Schubert: Rosamunde; Die Zauberharfe Overture; Ständchen

"Rosamunde" is one of Schubert's most gratifying works: it's filled with lovely melodies, and this classic mono recording from 1952/53 is quite simply the one to have. Late in 1823 Schubert, who had just completed his song cycle "Die Schone Mullerin," was asked to supply incidental music to Helmina von Chezy's play "Rosamunde." Chezy was once described as "a stout, elderly lady with all the qualities of a real blue-stocking, careless and slovenly in her appearance, not blessed with any earthly goods, but with a great deal of self-sufficiency." Apparently the play (now lost) was really terrible: it closed after only two performances. Schubert had to write this music in great haste to meet the premiere's deadline - reportedly he completed it in only 5 days! There was no time to write a separate overture, so instead Schubert borrowed one from his opera "Alfonso and Estrelle." Later the 1820 overture to his opera "The Magic Harp" was substituted, and that is the one we know today as the "Rosamunde" overture.

My suggestion: start your listening with the Magic Harp overture on track 12 (DG has mis-numbered the CD tracks here, inadvertently assigning track 11 twice: the jacket indicates Magic Harp as being on track 11, but it's really on track 12). It's one of Schubert's finest works and has those charmingly obsessive rhythmic patterns that would flower at their fullest in his 9th Symphony (and virtually all the symphonies of Bruckner as well). The Alphonse and Estrella overture on track 1 is much less interesting, and Lehmann's performance of it is a tad hard-boiled.

The rest of the performances are simply wonderful: excellent choral work and some lustrous playing by Furtwangler's Berlin Philharmonic. The contralto singing of Diana Eustrati in the charming Romance is beautiful, and the wind playing throughout is some of the finest on records: note especially the Shephard's Melody (track 8) for unaccompanied winds and the Act II ballet music (track 11) - clearly a foretaste of Dvorak.

The last track (identified as 12 but really 13) features the exquisite serenade "Zogernd leise," for female choir and piano (accompanied here by the excellent Lieder pianist Michael Raucheisen, who also recorded a great Winterreise with Hotter). This genial late work (1827) is in some ways the highlight of the entire set.

My only quibbles: no texts for the vocal parts, the aforementioned track mis-numberings, and recorded sound which, while perfectly acceptable, is a shade dry when compared with the fuller, warmer sound of the original 2-disc LP set. I was also a little saddened to discover that Schubert's setting of Psalm No. 23 "Gott mein Zuversicht" for piano and woman's chorus, which was on the original LP issue, has been left out here.

The short-lived Fritz Lehmann (1904-1956) was one of Germany's finest conductors: he died suddenly during the intermission of a performance of Bach's Saint Matthew Passion at Munich. DG has already released two of his greatest recordings on CD: a magnificent Brahms Requiem and my very favorite readings of Handel's Water Music and Royal Fireworks. Lehmann's old-fashioned but wonderful reading ("live" 1949) of the St. Matthew Passion is available on a Music and Arts CD set: it has Helmut Krebs as an expert Evangelist and, as Jesus, the 24 year old Dietrich Fischer-Dieskau. Lehmann's superbly incisive accompaniment in Stefan Askenase's Chopin Piano Concerto #2 can be heard in that pianist's wonderful 7-disc Chopin CD set on DG.

Hopefully DG will re-issue more of Lehmann's best recordings: the two Mendelssohn Piano Concertos with Helmut Roloff (superior, I think, to Perahia's and Serkin's), the Dvorak Serenade for Strings (second only to Talich's), Mozart's Serenade #10 (even better than Furtwangler's), his very romantic Schubert "Unfinished" and Mozart 40th, and Brahms' Tragic Overture and Schicksalslied.

Warmly recommended. --By Jeffrey Lipscomb

Overture “Rosamunde”

Franz Schubert (1797-1828)

When Schubert was pired, music took shape in his mind faster than his pen could move across paper. And in his incidental music to the Romantic drama Rosamunde, Princess of Cypress he was often in spired. He began composing on November 30, 1823, and finished on December 18, 1823, two days before the premiere. Not much time was left to rehearse either the music or the production’s two ballets, and no time at all to compose an overture. In fact Schubert never did compose an overture to Rosamunde. Instead he used an overture already composed for an earlier work.

                One of Schubert’s close friends, the famous Romantic painter Moritz von Schwind, describing the Rosamunde premiere to a mutual friend, wrote that the Overture was taken from Schubert’s opera, Alfonso and Estrella. But Schubert’s opera, Alfonso and Estrella. But Schwind’s comments on the music do not fit the Overture to Alfonso and Estrella. On the other hand, they do fit Schubert’s Overture to an earlier “magic play” (Zauberstück) called The Magic Harp (Die Zauberharte). Add to this the fact that the Zauberharte Overture was published (in a four-hand piano version) shortly before Schubert’s death as the Overture to Rosamunde, and the conclusion seems almost inescapable. It is the Zauberharte Overture that is customarity performed today under the title of Overture to Rosamunde.

                The drama Rosamunde, Princess of Cypress survived for exactly two performances. Even though Schubert’s music had been singled out by the Viennese press for high praise, it fell into obscurity along with the play and was not brought to light again in its entirely until 1867, when Sir Arthur Sullivan made a joint expedition to Vienna for the purpose of unearthing Schubert’s still-neglected manuscripts. The two men were successful beyond their wildest dreams, and in the booty they brought back to London were parts of Schubert’s Rosamunde music, which was performed, in London, for the first time since the Viennese production of the drama.

                The orchestra for the Rosamunde (Zauberharte) Overture calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and the standard choir or strings.

                                                                                 Edward Downes

SCHUBERT: ROSAMUNDE, D. 797

Rasmunde was a play with incidental singing and ballet mixed in. The play is lost, but we have this wonderful music. In its time the play was panned and the music praised. So, when you hear that this is the complete Rosamunde, I guess you can say we have the complete worthwhile parts. But you won't get any kind of story from what is here without reading the notes. In fact, the order of the pieces is altered for listening purposes. However, you could program your CD player to give it to you in dramatic sequence if that interests you.

The performance provided here is especially good and tracks 7 & 8 are my favorites on the disk. All the music is very good Schubert which is better than all but the very greatest music. Yes, Schubert is one of my favorite composers, but I am willing to point out his faults. However, when you consider his output and that he died at 31 years old, what we have from him is completely awe inspiring.

Rosamunde is one of the treasures he left us and I am grateful for this recording.--Craig Matteson Listen to samples

SCHUBERT: SYMPONY No 5, 6, 8 & 9 / ROSAMUNDE OVERTURE

EMI's new "Gemini" series is a breath of fresh air amidst all the smoke being put forth recently by the major classical labels. While Sony is deleting most of their classical budget discs, BMG is raising theirs to mid-price and UNI is convinced that 3CDs are always better than one, EMI decides to start a two-fer line that sells for significantly less than the competition, not to mention their own "Double Forte" series. It might not be as cheap as the old "Seraphim" series, but they could certainly be charging more for quality recordings such as these.

Herbert von Karajan's Schubert Symphony Cycle, made between 1975-78 for EMI with the Berlin Philharmonic, has been available previously on CD in the "Karajan Edition." However, those discs, released as four single titles with two Symphonies each, were twice the price of these new reissues. These performances of Symphonies 5, 6, 8 & 9 plus the Rosamunde Overture are certainly solid, but Karajan was never celebrated as a conductor of Schubert. One wonders if that is why DG had a young Lorin Maazel record the Schubert Symphonies with the Berliners instead of Herbie at the dawn of the stereo age, and that ultimately EMI had him record this Cycle because it was something he hadn't yet done for DG. In any event, I would certainly recommend the Bohm boxed set on DG or the Kertesz on London/Decca (see my review of the latter) ahead of these performances. But considering how cheap these two double discs are, maybe picking up an extra Schubert Cycle is worth it after all.--Micheal B. Richman Listen to samples

SCHUBERT: SYMPHONY No. 9 "THE GREAT"; ROSAMUNDE OVERTURE

The Barbirolli Society and Dutton Laboratories have reissued more brilliant sessions by the great British conductor Sir John Barbirolli. The first CD of this two-disc set features his 1953 recording of Schubert's 9th Symphony, 1948 Rosamunde Overture, and 1949 Mendelssohn Octet-Scherzo, all originally made for HMV. The second disc is all Brahms -- a 1952 HMV recording of the 3rd Symphony and the Double Concerto, featuring cellist Andre Navarra and violinist Alfred Campoli (!), from 1959 and originally made for Pye. All selections are mono except for the Brahms Double which is in stereo. Like other releases in this series, the performances have been digitally remastered from the original masters superbly by Michael J. Dutton. My reason for withholding a fifth star is that these are not Barbirolli's definitive stereo accounts of the two Symphonies -- those were available in currently out-of-print EMI Seraphim titles, though the Schubert 9th has recently been reissued by B.S./Dutton (see my review). With that being said, Barbirolli Society CDs are certainly a treat, but they don't stay around very long. Buy this JB title while you can!--Michael B. Richman Listen to sample

FRANZ SCHUBERT : OVERTURE 'ROSAMUNDE'

Franz Schubert (1797 - 1828)


When Schubert was pired, music took shape in his mind faster than his pen could move across paper. And in his incidental music to the Romantic drama Rosamunde, Princess of Cypress he was often inspired. He began composing on November 30, 1823, and finished on December 18, 1823, two days before th premiere. Not much time was left to rehearse either the music or the production's two ballets, and no time at all to compose an overture. In fact Schubert never did compose an overture. In fact Schubert never did compose an overture to Rosamunde. Instead he used an overture already composed for an earlier work.

One of Schubert's close friends, the famous Romantic painter Moritz von Schwind, describing the Rosamunde premiere to a mutual friend, wrote that the Overture was taken from Schubert's opera, Alfonso and Estrella. But Schwind's comments on the music do not fit the Overture to Alfonso and Estrella. On the other hand, they do fit Schubert's Overture to an earlier "magic play" (Zauberstuck) called The Magic Harp (Die Zauberharte). Add to this the fact that the Zauberharte Overture was published (in a four-hand piano version) shortly before Schubert's death as the Overture to Rosamunde, and the conclusion seems almost inescapable. It is the Zauberharte Overture that is customarily performed today under the title of Overture to Rosamunde.

The drama Rosamunde. Princess of Cypress survived for exactly two performances. Even though Schubert's music had been singled out by the Viennese press for high praise, it fell into obscurity along with the play and was not brought to light again in its entirety until 1867, when Sir George Grove, of dictionary fame, and his friend Sir Artur Sullivan made a joint expedition to Vienna for the prupose of unearthing Schubert's still-neglected manuscripts. The two men were successful beyond their wildest dreams, and in the booty they brought back to London were parts of Schubert's Rosamunde music, which was performed, in London, for the first time since the Vienese production of the drama.

The orchestra for the Rosamunde (Zauberharte) Overture calls for 2 flutes, 2 oboes, 2 cllarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and the standard choir or strings. -- Edward Downes

THE BEST OF VIENNA BOYS' CHOIR

What can really be said about this two CD set except "Wow." The tone quality and emotion contained in the music is incredible, and I don't think there's another boys' choir out there who can match it. The rendition of Schubert's "Ave Maria" alone is worth buying the CD. Amazing. Between the two CD's there is a great variety of music as well, ranging from the soft, sad "Locus Iste," to Johann Strauss' polkas. There is a piece for every mood. These CDs are more than worth the money and rank among the favorites in my collection. (Comment by Ammy Hronek) See more

A WONDERFUL SHUBERT RECITAL

This is the kind of cd you can sit and listen to and be absolutely transported. It is just gorgeous singing and Bonney has such a crystal clear voice. She has chosen songs that are more upbeat in tone. The "Ave Maria" is sensitively done, as is the familiar "Die Forelle". Bonney doesn't get in the way of the music, but lets Schubert speak through her. This is an ideal disc if you want a good introduction to Schubert lieder or if you just love beautiful singing. If you are a Bonney follower, this disc is a must. (comment by J. Buxton "cantabile") See more.

ALBUM FOR LOVERS OF CHORAL & SACRED MUSIC

If you have a any appreciation at all for the human voice raised in song, you will absolutely LOVE this album!! I have had this album on cassette since 1990, but until three weeks ago, I'd never listened to the entire cassette. I had only listened to the first song on side A because I was that was the version of "Ave Maria" I was familiar with. THIS ALBUM is the best compilation of choral music ever!!! It's not just different versions of "Ave Maria"; it is a compilation of songs whose theme is Maria. I particularly like the Giovanni Battista Pergolesi duet, "Stabat mater: Sancta mater istud agas". You would have to be DEAD not to fall madly, deeply and completely in love with this song. All the songs on this album are GEMS!!! I highly recommend this album. I'm buying the CD version myself, as I have been playing my cassette to death. Buy the CD already!!!! (Comment by Kathy-Anne R. Lewis"lewi7890") See more.

THE AVE MARIA ALBUM

Other CD's have various versions of Ave Maria, as does this one. What distinguishes this CD is the quality of the recordings, the reverent tone of the vocalists, and the impressive blending of the singers and orchestras. Some versions inpsire an awesome silence, attracting our focus on these hymns and their solemnity. Ave Maria continually provides a respite from the world--it is so intense. These Ave Maria hymns are captivating enough by their music alone. The meaning adds the intended spiritual dimension. This album comes highly recommended. (Comment by R. Ciszewski "southsider") See more.

THE ULTIMATE SCHUBERT

If you are a fan of the Schubert songs you must own this recording. Elly Ameling is widely acclaimed as the premiere contemporary performer of these beautiful and timeless pieces. Her intimate knowledge of and love for these equisite songs comes through in her warm pure lyric soprano. Truly my favorite recording in my collection. See more

AVE MARIA : FRANZ SCHUBERT (1797-1828)

Schubert wrote this piece in the spring summer of 1825, with words taken from one of the poems in the epic, “The Lady on the Lake” by Walter Scott (1771-1832). Schubert set seven poems in this epic to music and “Ave Maria” was the 6th. It is a prayer of a maiden named Ellen asking for forgiveness of her father of her father’s sin as she kneels down before an image of the Virgin Mary set up on the rocky hill by the lake. The German translation of the poem was made by Adam Storg.

The song is written in the strophelied form consisting of three sections, with the tempo designated as “lento”. The quiet and pious melody in slow tempo is rendered with a piano accompaniment imitating a harp.

The song moved the hearts of many people when it first appeared and Schubert loved to sing it. Today it is a world wide favorite thanks to a German violinist, AF.V. Wilhelmi (1845-1908) who arranged it as “Violin Solo in C major.”

From : Programe Note The New York Symphonic Ensemble’s concert at Thailand Cultural Centre on November 7, 1991