Schubert Edition 5: Nacht und Traume
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Label: Harmonia Mundi
Cat No: HMC902063
Format: CD
Number of Discs: 1
Genre: Instrumental
Release Date: 10th January 2011
Contents
Works
An Sylvia (Who is Sylvia), op.106 no.4 D891An den Mond, D193
An die Geliebte, D303
Der Schafer und der Reiter, D517
Der blinde Knabe, D833
Der liebliche Stern, D861
Die Mainacht, D194
Die Sommernacht, D289
Erntelied, D434
Greisengesang, D778
Herbstlied, D502
Hoffnung, D637
Nacht und Traume, D827
Standchen, D889 'Horch! Horch! Die Lerch'
Tiefes Leid, D876
Totengrabers Heimweh, D842
Totengraberweise, D869
Artists
Matthias Goerne (baritone)Alexander Schmalcz (piano)
Works
An Sylvia (Who is Sylvia), op.106 no.4 D891An den Mond, D193
An die Geliebte, D303
Der Schafer und der Reiter, D517
Der blinde Knabe, D833
Der liebliche Stern, D861
Die Mainacht, D194
Die Sommernacht, D289
Erntelied, D434
Greisengesang, D778
Herbstlied, D502
Hoffnung, D637
Nacht und Traume, D827
Standchen, D889 'Horch! Horch! Die Lerch'
Tiefes Leid, D876
Totengrabers Heimweh, D842
Totengraberweise, D869
Artists
Matthias Goerne (baritone)Alexander Schmalcz (piano)
About
Still more incredible, tracking death at the very moment when it takes hold of us, Totengräbers Heimweh is probably the most violent of all Schubert’s songs: it opens with relentless chords, as furious as the blows of the gravedigger’s shovel as it ploughs into the earth to thrust the dead deep within.
Constantly kept busy digging for others, he angrily rails against his hated fate and envies these pitiful corpses the death which has put an end to their sufferings. But then a terrible anguish grips him: who will dig his grave for him? None of the most direct heirs of Schubert followed him on this perilous path.
No, this furious, desperate hammering will not be heard again before the scherzos of Bruckner’s symphonies...And in the realm of the lied, it was Gustav Mahler, with some of the Wunderhorn songs (Revelge, Der Tambour), who most closely approached such limitless violence. Death will not come, and the gravedigger begs for it. But finally the starless night approaches him, beckons to him, calls him, opens its arms to him. The gravedigger recognises and sinks into it; quitting its cumbersome body, the voice, free at last, hovers an instant above the piano, just long enough to declare: ‘I come.’"
(Christophe Gristi [director of dramaturgy at the Opéra National de Paris] from the booklet note)
“This promises to be a landmark series, up there with Hans Hotter and Fischer-Dieskau.” - Anthony Holden, The Observer, 12 October 2008
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