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Track(s) taken from CDJ33110

Schön Hedwig, Op 106

First line:
Im Kreise der Vasallen sitzt
22 December 1849
author of text

Christoph Bantzer (reciter), Graham Johnson (piano)
Recording details: May 2006
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: November 2007
Total duration: 5 minutes 43 seconds

Cover artwork: Photograph of Kate Royal by Malcolm Crowthers


'Royal's pure, pellucid tone, free-soaring top notes and refined musicianship give constant pleasure … abetted by Johnson's ever-sentient keyboard-playing, Royal reveals a true understanding of Schumann's Innigkeit … in the final 'Frülingsnacht', often rushed off its feet, she and Johnson catch the elusive mix of secretiveness and ecstasy as perfectly as I have heard' (Gramophone)

'In the Liederkries, Kate Royal, discerningly partnered by Johnson, sings with pure, luminous tone and eloquent phrasing … there are many memorable things here, including a hushed, rapt 'Mondnacht', and a truly ecstatic final 'Frülingsnacht' (The Daily Telegraph)

'Volume 10 … has as its centerpiece a wonderful rendition by Kate Royal of Liederkreis, Ms Royal … again delivers a performance that is remarkable for its intelligence, musicianship, and sheer beauty' (American Record Guide)

'Much of the singing is exceptionally lovely … 'Waldegespräch' amply displays the dramatic flair one expects of a fine operatic artist … Johnson accompanies with his wonted sensitivity and his booklet notes are, as usual, exhaustive in their detail … the engineering is immaculate' (International Record Review)

'This wonderful disc feels like an intimate salon performance by a group of close friends … Liederkries is sung with devotion … by rising wonder-woman Kate Royal … glorious duetting from Lott and Murray, ensemble fun from all the singers and a glimpse of Schumann towards the end of his tragic life in the Mädchenlieder—you don't realise how much you're learning about the composer's genius until it's all over' (Classic FM Magazine)

'Royal's professed affinity for the Lieder repertoire is more than borne out by the recording of Schumann's Eichendorff Liederkreis―[she] gives us everything: hers is a beautifully sung and deeply flet rendition from beginning to end, her specific responses to the words and their meaning never, ever becoming intrusive―the ideal balance of what one wants in performances of this cycle' (Fanfare, USA)

'A stunning achievement for Kate Royal, and another well-deserved feather in the Hyperion cap as this enthralling series continues … Kate Royal tones down some of her interpretations to reflect the genuinely intimate and reflectively pensive music to great effect, lovingly adjusting her voice to the needs of each word … highest recommendation' (Audiophile Audition, USA)

'The program opens with the undervalued Liederkreis cycle … Royal infuses these brief intuitions of forest walks, foreign lands and a 'Moonlit Night' with a glowing musical poetry. Even the sparest, quietest songs hold a sense of vigor and wondrous apprehension' (San Francisco Chronicle)
This work was completed on 22 December 1849, about four years after Schumann had noted in his diary that it would be a good idea to arrange poems for narration with piano. The poem comes from Hebbel’s Gedichte of 1842, a volume that we know Schumann had to hand in 1849 because it contains the poem ‘Quellende, schwellende Nacht’ which Schumann set as Nachtlied for chorus and orchestra, Op 108. Wiegenlied Op 78 No 4 (‘Schlaf, Kindlein, schlaf!’) and Das Glück Op 79 No 16, both Hebbel duets that were composed in 1849, are in the same collection. Schumann sometimes put his works to one side after completing them, as if laying them down in a wine cellar, particularly if he was uncertain of their worth. He came back to Schön Hedwig three years later, at the end of 1852, and offered it for publication to the firm of Kistner. The manuscript was returned from there with some embarrassment, but it was welcomed by the publisher Barthold Senff who seemed keen as mustard: ‘the piece interests me very much, it is something completely new, and I hope we will pleasantly surprise the musical world’. It appeared as Op 106 in May 1853. Schumann sent a copy to Hebbel who seemed well pleased with ‘a kind of composition that does not yet exist’.

The poem has twelve strophes, but the concision of the words ensures that the action is swift and decisive, even if the majority of the poem comprises the intimate but public interrogation of Hedwig by her lord. Schumann frames the poem with a long piano prelude of twenty-four bars that seems an overture of sort, the curtain rising on a medieval dining hall where a Ritter (surely more of a king than a knight) is surrounded by his entourage. The entry of Hedwig whose lowly duty it is to fill the wine goblets is accompanied by an oboe-like theme, demurely feminine in contrast to the pianistic testosterone of the opening. The long conversation between the knight and the beautiful maiden who has caught his eye occasions fragments of music indicative of Hedwig’s modesty, and the knight’s determination—the latter music derives from the opening motif that recalls the rising sixths of hunting horns. When he asks her outright whether she loves him the narrator’s voice is accompanied by solemn yet lyrical music in crotchets and minims—the legato a respite from the aggressive mood of the opening. When Hedwig eventually admits in public to loving her master there is no other course for her (she believes) than that she should enter a nunnery. It takes less than a page of music to allow the knight to sweep the astonished girl away on his arm to marry her straightaway in the chapel. There is a brief return to the music of the opening for a ‘happily ever after’ ending.

Hebbel’s poem dates from 1838. It was written partly in protest at Griseldis, a play in blank verse by Friedrich Halm that enjoyed huge success in Vienna in 1835. The action of Griseldis is set in Arthurian England; the eponymous heroine leaves her husband Sir Perceval when she discovers that the trials that she has undergone have been cruelly unnecessary. This theme of independent ‘womanhood in conflict with itself’, an elaboration of Kleists’s Käthchen von Heilbronn, was repugnant to Hebbel. In Schön Hedwig a gallant knight of yore chooses his fair lady and marries her forthwith. In Hebbel’s poem beautiful Hedwig is an illegitimate foundling (who has ‘come from God’); it is within the power of the knight to respond quixotically to his instincts concerning her goodness, and to sweep the shame of her birth aside, elevating her to the highest rank in the land. Paternalistic certainly, but Hedwig is no princess in disguise to preserve the status quo. The poet’s conservatism had nothing to do with the social niceties of the time. In fact, when he wrote this poem he was living in Hamburg with a devoted seamstress, Elise Lensing, with whom he had children out of wedlock, though they died in infancy.

from notes by Graham Johnson © 2007

Longtemps avant que Liszt s’aventure dans le genre du mélodrame, Schumann, toujours inventif, mêle ici le mot parlé à l’accompagnement pianistique. Le seul exercice de Schubert dans le genre n’a été publié qu’en 1872 et Schumann n’a pas pu le connaître. Schumann avait mis en musique de petits poèmes de Hebbel dans les op. 27, 78 et 79, mais le grand auteur dramatique, qui résidait à Vienne, avait participé au livret de l’opéra de Schumann Genoveva, et le compositeur a visiblement apprécié l’idée de mettre en musique un poème plus important de Hebbel. En 1849, il a également composé le Nachtlied, op. 108, pour chœur et orchestre sur un texte de Hebbel.

extrait des notes rédigées par Graham Johnson © 2010
Français: Marie-Stella Pâris

Hier kombiniert der stets erfinderische Schumann lange vor Liszts Ausflügen ins Melodrama das gesprochene Wort mit Klavierbegleitung. Schuberts vereinzelte Übung in diesem Genre wurde erst 1872 veröffentlicht und konnte Schumann nicht bekannt sein. Er hatte einige kleine Hebbel-Gedichte zu Musik in opp. 27, 78 und 79 gesetzt, doch der in Wien lebende große Bühnenschriftsteller hatte seinen Anteil am Libretto zu Schumanns Oper Genoveva geleistet, und Schumann war deutlich geneigt, ein größeres Gedicht von Hebbel zu vertonen. 1849 komponierte er außerdem das Nachtlied op. 108 für Chor und Orchester zu einem Hebbeltext.

aus dem Begleittext von Graham Johnson © 2010
Deutsch: Henning Weber

Other albums featuring this work

Schumann: The Complete Songs
CDS44441/5010CDs Boxed set (at a special price)
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