Hyperion Records

Der Hirt, D490
First line:
Du Turm! zu meinem Leide
composer
October 1816; first published in 1895 in the Gesamtausgabe
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. 23 – Christoph Prégardien' (CDJ33023)
Schubert: The Hyperion Schubert Edition, Vol. 23 – Christoph Prégardien
Buy by post £13.99 (ARCHIVE SERVICE) CDJ33023  Archive Service; also available on CDS44201/40   Download currently discounted
Details
Track 24 on CDJ33023 [3'02] Archive Service; also available on CDS44201/40
Track 11 on CDS44201/40 CD16 [3'02] 40CDs Boxed set + book (at a special price)

Der Hirt, D490
This is not one of the great Mayrhofer settings of 1816, and it is certainly one of the least known of this poet's songs. It was written at about the same time as the enchanting Alte Liebe rostet nie and Geheimnis (an Franz Schubert) in which the poet pens his personal eulogy to the composer's genius. There is something about this music, however, which makes us feel that Schubert attached special significance to it. The key of D minor, the marking of Mässig and the mezzo staccato accompanying quavers at the opening are strongly prophetic of nothing less than Gute Nacht in Winterreise. Our first impression of the shepherd at the song's opening is that he is a tragic figure, an impression that fades as strophe follows strophe and as the song reveals itself to be a classical rather than a romantic creation. The poem itself is rather bizarre. The shepherd is half pastoral (reflected in the song's simplicity and mention of such stilted conceits as love's arrow) and half a modern man (for whoever heard of a shepherd being concerned with time and bell towers?). The significance of the soaring bell tower and love's arrow would not have been lost on Freud. Why on earth should it be the tower that reminds the poet of his lost lady love, and just why should it soar high up to his grief? This very strange image is never explained. Does this tower represent the phallocentric power of the man who has taken the poet's lover away, or can it be explained by the simple fact that she now lives in the church tower of the hamlet with her new love? Or was she married there to his rival perhaps? Is it possible that Mayrhofer could have known Goethe's poem Die wandelnde Glocke (written in 1813) in which a bell from a church tower chases a naughty boy? Mayrhofer's imagery at `Wohin ich mich nun wenden? / Der Thurm, er folget mir' makes a similarly (yet no doubt unintentional) comic effect. Mayrhofer is not a conventional love poet and he seems ill-at-ease in this mixture of baroque and expressionism. An unusual feature of the song is that it seems to be in D minor throughout but the ritornello which opens each strophe (and also closes the song) ends in F major. This tonal twist adds to the work's awkward sense of mystery.

from notes by Graham Johnson © 1995

Track-specific metadata
Click track numbers opposite to select

Details for CDJ33023 track 24
Artists
ISRC
GB-AJY-95-02324
Duration
3'02
Recording date
17 September 1994
Recording venue
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Recording producer
Mark Brown
Recording engineer
Antony Howell
Hyperion usage
  1. Schubert: The Hyperion Schubert Edition, Vol. 23 – Christoph Prégardien (CDJ33023)
    Disc 1 Track 24
    Release date: May 1995
    Deletion date: March 2012
    Archive Service; also available on CDS44201/40
  2. Schubert: The Complete Songs (CDS44201/40)
    Disc 16 Track 11
    Release date: October 2005
    40CDs Boxed set + book (at a special price)
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