Lied des gefangenen Jägers, Op.52, No.7, D843

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Contents

  1. Sheet Music Archive
  2. Find a copy in the library
  3. Lady of the lake
  4. SCHUBERT: Lied Edition 7 - European Poets, Vol. 1 Classical Naxos

Romanze, D. An Laura, als sie Klopstocks Auferstehungslied sang, D. Der Geistertanz, D. Nachtgesang, D. Was zieht mir das Herz so? Am See, D. Sitz' ich im Gras. Auf einen Kirchhof, D. Das Bild, D. Der Mondabend, D. Lodas Gespenst, D. CD 3: Schubert: Lieder. Die Erwartung, D. Am Flusse, D. An Mignon, D. Amphiaraos, D. Das war ich, D. Die Sterne, D. Was funkelt ihr so mild mich an. Vergebliche Liebe, D. Liebesrausch, D. Sehnsucht der Liebe, D. Die erste Liebe, D. Trinklied, D. Ihr Freunde und du, gold'ner Wein.

Stimme der Liebe, D. Naturgenuss, D. An die Freude, D. An den Mond, D. Die Mainacht, D. An die Nachtigall, D. Seufzer, D. CD 4: Schubert: Lieder. Der Liebende, D. Der Traum, D. Die Laube, D. Meeres Stille, Op. Grablied, D. Das Finden, D. Wandrers Nachtlied, Op. Der du von dem Himmel bist. Der Fischer, D. Erster Verlust, D. Erinnerung: Der Erscheinung, D. Im Erlenbusch, im Tannenhain.

Geist der Liebe, D. Wer bist du, Geist der Liebe. Tischlied, D. Der Liedler, D. Ballade, D. Abends unter der Linde, D. Die Mondnacht, D. Huldigung, D. Alles um Liebe, D. Das Geheimnis, D. CD 5: Schubert: Lieder. Bundeslied, D. An den Mond verses , D Wonne der Wehmut, D. Der Goldschmiedsgesell, D. Der Morgenkuss, D. An Lina, D. Morgenlied, D. Willkommen, rotes Morgenlicht. Der Weiberfreund, D.

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Sheet Music Archive

An die Sonne, D. Tischlerlied, D. Abendlied, D. Gross und rotentflammet. Lob des Tokayers, D. Furcht der Geliebten, D. Das Rosenband, D. An Sie, D. Die Sommernacht, D. Dem Unendlichen, D. Ossians Lied nach dem Falle Nathos', D. Labetrank der Liebe, D.

Find a copy in the library

An die Geliebte, D. Mein Gruss an den Mai, D.


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Skolie, D. Die Sternenwelten, D. Die Macht der Liebe, D. Wie wohl ist mir im Dunkeln. Tiefe Feier schauert um die Welt. An Rosa I, D. Warum bist du nicht hier. An Rosa II, D. Rosa, denkst du an mich? Schwangesang, D.

Lady of the lake

Endlich steh'n die Pforten offen. CD 6: Schubert: Lieder. Der Zufriedene, D. Liane, D.

Lied des gefangenen Jagers, D. 843

Augenlied, D. Geistes-Gruss, D. Hoffnung, D. Rastlose Liebe, Op. Der Schmetterling, D. Die Berge, D. An die Natur, D. Klage, D. Die frohe neubelebte Flur. Laura am Klavier, D. Die vier Weltalter, D. Die Einsiedelei, D. An die Harmonie, D. Die Herbstnacht Die Wehmut , D. Lied, D. Ins stille Land. Der Herbstabend, D. Der Entfernten, D. Fischerlied, D. Sprache der Liebe, D.

SCHUBERT: Lied Edition 7 - European Poets, Vol. 1 Classical Naxos

Abschied von der Harfe, D. CD 7: Schubert: Lieder. Meine Selinde. Der Abend schleiert Flur und Hain. Die Sonne steigt, die Sonne sinkt. Julius an Theone, D. Die Luft ist blau. Auf den Tod einer Nachtigall, D. Die Knabenzeit, D. Winterlied, D. Minnelied, D. Blumenlied, D. Der Leidende, D. Seligkeit, D. Erntelied, D. Das grosse Halleluja, D. Die Gestirne, D.

An den Schlaf, D. Der gute Hirt, D. Die Nacht, D. Fragment aus dem Aeschylus, D. An die untergehende Sonne, D. An mein Klavier, D. Freude der Kinderjahre, D. Das Heimweh, D. Oft in einsam stillen Stunden. Was schauest du so hell. An Chloen, D. Bei der Liebe reinsten Flammen. Hochzeit-Lied, D. In der Mitternacht, D. Trauer der Liebe, D. Die Perle, D. CD 8: Schubert: Lieder. Liedesend, D. Abschied, D. Alte Liebe rostet nie, D. Harfenspieler 1, D. Wer sich der Einsamkeit ergibt. Harfenspieler 3, D. Harfenspieler 2, D.

An Schwager Kronos, Op. Ferne von der grossen Stadt. Der Wanderer, Op. Ich komme vom Gebirge her. Der Hirt, D. Lied eines Schiffers an die Dioskuren, D Geheimnis, D. Sag an, wer lehrt dich Lieder. Zum Punsche, D. Woget brausend, Harmonien. An eine Quelle, D. Bei dem Grabe meines Vaters, D. Am Grabe Anselmos, D. Der Mond ist aufgegangen. Zufriedenheit Lied , D. CD 9: Schubert: Lieder. Herbstlied, D. Lebenslied, D.

Leiden der Trennung, D. Alinde, D. An die Laute, D. Frohsinn, D. Die Liebe, D. Wo weht der Liebe hoher Geist? Trost, D. Nimmer lange weil' ich hier. Wie Ulfru fischt, D. Fahrt zum Hades, D. Schlummerlied, D. Die Blumensprache, D. Der Flug der Zeit, D. Das Lied vom Reifen, D.


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Am Strome, D Op. Philoktet, D. Memnon, D. Auf dem See, D. Ganymed, D. Trost im Liede, D. CD Schubert: Lieder. An die Musik, Op. Pax vobiscum D Auf der Donau, D. Der Schiffer, Op. Nach einem Gewitter D Fischerlied D Das Grab, D. Der Strom, D. An den Tod, D. Abschied D Lebe wohl, du lieber Freund.

Die Forelle, Op. Gruppe aus dem Tartarus, D. Elysium D Atys, D Erlafsee, D Der Kampf D Der Knabe in der Wiege D Auf der Riesenkoppe D An den Mond in einer Herbstnacht D Einsamkeit D Der Blumenbrief, D. Das Marienbild D Litanei auf das Fest Allerseelen, D. Blondel zu Marien D Das Abendrot D Sonett D Apollo, lebet noch dein hold Verlangen. Nunmehr, da Himmel, Erde schweigt.

Lied des gefangenen Jägers

Vom Mitleiden Maria, D. Der Wanderer, D. Wie deutlich des Mondes Licht zu mir spricht. Abendbilder, D. Himmelsfunken D An die Freunde D Sehnsucht D Hoffnung D Hymne I D Wenige wissen das Geheimnis der Liebe. Hymne II D Wenn ich ihn nur habe. Hymne III D Wenn alle untreu werden. Hymne IV D Marie D Beim Winde, D. Trost D Prometheus, D Nachthymne, D. Der Knabe, D. Der Fluss, D Tiefer sinket schon die Sonne. Der Schiffer, D. Friedlich lieg ich hingegossen. Du staunest, o Mensch. Morgenlied D Orest auf Tauris, D Freiwilliges Versinken, D The composer made it the finale of a group of Scott songs which he performed with Vogl in Linz in late July Anton Ottenwalt wrote to Josef von Spaun about this informal concert in a letter of 27 July; his remarks on Normans Gesang are worth quoting in full:.

Modern listeners would perhaps place Ellen's songs on a higher plane than Norman's horse-ride but Schubert must have been proud of the symphonic scheme—artfully modified repetition, and the avoidance of monotony by changes of key at just the right moments—which holds a long song together; the Scott settings are all characterised by an inspired use of ostinati which unify long stretches of rhapsodic melodic invention. Normans Gesang is sung here in the tenor original of C minor; the first verse stays in this key, but the excursion into the G major dominant and a totally new second tune gives the impression of modulation in the second verse.

This pattern is repeated for verses 3 and 4, and seems set to govern verses 5 and 6 also, until the dream of victory and reunion prompts an unexpected and touching modulation to C major for the last strophe; when we hear this, we are somehow made to feel that it may indeed be Norman's swansong. Schubert has exactly understood the young knight's character—he is the salt of the earth, simple without being stupid, romantic without being sentimental.

He invokes Maria's name at the end of the verses like a sacred litany; as he does so the vocal line blooms into high-lying melisma the only such moments in a taxing piece where, as Vogl discovered to his cost, there is a tongue-twisting word for every syllable and the final 'Maria' is even embellished with a turn as if in knightly homage. It seems fickle of Scott not to have let his readers know whether Mary ever sees her groom again or remains a virgin bride; it is perhaps enough that we are told that the Battle of Beal' an Duine was an extremely bloody one. Ave Maria! Reine Magd!

When we sink down upon this rock to sleep, and your protection hovers over us, the hard rock shall seem soft to us. You smile, and the fragrance of roses wafts through this musty cavern. O Mother, hear a suppliant child, O Maiden, a maiden cries to you! Purest Maiden! Demons of the earth and air, banished by the grace of your gaze, cannot dwell with us here. Let us silently bow to our fate, since your holy comfort touches us; incline in grace to a maiden, to a child that prays for its father. Such is the world-wide popularity of this song, and so often has it been performed with Latin text, that most people never connect it with Ellen Douglas and the plight of her father.

In Scott's story this prayer follows hard on the heels of Norman's summons to arms. When the conflict between the king whom she still does not realise is none other than Fitz-James and Roderick Dhu comes to a head, Ellen joins her father in hiding in his rocky eyrie, fit more for wolf and wildcat than human habitation. Roderick Dhu, whose love of Ellen is unrequited, lingers in the vicinity and overhears her 'melting voice' which, harp-accompanied, seems to be that of an angel. There is no doubt that Schubert, not conventionally religious, has been inspired by Scott to write a piece which reflects Ellen's character and purity, as much as that of the Virgin to whom she prays; her supplication to the Heavenly Mother is mirrored by her selfless devotion to her father on earth.

Perhaps a devotion celebrating human goodness and love, as much as divine, is what Schubert meant by 'a right and true devotion'. The song, hypnotically strophic, has the same ineffable span as the opening pages of Ellen's first song. The music is relaxed and it glows the more for its unforced quality; the composer is happy and at peace with himself in this contented and productive summer. The vocal line reflects maidenly sorrow and religious devotion, but in the flowering of the melismas we hear also the ecstasy of a young woman with her whole future before her, a woman in love.

This music does not deny that religious ecstasy and erotic impulse can be closely related. Despite her fears Ellen believes, or perhaps it is that Schubert believes, that life is, after all, beautiful. Modulations and effects never seem engineered, as they might have been no matter how cleverly in songs from earlier years; they seem to happen of their own accord. This song can be easily ruined by gratuitous rubato in the pianist's pervasive sextuplet figurations.

Capell suggests that this accompaniment was inspired by Bach's 'Bell' cantata and, whether this is true or not, the music needs the selfless flow of the pre-romantic age. This style has sometimes been referred to as Bach's unstoppable 'sewing machine', but this song is powered rather by Gretchen's spinning-wheel raised to a higher power, no longer mirroring frantic unhappiness but slowly turning in a rhythm of undisturbed tranquillity, its movements governed by a cosmic energy more universal than the romantic fancy of any particular performer.

One is in the grip of something extraordinary when performing this song, and audiences sensed that when they heard Vogl with Schubert at the piano. Each verse is really one long paragraph, flowing ineluctably to the final cadence of repeated litany. It is as if nothing can, or should, interrupt the flow of communion between Mary and her supplicant. The flinty couch we now must share Shall seem with down of eider piled, If thy protection hover there.

Foul demons of the earth and air, From this their wonted haunt exiled, Shall flee before thy presence fair. I wish I were as I have been before; hunting the hart is truly in my nature, with bloodhound free and bow drawn: yes, I favour such a life. I hate the drowsy chime of the steeple clock, I care not to see how time passes as, inch by inch along the wall, the sunbeams crawl so slowly.

Once the lark would herald the morning, and the dark rook sing me to rest. In the kingly halls of this castle I can find nowhere that pleases me. No joyful welcome rings in my ears, I cannot lay my catch at her feet; no more will evening float past in bliss. Love and life are lost. The introduction is both stirring and regal—six bars of music recalling the sound of the distant hunting-horns that so tantalise the singer. The pervasive polonaise rhythm is effective for the same reason that it is so moving in the music of Chopin: it is a dance of contained, steel-sprung energy with overtones of pride and defiance.

It is also associated with the struggle for liberation of a nation in servitude, and Schubert almost certainly knew this about it; in fact Chopin had begun to write polonaises of his own as early as The unbiddable Malcolm Graeme embodies the pride of the Scottish clans, jealous of their independence and notoriously unwilling to acknowledge fealty to a central authority. And we hear all of these things in this music as two small oppressed communities, Poland and the Scottish Highlands, join hands and dance within the small spaces permitted them.

The accompanying fanfare motifs in the piano dictate a voice part moulded to their harmonic movement—banks of repeated notes climbing in steps up the stave, but soon reaching their ceiling. The answering phrase in the piano interlude, also in double octaves, mounts the stave as a mirror-image, a powerful analogue for someone pacing up, and then down, the length of a tiny cell. This is genuinely affecting, and as little as we know of the character of the singer of these words, the composer manages to paint him in music as someone who will prove to be a tender and loving consort for Ellen.

His macho devotion to blood sports, unfashionable in our own time, would have made him more of a gentleman in her eyes. If the public experiences a sense of claustrophobia and constraint in this music as Capell did, the composer has entirely succeeded in his aims. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don't show me this message again. And near, and nearer as they rowed, Distinct the martial ditty flowed.

Graham Johnson piano. An ideal Christ Marie McLaughlin soprano , Graham Johnson piano. And, a The Songmakers' Almanac. Now, for the Schubert Krieg ist aus. Track 12 on CDJ [8'34].


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Rest, warrior! Your war is over, sleep the sleep, nothing shall wake you; do not dream of the fierce battle, of days and nights filled with terrors. King James V — , heir to a war-torn kingdom, in an attempt to suppress the over-powerful Border chiefs, has banished the entire Douglas clan.

This includes the aged Earl of Bothwell who has been the king's mentor. Despite the royal ukase, the old man is drawn back to his beloved native land; he and his wife and daughter the beautiful Ellen Douglas are given secret refuge in the domain of Roderick Dhu, chief of the Clan-Alpine, who defies the king in open rebellion.

Ellen's mother Dame Margaret is courtesy itself, but all enquiry about the head of the house is lightly turned away—indeed Ellen jokes that she and her mother cast spells on wandering knights, and as if to prove her point: 'She sung, and still a harp unseen Filled up the symphony between'. Track 13 on CDJ [3'32]. Gentle slumber shall cover you; do not dream that when the sun rises hunting horns shall wake you: Sleep!

In Scott's poem, Ellen's second song is a continuation of the first; the heading is Song continued, and the two pieces are separated by only a few lines of narration to give Ellen pause for breath. Directly after it is sung, Fitz-James's bed is prepared and decked with mountain heather. His dreams are disturbed by the beauty of Ellen, and memories of the loyalty of her father.

It so happens that interpretative help is at hand in the documents through a letter Anton Ottenwalt wrote to Josef von Spaun from Linz in July Ottenwalt's articulate and perspicacious impressions of the Scott songs are of enormous value because they were formed by hearing the accompaniments played by the composer himself. Rejoice, he approches! Hail to the hero! Evergreen spruce, you are blessed! Long, long may you bloom on his bright-shining banner, O tree, protector and jewel of our clan!

But there is little in those works which hints at the rugged Scottish landscape evoked in this craggy music. The gruff key of C minor proclaims that these clansmen are not to be trifled with, and the doubled octave unisons of the accompaniment give the music a stern sense of resolve. There is also doughty use of the strident dotted rhythms which Schubert associates with warfare. This is all very much in the style of Lied eines Kriegers , a march rather than the rowing music two dips of the oar for each line of poetry envisaged by Scott. This smoother metre is lost in this translation.

The truculent mood of the minor-key opening thaws to a note of radiant admiration in a blaze of C major. No group of Scottish rugby supporters will have ever greeted their heroes with more enthusiasm. He is gone from our mountains and forests like a dried-up spring, in our direst need. The spring will flow again, nourished by the rain. But joy will shine no more for us, and no morning will dawn for Duncan.

Nevertheless, Schubert is trying his best to respond to age-old traditions beyond his ken. He was already a practised mind-traveller to the Scottish north; his settings of the so-called Scottish minstrel Ossian were amongst the most inspired songs of his youth, and here he draws on that experience. Like Bootgesang the music is simple and stoic as befits the people who sing it. But it has its own magic too, and for this we can thank Schubert. Even straightforward changes between minor and major here from F minor to the relative major of A flat, thence to F major are affecting beyond their means.

Thomas Hampson baritone , Graham Johnson piano.