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Track(s) taken from CDJ33051/3

Meeres Stille, Op 60 No 3

First line:
Tiefe Stille herrscht im Wasser
author of text

Susan Gritton (soprano), Ann Murray (mezzo-soprano), 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 45 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 setting for three voices is part of the ninth book of Tomášek’s songs which is entirely given over to trio settings (SSB); it also includes Wonne der Wehmuth and the poem Glückliche Fahrt (not set by Schubert) that is the pendant to Meeres Stille. Schubert’s marking for his setting is Sehr langsam, ängstlich; it is precisely this angst that is lacking in many a performance where the becalmed ship can seem a paradise of repose, rather than a source of fear and a slow, lingering death. Tomášek’s accompaniment of syncopated semiquavers in the bass of the piano communicates the greatest unease—we can imagine the broad, flat horizon seen from the ship’s deck where three crew members (or passengers) voice their concerted disquiet.

comparative Schubert listening:
Meeres Stille First version, D215a. 20 June 1815
Meeres Stille Second version, D216. 21 June 1815

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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