Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.
Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
The marking is ‘Lebhaft’ and the piano writing of the introduction with its oscillation between single notes and thirds (something which suggests folksong and Ländler) is reminiscent of the Schubertian dance. The verb ‘durchspringen’ has given the composer all the encouragement he needs to find music which springs and bounces along as if the singer’s blood is being pumped from head to toe at a hearty rate. It may also be said that the tune seems ever to be moving in an upward direction which is very appropriate for a singer whose mood seems to be on a permanent ‘up’ (at least in the first verse) right up to the two final loud chords of the postlude. After the first two lines of poetry, octave leaps in the piano interlude seem to describe a great big grin; details in the accompaniment (perky staccati and gurgling trills) are generally suggestive of uncomplicated high spirits. The words ‘goldnen Ketten’ prompt sparkling chains of notes – vocal melismas of great geniality. A second reading of all twelve verses of the poem reveals that the poet has a more serious side to him: a somewhat less high-spirited mood rules the subsequent verses in this performance as thoughts of the ‘gentle grave’ render the narrator more philosophical, and non-stop quavers in the vocal line reflect the soft murmurings of the brook.
Martin Josef Prandstetter was a fascinating and controversial figure in Vienna at the end of the eighteenth century. He was born in Hungary but achieved high status in the Austrian civil service. Like the poet Mayrhofer from a later generation, Prandstetter was against the absolutist government of the time (the Emperor Franz II) and belonged to a Jacobin group in Vienna which professed open sympathy with the French Revolution. His poetry appeared in the Wiener Musenalmanach and also in Masonic publications. His lighter works (such as Die Fröhlichkeit) were influenced by Anacreon’s Odes, but he also wrote poems in the style of Klopstock and ballads inspired by Bürger and Schiller. Publication of his work ceased in 1794 when he was arrested for treasonable activities and sentenced to three days in the stocks and thirty years prison. He died three years later. His fate bears a certain similarity to that of the poet Schubart who was long imprisoned by the Duke of Württemburg. Prandstetter’s disregard for the powers that be was the cause of his downfall. It is interesting to speculate whether Schubert knew anything about him when he came across these verses, probably in an old copy of the Wiener Musenalmanach.
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. 20|
'Un superbe panorame des lieder de l'année 1815' (Créscendo, France)» More