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.

Lied aus der Ferne, D107

First line:
Wenn, in des Abends letztem Scheine
composer
July 1814; first published in 1894
author of text

 
John Reed finds this delightful strophic song too lighthearted for its 'ghost-haunted poem'. I believe that Schubert saw reflected in it the affectionate dabbling with the occult which was part of the romantic spirit of the times. This is perfectly caught, for example, in a letter that Robert Schumann wrote to the young Clara Wieck in 1833: 'Tomorrow at the stroke of 11, I shall play the adagio from Chopin's Variations and at the same time I shall think of you very hard; exclusively of you. Now, the request is that you should do the same, so that we may see each other and meet in spirit… If you do not a piano string will break at 12 o'clock; it will be me.' No serious threat, that. If one believes that both lovers are very much alive, and merely parted by distance, the teasing tone of this song is more understandable. The subtext of the poem is 'Ich denke dein', and it is uncanny how the setting is reminiscent of the music Beethoven wrote for Matthisson's Andenken: there is the same lilting 6/8 rhythm, a similarity in the cast of the accompaniment, and in this version even the same tonality (the first version is in E major). The manuscript of the first version is lost, but it is significant that Schubert wrote out the song in D major for the Lieder album he prepared for his beloved Therese Grob in 1816. This version is slightly more straightforward in some of the figurations of the accompaniment. The distance between the vocal line and the accompaniment which is in the tenor register for long stretches, is reminiscent of another much greater song, also set in the countryside: when we hear the music for the words 'am Rasensitz im Eichenhaine' (Verse 1), we can just make out the haunting shape, accompaniment and A major tonality of the opening passage ('Am Bach viel kleine Blume stehn') from Des Müllers Blumen in the cycle Die Schöne Müllerin.

from notes by Graham Johnson © 1991

Recordings

Schubert: The Complete Songs
CDS44201/4040CDs Boxed set + book (at a special price)
Schubert: The Hyperion Schubert Edition, Vol. 12 – Adrian Thompson
CDJ33012

Details

Track 15 on CDJ33012 [2'54]
Track 11 on CDS44201/40 CD3 [2'54] 40CDs Boxed set + book (at a special price)

Track-specific metadata for CDJ33012 track 15

Artists
ISRC
GB-AJY-91-01215
Duration
2'54
Recording date
28 February 1991
Recording venue
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Recording producer
Martin Compton
Recording engineer
Tony Faulkner
Hyperion usage
  1. Schubert: The Complete Songs (CDS44201/40)
    Disc 3 Track 11
    Release date: October 2005
    40CDs Boxed set + book (at a special price)
Waiting for content to load...
Waiting for content to load...
Search

There are no matching records. Please try again.