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Track(s) taken from CDJ33023

Pflügerlied, D392

First line:
Arbeitsam und wacker
March 1816; first published in 1895 in the Gesamtausgabe
author of text

Christoph Prégardien (tenor), 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: May 1995
Total duration: 1 minutes 48 seconds


'When the Hyperion Schubert Edition is finally completed I am certain that this wondrous offering will rank among its most precious jewels … Prégardien is a prince among tenors' (Gramophone)

'Prégardien is an artist of the first rank' (Fanfare, USA)
This is one of Schubert's work-songs, a relative of Fischerweise, Tischlerlied, Fischerlied (also to a Salis-Seewis text) and so on. Like many of the more rustic Shakespearean characters, such stout-hearted salts of the earth are given to a touch of amateur philosophising with the general theme of 'all men are equal because they all end up in the same place - the grave.' In songs of this type, the inevitability of death features high on the list of German ruminations (even when drink is not on the agenda) and this song is no exception; the coolness of the earth mentioned at the end of the poem is a refuge from a life of hard labour and a staging post for the good in heart who await resurrection. Schubert has a way of musically suggesting a slightly slower thought process as well as bigger feet and a heavier tread; he laughs at the amiable rustic at the same time as loving and admiring him. Shakespeare handles some of his working-class characters in a similar manner. The musical textures of these songs are all no-nonsense and simple, the strong bass line of crotchets cuts a furrow through the song's texture. A task like ploughing is essentially repetitive and we hear this in the song's four-square structure and its solid sequences. The man here is a less mercurial, and certainly less ambitious German cousin of Britten's ploughboy (although no doubt also flaxen-headed) and we hear his whistle in the little piano interlude in the seventh and eighth bars. This figure descends into the piano's left hand as if it is being ploughed into the song. Towards the end of each verse there is a definite feeling that a musical descent deep into the earth will fertilize and enrich the song; the sung phrase 'unser Saaten Grab' is echoed twice in the postlude, first in the right hand, and then in the left in double thirds.

This is one of the seventeen songs which formed part of the Lieder album for Therese Grob which the composer put together in November 1816 for the baker's daughter with whom he was in love. It was probably intended as a birthday gift.

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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