Hyperion Records

Cora an die Sonne, D263
First line:
Nach so vielen trüben Tagen
composer
first published in 1848 as part of volume 42 of the Nachlass
author of text

Recordings
'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)  
'Schubert: The Hyperion Schubert Edition, Vol. 22' (CDJ33022)
Schubert: The Hyperion Schubert Edition, Vol. 22
MP3 £6.00FLAC £6.00ALAC £6.00Buy by post £10.50 CDJ33022  Download currently discounted
Details
Track 18 on CDJ33022 [1'44]
Track 11 on CDS44201/40 CD9 [1'44] 40CDs Boxed set + book (at a special price)

Cora an die Sonne, D263
This song belongs very much to the group of Baumberg settings (all from August 1815 with the exception of Lebenstraum D39, a very early piece of juvenilia) which have a style of their own: old-fashioned, ceremonial, somewhat Haydnesque. Even the names of the women who are the stars of these songs (Lina and Cora) have a courtly grace. The original key is E flat, which in the wake of his enthusiasm for Die Zauberflöte seems to have become Schubert's special tonality for solemn invocations of this kind. An die Sonne is also in this key and the remarks in that commentary about pagan ceremonial and the priestess function of the singer à la Bellini's Norma apply here. As always within an apparent formula for a classical song of this type Schubert leaves room for expressive manoeuvre. The opening is fairly conventional with its dotted rhythm upbeat, but mention of gloomy and sunless days pulls the song into A flat via the appropriately darkening effect of a D flat on 'trüben Tagen.' It is a clever touch that the song should shy away from its home tonality so early in the piece. This enables the composer to return to the sunlit glories of the bright tonic (although only in first inversion) on 'mitleidsvoll für uns're Klagen' where the first note of the phrase is also the highest in the song. We reach the root position of the chord only with the last word of the strophe. The effect is of a prayer answered and of the clouds clearing. At this time of the morning the rays are as yet tentative and gentle; in the staccato accompaniment under 'einen sanften milden Strahl', and in the detached chords which form the upbeat to the postlude, we hear the beginnings of the piano writing illustrative of the working of the heavens – the impersonal and seraphic motor rhythms of the celestial dynamo – that will reach its apotheosis with Leitner's Die Sterne. The last four bars of piano writing describe a beautiful curve that reaches its high point on a B flat 7 chord in first inversion and then descends with elegance and grace to a languid feminine cadence worthy of Cora's longing for radiance and enlightenment.

from notes by Graham Johnson © 1994

Track-specific metadata
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Details for CDS44201/40 disc 9 track 11
Artists
ISRC
GB-AJY-94-02218
Duration
1'44
Recording date
18 October 1993
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. 22 (CDJ33022)
    Disc 1 Track 18
    Release date: October 1994
  2. Schubert: The Complete Songs (CDS44201/40)
    Disc 9 Track 11
    Release date: October 2005
    40CDs Boxed set + book (at a special price)
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