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Schubert provided the music — a trio for soprano, tenor, bass and piano. The composer himself sang the bass line, and Stadler was the pianist. The talented Josefine von Koller was the soprano and the services of one Bernhard Benedict, a local tenor, were also enlisted. Once again Stadler was the poet and pianist; the singer, not unnaturally, was Josefine von Koller.

Of course, in March Schubert himself was not able to be in Steyr for the first performance. One of the most unusual of all Schubertian documents is the one surviving letter that Schubert wrote to Mayrhofer from Linz. Instead, there is a broad outline of the holiday events and a mention of a planned excursion to Salzburg which never took place. Maynard Solomon in his provocative essay Schubert and the peacocks of Benvenuto Cellini interprets this within the context of a homosexual sub-culture.

Solomon believes that it is likely that Schubert was setting up an opportunity for Mayrhofer to meet another sympathetic and sexually compatible young man. Indeed he might have already hoped that another relationship for Mayrhofer would lessen the intensity directed towards him. But it was a substantial fragment, amounting to something like fifty minutes of music, and it probably occupied him into the early weeks of Of course we only know the plot of Adrast as far as Schubert composed it, although there are extant copies of at least part of the libretto.

Is it possible that the two collaborators fell out about it, or that the composer was disinclined to continue with the direction of the piece as Mayrhofer envisaged it? Was the very subject-matter of the work something of an embarrassment? Did someone warn Schubert that such a piece, free of conventionality, where some of the most beautiful music was for tenor and baritone duet, would be harmful to his reputation? In any case, there are few Schubertian works of this calibre which have sunk without trace in such a curiously muffled manner.

Apart from this opera, the rest of gave us seven songs. This is not a huge number, but the list contains a number of masterpieces. The classical subject-matter of these two songs surely shows the continuing influence of Mayrhofer.

The songs of the second half of are:. It is notable that once Schubert was working with Mayrhofer as a librettist, he returned to setting song texts by that poet. Early in Schubert set Adrast aside for whatever reason and began work on one of his most revolutionary and experimental works.

It is only in recent years that the full worth of this astonishing piece is coming to be recognized. As in Adrast , the use of the orchestra is especially innovative. But this time even Schubert, with his astonishing ability to compose at speed, was not able to deliver the work in time. In , the arch-conservative playwright August von Kotzebue was assassinated by a radical student in Mannheim, and this made alarm bells ring throughout Europe.

Not for the first time since the defeat of Napoleon, young intellectuals and artists were cast in the role of potential villains and insurrectionists, and a number of decrees were hurriedly passed in Karlsbad which specifically sought to suppress student intellectual activity in German-speaking lands. The incident in which this new policy brushed the life of our composer involved the poet Johann Senn who was, it seems, by far the most politically active member of the Schubert circle.

Senn had blotted his copybook with the authorities by speaking up in support of a student colleague who had been under suspicion of sedition in It so happened that he was not alone; with him, after a night of jollification, were Johann von Streinsberg and, as luck would have it, Franz Schubert. Two more members of the circle then arrived one of them was Franz von Bruchmann and there was a certain amount of drunken altercation with the uninvited intruders.

The following was a report from the High Commissioner, Ferstl:. It is significant that when confronted by the authorities, Schubert hid behind his former and respectable employment as a school assistant, almost certainly in order to appear an innocuous minor member of the Establishment. Nevertheless he no doubt had to spend a number of most uncomfortable hours being questioned and reprimanded; it is also possible that his father was informed of the incident.

That night or, rather, early morning was the last time that Schubert saw Johann Senn. Bruchmann was the only member of the circle to visit him in exile some years later. Senn was detained for fourteen months during an extended trial and was thereafter deported back to the Tyrol, all his career prospects destroyed.

In fact his enforced departure from Vienna led to what was, in effect, a ruined life. Although we know this altercation took place in March, and that Schubert was shaken by the experience, this month was among the busiest in his song-writing catalogue.

The following is the list for the first three months of beginning with four works which are dated only with the year; they could of course have been written any time in The circumstances of the composition of the Stadler Namentagslied are mentioned in the paragraph above concerning the holiday in Steyr. The unusual thing about this first night was that the composer sat in the gallery and declined to take a bow at the end.

From time to time he seems to have tried hard to be a better businessman; this seems usually to have been triggered by a financial crisis of some kind. Nevertheless, it seems to have been characteristic of Schubert that once he had written a piece he was happy enough to allow it to make its own way in the world without his further help.

Perhaps he was too busy thinking of the next opera. He did not have to wait long. This was a composer on whom operatic managements could rely, it seemed. There were eight performances at the prestigious and beautiful Theater an der Wien between 19 August and 12 October, and once again the new Schubert piece received a great amount of critical interest.

The play, as such, was roundly condemned, and opinions were divided about the music. On the whole, however, the composer had every reason to feel encouraged. In the space of a few months he had had two operatic works performed at major Viennese houses and as a result his reputation had advanced incalculably. If he could now find a good libretto it should be easy for him to break through into an important new phase in his career. In October he embarked on yet another operatic venture, Sakuntala , based on a play by J P Neumann which had, in turn, been based on a fifth-century Sanskrit poem.

Two acts were sketched and the idea was then abandoned. Sadly, Brahms did not see fit to publish these fragments in the old Gesamtausgabe. In every respect this year seemed to be the prologue to a distinguished career as a composer of operas. And for those who are unacquainted with the operatic work accomplished in this sphere in and few of us could claim, with the shortage of recordings and live performances, to know it well we have to emphasize on what striking form the composer found himself in such works as Adrast , Lazarus and Die Zauberharfe.

The beauty and sheer inventiveness of much of this music, lost to us because buried in works which are difficult to mount in their entirety, show us a young man at the height of his powers. And if we need confirmation of this there is evidence enough in the songs themselves. It is true that, in in particular, songwriting receded somewhat into the background and the composer took an unprecedented six months off song composition in order to concentrate on other things.

D Widerschein Schlechta September? The work of friends was not forgotten, and Schubert continued to encourage the poetic efforts of his own circle. It is true that he was sometimes having trouble finishing works on a larger scale, but this applied to other things besides unrealistic operatic projects: one of the greatest of his pieces for string quartet was begun in December — the inspired but solitary Quartetsatz in C minor, D Here we have Trinity symbolism at work in both a literary and musico-pictorial sense.

Trias harmonica gives a beautiful image or parallel of the Holy Trinity … Could there be a clearer parallel to show us as though in a mirror the Divine Three-in-One nature than this? Andreas Werckmeister, Watch our 13 Bach webisodes - a series of informative video interviews covering the most important questions and aspects of the edition. Bach, complete Anna Magdalena books, and the complete Schemelli Gesangbuch. Sign up to our DG newsletter to follow our unveiling the different aspects of the box individually in the run-up to release on 26 October.

Watch the trailer Watch unboxing video. The largest composer project in recording history. Release 26 October Order Now. Read more. Coming soon. Organs Specifications of the organs used in Bach Download PDF. Why ? Bach: Partita for Violin Solo No. Chaconne - Giuliano Carmignola. Presenting Bach Watch our 13 Bach webisodes - a series of informative video interviews covering the most important questions and aspects of the edition.

Peter Gregson, J. D - Justin Taylor. Get the Newsletter Sign up to our DG newsletter to follow our unveiling the different aspects of the box individually in the run-up to release on 26 October. Sign Up. Book Life. Bach concl. Anthony Singers, The choir 87 St. Sacred Cantatas I Early cantatas and the first Leipzig cycle Chorales Complete 4-part chorales. Secular Cantatas 22 secular cantatas, Quodlibet.

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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.

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