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554739Bk Schubert DEUTSCHE Also available on Naxos: SCHUBERT-LIED-EDITION • 12 SCHUBERT Mayrhofer-Lieder, Vol. 2 Christiane Iven, Mezzo-soprano Burkhard Kehring, Piano THE DEUTSCHE SCHUBERT-LIED-EDITION Also available on Naxos: In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs Deutsche Schubert Lied Edition Vol. 1 Deutsche Schubert Lied Edition Vol. 7 which he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Winterreise The European Poets, Vol. 1 Schubert’s) luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Roman Trekel, Baritone Cronnan • Das Mädchen von Inistore Goethe: Ulrich Eisenlohr, Piano. 8.554471 Ellens Gesang I, II & III • Gesang der Norna Kolmas A selection of German songs will constitute the beginning of this edition; it will consist of Lyle • Lodas Gespenst • Normans Gesang eight volumes. The first two (the first of which, as an example, you will find in our letter) Deutsche Schubert Lied Edition Vol. 2 Ruth Ziesak, Soprano / Roman Trekel, Baritone contains poems written by your Excellency, the third, poetry by Schiller, the fourth and fifth, Schwanengesang • Auf dem Strom • Herbst Ulrich Eisenlohr, Piano. 8.554795 works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the seventh and eighth contain Lebensmut • Lieder on texts by Ludwig Rellstab songs by Ossian, whose works are quite exceptional. Michael Volle, Baritone • Ulrich Eisenlohr, Piano Deutsche Schubert Lied Edition Vol. 8 Sjön Scott, Horn. 8.554663 Schiller-Lieder, Vol. 2 The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over Amalia • Die Bürgschaft • An Emma 700 songs, will be grouped according to the poets who inspired him, or according to the circle of writers, Deutsche Schubert Lied Edition Vol. 3 Der Pilgrim • Die Hoffnung • Die Hoffnung contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to Goethe-Lieder, Vol. 1 Die vier Weltalter • Ritter Toggenburg • Sehnsucht, music. Fragments and alternative settings, providing their length and quality make them worth recording, and An den Mond • Der Fischer • Ganymed • Meeres Stille D52, Sehnsucht, D636 works for two or more voices with piano accompaniment will also make up a part of the edition. Prometheus • Wandrers Nachtlied I & II a.o. Regina Jakobi, Mezzo-soprano Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ulf Bästlein, Baritone / Stefan Laux, Piano. .8.554665 Ulrich Eisenlohr, Piano. 8.554741 Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, his contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. Deutsche Schubert Lied Edition Vol. 4 Deutsche Schubert Lied Edition Vol. 9 The entire edition is scheduled for completion by 2005. Thanks to the Neue Schubert Ausgabe (New Schubert Mayrhofer-Lieder, Vol. 1 Schubert’s Friends, Vol. 1 Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the Der Alpenjäger • An die Freunde • Auf der Donau Schatzgräbers Begehr • Jägers Liebeslied performers have been able to benefit from the most recent research of the editorial team. For the first time, the Aus “Heliopolis” I & II • Der Hirt • Der Schiffer Genügsamkeit • Der Strom • Grablied • Pilgerweise listener and the interested reader can follow Schubert’s textual alterations and can appreciate the importance the Über allen Zauber Liebe a.o. Schiffers Scheidelied • Am Bach im Frühling written word had for the composer. Cornelius Hauptmann, Bass Markus Eiche, Baritone The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers Stefan Laux, Piano. .8.554738 Jens Fuhr, Piano. .8.554799 who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he believes, will stand the test of time. Deutsche Schubert Lied Edition Vol. 5 Deutsche Schubert Lied Edition Vol. 10 Die schöne Müllerin Austrian Contemporaries, Vol. 1 Christian Elsner, Tenor Drang in die Ferne • Die Sterne • Der Winterabend Ulrich Eisenlohr, Piano . .8.554664 Vor meiner Wiege • Am Fenster • Im Freien Bei dir allein! • Wiegenlied • Das Zügenglöcklein Deutsche Schubert Lied Edition Vol. 6 Christoph Genz, Tenor Schiller-Lieder, Vol. 1 Wolfram Rieger, Piano. .8.554796 Der Alpenjäger • Der Kampf • Der Taucher Dithyrambe • Elysium a.o. Deutsche Schubert Lied Edition Vol. 11 Martin Bruns, Baritone Austrian Contemporaries, Vol. 1 Ulrich Eisenlohr, Piano . .8.554740 Auf der Bruck • Tiefes Leid • Im Walde Um Mitternacht • Lebensmut • Im Frühling • Über Wildemann • Klaglied • Alinde • An die Sonne • Don Gayseros • Der Einsame Hanno Müller-Brachmann, Bass-Baritone Ulrich Eisenlohr, Piano. 8.555780 8.554739 2 27 8.554739 % Auflösung Dissolution, D 807 (1824), published 1842. Franz Peter Schubert (1797-1828) Mayrhofer Songs Vol. 2 Verbirg dich, Sonne, Hide yourself, sun, Denn die Gluten der Wonne For the glow of delight After Goethe and Schiller the poems by the star (major): “Ich bin der liebe treuer Stern, / sie halten Versengen mein Gebein; Burns my bones; relatively little known Johann Mayrhofer, from among sich von Liebe fern” (I am the loving, true star, / they Verstummet, Töne, Be mute, sounds, Schubert’s contemporaries, hold a dominant position keep well away from love) - in Auflösung (D807), set in Frühlings Schöne Beauties of spring among the composer’s songs. Not only did Schubert set March 1824, he turns the programmatic words as it Flüchte dich und laß mich allein! Fly away, and leave me to myself! to music, in the course of eleven years, no less than 47 were against the poet himself: “…flüchte dich, und laß of Mayrhofer’s poems, but also the vocal quartet mich allein” (fly away, and leave me to myself). Quillen doch aus allen Falten There well from every part Gondelfahrer (D809), the operatic fragment Adrast Mayrhofer reports on this growing coolness in his Meiner Seele liebliche Gewalten, Of my soul loving powers (D137), and the completed two-act Singspiel Die memoirs (February 1829): “The course of Die mich umschlingen, That embrace me, Freunde von Salamanca (D326). Mayrhofer’s wide circumstances and of society, illness and altered views Himmlisch singen. With heavenly song. literary culture also had an influence on Schubert that is of life later kept us from each other; but what once was, Geh unter, Welt, und störe Down, world, and disturb not to be underestimated. was now no longer”. Nimmer die süßen, ätherischen Chöre! Never the sweet, ethereal choirs! Schubert and Mayrhofer met through their common Johann Mayrhofer was born on 3rd November 1797 friend Joseph von Spaun, inspiring the setting of Am See in Steyr in Upper Austria and his exceptional gifts and English versions by Keith Anderson (D124) at the beginning of December 1814. From literary interests were apparent even in his schooldays. September 1816 there were four years of extensive He was “always the first among his school friends”, and collaboration that can be described as cultural distinguished himself “particularly through his very symbiosis: Schubert was inspired to set Mayrhofer’s adequate knowledge of Latin and Greek and also of the poems in songs that served in their turn as inspiration to Classics” (Joseph von Spaun). Without means after the the latter. When Schubert returned to Vienna in early death of his father, in 1806 Mayrhofer joined the November 1818 after his first summer stay at Zseliz, as Augustinian foundation of St Florian at Linz, later teacher of the daughters of Count Esterházy, he finally known for its connection with Anton Bruckner, but left left his parents’ house and moved to a spare room at after four years, shortly before taking his final vows. He Mayrhofer’s: “The house and the room have felt the moved to Vienna to study law, completed under influence of time: the ceiling somewhat lowered and the straitened circumstances. Thanks to his knowledge of light diminished by a large building standing opposite, literature he quickly found a position as censor in the an over-used piano, a narrow bookcase; that was the Imperial and Royal Book Censorship Office and soon room which, with the hours spent there, will never fade became feared by authors and booksellers for his from my memory, wrote Mayrhofer in his Memories of severity. Only too well did he know of those strivings Franz Schubert”. The period spent together, then not so for freedom by which the restored state, conservative in unusual, lasted nearly two years. Yet while Mayrhofer structure, felt threatened - Mayrhofer was himself an remained committed to ideas of the Enlightenment, enthusiastic supporter of growing liberal and Schubert turned to the newer poetry of romanticism; for democratic ideas. Described in various obituaries as a him the years about 1820 brought anyway a period of man of sensitivity, he must have suffered ever more creative crisis and new direction in which hardly a strongly under the stresses of his position. With a strict single great work was completed and many remained in performance of his duties Mayrhofer evidently sought a fragmentary state. The increasing estrangement from to confront this inevitable conflict that endangered his Mayrhofer became most evident in that at this time own living. Joseph von Spaun, on the contrary, Schubert set only eight of his friend’s poems. There is a expressed matters almost euphemistically: “My certain distance peculiar to Abendstern (D806) - face to opinions are one thing, my duty quite another”. face with man (characterized in the minor) stands the Mayrhofer observed with euphoria the 1830 rising in 8.554739 26 3 8.554739 Poland, but was deeply depressed at its failure, and tried puzzles difficult to solve, and often their solution is Auf ihnen bluten Herzen, With them hearts bleed, to drown himself in the Danube.
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