SCHUBERT 4 IAN BOSTRIDGE JULIUS DRAKE - CHANDOS RECORDS
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Ian Bostridge Julius Drake Songs by SchuBert ~ 4~
Ian BostrIdge sIngs schuBert ~ 4
Matthäus von Collin (1779–1824) was 18 years obsessive desire. The use of this leitmotiv,
older than Schubert, and a reasonably successful coupled with the dwarf’s Flying Dutchman-like
dramatist, poet and critic, who qualified as a fate, lends the song a Wagnerian dimension that
lawyer at the University of Vienna, spent some makes us wonder whether Schubert would have
time in the capital as censor, and ended up had any more success with his operas, had he
working in the ministry of finance. His minor lived to know Wagner’s music-dramas. ‘Nacht und
poetry inspired four indisputable Schubert Träume’ is only eight lines long, but from this
masterpieces: ‘Wehmut’, ‘Der Zwerg’, ‘Nacht und seemingly insignificant poem Schubert created
Träume’ and the duet ‘Licht und Liebe’. ‘Wehmut’, one of his greatest masterpieces. With its dark
originally entitled ‘Naturgefühl’ (‘Feeling for semiquavers, it looks like night on the page, and
nature’) by the poet, expresses like other spring bears the sole dynamic pp. Beautiful tone and an
songs such as ‘Im Frühling’ and ‘Frühlingsglaube’, unwavering legato are required, and though
Schubert’s love of nature – the modulation to Schubert’s original marking is langsam, the pulse
F sharp major at ‘Schönheit’ implies with great must be maintained. The second verse brings with
poignancy that all is ephemeral. This wonderful it an intensification of rapture: B modulates to G,
song of love for the transient nature of earth’s and the singer cries out with swelling tone for
beauty lasts a mere 39 bars, and ends on a hollow night to remain.
descending fifth. It was composed, significantly, The autograph of the next group of songs,
in 1822, at the very time that Schubert’s syphilis dated December 1822, contains four Goethe
was diagnosed. Lieder (‘Der Musensohn’, ‘An die Entfernte’, ‘Am
‘Der Zwerg’, one of Schubert’s most striking Fluße’ and ‘Willkommen und Abschied’) that
dramatic ballads, takes place on the open sea. Schubert probably intended to be performed
The dwarf of the title sails the ocean at night, as a group. He quotes the beginning of ‘Der
alone with his Queen, who has forsaken him to Musensohn’ in his autobiography Dichtung und
marry the King. The dwarf wreaks revenge by Wahrheit (part 4, chapter 16) as exemplifying the
strangling her with a chord of red silk; before she way in which his poetical effusions used to pour
dies, she pardons him; he kisses her pale cheeks, out of him. He describes how he would wake up
then lowers her with his own hands deep into in the middle of the night and rush to his desk
the sea. Such is his longing that he will never in order to write down poems such as ‘Der
again set foot on land. Schubert transforms this Musensohn’ (he quotes the opening two lines)
ghoulish tale into a chilling masterpiece of sexual that were already fully formed in his brain;
obsession. The fatalistic rhythm that runs through and how he preferred to use a pencil, since
the piece acts as a symbol for the dwarf’s the scratching of the quill would disturb his
2‘somnambulistic writing’. Having flitted his Neueste Folge nachgelassener Lieder und
indefatigable way through the landscape, the son Gesänge by the Viennese firm of JP Gotthard.
of the Muses asks when he too will rest ‘in his If the theme of ‘An die Entfernte’ is rejection,
beloved’s embrace’ – an image of the lonely that of ‘Willkommen und Abschied’ is passionate
Schubert springs to mind playing his music at mutuality. The ‘geschwind’ marking and the 12/8
the Schubertiaden while his friends dance the rhythm were clearly suggested by the iambics of
evening away. There is a sadness in the final bars, Goethe’s first two verses, and the whole song
suggested by the pianissimo marking in the final is dominated by the pounding of the horses’
verse, and an exquisite ritardando on ‘Busen’. hooves/poet’s heart. It is a magnificent song of
‘An die Entfernte’, addressed to Charlotte von exalted love but scarcely matches the subtlety of
Stein after Goethe’s return from Italy, is one of the poem. Particularly worth noting is Goethe’s
the poet’s rare poems of unrequited love (he had change of rhythm in the third stanza. The iambics
broken with Charlotte), and Schubert responds of the first two stanzas change to a rhythm that
with a song that seems half declamation, half stresses the first syllable (‘Dích sah ich ...’): the
song – a wonderfully intimate, simple and heart- journey to his beloved is ended and the poet’s
felt response, and one of the greatest Goethe pent-up emotion is released in the enjambement
Lieder that is still not as well known as it should (‘und die milde Freude/Floss ...’) that breaks a
be. Goethe’s ‘Am Fluße’, written in 1768, reflects succession of no fewer than seven end-stopped
his obsession with Kätchen (‘Annette’) Schönkopf lines. After a night of love, the poet turns to go –
in Leipzig, to which he refers in Dichtung und unwillingly, as the tell-tale commas inform us
Wahrheit. Schubert’s first setting is marked (‘Doch ach! schon mit der Morgensonne ...’ and
wehmütig (sadly) – unsurprisingly, since the poet ‘Ich ging, du standst und sahst zur Erden ...’). The
enjoins the river to bear his songs of unrequited lachrymose tone soon vanishes, however, and
love into oblivion. The semiquavers, however, that the exultant mood is restored in the passionate
Schubert usually employs to depict the river, are mutuality of the final two lines. Schubert does
here only sparingly used – as though he were not give musical expression to this psychological
more intent on conveying the numb sadness of probing, but as in all the Goethe settings, he
the poet’s mood. It was not until 1822 that responded with rapture to the outpourings of a
Schubert returned to the poem a second time, a great poet’s lyrical genius.
few months before the composition of Die schöne There is no more frequently anthologised
Müllerin, and this time he focusses not on the poem in the German language than Goethe’s
poet’s sadness but on the image of the rippling ‘Ein Gleiches’ – the original title of the poem
stream. This second version, which we hear this that Schubert set as ‘Wandrers Nachtlied II’.
evening, was published posthumously in the In Goethe’s collected works the poem appears
3immediately after ‘Wandrers Nachtlied’ (‘Der du friend of Schubert’s. The date of their first meeting
von dem Himmel bist’), and the title simply is not recorded, but they were clearly close from
means ‘The Same’ or ‘Another one’. Part lyric, part 1822 to 1824, when Schubertiaden were held at
epigram, its theme – the transience of existence – Bruchmann’s home, and Bruchmann attended
has attracted more than 60 composers, including others at Franz von Schober’s. ‘An die Leier’ is one
Reichardt, Zelter, Loewe, Schumann, Liszt and of those songs which, like ‘Wehmut’, combine
Charles Ives (‘Ilmenau’). The poem was written by declamation (expressing the poet’s resolve to
Goethe on the evening of 6 September 1780; write only heroic verse) and melodic outpouring,
apparently spontaneous, it was scribbled by the as he sings an apostrophe to love. The deliciously
poet on a wall of Duke Carl August’s shooting- undulating melody of ‘Im Haine’ attempts to
box on the Gickelhahn, the highest of the hills convey the delights of lying in a pool of sunlight
surrounding Ilmenau, near Weimar. On the same that filters through a fragrant fir forest. ‘Am See’ is
day he wrote to Charlotte von Stein: ‘I spent the set as a watery barcarolle, embroidered by florid
night on the Gickelhahn to get away from the vocal phrases in the final line.
turmoil of the town and the incorrigible confusion ‘Erlkönig’ appears at the beginning of Die
of human kind. The sky is utterly clear and I walk Fischerin, a Singspiel written in 1782 for open-air
to enjoy the sunset. The view is immense but performance at Weimar, where it is sung by the
simple.’ Goethe was actually known as ‘Der heroine Dortchen, as she waits impatiently for her
Wanderer’ among his family and closest friends father and fiancé, Niklas, to return. To punish
(see Dichtung und Wahrheit, Book 12), and them for their lack of attention, she simulates her
the poem is undeniably autobiographical; the own death by drowning; the men return, search for
notion of impending death is suggested by the her frantically in the River Ilm – only for Dortchen
progression from large open spaces (‘Gipfeln’), via to reappear at the height of the suspense. The
tree-tops (‘Wipfeln’), to the enclosed forest and lesson works and Niklas arranges their wedding
the coffin. There is no better example in all music for the next day. Schubert magnificently conveys
of how a great poem, even though it is corrupted the eeriness of the scene in the repeated quaver
by Schubert’s repetition of certain words, can be octaves of the right hand and the triplet rhythm
recreated and perhaps even surpassed by a that throbs throughout. Spaun, in his memoirs of
composer of genius. the composer, describes his astonishment as he
‘Willkommen und Abschied’, discussed and Mayrhofer witnessed the gestation and birth
above, was published together with ‘An die of the great song – Schubert pacing the room,
Leier’ and ‘Im Haine’ in July 1826 as Op. 56 by book in hand, reciting the poem, then feverishly
AW Pennauer. The poet of these last two songs, and committing the music to paper in a frenzy of
of ‘Am See’ was Franz von Bruchmann, an intimate inspiration.
4The second half the programme begins and
ends with Schubert’s two settings of Goethe’s ‘An
den Mond’. The poem was sent by Goethe to
Charlotte von Stein on 11 November 1877, together
with a musical setting by his friend Philip Kayser.
When in 1786 Goethe broke off this extraordinary
relationship and fled to Italy, Charlotte revised
and extended the poem, incorporating into it her
own great grief. On returning from his Italian
Journey, Goethe re-wrote his poem, retaining
several of Charlotte’s ideas, including the stanza
beginning ‘Jeden Nachklang ...’ Her version had
run: ‘Jeden Nachklang in der Brust / Froh- und
trüber Zeit, / Wandle ich nun unbewußt / In der
Einsamkeit.’ The poem’s gradual genesis,
therefore, extends over a whole decade, and
represents a rare collaboration between a great
poet and his beloved. Schubert’s first version,
with its wonderfully sad E flat major melody,
captures perfectly the melancholy of the poem.
If Goethe had listened to this song, he would
probably have appreciated its strophic form
(he generally disapproved of through-composed
songs and felt that the accompaniment should be FRANZ SCHUBERT
subservient to the poem), although he would have A lithograph by Josef Kriehuber
objected to the way Schubert’s melody, which
stretches over two stanzas, necessitated the ‘Ich denke dein’, was sung to music by Zelter; after
omission of one of his verses. The second version, hearing the song, Goethe wrote that Zelter’s
which sets the entire poem, was composed some melody ‘appealed to me enormously, and I could
four years after the first, and boasts a searing not refrain from writing a poem to fit it’. He
A flat major melody that pierces the heart. retained the idea and same metrical pattern of
‘Nähe des Geliebten’, like ‘An den Mond’, has Brun’s poem, but whereas she had started each
a fascinating history. In 1796, Goethe attended a verse (apart from the fourth) with ‘Ich denke dein’
party at which a poem by Friederike Brun, called (I think of thee), Goethe varied each opening
5line, thus adding great movement and life to the only set the first, third and last, although any of
poem, especially in the final verse where the the others fit the music equally well.
woman, having worked herself up into a frenzy ‘Meeres Stille’ was first published, with
of expectation, has convinced herself (through ‘Glückliche Fahrt’, in Schiller’s Musenalmanach
thought, sight and hearing) that she is actually for 1796. The two poems (‘Calm sea’ and
by her lover’s side – a hope that is dashed by the ‘Prosperous voyage’) have always been printed
final line’s despairing conditional. No strophic together, since Goethe clearly wished to display
song can do justice to such subtleties, but the contrasting ideas of stillness and movement.
Schubert contributes to the cumulative tension by They can also be seen as exercises in the use of
the ascending line of the prelude, repeated before trochaic and dactylic metres – the incessant
each new verse, and the way in which his simple trochees (long/short) of ‘Meeres Stille’ reflecting
melody climbs chromatically towards the tonic. the stillness of the ocean, as the sailor is
‘Nachtgesang’ was yet another poem written becalmed. Both poems refer to a voyage that
to fit already existing music – in this case Goethe made in 1787 on his Italian Journey, when
Reichardt’s setting of the Italian folksong ‘Tu sei he crossed the sea from Messina to Naples, and
quel dolce fuoco’, with its refrain of ‘Dormi, che experienced a flat calm – perfectly caught by no
vuoi di più’ that Goethe translates as ‘Schlafe! fewer than 32 semibreve chords in Schubert’s
Was willst du mehr?’ – a catchy line which great song.
was then much imitated by other poets. The first In 1775 Goethe was summoned by Carl
composer to set Goethe’s version was Zelter, August, the 18-year-old ruler of the small Duchy of
whose attractive tune fails to convey the reverie of Saxe-Weimar-Eisenach, to join the cultured circle
Goethe’s poem that Schubert so successfully of the court. Soon after he had received the
captures in his dreamy melody, marked langsam invitation he wrote an impromptu poem in his
throughout. Schubert, for all his sadness and diary under the heading ‘15 Januar 1775, auf
seriousness, wrote some of the finest humorous Zürichersee’ and later revised it for publication in
Lieder in the repertoire – although not as many as 1789, giving it the title ‘Auf dem See’. The poem,
Wolf and Loewe. Several of them are inspired by on the surface, is about rowing on Lake Zurich, but
fishing: ‘Widerschein’, ‘Fischerlied’, ‘Fischerweise’, there is a deeper symbolism at work that reflects
‘Wie Ulfru fischt’ and ‘Liebhaber in allen Goethe’s uncertainty of mind. The initial iambic
Gestalten’. Though Goethe only published his rhythm conveys the pull of the oars, and the
poem in 1815, the first line was written much harmony he feels with nature is expressed in
earlier, as we see from a catalogue of his verse the opening two lines. The peaceful mood does
published in the early 1780s by his friend Barbara not last; the iambics cease, he rests on his oars
Schulthess. Of the original nine verses, Schubert and, to a new trochaic metre, reflects on his life.
6The ‘golden dreams’ refer to his love for Lili which must have been Schubert’s source for his
Schönemann, to whom he was engaged but song of 1815, a miracle of conciseness (contrast
now wished to shun; he resolves to forget the Mendelssohn’s beautiful but prolix version), with
dream, and instead embrace the present. To a a stab of pain on the word ‘Wunde’ that pierces
quicker rhythm he now rows ashore (wonderfully the heart. The text to ‘Erster Verlust’ is a translated
expressed by Schubert in the new 2/4 time), conflation of two arias from Mozart’s Le nozze di
and glimpses the ripening fruit in the morning Figaro (‘Porgi amor’ and ‘Dove sono’) which
light. ‘Ripening fruit’ (‘Reifende Frucht’), given Goethe’s brother-in-law Christian Vulpius was
the abundance of imagery in the first stanza translating at the very time Goethe was writing Die
that is connected with nurture (‘saug/suckle’, ungleichen Hausgenossen – a work, which like
‘Busen/breast’, ‘wiegen/cradle’ and, in the Le nozze di Figaro, presents us with a pair of ill-
original version, the umbilical chord: ‘Ich saug assorted lovers.
an meiner Nabelschnur/Nun Nahrung aus der Goethe’s ‘Ganymed’ begins by describing
Welt ...’) implies a new maturity as he faces the a common enough experience: that of lying
future and the new challenge of Weimar. stretched out on a hill in springtime. The poet
Goethe’s ‘An Mignon’, which dates from 1796, then goes on to express the oneness of all things,
a year before Schubert’s birth, is a sort of man, nature and creator, and addresses Spring
apostrophe to pain. Scholars are divided as to as a lover. Ganymede in myth was raised up to
whether Mignon is the eponymous heroine of Olympus by Zeus, who had fallen in love with
Goethe’s novel or Magdalena Riggi, a beautiful the boy, wished him to be his cup-bearer and
Milanese girl whom he had met on his Italian abducted him in the guise of an eagle (see
Journey. There is no doubt, however, about Rembrandt’s wonderful painting in Dresden). In
the painful mood of the woman’s lament: Sturm und Drang fashion, Goethe changes the
the ‘Schmerzen/Herzen’ rhyme appears in myth and has Ganymede borne aloft by the
each stanza, and Schubert responds in plaintive intensity of his own feelings – a process that
G minor and with a circular melody that depicts is given almost tangible form by Schubert’s key-
admirably the emotional impasse of Mignon’s design, from A flat to F via G flat and E, also by
feelings. ‘Erster Verlust’ forms part of Goethe’s Die the melismatic setting of the final phrase, and
ungleichen Hausgenossen, a play which remained the soaring postlude of minims and semibreves,
nothing more than a fragment, possibly because marked pp and diminuendo.
his energies were now directed towards his Notes by Richard Stokes © 2018
imminent journey to Italy. Three poems, including
‘Erster Verlust’, were fortunately salvaged by
Goethe and printed in the Schriften of 1789,
701 Wehmut D772 (1822) Melancholy
Wenn ich durch Wald und Fluren geh, When I walk through forest and field,
Es wird mir dann so wohl und weh I feel so happy and sad
In unruhvoller Brust. in my restless heart.
So wohl, so weh, wenn ich die Au So happy and so sad when I see
In ihrer Schönheit Fülle schau’, the meadow in all its beauty,
Und all die Frühlingslust. and all the joy of spring.
Denn was im Winde tönend weht, For all that blows and echoes in the wind,
Was aufgetürmt gen Himmel steht, all that towers up to heaven,
Und auch der Mensch, so hold vertraut and man himself, so fondly bound
Mit all der Schönheit, die er schaut, to all the beauty he beholds,
Entschwindet, und vergeht. shall vanish and pass away.
(Matthäus von Collin, 1779–1824)
02 Der Zwerg D771 (c.1822) The dwarf
Im trüben Licht verschwinden schon die Berge, The mountains already fade in the gloom,
Es schwebt das Schiff auf glatten Meereswogen, the ship drifts on the sea’s smooth swell,
Worauf die Königin mit ihrem Zwerge. with the queen and her dwarf on board.
Sie schaut empor zum hochgewölbten Bogen, She gazes up at the high arching vault,
Hinauf zur lichtdurchwirkten blauen Ferne, at the distant blue woven with light,
Die mit der Milch des Himmels blaß durchzogen. streaked by the pale Milky Way.
Nie habt ihr mir gelogen noch, ihr Sterne, ‘Never, stars, have you lied to me yet,’
So ruft sie aus, bald werd’ ich nun entschwinden, she cries, ‘Soon I shall be no more,
Ihr sagt es mir, doch sterb’ ich wahrlich gerne. you tell me so, yet truly I shall gladly die.’
Da tritt der Zwerg zur Königin, mag binden The dwarf then steps up to the queen,
Um ihren Hals die Schnur von roter Seide, to tie the red silk cord about her neck,
Und weint, als wollt er schnell vor Gram erblinden. and weeps, as though he’d go blind with grief.
Er spricht: Du selbst bist schuld an diesem Leide, He speaks: ‘You yourself are to blame for this torment,
Weil um den König du mich hast verlassen, because you forsook me for the king,
Jetzt weckt dein Sterben einzig mir noch Freude. your death alone can gladden me.
Zwar werd ich ewiglich mich selber hassen, Though I shall always hate myself
Der dir mit dieser Hand den Tod gegeben, for killing you with this hand,
Doch mußt zum frühen Grab du nun erblassen. you must now perish, go early to your grave.’
Sie legt die Hand auf’s Herz voll jungem Leben, She lays her hand on her young heart,
Und aus dem Aug’ die schweren Tränen rinnen, and heavy tears stream from her eyes,
Das sie zum Himmel betend will erheben. she now raises to heaven in prayer.
„Mögst du nicht Schmerz durch meinen Tod gewinnen!“ ‘May you suffer no anguish through my death!’
Sie sagt’s, da küßt der Zwerg die bleichen Wangen, She says; the dwarf then kisses her pale cheeks,
Drauf alsobald vergehen ihr die Sinnen. and forthwith she falls unconscious.
8Der Zwerg schaut an die Frau vom Tod befangen, The dwarf looks down at his dying lady,
Er senkt sie tief in’s Meer mit eignen Handen. lowers her with his hands deep into the sea.
Ihm brennt nach ihr das Herz so voll Verlangen. His heart burns for her with such desire.
An keiner Küste wird er je mehr landen. He will never again set foot on shore.
(Matthäus von Collin)
03 Nacht und Träume D827 (?1822) Night and dreams
Heil’ge Nacht, du sinkest nieder; Holy night, you float down;
Nieder wallen auch die Träume, dreams too drift down,
Wie dein Mondlicht durch die Räume, like your moonlight through space,
Durch der Menschen stille Brust. through the silent hearts of men.
Die belauschen sie mit Lust, They listen to them with delight,
Rufen, wenn der Tag erwacht: cry out when day awakes:
Kehre wieder, heil’ge Nacht! come back, holy night!
Holde Träume, kehret wieder! Sweet dreams, come back again!
(Matthäus von Collin)
04 Der Musensohn D764 (1822) The son of the Muses
Durch Feld und Wald zu schweifen, Roaming through fields and woods,
Mein Liedchen wegzupfeifen, whistling out my song,
So gehts von Ort zu Ort! is how I go from place to place!
Und nach dem Takte reget, And the whole world keeps time
Und nach dem Maß beweget and moves in rhythm
Sich alles an mir fort. with me.
Ich kann sie kaum erwarten I can scarcely wait for them,
Die erste Blum’ im Garten, the first flower in the garden,
Die erste Blüt’ am Baum. the first blossom on the tree.
Sie grüßen meine Lieder, My songs greet them,
Und kommt der Winter wieder, and when winter returns,
Sing’ ich noch jenen Traum. I still sing of my dream.
Ich sing’ ihn in der Weite, I sing it far and wide,
Auf Eises Läng’ und Breite, throughout the icy realm,
Da blüht der Winter schön! then winter blossoms in beauty!
Auch diese Blüte schwindet This blossoming also passes
Und neue Freude findet and new joys are discovered
Sich auf bebauten Höhn. on the villages on the hills.
9Denn wie ich bei der Linde For as soon as I see
Das junge Völkchen finde, young folk by the lime tree,
Sogleich erreg’ ich sie. I rouse them in a trice.
Der stumpfe Bursche bläht sich, The bumpkin puffs his chest out,
Das steife Mädchen dreht sich the prim girl pirouettes
Nach meiner Melodie. in time to my melody.
Ihr gebt den Sohlen Flügel You lend my feet wings
Und treibt, durch Tal und Hügel and drive over hill and dale
Den Liebling weit von Haus. your favourite far from home.
Ihr lieben holden Musen, Dear, gracious Muses,
Wann ruh’ ich ihr am Busen when shall I at last find rest
Auch endlich wieder aus? in my beloved’s embrace?
(Johann Wolfgang von Goethe, 1749–1832)
05 An die Entfernte D765 (1822) To the distant beloved
So hab’ ich wirklich dich verloren? Have I really lost you?
Bist du, o Schöne, mir entflohn? Have you fled from me, fairest love?
Noch klingt in den gewohnten Ohren Every word, every tone still sounds
Ein jedes Wort, ein jeder Ton. in my well-accustomed ears.
So wie des Wandrers Blick am Morgen As in the morning the traveller’s gaze
Vergebens in die Lüfte dringt, searches the heavens in vain
Wenn, in dem blauen Raum verborgen, when, concealed in the blue firmament,
Hoch über ihm die Lerche singt: the lark sings high above him:
So dringet ängstlich hin und wieder So my gaze searches anxiously back and forth
Durch Feld und Busch und Wald mein Blick; through field, thicket and woodland;
Dich rufen alle meine Lieder; all my songs call out to you;
„O komm, Geliebte, mir zurück!“ ‘Come back to me, beloved!’
(Johann Wolfgang von Goethe)
06 Am Fluße D766 (1822) By the river
Verfließet, vielgeliebte Lieder, Flow away, beloved songs,
Zum Meere der Vergessenheit! into the sea of oblivion.
Kein Knabe sing’ entzückt euch wieder, No enraptured youth, no maiden in the springtime of life
Kein Mädchen in der Blütenzeit. will ever sing you again.
Ihr sanget nur von meiner Lieben; You told only of my beloved,
Nun spricht sie meiner Treue Hohn. now she pours scorn on my constancy.
Ihr wart ins Wasser eingeschrieben; You were inscribed upon the water;
So fließt denn auch mit ihm davon. then with the water flow away.
(Johann Wolfgang von Goethe)
1007 Willkommen und Abschied D767 (1822) Greeting and farewell
Es schlug mein Herz, geschwind zu Pferde! My heart pounded, quick, to horse!
Es war getan fast eh’ gedacht; No sooner thought than done;
Der Abend wiegte schon die Erde evening already cradled the earth,
Und an den Bergen hing die Nacht; and night clung to the hills;
Schon stand im Nebelkleid die Eiche, the oak-tree loomed in its misty cloak,
Ein aufgetürmter Riese, da, towering like a giant, there,
Wo Finsternis aus dem Gesträuche where darkness peered from bushes
Mit hundert schwarzen Augen sah. with a hundred jet-black eyes.
Der Mond von einem Wolkenhügel The moon gazed from a bank of cloud
Sah kläglich aus dem Duft hervor, mournfully through the haze,
Die Winde schwangen leise Flügel, the winds softly beat their wings,
Umsausten schauerlich mein Ohr; whirred eerily about my ears;
Die Nacht schuf tausend Ungeheuer; night brought forth a thousand monsters,
Doch frisch und fröhlich war mein Mut: yet I was buoyant and bright:
In meinen Adern welches Feuer! what fire in my veins!
In meinem Herzen welche Glut! What ardour in my heart!
Dich sah ich, und die milde Freude I saw you, felt the gentle joy
Floß von dem süßen Blick auf mich; of your sweet eyes flood over me;
Ganz war mein Herz an deiner Seite my heart was wholly at your side
Und jeder Atemzug für dich. and every breath I took for you.
Ein rosenfarbnes Frühlingswetter A rose-red light of spring
Umgab das liebliche Gesicht, framed her lovely face,
Und Zärtlichkeit für mich – ihr Götter! and tenderness for me – O gods!
Ich hofft’ es, ich verdient’ es nicht! This I had hoped but never deserved!
Doch ach! schon mit der Morgensonne But alas, with the morning sun,
Verengt der Abschied mir das Herz: parting now constricts my heart:
In deinen Küssen, welche Wonne! in your kisses what delight!
In deinem Auge, welcher Schmerz! In your eyes what pain!
Ich ging, du standst und sahst zur Erden, I went, you stood there gazing down,
Und sahst mir nach mit nassem Blick: and gazed moist-eyed after me:
Und doch, welch Glück geliebt zu werden! and yet, what joy to be loved!
Und lieben, Götter, welch ein Glück! And to be in love, O gods, what joy!
(Johann Wolfgang von Goethe)
1108 Wandrers Nachtlied II D768 (?1822) Wanderer’s nightsong II
Über allen Gipfeln Over every mountain-top
Ist Ruh’, lies peace,
In allen Wipfeln in every tree-top
Spürest Du you scarcely feel
Kaum einen Hauch; a breath of wind;
Die Vöglein schweigen im Walde. the little birds are hushed in the wood.
Warte nur, balde Wait, soon you too
Ruhest du auch. will be at peace.
(Johann Wolfgang von Goethe)
09 An die Leier D737 (?1822–3) To the lyre
Ich will von Atreus’ Söhnen, I would sing of Atreus’s sons,
Von Kadmus will ich singen! and of Cadmus too!
Doch meine Saiten tönen But my strings sound
Nur Liebe im Erklingen. forth nothing but love.
Ich tauschte um die Saiten, I have changed the strings,
Die Leier möcht’ ich tauschen, I would gladly change the lyre,
Alcidens Siegesschreiten let Alcides’ victory march
Sollt’ ihrer Macht entrauschen! thunder from its mighty heart!
Doch auch die Saiten tönen But these strings too sound
Nur Liebe im Erklingen. forth nothing but love.
So lebt denn wohl, Heroen, Farewell, then, heroes,
Denn meine Saiten tönen, for my strings,
Statt Heldensang zu drohen, instead of threatening with heroic song,
Nur Liebe im Erklingen. sound forth nothing but love.
(Franz von Bruchmann, 1796–1867,
after Anacreon, fl 6th century BC)
10 Am See D746 (?1822) By the lake
In des Sees Wogenspiele Into the lake’s play of waves,
Fallen durch den Sonnenschein through the sunlight,
Sterne, ach, gar viele, viele, stars, o so many stars,
Flammend leuchtend stets hinein. fall ceaselessly, flaming, gleaming.
Wenn der Mensch zum See geworden, If man becomes a lake,
In der Seele Wogenspiele stars, o so many stars,
Fallen aus des Himmels Pforten will fall from the gates of heaven
Sterne, ach, gar viele, viele. into the play of waves within his soul.
(Franz von Bruchmann)
1211 Im Haine D738 (1822–3) In the wood
Sonnenstrahlen As rays of sunlight,
Durch die Tannen, fall
Wie sie fallen; through the fir-trees,
Ziehn von dannen all sorrow
Alle Schmerzen, drifts away,
Und im Herzen and in our hearts
Wohnet reiner Friede nur. dwells only peace.
Stilles Sausen Balmy breezes
Lauer Lüfte, murmuring softly,
Und im Brausen and the whispering,
Zarte Düfte, delicate scents
Die sich neigen that float down
Aus den Zweigen, from the branches,
Atmet aus die ganze Flur. caress every meadow.
Wenn nur immer If only
Dunkle Bäume, dark trees,
Sonnenschimmer, shimmering sunlight
Grüne Säume and the edge of green woods
Uns umblühten were to flower
Und umglühten, and glow about us for ever,
Tilgend aller Qualen Spur! wiping away all traces of pain!
(Franz von Bruchmann)
12 Erlkönig D328 (1815) Erlking
Wer reitet so spät durch Nacht und Wind? Who rides so late through night and wind?
Es ist der Vater mit seinem Kind; It is the father with his child;
Er hat den Knaben wohl in dem Arm, he has the boy safe in his arms,
Er faßt ihn sicher, er hält ihn warm. he holds him close, he keeps him warm.
„Mein Sohn, was birgst du so bang dein Gesicht?“ ‘My son, why hide your face in fear?’
Siehst, Vater, du den Erlkönig nicht? ‘Can’t you see the Erlking, father?
Den Erlenkönig mit Kron’ und Schweif?“ The Erlking with his crown and robe?’
„Mein Sohn, es ist ein Nebelstreif.“ ‘My son, it is a streak of mist.’
„Du liebes Kind, komm, geh mit mir! ‘You sweetest child, come go with me!
Gar schöne Spiele spiel’ ich mit dir; Wondrous games I’ll play with you;
Manch’ bunte Blumen sind an dem Strand; many bright flowers grow on the shore;
Meine Mutter hat manch gülden Gewand.“ my mother has many a garment of gold.’
13„Mein Vater, mein Vater, und hörest du nicht, ‘Father, O father, can’t you hear
Was Erlenkönig mir leise verspricht?“ the Erlking’s whispered promises?’
„Sei ruhig, bleibe ruhig, mein Kind; ‘Be calm, stay calm, my child,
In dürren Blättern säuselt der Wind.“ the wind is rustling in withered leaves.’
„Willst, feiner Knabe, du mit mir gehn? ‘Won’t you come with me, fine boy?
Meine Töchter sollen dich warten schön; My daughters shall take good care of you;
Meine Töchter führen den nächtlichen Reihn, my daughters lead the nightly dance,
Und wiegen und tanzen und singen dich ein.“ and will rock and dance and sing you to sleep.’
„Mein Vater, mein Vater, und siehst du nicht dort ‘Father, O father, can’t you see
Erlkönigs Töchter am düstern Ort?“ the Erlking’s daughters there in the gloom?’
„Mein Sohn, mein Sohn, ich seh’ es genau; ‘My son, my son, I can see quite clearly:
Es scheinen die alten Weiden so grau.“ it’s the old willows gleaming so grey.’
„Ich liebe dich, mich reizt deine schöne Gestalt; ‘I love you. Your beautiful figure excites me;
Und bist du nicht willig, so brauch’ ich Gewalt.“ and if you’re not willing, I’ll take you by force.’
„Mein Vater, mein Vater, jetzt faßt er mich an! ‘Father, O father, he’s seizing me now!
Erlkönig hat mir ein Leids getan!“ The Erlking’s done me harm!’
Dem Vater grauset’s, er reitet geschwind, The father shudders, swiftly he rides,
Er hält in Armen das ächzende Kind, with the groaning child in his arms,
Erreicht den Hof mit Müh’ und Not; with a final effort he reaches home;
In seinen Armen das Kind war tot. the child lay dead in his arms.
(Johann Wolfgang von Goethe)
Lieder to texts by Johann Wolfgang von Goethe
13 An den Mond D259 (1815) To the moon
Füllest wieder Busch und Tal Once more you fill wood and vale
Still mit Nebelglanz, silently with radiant mist,
Lösest endlich auch einmal and at last
Meine Seele ganz; set my soul quite free;
Breitest über mein Gefild Soothingly you spread your gaze
Lindernd deinen Blick, over my domain,
Wie des Freundes Auge mild like a gentle friend
Über mein Geschick. watching over my fate.
Jeden Nachklang fühlt mein Herz My heart feels every echo
Froh- und trüber Zeit, of happy times and sad,
Wandle zwischen Freud’ und Schmerz I drift between joy and pain
In der Einsamkeit. in my loneliness.
14Fließe, fließe, lieber Fluß! Flow, flow on, beloved river!
Nimmer werd’ ich froh, Never shall I be happy,
So verrauschte Scherz und Kuß, this was how they streamed away,
Und die Treue so. kisses, laughter, faithfulness.
Rausche, Fluß, das Tal entlang, Murmur, river, along the valley,
Ohne Rast und ohne Ruh, ever onward without cease,
Rausche, flüstre meinem Sang murmur, whisper for my songs
Melodien zu, your melodies,
Wenn du in der Winternacht As when on winter nights
Wütend überschwillst, you rage and break your banks,
Oder um die Frühlingspracht or when you bathe the springtime splendour
Junger Knospen quillst. of burgeoning young buds.
Selig, wer sich vor der Welt Happy are they who, without hate,
Ohne Haß verschließt, withdraw from the world,
Einen Freund am Busen hält holding to their heart one friend
Und mit dem genießt, and with him enjoy
Was von Menschen nicht gewußt What, unknown to human kind
Oder nicht bedacht, or not even pondered,
Durch das Labyrinth der Brust drifts through the heart’s
Wandelt in der Nacht. labyrinth at night.
14 Nähe des Geliebten D162 (1815) Nearness of the beloved
Ich denke dein, wenn mir der Sonne Schimmer I think of you, when the shimmering sun
Vom Meere strahlt; streams from the sea;
Ich denke dein, wenn sich des Mondes Flimmer I think of you, when the glittering moon
In Quellen malt. is mirrored in springs.
Ich sehe dich, wenn auf dem fernen Wege I see you, when on distant paths
Der Staub sich hebt; the dust rises;
In tiefer Nacht, wenn auf dem schmalen Stege in deep night, when on the narrow bridge,
Der Wandrer bebt. the traveller trembles.
Ich höre dich, wenn dort mit dumpfem Rauschen I hear you, when with muffled roar
Die Welle steigt. the waves surge.
Im stillen Hain, da geh’ ich oft zu lauschen, I often listen in the quiet grove,
Wenn alles schweigt. when all is silent.
Ich bin bei dir, du seist auch noch so ferne, I am with you, however far you be,
Du bist mir nah! you are by my side!
Die Sonne sinkt, bald leuchten mir die Sterne. The sun sets, soon the stars will shine on me.
O wärst du da! O that you were here!
1515 Nachtgesang D119 (1814) Night song
O gib, vom weichen Pfühle, O lend, from your soft pillow,
Träumend, ein halb Gehör! dreaming, but half an ear!
Bei meinem Saitenspiele To the music of my strings
Schlafe! was willst du mehr? sleep! What more can you wish?
Die ewigen Gefühle These eternal feelings
Heben mich, hoch und hehr, raise me high and glorious
Aus irdischem Gewühle; above the earthly throng;
Schlafe! was willst du mehr? sleep! What more can you wish?
Bannst mich in diese Kühle, You spellbind me to this coolness,
Gibst nur im Traum Gehör. giving ear only in your dream.
Ach, auf dem weichen Pfühle Ah, on your soft pillow
Schlafe! was willst du mehr? sleep! What more can you wish?
16 Liebhaber in allen Gestalten D558 (1817) A lover in all guises
Ich wollt’ ich wär’ ein Fisch, I wish I were a fish,
So hurtig und frisch; so agile and fresh;
Und kämst Du zu anglen, and if you came to catch me,
Ich würde nicht manglen. I would not fail you.
Ich wollt’ ich wär’ ein Fisch, I wish I were a fish,
So hurtig und frisch. so agile and fresh.
Ich wollt’ ich wäre Gold! I wish I were gold,
Dir immer im Sold; always at your service.
Und tätst Du was kaufen, And if you bought something,
Käm’ ich wieder gelaufen. I would come running back again.
Ich wollt’ ich wäre Gold! I wish I were gold,
Dir immer im Sold. always at your service.
Wär’ ich gut wie ein Schaf, Were that I was as meek as a lamb,
Wie der Löwe so brav; and as brave as a lion;
Hätt’ Augen wie’s Lüchschen that I had the eyes of a lynx,
Und Listen wie’s Füchschen. and the cunning of a fox.
Wär’ ich gut wie ein Schaf, Were that I was as meek as a lamb,
Wie der Löwe so brav. and as brave as a lion!
Doch bin ich wie ich bin, But I am as I am;
Und nimm mich nur hin! just accept me like this.
Willst Du bess’re besitzen, If you want a better man,
So laß Dir sie schnitzen. then have him made for you.
Ich bin nun wie ich bin; I am as I am;
So nimm mich nur hin! just accept me like this.
1617 Meeres Stille D216 (1815) Calm sea
Tiefe Stille herrscht im Wasser, Deep silence weighs on the water,
Ohne Regung ruht das Meer, motionless the sea rests,
Und bekümmert sieht der Schiffer and the fearful boatman sees
Glatte Fläche rings umher. a glassy surface all around.
Keine Luft von keiner Seite! No breeze from any quarter!
Todesstille fürchterlich! Fearful, deadly silence!
In der ungeheuern Weite In all that vast expanse
Reget keine Welle sich. not a single ripple stirs.
18 Auf dem See D543 (1817) On the lake
Und frische Nahrung, neues Blut And fresh nourishment, new blood
Saug’ ich aus freier Welt: I suck from these open spaces;
Wie ist Natur so hold and gut, how sweet and kindly Nature is,
Die mich am Busen hält! who holds me to her breast!
Die Welle wieget unsern Kahn The waves cradle our boat
Im Rudertakt hinauf, to the rhythm of the oars,
Und Berge, wolkig himmelan, and mountains, soaring skywards in cloud,
Begegnen unserm Lauf. meet us in our path.
Aug’, mein Aug’, was sinkst du nieder? Why, my eyes, do you look down?
Goldne Träume, kommt ihr wieder? Golden dreams, will you return?
Weg, du Traum! so gold du bist: Away, O dream, however golden;
Hier auch Lieb’ und Leben ist. here too is love and life.
Auf der Welle blinken Stars in their thousands
Tausend schwebende Sterne, drift and glitter on the waves,
Weiche Nebel trinken gentle mists drink in
Rings die türmende Ferne; the towering skyline;
Morgenwind umflügelt Morning breezes flutter
Die beschattete Bucht, round the shaded bay,
Und im See bespiegelt and the ripening fruit
Sich die reifende Frucht. is reflected in the lake.
19 An Mignon D161 (1815) To Mignon
Über Tal und Fluß getragen Over valley and stream
Ziehet rein der Sonne Wagen. the sun’s chariot moves chastely along.
Ach! sie regt in ihrem Lauf, Ah! it wakens in its course
So wie deine, meine Schmerzen, your agonies and mine,
Tief im Herzen, deep in our hearts,
Immer morgens wieder auf. each new morning.
17Kaum will mir die Nacht noch frommen, Night brings but scant relief,
Denn die Träume selber kommen for dreams themselves now come
Nun in trauriger Gestalt, in melancholy guise,
Und ich fühle dieser Schmerzen, and silently in my heart
Still im Herzen, I feel the secret might
Heimlich bildende Gewalt. of those agonies grow in my heart.
Schon seit manchen schönen Jahren For many a long year
Seh’ ich unten Schiffe fahren; I have watched the ships sail below;
Jedes kommt an seinen Ort; each one reaches its haven;
Aber ach! die steten Schmerzen, But ah! the constant agonies
Fest im Herzen, deep in my heart,
Schwimmen nicht im Strome fort. are not borne away in the river.
Heimlich muß ich immer weinen, Secretly I must keep weeping,
Aber freundlich kann ich Scheinen yet outwardly I can seem cheerful,
Und sogar gesund und rot; even ruddy and well;
Wären tödlich diese Schmerzen if these agonies
Meinem Herzen, were fatal to my heart,
Ach! schon lange wär’ ich tot. ah! I would long ago have died.
20 Erster Verlust D226 (1815) First loss
Ach! wer bringt die schönen Tage, Ah! who will bring the fair days back,
Jene Tage der ersten Liebe, those days of first love,
Ach! wer bringt nur eine Stunde ah! who will bring but one hour back
Jener holden Zeit zurück! of that radiant time!
Einsam nähr’ ich meine Wunde, In my loneliness I feed my wound,
Und mit stets erneuter Klage and with ever renewed lament
Traur’ ich um’s verlorne Glück. mourn the happiness I lost.
Ach! wer bringt die schönen Tage, Ah! who will bring the fair days back,
Wer jene holde Zeit zurück! who that radiant time!
21 Ganymed D544 (1817) Ganymede
Wie im Morgenglanze How in the morning radiance
Du rings mich anglühst, you glow at me from all sides,
Frühling, Geliebter! spring, beloved!
Mit tausendfacher Liebeswonne With thousandfold delights of love,
Sich an mein Herze drängt the sacred feeling
Deiner ewigen Wärme of your eternal warmth
Heilig Gefühl, presses against my heart,
Unendliche Schöne! beauty without end!
18Daß ich dich fassen möcht’ To clasp you
In diesen Arm! in these arms!
Ach an deinem Busen Ah, on your breast
Lieg’ ich und schmachte, I lie and languish,
Und deine Blumen, dein Gras and your flowers, your grass
Drängen sich an mein Herz. press against my heart.
Du kühlst den brennenden You cool the burning
Durst meines Busens, thirst of my breast,
Lieblicher Morgenwind! sweet morning breeze!
Ruft drein die Nachtigall The nightingale calls out to me
Liebend nach mir aus dem Nebeltal. longingly from the misty valley.
Ich komm’, ich komme! I come, I come!
Ach wohin, wohin? Where? Ah, where?
Hinauf strebt’s, hinauf! Upwards! Upwards I’m driven!
Es schweben die Wolken The clouds float
Abwärts, die Wolken down, the clouds
Neigen sich der sehnenden Liebe. bow to yearning love.
Mir! Mir! To me! To me!
In euerm Schoße Enveloped by you
Aufwärts! upwards!
Umfangend umfangen! Embraced and embracing!
Aufwärts an deinen Busen, Upwards to your bosom,
Alliebender Vater! all-loving Father!
22 An den Mond D296 (?1819) To the moon
Füllest wieder Busch und Tal Once more you fill wood and vale
Still mit Nebelglanz, silently with radiant mist,
Lösest endlich auch einmal and at last
Meine Seele ganz; set my soul quite free;
Breitest über mein Gefild Soothingly you spread your gaze
Lindernd deinen Blick, over my domain,
Wie des Freundes Auge mild like a gentle friend
Über mein Geschick. watching over my fate.
Jeden Nachklang fühlt mein Herz My heart feels every echo
Froh- und trüber Zeit, of happy times and sad,
Wandle zwischen Freud und Schmerz I drift between joy and pain
In der Einsamkeit. in my loneliness.
19Fließe, fließe, lieber Fluß! Flow, flow on, beloved river!
Nimmer werd ich froh; Never shall I be happy,
So verrauschte Scherz und Kuß, this was how they streamed away,
Und die Treue so. kisses, laughter, faithfulness.
Ich besaß es doch einmal Yet I once possessed
Was so köstlich ist! what is so precious!
Daß man doch zu seiner Qual Ah, the torment
Nimmer es vergißt! of never forgetting it!
Rausche, Fluß, das Tal entlang, Murmur, river, along the valley,
Ohne Rast und ohne Ruh, ever onward without cease,
Rausche, flüstre meinem Sang murmur, whisper for my songs
Melodien zu, your melodies,
Wenn du in der Winternacht As when on winter nights
Wütend überschwillst, you rage and break your banks,
Oder um die Frühlingspracht or when you bathe the springtime splendour
Junger Knospen quillst. of burgeoning young buds.
Selig, wer sich vor der Welt Happy are they who, without hate,
Ohne Haß verschließt, withdraw from the world,
Einen Freund am Busen hält holding to their heart one friend
Und mit dem genießt, and with him enjoy
Was von Menschen nicht gewußt What, unknown to human kind,
Oder nicht bedacht, or not even pondered,
Durch das Labyrinth der Brust drifts through the heart’s
Wandelt in der Nacht. labyrinth at night.
Translations of Wehmut, Der Zwerg, Nacht und Träume, Der
Musensohn, Willkommen und Abschied, Wandrers Nachtlied II, An die
Leier, Erlkönig, An den Mond, Nähe des Geliebten, Meeres Stille, Auf
dem See, An Mignon, Erster Verlust, Ganymed and An den Mond by
Richard Stokes from The Book of Lieder published by Faber & Faber,
with thanks to George Bird, co-author of The Fischer-Dieskau Book of
Lieder published by Victor Gollancz Ltd. An die Entfernte, Am Fluße,
Am See, Im Haine, Nachtgesang and Liebhaber in allen Gestalte by
Richard Wigmore from Schubert – The Complete Song Texts published
by Victor Gollancz Ltd.
www.wigmore-hall.org.uk/live
20Also available on Wigmore Hall Live
Ian BostrIdge sIngs schuBert
with JuLIuS DrAkE piano
Volume 1 WHLive0067
‘[Bostridge] in excellent voice here and never so heedless
as to be mannered … And then there’s Julius Drake, who so
clearly charts the progression of Schubert’s musical
thoughts.’ (Gramophone) ‘The two are at their best in the
sad, reflective Der Winterabend, but the disc as a whole is
a fine achievement’ (BBC Music Magazine)
Volume 2 WHLive0077
‘As you’d expect from a singer with such well-developed
literary instincts, this is a superbly planned and executed
Schubert recital’ (CD Review) ‘Drake is a calm and
authoritative presence, seeking out and highlighting
niceties of Schubert's piano writing … The best things
here … repay repeated listening’ (BBC Music Magazine)
Volume 3 WHLive0088
‘The tenor puts together a stimulating mixture of the
familiar and unfamiliar, and is supported with unerring
sensitivity and skill at the piano by Julius Drake … At no
stage, either, does one doubt Bostridge’s intellectual or
emotional commitment; he is alive to the text as few other
singers today’ (Gramophone)
21Ian BostrIdge
Ian Bostridge’s international recital career takes
him to the foremost concert halls of Europe,
South East Asia and North America, with regular
appearances at the Salzburg, Edinburgh, Munich,
Vienna, Schwarzenberg and Aldeburgh festivals.
He has had residencies at Carnegie Hall New York,
the Wiener Konzerthaus, Het Concertgebouw
Amsterdam, Luxembourg Philharmonie, Barbican
Centre and Wigmore Hall. In opera, he has
performed the title role in Handel’s Jeptha at
the Opéra national de Paris, Tamino (Mozart
Die Zauberflöte), Jupiter (Handel Semele) and
Aschenbach (Britten Death in Venice) at English
National Opera, Quint (Britten The Turn of the
Screw), Don Ottavio (Mozart Don Giovanni) and
Caliban (Thomas Adès The Tempest) for the Royal
Opera House, Covent Garden, Don Ottavio at the
Wiener Staatsoper, Tom Rakewell (Stravinsky The
Rake’s Progress) at the Bayerische Staatsoper,
Munich and Quint at Teatro alla Scala, Milan.
His many recordings have won all the major
international record prizes and been nominated
for fifteen Grammys. He was awarded a CBE in the
2004 New Year's Honours. In 2016, he was
awarded the The Pol Roger Duff Cooper Prize for
non-fiction writing for his latest book, Schubert's
Winter Journey: Anatomy of an Obsession.
22JulIus drake
The pianist Julius Drake lives in London and
enjoys an international reputation as one of the
finest instrumentalists in his field, collaborating
with many of the world’s leading artists, both in
recital and on disc. He appears regularly at all
the major music centres including the Aldeburgh,
Edinburgh, Munich, Schubertiade and Salzburg
festivals, Carnegie Hall and Lincoln Center, New
York, Het Concertgebouw Amsterdam, Wigmore
Hall and the BBC Proms, London. Since 2009 he
has been Artistic Director of the Machynlleth
Festival in Wales, and he has devised song series
for Wigmore Hall, the BBC and Het Concertgebouw
Amsterdam. He has an annual recital series, Julius
Drake and Friends, in the historic Middle Temple
Hall in London, which has included collaborations
with Sir Thomas Allen, Olaf Bär, Iestyn Davies,
Veronique Gens, Sergei Leiferkus, Dame Felicity
Lott, Simon Keenlyside and Sir Willard White.
His many recordings include, among others,
a widely acclaimed series with Gerald Finley for
Hyperion, which won 2007, 2009 and 2011
Gramophone awards, several award-winning
recordings with Ian Bostridge for EMI, and
Schubert’s ‘Poetisches Tagebuch’ with Christoph
Prégardien, which won the Jahrpreis der
Deutschen Schallplattenkritik 2017.
Engineered by Steve Portnoi www.outhouseaudio.com
Produced by Jeremy Hayes
Recorded live at Wigmore Hall, London, on 16 May 2015
Director: John Gilhooly
Wigmore Hall Live — General Manager: Darius Weinberg
Photography by Benjamin Ealovega; photograph of Julius Drake on p.23 by Marco Borggreve
Manufactured by Repeat Performance Multimedia, London
23WHLive0091
Made & Printed in England
Ian Bostridge tenor
Julius drake piano
Recorded live at Wigmore Hall, London, on 16 May 2015
FrANZ SCHuBErT (1797–1828)
01 Wehmut, D772 02.40
02 Der Zwerg, D771 05.13
03 Nacht und Träume, D827 03.49
04 Der Musensohn, D764 01.52
05 An die Entfernte, D765 03.07
06 Am Fluße, D766 01.32
07 Willkommen und Abschied, D767 03.19
08 Wandrers Nachtlied II, D768 02.21
09 An die Leier, D737 04.41
10 Am See, D746 01.46
11 Im Haine, D738 02.21
12 Erlkönig, D328 04.08
13 An den Mond, D259 03.40
14 Nähe des Geliebten, D162 02.49
15 Nachtgesang, D119 02.22
16 Liebhaber in allen Gestalten, D558 01.31
17 Meeres Stille, D216 02.13
18 Auf dem See, D543 03.10
19 An Mignon, D161 02.17
20 Erster Verlust, D226 01.51
21 Ganymed, D544 04.04
22 An den Mond, D296 05.36
Total time: 69.30You can also read
