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Overtures Vol.1

Overtures Vol.1
Franz Schubert
  1. Der Teufel als Hydraulicus Ouvertüre in D-Dur D 4 3'25
  2. Der Spiegelritter Ouvertüre in B-Dur D 11 8'34
  3. Des Teufels Lustschloss Ouvertüre in F-Dur D 84 8'26
  4. Der vierjährige Posten Ouvertüre in D-Dur D 190 7'24
  5. Claudine von Villa Bella Ouvertüre in E-Dur D 239 8'03
  6. Die Freunde von Salamanka Ouvertüre in C-Dur D 326 5'57
  7. Die Zwillingsbrüder Ouvertüre in D-Dur D 647 3'43
  8. Alfonso und Estrella Ouvertüre in D-Dur D 732 6'24
  9. Die Verschworenen / Der häusliche Krieg Ouvertüre in F-Dur D 787 6'47
  10. Fierabras Ouvertüre in F-Dur D 767 8'10

  • Manfred Huss, Conductor
  • Haydn Sinfonietta Wien

  • Koch Schwann
  • 3-1121-2 H1
Schubert's operatic output is extensive yet very little known; perhaps for this reason, gaining an overview of it is far from easy.

This recording is confined to the overtures to the extant operas. It is not easy to see why those operas by Schubert that have survived complete have not long since joined the permanent repertoire, since opera houses are continually searching for new works. The reason may be that they are very demanding technically, particularly if period instruments are being used: the woodwind parts verge on the unplayable - and must have been even more so in Schubert's own day - and there are moments in the trumpet pans, as in Des Teufels Lustschloss, for example, which range as high as any barvura piece from he baroque era.

Schubert's earliest compositions date from 1810-1811. From the very beginning he devoted himself to those genres which he felt especially drawn to, working simultaneously - sometimes, for economy's sake, all on the same sheet of manuscript paper - on piano music, orchestral music (overtures and symphonies), string quartets, songs, religious music and, above all, opera.

Right from the start Schubert's instrumentation was not only larger than Beethoven's, but completely different. He renounces the delicate, transparent textures of means to convey moods and emotions and to achieve psychological characterisation. Haydn went over to this new approach in his late works, but Schubert is there from the beginning.

Schubert was fascinated by opera from very early on. It filled him with a constant flow of new ideas, and one of his last wishes, a few days before his sudden death, concerned a new libretto by Bauernfeld. The intuition of this great genius was that he was right in the turning point of his creative urge in the direction of opera. It seems odd that we do not trust his judgement in this, whereas with all his other works we are convinced that he knew exactly how and what to composer, and we believe that he always chose the right texts for his songs and created perfect settings for them.

Even in his symphonies and masses, which constitute almost all his other orchestral writing, there is nothing quite like his operas and their overtures.

Manfred Huss
adapted from the CD-Booklet

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