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Schubert's Schwanengesang 'Standchen' - Volker 1928, Hotter 1954

Together with a large number of other people I find Schubert's Standchen, from Schwanengesang, absolutely hypnotic - justifiably described as probably the most famous serenade ever written. After reviewing the various recordings of Volker singing Lohengrin it was therefore inevitable his recording of Standchen should be put on. It happens to be my all time favourite recording of the piece. The purity of Volker's voice production captures something of the character of an adolescent boy almost breathless with excitement and anticipation as he waits for one of his first ever girlfriends. That 'purity' of Volker's voice, the same that fits so well the God annointed character of Lohengrin, gives a 'pre-sexual experience' feel of the adolescent to the music.
But Standchen also has its darker side - this undercurrent helping create the profundity of the piece.
'Well they know the heart's desire,
Well know lovers pains'
Another recording I greatly admire greatly of the piece is therefore Hotter's 1954 recording as part of his complete Schwanengesang - the interpretation of almost every song being of superb quality. Hotter's bass-baritone imparts to Standchen a much darker character than Volker's silvery even tenor. With Volker the emphasis is on the power of sexual love itself, its possibilities, and the relationship that follows from the meeting may well end happily. With Hotter the outcome may end sadly.
Examples of totally different valid interpretations, both at the highest level, of the same piece.

Atheism in music

The most famous musical atheists were Schubert, Brahms and Shostakovich - a number of others had more confused views and, for reasons of pursuing a train of thought, I will award a 'virtual' prize for anyone commenting on this who names another notable atheist composer.