Performance Thursday, October 16, 2014 | 7:30 PM

Luca Pisaroni
Wolfram Rieger

Zankel Hall
The blossoming of German Lied is on full display in gorgeous songs that span Mozart to Schubert. An Italianate vocal line flows elegantly through Mozart’s “Abendempfindung” and Beethoven’s popular “Adelaide,” while Mendelssohn’s “Neue Liebe”—with its vivid depiction of frolicking elves—is quintessentially Romantic. Schubert’s supremacy in the Lied is revealed in a selection of songs that range from the powerful drama of “Der Atlas” and “Erlkönig,” to the eerie calm of “Der Doppelgänger,” to the consoling Wanderers Nachtlied II.


  • Luca Pisaroni, Bass-Baritone
  • Wolfram Rieger, Piano


  • MOZART "Das Veilchen," K. 476
  • MOZART "Komm, liebe Zither," Z. 351
  • MOZART "An Chloë," K. 524
  • MOZART "Abendempfindung," K. 523
  • BEETHOVEN "Lied aus der Ferne," WoO 137
  • BEETHOVEN "Der Kuss," Op. 128
  • BEETHOVEN "Zärtliche Liebe," WoO 123
  • BEETHOVEN "Adelaide," Op. 46
  • MENDELSSOHN "Neue Liebe," Op. 19a, No. 4
  • MENDELSSOHN "Gruss," Op. 19a, No. 5
  • MENDELSSOHN "Morgengruss," Op. 47, No. 2
  • MENDELSSOHN "Allnächtlich im Traume," Op. 86, No. 4
  • MENDELSSOHN "Auf Flügeln des Gesanges," Op. 34, No. 2
  • MENDELSSOHN "Reiselied," Op. 34, No. 6
  • SCHUBERT "Der Atlas," D. 957, No. 8
  • SCHUBERT "Ihr Bild," D. 957, No. 9
  • SCHUBERT "Das Fischermädchen," Op. 957, No. 10
  • SCHUBERT "Die Stadt," Op. 957, No. 11
  • SCHUBERT "Am Meer," Op. 957, No. 12
  • SCHUBERT "Der Doppelgänger," Op. 957, No. 13
  • SCHUBERT "Auf dem See," Op. 543
  • SCHUBERT "Grenzen der Menschheit," D. 716
  • SCHUBERT Wanderers Nachtlied II, D. 768
  • SCHUBERT "Erlkönig," D. 328
  • SCHUBERT "Ganymed," D. 544
  • SCHUBERT "An Schwager Kronos," D. 369

At a Glance

In this program, an Italian-born singer shows his mastery of songs exclusively in the German language in a rich sampling of four of the early masters of lieder: Mozart, Beethoven, Mendelssohn, and Schubert. As the late 18th century moved into the early Romantic period, these composers essentially created from scratch a whole new lyrical genre, and then within less than 50 years, brought it to a peak of expressive drama and refinement.

The inspiration behind this new genre was the explosion of a magnificent German poetic tradition during this same era. The king of the German poets was Johann Wolfgang von Goethe (1749–1832), a diplomat, scientist, and prolific master of both poetry and prose. He became Schubert’s favorite poet, and, indeed without Goethe, Schubert might never have achieved the heights he did as a songwriter. Sadly—on two different occasions—Schubert and his supporters sent collections of his Goethe lieder to the poet without any acknowledgment from him, for Goethe was extremely conservative in his musical tastes. Such indifference must have wounded Schubert deeply.

Another great poet of the early 19th century was Heinrich Heine (1797–1856), a writer whose biting irony and jaundiced view of human nature wrung all the sentimentality out of Romantic verse. We hear a dozen Heine songs by both Mendelssohn and Schubert, although the latter seemed more in tune with Heine’s satirical edge than did the gentler Mendelssohn.


Luca Pisaroni sings "Madamina, il catalago è questo" from Mozart's Don Giovanni.

This concert and the Pure Voice Series are sponsored by the Jean & Jula Goldwurm Memorial Foundation in memory of Jula Goldwurm.

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