Schubert Revealed An die Musik Special Edition: David Finckel, Wu Han, and Friends
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An die Musik Special Edition:
Schubert Revealed
David Finckel, Wu Han, and Friends
June 3–10, 2021
Schell’s Stage at Schilling Amphitheater,
Minnesota State Fairgrounds
AN DIE MUSIK • TABLE OF CONTENTS
An die Musik SCHUBERT REVEALED
Schubert Revealed June 3–10, 2021
Schubert Club’s 2020-21 Featured Artists,
Music Museum
cellist David Finckel and pianist Wu Han,
TABLE OF CONTENTS were scheduled to perform several concerts
featuring the chamber music of Franz Schubert
3 Artistic & Executive Director and as part of their residency this season. Due to
President's Welcome complications caused by the pandemic, we
4 2021–2022 Season Announcement were unable to present these concerts when
they were originally scheduled. We are now
5 Paintings of Katia Setzer delighted to be able to offer a rescheduling
Newly renovated and re-opening on 7 Concert I • June 3rd
of the Schubert Revealed residency with an
outdoor concert series featuring David Finckel
June 10, 2021 at Noon 13 Concert II • June 5th and Wu Han taking place June 3–10.
19 Concert III • June 6th
Schubert Club Ticket Office:
26 Museum Article
651.292.3268 • schubert.org
29 Concert IV • June 8th
Schubert Club
33 Concert V • June 10th
75 West 5th Street, Suite 302
39 Artist Biographies for All Concerts Saint Paul, Minnesota 55102
schubert.org
45 Schubert Club Annual Contributors:
Thank you for your generosity and support On the cover:
54 Schubert Club Officers, Board, Staff, David Finckel, cello; Wu Han, piano
and Advisory Circle photo by Lisa-Marie Mazzucco
“Schubert Revealed”
Outdoor Concerts with David Finckel, Wu Han, and Friends
June 3 - 10, 2021
All Concerts 7:00 PM
Thu, June 3: Featuring the “Trout” Quintet Rain date: June 4 at 7:00 PM
Sat, June 5: “Winterreise” Rain date: June 6 at 1:00 PM
Sun, June 6: Featuring the “Wanderer” Fantasy for Piano Rain date: June 7 at 7:00 PM
Tue, June 8: Schubert, Paganini and Beethoven Rain date: June 9 at 7:00 PM
Check our website Thu, June 10: Featuring “Death and the Maiden” Quartet Rain date: June 11 at 7:00 PM
www.schubert.org/museum
for our regular hours In the case of rescheduling due to inclement weather,
patrons will be notified no later than 12:00 PM on the day of each concert
Learn More at schubert.org/schubertrevealed
1 SCHUBERT CLUB An die Musik schubert.org 2
GREETINGS FROM BARRY KEMPTON AND ANNE HUNTER
An die Musik. It is the title of this magazine, a nod to
Welcome to the Schubert Club
Franz Schubert’s Lied. The music was written with text
from a poem by Schubert’s friend Franz von Schober.
Maud Moon Weyerhaeuser Sanborn
An die Musik
(To Music)
INTERNATIONAL ARTIST SERIES
You, noble Art, at how many gray hours, 2021–2022 SEASON
When life’s wild circle wraps around me, Isata Kanneh-Mason
have you aroused my heart to warm love, Augustin Hadelich, violin Isata Kanneh-Mason, piano piano
have you removed me to a better place! Orion Weiss, piano Tue, Mar 8, 2022 • 7:30 PM
Tue, Nov 2, 2021 • 7:30 PM Wed, Mar 9, 2022 • 10:30 AM
How often has the sigh your harp created,
a sweet, sacred harmony from you,
Wed, Nov 3, 2021 • 10:30 AM Ordway Concert Hall
unlocked heaven’s better times to me. Ordway Concert Hall
You, noble Art, I thank you! Anthony McGill, clarinet
Víkingur Ólafsson, piano Thu, Apr 21, 2022 • 7:30 PM
As we reach the conclusion of this Schubert Club Sun, Jan 9, 2022 • 3:00 PM Fri, Apr 22, 2022 • 10:30 AM
season, the words of An die Musik are significantly Ordway Music Theater Ordway Concert Hall
relevant. Covid-19 transformed the 20-21 season to
one without the concert hall experience, the in- person Gerald Finley, bass-baritone Gerald Finley
Scholarship Competition, the in- person after- school
Julius Drake, piano bass-baritone
I have been looking forward to June 2021 for music education opportunities, the Courtroom Concert
many months—our first live concerts since March experience, and deprived us of the opportunities to enjoy
Thu, Jan 27, 2022 • 7:30 PM All concerts at the Ordway
2020 performed in front of a live audience. It’s the gift of music together. Ordway Music Theater
disappointing that we have limit the number of
people in attendance, but to all of you who are Gratefully, the staff of Schubert Club and many artists
Subscription Packages On Sale Now
joining us at the Minnesota State Fairgrounds worked together to satisfy our musical hunger by providing
for one of these concerts, a very warm welcome! already recorded programming as well as accommodating
with remote performances. In the end, their efforts filled
I’m especially grateful to David Finckel and the voids created by the necessary concert cancellations 651.292.3268 • schubert.org
Wu Han. David and Wu Han are our 2020-21 and brought the recital to our homes.
Season Featured Artists. Their concerts were Víkingur Ólafsson
originally spread over several visits to the Twin Nationally and internationally, we witnessed the power Julie Himmelstrup Featured Artist
Cities during the course of the season, but of
course they haven’t been able to travel until
of music as artists shared their talents from balconies,
streets and other outdoor spaces uniting listeners with MUSIC IN THE PARK SERIES
now. Two spectacular online performances in their beautiful sounds. There was dancing, laughter 2021–2022 SEASON
March, Schubert’s E-flat Piano Trio and String and applause at a time when so many felt the pain and
Quintet, made our mouths water at the prospect isolation of the pandemic and the noble Art of music was
of more Schubert chamber music with some the source. Dover Quartet Pavel Haas Quartet
of their outstanding musical friends! When we with Davóne Tines, baritone Sun, Mar 20, 2022
saw the opportunity of presenting the rest of This June concludes my tenure as President of Schubert Sun, Nov 14, 2021
their planned Schubert programs outdoors in Club’s Board of Directors and I am pleased to announce Catalyst Quartet
June, Wu Han’s and David’s enthusiasm was the appointment of Catherine Furry as my able successor. Susie Park, violin Sun, Apr 24, 2022
immediate! What a delightful way to close out It is with heartfelt gratitude that I look back on my Schubert with Benjamin Hochman, piano Imani Winds
our season. Club experiences and with optimism I look ahead to the Sun, Jan 23, 2022 Marina Piccinini, flute Music in the Park Series
future of the organization. Most importantly, I am thankful
with Clarice & Sergio Assad
Thank you for standing by Schubert Club this for your past, present and future support of Schubert Club
past year. I hope you enjoy the summer. and appreciate sharing its richness with you.
Imani Winds Sun, May 8, 2022
Sun, Feb 27, 2022
Anne Hunter All concerts 4 PM
Barry Kempton Anne Hunter St. Anthony Park United Church of Christ
Artistic & Executive Director President 2129 Commonwealth Ave, St. Paul Marina Piccinini
Music in the Park Series
Paintings by Katia Setzer can be found throughout
this issue of An die Musik. These selections were created
as visual interpretations for several Schubert’s pieces
featured in the program.
A NOTE FROM DAVID FINCKEL
Not only is the personal life of Franz Schubert shrouded in
mystery, but so much of his music is as well. Having likely read
more poetry than any other composer in history, Schubert was
consumed by poetry’s layers of meaning, suggestive qualities,
ephemeral messaging, and deep emotions. As we looked for
visual art appropriate to accompany our Music@Menlo 2015
Schubert festival, we longed for art that would breathe Schubert’s
timeless, rarefied air. And the art of Katia Setzer, which we had
come to know, came to mind. Taking the idea a step further,
we approached Katia with the idea of visually representing a
selection of Schubert’s songs, and she produced a stunning set
which graced not only the festival’s publications but our concert
hall as well. We are so happy that her work will now accompany
us again on another great Schubert journey.
We have known Katia Setzer since she was born; indeed, she
was the first child among the members of the Emerson String
Quartet. It has been a great pleasure to watch her mature into
not only a lovely human being but an spectacularly gifted artist,
and it was wonderful to have the opportunity to add a new
dimension to our long friendship.
KATIA SETZER • BIOGRAPHY
Katia Setzer was born in 1988 in South Orange, NJ. She received
her BA from Colby College with a degree in both Art and English,
and later earned her MFA from the Pennsylvania Academy of the
Fine Arts (PAFA) in Philadelphia, PA.
She exhibits regularly in both group and solo shows, and
was selected by the Music@Menlo Chamber Music Festival and
Institute as their 2015 Visual Artist.
She has provided the program cover for the Grammy award-
winning Emerson String Quartet’s ongoing concert series at
the Smithsonian Institution in Washington, DC. Additionally,
her painting “Transfiguration” (After Schoenberg’s Transfigured
Night) was selected by Sony Classical for the CD cover of the
Emerson String Quartet’s album, Journeys.
Katia Setzer currently lives and works in Philadelphia, PA.
For more information, please visit www.katiasetzer.com
5 SCHUBERT CLUB An die Musik schubert.org 6
SCHUBERT REVEALED • CONCERT I PROGRAM NOTESI
Schubert Revealed • Concert I Thursday, June 3rd, 2021, 7:00 PM
Schell’s Stage at Schilling Amphitheater,
Minnesota State Fairgrounds
This concert is dedicated to the memory of Katherine (Katja) Georgieff
SCHUBERT REVEALED • CONCERT I
Wu Han, piano David Finckel, cello Piano Trio No. 1 in B-flat major, D. 898
Rebecca Albers, viola Paul Appleby, tenor The Trio in B-flat is the first of two great late trios,
Benjamin Beilman, violin Kristen Bruya, bass perhaps the finest examples of the genre between
Beethoven and Brahms. Both were composed for pros:
violinist Ignaz Schuppanzigh and cellist Josef Linke, who
had premiered several of Beethoven’s mature trios, with
Music by Franz Schubert pianist Carl Maria von Bocklet. The Trio in B-flat was
Music by Franz Schubert (Born in Vienna, 1797; died Vienna, 1828) composed around the time of the song cycle Winterreise,
while Schubert was living with his poet-friend Franz von
(b. Vienna, 1797; d. there, 1828)
In Schubert Revealed, we have the chance to hear Schober (1796–1882) at the House of the Blue Hedgehog.
Schubert’s great instrumental works together with But it is utterly different in tone. “It is an ‘unbuttoned’
the songs that are essential to their understanding. Schubert who speaks, sings, confides and dances here,”
How often do you get to hear “Die Forelle” followed writes biographer Brian Newbould, “not the ‘contained’
Piano Trio No. 1 in B-flat major, D. 898 (c. 1828) by the “Trout Quintet,” or “Der Wanderer” in song as Schubert who had nothing further from his mind than
Allegro moderato well as in fantasy? virtuosity when he followed the trudgings of Müller’s
Andante un poco mosso world-weary traveler.” One is frequently reminded of the
Scherzo: Allegro—Trio In Metternich’s Vienna—particularly after the sunny textures of the “Trout Quintet.”
Congress of Vienna in 1815—the secret police
Rondo: Allegro vivace kept a firm grip on society. Spies and informers We set out in fine weather with strings singing away
were everywhere, alert to any kind of revolutionary while piano provides a steady pulse. An immediate
chatter. Public concerts were subject to approval restatement of the theme brings high piano octaves
Intermission by the censor. Concert venues were limited; the and chugging violin. A second subject belongs to cello,
first official concert hall in Vienna was built in 1831, slowly waving its wings in wide, swan-like sixths.
three years after Schubert’s death, and the recital
Four Songs as we know it had not yet been invented. As a The lullaby-like Andante begins with a perfectly poised
Trost im Liede (Solace in Song) D. 546 result, the middle class turned inward, cultivating four-note theme which invites singing counter-themes.
Die Forelle (The Trout), D. 550 domestic life—as humans have been doing for the Listen in this three-part form for the interweaving of
past year—and giving rise to what was later called the string parts and the special texture of cello above
An die Entfernte (To the Distant One), D. 765 the Biedermeier style. violin. The Scherzo has the character of a good-natured
Wilkommen und Abschied (Welcome and Parting), D. 767 ländler, danced by honest, humble people. The main
June 3rd, 2021
The Schubertiade, a celebration of Schubert’s idea is an upside-down version of the riotous “Trout
music in a private home, was such a Biedermeier Quintet” scherzo, heard later in this program, but not
Quintet in A major for Piano, Violin, Viola, Cello and Bass, D. 667, Trout (1819)
gathering. In “Vienna, City of Music,” Alice Hanson as giddy.
Allegro vivace describes a typical event: “Sponsored by high-
Andante ranking Austrian civil servants who eventually Schubert calls the finale a “Rondo,” but how
Scherzo: Presto earned titles for their work, Schubertiades misleading! The first idea is gay and simple. The second
combined music with camaraderie between hosts, is forceful, then scampering. An alarm goes off, but
Andantino (Thema con variationi)—Allegretto
their business associates, their children, and their subsides over a long bass note. In a strikingly original
Finale: Allegro giusto guests. Each party began with the performance touch, Schubert turns the second theme into a long,
of songs by Schubert, often accompanied by the three-beat meter. These elements are repeated in
composer. Then Schubert and his friends played different keys, different colors, and the effect is various
piano duets or sang jocular quartets. After a big and enchanting, more like a mosaic than either a rondo
Schubert Club is grateful to Dennis Stanton and the Good Family Foundation meal, the guests played parlor games or danced.” or a sonata.
for their support of this evening’s concert
schubert.org 8
SCHUBERT REVEALED • CONCERT I PROGRAM NOTES SCHUBERT REVEALED • CONCERT I TEXTS AND TRANSLATION
Texts and Translations
Concert 1 • June 3rd, 2021
Reprinted with permission from the LiederNet Archive
Four Songs
“Trost im Liede” (Solace in Song) sets words by Four Songs
Schober. As with that poet’s “An die Musik,” this Trost im Liede (Solace in Song) D. 546
miraculous little song is a declaration of Schubert’s Die Forelle (The Trout), D. 550
artistic credo. Beginning in major, the song turns An die Entfernte (To the Distant One), D. 765
immediately to minor, saving its most poignant Quintet in A major for Piano, Violin, Viola,
Wilkommen und Abschied (Welcome and Parting), D. 767
harmony for the word “Klagen” (complaint). Julian of Cello and Bass, D. 667, Trout
Norwich wrote something similar: “The mingling of
both well-being and distress in us is so astonishing Franz Schubert’s beloved “Trout” Quintet is
that we can hardly tell what state we are in. But the scored for an ensemble invented by Hummel for
fact is, that is a part of being whole. We stand in this his Opus 87: piano, with one of each member of
mingling all of our life.” the string family. There are five distinct timbres,
and the double bass, all-too-rare in chamber
“Die Forelle” (The Trout) (1817) needs little music, has an independent part.
introduction. Schubert set the three of the four
verses of C. D. F. Schubart’s 1783 poem. An observer Schubert’s was already famous for “Die Forelle”
watches a “merry little fish” in the clear stream, when he accompanied the renowned baritone
portrayed vividly by an up-wriggling piano figure. Michael Vogl to the Austrian town of Steyr with
A “cold-blooded” angler muddies the stream and in 1819. Vogl’s friend Sylvester Paumgartner, an
catches the fish, while the enraged observer looks amateur cellist, commissioned a chamber work
on. Schubart’s allegorical poem warned young incorporating the song. Schubert responded in
women away from young men. Schubert’s song short order.
damns the angler, and leaves it at that Trost im Liede Solace in Song
The piece has a divertimento quality, due Poem by Franz von Schober (1796–1882) Translation by Emily Ezust
Schubert set more poems by J. W. von Goethe partly to the five-movement design, partly to the
than any other poet, over 70 in all, beginning with shortcuts that Schubert took in working quickly. Braust des Unglücks Sturm empor: When adversity’s tempest roars aloft,
“Gretchen am Spinnrade,” which coincided with his But even in this light-hearted work, his inspiration Halt’ ich meine Harfe vor. I raise my harp against it.
first love in 1814. In “An die Entfernte” (To the Distant is at play. What sounds like an introduction in slow Schützen können Saiten nicht, The strings are no real shield,
One) (1822), the repetitions play out the wanderer’s tempo is actually part of the main body of the Die er schnell und leicht durchbricht; which it splits with ease and speed,
longing for his lost love as he hears that longing movement, in itself a forward-looking idea. There Aber durch des Sanges Thor but coming through song’s gate
echoed in the landscape around him. “Wilkommen are rich duets inside the texture for viola and cello, Schlägt er milder an mein Ohr. it strikes the ear more gently.
und Abschied” (Welcome and Parting) also from and Schubert’s piano sparkles like a mountain Sanfte Laute hör ich klingen, I hear soft tones playing
1822, is a thrilling ride told from the point of view of stream. One can even reconstruct through the Die mir in die Seele dringen, that enter into my soul,
the young lover who mounts and gallops through the fourth-movement variations the song’s chase Die mir auf des Wohllauts Schwingen and on harmony’s wings
night, blood pulsing, hooves pounding. Schubert’s scenario: a clear stream; the “merry little fish”; a Wunderbare Tröstung bringen; bring miraculous comfort.
setting is what Dietrich Fischer-Dieskau describes as dastardly angler muddying the water; the catch; Und ob Klagen mir entschweben, Though I may give vent to laments,
“pulsating emotion.” “The simple repetition of chords the observer’s raging blood, and finally the song Ob ich still und schmerzlich weine, though I, unheard, cry in pain,
is a familiar feature of Schubert’s music,” he writes. itself, with its distinctive leaping-trout figure. Fühl ich mich doch so ergeben, yet it is my conviction,
“It allows the pianist a variety of dynamics and a Daß ich fest und gläubig meine: which I firmly, devoutly hold,
greater choice of tonal colors. Such repetitions allow Es gehört zu meinem Leben, that the essence of my life
a sonority which has nothing to do with figuration.” Program notes © 2021 by David Evan Thomas Daß sich Schmerz und Freude eine is pain and joy conjoined.
9 SCHUBERT CLUB An die Musik schubert.org 10
SCHUBERT REVEALED • CONCERT I TEXTS AND TRANSLATION SCHUBERT REVEALED • CONCERT I TEXTS AND TRANSLATION
Die Forelle The Trout
Poem by C. F. D. Schubart (1739–1791) Translation by Ezust Wilkommen und Abschied Welcome and Parting
Poem by Goethe Translation by Ezust
In einem Bächlein helle, In a bright little brook
Da schoß in froher Eil there shot in merry haste Es schlug mein Herz; geschwind zu Pferde! My heart pounded, quick! to the horse!
Die launische Forelle a capricious trout: Es war gethan fast eh’ gedacht; It was done before I could think;
Vorüber, wie ein Pfeil: past it shot like an arrow. Der Abend wiegte schon die Erde evening was already cradling the earth
Ich stand an dem Gestade, I stood upon the shore Und an den Bergen hing die Nacht: and night hung upon the mountains:
Und sah’ in süsser Ruh and watched in sweet peace Schon stand im Nebelkleid die Eiche already the oak stood clothed in mist,
Des muntern Fisches Bade the cheery fish’s bath Ein aufgethürmter Riese da, a towering giant there,
Im klaren Bächlein zu. in the clear little brook. Wo Finsterniß aus dem Gesträuche where darkness from the bushes
Mit hundert schwarzen Augen sah. peered with a hundred dark eyes!
Ein Fischer mit der Ruthe A fisher with his rod
Wol an dem Ufer stand, stood at the water-side, Der Mond von einem Wolkenhügel The moon from a hill of cloud
Und sah’s mit kaltem Blute and watched with cold blood Sah kläglich aus dem Duft hervor, looked pitifully down through the haze,
Wie sich das Fischlein wand. as the fish swam about. Die Winde schwangen leise Flügel, the wind stirred with gentle wings
So lang dem Wasser Helle, So long as the clearness of the water Umsaus’ten schauerlich mein Ohr; murmuring eerily into my ear;
So dacht’ ich, nicht gebricht, remained intact, I thought, Die Nacht schuf tausend Ungeheuer; night created a thousand horrors;
So fängt er die Forelle he would not be able to capture the trout Doch frisch und fröhlich war mein Muth: but fresh and cheery was my mood:
Mit seiner Angel nicht. with his fishing rod. In meinen Adern welches Feuer! in my veins, what fire!
In meinem Herzen welche Glut! in my heart, what passion!
Doch endlich ward dem Diebe But suddenly the thief grew weary
Die Zeit zu lang; er macht of waiting. He stirred up Dich sah ich, und die milde Freude You I saw and gentle joy
Das Bächlein tückisch trübe: the brook and made it muddy, Floß von dem süßen Blick auf mich; flowed from your sweet gaze to mine,
Und eh’ ich es gedacht, and before I realized it, Ganz war mein Herz an deiner Seite my heart was entirely at your side,
So zuckte seine Ruthe; his fishing rod was twitching: Und jeder Athemzug für dich. and every breath was for you.
Das Fischlein zappelt dran; the fish was squirming there, Ein rosenfarbnes Frühlingswetter Rose-colored spring
Und ich, mit regem Blute, and with raging blood I Umgab das liebliche Gesicht, surrounded your lovely face,
Sah die Betrogne an. gazed at the deceived fish. Und Zärtlichkeit für mich—Ihr Götter! and tenderness for me—oh you Gods!
Ich hofft’ es, ich verdient’ es nicht! I had hoped for this, but I do not deserve it!
An die Entfernte To the Distant One Doch ach schon mit der Morgensonne But alas, already with the morning sun,
Poem by Johann Wolfgang von Goethe Translation by Ezust Verengt der Abschied mir das Herz: parting strangles my heart:
(1749–1832) In deinen Küssen, welche Wonne! in your kisses, what bliss!
In deinem Auge, welcher Schmerz! in your eyes, what pain!
So hab ich wirklich dich verloren, So have I truly lost you? Ich ging, du standst und sahst zur Erden, I left, and you stood and looked down at the ground,
Bist du, o Schöne, mir entflohn? Have you, o fair one, fled from me? Und sahst mir nach mit nassem Blick: and then gazed after me with wet eyes:
Noch klingt in den gewohnten Ohren Yet still I can hear in my accustomed ears Und doch, welch Glück geliebt zu werden! and yet, what happiness to be loved!
Ein jedes Wort, ein jeder Ton. Every word, every tone of your voice. Und lieben, Götter, welch ein Glück! And to love, Gods, what good fortune!
So wie des Wandrers Blick am Morgen Just as the wanderer’s gaze in the morning
Vergebens in die Lüfte dringt, Searchingly pierces the heavens in vain
Wenn, in dem blauen Raum verborgen, When, concealed in the blue expanse
Hoch über ihm die Lerche singt: High above, the lark sings to him:
So dringet ängstlich hin und wieder So does my gaze anxiously search here and there,
Durch Feld und Busch und Wald mein Blick; Through field and bush and forest,
Dich rufen alle meine Lieder; Singing to you through all my songs,
O komm, Geliebte, mir zurück! O come, my darling, back to me!
11 SCHUBERT CLUB An die Musik schubert.org 12
SCHUBERT REVEALED • CONCERT II PROGRAM NOTES
Schubert Revealed • Concert II Saturday, June 5th, 2021, 7:00 PM
Schell’s Stage at Schilling Amphitheater,
Minnesota State Fairgrounds
SCHUBERT REVEALED • CONCERT II
Wu Han, piano Paul Appleby, tenor
Winterreise (Winter Journey), D. 911 (1827) Franz Schubert (1797-1828) Winterreise (Winter Journey), D. 911 (1827) In his book, The Romantic Generation, Charles
Poems by Wilhelm Müller Poems by Wilhelm Müller (1794-1827) Rosen observes that the song cycle, like landscape
Franz Schubert poetry and painting, realized one of the ideals of
Gute Nacht (Good Night) (b. Vienna, 1797; d. Vienna, 1828) the age, giving “the lyrical expression of Nature an
Die Wetterfahne (The Weather-Vane) epic status, a genuine monumentality, without losing
Gefror’ne Tränen (Frozen Tears) Schubert composed Winterreise in 1827, the year the apparent simplicity of a personal expression.”
of Beethoven’s death, and the year before his own. The cycle format also elevated the genre of the
Erstarrung (Numbness) It was written in two bursts, the second (beginning Lied to the status of weighty instrumental forms like
Der Lindenbaum (The Lime Tree) with “Die Krähe”) after Schubert traveled 160 miles symphony and sonata. Beethoven’s An die ferne
to the Styrian capital of Graz. While there he stayed Geliebte, written in 1815-16, is often considered to be
Wasserflut (Torrent) at the home of Carl and Marie Pachler, “The happiest the first song cycle. Its six songs are interdependent,
Auf dem Flusse (At the River) days I have passed for some time,” he later wrote. linked by transitions. It is tonally unified, and the
Rückblick (Looking Back) The work was immediately accepted for publication, first song is recalled toward the end. In Winterreise,
but its only performance during the composer’s Schubert achieves control and direction through
Irrlicht (Will o’ the Wisp) lifetime was for friends. Schubert was proud of it; different means, and on a much larger scale. Two
Rast (Resting) when his friend Franz von Schober said that he dozen self-contained, contrasting songs are joined
had liked only “Der Lindenbaum” out of the set, the solely through narrative, without an obvious tonal
Frühlingstraum (Dream of Springtime)
composer replied, “I like these songs more than all scheme or system of motives. The piano writing
Einsamkeit (Loneliness) the others and you will get to like them too.” Though is highly imaginative, but economical: only once
Die Post (The Post-Coach) correcting proofs of Winterreise was one of his last does it exceed the compass of Mozart’s five-octave
tasks, it would be too easy to equate this somber instrument. On the other hand, the vocal lines range
Der greise Kopf (The Hoary Head) journey with Schubert’s own demise. In his last year, over two octaves in their illumination of the text.
Die Krähe (The Crow) despite intense discomfort, Schubert composed (One magnificent arch, from “Der Greise Kopf” (14),
Letze Hoffnung (Last Hope) a tremendous amount of music, including the two spans an octave and a half: “From evening glow to
piano trios, much of it extroverted. (He also sought morning light, many a head has turned grey.”)
Im Dorfe (In the Village) distraction in American literature; in his last letter, he
Der stürmische Morgen (The Stormy Morning) wrote to Schober begging for more novels by James The events of this one-way journey are simply told.
June 5th, 2021
Fenimore Cooper.) A young man has been jilted. In the spring, “the girl
Täuschung (Pretense) spoke of love, her mother even of marriage,” but she
Der Wegweiser (The Signpost) W i l h e l m M ü l l e r ( 1 7 9 4 - 1 8 2 7 ) w a s S c h u b e r t ’s has since decided to marry money. Weeping as he
Das Wirtshaus (The Tavern) contemporary, though the two men never met. hurries from the town at night and in the snow, the
The author of Die schöne Müllerin as well as Die traveler stops by a beloved lime tree at the city gate,
Mut! (Pluck) Winterreise (Schubert’s title drops the definite article), then walks to the river and down its rocky bed. He
Die Nebensonnen (The Phantom Suns) Müller was a prominent poet and humanitarian of takes refuge from a storm in a charcoal burner’s hut,
his day, admired by Heinrich Heine for the folk-like falls asleep, and dreams. He passes through a village,
Der Leiermann (The Hurdy-Gurdy Man)
clarity of his verse. Müller acknowledged the musical pausing to stand at a crossroads. In a delusory state,
potential of his work: “My songs lead but half a life, he wanders to a graveyard, which he seems to take
a paper existence of black and white, until music for an inn. In the morning, he encounters a man
Schubert Club is grateful to Dennis Stanton and the Good Family Foundation breathes life into them.” playing the hurdy-gurdy on the outskirts of town.
for their support of this evening’s concert
schubert.org 14
SCHUBERT REVEALED • CONCERT II PROGRAM NOTES
The original manuscript
for Winterreise
The first page,
Gute Nacht pt 1
We witness the progress of an extraordinarily 15 flies an octave above the vocal line. The
sensitive person. Everyone has experienced song has no bass at first, but its postlude and
disappointment in love, but few so keenly. Müller dark final spacing vividly illustrate a descent
achieves stereoscopic vision through a succession into the grave. In “Letzte Hoffnung” (16), meter
of symbols, many of which the traveler addresses and key are initially suspended as all hopes are
on his solitary way. There are inanimate ones: pinned on the fall of a leaf. “Der Wegweiser”
tears, snow, river; and human constructions: a (20) is particularly rich in pictorial detail. The
tavern, a posthorn, a town. There is an animal of piano comes to a full stop before the singer’s
questionable motives: a crow, called—to striking entrance, as one would when consulting a
harmony—“wunderliches Tier!” But only one other sign-post. Repeated notes—frequent symbols
human, the hurdy-gurdy man: “wunderliche Alter.” of death in Schubert—are hammered home,
and “secret” sequences take the harmony
The opening song establishes a walking into the wilderness. In the final tableau (24), a
movement, which reappears in songs 3, 7, 10 and plaintive, hiccupping melody is heard from the
12. A series of predominantly black-and-white hurdy-gurdy (a mechanical viol of medieval,
sketches, fully two-thirds of the songs are in the Eastern origin, in which strings are set in
minor mode. The major thus becomes a potent vibration by a rosined wheel), played by a
source of color and warmth (often associated with barefoot man with numbed fingers, its drone
dream or memory) but significantly, also of irony. In strings imitated in the piano’s left hand. In his
“Auf dem Flusse” (7), the traveler carves a memorial biography of Schubert, Brian Newbould asks:
to his love in the river ice, heartbreakingly detailed “Has the traveler gone mad? Does he die?
in the ironic major, to quickening rhythms. A more Or does a modicum of human rapport with
brazen example of the ironic tone comes with the [hurdy-gurdy man]…lead him to accept
“Mut” (22), where despair pushes past unbelief to his lot with resignation?” We are left, not with
blasphemy—in G major. an answer, but with a transformation, for the
pianist has become the hurdy-gurdy man,
The journey pivots at key points, each turn bringing the singer has become the song, and we, the
the traveler closer to death. In sweet horn tones, audience, have disappeared.
the lime tree of No. 5 invites the traveler to hang
himself from its branches. The “faithful” crow of No. Program notes © 2021 by David Evan Thomas For more information, see page 6 ©Katia Setzer www.katiasetzer.com
schubert.org 16
©Katia Setzer www.katiasetzer.com For more information, see page 6 For more information, see page 6 ©Katia Setzer www.katiasetzer.com 17 SCHUBERT CLUB An die Musik schubert.org 18
SCHUBERT REVEALED • CONCERT III PROGRAM NOTES
Schubert Revealed • Concert III Sunday, June 6th, 2021, 7:00 PM
Schell’s Stage at Schilling Amphitheater,
Minnesota State Fairgrounds
SCHUBERT REVEALED • CONCERT III
Wu Han, piano Orion Weiss, piano
Benjamin Beilman, violin Clara Osowski, mezzo-soprano
Caroline Esterházy (1805–1851),
Music by Franz Schubert student of Schubert
(b. Vienna, 1797; d. Vienna, 1828)
Scanned from Newbould biography
Fantasie in F minor, D. 940 for Piano, four hands (1828)
Allegro molto moderato Music by Franz Schubert Chopin played the piece at a gathering on his first visit
Largo (Born in Vienna, 1797; died Vienna, 1828) to Vienna some months after Schubert’s death. “He was
Allegro vivace very unpleasantly affected by the fugue which occurs at
The works on this program elaborate what Brian the close of this fantasy,” remembered Schubert’s friend
Tempo I [no pause between movements] Newbould calls “Schubert’s lifelong preoccupation Joseph Lanz. What was Chopin’s objection?
with the fantasy principle.” “Two broad types may
Three Songs (1828) be discerned,” he suggests, “one of which might Songs and Fantasies
be called ‘fantasy-sonata’ since it pays obeisance
Der Wanderer (The Wanderer), D. 489 (1816)
to the four-movement plan but partially dissolves After “Erlkönig,” “Der Wanderer” was during
Gondelfahrer (The Gondolier), D. 808 (1824) or diversifies it at the composer’s will.” The Fantasy Schubert’s lifetime his most famous song. Schubert set
Abendstern (Evening Star), D. 806 (1824) in F minor and the Wanderer Fantasy are clearly of verses by G. P. Schmidt von Lübeck (1766–1849), an
this type (as is Beethoven’s Moonlight Sonata). The amateur poet, physician and functionary remembered
other type “follows its own multi-sectional scheme, only for this poem. Schubert doctored Schmidt quite
Fantasy in C major, D. 760, Wanderer (1822) with occasional thematic interconnections.” a bit, cutting twelve lines and editing his diction.
Allegro con fuoco ma non troppo The song swings between declamation and arioso,
Adagio Fantasy in F minor, D. 940 for Piano, four hands between C-sharp minor for the natural world and E
Presto major for personal expression. One stanza in particular
From May to September 1824, Schubert was preoccupied Schubert: “I wander silently, and my sighs
Allegro [no pause between movements]
employed at the Esterházy summer residence at ask ‘Where?’” “There, where you are not… is your bliss.”
Zseliz (today Želiezovce, Slovakia). It was a return His meditation became the Wanderer Fantasy, heard
Intermission appointment after spending the summer of 1818 later in this program.
teaching the three Esterházy children. But those
children were older now. Schubert’s friend Bauernfeld Friedrich Rückert (1788–1866) made his mark as a
Three Songs
described Schubert as “head over heels in love translator of Oriental poetry. As the exquisite “Dass sie
Dass sie hier gewesen (That They Were Here), D. 775 (c. 1823) with one of his young pupils, a young Countess.” hier gewesen” floats through the window, we have no
Sei mir gegrüsst (My Greeting to You), D. 741 (1822) Schubert knew that a relationship with eighteen-year idea what key we’re in. The east wind wafts the scent
June 6th, 2021
Auflösung (Dissolution), D. 807 (1824) old Princess Karoline was hopeless. But that didn’t of the beloved, and with it the question: beauty or love?
stop him from expressing intimate thoughts in music, “Sei mir gegrüsst” is in the form of a Persian ghazal, a
or dedicating his four-hand Fantasy to the Princess. love poem with refrain. The harmonization of the verse
Fantasy in C major for Violin and Piano, D. 934 (1827) varies and deepens with each repetition. The refrain,
Andante molto The four sections of the Fantasy line up like a however, is always the same: “My greeting to you! My
Allegretto sonata. The first may remind you of Mozart’s “tragic” kiss to you!”
G-minor Symphony. The Largo, in F-sharp minor, the
Andantino potent key a half step above tonic, has stretches of Johann Baptist Mayrhofer (1787-1836) was ten years
Allegro vivace—Allegretto—Presto archaic, marble grandeur enclosing a tender dialogue older than Schubert. The most esteemed poet of the
between treble and bass. After a scherzo that plays Linz Circle, he was for a time a close friend and for
all kinds of chasing games, a reprise of the beginning eighteen months Schubert’s roommate. But he lived a
Schubert Club is grateful to Dennis Stanton and the Good Family Foundation morphs into a fugue that is abruptly broken off. paradox. As a censor, “he earned his wage enforcing
for their support of this evening’s concert
schubert.org 20SCHUBERT REVEALED • CONCERT III PROGRAM NOTES SCHUBERT REVEALED • CONCERT III TEXTS AND TRANSLATIONS
illiberal, repressive and petty laws against his fellow- Texts and Translations
writers,” observes Graham Johnson, “while remaining
in blazing political sympathy with liberals and free Concert 3 • June 6th, 2021
spirits.” Schubert set more Mayrhofer lyrics than
that of any poet except Goethe, 47 in all. Mayrhofer Reprinted with permission from the LiederNet Archive
censored himself in 1836, jumping from the third-
story window of his office. Wanderer
above the
Schubert’s last three Mayrhofer songs are among Sea of Fog, Three Songs (1828)
his finest. “Abendstern” offers a counterpart to “The oil painting by Der Wanderer (The Wanderer), D. 489 (1816)
Wanderer,” a dialogue between a meek observer in Caspar David
Gondelfahrer (The Gondolier), D. 808 (1824)
the minor mode and the evening star, which voices Friedrich
the poet’s solitude in the major. In the flickering (c. 1818) Abendstern (Evening Star), D. 806 (1824)
“Auflösung,” a setting sun is the central image. The
speaker stands before it eager for night, perhaps for Three Songs
death. The glow of bliss is almost unendurable. ”This
is a song about transformation,” says Clara Osowski. “Schubert was indeed no piano virtuoso,” Dass sie hier gewesen (That They Were Here), D. 775 (c. 1823)
“You know you’re alive if there’s pain.” remembered Joseph Lanz. “He often said this Sei mir gegrüsst (My Greeting to You), D. 741 (1822)
himself. He didn’t have suitable hands but short Auflösung (Dissolution), D. 807 (1824)
In “Gondelfahrer,” the poet-gondolier speaks thick fingers.” The dedication of this daunting
gently to his boat as he sees the heavens united in work went to Emanuel von Liebenberg, a
reflection with the sea. The rocking of the gondola, noted amateur pianist and student of J. N.
the opening chords suggesting the undertone—or Hummel. But Schubert would not live to hear
“tierce”—of a great bell, the voice doubled in the the premiere. Karl Maria von Bocklet finally Der Wanderer The Wanderer
lowest octave of the piano, then the bell of St. Mark’s played it in Vienna in 1832. Poem by Georg Philipp Schmidt von Lübeck Translation by Paul Hindemith (b. 1976)
tolling midnight: how strange to be on the water at (1766–1849)
this hour! Fantasy in C major for Violin and Piano,
D. 934 Ich komme vom Gebirge her, I come down from the mountains,
Fantasy in C major, D. 760, Wanderer Es dampft das Thal, es braust das Meer, The valley dims, the sea roars.
Schubert had composed three modest violin Ich wandle still, bin wenig froh, I wander silently and am somewhat unhappy,
The “Wanderer” Fantasy was composed in sonatas in 1816, but Josef Slavík, a Czech Und immer fragt der Seufzer: wo? And my sighs always ask “Where?”
November 1822, shortly after Schubert had virtuoso new to Vienna in 1826, inspired him
abandoned work on the “Unfinished” Symphony. It to create a couple of really dazzling works, the Die Sonne dünkt mich hier so kalt, The sun seems so cold to me here,
was Schubert’s bleakest time. He may have known Rondo brillante, D. 895 and the Fantasy in C. Die Blüte welk, das Leben alt, The flowers faded, the life old,
he was infected with syphilis. Yet in defiance he Slavík, called by Chopin a “second Paganini,” Und was sie reden, leerer Schall, And what they say has an empty sound;
produced his most virtuosic solo piano work, one performed the Fantasy in January 1828, only Ich bin ein Fremdling überall. I am a stranger everywhere.
that displays both manic and depressive moods. a month after it was written. The audience
was bewildered. “The favorite composer has Wo bist du, mein geliebtes Land, Where are you, my dear land?
The work opens in bright C major with a motto- in this case positively miscomposed,” wrote Gesucht, geahnt und nie gekannt? Sought and brought to mind, yet never known,
theme in dactylic rhythm: —••—••. The Adagio is one critic. Das Land, das Land so hoffnungsgrün, That land, so hopefully green,
the slow-beating heart of the work, not variations Das Land, wo meine Rosen blühn? That land, where my roses bloom,
exactly, but a free variation-fantasy on the second The Fantasy is a single movement in four
stanza of Schubert’s song, “Der Wanderer”: “The parts: an ethereal introduction; an abandoned Wo meine Freunde wandelnd gehn, Where my friends wander
sun seems to me so cold here . . . . I am a stranger rondo; a serenade with variations; and a Wo meine Todten auferstehn; Where my dead ones rise from the dead,
everywhere.” The key is C-sharp minor, a half-step rollicking finale. During the A-minor rondo, the Das Land, das meine Sprache spricht, That land where they speak my language,
above tonic, far from C major. And the thick, eight- listener may not be aware of the great tonal O Land, wo bist du? Oh land, where are you?
note chords are impenetrable. journey taking place—down a half-step to
The motto theme returns in the Presto, transformed A-flat major, the key of the serenade. Schubert Ich wandle still, bin wenig froh, I wander silently and am somewhat unhappy,
into a triple-time dance. The work closes, not with a draws on his own setting of Rückert’s “Sei Und immer fragt der Seufzer: wo? And my sighs always ask “Where?”
fugue, exactly, but with an imitative treatment of the mir gegrüßt,” gracing it with three elaborate, Im Geisterhauch tönt’s mir zurück: In a ghostly breath it calls back to me,
motto, followed by grand fireworks. Franz Liszt felt athletic variations. Dort, wo du nicht bist, dort ist das Glück! “There, where you are not, there is your happiness.”
the Wanderer Fantasy needed even more firepower,
so he transformed it into a concerto with orchestra. Program notes © 2021 by David Evan Thomas
schubert.org 22SCHUBERT REVEALED • CONCERT III TEXTS AND TRANSLATIONS SCHUBERT REVEALED • CONCERT III TEXTS AND TRANSLATIONS
Sei mir gegrüsst I Greet You
Der Gondelfahrer The Gondolier Poem by Friedrich Rückert Translation by Emily Ezust
Poem by Johann Mayrhofer (1787–1836) Translation by Emily Ezust
O du Entriss’ne mir und meinem Küsse! O you, who have been snatched from me and my kiss,
Es tanzen Mond und Sterne The moon and stars dance Sei mir gegrüsst! I greet you,
Den flücht’gen Geisterreih’n: a fleeting, ghostly round: Sei mir geküsst! I kiss you!
Wer wird von Erdensorgen Who would, to earthly cares, Erreichbar nur meinem Sehnsuchtsgrusse! Reached only by my yearning greetings,
Befangen immer seyn! be forever chained? Sei mir gegrüsst! you I greet,
Sei mir geküsst! you I kiss!
Du kannst in Mondesstrahlen You can, in the moonbeams,
Nun, meine Barke, wallen; now drift, my boat; Du von der Hand der Liebe diesem Herzen You, given by the hand of love to this heart,
Und aller Schranken los, and be rid of all barriers, Gegeb’ne! du you, who
Wiegt dich des Meeres Schooß. cradled in the bosom of the sea. Von dieser Brust from my breast
Genomm’ne mir! mit diesem Tränengases have been taken! With these flooding tears
Vom Markusthurme tönte From St. Mark’s tower tolls Sei mir gegrüsst! I greet you,
Der Spruch der Mitternacht: the proclamation of midnight: Sei mir geküsst! I kiss you.
Sie schlummern friedlich Alle, All slumber peacefully
Und nur der Schiffer wacht. and only the boatman is awake. Zum Trotz der Ferne, die sich, feindlich trennend, Defying the distance that fiendishly separates us
Hat zwischen mich and lies
Und dich gestellt; between you and me -
Abendstern Evening Star Dem Neid der Schicksalsmächte zum Verdrusse to irritate the envious powers of fate,
Poem by Mayrhofer Translation by Emily Ezust Sei mir gegrüsst! I greet you,
Sei mir geküsst! I kiss you!
Was weilst du einsam an dem Himmel, Why do you linger alone in the sky,
O schöner Stern? und bist so mild; o beautiful star? and you are so mild; Wie du mir je im schönsten Lenz der Liebe Just as you always did in the fairest spring-time of love,
Warum entfernt das funkelnde Gewimmel why does the sparkling crowd Mit Gruss und Kuss coming to greet me
Der Brüder sich von deinem Bild? of your brothers shun your sight? Entgegen kamst, with a kiss,
“Ich bin der Liebe treuer Stern, “I am the star of true love, Mit meiner Seele glühendstem Ergüsse, so now, with my soul a glowing flood,
Sie halten sich von Liebe fern.” and they keep far away from Love.” Sei mir gegrüsst! I greet you,
Sei mir geküsst! I kiss you!
So solltest du zu ihnen gehen, So you should go to them,
Bist du der Liebe, zaudre nicht! if you are love; do not delay! Ein Hauch der Liebe tilget Räum’ und Zeiten, A breath of love erases space and time;
Wer möchte denn dir widerstehen? Who could then withstand you, Ich bin bei dir, I am with you,
Du süßes eigensinnig Licht. you sweet but stubborn light? Du bist bei mir, you are with me,
“Ich säe, schaue keinen Keim, “I sow, but see no shoot, Ich halte dich in dieses Arms Umschlusse, I hold you in these arms, embracing you;
Und bleibe trauernd still daheim.” and so I remain here, mournful and still.” Sei mir gegrüsst! I greet you,
Sei mir geküsst! I kiss you!
Daß sie hier gewesen That They Were Here
Poem by Friedrich Rückert Translation by Emily Ezust Auflösung Resolution
Poem by Mayrhofer Translation by Emily Ezust
Daß der Ostwind Düfte That the East Wind blows scents
Hauchet in die Lüfte, gently in the air Verbirg dich, Sonne, Hide yourself, o sun,
Dadurch thut er kund, makes it known to me Denn die Gluthen der Wonne for the glow of bliss
Daß du hier gewesen. that you were here. Versengen mein Gebein; burns my entire being.
Verstummet Töne, Be silent, sounds;
Daß hier Thränen rinnen, That tears run here Frühlings Schöne Spring beauty,
Dadurch wirst du innen, will make it known to you, Flüchte dich, und laß mich allein! go away and leave me alone!
Wär’s dir sonst nicht kund, if you don’t know it yet,
Daß ich hier gewesen. that I was here. Quillen doch aus allen Falten Welling up from every recess
Meiner Seele liebliche Gewalten; of my soul are pleasing powers
Schönheit oder Liebe, Beauty or Love, Die mich umschlingen, that envelop me,
Ob versteckt sie bliebe? whether or not they remain hidden, Himmlisch singen - with heavenly singing.
Düfte thun es und Thränen kund, make it known by scents and tears Geh’ unter Welt, und störe End, world, and never disturb
Daß sie hier gewesen. that they were here. Nimmer die süßen ätherischen Chöre! the sweet, ethereal choir again.
23 SCHUBERT CLUB An die Musik schubert.org 24Viennese Patriotism: Schubert's Jägerlied
Janna Kysilko
Autograph manuscript of Schubert’s Jägerlied, gift of Gilman Ordway
This musical manuscript contains a unique through Napoleon’s eradication of ecclesiastic
autograph version of Schubert’s song for two horns heads of state. Vienna was finally invaded in
or two voices, “Jägerlied,” literally “Hunter’s song” November of 1805, and in August of the next year,
or “Rifleman’s song.” The text is by Karl Theodor Francis II was forced to relinquish the title of Holy
Körner, from a collection of his thirty-six patriotic Roman Emperor that the Hapsburg family had held
poems written between 1811 and 1813 compiled for 640 years, and the empire was dissolved.
posthumously by Körner’s father in 1814 into a
volume entitled Leyer und Schwert (Lyre and Sword). In 1808, Schubert, having already attracted the
On the reverse side of this fragment, Schubert has attention of the court with his musical abilities,
written out the last four verses of the poem “An ein was entered in the Stadtkonvikt, a special school
Ideal” (To an Ideal) by Ludwig Hölty. The way he for non-aristocratic boys with court connections.
has grouped the verses suggests that Schubert had The following year, Vienna was again attacked
regrouped Hölty’s four-line stanzas into eight lines, and occupied by Napoleon’s forces, and even
most likely to fit his conception of a musical setting. the Stadtkonvikt was damaged by the bombing.
The first half of this poem was very likely written on However in 1812, France was dealt several severe
the missing portion of the folio. No musical setting blows: Napoleon’s ill-fated attempt to invade Russia
of this poem by Schubert has been found. during the harsh winter, the battle of Leipzig, and
Wellington’s victory at Vittoria. The fifteen-year-
Schubert’s choice to set Körner’s vigorous summons old Schubert commemorated the Leipzig victory
to freedom and national unity is indicative of the in his song “Auf den Sieg der Deutschen” (On the
revolutionary times that shaped his young life. Victory of the Germans), D. 81. Napoleon was finally
The year Schubert was born, his hometown of forced to abdicate in 1814, and the allied victors
Vienna was for the first time directly threatened by seized control of Paris, inspiring another song
Napoleon and his armies. Austrian territories in Italy from Schubert, “Die Befreier Europas in Paris” (The
had been invaded by French armies the year before, Liberators of Europe in Paris), D 104.
and Vienna was Napoleon’s next target. While
Vienna was not attacked at this time, Austria lost
many of its territories, and in the years that followed,
©Katia Setzer www.katiasetzer.com For more information, see page 6 the Holy Roman Empire lost much of its power
25 SCHUBERT CLUB An die Musik schubert.org 26The Schubert Club Music Museum Viennese Patriotism: Schubert's Jägerlied
Landmark Center • Second floor
Theodor Körner, whose poem Jägerlied
was set to music by Schubert
Jägerlied Rifleman’s Song
Frisch auf, ihr Jäger, frei und flink! Arise, ye riflemen, free and quick!
Die Büchse von der Wand! Your flints from the wall!
Der Mütige bekämpft die Welt. The brave one combats the world.
Franz Schubert Frisch auf den Feind! Frisch in das Feld, Arise, upon the enemy! Briskly into the field,
Für's deutsche Vaterland! For the German fatherland!
From September 1814 to June 1815, Vienna troops. The European allies prepared to do battle
hosted the great international congress at which once again. By June Napoleon had been defeated An ein Ideal To an Ideal
rulers and ambassadors from European lands at the famous battle of Waterloo and again sent Und bald darauf, im kleinen Blumengarten, And soon after, in the little flower garden,
assembled to redefine European order in the into exile, this time to Saint Helena, where he died Wie Eva schön, Beautiful as Eve,
wake of the havoc caused by Napoleon's Empire. six years later. It was during these Hundred Days, as Des Rosenbaums, des Nelkenstrauchs zu warten, To tend the rose trees and carnations,
Amidst the high-powered negotiations that took they came to be known, that Schubert set Körner’s Am Beete gehn. You go to the garden plot.
place, Viennese society shone at its brightest, patriotic texts; the Jägerlied was most likely written
providing an exhilarating environment for lavish on May 26, 1815. Körner himself had been an ardent Erblick ich dich, die ich vom HImmel bitte, When I catch sight of you, for whom I bid the heavens,
entertainments and artistic productions. During this freedom fighter and writer of nationalist poetry, and Erbitt' ich dich, I beg you,
time Schubert was at his most prolific, composing was killed in 1813 fighting Napoleon’s troops in the So komm, so komm in meine Palmenhütte, Then come, then come into my straw hut,
nearly 150 |songs in the space of a year—a burst of battle at Gadebusch. Schubert had known Körner Und tröste mich! And comfort me!
creative energy that produced such masterpieces briefly, and was inspired by his commitment to art,
as “Gretchen am Spinnrade” (D. 118) and “Erlkönig” setting several of his poems to music for solo and Dir soll ein Beet, You shall have a flower-bed,
(D. 328), as well as the set of Five Duets for Two ensemble voices. Körner was memorialized as a wo tausend Blumen wanken, where a thousand blossoms sway,
Voices or Two Horns on poems by Körner from war hero, and his poetry gave voice to the German Entgegenblühn; Blooming across from you;
which the “Jägerlied” comes. people’s striving for liberation from the tyranny of Ich will ein Dach von jungen Geißblattranken I want to grow a roof of young honeysuckle vines
Napoleon and subsequently was appropriated by Für dich erziehn. For you.
In March of 1815 as the Congress of Vienna was emerging nationalist causes.
concluding, the startling news arrived that Napoleon —Janna Kysilko Ins Paradis, an deiner Brust, mich träumen, To dream myself into Paradise at your breast,
had escaped from exile in Elba and begun rallying Meine süsses Kind, My sweet child,
Und froher seyn, als unter Lebensbäumen And to be happier than the angels are,
Die Engel sind. Under the living trees.
27 SCHUBERT CLUB An die Musik schubert.org 28SCHUBERT REVEALED • CONCERT IV PROGRAM NOTES
Tuesday, June 8th, 2021, 7:00 PM
Schubert Revealed • Concert IV
Schell’s Stage at Schilling Amphitheater,
Minnesota State Fairgrounds
SCHUBERT REVEALED • CONCERT IV
Wu Han, piano David Finckel, cello ambiguous tonality of the opening, which refers to
several different keys before settling into E-flat major,
Benjamin Beilman, violin Paul Huang, violin but the chirping “crushed notes” are also funny. A
gently bubbling Trio superimposes delicate piano
conversation on a warm string tapestry. Each opening
Piano Trio, Opus 1, No. 1 (1794–95) in this work is carefully crafted, but that of the Finale
Ludwig van Beethoven is especially clever. The smirking two-note figure
(b. Bonn, 1770; d. Vienna, 1827) stretches the hand enough to unnerve the pianist,
and it fools the ear into thinking the music begins on
Piano Trio, Opus 1, No. 1 (1794—95) Ludwig van Beethoven (1770-1827) Beethoven’s friend and pupil Ferdinand Ries a downbeat.
Allegro recalled the first performance of the composer’s
Adagio cantabile Opus 1 at the residence of Prince Lichnowsky: Sonata, Cantabile, Variations
“Most of the artists and music-lovers were invited, Nicolò Paganini
Scherzo. Allegro assai especially Haydn, for whose opinion all were (b. Genoa, 1782; d. Nice, 1840)
Allegro vivace eager. The Trios at once commanded extraordinary
attention. Haydn also said many pretty things about “There was absolutely no precedent for the effects
them.” Joseph Haydn, Beethoven’s teacher in he introduced,” writes Harold Schonberg about Nicolò
String Trio No. 2 in B-flat major, D. 581 (1817) Franz Schubert (1797-1828)
Vienna, had composed nearly forty piano trios by Paganini in his survey, The Glorious Ones. “The
Allegro moderato 1795. We can imagine that Haydn admired the bold, left-hand and right-hand pizzicato, the double-stop
Andante expansive approach to form, the brilliance of the harmonics, the multiple stops, the ricochet bowing, the
Menuetto. Trio. keyboard writing, and perhaps the independence unheard-of extensions, the fingered octaves, a new
Rondo. Allegretto of the string parts. Any composer admires use of the glissando, the octave trills, the solos on a
another composer who takes chances. But Haydn single string.” It was thought at the time that Paganini
expressed reservations about the third trio of the was in league with the Devil. Today the diagnosis is a
set. The dedication of Opus 1 went not to Haydn, little more clinical: a connective-tissue disorder called
Intermission
but to Lichnowsky. Ehlers-Danlos Syndrome.
Trio No. 1 opens with a “rocket,” an upward Paganini was also a brilliant guitarist. During his
Sonata No. 6 in E minor, Opus 3, No. 6, MS 27/6 (c. 1820) Nicolò Paganini (1782-1840) arpeggiated figure characteristic of Mannheim lifetime, he published two sets of sonatas for violin
Andante innocentamente—Allegro vivo e spiritoso orchestral music and particularly the final movement and guitar and six guitar quartets. But when his papers
of Mozart’s G-minor Symphony. The second theme were made public in 1910, the wealth of guitar music
June 8th, 2021
is as measured as the first is exuberant, beginning astounded: 140 solo guitar pieces and dozens of
Cantabile in D major, MS 109 Paganini
with three repeated chords. The rocket returns to chamber works. Two of the works on this program
earth in a lengthy coda. come from that legacy. “The guitar wasn’t for him
Variations on “Prayer” from Rossini’s Moses, MS 23 (c. 1819) Paganini an occasional sideline, but rather a tone-workshop”
The Adagio sounds at first like music from another writes editor Erwin Schwarz-Reiflingen. “Paganini’s
Rondo brillante, D. 895 (1826) Schubert room, but the movement develops a considerable violin technique is influenced by his guitar technique;
full-throated power, with cello singing in duet with his guitar technique is violinistically colored.” The
violin. Note how two opening repeated notes diminutive Sonata No. 6 was composed around 1820.
acquire tragic pathos as they are transferred to Its two connected movements include techniques like
the accompaniment. A true scherzo follows in the thirds on strings high and low and left-hand pizzicato.
quick one-to-the-bar that Beethoven will make his The Cantabile proves that Paganini was as much a bel
Schubert Club is grateful to Dennis Stanton and the Good Family Foundation own in symphonies to come. The joke here is the canto diva as an ingenious fiddler.
for their support of this evening’s concert
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