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Jan Kobow DEUTSCHE Jan Kobow was born in and initially studied organ at the Schola Cantorum in SCHUBERT--EDITION • 30 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 . 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 under SCHUBERT Photo © Sumiyo Ida . 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, ) 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.

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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 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

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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 , 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. An die Harmonie, D. 394 (To Harmony), is written Friedrich von Köpken, presents a cheerful look back at The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 in a hymn-like style, in keeping with the lofty, childhood, though it is certainly not childlike, but songs, will be grouped according to the poets who inspired him, or according to the circle of writers, occasionally somewhat affected language of the poem. written in the manner of a whimsical couplet, while Das contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. The “harmony” motif – music as the universal Bild, D. 155, (The Vision), the author of the text Fragments and alternative settings, providing their length and quality make them worth recording, and works for comforter of mankind, which will deliver men and unknown, is once again grounded firmly in the world of two or more voices with piano accompaniment will also make up a part of the edition. elevate them from the misery of earthly life – surfaces sensibility. Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages again and again in Schubert’s songs. Above all, the The text of Heimliches Lieben, D. 922 (Secret and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, his poems of his friends and contemporaries used this stock Love), by Karoline Louise von Klenke, was given to contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. theme also in time-specific contexts, as a reaction to the Schubert by his hostess Marie Pachler during his stay in The entire edition is scheduled for completion by 2008. Thanks to the Neue Schubert Ausgabe (New Schubert detested living conditions of the Restoration period. Graz in 1827. For personal reasons the poem was Edition), published by Bärenreiter, which uses primary sources - copies wherever possible - the Like Fischerlied, Die Einsiedelei (The Hermitage) obviously very important to her, and Schubert seems to performers have been able to benefit from the most recent research of the editorial team. For the first time, the has come down to us in two completely different have been conscious of that in his setting of it, since his listener and the interested reader can follow Schubert’s textual alterations and can appreciate the importance the settings. The first setting, D. 393, emphasizes the idyllic music is unusual in many respects: the lengthy, six- written word had for the composer. nature of the reclusive life: it has nothing to do with beats-in-the bar, prelude is clearly related to the The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers self-denial or excessive meditation and rather more opening of Beethoven’s more famous Adelaide, but who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he with living the simple, secluded life surrounded by then, in a characteristically chromatic alteration of the believes, will stand the test of time. harmonious nature, uncontaminated by any kind of second bar, it ventures into different harmonic, highly human discord. The second setting, D. 563, takes one romantic, areas of expression. The construction of the unawares, not only with its dark colours and muted erotic text alternates between outward, even atmosphere, but with its pointed pizzicato-like bass part conventionally temperate gestures, and more violent in the piano and its curiously perverse accents (‘mir eruptions which manifest themselves in sudden dienet zur Kapelle...’/“will serve as my chapel”) which dynamic intensifications and dissonances. do not sit so happily with the supposed tranquillity of Significantly, this strange juxtaposition of surface the scene. So the piece assumes a hint of absurdity and restraint and background fluctuation is a reflection of the hermit a gently quirky slant, which anticipates the inner tension, which is the central theme of the poem: Get this free download from Classicsonline! similarly original solo song Der Einsame, D. 800, (The the pursuit of a love which cannot be lived. Kraus: Der Abschied (The Departure), VB 95 Recluse), (qv. North German Poets, Naxos 8.555780) The poetry of the Anacreontics harks back to the Copy this Promotion Code NaxdY4CA7p8K and go to http://www.classicsonline.com/mpkey/kras9_main. which Schubert wrote eight years later. ancient Greek poet Anacreon, who celebrated the Die Herbstnacht, D. 404 (Autumn Night), was virtues of conviviality, wine, beauty and love in his Downloading Instructions originally entitled ‘Die Wehmut’ (“Melancholy”) and is poems. A lightness of touch, love of life, noblesse and 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at a slight, unspectacular hymn to melancholy by Salis- deft irony are their hallmarks. They helped to create a http://www.classicsonline.com/UserLogIn/SignUp.aspx. Seewis but set in a perfect Schubertian bel canto style, myth and legend of one eternally youthful, happy poet, 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. 8.570480 63 8.570480 570480 bk Schubert US 12/3/08 12:44 PM Page 4

Franz Peter Schubert (1797-1828) (“Evening bells”), ‘Moorgedüfte’ (“moorland breeze’), hopelessness, and the lengthening of the little postlude Poets of Sensibility, Vol. 6 ‘Kirchhofs Gittern’ (“churchyard railings”), ‘welkes into a dominant-tonic phrase emphasizes the plight of Laub’ (“withered leaves”) and ‘gebleichte Gräser’ the undelivered person, and the unanswered question: This recording concludes the series of settings of texts In the years 1816 and 1817 Schubert wrote thirteen (“bleached grass”) are the symbols of death in the ‘Wer leitet uns... ins stille Land?’/“Who will lead us by “Poets of Sensibility” in the German Schubert Lied solo songs to texts by Salis-Seewis. They are all modest autumn landscape. The somewhat difficult to over into the peaceful land?”. This song seems to have Edition. With the six recordings it can be seen that, in in scale and none is more than thirty bars long. With the understand third verse raises the fluttering of the lime- been specially important to Schubert, for even after the terms of the numbers of settings, Schubert dealt with no exception of Der Jüngling an der Quelle (The Youth by tree leaves to a mysterious sign of the spiritual presence fourth version, written in 1823, the story was not over. other collection of poets as extensively as he did with the Spring) and Ins stille Land (Into the Peaceful Land) of a dead person. In 1826 he returned to it once again when, for his cycle this group: there are more than 130 songs, among them all are strophic songs, in part folksong-like and of the As with many of Schubert’s other strophic songs, it of Songs (D. 877, see Goethe Lieder Vol. 2, countless double (or more) settings of the same poem. greatest simplicity. In performance various verses offer cannot be said with any certainty how many, and which, Naxos 8.554666) he amended the song Nun wer die The poems by Friedrich Matthisson, Friedrich the singer possibilities for melodic ornamentation and verses of Der Entfernten, D. 350 (To the Distant Sehnsucht kennt (Only he who knows what longing is), Klopstock, Matthias Claudius and Ludwig Hölty belong variation; the pianist too has opportunities to make Beloved), he had intended to be performed: often he written originally in a duet version, into a solo song to the times Schubert spent immersed in the canon of typical and differently characterized changes to his own simply wrote the vocal line under the first verse and put which, in all its musical parameters, is closely related to German-language literature; these poets were well- part, but whatever singer and pianist choose to do repeat marks at the end of the song. In doing so, he Ins stille Land. known and were disseminated in books, almanacs and should be in harmony with, and with reference to, the probably left it up to the taste and predilections of the Schubert set Fischerlied (The Fisherman’s Song) in periodicals, as well as in private handwritten albums. different expressions, pictures and emotional “values” performers to make an appropriate selection from the two very different musical guises. In fact, both versions They offered Schubert an inexhaustible source of poetic of individual verses. This practice was customary and verses. Schubert portrays the constant presence of the (D. 351 and D. 562) are written in 2/4 time, both are material which was rarely the stuff of genius, as in taken for granted in Schubert’s time and this recording ‘geliebtes Traumgesicht’ (“sweet beloved vision”) in simple strophic songs, 24 bars long, both set the second Goethe or Schiller, but which was nevertheless almost follows that example. natural phenomena, by day and night, with simple, section of a verse (‘Wir graben nicht Schätze’/“We do always of a high literary quality. Such material offered On the page Der Jüngling an der Quelle, D. 300, gently-flowing radiant music of warmth and not dig for treasure”) musically clearly differently from depth of feeling, vivid metaphorical language and seems to be one of those short, unremarkable songs, yet spontaneity. Especially arresting is the surprising the first, but that is where the similarities end. While the metrical variety, with which a young composer could already on first hearing it displays a curiously interruption of the continuous quaver movement in the first setting comes over as energetic and sprightly, the hone his craft of word-setting. Predominant among these fascinating tonal effect, instance of Schubert’s unique accompaniment at the words ‘umschwebst du mich’ melody advancing simply in steps of seconds and were simple and varied strophic songs, but a number of gift, his ability to produce the strongest impression with (“hovers around me”), which is underlaid with four thirds, underpinned by simple chords in the piano part, works were written in through-composed forms, using the simplest of ingredients. 25 of its 29 and 1/2 bars are piano chords. So at the same time they assume a special the second setting behaves very differently. It is lyrical, ever more inventive variation techniques. This underpinned by a pedal-point in the piano part and significance and great lightness. with widely-arching melodic phrases in the voice and a extraordinarily fruitful period in Schubert’s Lieder above it one can hear in the unhurried semiquavers the The four versions of Ins stille Land, D. 403 (Into gentle piano accompaniment mirroring the flow of the composition lasted from about 1814 to 1817, after which soft, ever-changing, yet constant movement of the the Peaceful Land), differ one from another only water. In the first version of the song Schubert allows he turned only in rare cases to this group of expressive waves in the water. The middle voice of the piano and slightly. With performances here of the first and fourth the singing fisherman to bring each verse to an end with poets. New groups of poets assumed greater importance the vocal part reflect each other (the mirror-image in the versions one can hear clearly how strongly even small a “tralala” refrain, which could also be sung by a choir for him, above all the Romantics, as well as poems by water!) in broken triads. Interestingly enough, the only changes can alter the effect of an entire song: the tender in festive mood, and repeated by the piano. In the his friends and those of Austrian contemporaries. intrusion of a dark minor key is in the second half of the and dark-sounding G minor of the first version is second version of the song the singer himself repeats In contrast to the above-mentioned eminent writers song, not at the reference to ‘Spröden’ (“cold”) – that transposed up a tone and is replaced by the brighter, the last two lines of each verse, while the piano follows was an occasional poet, the Swiss nobleman Johann would be too direct and too obvious – but immediately clearer, but also appreciably sadder and more yearning it with a postlude presenting another musical motif. The Gaudenz von Salis-Seewis (1762-1834). Before the after that, so that ‘Blätter und Bach’ (“the leaves and key of A minor; the placing of a prelude, which whole of the second setting is more refined and French Revolution he had been a Captain in the Royal the stream”) really do sigh. At the repetition of the two anticipates the start of the vocal line and which comes elaborate and puts one more easily in mind of a specific Swiss Guard, which was stationed at Versailles. In 1789 final lines of verse the harmony, at the invocation of to rest on a pause, bestows a greater weight on the fisherman, singing to himself dreamily on the river he travelled through Germany and met Goethe, Schiller, ‘Luisa’, finally changes into a wonderfully bright major whole song; the melodic rearrangement of the middle bank. Herder and other important literary figures. During the key, expressing effusive admiration and affection. section (‘Schon wölkt sich uns der Abendhimmel Pflügerlied, D. 392 (Ploughman’s Song), once French Revolution he lived as a private citizen in Paris Der Herbstabend, D. 405 (The Autumn Evening), trüber…’/“The evening sky is already clouding over”) more in a gentle 2/4 time, is catchy and folksong-like, but he later returned to Switzerland and became a is based on one of the countless “presentiment of death” up to the impressive, painful tritone at the words ‘wird with echoes of Haydn in its melodic and harmonic lieutenant-colonel. poems of sentimental lyric verse. ‘Abendglockenhalle’ der Strand’ (“the shore”) intensifies the expression of writing. The deeds of men, death and the hoped-for

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Franz Peter Schubert (1797-1828) (“Evening bells”), ‘Moorgedüfte’ (“moorland breeze’), hopelessness, and the lengthening of the little postlude Poets of Sensibility, Vol. 6 ‘Kirchhofs Gittern’ (“churchyard railings”), ‘welkes into a dominant-tonic phrase emphasizes the plight of Laub’ (“withered leaves”) and ‘gebleichte Gräser’ the undelivered person, and the unanswered question: This recording concludes the series of settings of texts In the years 1816 and 1817 Schubert wrote thirteen (“bleached grass”) are the symbols of death in the ‘Wer leitet uns... ins stille Land?’/“Who will lead us by “Poets of Sensibility” in the German Schubert Lied solo songs to texts by Salis-Seewis. They are all modest autumn landscape. The somewhat difficult to over into the peaceful land?”. This song seems to have Edition. With the six recordings it can be seen that, in in scale and none is more than thirty bars long. With the understand third verse raises the fluttering of the lime- been specially important to Schubert, for even after the terms of the numbers of settings, Schubert dealt with no exception of Der Jüngling an der Quelle (The Youth by tree leaves to a mysterious sign of the spiritual presence fourth version, written in 1823, the story was not over. other collection of poets as extensively as he did with the Spring) and Ins stille Land (Into the Peaceful Land) of a dead person. In 1826 he returned to it once again when, for his cycle this group: there are more than 130 songs, among them all are strophic songs, in part folksong-like and of the As with many of Schubert’s other strophic songs, it of Mignon Songs (D. 877, see Goethe Lieder Vol. 2, countless double (or more) settings of the same poem. greatest simplicity. In performance various verses offer cannot be said with any certainty how many, and which, Naxos 8.554666) he amended the song Nun wer die The poems by Friedrich Matthisson, Friedrich the singer possibilities for melodic ornamentation and verses of Der Entfernten, D. 350 (To the Distant Sehnsucht kennt (Only he who knows what longing is), Klopstock, Matthias Claudius and Ludwig Hölty belong variation; the pianist too has opportunities to make Beloved), he had intended to be performed: often he written originally in a duet version, into a solo song to the times Schubert spent immersed in the canon of typical and differently characterized changes to his own simply wrote the vocal line under the first verse and put which, in all its musical parameters, is closely related to German-language literature; these poets were well- part, but whatever singer and pianist choose to do repeat marks at the end of the song. In doing so, he Ins stille Land. known and were disseminated in books, almanacs and should be in harmony with, and with reference to, the probably left it up to the taste and predilections of the Schubert set Fischerlied (The Fisherman’s Song) in periodicals, as well as in private handwritten albums. different expressions, pictures and emotional “values” performers to make an appropriate selection from the two very different musical guises. In fact, both versions They offered Schubert an inexhaustible source of poetic of individual verses. This practice was customary and verses. Schubert portrays the constant presence of the (D. 351 and D. 562) are written in 2/4 time, both are material which was rarely the stuff of genius, as in taken for granted in Schubert’s time and this recording ‘geliebtes Traumgesicht’ (“sweet beloved vision”) in simple strophic songs, 24 bars long, both set the second Goethe or Schiller, but which was nevertheless almost follows that example. natural phenomena, by day and night, with simple, section of a verse (‘Wir graben nicht Schätze’/“We do always of a high literary quality. Such material offered On the page Der Jüngling an der Quelle, D. 300, gently-flowing radiant music of warmth and not dig for treasure”) musically clearly differently from depth of feeling, vivid metaphorical language and seems to be one of those short, unremarkable songs, yet spontaneity. Especially arresting is the surprising the first, but that is where the similarities end. While the metrical variety, with which a young composer could already on first hearing it displays a curiously interruption of the continuous quaver movement in the first setting comes over as energetic and sprightly, the hone his craft of word-setting. Predominant among these fascinating tonal effect, instance of Schubert’s unique accompaniment at the words ‘umschwebst du mich’ melody advancing simply in steps of seconds and were simple and varied strophic songs, but a number of gift, his ability to produce the strongest impression with (“hovers around me”), which is underlaid with four thirds, underpinned by simple chords in the piano part, works were written in through-composed forms, using the simplest of ingredients. 25 of its 29 and 1/2 bars are piano chords. So at the same time they assume a special the second setting behaves very differently. It is lyrical, ever more inventive variation techniques. This underpinned by a pedal-point in the piano part and significance and great lightness. with widely-arching melodic phrases in the voice and a extraordinarily fruitful period in Schubert’s Lieder above it one can hear in the unhurried semiquavers the The four versions of Ins stille Land, D. 403 (Into gentle piano accompaniment mirroring the flow of the composition lasted from about 1814 to 1817, after which soft, ever-changing, yet constant movement of the the Peaceful Land), differ one from another only water. In the first version of the song Schubert allows he turned only in rare cases to this group of expressive waves in the water. The middle voice of the piano and slightly. With performances here of the first and fourth the singing fisherman to bring each verse to an end with poets. New groups of poets assumed greater importance the vocal part reflect each other (the mirror-image in the versions one can hear clearly how strongly even small a “tralala” refrain, which could also be sung by a choir for him, above all the Romantics, as well as poems by water!) in broken triads. Interestingly enough, the only changes can alter the effect of an entire song: the tender in festive mood, and repeated by the piano. In the his friends and those of Austrian contemporaries. intrusion of a dark minor key is in the second half of the and dark-sounding G minor of the first version is second version of the song the singer himself repeats In contrast to the above-mentioned eminent writers song, not at the reference to ‘Spröden’ (“cold”) – that transposed up a tone and is replaced by the brighter, the last two lines of each verse, while the piano follows was an occasional poet, the Swiss nobleman Johann would be too direct and too obvious – but immediately clearer, but also appreciably sadder and more yearning it with a postlude presenting another musical motif. The Gaudenz von Salis-Seewis (1762-1834). Before the after that, so that ‘Blätter und Bach’ (“the leaves and key of A minor; the placing of a prelude, which whole of the second setting is more refined and French Revolution he had been a Captain in the Royal the stream”) really do sigh. At the repetition of the two anticipates the start of the vocal line and which comes elaborate and puts one more easily in mind of a specific Swiss Guard, which was stationed at Versailles. In 1789 final lines of verse the harmony, at the invocation of to rest on a pause, bestows a greater weight on the fisherman, singing to himself dreamily on the river he travelled through Germany and met Goethe, Schiller, ‘Luisa’, finally changes into a wonderfully bright major whole song; the melodic rearrangement of the middle bank. Herder and other important literary figures. During the key, expressing effusive admiration and affection. section (‘Schon wölkt sich uns der Abendhimmel Pflügerlied, D. 392 (Ploughman’s Song), once French Revolution he lived as a private citizen in Paris Der Herbstabend, D. 405 (The Autumn Evening), trüber…’/“The evening sky is already clouding over”) more in a gentle 2/4 time, is catchy and folksong-like, but he later returned to Switzerland and became a is based on one of the countless “presentiment of death” up to the impressive, painful tritone at the words ‘wird with echoes of Haydn in its melodic and harmonic lieutenant-colonel. poems of sentimental lyric verse. ‘Abendglockenhalle’ der Strand’ (“the shore”) intensifies the expression of writing. The deeds of men, death and the hoped-for

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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. An die Harmonie, D. 394 (To Harmony), is written Friedrich von Köpken, presents a cheerful look back at The Deutsche Schubert-Lied-Edition follows the composer’s original concept. All Schubert’s Lieder, over 700 in a hymn-like style, in keeping with the lofty, childhood, though it is certainly not childlike, but songs, will be grouped according to the poets who inspired him, or according to the circle of writers, occasionally somewhat affected language of the poem. written in the manner of a whimsical couplet, while Das contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. The “harmony” motif – music as the universal Bild, D. 155, (The Vision), the author of the text Fragments and alternative settings, providing their length and quality make them worth recording, and works for comforter of mankind, which will deliver men and unknown, is once again grounded firmly in the world of two or more voices with piano accompaniment will also make up a part of the edition. elevate them from the misery of earthly life – surfaces sensibility. Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages again and again in Schubert’s songs. Above all, the The text of Heimliches Lieben, D. 922 (Secret and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, his poems of his friends and contemporaries used this stock Love), by Karoline Louise von Klenke, was given to contemporaries, and, of course, finally, poems by Heinrich Heine, although sadly the two never met. theme also in time-specific contexts, as a reaction to the Schubert by his hostess Marie Pachler during his stay in The entire edition is scheduled for completion by 2008. Thanks to the Neue Schubert Ausgabe (New Schubert detested living conditions of the Restoration period. Graz in 1827. For personal reasons the poem was Edition), published by Bärenreiter, which uses primary sources - autograph copies wherever possible - the Like Fischerlied, Die Einsiedelei (The Hermitage) obviously very important to her, and Schubert seems to performers have been able to benefit from the most recent research of the editorial team. For the first time, the has come down to us in two completely different have been conscious of that in his setting of it, since his listener and the interested reader can follow Schubert’s textual alterations and can appreciate the importance the settings. The first setting, D. 393, emphasizes the idyllic music is unusual in many respects: the lengthy, six- written word had for the composer. nature of the reclusive life: it has nothing to do with beats-in-the bar, prelude is clearly related to the The project’s Artistic Advisor is the pianist Ulrich Eisenlohr, who has chosen those German-speaking singers self-denial or excessive meditation and rather more opening of Beethoven’s more famous Adelaide, but who represent the élite of today’s young German Lieder singers, performers whose artistic contribution, he with living the simple, secluded life surrounded by then, in a characteristically chromatic alteration of the believes, will stand the test of time. harmonious nature, uncontaminated by any kind of second bar, it ventures into different harmonic, highly human discord. The second setting, D. 563, takes one romantic, areas of expression. The construction of the unawares, not only with its dark colours and muted erotic text alternates between outward, even atmosphere, but with its pointed pizzicato-like bass part conventionally temperate gestures, and more violent in the piano and its curiously perverse accents (‘mir eruptions which manifest themselves in sudden dienet zur Kapelle...’/“will serve as my chapel”) which dynamic intensifications and dissonances. do not sit so happily with the supposed tranquillity of Significantly, this strange juxtaposition of surface the scene. So the piece assumes a hint of absurdity and restraint and background fluctuation is a reflection of the hermit a gently quirky slant, which anticipates the inner tension, which is the central theme of the poem: Get this free download from Classicsonline! similarly original solo song Der Einsame, D. 800, (The the pursuit of a love which cannot be lived. Kraus: Der Abschied (The Departure), VB 95 Recluse), (qv. North German Poets, Naxos 8.555780) The poetry of the Anacreontics harks back to the Copy this Promotion Code NaxdY4CA7p8K and go to http://www.classicsonline.com/mpkey/kras9_main. which Schubert wrote eight years later. ancient Greek poet Anacreon, who celebrated the Die Herbstnacht, D. 404 (Autumn Night), was virtues of conviviality, wine, beauty and love in his Downloading Instructions originally entitled ‘Die Wehmut’ (“Melancholy”) and is poems. A lightness of touch, love of life, noblesse and 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at a slight, unspectacular hymn to melancholy by Salis- deft irony are their hallmarks. They helped to create a http://www.classicsonline.com/UserLogIn/SignUp.aspx. Seewis but set in a perfect Schubertian bel canto style, myth and legend of one eternally youthful, happy poet, 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. 8.570480 63 8.570480 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

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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 K Y M C

NAXOS SCHUBERT: Poets of Sensibility, Vol. 6 8.570480

& 2009 Naxos Rights International Ltd.

Booklet notes in English 55:54 DDD Disc made in Canada. Printed and assembled in USA. 8.570480 Playing Time www.naxos.com 2:26 2:02 2:09 2:23 2:49 4:18 1:57 1:10 3:05 3:36 2:38 3:05 by Benjamin Chai Die Herbstnacht D. 404 (‘Mit leisen Harfentönen’), Abschied von der Harfe, D. 406 setting) Die Einsiedelei, D. 563 (2nd derFreude D. 455 Kinderjahre, Das Bild, D. 155 D. 922 Heimliches Lieben (An Myrtill), Gott im Frühlinge, D. 448 An den Schlaf, D. 447 Der gute Hirt, D. 449 Die Nacht, D. 358 An Chloen, D. 363 D. 446 Die Liebesgötter, @ # $ % ^ & * ( ) ¡ ™ £ poets, and Heine. The Deutsche Schubert-Lied-Edition The Deutsche and Heine. poets, 2:07 2:14 2:45 1:40 3:44 2:30 1:40 2:33 2:23 1:04 1:37 Schubert set the poetry of over poetry set the Schubert He to music. writers 115 (1797-1828) Franz Peter SCHUBERT continues with a selection of songs with texts by contemporaneous a selection of songs with continues with Biedermeier Biedermeier Lieder Poets of Sensibility, Vol. 6 Vol. Poets of Sensibility, , overThanks him. inspired the poets who according to 700 songs, grouped A with Bayerischer co-production Rundfunk Johann Gaudenz von Salis-Seewis (1762-1834) Lieder A detailed track list can be found on page 2 of the booklet Engineer: Wolfgang Karreth • Booklet notes: Ulrich Eisenlohr Karreth • Booklet Wolfgang Engineer: Cover Painting: Jan Kobow, Tenor Jan Kobow, Fortepiano • Ulrich Eisenlohr, Lied ‘Ins stille Land’, D. 403 (4th version) Lied ‘Ins stille Land’, D. 403 Fischerlied, D. 351 (1st setting) Pflügerlied, D. 392 Fischerlied, D. 562 (2nd setting) Herbstlied ‘Bunt sind schon Wälder’,die D. 502 An die Harmonie, D. 394 setting) Die Einsiedelei, D. 393 (1st Der Jüngling an der Quelle, D. 300 Der Herbstabend, D. 405 Der Entfernten, D. 350 (1st version) Lied ‘Ins stille Land’, D. 403 Executive producer: Pauline Heister (Bayerischer Rundfunk) • Producer and editor: Jörg Moser • Producer and editor: Jörg Executive producer: Pauline Heister (Bayerischer Rundfunk) Recorded at Studio 2, Bayerischer Rundfunk, Munich, Germany from 8th to 12th October, 2007 Germany from 8th to 12th October, Recorded at Studio 2, Bayerischer Rundfunk, Munich,

5 6 7 8 9 0 ! 1 2 3 4 The sung texts and English translations can be found at www.naxos.com/libretti/570480.htm The sung texts and English translations can be found

selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century from the Renaissance, and Ages Middle the Greece, classical from poems selected Romantics, authors, early German The Naxos Deutsche Schubert-Lied-Edition: Deutsche Naxos The presents all Schubert’s all Schubert’s presents primary sources, which uses Tübingen, Edition), (New Schubert Neue Schubert-Ausgabe to Bärenreiter’s Naxos’s team. of the editorial research most recent the benefit from been able to have the performers of Schubert’s acclaimed series poets such as Johann Gaudenz, Baron von Salis-Seewis, Friedrich von Köpken and Peter Salis-Seewis, Friedrich von von Johann Gaudenz, Baron poets such as Uz, Johann enduring settings. today owes much to Schubert’s Romantics whose fame important early

NAXOS SCHUBERT: Poets of Sensibility, Vol. 6 Vol. Sensibility, of Poets 8.570480