Hyperion Records

Lieb Minna, D222
First line:
Schwüler Hauch weht mir herüber
published in 1885
author of text

'Schubert: The Complete Songs' (CDS44201/40)
Schubert: The Complete Songs
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'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
Track 8 on CDJ33003 [5'04] Archive Service; also available on CDS44201/40
Track 14 on CDS44201/40 CD7 [5'04] 40CDs Boxed set + book (at a special price)

Lieb Minna, D222
Stadler's other contribution to the Schubert song canon dates back to the golden song year of 1815; it was set only three days before the miraculous Wandrers Nachtlied ('Der du von dem Himmel bist'), and Erster Verlust (both Volume 1). Indeed the ambiguity between F minor and its relative major of A flat in the latter song is very much a part of Lieb Minna. Also extraordinary is the similarity between the one-bar postlude of Erster Verlust (which in five notes seems to encapsulate all the pain in the world) and a similar bar in Lieb Minna which is in every respect a study for the ending of the great Goethe setting, with the same tonal ambiguity between the same two keys. Of course both songs are about loss, but in three days in 1815 Schubert can progress from Minna's somewhat melodramatic fate to a single distilled page of universal significance. Lieb Minna is nevertheless, within its own terms, skilfully done. It is a strophic song which depends on the performers for variety, but in a tremulous way the opening vocal line—supported by tentative staccato quavers in the piano and straying only a semitone in either direction from the security of the dominant—depicts fragility and dependency. What emerges from the song (and poem of course) is a portrait of Minna as a type of Dickensian heroine of somewhat one-dimensional femininity. We somehow can see her exquisite little tear-bedewed face; hasty steps to Wilhelm's graveside are taken with the most delicate and small of feet. Unable to bear the burden of bereavement she fades away, and after a tiny, muted Liebestod, joins her lover in a better world.

Albert Stadler, like Spaun, Kenner, and Senn, was a fellow student of Schubert's at the Imperial Seminary. He was extremely close to the composer in the early years, and was in the habit of making copies of all Schubert's work. Stadler was himself something of a composer. Like Spaun, he made his living as a lawyer and went to work in Linz in 1821, the same year that Spaun was also `exiled' from Vienna to that provincial capital. Schubert and Stadler were reunited in the summers of 1819 and 1825 when the composer went on holiday to Upper Austria. There are only two Stadler settings by Schubert.

from notes by Graham Johnson © 1989

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Details for CDS44201/40 disc 7 track 14
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 8
    Release date: December 1989
    Deletion date: November 2012
    Archive Service; also available on CDS44201/40
  2. Schubert: The Complete Songs (CDS44201/40)
    Disc 7 Track 14
    Release date: October 2005
    40CDs Boxed set + book (at a special price)
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