Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDJ33019

Nach einem Gewitter, D561

First line:
Auf den Blumen flimmern Perlen
May 1817; first published in 1872
author of text

Dame Felicity Lott (soprano), Graham Johnson (piano)
Recording details: July 1992
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Produced by Martin Compton
Engineered by Tony Faulkner
Release date: November 1993
Total duration: 1 minutes 54 seconds


‘Rarely can one find a recording where every single aspect—repertoire, performance and production—is perfect. This is. Highest imaginable recommendation’ (In Tune, Japan)

«On ne peut que s'incliner devant l'art vocal propre, parfait de Felicity Lott, une prononciation impeccable, une grande finesse dens l'interprétation» (Répertoire, France)
Schubert took this title to heart; the thunderstorm's musical equivalent is Sturm und Drang and after the storm there is no trace of them in the blue sky save a rainbow – the accretions of romanticism have been washed away leaving a musical language of pristine purity. In Schubert's mind, here and passim, this means Mozart. The song describes the felicities of harmony and natural order, and it is perhaps no coincidence that the key of F major and the mood are reminiscent of Papageno's 'Ein Mädchen oder Weibchen'. In attempting to find a means of describing the garden of Eden as if before the Fall, Schubert has faced a mini-storm of criticism for this song which seems so unlike his other Mayrhofer settings. Capell goes so far as to doubt its authenticity. But this is manifestly ridiculous; who else but Schubert would have provided an introduction of such enchantment where, underneath a tune of the most artful naivety, the pianist's left hand paints drops of water glistening on the flowers in a chain of repeated Cs – a veritable 'raindrop prelude'? The vocal line might be criticised for its prosody; we may question why such an unimportant phrase as the opening 'Auf den' should be set to a minim and a falling row of quavers. And then we realise that Schubert is creating, before our eyes and ears, the very string of pearls the poet has asked for. Other touches of inspiration are gently limned: the expressive lean towards G minor for the plaint of the nightingale and an unpolluted F major arpeggio for the purity of 'reinen Lüfte'. It is true that the words of the subsequent verses fit the tune somewhat less appropriately, but one must recognise and salute Schubert's open-hearted response to one of Mayrhofer's few unreservedly happy songs. In a group of settings of that poet in recital, Nach einem Gewitter would provide a welcome moment of emotional repose.

from notes by Graham Johnson © 1993

Other albums featuring this work

Schubert: The Complete Songs
CDS44201/4040CDs Boxed set + book (at a special price) — Download only
Waiting for content to load...
Waiting for content to load...