A dark, worried and lonely song.
Which rises in murmurs on a carpet of orchestral shadows.
Woven with quivering ropes and sighing woods.
Veined with mysterious copper calls.
A prayer in the dark.
A captivating nocturnal, seeming to carry within itself all the mental and emotional charge of German romantic poetry.
A pilgrimage deep within oneself, which culminates in the evocation of
“so many nights”
of pain aroused by the evocation of the loved and lost one.
This is Schubert's
Doppelgänger
, dreamed of by Liszt when he decided, at the dawn of the 1860s, to orchestrate this song taken from the
Schwanengesang
... That is, four decades after the death of the composer he admired throughout his life.
Schubert suddenly projected out of the intimacy of the salons towards an almost cinematographic orchestral dimension: the discovery of this
“inner journey”
of unsuspected dramatic force constituted one of the peaks of
Mein Traum
, an album by baritone Stéphane Degout and conductor
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