CHRISTIAN ELSNER SCHUBERT LIEDER ORCHESTRATED BY MAX REGER & ANTON WEBERN Rundfunk-Sinfonieorchester Berlin Marek Janowski FRANZ SCHUBERT (1797–1828) 6 Prometheus D 674 5. 09 Poem by Johann Wolfgang von Goethe Lieder Orchestrated by Max Reger Orchestrated by Max Reger and Anton Webern 7 Nacht und Träume (Heil’ge Nacht, du sinkest nieder) D 827 2. 38 1 An die Musik (Du holde Kunst) D 547 2. 07 Poem by Matthäus von Collin Poem by Franz von Schober Orchestrated by Max Reger Orchestrated by Max Reger Gesänge des Harfners D 478 2 Erlkönig D 328 3. 49 Lyrics from “Wilhelm Meisters Lehrjahre” by Johann Wolfgang Poem by Johann Wolfgang von Goethe von Goethe Orchestrated by Max Reger Orchestrated by Max Reger 8 No. 1: Wer sich der Einsamkeit ergibt 3. 52 3 Du bist die Ruh’ D 776 3. 09 9 No. 2: Wer nie sein Brot mit Tränen aß 4. 11 Poem by Friedrich Rückert 10 No. 3: An die Türen will ich schleichen 2. 06 Orchestrated by Anton Webern 11 Gruppe aus dem Tartarus D 583 3. 01 4 Greisengesang (Der Frost hat mir bereifet) D 778 6. 02 Poem by Friedrich Schiller Poem by Friedrich Rückert Orchestrated by Max Reger Orchestrated by Max Reger 12 Tränenregen (from “Die schöne Müllerin”) D 795 No. 10 5. 35 5 An den Mond D 296 3. 54 Poem by Wilhelm Müller Poem by Johann Wolfgang von Goethe Orchestrated by Anton Webern Orchestrated by Max Reger 13 Der Wegweiser (from “Die Winterreise”) D 911 No. 20 4. 06 Poem by Wilhelm Müller Orchestrated by Anton Webern 14 Memnon (Den Tag hindurch nur einmal mag ich sprechen) D 541 3. 38 Poem by Johann Mayrhofer Orchestrated by Max Reger 15 Ihr Bild (from “Schwanengesang”) D 957 No. 9 2. 42 Poem by Heinrich Heine Orchestrated by Anton Webern 16 Litaney auf das Fest Aller Seelen D 343 2. 41 Poem by Johann Georg Jacobi Orchestrated by Max Reger 17 Im Abendrot (O wie schön ist deine Welt) D 799 3. 36 Poem by Karl Gottlieb Lappe Orchestrated by Max Reger Christian Elsner, tenor Total playing time: 63. 04 Rundfunk-Sinfonieorchester Berlin (Radio Symphony Orchestra Berlin) Rainer Wolters, concertmaster Conducted by Marek Janowski Work of art? This makes it all the more astonishing After all, is an arrangement (on this CD, song that has adapted to changing to discover that, to date, arrangements an orchestration or instrumentation) external circumstances: initially, the Craftsmanship? by other composers of these songs are an original work? Is it even a work of singer accompanied himself on a lute grossly under-represented, both on the art? Or should it perhaps be labelled or guitar, before handing over the When it comes to songs, one need concert platform and in the recording craftsmanship, as the arranger has left accompaniment first to the pianist and not have any qualm in describing studio, with but a few above-average the musical parameters of the original – later to the orchestra. Of course, during Franz Schubert as the perfect “prolific recordings of these orchestrations in harmony, rhythm, and melody – the Golden Age of the orchestral lied, composer.” More than 600 songs – existence. Does that perhaps allow basically intact, and has come to grips rather critical opinions were voiced on art songs (or Lieder) with piano us to conclude that these versions only with the “aural styling”? the above-mentioned development. accompaniment, to be precise – flowed cannot hold their own against the high For instance, Siegmund von Hausegger from his immensely productive quill. In level of the original? Let’s take a good From the above-mentioned perspective feared “an almost overwhelming fact, it is a miracle that basically defies look at the “arrangers”: these include of “Work of art or craftsmanship?”, the abundance of substantive, melodic rational argument that the quality composers of the calibre of Franz Schubert arrangements by Max Reger instruments” alongside the vocal part, of the pieces throughout this well- Liszt, Johannes Brahms, Benjamin and Anton Webern recorded here by “whose individual timbres threaten to nigh unbelievable volume of work is Britten, Hector Berlioz, and later on, Christian Elsner, the RSB and Marek stifle the individuality of the singer.” almost consistently of the highest level. Max Reger and Anton Webern. Let’s Janowski are especially exciting. After Gustav Mahler, however, defended Schubert’s magnificent achievement face it, none of them belong in the all, the act of orchestrating basically the orchestral lied, arguing that the in the field of art song has often “Kleinmeister” (= lesser composer) led to the creation of a new category. differentiation possibilities offered by been praised and acknowledged (and category: and every single one was From the cocoon of the art song, the a large orchestra would extend the not only by musicologists), and the an excellent orchestrator. The rather orchestral lied emerged: this genre had range of both tone and style – and, last recordings of his songs and song cycles indifferent interest in the orchestrations not even existed when the original song but not least, would win over a new are legion. is probably due to the fact that an was composed. From an evolutionary audience in the large concert hall to the arrangement on the whole is not valued point of view, it is not the song as such, lied category. In France, people were as highly as an original composition. but merely the accompaniment to the also thinking along these lines, believing English that the undreamed-of instrumental orchestral lied. During 1913 and 1914, instrumentation; and dragging an and the Gesänge des Harfners (= The possibilities would strengthen rather beginning with Schubert’s lied Memnon extra grand piano on to the stage Songs of the Harper). Apart from the than rebut the intimacy of the lied at the request of singer Gertrud will not even be necessary... After strings, the orchestration for these genre. Fischer-Maretzki, he completed no having rehearsed daily for two whole songs includes: flute(s), oboe(s), less than 45 orchestral arrangements winters, as it were, with the Meiningen clarinet(s), bassoon(s), horns, and In 1914, Max Reger (1873 – 1916) followed of his own songs and those written Hofkapelle, and having performed timpani. The songs dating from 1914 on in the same vein: “To my ear, it is by other composers. Between April many songs (solo songs!) with the include the addition of a cor anglais often a real insult to have to listen to and September 1913, he orchestrated orchestra, I know precisely how to and trumpet(s). For a late-romantic a singer, following an orchestral piece Memnon, An die Musik, An den Mond, orchestrate such matters.” Reger’s composer like Reger, the volume of the in a gigantic hall, performing lieder Du bist die Ruh, Im Abendrot, Litaney workload in 1913 must have been orchestration was not really massive – to the spindly accompaniment of a auf das Fest Aller Seelen, Nacht und downright brutal. Constantly on the but it was precisely adapted to his basic piano in the huge space. But it goes Träume, as well as Greisengesang. move, conducting, composing, giving plan of not muffling the singer, as is without saying that one must make a concerts – alcohol was his comfort as demonstrated in exemplary fashion very careful choice of the songs to be Reger wrote to his publisher – naturally, well as a sedative. In February 1914, in Nacht und Träume (= Night and orchestrated.” And that is what Reger not entirely altruistically – about his Reger had a nervous breakdown; Dreams), where the strings weave the then did. Following his appointment own experiences as a conductor: “The nowadays, this would probably be continuous carpet of sound, and the as music director in Meiningen in instrumentation will ensure that the diagnosed as a burnout. Despite solo winds take turns in duplicating the December 1911, Reger appears to have singer is never ‘muffled.’ I have so doctor’s orders not to work, Reger vocal part. Once again, Reger entrusts used the excellent orchestra of the often noticed that the performance began arranging other Schubert the restless accompaniment to the Hofkapelle throughout his tenure as of songs in symphonic concerts has songs later that month. He completed strings in the Erlkönig ballad, whereas a testing ground for his investigations suffered greatly due to the fact that Gretchen am Spinnrade (= Gretchen he chooses principally the seductive into the tonal and colour nuances the gentlemen conducting were not at the Spinning Wheel), Erlkönig (= the sound of the flute for the sweet of orchestration. He also worked really the best accompanists. This Erl King), Gruppe aus dem Tartarus (= temptations of the Erlkönig. As a result, intensively on the development of the grievance will be remedied by the Group from Tartarus), Prometheus, Reger’s arrangements of the Schubert lieder are clearly not simply secondary songs – for instance, the latent fragility Christian Elsner Christian Elsner established himself clones; no, they are works of art in Wegweiser – in an extremely effective in the first league of Wagner tenors without parallel. A perfect command and skilful manner. The instrumentation Born in Freiburg in southern Germany, with his debuts as Siegmund at the of the craftsmanship leads to the work is based on Schubert’s framework: Christian Elsner studied singing with Semperoper Dresden and as Parsifal at of art. in addition to the strings, it includes Martin Gruendler, later on with Dietrich the Wiener Staatsoper and proves once flutes, oboes, clarinets, bassoons, and Fischer-Dieskau and Neil Semer and again his wide range of repertoire. Even before Reger, the Austrian horns. Thus, the intimacy of the lieder had prize-winning successes at various Accompanied by Gerold Huber and composer Anton Webern (1883 – 1945) is retained, and the instrumentation international competitions.