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Track(s) taken from CDJ33023

Der Leidende 'Klage', D432b

First line:
Nimmer trag’ ich länger dieser Leiden Last
Second version. May 1816; first published in 1895 in the Gesamtausgabe
author of text
author of text
spurious attribution

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 59 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)
The song's second version has exactly the same text and key (the original tonality is B minor) but the tune itself is of a subtly different cast. Both versions were written on the same piece of paper, the changes made to the tune of the first version were written in red pencil. Those upward inflections are gone. Now 'länger' and 'Pilger' droop downward; the setting of 'Leiden Last' is in plain quavers in the middle of the stave instead of a gracefully turned triplet. The tessitura is all somewhat lower; gone are the high notes, or rather they are saved for the final cadence. The effect is undeniably darker. When we hear the second version straight after the first it is as if we are hearing the middle part of a choral setting, or something conceived more for baritone than tenor. There is no bar of introduction in the second setting, but the postlude is exactly the same. The whole is a fascinating glimpse into the Schubertian workshop and an example of how he took pains to revise, particularly when he felt there was a way of better serving the words. It is the first version, however, perhaps because of its gently haunting juxtaposition of rising and falling phrases, which seemed more immediately attractive. It was published both by Diabelli in the Nachlass, and by Friedländer in the Peters Edition. The commentators seem to have missed the fact that the second version of the song also has a Rosamunde connection in the Minore I section of the same Entr'acte (Minore II is a variation of Minore I in any case) where the second bar of the tune falls rather than rises. It is rather likely that Schubert liked both versions of the song and saw them as different ways of looking at suffering—two sides of the same coin.

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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