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 CDJ33051/3

Klage Harfenspieler III

First line:
Wer nie sein Brot mit Tränen ass
author of text

Gerald Finley (baritone), Graham Johnson (piano)
Recording details: October 2004
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: October 2005
Total duration: 2 minutes 26 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)
This song, written in July 1795, comes from the beginning of Zelter’s career, and before the poet’s relationship with Goethe. Zelter responds to Wilhelm Meister, hot off the press and published in his native city, with an excitement that is palpable. It was the wife of the book’s publisher, Johann Friedrich Unger, who sent Goethe the composer’s Zwölf Liedern am Klavier zu singen (1796), a collection containing various Wilhelm Meister settings that initiated the friendship between poet and composer. Zelter’s numbering is curious because in the novel this is the second of the harper songs (after Der Sänger) not the third. The marking is Fantasieenmässig and the eight-bar introduction, a wild voluntary for the harper, is an improvisation that shows Zelter’s acquaintance with Bach’s keyboard works. The vocal writing is that of a chorale but one which is allowed to break out of its minim-bound straitjacket the better to express the pain and agony of the harper. The highly romantic and overwrought style, concealed though it may be in baroque conventions, is completely different from that of the more contained Reichardt. The latter’s days as Goethe’s closest musical adviser were definitely numbered by the time Zelter first appeared on the Weimar horizon.

comparative Schubert listening:
Wer nie sein Brot mit Tränen ass „Harfenspieler III“ First setting, first version, D478 No 2. September 1816
Wer nie sein Brot mit Tränen ass „Gesang des Harfners“ First setting, second version, D478 No 2b. September 1816
Wer nie sein Brot mit Tränen ass Second setting, No 2 of Gesänge ses Harfners, D478. September 1822

from notes by Graham Johnson © 2006

Other albums featuring this work

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