I’ve been working on tidying up the recording of the recital which Sarah Wilkinson and I did in June of Schubert’s song cycle Die Schöne Müllerin, so it does now fit on a CD properly. As well as the usual useful experience of learning from hearing yourself singing, it’s also reminded me of the challenge of which language to sing it in, that I struggled with before the performance.
On the one hand, one of the things that Schubert does best, is to combine the music with the sounds of the words themselves in Wilhelm Müller’s poem cycle, originally written in German. Along with the strong preference of the musical establishment over the last few decades to perform music ‘authentically’, ie exactly as the composer intended and as he himself would have heard it, this makes a strong case for singing the songs in the original German. This would be the generally accepted way of performing the cycle these days (although personally I have significant differences with the whole authenticist movement, but that’s a topic for another post!).
However I do also feel very strongly that the actual meaning of the words is also integral to appreciating the songs, and Schubert’s achievement in setting the poems to music. The words and sense of the poems are so subtle and nuanced, and Schubert does such a good job of building the music around them, that I just think that if people can’t understand what is being sung, then there is almost no point in singing them. The songs are not just notes which the singer happens to be singing to a random collection of vowels and consonants – the words and music together form a whole experience communicating the poet and the composer’s subtle – and in the case of this cycle, extremely powerful – meaning.
And to a London audience, this means singing the cycle in English.
I spent three days in Kashgar, the scene of