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Track(s) taken from CDA66481/2

Beethovens geistliche Lieder von Gellert, S467

composer
Op 48
arranger
1840

Leslie Howard (piano)
Recording details: October 1990
St Peter's Church, Petersham, United Kingdom
Produced by Tryggvi Tryggvason
Engineered by Tryggvi Tryggvason
Release date: November 1991
Total duration: 13 minutes 7 seconds

Cover artwork: Arthur and Aegle in The Happy Valley (1849) by John Martin (1789-1854)
Laing Art Gallery, Tyne and Wear Museums, Newcastle upon Tyne
 
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Reviews

'Liszt and his chosen models are all heard at their most exquisite' (Fanfare, USA)
Liszt altered the order and some of the tonalities of Beethoven’s Gellert Songs, especially to allow the most popular of them to conclude the set. Uniquely among his Beethoven transcriptions, Liszt allows himself considerable liberties in embellishing the originals and adding extra verses, but all in a spirit which combines his love of Beethoven with his love of God, echoing Gellert’s texts. In Liszt’s order, the poems speak of: (i) God’s Might and Providence—‘God is my song!’; (ii) Supplication—‘God’s goodness ranges as far as the clouds move’; (iii) Song of Penitence—‘Although I have sinned against Thee alone, grant, patient God, that I see your face’; (iv) Of Death—‘My life’s term expires’; (v) The Love of thy neighbour—‘A man cannot love God and hate his own brother’; (vi) God’s Glory in Nature—‘The heavens declare the glory of God’.

from notes by Leslie Howard © 1991

Liszt a changé l’ordre et certaines des tonalités des Chansons de Gellert de Beethoven. C’est surtout pour permettre aux plus connues d’entre elles de se trouver à la fin de la collection. D’une façon qui est exceptionnelle dans ses transcriptions de Beethoven, Liszt se permet de considérables libertés en embellissant les originaux et en ajoutant des strophes supplémentaires, mais il le fait dans un esprit qui combine son amour de Beethoven et son amour de Dieu, rappelant les textes de Gellert. Dans l’ordre de Liszt, les poèmes parlent de (i) La puissance et la providence de Dieu—«Dieu est mon chant!»; (ii) L’imploration—«La bonté de Dieu s’étend aussi loin que se meuvent les nuages»; (iii) Le chant de pénitence—«Bien que j’aie péché contre Toi seul, accorde-moi, ô Dieu patient, que je puisse voir Ton visage»; (iv) Sur la mort—«Ma vie arrive à son terme»; (v) L’Amour de ton prochain—«Un homme ne peut aimer Dieu et haïr son propre frère»; (vi) La gloire de Dieu dans la Nature—«Les Cieux déclarent la gloire de Dieu».

extrait des notes rédigées par Leslie Howard © 1991
Français: Alain Midoux

Liszt änderte die Reihenfolge und einige der Tonalitäten von Beethovens Gellert-Liedern, besonders, damit das beliebteste unter ihnen den Satz beenden konnte. Einmalig unter seinen Beethoven-Transkriptionen erlaubt sich Liszt beträchtliche Freiheiten, indem er die Originale ausschmückt und Verse hinzufügt, jedoch alle in einem Geist, der seine Liebe zu Beethoven mit seiner Liebe zu Gott verbindet und in denen Gellerts Texte widerhallen. In Liszts Reihenfolge sprechen die Gedichte von: (i) Gottes Macht und Vorsehung—„Gott ist mein Gesang!“; (ii) Flehen—„Die Güte Gottes erstreckt sich so weit wie die Wolken ziehen“; (iii) Lied der Reue—„Obgleich ich allein gegen Dich gesündigt habe, gewähre mir, geduldiger Herrgott, daß ich Dein Antlitz sehe“; (iv) Vom Tod—„Meine Lebenszeit läuft ab“; (v) Die Glorie Gottes in der Natur—„Der Himmel verkündet die Glorie Gottes“.

aus dem Begleittext von Leslie Howard © 1991
Deutsch: Gunhild Thompson

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