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.

Huldigung, D240

First line:
Gar verloren, ganz versunken
composer
first published in 1894
author of text

 
It is the courtly old-fashioned title and some of the language (note how the beloved is addressed as ‘Huldin’ and ‘Gebieterin’, exalted words even by Kosegarten’s eighteenth-century standards) which is the real key to the music. In Schubert’s favourite Kosegarten tonality of E major, the vocal line and the accompaniment are full of the deep bows of obeisance – a distinguished gentleman’s homage to a high-born lady. There is something which suggests the singer is an older man, a Don Ottavio perhaps who is paying formal court to a Donna Anna. The first bar (‘Ganz verloren’) consists of a five-note figure; the second bar (‘ganz versunken’) is a sequence which caps the first phrase, as if the singer were doffing his, and searching for a more extravagant (and thus higher in tessitura) verbal gesture to describe his admiration. This is followed by a two-bar phrase in which the music bows low as it sweeps downwards in an E major arpeggio. The same formula is followed in the next four bars, this time with an even more florid bow as the cadence moves into the dominant. The middle section (from ‘Nichts vermag ich zu beginnen’) consists of another pair of two-bar phrases, each of them ending with a gracious and adoring appoggiatura – yet more obeisances. These cadences which divide the piece into a number of courtly gestures give the piece a somewhat stilted quality, as if it is framed by inverted commas, rather than the real thing; the music seems scrupulously constructed rather than the result of spontaneous passion. Nevertheless the vocal line is extremely grateful to sing and the coda (‘Nichts ist, was das Herz mir füllt, Huldin, als dein holdes Bild’) makes a final dip into the middle of the vocal tessitura, dallies on another appogiatura (supported by a chromatic swoon in the accompaniment under ‘holdes’) before standing tall on the return to the tonic. The piano’s postlude consists of an ingratiating chromatic scale and an exquisite feminine cadence. In this song, which advances on the lady-love in measured steps so as not to alarm her, passion is everywhere moderated by eighteenth-century manners.

from notes by Graham Johnson © 1994

Recordings

Schubert: The Complete Songs
CDS44201/4040CDs Boxed set + book (at a special price)
Schubert: The Hyperion Schubert Edition, Vol. 20
CDJ33020Archive Service; also available on CDS44201/40

Details

Track 14 on CDJ33020 [2'18] Archive Service; also available on CDS44201/40
Track 14 on CDS44201/40 CD8 [2'18] 40CDs Boxed set + book (at a special price)

Track-specific metadata for CDJ33020 track 14

Artists
ISRC
GB-AJY-94-02014
Duration
2'18
Recording date
1 November 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. 20 (CDJ33020)
    Disc 1 Track 14
    Release date: March 1994
    Deletion date: January 2010
    Archive Service; also available on CDS44201/40
  2. Schubert: The Complete Songs (CDS44201/40)
    Disc 8 Track 14
    Release date: October 2005
    40CDs Boxed set + book (at a special price)
Search

There are no matching records. Please try again.