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Hyperion Records

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Track(s) taken from CDJ33004
Recording details: September 1988
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Produced by Martin Compton
Engineered by Antony Howell
Release date: December 1989
Total duration: 4 minutes 46 seconds

'Performed with wonderful artistry by Langridge and Johnson' (Gramophone)

'A constant joy' (Hi-Fi News)

'A highly enjoyable disc and an ideal next step for those touched by the magic of Müllerin or Winterreise' (Opera Now)

'A wonderful recording … delivered with such style and conviction that you almost feel Schubert is speaking directly to you' (The Audio Critic, USA, USA)

'An absorbing hour-and-a-half or more of rich musical experience. This is a wholly exceptional Lieder record which must be a strong contender for an annual award' (Music and Musicians)

Epistel 'An Herrn Josef von Spaun, Assessor in Linz' 'Musikalischer Schwank', D749
First line:
Und nimmer schreibst du?
composer
January 1822; published in 1850
author of text

Introduction
This piece preserves the pranks and camaraderie of the Schubert circle in a unique way. Joseph von Spaun, Schubert's oldest and most faithful friend, had left Vienna in September 1821 to take up the post of Assessor at the Upper Austrian Excise Revenue Office. Schubert wrote to him in November 1821, but did not receive a reply. Matthäus von Collin, Spaun's cousin, wrote a poem parodying the dramatic manner appropriate to tragic betrayal. This gave Schubert the ideal opportunity to imitate the all-pervasive style of Italian opera which was however still performed in German translation in Vienna.

One has to admit that Schubert lacked the malicious wit and cynicism to write a biting parody or even a genuine comic song (how easily this comes to the mordant sensibilities of Hugo Wolf). Perhaps Capell is right when he says that Schubert possessed nothing nearer to humour than good humour, and perhaps this lack of worldly wit and opportunism was his Achilles' heel when it came to success in the opera house. Schubert loved music almost too much to joke about it, and he could not help admiring Rossini's work. Sarcasm and loathing, the trademarks of the real parodist, were foreign to him. In the month that this piece was written, the main musical talking-point in Vienna was the takeover of the Kärntnertor Theatre by the Italian impresario Domenico Barbaja. The consequent ascendancy of Italian opera thus ruined Schubert's hopes of success in the opera house; German opera was a dead duck in this period. The singer Vogl resigned from the Court Opera and many of Schubert's friends were dismissed by the new régime. Could it be that the 'Epistel' served a twofold purpose in providing Spaun with a wry comment on the way musical life in Vienna was threatened? Above all, Spaun must have relished the exaggerated setting of 'Barbar'; to Schubert's friends this Barbar(ja) was nothing more than a pirate of the high Cs. If there is anger here it is not at Spaun or Rossini, but at the unfair turn of events. Schubert the chameleon changes his national colours despite himself and ends up by paying genuine homage (with an affectionate smile) to the flair and vigour of music from the south.

from notes by Graham Johnson 1989

Other albums featuring this work
'Schubert: The Complete Songs' (CDS44201/40)
Schubert: The Complete Songs
MP3 £130.00FLAC £130.00ALAC £130.00Buy by post £150.00 CDS44201/40  40CDs Boxed set + book (at a special price)  
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