DOCSLIB.ORG

570067 Bk Schubert EU

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

557567 bk Schubert US 7/15/08 12:38 PM Page 8 Rainer Trost DEUTSCHE Rainer Trost studied in Munich with Adalbert Kraus. When he was 26, his international career as a SCHUBERT-LIED-EDITION • 28 Mozart tenor began in earnest, singing Ferrando in Paris, Amsterdam and Hamburg. Invitations followed to leading opera houses, with an increasing focus on Vienna, Salzburg and Munich. New productions in Salzburg and Munich and numerous concert and repertoire performances established him among the leading Mozart tenors of his generation. His current Mozart repertoire encompasses the rôles of Tamino, Ferrando, Belmonte, Don Ottavio, Idamante, and Tito. His busy schedule includes Mozart in Vienna and Munich, Alfonso (Cagliari), Fenton (Munich, Vienna), SCHUBERT Flamand (Paris, Amsterdam), Tamino (Tokyo, Munich, Athens, San Diego, Dresden), David in Die Meistersinger (Toulouse), Dionysus in The Bassarids, Der Graf von Luxemburg (Vienna), Jaquino (Valencia), Don Giovanni (Valladolid, Trieste), Tito (Leipzig), Leukippos (Amsterdam), Schubert’s Friends, Vol. 3 Trojahn’s La Grande Maggia and Belmonte (Dresden), Wiener Blut (Seefestspiele Mörbisch), Dionysos and Arbace (Munich), Walther (La Scala) and Schumann’s Der rose Pilgerfahrt in the Frauenkirche Dresden. Rainer Trost, Tenor • Ulrich Eisenlohr, Piano Ulrich Eisenlohr The pianist Ulrich Eisenlohr is the artistic leader of the Naxos Deutsche Schubert Lied Edition. He studied piano with Rolf Hartmann at the conservatory of music in Heidelberg/Mannheim and Lieder under Konrad Richter at Stuttgart. Specialising in the areas of song accompaniment and chamber music, he began an extensive concert career with numerous instrumental and vocal partners in Europe, America and Japan, with appearances at the Vienna Musikverein and Konzerthaus, the Berlin Festival Weeks, the Kulturzentrum Gasteig in Munich, the Schleswig- Holstein Music Festival, Concertgebouw Amsterdam, Edinburgh Festival, the Frankfurt Festival, the International Beethoven Festival Bonn and the Ludwigsburg Festival, the European Photo: Wolfgang Detering Music Festival Stuttgart among many others. His Lieder partners include Hans Peter Blochwitz, Christian Elsner, Matthias Görne, Dietrich Henschel, Wolfgang Holzmair, Christoph Pregardien, Roman Trekel, Rainer Trost, Iris Vermillion, Michael Volle and Ruth Ziesak among others. Ulrich Eisenlohr has also appeared in numerous broadcast productions, live concert recordings and television tapings as well as recordings for leading record companies, of which several have been awarded major prizes, such as the German Record Critics’ Quarterly 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 is by now an important focus of his artistic work. 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 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 class at the Mannheim Conservatory of Music. A co-production with DRS 8.557567 8 557567 bk Schubert US 7/15/08 12:38 PM Page 2 Franz Peter cantabile passages of the queen, in the eerie unison lodgings and the confiscation of his papers… It is also passages with the voice (Da trirr der Zwerg zur reported that his friends Schubert, from the Rossau, and SCHUBERT Königin / The dwarf goes towards the queen, drauf the law student Steinsberg, joined in the affray and (1797-1828) alsobald verghene ihr die Sinnen / and straightaway attacked the authorised official with verbal insults and loses her senses) and finally through the enormously swearing”. In the course of the so-called ‘Karlsbad Settings of poems by Schubert’s friends, Vol. 3 dramatic phrases of the bass-theme in its low register Resolutions’ surveillance, censorship and spying were (Doch musst zum frühen Grab du nun erblassen / You also the order of the day in Austria-Hungary. Senn had must turn pale before your early grave, Der Zwerg aroused suspicion and his lodgings were searched. As a 1 Fischerweise, D. 881 (Schlechta) 2:58 schaut an die Frai vom Tod befangen / The dwarf looks result of these events he was sent to prison for fourteen at the lady, trapped by death) which is incontrovertibly months and then banished to the Tyrol. His career was 2 Des Sängers Habe, D. 832 (Schlechta) 2:53 similar to the ‘fate’ motto-theme from Beethoven’s destroyed and Schubert never saw him again. Fifth Symphony. Drollery, a demonic nature and erotic The song Selige Welt (D. 743) (Blessed World) 3 Totengräber-Weise, D. 869 (Schlechta) 5:44 obsession find here a compelling musical form. with its feeling of “courage through despair” might The poem and composition of Abschied (Lebe perhaps give an impression, through Schubert’s music, wohl!...”) (D. 578) (Farewell to a Friend) are both a of Senn’s impetuous intransigence and absolute love of farewell and a ‘thank you’, and are addressed to freedom. With this work Schubert probably wanted to Mayrhofer-Lieder Schubert’s close friend Franz von Schober, in whose give a public declaration of solidarity with his banished 4 Geheimnis, D. 491 2:29 house Schubert lived for some time as a guest. Schober friend. By contrast, Schwanengesang (D. 744) (Swan had to leave Vienna in order to care for Austrian Song) is lyrical, infinitely tender and in a constant state 5 Einsamkeit, D. 620 17:38 soldiers wounded in France. In its sombre direct of flux between major and minor. It is at once expressiveness, this simple song is completely melancholy and comforting and is written in Schubert’s 6 Nach einem Gewitter, D. 561 2:23 convincing. dactylic “rhythm of death”. The touching epilogue, on On the subject of the already-mentioned Johann the universal symbolism of death, is also possibly a 7 Abschied, D. 475 4:23 Senn case could be read the following police statement metaphor for the enforced silence of his exiled friend. in Vienna in March 1820: “Report… on the obstinate 8 Der zürnenden Diana, D. 707 4:55 and slanderous behaviour of the suspect Johann Senn Ulrich Eisenlohr 9 which took place in the student fraternity building… on Nachtstück, Op. 36, No. 2, D. 672 4:37 the occasion of the search carried out by order on his English version by David Stevens 0 Herrn Josef Spaun, Assessor in Linz, D. 749 (Collin) 4:48 ! Der Jüngling auf dem Hügel, D. 702 (Heinrich Hüttenbrenner) 5:05 @ Der Zwerg, Op. 22, No. 1, D. 771 (Collin) 5:11 # Abschied, D. 578 (Schubert) 2:31 $ Selige Welt, D. 743 (Senn) 0:59 % Schwanengesang, D. 744 (Senn) 2:48 8.557567 2 7 8.557567 557567 bk Schubert US 7/15/08 12:38 PM Page 6 “Based on a pilgrim’s song”. Unfortunately the song is of styles alternating between the great heroic opera THE DEUTSCHE SCHUBERT-LIED-EDITION not well-known, a fact to which Schubert himself style of Gluck and the Italian bravura aria after Rossini, referred. Actually, echoes of pilgrims’ music can be full of faux-dramatic exaggeration. The success of the In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs which heard in the slow solemn motion and in the dropping undertaking was such that Spaun wrote to Vienna in a he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Schubert’s) thirds and horn-like fifths, so typical of wind music. letter claiming that they should not keep the latest news luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Goethe: Otherwise the music is imbued with a calm and moving from him - “the faithful distant one” – so the complaint A selection of German songs will constitute the beginning of this edition; it will consist of eight volumes. The sadness at the departure of a loved one. was rebutted with a counter-complaint. first two (the first of which, as an example, you will find in our letter) contains poems written by your Excellency, In complete contrast the song Der zürnenden Diana The song Der Jüngling auf dem Hügel (D. 702) the third, poetry by Schiller, the fourth and fifth, works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the (D. 707) (To the angry Diana) has an enormously (The Youth on the Hill) by Heinrich Hüttenbrenner one seventh and eighth contain songs by Ossian, whose works are quite exceptional. difficult piano part and, in its wide-ranging, almost could call less successful on account of its melodic The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 endless and highly expressive vocal lines, makes great paucity, with the opening section underpinned by the songs, will be grouped according to the poets who inspired him, or according to the circle of writers, demands on the singer. So the work goes right to the simplest of accompanying chords as well as the less contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. edge of “wanting too much”, above all in the long than convincing final phrase on the words da las er in Fragments and alternative settings, providing their length and quality make them worth recording, and works for second section (Den Sterbenden wird noch dein Bild den Sternen/der Hoffnung hohe Schrift (…then he read two or more voices with piano accompaniment will also make up a part of the edition. erfreuen / The image of you will give me pleasure, even in those stars a message of hope).
Recommended publications
  • Oddur Jónsson

    Oddur Jónsson

    ODDUR JÓNSSON Oddur Jónsson is a Britten-Pears Young Artist and one of the most significant vocal talents to have emerged from Iceland in a generation. He recently appeared as Michael in Daníel Bjarnason’s acclaimed new opera Brothers, an award-winning production staged by Kasper Holten, and was named Most Promising Artist at the 2015 Icelandic Music Awards. That same year Oddur made his Paris debut singing Mahler’s Das Lied von der Erde at the Palais Garnier in a new staging by John Neumeier. Roles at the Icelandic Opera have included Rodrigo in Don Carlo, Wolfram in Tannhäuser, Figaro in Il barbiere di Siviglia, the title role in Don Giovanni, Count Almaviva in Le nozze di Figaro, Guglielmo in Così fan tutte, Schaunard in La bohème, Belcore in L’elisir d’amore, Prince Yeletsky in Pique Dame, Ned Keene in Peter Grimes, Kaiser Overall in Ullmann’s Kaiser von Atlantis and Oreste in Gluck’s Iphigénie en Tauride. Oddur is a prizewinning oratorio and lieder singer. His oratorio repertoire includes Bach’s Passions, B minor Mass, Christmas Oratorio and cantatas including Ich habe genug and Ich will den Kreuzstab gerne tragen in addition to Handel’s Messiah and Solomon, Rossini’s Petite Messe Solennelle and Puccini’s Messa di Gloria. As a recitalist he has sung Schubert’s Winterreise and Schwanengesang, Mahler’s Lieder eines fahrenden Gesellen, Schumann’s Liederkreis and Brahms’s Liebeslieder Walzer. In 2014 Oddur was awarded the Lied, Oratorio Performer and Schubert Prizes at the Francesc Viñas Competition in Barcelona and in 2013 he won first prize in the International Brahms Competition in Pörtschach, Austria.
  • Schubert: the Nonsense Society Revisited

    Schubert: the Nonsense Society Revisited

    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Schubert: The Nonsense Society Revisited RITA STEBLIN Twenty years have now passed since I discovered materials belonging to the Unsinnsgesellschaft (Nonsense Society).1 This informal club, active in Vienna from April 1817 to December 1818, consisted mainly of young painters and poets with Schubert as one of its central members. In this essay I will review this discovery, my ensuing interpretations, and provide some new observations. In January 1994, at the start of a research project on Schubert ico- nography, I studied some illustrated documents at the Historisches Museum der Stadt Wien (now the Wienmuseum am Karlsplatz), titled “Unsinniaden.”2 The documents comprise forty-four watercolor pictures and thirty-seven pages of text recording two festive events celebrated by the Nonsense Society: the New Year’s Eve party at the end of 1817 and the group’s first birthday party on 18 April 1818.3 The pictures depict various club members, identified by their code names and dressed in fan- ciful costumes, as well as four group scenes for the first event, including Vivat es lebe Blasius Leks (Long live Blasius Leks; Figure 1), and two group scenes for the second event, including Feuergeister-Scene (Fire Spirit Scene; Figure 6 below).4 Because of the use of code names—and the misidentifi- cations written on the pictures by some previous owner of the
  • 6 a Büchsal Aufm Rücket 8 Abendlied 260 Abends 78 Abschied Vom Dirndel

    6 a Büchsal Aufm Rücket 8 Abendlied 260 Abends 78 Abschied Vom Dirndel

    — 434 — Inhalts-Verzeichnis. A Bleaml, das schön blühn soll ' 6 A Busserl ist a schnuckrig Ding . 7 A Büchsal aufm Rücket 8 Abendlied 7 260 Abends 78 Abschied vom Dirndel 270 Abschied nehmen, sagt er . ., ., ' 314 Abschied (Brüder sammelt euch) 51 Abschied (So leb denn wohl) 237 Ach, das Exmatrikulieren 9 Ach Gottes Segen 10 Ach' Gott, wie weh tut scheiden 314 Ach wie ists möglich denn 316 Alle Jahre wieder . 11 Alle Vögel sind schon da 13 Alles neu macht der Mai 12 Alles schweige, Jeder neige ernsten Tönen. - 14 Alles, was wir lieben, lebe 13 Alleweil fidel, fidel 432 Als der Großvater die ©ro&inuttex: nahm . : . 316 Als die Römer frech geworden 16 Ms einst der Mensch im Paradies ; 18 Ms ich an einem Nachmittag . - 20 Als ich an einem Somrnertag 318 Äls ich auf meiner Bleiche .x ' . 17 Als ich noch im Flügelkleide ..." • . 19 Als Noah aus dem Kasten war . 21 Als Wir 1870 22 Als wir jüngst in Negensburg 24 Alt Heidelberg, du feine . \ 25 Am Brunnen -vor dem Tore 26 Am Meer 372 Andreas Hofers Tod 362 Ännchen von Tharau . .• 11 An Alexis send ich dich 26 An das Deutsche Reich 427 Art das Baterland . • . 82 An dem schönsten Frühlings morgen 28 An den Mond 128 An den Rhein, an den Rhein . 29 An der Quelle wß der Knabe 30 An der Saale Hellem Strande 29 Au der Weichsel gegen Lsten 31 An die Freude IIS Bibliografische Informationen digitalisiert durch http://d-nb.info/572341970 — 435 — An Rose 271 Arbeit macht das Leben süß 32 Arm und klein ist meine Hütte 33 Auch ich war ein Jüngling 319 Auf, auf, ihr Brüder, hebt das Glas 430 Auf Bergen, da wehen die Winde so frisch 405 Auf, Brüder, auf, beginnt das Lied der'Weihe 412 Auf d' Alma gehn ma aufa 34 Auf de Berge lebt man frei ~ 35 Auf,bem Karzer lebt sichs fein 36 Aus dem Schlosse von Gradesco .
  • THROUGH LIFE and LOVE Richard Strauss

    THROUGH LIFE and LOVE Richard Strauss

    THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose.
  • Franz Schubert: Inside, out (Mus 7903)

    Franz Schubert: Inside, out (Mus 7903)

    FRANZ SCHUBERT: INSIDE, OUT (MUS 7903) LOUISIANA STATE UNIVERSITY, COLLEGE OF MUSIC & DRAMATIC ARTS FALL 2017 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Thursdays, 2:00–4:50 M&DA 273 office hours Fridays, 9:30–10:30 prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Blake Howe / Franz Schubert – Syllabus / 2 GENERAL INFORMATION COURSE DESCRIPTION This course surveys the life, works, and times of Franz Schubert (1797–1828), one of the most important composers of the nineteenth century. We begin by attempting to understand Schubert’s character and temperament, his life in a politically turbulent city, the social and cultural institutions that sponsored his musical career, and the circles of friends who supported and inspired his artistic vision. We turn to his compositions: the influence of predecessors and contemporaries (idols and rivals) on his early works, his revolutionary approach to poetry and song, the cultivation of expression and subjectivity in his instrumental works, and his audacious harmonic and formal practices. And we conclude with a consideration of Schubert’s legacy: the ever-changing nature of his posthumous reception, his impact on subsequent composers, and the ways in which modern composers have sought to retool, revise, and refinish his music. COURSE MATERIALS Reading assignments will be posted on Moodle or held on reserve in the music library. Listening assignments will link to Naxos Music Library, available through the music library and remotely accessible to any LSU student. There is no required textbook for the course. However, the following texts are recommended for reference purposes: Otto E.
  • Balman 1 Forrest Balman Dr. Ellison MUS 551 March 28Th, 2019 Franz

    Balman 1 Forrest Balman Dr. Ellison MUS 551 March 28Th, 2019 Franz

    Balman 1 Forrest Balman Dr. Ellison MUS 551 March 28th, 2019 Franz Schubert Arguably the composer who produced the largest quantity of work in proportion to his lifespan, Franz Schubert served an integral role in the history of Western music. According to Christopher H. Gibbs, author of The Cambridge Companion to Schubert, Schubert composed ​ ​ more than 1,500 works over the course of his short lifespan. Schubert’s principal focus was the composition of lieder, or German art songs, which comprised more than one third of his total catalog (Gibbs 21). Schubert’s songwriting epitomizes his importance as a transitional composer, whose compositional idioms projected what would become the musical norm well into the late 19th century. Despite never achieving the international acclaim of some of the other Austrian-born composers, such as Mozart and Haydn, Schubert was an idolic cultural figure in his community. According to Gibbs in an article titled The Life of Schubert, “During the early ​ ​ ​ 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as Schubertiads” (Gibbs 61). Although his music wouldn’t become a universally accepted part of the Western repertoire until after his death, Schubert’s musical contributions comment on his innovation and untamed creativity. Franz Peter Schubert was born in Vienna on January 31, 1797. His father, Franz Theodor Florian Schubert, was a Viennese schoolmaster, and his mother, Maria Elizabeth Katharina Vietz was a housemaid. Schubert demonstrated an innate talent for music early in his life. The first Balman 2 music instruction Schubert received were informal keyboard lessons from his elder brother, Ignaz Schubert.
  • Schubert's Late Style and Current Musical Scholarship

    Schubert's Late Style and Current Musical Scholarship

    Cambridge University Press 978-1-107-11129-5 — Schubert's Late Music Edited by Lorraine Byrne Bodley , Julian Horton Excerpt More Information Introduction: Schubert’s late style and current musical scholarship lorraine byrne bodley The theme of lateness When discussing Schubert’s ‘late’ works it is worth remembering that wearereferringtoacomposerinhislatetwenties.Whythen,dowe ascribe the classification ‘late’? And in what sense do we mean ‘late’? Istherenot,inallSchubert’s‘latemusic’,simplyanexperiencedcomposer’s calm and confident grasp of the tools of his trade? Or did Schubert’s knowledge that he was dying propel an early flowering of a ‘late’ style? If so, then how can we define this style as distinct from maturity? While Schubert scholars generally agree that the composer’s style changed, there is a distinct division in how we approach such questions, the contentious issuebeingwhetheritisevenviabletospeakoflatestyleinacomposerwho died so young. Behind this debate lies the biblical belief in the timeliness of human life, where ‘lateness’ is perceived as the final phase. But is ‘lateness’ always an indication of lateness in life, or can it emerge through a recognition that the end is near? In attempting to answer this question it is important to problema- tize the ways in which biology and psychology are often co-opted to explain the imprint composers left on their art. Goethe is often recognized as the progenitor of Alterstil (old-age style) as a positive phenomenon that involved a gradual withdrawal from appearances and a consequent approach to the infinite and mystical.1 From him we derive the attributes of non-finito, subjectivity and the blending of formal with expressive ele- ments that are still widely accepted as markers of late style, as is the perception that old age can lead to transcendence.
  • Culminating in a Concert at the Holywell Music Room on Saturday 27 October As Part of the 2018 Festival

    Culminating in a Concert at the Holywell Music Room on Saturday 27 October As Part of the 2018 Festival

    Residential Mastercourse for Singers & Pianists Sunday 21 October – Saturday 27 October 2018 culminating in a concert at the Holywell Music Room on Saturday 27 October as part of the 2018 Festival led by Wolfgang Holzmair with guest tutors Roger Vignoles, Eugene Asti, Helen Abbott, Véronique Gens, and Susan Manoff Course fee £550 per person Includes All tuition: 11 coaching sessions per duo Admission to Oxford Lieder Festival concerts 8 nights’ accommodation and all meals www.oxfordlieder.co.uk “ A wonderful opportunity for talented young musicians to immerse themselves in the world of song ” Sarah Walker CBE The Oxford Lieder Festival The Oxford Lieder Festival is now in its 17th year, and is firmly established as one of the most prestigious song festivals in Europe. Since 2002, Oxford has heard thousands of songs at hundreds of recitals, given by many of the world’s most sought-after artists as well as the finest of a new generation of exciting young talent. 2014’s Festival, The Schubert Project, featured the UK’s first ever complete performance of Schubert’s songs alongside a host of other works and cultural events, and won the Royal Philharmonic Society’s prestigious ‘Chamber Music & Song’ award. This year’s Grand Tour of song will celebrate the rich tapestry of music, words, and performance across the European continent, showcasing the pinnacles of the repertoire while exploring wider cultural and geographical influences. The deliberately wide focus embraces both the variety and the binding threads of music from Scandinavia to Spain and from Ireland to Russia. Schubert, Schumann, and the other great masters of German Lied brush shoulders with composers from Carl Nielsen to Ester Mägi to Lili Boulanger.
  • Franz Schubert Eine Sendereihe Von Christine Lemke-Matwey

    Franz Schubert Eine Sendereihe Von Christine Lemke-Matwey

    Sonntag, 18. Juli 2021 15.03 – 17.00 Uhr Franz Schubert Eine Sendereihe von Christine Lemke-Matwey Glauben ohne Pfaffen: Schuberts Verhältnis zur Kirche (3/21) „Ave Maria! Jungfrau mild, Erhöre einer Jungfrau Flehen, Aus diesem Felsen starr und wild Soll mein Gebet zu dir hinwehen. Wir schlafen sicher bis zum Morgen, Ob Menschen noch so grausam sind. O Jungfrau, sieh der Jungfrau Sorgen, O Mutter, hör ein bittend Kind!“ … mit diesen Versen des schottischen Dichters Walter Scott, in deutscher Übersetzung, begrüße ich Sie zu dieser Sendung. Eine Höhle, Vater und Tochter darin, ein feindlicher König davor, das ist hier die romantische Situation. Ellen, das Mädchen, die Tochter, bittet um Schutz für die Nacht, sie betet zur Jungfrau Maria. Schubert vertont das 1825, neben sechs anderen Gedichten von Scott, und mit diesem hier, Ellens drittem Gesang, gelingt ihm ein absoluter Hit. Hochzeiten, Beerdigungen: Bis heute ist dieses Lied nicht nur aus der Kirche nicht mehr wegzudenken, sondern auch aus unseren Fußgängerzonen und Wunschkonzer- ten nicht. Gesungen, gepfiffen, auf der Säge gesägt oder auf der Quetschkommode gespielt: diese Musik ist unverwüstlich. Und bleibt doch im Kern ein Gebet. „Glauben ohne Pfaffen: Schuberts Verhältnis zur Kirche“ - das soll heute mein Thema sein. 1 TELDEC CLASSICS Franz Schubert 6‘15 LC 06019 „Ellens Gesang III“ (Ave Maria) D 839 4509-90873-2 Barbara Bonney, Sopran Tr. 1 Geoffrey Parssons, Klavier (1994) Barbara Bonney und Geoffrey Parssons, mit „Ellens Gesang III“, besser bekannt als Schuberts „Ave Maria“. Ein symptomatisches Stück für Schuberts Begriff vom Glauben und von Reli- giosität. Warum? Weil sich hier alles mit allem verschränkt, das Geistliche mit dem Weltli- chen, das Romantische mit dem Andächtigen, Religion und Ästhetik, Funktion und Kunstan- spruch.
  • Winterreise.Pdf

    Winterreise.Pdf

    FRANZ SCHUBERT WinterPOETRY OF" WILHELM Journey MÜLLER " 1. GUTE NACHT 13. DIE POST 2. DIE WETTERFAHNE 14. DER GREISE KOPF SCHUBERT 3. GEFROR’NE TRÄNEN 15. DIE KRÄHE 4. ERSTARRUNG 16. LETZTE HOFFNUNG 5. DER LINDENBAUM 17. IM DORFE 6. WASSERFLUT 18. DER STÜRMISCHE MORGEN 7. AUF DEM FLUSSE 19. TÄUSCHUNG RANDALL SCARLATA 8. RÜCKBLICK 20. DER WEGWEISER GILBERT KALISH 9. IRRLICHT 21. DAS WIRTSHAUS 10. RAST 22. MUT 11. FRÜHLINGSTRAUM 23. DIE NEBENSONNEN 12. EINSAMKEIT " 24. DER LEIERMANN RANDALL SCARLATA | BARITONE GILBERT KALISH | PIANO BRIDGE 9494 FRANZ SCHUBERT POETRY OF" WILHELM MÜLLER 1. GUTE NACHT 13. DIE POST 2. DIE WETTERFAHNE 14. DER GREISE KOPF Recorded January 10-12, 2015 in Madeline Wing Adler Theater 3. GEFROR’NE TRÄNEN 15. DIE KRÄHE at West Chester University 4. ERSTARRUNG 16. LETZTE HOFFNUNG Adam Abeshouse, recording engineer 5. DER LINDENBAUM 17. IM DORFE 6. WASSERFLUT 18. DER STÜRMISCHE MORGEN Photo of Mr. Scarlata and Mr. Kalish: Tristan Cook 7. AUF DEM FLUSSE 19. TÄUSCHUNG CD Art: Molly Graver 8. RÜCKBLICK 20. DER WEGWEISER This recording was made possible by a grant from 9. 21. IRRLICHT DAS WIRTSHAUS West Chester University’s Faculty Development Fund. 10. RAST 22. MUT 11. FRÜHLINGSTRAUM 23. DIE NEBENSONNEN 12. EINSAMKEIT " 24. DER LEIERMANN RANDALL SCARLATA | BARITONE GILBERT KALISH | PIANO " Standing alone in Schubert’sWinter tiny “Death Journey Apartment” in Vienna, it is not hard to " imagine the last days of the composer’s life. Suffering with the later stages of Syphilis, Schubert’s doctor recommended he move in with his brother Ferdinand, where his “Lieder sang ich nun lange, lange Jahre.
  • LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!

    LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!

    LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the city with song! Festival Programme 2009 The Grammar School at Leeds inspiring individuals is pleased to support the Leeds Lieder+ Festival Our pupils aren’t just pupils. singers, They’re also actors, musicians, stagehands, light & sound technicians, comedians, , impressionists, producers, graphic artists, playwrightsbox office managers… ...sometimes they even sit exams! www.gsal.org.uk For admissions please call 0113 228 5121 Come along and see for yourself... or email [email protected] OPENING MORNING Saturday 17 October 9am - 12noon LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Biennial Festival of Art Song Artistic Director Julius Drake 3 Lord Harewood Elly Ameling If you, like me, have collected old gramophone records from Dear Friends of Leeds Lieder+ the time you were at school, you will undoubtedly have a large I am sure that you will have a great experience listening to this number of Lieder performances amongst them. Each one year’s rich choice of concerts and classes. It has become a is subtly different from its neighbour and that is part of the certainty! attraction. I know what I miss: alas, circumstances at home prevent me The same will be apparent in the performances which you this time from being with you and from nourishing my soul with will hear under the banner of Leeds Lieder+ and I hope this the music in Leeds. variety continues to give you the same sort of pleasure as Lieder singing always has in the past. I feel pretty sure that it To the musicians and to the audience as well I would like to will and that if you have any luck the memorable will become repeat the words that the old Josef Krips said to me right indistinguishable from the category of ‘great’.
  • Songfest 2008 Book of Words

    Songfest 2008 Book of Words

    A Book of Words Created and edited by David TriPPett SongFest 2008 A Book of Words The SongFest Book of Words , a visionary Project of Graham Johnson, will be inaugurated by SongFest in 2008. The Book will be both a handy resource for all those attending the master classes as well as a handsome memento of the summer's work. The texts of the songs Performed in classes and concerts, including those in English, will be Printed in the Book . Translations will be Provided for those not in English. Thumbnail sketches of Poets and translations for the Echoes of Musto in Lieder, Mélodie and English Song classes, comPiled and written by David TriPPett will enhance the Book . With this anthology of Poems, ParticiPants can gain so much more in listening to their colleagues and sharing mutually in the insights and interPretative ideas of the grouP. There will be no need for either ParticiPating singers or members of the audience to remain uninformed concerning what the songs are about. All attendees of the classes and concerts will have a significantly greater educational and musical exPerience by having word-by-word details of the texts at their fingertiPs. It is an exciting Project to begin building a comPrehensive database of SongFest song texts. SPecific rePertoire to be included will be chosen by Graham Johnson together with other faculty, and with regard to choices by the Performing fellows of SongFest 2008. All 2008 Performers’ names will be included in the Book . SongFest Book of Words devised by Graham Johnson Poet biograPhies by David TriPPett Programs researched and edited by John Steele Ritter SongFest 2008 Table of Contents Songfest 2008 Concerts .