Hyperion Records

Blondel zu Marien, D626
First line:
In düst’rer Nacht
composer
September 1818; first published in 1842 as No 2 of volume 34 of the Nachlass
author of text

Recordings
'Schubert: The Complete Songs' (CDS44201/40)
Schubert: The Complete Songs
Buy by post £150.00 CDS44201/40  40CDs Boxed set + book (at a special price)  
'Schubert: The Hyperion Schubert Edition, Vol. 21 – Edith Mathis' (CDJ33021)
Schubert: The Hyperion Schubert Edition, Vol. 21 – Edith Mathis
Buy by post £5.25 CDJ33021  Please, someone, buy me …   Download currently discounted
'Schubert: The Hyperion Schubert Edition, Vol. 29 – Marjana Lipovšek' (CDJ33029)
Schubert: The Hyperion Schubert Edition, Vol. 29 – Marjana Lipovšek
Buy by post £13.99 (ARCHIVE SERVICE) CDJ33029  Archive Service; also available on CDS44201/40  
'Schubert: An introduction to The Hyperion Schubert Edition' (HYP200)
Schubert: An introduction to The Hyperion Schubert Edition
HYP200  Super-budget price sampler — Deleted  
Details
Track 23 on CDJ33021 [2'57] Please, someone, buy me …
Track 18 on CDS44201/40 CD20 [2'57] 40CDs Boxed set + book (at a special price)
Track 15 on CDJ33029 [3'18] Archive Service; also available on CDS44201/40
Track 18 on HYP200 [2'57] Super-budget price sampler — Deleted

Blondel zu Marien, D626
The original key is E flat minor, and we have already remarked on its similarity to the sixth strophe of Einsamkeit which is in the same key. Like Einsamkeit the song dates from Schubert’s summer in Zseliz, and its subject-matter may well relate to the Virgin Mary which would put it on a par with certain other works from the same period which have Marian overtones – all of which were probably designed to appeal to the deeply devout sympathies of the young Esterhazy countesses. It has all the hallmarks of the composer’s vocal writing of the period, although the singer’s line is more ornamented than usual. This leads one to speculate whether Vogl had a hand in sprucing the song up for public performance, and if it is this version that Diabelli published in 1842.

The songs remains an enigma in various ways: the origin of its text, and its debt (or lack of it) to such sources as Grétry’s Richard Cœur de Lion, an opera which was a favourite with Viennese audiences in Schubert’s adolescence.

from notes by Graham Johnson © 1997

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