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Schubert is famous for his ability to take us outdoors and into the country—the open-air style is often invoked by the Matthisson poems. But here he shows his uncanny ability to set a song indoors and light it with the muted but rich colours of light pouring through stained glass. The accompaniment seems destined for an organ, and women must have also seemed thus to the young composer at the height of the pains of his adolescence. Here he had to make do with a piano and a solitary manual. It is the popular misconception that Schubert forgot his songs as soon as he had written them, but this is belied by the fact that in the autumn of 1828 he used the opening bars of Die Betende in the sketches for his last work, the unfinished opera Der Graf von Gleichen.
from notes by Graham Johnson © 1991
|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. 12 – Adrian Thompson|
'An established and thoughtful interpreter of Schubert, one who sings German like a native' (Gramophone)
'His keen insight and regard for the words illuminate these fascinating songs. Hard as it now is to find fresh words of praise for Graham Johnson's pe ...» More