Corda Music Publications, in collaboration with Danubia Discs, have produced a new CD of twenty four German songs and ballads c.1800. These songs are with original guitar accompaniments from the early 19th century and are settings of lyrics by Johann Wolfgang Goethe and Friedrich Schiller. Printed editions of the songs are now published. For more details of this project, with a list of the 24 songs on the CD and short biographies of the performing artists, please see below:
Discs can be ordered directly from Corda Music Publications at:
Email: Corda Orders
For details of our published editions of the songs, click on CMP 162 - GERMAN GUITAR SONGS of the 19th Century,
CD CM002 Goethe und die Gitarre In Verbindung mit DanubiaDiscs hat Corda Music Publications eine neue CD veröffentlicht, die lyrische Gedichte und Balladen vornehmlich von Joh. Wolfg. von Goethe aber auch von Friedr. Schiller auf historischen Instrumenten bringt, in Vertonungen von deutschen Kleinmeistern um 1800. Fast alle der 24 Nummern haben Originalbegleitungen für die Gitarre – einige mit zusätzlicher Traversflöte oder auch mit Tafelklavier. Gedruckten Ausgaben der aufgenommenen Lieder sind von Corda Music erhältlich. Für weitere Informationen und eine Liste der aufgenommenen Kompositionen und biographische Skizzen der Künstler und Künstlerinnen, siehe unten.
Die CD ist von Corda Music Publications erhältlich:
Email: Corda Orders oder auch von: Klassik Center Kassel
It is most captivating. Recently I listened to it on shuffle mode: this brought the songs up in even more pleasing light. Man fängt an, mitzusingen! [I'm starting to sing along with it!] The soloists establish just the right feel, and sound like their counterparts 200 years ago. Good German, too. Now and then the slight differences between sung and printed texts give an almost improvised impression ... congratulations on the happy result.
Prof. Peter Skrine, formerly professor of German, Bristol University.
It‘s superb! I think it will be one of our favourites.Who could resist Erlkönig?
Nigel Reeves, Pro-Vice Chancellor, Aston University.
May I just say how much I‘m enjoying the CD. What an imaginative selection. Well done!
Howard Gaskill, Edinburgh University.
Schubert‘s lieder must have seemed initially outlandish and too much, too much. It‘s interesting to hear the two versions of der Erlkönig, the second one oddly buoyant and happy, despite the boy‘s plaintive minor (or the minor‘s plaintive boyishness). I liked tenor no. 1 especially and, of course, Jenny‘s expert fluting weaving about the melodies. And did I not hear you joining in the chorus in the Trinklied‘? So, thanks very much for a pleasant, unusual CD.
Ben Sherriff, formerly Lektor at the University of Tübingen.
... ich bin wieder in Berlin und habe auch Deine CD vorgefunden. Auf der Heimreise hörte ich oft eine 90-Minuten-Kassette mit Schuberts Goethe-Liedern im Autoradio. Der Kontrast ist höchst erfrischend. Es ist kein Wunder, dass der Geheimrat diese Vertonungen, vor allem die des Freundes Zelter, den schwierigen Schubertschen Liedern vorzog. Man kann sich vorstellen, wie er mit einem Glas Wein in der Hand beim Hauskonzert mitgesummt oder gebrummt hat. Die Aufnahmen müssen amüsant gewesen sein. Dem ”jungen Jäger• merkt man an, dass Dir diese CD besonderen Spass gemacht hat. Mir auch.
Dr Werner Kilian, formerly German Cultural Attaché in London.
[translation] Back in Berlin your CD awaited me. When driving home I would often listen to a 90 minute cassette of Schubert songs on the car radio. The contrast is most refreshing. No wonder that the Privy Councillor preferred these settings, especially those of his friend Zelter, to Schubert's difficult songs. We can imagine how he would have hummed along with the songs at home, with a glass of wine in his hand. It must have been amusing recording them. We detect in the “Junge Jäger” how much you enjoyed making the CD. I enjoyed listening, too.
The CD arrived with today‘s post and I am listening to it as I write. Congratulations on a wonderful recording!
Lorraine Byrne, Music Dept, Univ. College Dublin.
Wir haben die CD erhalten und sind sehr zufrieden. Ich habe sie schon ein paarmal angehört: Wunderschön! Ich wußte nicht, daß Engländer so ein schönes klares Deutsch singen können. Kompliment! Aber natürlich auch musikalisch ist das ein Genuß.
Giselher Stoll, Peine.
[translation] We got the CD and are very happy. I've listened to it a few times: Absolutely beautiful! I had no idea that the English could sing such good and clear German. Congratulations! It is also a delight musically.
Die CD ist vor einigen Tagen in Jena eingetroffen. Ich habe natürlich schon reingehört, d.h. einmal ganz durch. Ich finde sie rundherum gelungen: Auswahl, Sänger, Instrumente, besonders die Stücke mit ”Chor•, aber auch den Erlkönig mit Flöte. Herzlichen Glückwunsch. Ich könnte mir vorstellen, daß ich da noch weitere Abnehmer finde.
Herzliche Grüße, Franz.Koerndle, [University of Jena]
[translation] The CD arrived a few days ago in Jena. Naturally I have listened to it already, i.e. once from beginning to end. I find it a success in every way: choice of songs, singers, instruments, especially the items with chorus, but also the Erlkönig with flute. Sincere Congratulations. I'm sure I will be able to find more takers.
... it‘s really enjoyable. An excellent compilation, full of surprises. Is it commercially available in Germany??
Osman Durrani . [O.Durrani@ukc.ac.uk]
Wonderful! Congratulations! I‘ve only had time to dip into it so far, but what I‘ve heard is terrific. Your soprano is brilliant (I already know Rogers Covey-Crump‘s voice, of course), and I particularly like your good self as the Erlkönig!
Dr. Stephen Barbour,Chair of the German Sector, School of Language, Linguistics & Translation Studies, University of East Anglia.
Sehr geehrter Herr McCulloch,
haben Sie vielen Dank für die CD. Sie ist inzwischen wohlbehalten bei mir eingetroffen. Ich gratuliere Ihnen zu dieser exquisiten Produktion, die mit so viel Liebe und Einfühlungsvermögen den Zeitgeist einfängt (und dabei u. a. den Göttinger Instrumentenbauer Streitwolf einmal von einer ganz anderen Seite zeigt).
Beste Grüsse
Dr Klaus-Peter Brenner
Musikwissenschaftliches Seminar der Georg-August-Universität Göttingen
[translation] Dear Dr McCulloch, Many thanks for the CD which arrived here safe and sound. I congratulate you on this exquisite production, which so lovingly and sympathetically captures the spirit of the age (and shows Göttingen’s instrument-maker Streitwolf from a completely different side).
Wir gratulieren von Herzen, sind der Bewunderung voll! Da erschließt sich eine unbekannte Welt neben und hinter dem “klassischen” Repertoire. Hoffentlich wird das auch bemerkt und gewürdigt.
Prof. Klaus Hofmann Direktor Joh. Seb. Bach Institut, Göttingen.
[translation] Our sincerest congratulations! An unknown world is opened up alongside and beyond the 'classic' repertoire. Hopefully that will be noted and given the credit it deserves..
... some really interesting rarities. Congratulations!
Prof. D. McCaldin, Haydn Society of Great Britain
Ich bin erstaunt über den Variantenreichtum, den die sieben Akteure erreicht haben. Das fängt schon bei der überraschenden Komponistenauswahl an ... [eine] beeindruckende Einspielung ...
Prof. Dr Volkmar Hansen, Director of the Goethe-Museum Schloss Jägerhof Düsseldorf.
[translation] I am amazed by the massive variety achieved by the seven performers, beginning with the astounding collection of composers ... [an] impressive recording ...
Goethe and the Guitar CD, Early Music Review, (ed. Clifford Bartlett) December 2002
Here is a fascinating issue and let no one be put off by the seemingly flippant name of the group: Café Mozart (Proprietor Derek McCulloch). What we are offered here, in clear, well-balanced performances, and introduced by a good booklet with full texts (but lacking timings), are two dozen songs by little-known composers. Apart from the variety that four Schiller texts provide, the lyrics are all by Goethe (one or two of them of uncertain authority, or arranged). There are very attractive songs here, including settings of texts that Schubert and Wolf set incomparably – after minor composers such as Jusdorf and Methfessel, Harder and the delightfully named Streitwolf had tried their hands. One or two of the composers represented here Zelter and Zumsteeg enjoy, of course some distinction.
The performances are full of charm and spirit. Rogers Covey-Crump and the Hungarian soprano Nomi Kiss are the most frequently employed of the singers; Ian Gammie with his guitar is heard in all but three of the tracks. Katharine May on a fine square piano of 1796 and Jenny Thomas on a sweet-toned flute are heard to advantage in several numbers; Michael Sanderson (second tenor) and Derek McCulloch make telling contributions, the latter an almost Quint-like Elf-King in Bernhard Klein’s setting (one of two here of this chilling ballad). This CD is strongly recommended.
Peter Branscombe
Transcript of review in Early Music News, November 2002
Goethe and the Guitar by Café Mozart is an exploration of songs and ballads from c.1800, with guest artists Noemi Kiss and Rogers Covey-Crump. It would be easy to look at the list of obscure composers and pass this CD by, but that would be a big mistake. The music is diverse, combining words by Goethe with music for voices, guitar, flute and piano. It’s easy to forget that the Christmas carol Silent Night was originally written for tenor and guitar in 1818: this CD gives a fascinating glimpse of the world from which it came.
This is an ensemble that specializes in the late 18th century café music that would have been heard in the naughtier backstreets of Vienna and other great European cities. To call their entertainments 'concerts' would be a travesty - you are invited to sup wine, eat Sachertorte and generally carouse at your table (yes, you don't come to sit in concert stalls but at tables with your friends). Meanwhile you are regaled with rumbustious music and risqué anecdote. One of their regular musical dishes of the day is CMP 437. Contact Cafe Mozart
Hark, Hark each Tree its silence breaks, The Box and Fir to talk begin,
This in the sprightly Violin, that in the Flute distinctly speaks.
. . . . . from Purcell's Ode to St Cecilia, words by Nicholas Brady c.1690
The initially inscrutable title of this ensemble is easily understood when one sees the context from Purcell's setting of the famous Ode, flutes and violins being made from the eponymous woods. And wherefore Windsor? Because the ensemble have often performed in Windsor Castle, while two of its members have sung in the choir of St George's Chapel, Windsor Castle. Indeed, the flautist Jenny Thomas and her husband Dr Derek McCulloch (see below) used to live in the castle itself (though not in the Queen's apartments) and still live in the shadows of its mighty walls (that is, the McCulloch's live in the shadow, - the Queen still lives inside).
Formed in 1994 by four musicians with wide-ranging experience of playing early music, the repertoire of the Windsor Box & Fir extends from Dowland and Purcell to Haydn, Mozart and Schubert. Because instrument technology evolved continuously through this time, the players use a range of instruments. They are particularly fortunate to own three original square pianos dating from c.1780 to c.1830, and also a fine copy of a Henri Hemsch two-manual harpsichord of 1756. They also use flutes, violins, recorders, bass viols, guitars and lutes appropriate to each period of music performed.
Amongst their most recent programmes they have featured domestic music from Georgian England, a kaleidoscope of songs and chamber music from salons and country houses in the period 1770 - 1810. The music is presented with witty accounts of the music and its social or historical background, which has enhanced the resounding success of their events up and down the country. Their programmes are built on research carried out by Dr Derek McCulloch and Ian Gammie, particularly their investigation into the music copied and collected by Jane Austen (herself an accompished pianist). They also draw from Dr McCulloch's important biographical work on Haydn's two visits to London in the 1790s and the associated patronage of the Earl of Abingdon, a keen amateur composer and flautist.
The Windsor Box and Fir Co have made a number of recordings of this repertoire Recordings, and are preparing music for a new CD this year. The following Corda editions have been recorded by them: CMP 435, CMP 437, CMP 443, CMP 451 Corda Editions.
Having played at many Festivals and Concert Societies in the UK in the last few years. These included special events for the Jane Austen Society, as well as concerts in Germany (where they returned again recently). For more details of future events and recordings, contact: WB&FCo
CMP 163 - GERMAN GUITAR SONGS of the 19th Century, Book 2 and CMP 166 - 7 GOETHE SONGS, c.1800
Several of the songs are recorded on the CD CM-002 Goethe and the Guitar
CMP 162 - GERMAN GUITAR SONGS of the 19th Century, Book 1 and CMP 166 - 7 GOETHE SONGS, c.1800
Several of the songs are recorded on the CD CM-002 Goethe and the Guitar
Several of the songs are recorded on the CD CM-002 Goethe and the Guitar
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