Friday November 2, 2018 | 7:30pm (Pre-concert talk 6:45pm)
Christ Church Cathedral | Map
“I cannot choose the time of my journey, I must make my own way in this darkness.” – from Winterreise’s opening song, Good-Night
One of Canada’s most successful young baritones teams up with one of Canada’s most well respected and accomplished pianists for a performance of Franz Schubert’s deeply moving 1827 song cycle “Die Winterreise” (Winter’s Journey) accompanied on an 19th century fortepiano.
“First prize-winner of the prestigious Montreal International Musical Competition in 2012, Philippe Sly possesses a fine, velvet bass-baritone voice, clear diction and splendid, true intonation.” Gramophone Magazine
This concert is generously supported by Tony & Margie Knox
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Franz Schubert – Winterreise
1. Gute Nacht
2. Die Wetterfahne
3. Gefror’ne Tränen
5. Der Lindenbaum
7. Auf dem Flusse
13. Die Post
14. Der greise Kopf
15. Die Krähe
16. Letzte Hoffnung
17. Im Dorfe
18. Der stürmische Morgen
20. Der Wegweiser
21. Das Wirtshaus
23. Die Nebensonnen
24. Der Leiermann
Thirty years after Schubert’s death, one of his closest friends, a man named Joseph von Spaun, wrote down his memories of the first performance of this song cycle, a private performance in which the composer previewed his latest work for his circle of friends.
For some time, Schubert appeared very upset and melancholy. When I asked him what was troubling him, he would say only, “Soon you will hear and understand”. One day he said to me, “Come over to Schober’s today and I will sing you a cycle of horrifying [schauerlicher] songs. I am anxious to know what you will say about them. They have cost me more effort than any of my other songs.” So he sang the entire Winterreise through to us in a voice full of emotion. We were utterly dumbfounded by the mournful, gloomy tone of these songs, and Schober said that only one of them, “Der Lindenbaum” (The Linden Tree), had appealed to him. To this Schubert replied, “I like these songs more than all the rest, and you will come to like them as well”.
“Like” is far too pallid a word for the way we now feel about this, one of the supreme masterpieces of the genre. Schubert’s autograph manuscript for the first half of the cycle is testimony to the effort Spaun recorded in his reminiscences – there are places that look as if the Napoleonic Wars had been fought all over again on these folios, replete with revisions, deletions, added bars, and changes of all kinds (the entire manuscript is in The Pierpont Morgan Library in New York and in a facsimile edition by Dover Publications, Inc.). One can, for example, see Schubert’s exasperation with an entire lengthy passage in the twelfth song, “Einsamkeit” (“Loneliness”), when he crosses out three unfinished staff systems with an X so furious that it almost cuts through the paper.
Schubert insisted that he had to have good poetry before he could compose good songs – he was among the most literary of all composers. We can surmise that he had sought appropriate poetry for a song cycle of his own for some time, and he finally found the perfect subject for his purposes in works by the Prussian poet Wilhelm Müller (1794-1827), almost exactly his contemporary. lt was fashionable for much of this century to decry Müller as a second rate (or worse) hack, but he was actually a fine poet and a powerful one on many occasions, a writer who found new expression for the literary ideals of his day. Winterreise was not Schubert’s first cycle to poems by Müller, who was famous in his own lifetime as the “Griechen Müller,” or “Greek Müller” (like Lord Byron, whose works Müller helped to popularize in Germany, he championed Greek independence from the Ottoman Empire). In late 1822 or early 1823, Schubert had discovered Müller’s first anthology of poetry, the extravagantly entitled Siebenundsiebzig Gedichte aus den hinterlassenen Papieren eines reisenden Waldhornisten(Seventy seven poems from the posthumous papers of a travelling hornplayer, published in the poet’s native Dessau in 1821), and had set the first work in the volume – Die schöne Müllerin (The Beautiful Miller Maid) – to music in 1823. Several years later, perhaps near the end of 1826, he discovered a cycle of twelve poems entitled Die Winterreise (The Winter Journey) in the literary periodical Urania: Taschenbuch auf das Jahr 1823 (pp. 207 22). Thinking that this was the entirety of the work, he set the cycle to music, perhaps in early 1827, and wrote “Fine” – The End – with a flourish at the conclusion of the twelfth song.
Soon after, possibly in March or April, Schubert discovered volume 2 of Müller’s Poems from the posthumous papers of a travelling hornplayer, published in 1824; there, he found the cycle extended to twice its original length, from twelve poems to twenty four, and reshuffled in a different order from the Urania text. Müller might speculatively have wanted to take the solitary wanderer we meet in this work to some kind of resolution beyond what one finds in the first twelve poems, and therefore augmented the cycle. Schubert could not duplicate Müller’s final order without disturbing the subtle musical relationships between the twelve songs he had already composed and therefore set the remaining poems in order (with one exception: he switched the order of “Die Nebensonnen” and “Mut” near the end) as the “Fortsetzung” (Continuation) of his winter journey. The poetic cycle, Die Winterreise, is thus in some respects a different work from Schubert’s cycle Winterreise (the composer omitted the definite article for a starker, stronger effect). In these poems, Müller took a Romantic cliché – an alienated, isolated wanderer on a journey into the wintry geography of the soul in search of self-knowledge – and fashioned something original from it, a post Romantic variation on a theme. At the outset, Müller’s wayfarer is impelled by rejection in love to dissect his innermost being, and to do so decades before Freud would propose a framework for such investigations. His first words, “Fremd bin ich eingezogen, Fremd zieh’ ich wieder aus” (“I came here a stranger, I depart a stranger”), state an existential dilemma beyond sorrow over lost love, as wrenching as that is; thereafter, over and over again, he asks himself variations on the fundamental question, “Why am I always a Fremdling, a stranger to others and to myself?”. Müller fashioned his wanderer’s search for answers as a monodrama, with only one speaking character and no narrator to supply information the wanderer omits; we are never told his name, what he looks like (except that he has black hair), his birthplace, occupation, upbringing, or personal history. Of his inner life, we learn much more – he is a philosopher manqué, an atheist who cannot be comforted by appeals to a spiritual realm, a realist who knows that dreams are wish fulfillment, a being remarkably free from self-pity. By the end, he even understands his past love to have been illusion. In “Die Nebensonnen”, he sees the atmospheric illusion known as perihelia, or two phantom suns on either side of the real sun; like the short lived light of the illusory globes of light in the sky, his sweetheart’s eyes shone on him only briefly and then vanished. She was not meant for him because he was destined to travel “eine Straße.., die noch keiner ging zurück” (“a road from which no one returned”).
That line in the twentieth song, “Der Wegweiser”, is what the Greeks termed the peripeteia of the work, the moment of revelation in which all of the veils obscuring the truth from our gaze are stripped away. Here, unutterably weary and depressed, the wanderer asks himself why his journey – his life – is so different from that of other people, what compulsion drives him to keep going, and why he chooses to be so isolated. (Recognizing the bridge between the first song, “Gute Nacht”, in which the wanderer first describes the journey, and this song, Schubert fills both lieder with a repeated note figure emblematic of the journey.) As if his very frustration had opened a window in the mind, all of a sudden he sees a metaphorical signpost pointing the way to a road “from which no one returned”. Is this death, the bourne from which no traveller returns? But death rejects the wanderer decisively in “Das Wirtshaus” immediately after “Der Wegweiser”; this cycle has as one important theme the difficulty of dying when one wishes, or the tenacity of life, all the more marked when unwanted. What if the sign tells of a Künstlerberufung, or an artist’s discovery of his calling? The wanderer has sung of his journey all along; now he discovers that he is condemned to continued life, or rather, a living death as a singer poet irrevocably set apart from society.
The wanderer, however, does not want this fate. He has yearned throughout the cycle for reciprocated love and domesticity, for a “bright, warm house” and a “beloved soul” within; when this precious, ordinary happiness is denied him, he longs for a nihilistic death. The prospect of an artist’s lonely existence horrifies him, impelling once again the desire for death real death. In this, as in much else, Müller shows his colors as a post Romantic; a true Romantic would have found some possibility for art as a means of transcendence, but the wanderer can find nothing of the kind in the fate he sees spelled out for him on a signpost in the mind. At the end of the cycle (which is not a true ending), he “meets” the hurdy gurdy player, who is perhaps a nightmarish image of the wanderer’s own future and a haunting statement of the absolute necessity for human bonds; where they do not exist, the mind will project them onto the external world in a Doppelgänger mirror of itself. lt is crucial that this uniquely powerful figure (Müller had a knack for ending cycles with his best efforts) is a beggar musician: music reduced to its most elemental state – “laute Leere”, or “sounding nothingness” – is all that is left to the wanderer.
We should remember that when Schubert set these poems to music, he was confronting his own probable fate. Enough was known about the terminal stages of syphilis in the 1820s for Schubert to realize that this illness ended in horrifying dementia and paralysis preceding the ultimate denouement, If death turned him away in the first or second stages of the disease, as it turns away the wanderer in “Das Wirtshaus”, would he have to suffer the living death the wanderer endures, his creative faculties numbed and the stream of his music frozen? The cycle ends on a terrifying question mark, for which there is no answer, only the echoing silence following the dying away drone of the hurdy-gurdy. Realizing this, one understands what a heroic act it was for Schubert to set this text, of all texts, to music, to wring music of this power from the bleakest fear imaginable. Somewhat fancifully, I like to think that Death, perhaps flattered by Schubert’s many and varied portraits of him in music, spared the composer the fate he most dreaded, taking him swiftly and before the otherwise inevitable onset of insanity. Despite the tragedy of his premature death (and we will always wonder what might have been), we can only be grateful that he escaped the wanderer’s miserable fate, that he transformed Müller’s characters into songs “I like more than all the rest” before his own gentler end.
© Susan Youens, 1997; used here with permission
Texts and Translations
To view/download the texts and translations for this concert, click here.
Philippe Sly, bass-baritone
French-Canadian bass-baritone Philippe Sly is already gaining international notoriety for his “beautiful, blooming tone and magnetic stage presence” (San Francisco Chronicle). Mr. Sly is the first prize winner of the prestigious Concours Musical International de Montréal and a grand prize winner Metropolitan Opera National Council Auditions singing the varied repertoire of Mozart, Bach, Handel, Stravinsky and Wagner. Recently, he was awarded Concert of the Year in Romantic, Post-Romantic and Impressionist Music at the 16th annual ceremony of the Prix Opus in Québec.
Philippe Sly returns to the Paris Opera in the new production of Così fan tutte as Guglielmo conducted by Philippe Jordan in the 2017-2018 season, the same role that served for his debut the previous season. At the Paris Opera, he will also make his role debut as Zebul in Claus Guth’s new production of Jephtha conducted by William Christie. In concert, he will travel to Japan for his first performances as Frère Léon in Messiaen’s Saint François d’Assise with the Yomiuri Nippon Symphony Orchestra conducted by Sylvain Cambreling. In concert, he debuts with the Minnesota Orchestra in Fauré’s Requiem and with the Academy of Ancient Music in Bach’s Johannes-Passion, both conducted by Bernard Labadie. Mr. Sly will be heard in a guitar/voice duo recital at the Tucson Guitar Society with guitarist John Charles Britton. With the Montreal Symphony, he sings Nielsen’s Symphony No. 3, as well as songs of Rachmaninoff, Grieg, and Sibelius. He also returns to Opéra de Lyon in a new production of Don Giovanni.
Last season, he was heard in concert as Narbal in Berlioz’s Les Troyens with Orchestre Philharmonique de Strasbourg under John Nelson, which was recorded by Warner/Erato, and in Mozart’s Mass in C minor with Yannick Nézet-Séguin and the Philadelphia Orchestra. He debuted with the Dallas Symphony in Bach’s Matthäus-Passion with Jaap van Zweden and returned to Montreal with Fondation Arte Musica / Musée des beaux-arts de Montréal in a duo recital with guitarist John Charles Britton of Schubert Lieder. In the summer of 2017, he made an acclaimed debut at the Festival d’Aix-en-Provence as the title role in a new production of Don Giovanni.
He began the 2015 – 2016 season in his hometown of Montreal singing his first performances of Golaud in Debussy’s Pelléas et Melisande with the Montreal Symphony Orchestra under Kent Nagano. He also debuted at the Hamburg Opera in fully-staged performances of Bach’s Matthäus-Passion under Kent Nagano with a production by Romeo Castellucci, which was broadcast across Europe. In the summer of 2016, Mr. Sly made his Glyndebourne debut as Claudio in a new production of Berlioz’s Béatrice et Bénédict directed by Laurent Pelly. He appeared with Bernard Labadie in Mozart’s Requiem and arias with Toronto Symphony, as well as in recital at the Banff Centre and with the Vancouver Coast Recital Society.
In the 2014 – 2015 season, Philippe Sly returned to the San Francisco Opera as Ormonte in Handel’s Partenope and as Figaro in Le nozze di Figaro. He will made his French debut at Opéra Comique in Paris in Boesmann’s Au monde. In concert, he appeared with the Montreal Symphony and Kent Nagano in Honegger’s L’Aiglon which will be commercially released. He also appeared with the Philadelphia Orchestra in Bach’s Matthäus-Passion under Yannick Nézet-Séguin, as well as the Toronto Symphony, Newfoundland Symphony and Montreal Symphony in Handel’s Messiah. He will also appear as Antonio in Le nozze di Figaro with Nézet-Séguin at the Baden-Baden Festival which will be recorded for release on Deutsche Grammophon.
Philippe Sly continued as an Adler Fellow at the San Francisco Opera in the 2013 – 2014 season where he was seen as Bartolo in San Francisco Opera’s Barber for Families. He opened the Montreal Symphony Orchestra’s season as Méphistophélès in concert performances of Berlioz’s La damnation de Faust under Kent Nagano and made his debut with the Los Angeles Philharmonic as Guglielmo in Così fan tutte under Gustavo Dudamel in a production by Christopher Alden. In concert, Mr. Sly made his Philadelphia Orchestra debut in Fauré’s Requiem under Alain Altinglou and with Orchestre Métropolitain in Montreal in Bach’s Matthäus-Passion under Yannick Nézet-Séguin. Additional concert engagements included Handel’s Messiah at the National Arts Centre and with the Winnipeg Symphony Orchestra; Handel’s Solomon with Bernard Labadie and Violons du Roy; and concerts of Fauré, Handel, and Haydn with Orchestre Symphonique de Québec.
In the 2012 – 2013 season, Mr. Sly became a member of the prestigious Adler Fellowship Program at the San Francisco Opera where he made his mainstage debut as Guglielmo in Così fan tutte under music director Nicola Luisotti to great critical acclaim. On the concert stage, he sang Mozart’s Requiem with Pro Coro Canada in Edmonton, Brahms’s Ein deutsches Requiem with the Ottawa Bach Choir, and Bach’s Christmas Oratorio with the Ottawa Choral Society, among others. In recital, he toured Canada in recital with the Debut Atlantic Series and was heard at the Toronto Summer Music Festival with pianist Julius Drake. Mr. Sly was a Révélation Radio-Canada artist for the 2012-2013 season.
After winning the MET National Council Auditions, Mr. Sly became a member of the ensemble at the Canadian Opera Company in the 2011 – 2012 season where he was seen as Hermann in Les contes d’Hoffmann, Amantio di Nicolai in a new production of Gianni Schicchi directed by Catherine Malfitano and conducted by Andrew Davis, as well as A Scythian Man in Iphigénie en Tauride alongside the Iphigénie of Susan Graham. He is also the 2011 recipient of the Choquette-Symcox Award. In the summer of 2012, Mr. Sly joined the Young Singers Project at the Salzburg Festival where he made his Festival debut as Sithos in von Winter’s Das Labyrinth under the baton of Ivor Bolton. He also sang Bach’s St. John Passion with the Montreal Symphony Orchestra under music director Kent Nagano and was soloist with the Malaysian Philharmonic in Kuala Lumpur in a concert of opera arias. As a recitalist, Mr. Sly performed with the Canadian Chamber Players in Ottawa and performed in recital in Montreal, Paris, London, and The Hague.
Mr. Sly holds a Bachelor of Music degree in voice performance from McGill University’s Schulich School of Music in Montreal. He is also an alumnus of San Francisco Opera’s Merola Program where he performed the role of Dr. Barolo in Il barbiere di Siviglia. His roles at McGill University include Marcello in La bohème and Nick Shadow in The Rake’s Progress. A recording artist with Analekta Records, his first solo album entitled “In Dreams” was released in October 2012 to great critical acclaim, followed by an all-Rameau album entitled “Les amants trahis” and “Love’s Minstrels: English Songs from the 19th and 20th Centuries.”
Michael McMahon, fortepiano
Pianist Michael McMahon is the preferred partner to many of Canada’s finest singers. He has performed regularly throughout Canada and in Europe, Japan, and the USA with singers such as Catherine Robbin, Karina Gauvin, Measha Brueggergosman, Gordon Bintner, Marianne Fiset, Lyne Fortin, Dominique Labelle, Wendy Nielsen, Maureen Forrester, Marie-Nicole Lemieux, Annamaria Popescu, Joseph Kaiser, Nathan Berg, Brett Polegato, Benjamin Butterfield, Philippe Sly, Daniel Taylor, Kimy McLaren,Michael Schade, Russell Braun, and Richard Margison.
Following his studies at McGill University in Montreal, Michael completed his musical education in Vienna at the Hochschule für Musik und darstellende Kunst and the Franz Schubert Institute, and in Salzburg at the Mozarteum. During this time, he studied with such legendary artists as Erik Werba, Hans Hotter, Elly Ameling, Jörg Demus, and Kim Borg.
In addition to his active performing schedule, Michael is a Professor at the Schulich School of Music of McGill University in Montreal. He has had long associations with l’Atelier lyrique de L’Opéra de Montréal, Opera Nuova, the Orford Arts Centre, and the Banff Centre for the Arts, where he has worked regularly as a vocal coach. He is also often asked to give masterclasses for singers and pianists, and is a resident artist at the Franz Schubert Institute in Austria and the C.O.S.I. Summer Opera program in Italy.
Michael has made numerous broadcast recordings for the English and French networks of the CBC, as well as for the BBC, RBTF, Radio Suisse Romande, and Radio France. His recordings on the Marquis, CBC , Atma, and Analekta labels have met with critical acclaim, including Juno nominations and the Prix Opus. He was also a judge and vocal coach for the award-winning television series “Bathroom Divas.” In 2012, Michael was honoured with a Ruby Award by Opera Canada for his contribution to music in Canada.