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557373 Bk Schubert EU 570480 bk Schubert US 12/3/08 12:44 PM Page 8 Jan Kobow DEUTSCHE Jan Kobow was born in Berlin and initially studied organ at the Schola Cantorum in SCHUBERT-LIED-EDITION • 30 Paris and church music in Hanover, before embarking on vocal training at the Hamburg Musikhochschule. In 1998 he won first prize at the Eleventh International Bach Competition in Leipzig. His career has brought collaboration with leading conductors and in 2007 he made his début as Ulisse in concert performances of Monteverdi’s Il ritorno d’Ulisse in patria with Les Talens Lyriques under SCHUBERT Photo © Sumiyo Ida Christophe Rousset. He has a strong interest in Lieder and gives frequent recitals with Graham Johnson, Cord Garben, Burkhard Kehring and Phillip Moll. He also performs with noted fortepiano specialists such as Leo van Doeselaar and Kristian Bezuidenhout. His Lieder recordings include Schubert’s Schwanengesang and Die Poets of Sensibility, Vol. 6 schöne Müllerin with Kristian Bezuidenhout, Loewe’s Lieder und Balladen with Cord Garben and Siegmund von Seckendorff and ‘Lieder from Goethe’s Weimar’ with Ludger Rémy. His recitals have included performances in the United States Jan Kobow, Tenor • Ulrich Eisenlohr, Fortepiano and Canada, with Dichterliebe at the Guildhall in London, and he is a founder member of the vocal ensemble Himmlische Cantorey. Ulrich Eisenlohr Ulrich Eisenlohr studied at the conservatory of music in Heidelberg/Mannheim (Rolf Hartmann, piano) 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, the Edinburgh Festival, Frankfurt Festival, International Beethoven Festival Bonn and the Ludwigsburg Photo © Wolfgang Detering Festival, among many others. He has collaborated with a number of leading singers in Lieder recitals and has also appeared in numerous broadcasts, live concert recordings and television transmissions, as well as in recordings for leading record companies, several of which have been awarded major prizes, including 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 for Naxos is now an important focus of his artistic work. The series will be finished by 2009. The recording of Hugo Wolf’s complete songs is planned for the near future. 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. 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. 8.570480 8 570480 bk Schubert US 12/3/08 12:44 PM Page 2 Franz Peter who nevertheless died in old age when he allegedly rhythmically-sprung, immensely exciting chordal choked on a grape. Johann Peter Uz (1720-1796), from music, with a pronounced Baroque feeling – a stroke of SCHUBERT the Franconian area of Ansbach, attempted to found a genius which prevents the work from becoming (1797-1828) German rococo style of poetry based on Anacreon’s sentimental and lewd and instead bestows on it nobility, ideals, but written as much as a protest against, and as a solemn tautness and an aura of eroticism. In this work, Poets of Sensibility, Vol. 6 counter-movement to, the hostile anti-life, anti-sensual, perhaps both Uz and Schubert came closest to the ideal Lieder nach Johann Gaudenz von Salis-Seewis (1762-1834) piety of his time. The poems Die Nacht (The Night), An of classical Anacreontic poetry. Chloen (To Chloe) and Die Liebesgötter (The Gods of All that remains of An Chloen, D. 363, (To Chloe), 1 Der Jüngling an der Quelle, D. 300 (The Youth by the Spring) 1:40 Love) date from this period of his literary activity. Later is a damaged manuscript; the first two lines have only 2 Der Herbstabend, D. 405 (The Autumn Evening) 2:33 Uz disassociated himself from the “mischievous art of the bass line of the piano part. Our recording carefully 3 Der Entfernten, D. 350 (To the Distant Beloved) 2:23 poetry” and devoted himself to works with moral, attempts to sketch in a possible beginning to the song, philosophical and religious themes. Gott im Frühlinge, without compromising its fragmentary state. The entire 4 Lied ‘Ins stille Land’, D. 403 (Into the Peaceful Land) (1st version) 1:04 D. 448 (God in Springtime) and Der gute Hirt, D. 449 song tells of the pain of, and yearning for, love, and the 5 Lied ‘Ins stille Land’, D. 403 (4th version) 1:37 (The Good Shepherd) originate from this phase of Uz’s music swoons and wallows in sighs and chromatic 6 Fischerlied, 1st setting, D. 351 (The Fisherman’s Song) 2:07 creative life. Schubert sets the former in a light, expressiveness. 7 Pflügerlied, D. 392 (Ploughman’s Song) 2:14 distinctly irreverent and irreligious manner: an Die Liebesgötter, D. 446, (The Gods of Love), is 8 Fischerlied, D. 562 (2nd setting) 2:45 extemporary, quasi-jubilatory song, alternating between tossed off in a completely rococo style, teasing, light, syllabic parlando phrases and widely-arching cantabile with a scarcely veiled eroticism, witty and ironic, which 9 Herbstlied ‘Bunt sind schon die Wälder’, D. 502 passages, unfolds over a standard piano portrays fully the truly colourful activities in the (Harvest Song ‘The woods are already brightly-coloured’) 1:40 accompaniment. Der gute Hirt (The Good Shepherd), a domain of Cypris (another name for Aphrodite, the 0 An die Harmonie, D. 394 (To Harmony) 3:44 sort of paraphrase on the famous Psalm 23, unfolds in Goddess of Love). The writer ends the poem urgently ! Die Einsiedelei, D. 393 (The Hermitage) (1st setting) 2:30 chorale-like phrases over a simple piano imploring that “the little gods, full of cunning” (‘kleine accompaniment in thirds. Colour and contrast are Götter, voller List’) may stay close to him with their @ Die Herbstnacht (‘Mit leisen Harfentönen’), D. 404 (Autumn Night) 2:26 derived above all from the rich, wide-ranging arrows of love; only when his youth is over and gone # Abschied von der Harfe, D. 406 (Farewell to the Harp) 2:02 harmonies. will he have fun with Lyaeus, “The Carefree One”; $ Die Einsiedelei, D. 563 (2nd setting) 2:09 An den Schlaf, D. 447 (To Sleep) was attributed to Lyaeus, however, is an alternative name for Bacchus, % Freude der Kinderjahre, D. 455 (Joy of Childhood) Uz in earlier editions but it is not to be found among his the God of Wine. published works. The short, twelve-bar song makes an (Text: Friedrich von Köpken (1737-1811)) 2:23 impression on account of the gentle yet urgent Ulrich Eisenlohr ^ Das Bild, D. 155 (The Vision) (Text: anonymous) 2:49 expressivity of the plea for release through sleep. Altogether different is Die Nacht, D. 358 (The Night) in English version by David Stevens & Heimliches Lieben (An Myrtill), D. 922 (Secret Love) which a nocturnal ceremony is sung of, amidst nature, (Text: Karoline Louise von Klenke (1754-1802)) 4:18 wine, love and “voluptuous dreams”. Schubert invents a Lieder nach Johann Peter Uz (1720-1796) * Gott im Frühlinge, D. 448 (God in Springtime) 1:57 ( An den Schlaf, D. 447 (To Sleep) 1:10 ) Der gute Hirt, D. 449 (The Good Shepherd) 3:05 ¡ Die Nacht, D. 358 (The Night) 3:36 ™ An Chloen, D. 363 (To Chloe) 2:38 £ Die Liebesgötter, D. 446 (The Gods of Love) 3:05 8.570480 2 7 8.570480 570480 bk Schubert US 12/3/08 12:44 PM Page 6 resurrection are equated to sowing and harvesting. which can “… bring together joy and pain” (‘kannst Herbstlied (‘Bunt sind schon die Wälder’), D. 502 Wonn’ und Schmerz vereinen’) and which draws near THE DEUTSCHE SCHUBERT-LIED-EDITION (Harvest Song (“The woods are already brightly- “when my lament gently fills my breast” (‘Du nahst, coloured”)) became one of the best-known of German wenn schon die Klage / Den Busen sanfter dehnt’). In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs which folk-songs in the setting by Johann Friedrich Reichardt. Abschied von der Harfe, D. 406 (Farewell to the he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Schubert’s) Schubert’s setting in no way radiates elegiac laments, Harp), the last of the Salis-Seewis Lieder, is a dark song luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Goethe: but rings out brightly and carefree, inspired less by to the “solemn evening time” of life, the swan-song of A selection of German songs will constitute the beginning of this edition; it will consist of eight volumes. The ‘grauen Nebeln’ (“grey mists”) and more by ‘bunten an old bard. first two (the first of which, as an example, you will find in our letter) contains poems written by your Excellency, Blättern’ (“colourful leaves”) in the boisterous holiday Freude der Kinderjahre, D. 455 (Joy of the third, poetry by Schiller, the fourth and fifth, works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the mood of a harvest thanksgiving. Childhood), by the royal Counsellor from Magdeburg, seventh and eighth contain songs by Ossian, whose works are quite exceptional.
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