Franz Peter Schubert (31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast oeuvre, including 600 secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of piano and chamber music. The Piano Quintet in A major, D. 667 (Trout Quintet), the Symphony No. 8, D. 759 (Unfinished Symphony), the three last piano sonatas, D. 958-960, and his song cycles Die schöne Müllerin and Winterreise are some of his most important works.
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Ständchen, D889 (July, 1826)
Lyrics: August Wilhelm Schlegel, 1767-1845, after William Shakespeare, 1564-1616, from Cymbeline, Act II, Scene 3
Wendela Bronsgeest, soprano
Pierre Woundenberg, clarinet
Donna Agrell, basson
Bob Zimmerman, mandolin
Frank Wesstein, guitar
Janneke van den Meer, violin
Wim de Jong, violin
Henk Guittart, viola
Hans Woundenberg, cello
I forgot to add the lyrics of the 3rd Verse Wendela Bronsgeest is singing:
3. Und wenn dich alles das nicht weckt,
So werde durch den Ton
Der Minne zärtlich aufgeneckt!
O dann erwachst du schon!
Wie oft sie durch ans Fenster trieb,
Das weiß sie, drum steh auf,
Und habe deinen Sänger lieb,
Da süße Maid, steh auf!
Arnold Schönberg's 1921 arrangement for voice, clarinet, bassoon, mandolin, guitar & string quartett is another example of the many arrangements he made of Lieder, waltzes, polkas and operettas for chamber groups.
A music-historically legendary event took place on May 27, 1921 on the occasion of an "extraordinary evening" with four waltzes by Johann Strauss arranged by Anton Webern, Alban Berg and Arnold Schönberg. After the concert, in which the composers also acted as interpreters (Berg: harmonium, Schönberg: 1st violin, Webern: cello), the autograph manuscripts were to be auctioned off in order to bring in the financial means for further club evenings. The rehearsals were held in five units of five hours each, tickets in the form of program sheets were sold by the performers. Not only the oddity of the stylistic antipodes Strauss / Viennese school triad, but also Schönberg's humorous Conférence should contribute significantly to the success of the evening. Alban Berg reported to his colleague Erwin Stein on June 2, 1921: »The waltzes sounded fabulously good throughout […]! Schönberg's instrumentation naturally far surpassed mine. Of course I wouldn't have dared that much. Steuermann, for example, who smiled when Schönberg remarked that everyone had to look at his voice at home, received from Schönberg an insanely difficult piano part, which of course sounded magnificent.« Berg’s waltz arrangement was greeted with frenetic applause, Schönberg’s exceptionally allowed to lift the spirits and increase the sensitivity of the autograph buyers willing to pay. During the repetition of Webern's »Treasury Waltz« from »Zigeunerbaron«, which was demanded by the audience, Schönberg and his pupil changed both podium and instrument. At the subsequent auction, Berg's manuscript fetched 5,000 crowns, Schönberg's score of "Rosen aus dem Süd" 17,000 crowns (the parts used in the concert had been made by Hanns Eisler) and the "Lagune Waltz" 14,000. In Webern's »Treasury Waltz«, the club president tried to bid up the price himself and, against his intention, ended up being the highest bidder at 9,000 crowns.
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