In March 1817 Schubert was fascinated by Goethe texts which encompassed large philosophical issues – the first setting of
Mahomets Gesang and
Ganymed both date from this time. In May 1817 we find another Schubert, and another Goethe. Three settings of the poet's words were composed, and three delightful and unpretentious small songs were the result.
Liebhaber in allen Gestalten,
Schweizerlied and
Der Goldschmiedsgesell form a happy musical trio of folksong-like simplicity although their poems were written at very different times in Goethe's life.
Liebhaber in allen Gestalten is the best known and has often been used as an encore – 'so nimm mich wie ich bin!';
Schweizerlied is daunting for many a singer because of the Swiss dialect, but it is a song of great charm. Both of these belong more or less exclusively to the female repertory.
Der Goldschmiedsgesell has been almost completely overlooked; it certainly ranks as one of the least known of the Goethe settings. A baritone given to singing
Prometheus and
An Schwager Kronos would do well to include it in a Goethe group for lightness and contrast. The music is in Schubert's best Papageno manner. A saucy vocal line is sparsely punctuated by chords in the piano; each of these represents one of the boy's physical movements as he hammers and files precious metal at his workbench, singing the while. The goldsmith's apprentice is one of a number of cheerful working-class characters (cf
Fischerlied,
Tischlerlied,
Pflügerlied) who have been immortalised by a composer who, like Shakespeare, had a soft spot for earthy, uncomplicated people.
from notes by Graham Johnson © 1995
CDS44201/40
40CDs Boxed set + book (at a special price)
