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Hyperion Records

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Track(s) taken from CDJ33051/3
Recording details: October 2004
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: October 2005
Total duration: 3 minutes 21 seconds

'This enterprising, often revelatory set should intrigue and delight anyone interested in the development of the Lied' (Gramophone)

'Since making music with friends was Schubert's whole raison d'etre, this 3-CD box is an inspired idea … Led by the soprano Susan Gritton, the performances are pure A-list' (The Independent)

'Anyone who loves lieder will find here a rich, diverse, and delightful offering. There isn't a bad song among the 81 songs by 40 composers who wrote during Schubert's lifetime, and there's a lot of fine music here by well-known and also practically unknown composers and poets. The singing is consistently excellent… Anyone interested in this genre wll find here a broad-ranging and generous collection' (American Record Guide)

'If 81 songs are too many to mention individually, sufficient variety exists and enough songs are receiving a first recording for this set to be indispensable for anyone interested in the genre' (International Record Review)

'Graham Johnson once again demonstrates that he has few peers today in his combined function as scholar-musician' (Fanfare, USA)

Erlkönig, Op 1 No 3
First line:
Wer reitet so spät durch Nacht und Wind?
composer
1/1/1817
author of text
from the 1782 play Die Fischerin; adapted from a Danish folk ballad

Other recordings available for download
Florian Boesch (baritone), Roger Vignoles (piano)
Introduction  EnglishDeutsch
The poem of 'Erlkönig'—adapted from a Danish folk ballad—comes from a little-known Goethe play with music, Die Fischerin, performed at the Weimar court in 1782. The fisher-girl of the title, Dortchen, sings it softly to herself one evening as she mends her nets. What Goethe expected (and, in Weimar, got) was a simple quasi-folk tune repeated for each verse. Schubert in 1815 recreated the poem in music of searing dramatic power. Loewe’s song, composed two years later, is less violently ‘interventionist’ than Schubert’s, more faithful to the externals of the narrative—doubtless part of its appeal to Goethe—but hardly less powerful. Wagner, for one, far preferred the Loewe setting. Where Schubert immediately establishes an atmosphere of panic with the feverishly pounding hooves, Loewe initially depicts the eerily rustling leaves, with the galloping motion merely implied. Only after the father’s first, comforting words to the sick boy does the galloping rhythm become explicit. The hypnotically repeated nursery tune for the Erlking’s words acquires a seductive-sinister twist from the flicking grace notes; and while Loewe’s song is generally more restrained than Schubert’s, his ending, conversely, is more melodramatic, with pregnant silences and a ‘shock’ diminished seventh chord on ‘tot’.

from notes by Richard Wigmore © 2011


Other albums featuring this work
'Loewe: Songs & Ballads' (CDA67866)
Loewe: Songs & Ballads
'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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