hungarian center
for early music

Haydneum Concerts in Eszterháza – Nature in music

20 July, 2025 - 7:00 PM

Esterházy Palace, Fertőd

Katalin Szutrély – soprano
Petra Somlai – fortepiano

Franz SCHUBERT (1797–1828):
Der Blumenbrief (The Message of Flowers), D 622
Der Müller und der Bach (The Miller and the Brook), D 795: No. 19
Frühlingstraum (Dream of Spring), D 911: No. 11
Heidenröslein (Wild Rose), D 257
Der Lindenbaum (The Linden Tree), D 911: No. 5
Im Haine (In the grove), D 738

Robert SCHUMANN (1810–1856):
Waldszenen (Forest Scenes), Op. 82

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SCHUMANN:
Die Lotusblume (The Lotus-Flower), Op. 25 No. 7
Du bist wie eine Blume (You are so like a flower), Op. 25 No. 24
Der Nussbaum (The Walnut Tree), Op. 25 No. 3
Erstes Grün (First Green), Op. 35 No. 4
Mondnacht (Moonlit Night), Op. 39 No. 5

SCHUMANN:
Kinderszenen (Scenes of childhood), Op. 15

Johannes BRAHMS (1833–1897):
An ein Veilchen (To a Violet), Op. 49 No. 2
Feldeinsamkeit (Alone in Fields), Op. 86 No. 2
Geheimnis (The secret), Op. 71 No. 3
Wiegenlied (Lullaby), Op. 49 No. 4
Meine Liebe ist grün (My love’s as green), Op. 63 No. 5

Category II tickets for the concert are also available in the Haydn Hall, in case the Apollo Hall is sold out.
Visibility in the Haydn Hall is limited!
You can also buy tickets for the concerts at the ticket offices of the Esterházy Castle in Fertőd and the Széchenyi Castle in Nagycenk with OTP, K&H or MBH SZÉP cards.
The concerts are recorded on video and audio, we reserve the right to change the programme and the cast.
Please dress appropriately for the occasion at our events.

Tickets

Program helyszíne

Monophonic vocals accompanied by a keyboard instrument, the so-called Lied, embodied the perfect genre for Europe at the beginning of the 19^th century. Its barebones setup made it a favourite of the middle class and a dream for music publishers, while its beautifully composed, idyllic genre scenes and themes that elevated personal life situations into symbols wove everyday events and personal experiences into art. This was such a success that the example set by vocals was soon followed by instrumental cycles.

The Lied was originally a decidedly intimate artform, a composition designed for small group entertainment, the renditions of which generally did not require professional performers. However, its transparent structure built on repetition typically hid more complex subject matters: the depiction of natural scenes for example almost always posed questions concerning the value of human life. This is perfectly illustrated by Schubert’s Heidenröslein, a song about beauty destroyed by desire, the spellbinding linden tree (Der Lindenbaum) featured in Winterreise, reminding us of the hopes of May, Frühlingstraum, built on the contrast of vivid spring dreams and the frozen reality, or Schumann’s and Brahms’ works on the beautiful boundlessness of loneliness (Mondnacht, Feldeinsamkeit). These pieces that by necessity deepened the previously commonplace, naive soundscapes opened the way for the genre to the concert halls and large audiences over time, lifting the poetic aspects of personal experiences into public spaces just as Schumann’s Kinderszenen and Waldszenen did, depicting life as an adventurous road.

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