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Track(s) taken from CDJ33051/3

Die Erwartung

First line:
Hör’ ich das Pförtchen nicht gehen?
author of text

Mark Padmore (tenor), Graham Johnson (piano)
Recording details: March 2004
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: October 2005
Total duration: 10 minutes 24 seconds


'This enterprising, often revelatory set should intrigue and delight anyone interested in the development of the Lied' (Gramophone)

'Since making music with friends was Schubert's whole raison d'etre, this 3-CD box is an inspired idea … led by the soprano Susan Gritton, the performances are pure A-list' (The Independent)

'Anyone who loves lieder will find here a rich, diverse, and delightful offering. There isn't a bad song among the 81 songs by 40 composers who wrote during Schubert's lifetime, and there's a lot of fine music here by well-known and also practically unknown composers and poets. The singing is consistently excellent… anyone interested in this genre will find here a broad-ranging and generous collection' (American Record Guide)

'If 81 songs are too many to mention individually, sufficient variety exists and enough songs are receiving a first recording for this set to be indispensable for anyone interested in the genre' (International Record Review)

'Graham Johnson once again demonstrates that he has few peers today in his combined function as scholar-musician' (Fanfare, USA)
Zumsteeg’s version of this ballad was published in 1800 in the second book of the Kleine Balladen und Lieder. Of all earlier composers, apart from Mozart and Beethoven, Schubert’s connection with Zumsteeg’s music is the best documented. Schubert’s schoolfriend Anton Holzapfel recounts how Schubert busied himself with Zumsteeg’s Kleine Balladen und Lieder (seven volumes published between 1791 and 1805, 170 settings in all) and was enthralled with them. The use of recitative, the explorations of mediant key relations and enharmonic modulations, the attempt to find a musical unity for the setting of an extended text, all these things Schubert took to heart. Like a young painter attempting to copy a famous painting he set out to compose a number of ballads with Zumsteeg’s version opened before him as a model. It goes without saying that his achievements quickly outstripped Zumsteeg’s, not so much in matters of declamation and technique (Schubert often followed the older composer’s choice of key and his time signatures) but in the adventurousness of the piano-writing and the creation of dramatic atmosphere. The Schubert songs with a close Zumsteeg connection are Hagars Klage, D5, Lied der Liebe, D109, Nachtgesang, D314, Ritter Toggenburg, D397, Die Erwartung, D159, and Skolie, D507. Zumsteeg’s influence on Schubert was at its strongest between 1811 and the spring of 1816 when Schubert made his second version of Die Erwartung.

comparative Schubert listening:
Die Erwartung Second version, D159. May 1816

from notes by Graham Johnson © 2006

Other albums featuring this work

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