Schubert's Die schöne Müllerin (poetry by Wilhelm Müller) - a FanFaire/EMI Classics Giveaway
Ian Bostridge and Mitsuko Uchida's extraordinary collaboration: 'a thing of beauty... a joy forever!'



When two of the world's finest Schubert interpreters set their egos aside and decide to put their talents together totally in the service of music, the inevitable result is best summed up in Keats' words: "a thing of beauty... a joy forever!"

Listen to the music clips below and take delight in the radiance of Ian Bostridge's lyric voice as he sings mezza voce* with the joyful optimism of a love-struck youth. Then, follow his descent into the depths of desolation as he sings with almost unbearable pathos of the sorrows of unrequited love. With great skill and sensitivity, Mitsuko Uchida at the piano provides the perfect ambience for the youth's poignant emotional journey. Her playing evokes the colors and images of the rustic landscape: the merrily murmuring brook, the iterative turning of the mill-wheel... and vividly captures the youth's changing moods: from the excited pounding of the impatient heart to the uncontrollable grieving over the withered flowers of love.


*mezza voce - with half the power of the voice

Click on note or English title to hear music clip (windows media player format):
Das Wandern
(Wandering)
With carefree optimism the young miller sings of the joys of wandering as he roams the countryside looking for work. Wandering! It was learned, he sings, from water (ever flowing) and the mill-wheel (ever turning).
Wohin?
(Where to?)
Hearing the rushing of a nearby stream, he merrily follows its path down to the valley, confident that a mill-wheel turns in every clear stream .
Halt!
(Wait!)
Sure enough... for soon amidst the trees he sees a sparkling mill and the gleaming windows of the miller's house.
Dansagung an den Bach
(Thanking the stream)
Happily he thanks the stream for leading him to the mill where he finds work but, most of all, for leading him to the lovely maiden of the mill. He asks the stream, "Could she possibly have sent you to me?"  
Am Feierabend
(At the end of a          day's work)
At the end of a hard day's work, he wishes he had a thousand arms to turn every millstone so that the beautiful maiden of the mill, when she wishes every worker good night, would notice him and know the love that stirs in his heart. 
Der Neugierige
(The curious man)

Eager and anxious, he asks the stream, "Does she love me? Yes or no!"
Ungeduld
(Impatience)
Then he impatiently declares what he would do: carve the bark of every tree, engrave every pebble, whisper through the stirring grove, etc. to let the secret out to the miller-girl, that he thought could be seen in his eyes and his burning cheeks."My heart is yours!"
Morgengruss
(Morning greeting)
Finally comes a chance to wish her "Good morning." Still she is but a distant image hidden behind the veil of his dreams.
Des Müllers Blumen
(The millers' flowers)
So, he will plant many little flowers beneath her window and they shall whisper to her in her dreams, "Forget me not!"
Tränenregen
(Raining tears)
And then... a chance (and to him, intimate) encounter under the alder tree! Beneath the moon and stars as he gazes at her eyes, he thinks they are both looking into the stream. But all she can say is: "It's going to rain. Goodbye, I'm going home."  
Mein!
(Mine!)
Yet this meeting means the world to him and he tells the stream: "My beloved miller-girl is mine! Mine, mine!"
Pause
(Interlude)
And as he hangs his lute with the green ribbon on the wall, he goes on: "I cannot sing any more, my heart is too full... Ah, how great is the burden of my happiness, that no song on earth can contain it?" 
Mit dem grünen Lautenbande
(Lines sent with the lute's green ribbon)
 "Such a shame that the green ribbon is fading on the wall. I like green so much," she says. So he unties the green ribbon and sends it to her... "because our love is evergreen, because hope blooms green, in the distance..."
Der Jäger
(The Hunter)
Suddenly a hunter appears brashly at the millstream, where he doesn't belong - here there is no game to hunt. Does he want the lovely miller-girl to fall in love with him? Stay in the forest, the young miller says, and shoot those boars that trample upon her cabbage garden.
Eifersucht und Stolz
(Jealousy and pride)
But she falls for the hunter and cranes her neck to catch a glimpse of him, as he cheerfully heads home from the chase. Hurt, the young miller sadly pleads with the stream to scold his miller-girl for her fickle heart.
Die liebe Farbe
(The beloved color)
"I will dress myself in green... my darling loves green so much," the young miller sings. But the game he is hunting is death! "Dig me a grave in the sward, and cover me with green turf: my darling likes green so much," he sings. 
Die böse Farbe
(The hateful color)
The beloved color soon becomes the hateful color as he wishes that the fields and the green woods be bleached dead white with his tears and for a chance to bid her a final farewell!
Trockne Blumen
(Withered flowers)
All the flowers which she gave him, he sings, shall lay with him in his grave. But tears will not bring back the greenness of May, nor make dead love blossom again. Yet he finds solace and triumph in the thought that when she strolls past his grave, she realizes in her heart that "His feelings were true!" 
Der Müller und Bach
(The miller and the stream)
So he takes his own life and finds repose in the depths of his beloved stream which in turn sings: "And when love tears itself free from sorrow, a new star twinkles in the sky... and the angels cut off their wings and come down to earth each morning."  
Des Baches Wiegenlied
(The stream's lullaby)
And sustains him in sleep eternal with a beautiful lullaby - away from the mill, hidden from the shadow of the beautiful miller-girl.

Don't be surprised if the songs (or Lieder) leave a strong imprint in your memory: Schubert was a master of melody with a natural instinct for drama, so evident in this song-cycle, that greatly enhanced his lyrical gifts. Moreover, he was a genius at grasping the essence of a poem and at marrying words to music that is so suited to the human voice. Thus his music adds beauty to the text, indeed at times transforming otherwise mundane poetry into a song-cycle of sublime beauty. (Which, as some commentators would have it, is the case with Die schöne Müllerin, Wilhelm Müller's simple folk poem that tells the story of a youth and his love for the maiden of the mill.) It is no wonder then that with Schubert, Lieder as an art form or a musical genre took on a life of its own.

And it is no wonder that Die schöne Müllerin was the first song-cycle a youthful Ian Bostridge fell in love with. His light lyric tenor voice and the song-cycle's protagonist make an ideal fit. With his unique, expressive delivery and excellent diction, Bostridge - his early love for Schubert's music and the German language unabated - brings a sense of drama to Lieder and becomes the perfect personification of the youth in love with the miller-girl.

It is no exaggeration: this extraordinary collaboration of tenor Ian Bostridge and pianist Mitsuko Uchida sets a new standard for
Die schöne Müllerin, the first of Schubert's two song-cycle masterpieces. Listen to it over and over again. Chances are, you'll get hooked on Schubert and Lieder and Bostridge and Uchida. (And you may even learn to love the German language!)
- GJCajipe / © FanFaire






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