were so closely bound up exceedingly graceful and desirable shepherdess, while Marek Janowski. These appearances form only a part of a distinguished career that has with Schubert’s life and music, whose company he the solo character and charm of the girl ‘cantando in brought collaboration with leading conductors and in particular with Helmuth Rilling and often shared, and by whom his music was performed, libertà’, singing freely, takes centre stage. In both the Stuttgart Bach Academy. As a Lieder singer she had a great success with her first recital treasured and loved. Perhaps it is no exaggeration to versions, even so, the music leaves no doubt that this with Irwin Gage at the Ludwigsburger Schlossfestspiele in 1999, the beginning of a describe the work as altogether one of the most freedom is in no way constrained by boundaries. continuing collaboration with her former teacher in recitals in Barcelona, Amsterdam and beautiful psalm-settings ever written. The music is of a The second version of Naturgenuß 5 (Delight in Nuremberg. She won acclaim for her collaboration with in Hugo Wolf’s wonderful sweetness and purity, at the same time Nature), D. 422, after Matthisson, was written a year Italienische Liederbuch at the Schwarzenberg Schubertiade and in 2006 sang Schumann’s Myrten in Ludwigsburg. artless and intense, of pious religiosity, of an after the first (D. 188, Poets of Sensibility Vols. 1 and 2 Her recordings include Schumann Lieder and songs by Humperdinck. impregnable trust in God and hence producing a deep Naxos 8.557371-72) for solo voice of May 1815. But inner peace expressed in perfect musical form. In the this is a case of two completely different versions; Silke Schwarz process the music, in spite of its outward simplicity, compared with the strophic simplicity of the first attains great compositional refinement, and the version, the second, many-voiced version, is Silke Schwarz studied at the Freiburg Musikhochschule with Beata Heuer-Christen, Gerd demands made on the girl singers with regard to fundamentally more complex, as well as being through- Heinz and Hans-Peter Müller. In 1997 she won the Bruno Frey Prize for young musicians and intonation, togetherness and beauty of sound were composed. Each verse is provided with new or, at least, was a prize-winner in the 2000 Berlin VDMK Federal Singing Competition, taking first prize considerable: we must assume that Fräulein Fröhlich varied musical material. The melismatic, virtuosic, in 2001 in the Paula Salomon Lindberg Competition for contemporary and romantic song and had some outstanding singing students. upper voice is alternately accompanied and in the 2002 Würzburg Mozart Festival Competition, with further triumphs in Berlin and Das Leben 3 (Life), D. 269, for three women’s counterpointed by the underneath parts and the last Vienna, and scholarships and awards in Freiburg. She has appeared in international festivals parts, to a poem by Johann Christoph Wannovius, deals verse of the poem elicits from Schubert the favourite in Germany and abroad in a wide repertoire, with stage rôles ranging from Pamina in Die with thoughts of the inconsequential nature of our device in his songs for male voices of changing the Zauberflöte and Susanna in Le nozze di Figaro to Rosina in Rossini’s Il barbiere di Siviglia, temporal life (‘Das Leben ist ein Traum…’/‘Life is a tempo indication ‘mäßigen’ (moderately) to ‘etwas Mimì and Musetta in La bohème, Adina in Donizetti’s L’elisir d’amore and Rosario in dream’). Over a quasi-Baroque style piano geschwinden’ (somewhat faster) in triple time. Granados’s Goyescas. Her recordings include works by Mozart, Mahler and Rheinberger. accompaniment, also in three parts, the principal Klage um Ali Bey # (Lament for Ali Bey), heard sopranos and the simultaneously ‘fuguing’ underparts here in its first version D. 140 for vocal sextet, is to a Regina Jakobi convey tender melodic lines, alternating between great extent identical with the second version for solo ascending and descending, thus creating a striking voice (D. 496A, Poets of Sensibility Vol. 4 Naxos The mezzo-soprano Regina Jakobi was born in Mannheim and studied Music Education at musical impression of volatility and dreamlike 8.557569) which was probably written later. The solo the Mannheim Musikhochschule and Musicology at the University of Heidelberg and the unreality. version allows the singer much greater freedom to Free University of Berlin. She studied singing with Elsa Cavelti after receiving her diploma Schubert set four of the songs on this recording in express the vivid telling of the life and death stories of from the Basle Opera Studio and participated in master-classes with Laura Sarti in London versions for a single voice and also for several voices. the mameluke prince Ali Bey, who was murdered by and with Daniel Ferro at the Juilliard School in New York. From 1984 to 1992 she taught at The two versions of La pastorella al prato 4 (The his favourite, Abu Dahab, while the ensemble version the Schola Cantorum Basiliensis, often working together with René Jacobs, who gave her shepherdess in the meadow) are the first, D. 513, heard acquires its comical urgency through the collective opportunities for performance in Baroque opera. In 1991 she won first prize in the on this recording, and the second, for solo voice lamentations of the three wailing women. Both International Singing Contest of the Swiss Lyceum, followed by invitations for concerts and (D. 528, European Poets Vols. 1 and 2, Naxos treatments are very funny, the one on account of vocal recitals in Switzerland, Germany and elsewhere in Europe. Regina Jakobi has a 8.557026-27), which were probably written at the same Matthias Claudius’s earthy powers of expression, and repertoire that ranges from the Renaissance to the contemporary. She has collaborated in time.The version for multiple voices is in 2/4 time and the other through Schubert’s congenial, apparently numerous broadcasts and won particular praise for her performance with Ulrich Eisenlohr of the vocal part is set homophonically over a guitar-like simple, yet profoundly calculated setting. Schiller settings by Reichardt and Zumsteeg, precursors of Schubert. 8.570962 8 5 8.570962 570962 bk Schubert US 6/4/09 11:07 AM Page 6

Schubert eventually set Mayrhofer’s poem Der of reverence, gratitude and fondness, which the Antigone’s request to the gods to direct their lust for of Anna Fröhlich to celebrate the birthday of one of her Gondelfahrer $ (The Gondolier) in March 1824, first seeming routinely-business-like realization of the revenge on to her instead of on to her father remains girl pupils. On the day of the performance a piano was as a solo version (D. 808, Mayrhofer-Lieder Vol. 1 composition reflects, insomuch as those kinds of unanswered. As the blind Oedipus wakes, he recalls placed secretly under the window of the young recipient Naxos 8.554738) and then in D. 809, heard here, in a ‘prescribed’ protestation of thanks were not Schubert’s past glories and predicts his own death. In keeping with of the serenade and the song proved to be very popular version for four male voices. In their soundworlds both thing. On the other hand the Kantate zum Geburtstag the subject-matter Schubert composes in a ‘high style’; – albeit that it was not given in Schubert’s presence; he versions are closely related to each other but in respect des Sängers Johann Michael Vogl @ (Cantata for the Antigone’s monologue is written in a widely-arching had apparently ‘completely forgotten about it’. Even for of their formal layout and musical structure they are Birthday of the Singer Johann Michael Vogl), D. 666, arioso, while the old man’s vision is set as a kind of the second performance, which took place in the completely different; the solo version acts as a to a text by Schubert’s friend Albert Stadler, sounds orchestrally-accompanied recitativo accompagnato. Musikvereinssaal, Schubert had to be fetched from the preliminary study to the more expansive, fundamentally altogether more personal and more ambitious. Vogl, a The beauty of the few extant bars of the fragment ale-house to listen to it. All the same, we can assume more powerfully suggestive multi-voiced version. renowned opera-singer, co-discoverer and propagandist Linde Weste wehen ! (Gentle west winds blow), that Schubert knew that the Serenade was more than On 16th June 1816 Schubert noted in his diary: of Schubert’s genius as a composer of Lieder, had D. 725, to a text by an unknown author, gives us cause just felicitous. Grillparzer’s poem used the ‘trick’ of “After he had been in Vienna for fifty years and had become a father figure to Schubert over the years and to regret that, probably for external reasons, Schubert picking out as its central theme the whole process of the spent almost as long in imperial service (apart from was the most important singing partner to Schubert as did not finish this duet. Coronach (Totengesang der serenade, beginning with ‘zögernd, leise’/‘hesitantly, many other positions and function, Salieri had been piano accompanist to his own songs. The cantata was Frauen) % (Coronach: Dirge of the Women), D. 836, softly’ of the singer, straightening up at the knock on Kapellmeister to the royal court from 1788 to 1824) performed in celebration of Vogl’s 51st birthday in and Bootgesang ^ (Boat Song), D. 835, are two of the door to the room of her sleeping lover, the swelling Herr Salieri celebrated his jubilee; his Majesty awarded Steyr, the city of his birth, with Schubert both singing seven settings to poems from Walter Scott’s verse epic of the song, the ‘real’ serenade (‘Sucht einer Weiser him a gold medal, and invited many of his pupils, both and accompanying himself on the fortepiano. At the The Lady of the Lake, which Schubert composed in nah und ferne…’/‘Once a wise man sought near and far boys and girls. The compositions of his composition lines ‘Diese Berge sah’n dich blühen,/hier begann Dein 1825 and which was published as his Op. 52. In …’) up to the ‘creeping away’ at the end. Schubert pupils were produced in the order in which they came Herz zu glühen…’/‘These mountains saw you blossom; Schubert’s time The Lady of the Lake was much read conjures up from all this a piece of ‘light music’ of in, from the top down …”. here your heart began to glow …’ Vogl was, according and was extremely popular. The two quartets (the solo delicate airiness, with an ideal balance between Schubert too studied composition with Salieri, from to eyewitness accounts, ‘deeply moved’. In the third songs are in European Poets Vol. 1 Naxos 8.554795) catchiness and artistry, with perfect harmony in the 1812, and early on Salieri had recognized Schubert’s verse (‘Hier saht ihr Orestes scheiden…’/‘Here you are compact, expressive and powerful works. Coronach ratio between the solo and choral elements, and all this exceptional talent. When he produced his Beitrag zur saw Orestes depart’) several of Vogl’s signature rôles describes a lament over the corpse of a fallen friend and over a piano accompaniment which imitates the 50jährigen Jubelfeier des Herrn von Salieri 6-8 were performed at the Vienna Hofoperntheater, where comrade-in-arms in the Scottish Highlands, while plucking of a guitar. Such a composition, even within (Contribution to the 50th jubilee celebrations of Herr he was engaged until 1822. Gluck’s Iphigénie en Bootgesang is a warlike homage to Sir Roderick, the the context of the works of genius and richness of Salieri), D. 407, Schubert had long since distanced Tauride is one of the operas associated with him which leader of rebellious Scottish noblemen from the Schubert’s Lieder output, is unique. himself from his great teacher and was following his is still known today, while all the others have fallen into Highland Clan-Alpine in the rising against the Scottish own compositional path, even though he had not obscurity. King James V. Ulrich Eisenlohr renounced his wished-for and intended desire to have a The poem which underpins the duet Licht und Schubert wrote Ständchen & (Serenade), D. 920, to career as an opera composer, like Salieri. In the Liebe 9 (Light and Love), D. 352, from a tragic drama a text by his friend Franz Grillparzer, at the suggestion English version: David Stevens meantime, the production of well over 200 songs was by Matthäus von Collin, appeared there under the title right up his street and his complete catalogue of works Entfernter Gesang (Distant Song). Consequently in the middle of 1816 reveals about 450 compositions. Schubert begins with two long solos, first for the tenor, In his birthday music, however, Schubert showed then for the soprano, until the two separated lovers find himself to be unpretentious, perhaps smiling a little in a each other at last, as though in each other’s thoughts, distanced way, as though being back once again in the through the song: a moving moment of reunion, rôle of a pupil and writing a three-part cantata expressed musically by the coming together of the two comprising a trio, an aria and finally a canon – exactly voices at the end of the song. those forms which he had learned with Salieri and Antigone und Ödip 0 (Antigone and Oedipus), which he had perhaps practised and carried out to the D. 542, to a text by Mayrhofer, leads us into the sacred point of self-denial. grove at Colonus where the pair have fled from Thebes The obsequious and adulatory tone of the text – after the catastrophic revelation of Oedipus’s parricide Schubert’s own – perhaps expresses a lightly ironic sort and incest and where they found asylum with Theseus.

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Schubert eventually set Mayrhofer’s poem Der of reverence, gratitude and fondness, which the Antigone’s request to the gods to direct their lust for of Anna Fröhlich to celebrate the birthday of one of her Gondelfahrer $ (The Gondolier) in March 1824, first seeming routinely-business-like realization of the revenge on to her instead of on to her father remains girl pupils. On the day of the performance a piano was as a solo version (D. 808, Mayrhofer-Lieder Vol. 1 composition reflects, insomuch as those kinds of unanswered. As the blind Oedipus wakes, he recalls placed secretly under the window of the young recipient Naxos 8.554738) and then in D. 809, heard here, in a ‘prescribed’ protestation of thanks were not Schubert’s past glories and predicts his own death. In keeping with of the serenade and the song proved to be very popular version for four male voices. In their soundworlds both thing. On the other hand the Kantate zum Geburtstag the subject-matter Schubert composes in a ‘high style’; – albeit that it was not given in Schubert’s presence; he versions are closely related to each other but in respect des Sängers Johann Michael Vogl @ (Cantata for the Antigone’s monologue is written in a widely-arching had apparently ‘completely forgotten about it’. Even for of their formal layout and musical structure they are Birthday of the Singer Johann Michael Vogl), D. 666, arioso, while the old man’s vision is set as a kind of the second performance, which took place in the completely different; the solo version acts as a to a text by Schubert’s friend Albert Stadler, sounds orchestrally-accompanied recitativo accompagnato. Musikvereinssaal, Schubert had to be fetched from the preliminary study to the more expansive, fundamentally altogether more personal and more ambitious. Vogl, a The beauty of the few extant bars of the fragment ale-house to listen to it. All the same, we can assume more powerfully suggestive multi-voiced version. renowned opera-singer, co-discoverer and propagandist Linde Weste wehen ! (Gentle west winds blow), that Schubert knew that the Serenade was more than On 16th June 1816 Schubert noted in his diary: of Schubert’s genius as a composer of Lieder, had D. 725, to a text by an unknown author, gives us cause just felicitous. Grillparzer’s poem used the ‘trick’ of “After he had been in Vienna for fifty years and had become a father figure to Schubert over the years and to regret that, probably for external reasons, Schubert picking out as its central theme the whole process of the spent almost as long in imperial service (apart from was the most important singing partner to Schubert as did not finish this duet. Coronach (Totengesang der serenade, beginning with ‘zögernd, leise’/‘hesitantly, many other positions and function, Salieri had been piano accompanist to his own songs. The cantata was Frauen) % (Coronach: Dirge of the Women), D. 836, softly’ of the singer, straightening up at the knock on Kapellmeister to the royal court from 1788 to 1824) performed in celebration of Vogl’s 51st birthday in and Bootgesang ^ (Boat Song), D. 835, are two of the door to the room of her sleeping lover, the swelling Herr Salieri celebrated his jubilee; his Majesty awarded Steyr, the city of his birth, with Schubert both singing seven settings to poems from Walter Scott’s verse epic of the song, the ‘real’ serenade (‘Sucht einer Weiser him a gold medal, and invited many of his pupils, both and accompanying himself on the fortepiano. At the The Lady of the Lake, which Schubert composed in nah und ferne…’/‘Once a wise man sought near and far boys and girls. The compositions of his composition lines ‘Diese Berge sah’n dich blühen,/hier begann Dein 1825 and which was published as his Op. 52. In …’) up to the ‘creeping away’ at the end. Schubert pupils were produced in the order in which they came Herz zu glühen…’/‘These mountains saw you blossom; Schubert’s time The Lady of the Lake was much read conjures up from all this a piece of ‘light music’ of in, from the top down …”. here your heart began to glow …’ Vogl was, according and was extremely popular. The two quartets (the solo delicate airiness, with an ideal balance between Schubert too studied composition with Salieri, from to eyewitness accounts, ‘deeply moved’. In the third songs are in European Poets Vol. 1 Naxos 8.554795) catchiness and artistry, with perfect harmony in the 1812, and early on Salieri had recognized Schubert’s verse (‘Hier saht ihr Orestes scheiden…’/‘Here you are compact, expressive and powerful works. Coronach ratio between the solo and choral elements, and all this exceptional talent. When he produced his Beitrag zur saw Orestes depart’) several of Vogl’s signature rôles describes a lament over the corpse of a fallen friend and over a piano accompaniment which imitates the 50jährigen Jubelfeier des Herrn von Salieri 6-8 were performed at the Vienna Hofoperntheater, where comrade-in-arms in the Scottish Highlands, while plucking of a guitar. Such a composition, even within (Contribution to the 50th jubilee celebrations of Herr he was engaged until 1822. Gluck’s Iphigénie en Bootgesang is a warlike homage to Sir Roderick, the the context of the works of genius and richness of Salieri), D. 407, Schubert had long since distanced Tauride is one of the operas associated with him which leader of rebellious Scottish noblemen from the Schubert’s Lieder output, is unique. himself from his great teacher and was following his is still known today, while all the others have fallen into Highland Clan-Alpine in the rising against the Scottish own compositional path, even though he had not obscurity. King James V. Ulrich Eisenlohr renounced his wished-for and intended desire to have a The poem which underpins the duet Licht und Schubert wrote Ständchen & (Serenade), D. 920, to career as an opera composer, like Salieri. In the Liebe 9 (Light and Love), D. 352, from a tragic drama a text by his friend Franz Grillparzer, at the suggestion English version: David Stevens meantime, the production of well over 200 songs was by Matthäus von Collin, appeared there under the title right up his street and his complete catalogue of works Entfernter Gesang (Distant Song). Consequently in the middle of 1816 reveals about 450 compositions. Schubert begins with two long solos, first for the tenor, In his birthday music, however, Schubert showed then for the soprano, until the two separated lovers find himself to be unpretentious, perhaps smiling a little in a each other at last, as though in each other’s thoughts, distanced way, as though being back once again in the through the song: a moving moment of reunion, rôle of a pupil and writing a three-part cantata expressed musically by the coming together of the two comprising a trio, an aria and finally a canon – exactly voices at the end of the song. those forms which he had learned with Salieri and Antigone und Ödip 0 (Antigone and Oedipus), which he had perhaps practised and carried out to the D. 542, to a text by Mayrhofer, leads us into the sacred point of self-denial. grove at Colonus where the pair have fled from Thebes The obsequious and adulatory tone of the text – after the catastrophic revelation of Oedipus’s parricide Schubert’s own – perhaps expresses a lightly ironic sort and incest and where they found asylum with Theseus.

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Sibylla Rubens might …’. Here there is a direct connection between piano accompaniment; with some refinement the first God and man, an ‘accessibility’, and this circumstance tenors spice up the straightforward style of the song The German soprano Sibylla Rubens studied singing at the Staatliche Musikhochschule in inspired Schubert, above all in its ample pathos, to write with occasional melismatas. In comparison with this, Trossingen and at the Hochschule für Musik in Frankfurt am Main. She participated in a much more pronouncedly personal and humane music. the solo version is in a pastoral 6/8 rhythm; the female numerous master-classes, and was a student of Irwin Gage’s class for Lieder interpretation Schubert’s setting of the 23rd Psalm, D. 706, was voice alternates chastely between sensibility and in Zurich. A much sought-after artist in Germany and abroad, she made her début with the written for the girls in the singing class of Anna virtuosity. So the multiple-voice version brings to bear, Deutsches Symphonie-Orchester Berlin (DSO) in Mendelssohn’s Lobgesang-Sinfonie under Fröhlich at the Vienna Conservatory. Anna was one of as it were, the prospect of the world of men onto the Vladimir Ashkenazy, returning for concerts of Schumann’s Scenes from Faust conducted by the four Fröhlich sisters who were so closely bound up exceedingly graceful and desirable shepherdess, while Marek Janowski. These appearances form only a part of a distinguished career that has with Schubert’s life and music, whose company he the solo character and charm of the girl ‘cantando in brought collaboration with leading conductors and in particular with Helmuth Rilling and often shared, and by whom his music was performed, libertà’, singing freely, takes centre stage. In both the Stuttgart Bach Academy. As a Lieder singer she had a great success with her first recital treasured and loved. Perhaps it is no exaggeration to versions, even so, the music leaves no doubt that this with Irwin Gage at the Ludwigsburger Schlossfestspiele in 1999, the beginning of a describe the work as altogether one of the most freedom is in no way constrained by boundaries. continuing collaboration with her former teacher in recitals in Barcelona, Amsterdam and beautiful psalm-settings ever written. The music is of a The second version of Naturgenuß 5 (Delight in Nuremberg. She won acclaim for her collaboration with Thomas Quasthoff in Hugo Wolf’s wonderful sweetness and purity, at the same time Nature), D. 422, after Matthisson, was written a year Italienische Liederbuch at the Schwarzenberg Schubertiade and in 2006 sang Schumann’s Myrten in Ludwigsburg. artless and intense, of pious religiosity, of an after the first (D. 188, Poets of Sensibility Vols. 1 and 2 Her recordings include Schumann Lieder and songs by Humperdinck. impregnable trust in God and hence producing a deep Naxos 8.557371-72) for solo voice of May 1815. But inner peace expressed in perfect musical form. In the this is a case of two completely different versions; Silke Schwarz process the music, in spite of its outward simplicity, compared with the strophic simplicity of the first attains great compositional refinement, and the version, the second, many-voiced version, is Silke Schwarz studied at the Freiburg Musikhochschule with Beata Heuer-Christen, Gerd demands made on the girl singers with regard to fundamentally more complex, as well as being through- Heinz and Hans-Peter Müller. In 1997 she won the Bruno Frey Prize for young musicians and intonation, togetherness and beauty of sound were composed. Each verse is provided with new or, at least, was a prize-winner in the 2000 Berlin VDMK Federal Singing Competition, taking first prize considerable: we must assume that Fräulein Fröhlich varied musical material. The melismatic, virtuosic, in 2001 in the Paula Salomon Lindberg Competition for contemporary and romantic song and had some outstanding singing students. upper voice is alternately accompanied and in the 2002 Würzburg Mozart Festival Competition, with further triumphs in Berlin and Das Leben 3 (Life), D. 269, for three women’s counterpointed by the underneath parts and the last Vienna, and scholarships and awards in Freiburg. She has appeared in international festivals parts, to a poem by Johann Christoph Wannovius, deals verse of the poem elicits from Schubert the favourite in Germany and abroad in a wide repertoire, with stage rôles ranging from Pamina in Die with thoughts of the inconsequential nature of our device in his songs for male voices of changing the Zauberflöte and Susanna in Le nozze di Figaro to Rosina in Rossini’s Il barbiere di Siviglia, temporal life (‘Das Leben ist ein Traum…’/‘Life is a tempo indication ‘mäßigen’ (moderately) to ‘etwas Mimì and Musetta in La bohème, Adina in Donizetti’s L’elisir d’amore and Rosario in dream’). Over a quasi-Baroque style piano geschwinden’ (somewhat faster) in triple time. Granados’s Goyescas. Her recordings include works by Mozart, Mahler and Rheinberger. accompaniment, also in three parts, the principal Klage um Ali Bey # (Lament for Ali Bey), heard sopranos and the simultaneously ‘fuguing’ underparts here in its first version D. 140 for vocal sextet, is to a Regina Jakobi convey tender melodic lines, alternating between great extent identical with the second version for solo ascending and descending, thus creating a striking voice (D. 496A, Poets of Sensibility Vol. 4 Naxos The mezzo-soprano Regina Jakobi was born in Mannheim and studied Music Education at musical impression of volatility and dreamlike 8.557569) which was probably written later. The solo the Mannheim Musikhochschule and Musicology at the University of Heidelberg and the unreality. version allows the singer much greater freedom to Free University of Berlin. She studied singing with Elsa Cavelti after receiving her diploma Schubert set four of the songs on this recording in express the vivid telling of the life and death stories of from the Basle Opera Studio and participated in master-classes with Laura Sarti in London versions for a single voice and also for several voices. the mameluke prince Ali Bey, who was murdered by and with Daniel Ferro at the Juilliard School in New York. From 1984 to 1992 she taught at The two versions of La pastorella al prato 4 (The his favourite, Abu Dahab, while the ensemble version the Schola Cantorum Basiliensis, often working together with René Jacobs, who gave her shepherdess in the meadow) are the first, D. 513, heard acquires its comical urgency through the collective opportunities for performance in Baroque opera. In 1991 she won first prize in the on this recording, and the second, for solo voice lamentations of the three wailing women. Both International Singing Contest of the Swiss Lyceum, followed by invitations for concerts and (D. 528, European Poets Vols. 1 and 2, Naxos treatments are very funny, the one on account of vocal recitals in Switzerland, Germany and elsewhere in Europe. Regina Jakobi has a 8.557026-27), which were probably written at the same Matthias Claudius’s earthy powers of expression, and repertoire that ranges from the Renaissance to the contemporary. She has collaborated in time.The version for multiple voices is in 2/4 time and the other through Schubert’s congenial, apparently numerous broadcasts and won particular praise for her performance with Ulrich Eisenlohr of the vocal part is set homophonically over a guitar-like simple, yet profoundly calculated setting. Schiller settings by Reichardt and Zumsteeg, precursors of Schubert. 8.570962 8 5 8.570962 570962 bk Schubert US 6/4/09 11:07 AM Page 4

Franz Peter Schubert (1797-1828) Ingeborg Danz Part Songs, Vol. 2, for Female, Mixed and Male Voices German contralto Ingeborg Danz studied with Heiner Eckels in Detmold, and as a student Schubert occupied himself with the genre of the mixed- while the piano repeats its opening bars in a slightly was awarded several prizes, with scholarships from the Deutscher Musikrat and Richard- voice part-song throughout the whole of his varied form. After a surprising modulation from the Wagner-Federation. Although she has appeared in opera, her main focus is on oratorio, compositional life; around 130 individual works, from solemn key of C major, the lighter, blazing D flat major concert and Lieder. She works closely with Helmuth Rilling and the Internationale simple canons to straightforward homophonic (‘Die Himmel ohne Zahl … Sturm und donnerndes Bachakademie Stuttgart and Collegium Vocale Gent and Philippe Herreweghe. She has movements, from elaborate part-songs with piano Gewölk’ / ‘The countless heavens … storm and thunder collaborated with leading conductors and orchestras and boasts a wide-ranging repertoire, accompaniment to cantatas in several parts with clouds’) is underpinned by menacing tremolos of the with a particular reputation for her performances of Bach. In Lieder she has appeared in soloists, chorus and orchestra all testify to that. The orchestra-like piano part, and the flashing lightning recital with Juliane Banse, Christoph Prégardien and Olaf Bär, and with James Taylor. Her German Schubert Song Edition presents, on three CDs, proceeds with impressive onomatopoeia through many recordings include discs devoted to the songs of Brahms, as well as recordings of all the songs with piano accompaniment which are to be individual voice parts. After a repetition of the opening major repertoire by Bach and Mozart in collaboration with Nikolaus Harnoncourt, Philippe performed with soloists (i.e. without chorus). Just as the bars of the song a short interlude leads into new Herreweghe and Helmuth Rilling. musical forms, as well as the themes of the songs in this expressive regions, for ‘Die Morgenröth’ ist wie ein genre, are many and diverse, so too are the Widerschein von seines Kleides Saum’/‘The dawn is Hildegard Wiedemann circumstances of the writing of individual only a reflection of the hem of his garment’) presents compositions. After his early studies under the tutelage gentler, lyrical, sounds and melodic variations; Hildegard Wiedemann studied classical voice with Thomas Moser and Sylvia Greenberg at of Antonio Salieri Schubert produced many part-songs, especially wonderful, following on from the the University for Music and Performing Arts in Munich, and attended master classes with either as works written to commission or as ‘social homophonic movement of the underparts, is the rising Helmut Deutsch and Céline Dutilly. The broad spectrum of her repertoire encompasses music’ for performance among his circle of friends or cantilena of the sopranos which provides the most works by Monteverdi, Telemann and Handel, contemporary works such as Miss acquaintances: surprise serenades to celebrate affecting moments of the work. Again, dramatic and Donniethorne’s Maggot by Peter Maxwell Davies, and the world première of Philippe birthdays, songs of thanksgiving for recovery from lyrical passages alternate. The last section of the first Schoeller’s dance opera Trans Warhol. In her Lieder recitals, she is accompanied by the illness, as theatrical entertainment, as drinking-songs part, ‘Er schilt, es fähret Feuer vom Felsen auf’/‘At his pianists Mizuko Uchida, Philip Meyers, Gilles Vonsattel, Ulrich Naudé and Kathrin Dasch. and songs for convivial gatherings. But there are also reproof, fire shoots up from the rock’, with its angrily Recently, Hildegard Wiedemann performed together with the pianist and composer Steffen simple part-songs, written for no particular reason, flaring melodic lines, ‘und Himmel und Meer Schleiermacher in the Musica Nova Series at the Gewandhaus in Leipzig. which merely owe their existence to the inspiration of a bebt’/‘and sea and sky tremble’ with its cowering poem having been read to the composer. downward movements, and the imposing polyphonic While Schubert’s numerous works for male-voice closing section (‘Lobt den Gewaltigen’…/‘Praise the Markus Schäfer ensembles were circulated widely, those for female Almighty’...) leaves us in no doubt that this is the God voices remained to a large extent unknown; yet in this of the Old Testament – all-powerful, inaccessible, Markus Schäfer studied singing and church music in Karlsruhe and in Düsseldorf, winning genre Schubert produced ambitious works of the fearsome. competitions in Berlin and Milan. His operatic début was with Zurich Opera, followed by the highest order. From them, among others, the first two At the same time the music makes us surmise that Hamburg State Opera and the Düsseldorf Deutsche Oper am Rhein, where he was under songs on this recording, Gott in der Natur 1 (God in this was not Schubert’s view of God for it is written in contract until 1993. He has made guest appearances in major opera houses and festivals, with Nature), D. 757, and the 23rd Psalm 2 testify to that. such an imposing and sovereign manner, at once a particular focus on Mozart’s great tenor rôles and as the Evangelist in Bach’s Passions. He The first is in the form of a substantial cantata, whose abstract and impersonal. For clarification one could has collaborated with leading conductors in the opera house, concert hall, recording and contrasting musical sections flow into one another. The compare it with the solo song Die Allmacht, D. 852, broadcast studios. As a renowned Lieder interpreter, Markus Schäfer has performed at the

piano introduction, in triple time, makes use of a (Austrian Contemporaries Vol. 2, Naxos 8.557172) with Photo: Laurens Schäfer Schubertiade Schwarzenberg, at the Hugo-Wolf-Gesellschaft in Stuttgart and at the New powerful opening in unison, ‘grinding’ upwards which it is closely related thematically: here, too, the York Lincoln Center. His recordings include Lieder by Reger and Karg-Elert. dramatically, with mighty trills, followed by a sequence subject is God’s omnipotence, but described in the of chords ending with a solemn dotted-note context of the forces of nature; but Johann Ladislaus introduction to the entry of the voices in the formulaic Pyrker’s text goes one step further: ‘Doch kündet das repertoire of the ‘elevated’ manner of the Baroque and pochende Herz dir fühlbarer noch Jehovas Macht’/‘The Classical styles. The singers start their part in chords, beating heart tells you yet more clearly of Jehova’s

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Marcus Ullmann THE DEUTSCHE SCHUBERT-LIED-EDITION

The lyric tenor Marcus Ullmann was born in 1967 in Olbernhau near Dresden, and started In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs which singing as a member of the Dresden Kreuzchor at the age of ten, thereafter studying with he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Schubert’s) Hartmut Zabel and Margaret Trappe-Wiel at the Hochschule für Musik in Dresden. Later he luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Goethe: studied with Dietrich Fischer-Dieskau in Berlin and with Marga Schiml in Karlsruhe. His A selection of German songs will constitute the beginning of this edition; it will consist of eight volumes. The early career brought engagements in various opera houses in Germany and abroad, and he first two (the first of which, as an example, you will find in our letter) contains poems written by your Excellency, has appeared successfully in most of the major Mozart rôles, in addition to staged versions the third, poetry by Schiller, the fourth and fifth, works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the of Bach’s St John Passion and B Minor Mass and Haydn’s The Creation and The Seasons. seventh and eighth contain songs by Ossian, whose works are quite exceptional. He has appeared in concert as a soloist in North and South America and throughout Europe, The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 and has worked together with leading conductors, often performing with the Dresden songs, will be grouped according to the poets who inspired him, or according to the circle of writers, Kreuzchor, the Windsbach Knabenchor and the Thomanerchor Leipzig. As a recitalist, he contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. has been a guest at major festivals both in Germany and internationally. Most frequently he Fragments and alternative settings, providing their length and quality make them worth recording, and works for works together with Alexander Schmalcz and Camillo Radicke. Radio and television broadcasts as well as two or more voices with piano accompaniment will also make up a part of the edition. numerous recordings are evidence of his talent as a remarkable tenor. Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, his Thomas E. Bauer contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. The entire edition is scheduled for completion by 2010. Thanks to the Neue Schubert Ausgabe (New Schubert The baritone Thomas Bauer was a chorister at Regensburg Cathedral, and studied under Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the Hanno Blaschke and Siegfried Mauser at the Munich Musikhochschule. He made his operatic performers have been able to benefit from the most recent research of the editorial team. For the first time, the début at the Prinzregententheater in Munich in 1997, going on to undertake leading rôles at the listener and the interested reader can follow Schubert’s textual alterations and can appreciate the importance the Salzburg Festival, the Ruhr Triennale and the Munich Biennale. He has worked together with a written word had for the composer. number of distinguished conductors, including Philippe Herreweghe, Jos van Immerseel, Ivan The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers Fischer, Markus Stenz, Krzysztof Penderecki, Sigiswald Kuijken, Jos van Immerseel, and who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he Peter Ruzicka, with performances at the Philharmonic Halls of Munich and Berlin, at the believes, will stand the test of time. Leipzig Gewandhaus, the Vienna Konzerthaus, the Accademia di Santa Cecilia in Rome, the Amsterdam Concertgebouw, the Palais des Beaux Arts in Brussels, the Paris Cité de la Musique, the Teatro Solis in Montevideo, the Triphony Hall in Tokyo and in the Moscow Tchaikovsky Conservatory, among others. He has been awarded numerous prizes, including the Bavarian Federal Government and the Ernst von Siemens Music Endowment Fund. Other awards have come from the Paris Cité Internationale des Arts and the German Music Competition. For his excellent performances in the field of contemporary music, in 2003 he was awarded the first Schneider Schott Music Prize to be given to a vocalist. For his fine Lieder evening début in the old imperial city of Kyoto in Japan he received the 2003 Aoyama Music Award. Markus Flaig

Born in Horb am Neckar, Markus Flaig studied school and church music at the Freiburg im Breisgau Musikhochschule, going on to study singing with Beata Heuer-Christen and in the opera class of Gerd Heinz. He went on to further study with Berthold Possemeyer in Frankfurt am Main, until 2004, followed in 2006 with study under Carol Meyer-Bruetting in Frankfurt. Early appearances included rôles in Britten’s The Burning Fiery Furnace and Noyes Fludde, Purcell’s The Fairy Queen and collaboration in madrigals by Monteverdi and

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Franz Peter Gesualdo. Markus Flaig has since developed a wide repertoire of oratorio and his first solo recording was devoted to cantatas by Bach, Telemann and Graupner. He has toured extensively throughout Europe, in Central and South SCHUBERT America and the Far East, and since 1997 has collaborated in Lieder repertoire with the pianist Jörg Schweinbenz. (1797-1828) Part-Songs, Vol. 2 Marcus Schmidl Markus Schmidl had his early training as a chorister at Regensburg Cathedral, going on to 1 Gott in der Natur (God in Nature), D. 757 (Kleist) 5:38 study at the Munich Musikhochschule with Raimund Grumbach and Wolfgang Brendel, and 2 thereafter working free-lance as a singer and arranger in Munich. In addition to appearances Der 23. Psalm, Op. 132, D. 706 (Transl. by Moses Mendelssohn) 5:03 as a soloist he is particularly involved in ensemble work in various groups, including the 3 Das Leben (Life), D. 269 (Wannovius) 1:37 Stimmwerck Vocal Quartet. 4 La pastorella al prato (The shepherdess in the meadow), D. 513 (Goldoni) 2:00 5 Naturgenuß (Delight in Nature) (2nd setting), D.422 (Matthisson) 3:55 Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri (Contribution to the 50th jubilee celebrations of Herr Salieri), D. 407 (Schubert) Ulrich Eisenlohr 6 I. Gütigster, Bester, Weisester: Terzett, Sostenuto 2:17 7 II. So Güt’ als Weisheit strömen mild: Aria für Tenor, Andantino 2:03 Ulrich Eisenlohr studied at the conservatory of music in Heidelberg/Mannheim (Rolf 8 III. Unser aller Großpapa: Kanon für 3 Stimmen mit Coda 0:45 Hartmann, piano) and Lieder under Konrad Richter at Stuttgart. Specialising in the areas of song accompaniment and chamber music, he began an extensive concert 9 Licht und Liebe (Nachtgesang) (Light and Love: Night Song), D. 352 (M. von Collin) 4:26 career with numerous instrumental and vocal partners in Europe, America and Japan, with appearances at the Vienna Musikverein and Konzerthaus, the Berlin Festival 0 Antigone und Ödip (Antigone and Oedipus), Op. 6, No. 2, D. 542 (Mayrhofer) 5:32 Weeks, the Kulturzentrum Gasteig in Munich, the Schleswig-Holstein Music Festival, Concertgebouw Amsterdam, the Edinburgh Festival, Frankfurt Festival, ! Linde Weste wehen (Gentle west winds blow), D. 725 (fragment, Anonymous) 0:41 International Beethoven Festival Bonn and the Ludwigsburg Festival, among many

Photo: Wolfgang Detering others. He has collaborated with a number of leading singers in Lieder recitals and @ Kantate zum Geburtstag des Sängers Johann Michael Vogl has also appeared in numerous broadcasts, live concert recordings and television (Cantata for the Birthday of the Singer Johann Michael Vogl), D. 666 (Stadler) 9:45 transmissions, as well as in recordings for leading record companies, several of which have been awarded major prizes, including the German Record Critics’ Quarterly # Klage um Ali Bey (Lament for Ali Bey) (1st setting), D. 140 (Claudius) 4:34 Award, a Grand Prix International from the Académie du Disque Lyrique in Paris and the Classical Internet Award. The conception and recording of all Schubert songs for $ Gondelfahrer (The Gondolier) (2nd setting), Op. 28, D. 809 (Mayrhofer) 3:36 Naxos is now an important focus of his artistic work. The series will be finished in % 2009. The recording of Hugo Wolf’s complete songs is planned for the near future. Coronach (Totengesang der Frauen und Mädchen) Ulrich Eisenlohr has been a lecturer at the conservatories of music in Frankfurt and Karlsruhe and has conducted (Coronach: Dirge of the Women), Op. 52, No. 4, D. 836 (Scott/Storck) 5:32 master-classes in Lied and chamber music in Europe and Japan. He has served as accompanist for master-classes with Hans Hotter, Christa Ludwig, Elsa Cavelti, Daniel Ferro (Juilliard School, New York) and Geoffrey Parsons. ^ Bootgesang (Boat Song), Op. 52, No. 3, D. 835 (Scott/Storck) 4:04 Since 1982 he has taught a Lieder class at the Mannheim Conservatory of Music. & Ständchen (Serenade), Op. 135, D. 920 (Grillparzer) 5:49

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DEUTSCHE Also available: SCHUBERT-LIED-EDITION • 33 SCHUBERT Part-Songs, Vol. 2 (Mehrstimmige Gesänge, Folge 2) Rubens • Schwarz • Jakobi • Danz • Wiedemann • Schäfer Ullmann • Bauer • Flaig • Schmidl • Ulrich Eisenlohr, Piano

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NAXOS SCHUBERT: Part-Songs, Vol. 2 8.570962

& 2009 Naxos Rights International Ltd. Booklet notes in English Disc made in Canada. Printed and assembled in USA. 67:17 DDD 8.570962

Playing Time www.naxos.com 4:34 3:36 5:32 4:04 5:49 5:38 5:03 1:37 2:00 3:55 4:26 5:32 0:41 9:45 5:05 4-6, 8, 12, 14, 16 1-3, 13, 15, 17 1, 2, 9, 10, 12, 15, 17 4-6, 8, 9, 11, 12, 14, 16 12, 4-6, 8, 9, 11, 4, 5, 14, 16 by Benjamin Chai Booklet Notes: Ulrich Eisenlohr , over the to according grouped songs, 700 Lieder • Ingeborg Danz, Alto • Ingeborg Danz, • Thomas E. Bauer, Bass Bass Thomas E. Bauer, • Kirsten Ermeler • • Silke Schwarz, Soprano • Silke Schwarz, Soprano Schubert set the poetry of over of poetry the set Schubert to music. writers 115 • Markus Schäfer, Tenor • Markus Schäfer, • Marcus Schmidl, Bass • Marcus (1797-1828) Franz Peter 17 10 4-8, 14, 16 Engineer: 1-3, 13, 17 SCHUBERT 1-3, 11, 13, 15, 17 13, 15, 1-3, 11, Part-Songs, Vol. 2 Vol. Part-Songs, Ulrich Eisenlohr, Piano Ulrich Eisenlohr, Friedrich von Matthisson (1761-1831) A complete track list can be found on page 2 of the booklet Markus Flaig, Bass Cover painting: A with Bayerischer Rundfunk • Executive producer: Pauline Heister co-production Regina Jakobi, Alto Regina Jakobi, Recorded at August-Everding-Saal, Grünwald, Germany, from 16th to 23rd April, 2008 from 16th to 23rd August-Everding-Saal, Grünwald, Germany, Recorded at Marcus Ullmann, Tenor Ullmann, Marcus Klage um Ali Bey (1.Bearbeitung), D. 140 (Claudius) Ali Bey (1.Bearbeitung), Klage um Der Gondelfahrer 809 (Mayrhofer) (2. Bearbeitung), Op. 28, D. der (Totengesang Coronach 836 (Scott/Storck) Frauen und Mädchen), Op. 52, No. 4, D. D. 835 (Scott/Storck) Bootgesang, Op. 52, No. 3, (Grillparzer) Ständchen, Op. 135, D. 920 Gott in der D. 757 (Kleist) Natur, Der D. 706 23. Psalm, Op. 132, 269 (Wannovius) Das Leben, D. 513 (Goldoni) al prato, D. La pastorella D. 422 (Matthisson) Naturgenuß (2.Bearbeitung), D. 352 (Collin) Licht und Liebe (Nachtgesang), No. 2, D. 542 (Mayrhofer) Antigone und Ödip, Op. 6, D. 725 (Anonymous) wehen, Weste Linde Vogl Sängers Johann Michael Kantate zum Geburtstag des (Der Frühlingsmorgen), D. 666 (Stadler) Beitrag zur fünfzigjährigen Jubelfeier (Schubert) des Herrn Salieri, D. 407 Sibylla Rubens, Soprano Sibylla Rubens, Soprano Hildegard Wiedemann, Alto Hildegard Wiedemann, 8 # $ % ^ & 1 2 3 4 5 9 0 ! @ Producer and editor: Jörg Moser • Producer and editor: Jörg -

The sung texts and English translations can be found at www.naxos.com/libretti/570962.htm The sung texts and English translations can be found 6

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SCHUBERT: Part-Songs, Vol. 2 Vol. Part-Songs, 8.570962 NAXOS