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Author Topic: Padmore and Schubert  (Read 615 times)
MrY
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« Reply #15 on: 13:00:01, 08-06-2008 »

Almost invariably not.

Oh, that's a pity.  But I guess Schubert had to transpose his song cycles himself to suit the voice of this Michael Vogl?

(Re Das Wirtshaus, in case it's of interest, in my Peters edition there's also a crescendo marking on the last phrase, without returning to p.  But in both recordings I own, Peter Pears and Peter Schreier safely go back to singing piano towards the end of the phrase.  I recall Fischer-Dieskau doing it more forcefully, but I don't have his recording at hand.)
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oliver sudden
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« Reply #16 on: 00:10:07, 09-06-2008 »

There's a crescendo marked in the Bärenreiter edition before the lines "nun weiter denn, nur weiter / mein treuer Wanderstab"; there's no following p marking.

In that case, how loud does Schubert want it to get?! A continuous crescendo would hardly be practical, since the singer's top F at "nur" would naturally be louder than the end of the phrase because it is higher. And what about the bulge in the penultimate bar?

Up to the performers I think, that one - it's certainly possible to object to any given detail but I don't think Schubert's text is specific enough for it to be the final arbiter!

Vocal technique in various centuries and contexts has generally varied enough that an equation of high=loud doesn't have to apply... up to the singer how much head voice to bring into the high notes I think. I certainly don't make a feature of the top F in my (purely domestic and extremely humble) attempts at Das Wirtshaus...
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