The melodic line is very reminiscent of that of the Hölty setting Winterlied17 from 1816, a melodic idea summoned up by Schubert less because of the weather conditions at the funeral than by the coldness of death and the grave where nothing grows - 'Keine Blumen blühn'. The solemnity and pain of the famous last setting of Mignon's Nur wer die Sehnsucht kennt also comes to mind. Underneath 'bleich und stumm' we have the same two quavers followed by a rest to describe paleness and silence as were used in Erlafsee to illustrate the still depths of the lake. Father and son stand at the graveside united in their grief by parallel sixths. A note of resentment against fate is heard at the recitative-like outburst of 'Schnell, schnell mit ihr verschwand'. The transformation into B major just before the angel's call is a typically Schubertian touch perhaps, but even by his own exalted standards, the little consolatory postlude, so simple yet so expressive, is ravishingly beautiful.
from notes by Graham Johnson © 1994
|Schubert: The Complete Songs|
'This would have been a massive project for even the biggest international label, but from a small independent … it is a miracle. An ideal Christ ...
'Please give me the complete Hyperion Schubert songs set – all 40 discs –and, in the next life, I promise I'll "re-gift" it to Schubert himself … ...» More
|Schubert: The Hyperion Schubert Edition, Vol. 21 – Edith Mathis|
'What riches are to be found here in a recital that is, by any yardstick, a profoundly satisfying one … the musical marriage of the performers se ...
'A delectable group of 24 songs written in 1817/18, including a high proportion of charmers' (The Penguin Guide to Compact Discs)» More