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Track(s) taken from CDJ33024

Bundeslied, D258

First line:
In allen guten Stunden
4 or 19 August 1815; first published by Weinberger & Hofbauer in 1887
author of text

John Mark Ainsley (tenor), Simon Keenlyside (baritone), Michael George (bass), Graham Johnson (piano)
Recording details: September 1994
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell
Release date: October 1995
Total duration: 2 minutes 24 seconds


'The whole record is priceless … renewed praise … an engrossing and invaluable addition to this series' (Gramophone)

'La interpretación sigue la línea de excellencia de toda la colección, realizada en torno al magnifico musico que es el pianista Graham Johnson' (Scherzo, Spain)
Goethe wrote the poem for the wedding celebration of friends in Switzerland in 1775, which explains the reason why the fifth line of the first strophe refers to the god, possibly Eros or Cupid, who has brought the company together. Apart from this it is very much a drinking-song of good fellowship streaked with the habitual concern for deeper things which these texts seem to require (though not in this case death and the hereafter). Schubert's music is jolly and hearty and is prophetic of the Trinklied of Shakespeare of 1826 where passages of the vocal line are also doubled by both hands of the piano (here this unison appropriately mirrors the meaning of 'Uns hält der Gott zusammen'). The reference to flames ('Erneuert unsre Flammen') is introduced by a flickering contrary-motion arpeggio in semiquavers in the accompaniment and prompts a downward arpeggio in the voice on a dominant seventh on 'Flammen' – the only sign of temperament in an otherwise rather stolid vocal line. Thereafter Schubert makes a feature of it for the piano: the postlude is rendered relatively tricky by spluttering semiquaver sparks.

from notes by Graham Johnson © 1995

Other albums featuring this work

Schubert: The Complete Songs
CDS44201/4040CDs Boxed set + book (at a special price)
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