Schwanengesang and songs after Seidl

Andreas Staier, Christoph Prégardien

18.9927.49
Clear
Original Recording Format: DSD 64

In January 1829, a good two months after Schubert’s death, the Viennese music publisher Tobias Haslinger, with whom Schubert had worked very closely in the final years of his life, placed an advertisement in the Viennese press, in which he announced Franz Schubert’s Schwanen-Gesang, 14 Lieder, “the final fruits of his noble power […], written in August 1828, shortly before his decease.” Haslinger had obtained the rights to the songs in December 1828 from Schubert’s brother Ferdinand, who had been handling the composer’s estate, and had given them the collective title of Schwanengesang. In reality there were two groups of songs: seven songs on texts by Ludwig Rellstab and six on texts by Heinrich Heine. These two groups are contained in a common manuscript of August 1828 and are today collected together as Schwanengesang (D 957), along with a single Lied, Die Taubenpost, on a poem by his friend Gabriel Seidl (D 965 A). The Lieder do not form a single cycle, for each group appears complete in itself. In the Heine group are collected together all the songs Schubert composed on poems by Heine; the same almost applies for the Rellstab group of Lieder: apart from the Lieder in Schwanengesang the only Rellstab poems on which Schubert wrote songs were the large-scale song for voice, horn and piano Auf dem Strom (D 943), the strophic Lied Herbst (D 945), which survives as an album leaf for Heinrich Panofka, and the incomplete Lied Lebensmut. Some anecdotes have sprouted up around the rellstab-lieder. During a trip to Vienna in 1825 Ludwig Rellstab had allowed some of his poems to be copied, as is recorded in Beethoven’s companion book, and he had begged him “to select them for musical setting.” This did not happen, however Rellstab records in his memoirs that “the sheets were later restored to him from Beethoven’s estate.” Some of these “were annotated with little crosses drawn in pencil in Beethoven’s own hand” – and, according to Rellstab, it was these ones that had aroused Schubert’s interest. If it is correct that Schubert in fact set the very poems that Beethoven had at first selected for himself, this would be one more sign that Schubert saw himself as a successor to Beethoven, even as a completer of his work in Lieder composition.

Tracklist

1.
F. Schubert Schwanengesang nr. 1 - VII (1828)- Herbst (1928) D 945
03:19
2.
F. Schubert Schwanengesang nr. 1 - VII (1828)- Liebesbotschaft
02:42
3.
F. Schubert Schwanengesang nr. 1 - VII (1828)- Kriegers Ahnung
04:45
4.
F. Schubert Schwanengesang nr. 1 - VII (1828)- Fr?hlingssehnsucht
03:42
5.
F. Schubert Schwanengesang nr. 1 - VII (1828)- St_dchen
03:20
6.
F. Schubert Schwanengesang nr. 1 - VII (1828)- Aufenthalt
02:39
7.
F. Schubert Schwanengesang nr. 1 - VII (1828)- In der Ferne
06:35
8.
F. Schubert Schwanengesang nr. 1 - VII (1828)- Abschied
04:10
9.
Schwanengesang Nr. VIII - XIII D 957- Der Atlas
02:05
10.
Schwanengesang Nr. VIII - XIII D 957- Ihr Bild
02:45
11.
Schwanengesang Nr. VIII - XIII D 957- Das Fischerm_dchen
01:56
12.
Schwanengesang Nr. VIII - XIII D 957- Die Stadt
02:18
13.
Schwanengesang Nr. VIII - XIII D 957- Am Meer
03:59
14.
Schwanengesang Nr. VIII - XIII D 957- Der Doppelg_nger
04:05
15.
Songs after Seidl (1804-1875)- Die Taubenpost (1828), D 965 A
03:22
16.
Songs after Seidl (1804-1875)- Sehnsucht (1826), D 879
02:21
17.
Songs after Seidl (1804-1875)- Am Fenster (1826) d 878
03:45
18.
Songs after Seidl (1804-1875)- Bei dir allein (1826), D 866
01:55
19.
Songs after Seidl (1804-1875)- Der Wanderer an der Mond (1826), D 870
02:17
20.
Songs after Seidl (1804-1875)- Das Zugengl_cklein (1826), D 871
04:13
21.
Songs after Seidl (1804-1875)- Im Freien (1826), D 880
04:54

Total time: 01:11:07

Additional information

Label

SKU

CC72302

Qualities

, , ,

Channels

, ,

Artists

,

Composers

Genres

,

Cables

Siltech

Digital Converters

DCS AD/DA

Microphones

Sonodore

Original Recording Format

Producer

Bert van der Wolf

Recording Engineer

Bert van der Wolf

Recording location

Galaxy Studios, Mol, België

Recording Software

Pyramix

Recording Type & Bit Rate

DSD64

Release Date August 13, 2014

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