Hyperion Records

Augenlied, D297
First line:
Süsse Augen, klare Bronnen!
composer
1817 (?); published in 1895
author of text

Recordings
'Schubert: The Complete Songs' (CDS44201/40)
Schubert: The Complete Songs
Buy by post £150.00 CDS44201/40  40CDs Boxed set + book (at a special price)  
'Schubert: The Hyperion Schubert Edition, Vol. 3 – Ann Murray' (CDJ33003)
Schubert: The Hyperion Schubert Edition, Vol. 3 – Ann Murray
Buy by post £13.99 (ARCHIVE SERVICE) CDJ33003  Archive Service; also available on CDS44201/40   Download currently discounted
Details
Track 3 on CDJ33003 [3'09] Archive Service; also available on CDS44201/40
Track 18 on CDS44201/40 CD17 [3'09] 40CDs Boxed set + book (at a special price)

Augenlied, D297
It was Josef von Spaun and Franz von Schober between them who engineered the meeting between Schubert and the singer Johann Michael Vogl. According to Spaun's memoirs the famous baritone was little interested in the prospect of meeting a mere song composer … 'he took up the nearest sheet of music, containing Mayrhofer's poem Augenlied, a pretty, tuneful, but not very significant song. Vogl hummed rather than sang, and then said coldly "Not bad!"' This verdict of 'nicht übel' would have been insufferably condescending even if Vogl had then known the riches that were in store for him in the real masterpieces. By the standards of Schubert's songwriting contemporaries, Augenlied is a little jewel. Maybe Schubert had left this particular song at the top of the pile precisely because it does seem a little old-fashioned in something of a Mozartian manner—a not too demanding song baptism for Vogl. The starlit music at the change of tempo in Verse 3 has something of the mood and movement of the 'tausend schwebende Sterne' section of Goethe's Auf dem See. The style is all na‹ve simplicity; the only ominous touch is mention of Acheron, river of hell—Mayrhofer could never resist a chance to make a classical allusion. The last two lines of music dematerialise, the rocking quaver lullaby yields to a stillness which seems to fade away gently with the life of the beloved, as if there were no motivation to live outside her gaze. There are two versions of this song, and we have preferred to perform the first. The slightly clumsy piano introduction and more ornamented accompaniment of the second (published by Diabelli in 1850) suggest to me a revising hand, and not necessarily that of the composer. It is true that Schubert affixed his signature to a copy of this second version, but then the good-natured fellow also allowed Vogl to ornament his vocal lines without really approving of the so-called improvements. Perhaps Vogl thought that this song needed his hand to improve it; after all it was only 'not bad'. Bit by bit he was to become a devoted admirer of Schubert's art.

from notes by Graham Johnson © 1989

Track-specific metadata
Click track numbers opposite to select

Details for CDJ33003 track 3
Artists
ISRC
GB-AJY-89-00303
Duration
3'09
Recording date
18 November 1988
Recording venue
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Recording producer
Martin Compton
Recording engineer
Antony Howell
Hyperion usage
  1. Schubert: The Hyperion Schubert Edition, Vol. 3 – Ann Murray (CDJ33003)
    Disc 1 Track 3
    Release date: December 1989
    Deletion date: November 2012
    Archive Service; also available on CDS44201/40
  2. Schubert: The Complete Songs (CDS44201/40)
    Disc 17 Track 18
    Release date: October 2005
    40CDs Boxed set + book (at a special price)
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