Du bist die Ruh' - Songs by Franz Schubert in orchestral version
Franz Schubert’s works have since their creation inspired countless composers to express in their own works what Robert Schumann called the “intimacy” of Schubert’s art. His music is distinguished by a minimalism that conveys the essential character in a way that, while it uses few notes, is far from simple – not least for this reason was he referred to as “Beethoven’s true heir”. Schubert’s significance is also evident through the large number of arrangements of his music and thus also through the increased awareness of the original works. While his lieder remained an object of fascination in particular for the following generations, over the course of the nineteenth century, the genre of the orchestral song also became increasingly popular – with particular challenges in terms of instrumentation.
This interdepartmental project, which brings first-class students of the Master of Arts programme in Lied and Oratorio together with diploma students in Orchestral Conducting and with the mdw’s Webern Sinfonietta, presents in a unique manner a cross-section of various eras of the reception of Schubert’s music. The selection of the arrangements is, among other things, oriented towards the instrumentation of Schubert’s symphonies and thus illustrates particularly clearly the change in instrumentation over time – from Franz Liszt to Wolfgang Rihm.
The orchestral interpretation of what was originally the accompanying role of the piano shows the transformation of the compositional means of the keyboard instrument into a play with the possibilities of the orchestral apparatus. While Franz Liszt, for example, emphasises the protagonist’s change of disposition in Die junge Nonne with the steadily increasing use of solo instruments, in Wolfgang Rihm’s Der Wanderer, the orchestra’s function as a melody and an accompanying instrument alternates in a melodic line passing through the instrument groups. In Gretchen am Spinnrade, Max Reger has his orchestra “respond” to the singer with melodic fragments, as a kind of commentary on the vocal part. Benjamin Britten arranged Forelle for a small orchestra consisting merely of strings and two clarinets, whose characteristic line thus results in a “conversation” with the singer. In Ständchen, Jacques Offenbach works with the tonal spectrum of wind instruments, from the clarinets to trumpet solos. While Kurt Gillmann focuses on contrasts in his Erlkönig, Felix Mottl’s Der Tod und das Mädchen is a study in stark reduction, and in An Schwager Kronos, Johannes Brahms conveys the music of Franz Schubert in his own distinctive symphonic language. The result is a kaleidoscope of compositional homages offering extraordinary insights into the inner soundscapes of Schubert’s successors.
Programme
Franz Schubert (1797-1828)
Du bist die Ruh’ (You are rest and peace), D. 776, op. 59/3
Kurt Gillmann (Arr.) / Christoph Filler, Rafaela Seywald
Franz Schubert (1797-1828)
Die junge Nonne, D. 828, op. 43/1
Franz Liszt (Arr.) / Johanna Wallroth, Rafaela Seywald
Franz Schubert (1797-1828)
Memnon, D. 541, op. 6/1
Johannes Brahms (Arr.) / Viktor Rydén, Hannah Eisendle
Franz Schubert (1797-1828)
Der Wanderer, D. 489, op. 4/1
Wolfgang Rihm (Arr.) / Alexander Grassauer, Hannah Eisendle
Franz Schubert (1797-1828)
Gruppe aus dem Tartarus, D. 583, op. 24/1
Max Reger (Arr.) / Alexander Grassauer, Antonio Losa
Franz Schubert (1797-1828)
Im Abendrot, D. 799
Max Reger (Arr.) / Christoph Filler, Antonio Losa
Franz Schubert (1797-1828)
An Schwager Kronos, D. 369, op. 19/1
Johannes Brahms (Arr.) / Alexander Grassauer, Hannah Eisendle
Franz Schubert (1797-1828)
Der Tod und das Mädchen (Death and the Maiden), D. 531, op. 7/3
Felix Mottl (Arr.) / Alexander Grassauer, Piotr Jaworski
Franz Schubert (1797-1828)
Erlkönig, D. 328, op. 1
Kurt Gillmann (Arr.) / Christoph Filler, Rodrigo Sámano Albarrán
Franz Schubert (1797-1828)
Geheimnis, D. 250
Johannes Brahms (Arr.) / Viktor Rydén, Nikita Dubov
Franz Schubert (1797-1828)
Gretchen am Spinnrade (Gretchen and the Spinning Wheel), D. 118
Max Reger (Arr.) / Miriam Kutrowatz, Nikita Dubov
Franz Schubert (1797-1828)
An die Musik (To Music), D. 547
Max Reger (Arr.) / Viktor Rydén, Moritz Laurer
Franz Schubert (1797-1828)
Prometheus, D. 674
Max Reger (Arr.) / Christoph Filler, Moritz Laurer
Franz Schubert (1797-1828)
Forelle (Trout), D. 550, op. 32
Benjamin Britten (Arr.) / Miriam Kutrowatz, Moritz Laurer
Franz Schubert (1797-1828)
Nacht und Träume (Night and Dreams), D. 550, op. 32
Max Reger (Arr.) / Johanna Wallroth, Rodrigo Sámano Albarrán
Franz Schubert (1797-1828)
Ständchen, D. 920, op. 135
Jacques Offenbach (Arr.) / Christoph Filler, Piotr Jaworski
Participants
The works are sung by students of Florian Boesch (Master of Arts programme in Lied and Oratorio). Students of Vladimir Kiradjiev (Orchestral Conducting diploma programme) conduct the Webern Sinfonietta.
Singers
Christoph Filler (Baritone)
Alexander Grassauer (Bass)
Miriam Kutrowatz (Soprano)
Viktor Rydén (Baritone)
Johanna Wallroth (Soprano)
Conductors
Nikita Dubov
Hannah Eisendle
Piotr Jaworski
Moritz Lauer
Antonio Losa
Rodrigo Sámano Albarrán
Rafaela Seywald
Recording Director: Vladimir Kiradjiev
Technical Producer: Martin Shi
Recording Engineer: Florian Völkel
Editing: Tim Preis
Mastering: Roland Schützenhofer
Further informationen
A partnership between the Department of Conducting, the Department of Vocal Studies and Music Theatre, and the Orchestra Office of the mdw.Recorded on 17 & 18 September 2021 at the mdw —University of Music and Performing Arts Vienna. Text: Angelika Silberbauer/Translation: Douglas Deitemyer