STEREO CD-SAR15

DIGITAL RECORDING

BEETHOVEN SONGS Ian Partridge—Tenor, with Richard Burnett Fortepiano by Rosenberger, Vienna ca. 1800

Including

An die ferne Geliebte

LUDVIG VAN BEETHOVEN (1770-1827)—Songs Ian Partridge Tenor Richard Burnett Fortepiano by Michael Rosenberger, Vienna c. 1800 Recorded at Finchcocks, Goudhurst Kent, Jan 1984 by Gef Lucena (Amon Ra) and David Wilkins (Valley Recordings) Rosenberger fortepiano from the Richard Burnett Collection at Finchcocks, Goudhurst, Kent Notes and English song translation © Richard Burnett Photo by Andrew Sydenham Cover picture by Bob Doling The Instrument The fortepiano used for this recording is by Michael Rosenberger, Vienna c.1800. It has a particularly beautiful and warm tone which has been preserved in this recording by using a natural balance. The compass of the instrument is 5 1/2 octaves, FF to c'''' and the stringing in brass and steel over an undivided bridge is bichord throughout except for b' to c'''' which is trichord. There are two knee-levers which control sustaining and moderator mechanisms. It is veneered in cherrywood and is an exceptionally fine example of a classical fortepiano with Viennese action. Finchcocks is both a museum of historical instruments and a music centre of international repute. Founded by pianist Richard Burnett and first opened to the public in 1977, the beautiful 18th century mansion houses his magnificent collection of keyboard instruments. Finchcocks is one of the few museums in the world where a large proportion of the instruments are in full playing order. ©1985 AMON RA RECORDS, THE BARTON, INGLESTONE COMMON, BADMINTON, S. GLOS. GL9 1BX Fax: 01454 299 858 E-mail: [email protected] www.saydisc.com 2

12 Aus Goethes Faust (From Goethe's Faust) op. 75 no. 3. 1809 Goethe A king once had a flea, which he loved as his son. He got his tailor to make him fine clothes, made him a minister, and ennobled his brothers and sisters. The queen and courtiers were prevented from squashing them and were badly bitten. If we get bitten though, we squash them at once. 13 Andenken (Remembrance) WoO 136 1809 Matthisson I think of you when the nightingale sings in the woods; when do you think of me? I think of you in twilight by the shadows of the spring; where do you think of me? I think of you with sweet sorrow, with fear and longing and hot tears; how do you think of me? Oh think of me until we are joined to a better start Wherever you are, I think only of you. 14 Wonne der Wehmut (The joy of melancholy) op. 83 no. 1. 1810 Goethe Dry not, tears of everlasting love. To the half-dried eye how desolate and dead does the world appear. Dry not, tears of unhappy love!

15 Sehnsucht (Longing) op. 83 no. 2 1810 Goethe What is it that pulls so at mv heart, that wrenches me away from home? See how the clouds chase around the rocks: that's where I want to be! I follow the ravens around the mountains keeping watch for her below. Here she com es! I sing to her in the bushes and she muses 'He sings so tenderly and to me'. She wanders by the stream over the meadows and ever darker under the setting sun winds the path. Suddenly I appear, a glittering star. What is there, so near and so far? And when, amazed, you discover the light, I'll lie satisfed at your feet 16 Mit einem gemalten Band (With a painted ribbon) op. 83 no. 3. 1810 Goethe The gods of spring gather a garland of tiny flowers to carry to my love and twine round her waist. To see her rose encircled will be reward indeed. Oh reciprocate my love and may our bond be stronger than any garland of roses!

7

the early Italianate songs, written under the influence of Beethoven's teacher, Salieri. 10 An die ferne Geliebte (To the distant beloved) op. 98. 1816 Jeitteles (a) On the hillside I sit gazing out at the far country where I found you, my beloved. Although you cannot hear my sighs, the heartfelt songs that I shall sing shall bridge the gap that divides us. (b) Where the blue mountains are glimpsed under the dying sun, in the happy valley with primroses and gentle breezes, that's where I would be. The anguish of love drives me to the woods; I would not go, if I could be with you here for ever, my beloved. (c) Oh you clouds on high, if you see my beloved, give her greetings, and pour out my woes to her, little birds: carry my; sighs to her, gentle west wind, whisper my love, little brook, and let her see my tears in your ripples. (d) These lofty clouds, these cheerful birds, will see my fair one—oh, if they could take me too! The west wind will stroke your cheeks—if only I could share such joy! If little brook you reflect her image, then flow back to me.

(e) May returns and the swallow builds her love nest, What winter has divided, May has united. The meadows blossom, the gentle breezes blow, but I must stay here. Spring unites all who love, save us, for whom there are only tears (f) Receive these songs, my love, the outpourings of a full heart, and sing them at sunset behind the mountain peaks; for a loving heart will overcome the barriers that divide, and reach that which it has sanctifed. 11 Der Wachtelschlag (The Song of the Quail) WoO 129. 1803 Sauter Hark, how the quail calls out 'Fear God, Fear God'. sitting in the cornfields she admonishes the listener 'Love God, Love God', he is so good and kind. Again her soaring cry means 'Praise God, Praise God' who gives you your just deserts. Do you see the lovely fruits of the field? 'Thank God, Thank God', who keeps and sustains you. Does the weather cause alarm? 'Please God, Please God', he spares the fields. Does war frighten you? 'Trust God, Trust God', he is by our side. 'Furchte Gott' (Fear God) etc. is in the rhythm of the quail's call, given in the piano introduction. 6

BEETHOVEN SONGS

be both true and false; —true, in that the opus reveals not only diversity of style but inconsistency of achievement, but false too in that it judges from a wrong standpoint. Beethoven thought instrumentally, and above all, experimentally, and, not unlike the bagatelles for piano, the songs can be considered chippings from the block of his creativity. That Beethoven was fascinated by the human voice cannot be gainsaid, and apart from the choral works he left nearly 100 songs with piano accompaniment. But the voice is treated primarily as an instrument and the words themselves are less important than the emotional content of the whole, for which they act as catalyst. Thus, 'Adelaide', perhaps the most famous work. Here we have a truly beautiful love song, tender and impassioned, the marvellous allegro molto section ('Einst, o Wunder') bearing only the most tenuous connection with the words. But the piece as a whole remains a most satisfying composition. The early songs tend to be simple, the piano retaining the subordinate, purely accompanying role of the classical

The aim of this recording has been to offer a representative group of the finest of Beethoven's songs for voice and piano, taking in as many different facets of his art as possible. The selection ranges from simple but telling pieces such as 'Ich liebe dich' to one of the greatest and most perfect of song cycles 'An die ferne Geliebte'. Included are 'Busslied', the last and most extended of a group of six songs to religious texts, examples of Beethoven humour, 'Der Kuss' and 'Aus Goethes Faust' and little known songs of originality and subtlety such as 'Resignation'. Beethoven occupies a somewhat uneasy position at the threshold of the great era of the romantic Lied. Unlike the apparently effortless outpourings of Schubert and his successors, his songs for voice and piano have generally been considered to lack an integral style and to be a byproduct rather than part of the central core of his genius. For this reason, apart from a few well-known pieces, they have tended to be neglected in the concert hall. This opinion would seem to 3

The Songs: (followed by date of composition and poet)

tradition. Gradually however the keyboard gains importance and meaning. In 'Der Kuss', for example, where Beethoven successfully translates psychological insight into musical thought, the witty piano writing beautifully highlights the unfolding of the story. With 'An die ferne Geliebte' the pinnacle of achievement is reached. The cycle consists of six songs, separate yet inextricably linked, since the work is through-composed and no individual song can be detached from its neighbour. Throughout this masterpiece the emotional content never dips and there is complete oneness between voice and piano. A longing for the unobtainable permeates the whole work, and to this feeling there is imparted a touching poignancy by the innocent rustic rhythms, snatches of bird song etc., (devices used elsewhere in 'Mailied' and 'Der Wachtelschlag') which interweave naturally and effortlessly into the musical fabric. The work ends with a partial recapitulation of the first song, embroidered and finally augmented into a triumphant coda.

1 An die Hoffnung (To hope) op. 32 1805 Tiedge Oh Hope, give comfort to the sufferer and raise him up above his torment to glimpse the sun. Beethoven wrote two versions of this song: this is the earlier and simpler of the two, with a freshness and spontaneity lacking in the later setting. 2 Neue Liebe, neues Leben (New love, new life) op. 75 no. 2. 1809 Goethe Oh my heart, what has come over you? Everything is changed and unrecognisable. I cannot break the little magic thread by which my sweet yet carefree loved one holds me in thrall. Oh love! love! let me go. 3 Ich liebe dich (I love you) WoO 123 c.1795 Herrosee We love each other and our troubles are light to bear because we share them equally. May God bless you and protect us both ! 4 Mailied (May Song) op. 52 no. 4 c.1793 Goethe 4

How beautiful is nature, how ecstatic every heart, and love, golden love, how gloriously you bless the world! As the skylark loves singing and flying, so I ardently love you, oh maiden, you who inspires me to sing and dance anew. And you love me too! Be forever happy doing so! 5 Busslied (Song of atonement) op. 48 no. 5. 1802 Gellert Oh God, I have sinned and suffered. Do not judge me by my guilt but help me to find you and tread your path again. The Lord hears me and receives my soul. The last of a group of six songs set to religious texts of Christian Furchtegott Gellert. 6 Der Zufriedene (The contented man) op. 75 no. 6. 1809 Reissig Though not rich or famous, I am content with my lot. I have a friend who shares my love of kissing, drinking and jesting. With him I have emptied many a bottle, for wine is the best vehicle for life's journey. And when things go wrong, I'll remember there's no rose without its thorns. 7 Resignation (Resignation) woO 149 1817 Haugwitz

Go out, my light! What you looked for is gone for good. Once you burnt vigorously, now there's no air, and the flame searches in vain. 8 Der Kuss (The kiss) op. 128 c.1822 Weisse I was alone with Chloe and wanted to kiss her. But she said it would be in vain as she would cry out. I dared to kiss her though in spite of her resistance. And did she cry out? Yes, indeed she did, but much, much later. 9 Adelaide (Adelaide) op. 46 1795 Matthisson In the spring garden, encircled by the lovely gentle magic light that shimmers through the swaying stems of blossom, your friend walks all alone, Adelaidel! In the sparkling waters, in the snow of the Alps, in the golden clouds of sunset, in the landscape of stars, there glows your image, Adelaide! Evening breezes whisper in the delicate leaf, the small silver bells of May murmur in the grass, waves break, nightingales sing, Adelaide! Some day, miraculously, a flower from the ashes of my heart will blossom on my grave, on each crimson petal gleaming, Adelaide. The finest and most famous of 5

The Songs: (followed by date of composition and poet)

tradition. Gradually however the keyboard gains importance and meaning. In 'Der Kuss', for example, where Beethoven successfully translates psychological insight into musical thought, the witty piano writing beautifully highlights the unfolding of the story. With 'An die ferne Geliebte' the pinnacle of achievement is reached. The cycle consists of six songs, separate yet inextricably linked, since the work is through-composed and no individual song can be detached from its neighbour. Throughout this masterpiece the emotional content never dips and there is complete oneness between voice and piano. A longing for the unobtainable permeates the whole work, and to this feeling there is imparted a touching poignancy by the innocent rustic rhythms, snatches of bird song etc., (devices used elsewhere in 'Mailied' and 'Der Wachtelschlag') which interweave naturally and effortlessly into the musical fabric. The work ends with a partial recapitulation of the first song, embroidered and finally augmented into a triumphant coda.

1 An die Hoffnung (To hope) op. 32 1805 Tiedge Oh Hope, give comfort to the sufferer and raise him up above his torment to glimpse the sun. Beethoven wrote two versions of this song: this is the earlier and simpler of the two, with a freshness and spontaneity lacking in the later setting. 2 Neue Liebe, neues Leben (New love, new life) op. 75 no. 2. 1809 Goethe Oh my heart, what has come over you? Everything is changed and unrecognisable. I cannot break the little magic thread by which my sweet yet carefree loved one holds me in thrall. Oh love! love! let me go. 3 Ich liebe dich (I love you) WoO 123 c.1795 Herrosee We love each other and our troubles are light to bear because we share them equally. May God bless you and protect us both ! 4 Mailied (May Song) op. 52 no. 4 c.1793 Goethe 4

How beautiful is nature, how ecstatic every heart, and love, golden love, how gloriously you bless the world! As the skylark loves singing and flying, so I ardently love you, oh maiden, you who inspires me to sing and dance anew. And you love me too! Be forever happy doing so! 5 Busslied (Song of atonement) op. 48 no. 5. 1802 Gellert Oh God, I have sinned and suffered. Do not judge me by my guilt but help me to find you and tread your path again. The Lord hears me and receives my soul. The last of a group of six songs set to religious texts of Christian Furchtegott Gellert. 6 Der Zufriedene (The contented man) op. 75 no. 6. 1809 Reissig Though not rich or famous, I am content with my lot. I have a friend who shares my love of kissing, drinking and jesting. With him I have emptied many a bottle, for wine is the best vehicle for life's journey. And when things go wrong, I'll remember there's no rose without its thorns. 7 Resignation (Resignation) woO 149 1817 Haugwitz

Go out, my light! What you looked for is gone for good. Once you burnt vigorously, now there's no air, and the flame searches in vain. 8 Der Kuss (The kiss) op. 128 c.1822 Weisse I was alone with Chloe and wanted to kiss her. But she said it would be in vain as she would cry out. I dared to kiss her though in spite of her resistance. And did she cry out? Yes, indeed she did, but much, much later. 9 Adelaide (Adelaide) op. 46 1795 Matthisson In the spring garden, encircled by the lovely gentle magic light that shimmers through the swaying stems of blossom, your friend walks all alone, Adelaidel! In the sparkling waters, in the snow of the Alps, in the golden clouds of sunset, in the landscape of stars, there glows your image, Adelaide! Evening breezes whisper in the delicate leaf, the small silver bells of May murmur in the grass, waves break, nightingales sing, Adelaide! Some day, miraculously, a flower from the ashes of my heart will blossom on my grave, on each crimson petal gleaming, Adelaide. The finest and most famous of 5

the early Italianate songs, written under the influence of Beethoven's teacher, Salieri. 10 An die ferne Geliebte (To the distant beloved) op. 98. 1816 Jeitteles (a) On the hillside I sit gazing out at the far country where I found you, my beloved. Although you cannot hear my sighs, the heartfelt songs that I shall sing shall bridge the gap that divides us. (b) Where the blue mountains are glimpsed under the dying sun, in the happy valley with primroses and gentle breezes, that's where I would be. The anguish of love drives me to the woods; I would not go, if I could be with you here for ever, my beloved. (c) Oh you clouds on high, if you see my beloved, give her greetings, and pour out my woes to her, little birds: carry my; sighs to her, gentle west wind, whisper my love, little brook, and let her see my tears in your ripples. (d) These lofty clouds, these cheerful birds, will see my fair one—oh, if they could take me too! The west wind will stroke your cheeks—if only I could share such joy! If little brook you reflect her image, then flow back to me.

(e) May returns and the swallow builds her love nest, What winter has divided, May has united. The meadows blossom, the gentle breezes blow, but I must stay here. Spring unites all who love, save us, for whom there are only tears (f) Receive these songs, my love, the outpourings of a full heart, and sing them at sunset behind the mountain peaks; for a loving heart will overcome the barriers that divide, and reach that which it has sanctifed. 11 Der Wachtelschlag (The Song of the Quail) WoO 129. 1803 Sauter Hark, how the quail calls out 'Fear God, Fear God'. sitting in the cornfields she admonishes the listener 'Love God, Love God', he is so good and kind. Again her soaring cry means 'Praise God, Praise God' who gives you your just deserts. Do you see the lovely fruits of the field? 'Thank God, Thank God', who keeps and sustains you. Does the weather cause alarm? 'Please God, Please God', he spares the fields. Does war frighten you? 'Trust God, Trust God', he is by our side. 'Furchte Gott' (Fear God) etc. is in the rhythm of the quail's call, given in the piano introduction. 6

BEETHOVEN SONGS

be both true and false; —true, in that the opus reveals not only diversity of style but inconsistency of achievement, but false too in that it judges from a wrong standpoint. Beethoven thought instrumentally, and above all, experimentally, and, not unlike the bagatelles for piano, the songs can be considered chippings from the block of his creativity. That Beethoven was fascinated by the human voice cannot be gainsaid, and apart from the choral works he left nearly 100 songs with piano accompaniment. But the voice is treated primarily as an instrument and the words themselves are less important than the emotional content of the whole, for which they act as catalyst. Thus, 'Adelaide', perhaps the most famous work. Here we have a truly beautiful love song, tender and impassioned, the marvellous allegro molto section ('Einst, o Wunder') bearing only the most tenuous connection with the words. But the piece as a whole remains a most satisfying composition. The early songs tend to be simple, the piano retaining the subordinate, purely accompanying role of the classical

The aim of this recording has been to offer a representative group of the finest of Beethoven's songs for voice and piano, taking in as many different facets of his art as possible. The selection ranges from simple but telling pieces such as 'Ich liebe dich' to one of the greatest and most perfect of song cycles 'An die ferne Geliebte'. Included are 'Busslied', the last and most extended of a group of six songs to religious texts, examples of Beethoven humour, 'Der Kuss' and 'Aus Goethes Faust' and little known songs of originality and subtlety such as 'Resignation'. Beethoven occupies a somewhat uneasy position at the threshold of the great era of the romantic Lied. Unlike the apparently effortless outpourings of Schubert and his successors, his songs for voice and piano have generally been considered to lack an integral style and to be a byproduct rather than part of the central core of his genius. For this reason, apart from a few well-known pieces, they have tended to be neglected in the concert hall. This opinion would seem to 3

LUDVIG VAN BEETHOVEN (1770-1827)—Songs Ian Partridge Tenor Richard Burnett Fortepiano by Michael Rosenberger, Vienna c. 1800 Recorded at Finchcocks, Goudhurst Kent, Jan 1984 by Gef Lucena (Amon Ra) and David Wilkins (Valley Recordings) Rosenberger fortepiano from the Richard Burnett Collection at Finchcocks, Goudhurst, Kent Notes and English song translation © Richard Burnett Photo by Andrew Sydenham Cover picture by Bob Doling The Instrument The fortepiano used for this recording is by Michael Rosenberger, Vienna c.1800. It has a particularly beautiful and warm tone which has been preserved in this recording by using a natural balance. The compass of the instrument is 5 1/2 octaves, FF to c'''' and the stringing in brass and steel over an undivided bridge is bichord throughout except for b' to c'''' which is trichord. There are two knee-levers which control sustaining and moderator mechanisms. It is veneered in cherrywood and is an exceptionally fine example of a classical fortepiano with Viennese action. Finchcocks is both a museum of historical instruments and a music centre of international repute. Founded by pianist Richard Burnett and first opened to the public in 1977, the beautiful 18th century mansion houses his magnificent collection of keyboard instruments. Finchcocks is one of the few museums in the world where a large proportion of the instruments are in full playing order. ©1985 AMON RA RECORDS, THE BARTON, INGLESTONE COMMON, BADMINTON, S. GLOS. GL9 1BX Fax: 01454 299 858 E-mail: [email protected] www.saydisc.com 2

12 Aus Goethes Faust (From Goethe's Faust) op. 75 no. 3. 1809 Goethe A king once had a flea, which he loved as his son. He got his tailor to make him fine clothes, made him a minister, and ennobled his brothers and sisters. The queen and courtiers were prevented from squashing them and were badly bitten. If we get bitten though, we squash them at once. 13 Andenken (Remembrance) WoO 136 1809 Matthisson I think of you when the nightingale sings in the woods; when do you think of me? I think of you in twilight by the shadows of the spring; where do you think of me? I think of you with sweet sorrow, with fear and longing and hot tears; how do you think of me? Oh think of me until we are joined to a better start Wherever you are, I think only of you. 14 Wonne der Wehmut (The joy of melancholy) op. 83 no. 1. 1810 Goethe Dry not, tears of everlasting love. To the half-dried eye how desolate and dead does the world appear. Dry not, tears of unhappy love!

15 Sehnsucht (Longing) op. 83 no. 2 1810 Goethe What is it that pulls so at mv heart, that wrenches me away from home? See how the clouds chase around the rocks: that's where I want to be! I follow the ravens around the mountains keeping watch for her below. Here she com es! I sing to her in the bushes and she muses 'He sings so tenderly and to me'. She wanders by the stream over the meadows and ever darker under the setting sun winds the path. Suddenly I appear, a glittering star. What is there, so near and so far? And when, amazed, you discover the light, I'll lie satisfed at your feet 16 Mit einem gemalten Band (With a painted ribbon) op. 83 no. 3. 1810 Goethe The gods of spring gather a garland of tiny flowers to carry to my love and twine round her waist. To see her rose encircled will be reward indeed. Oh reciprocate my love and may our bond be stronger than any garland of roses!

7

STEREO CD-SAR15

DIGITAL RECORDING

BEETHOVEN SONGS Ian Partridge—Tenor, with Richard Burnett Fortepiano by Rosenberger, Vienna ca. 1800

Including

An die ferne Geliebte

TM

BEETHOVEN SONGS STEREO CD-SAR 15

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

An die Hoffnung (To hope) op. 32 Neue Liebe, neues Leben (New love, new life) op. 75 no. 2 Ich liebe dich (I love you) WoO 123 Mailied (May Song) op. 52 no. 4 Busslied (Song of atonement) op. 48 no. 5 Der Zufriedene (The contented man) op. 75 no. 6 Resignation (Resignation) woO 149 Der Kuss (The kiss) op. 128 Adelaide (Adelaide) op. 46 An die ferne Geliebte (To the distant beloved) op. 98 Der Wachtelschlag (The Song of the Quail) WoO 129 Aus Goethes Faust (From Goethe's Faust) op. 75 no. 3 Andenken (Remembrance) WoO 136 Wonne der Wehmut (The joy of melancholy) op. 83 no. 1 Sehnsucht (Longing) op. 83 no. 2 Mit einem gemalten Band (With a painted ribbon) op. 83 no. 3

[4’59”] [3’00”] [1’45”] [2’27”] [4’21”] [1’13”] [2’29”] [1’57”] [5’29”] [13’23”] [3’18”] [2’12”] [2’33”] [1’56”] [1’54”] [1’57”]

Total duration:

56’17”

Made in Great Britain

CD-SAR 15

CD-SAR 15

AMON RA is a trade mark of © SAYDISC RECORDS, THE BARTON, INGLESTONE COMMON, BADMINTON, S.GLOS. GL9 1BX, ENGLAND. Fax: +(0)1454 299 858 E-Mail: Saydiscrecords@ aol.com Website: www.saydisc.com

BEETHOVEN SONGS—Ian Partridge/Richard Burnett

BEETHOVEN SONGS—Ian Partridge/Richard Burnett

Ian Partridge—Tenor, with Richard Burnett Fortepiano by Rosenberger, Vienna ca. 1800