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Track(s) taken from CDA67690

Lied, Op 19

composer
1884; for solo viola (or cello) and small orchesta; dedicated to the cellist Adolphe Fischer

Lawrence Power (viola), BBC National Orchestra of Wales, Thierry Fischer (conductor)
Recording details: February 2008
Brangwyn Hall, Guildhall, Swansea, Wales
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: February 2009
Total duration: 7 minutes 10 seconds

Cover artwork: The Alyscamps, Arles (1888) by Paul Gaugin (1848-1903)
Musée d'Orsay, Paris / Lauros / Giraudon / Bridgeman Art Library, London
 
1
Lied Op 19  [7'10]

Reviews

'D'Indy handles his outsize forces with conspicuous skill (there's some terrific horn writing throughout), and the work's A flat major apotheosis is haunting indeed. Both the Op 19 Lied and Choral varié prove very fetching discoveries, especially when Lawrence Power plays with the selfless dedication, sense of poetry and lustrous tone that made his world premiere recording of York Bowen's viola concerto so special … a toothsome and notably enterprising collection, this, with splendidly ample and atmospheric sound to match. A confident recommendation seems in order' (Gramophone)

'Full of vitality and warmth, with bright brass and energetic strings in upfront perspective against a resonant acoustic … Lawrence Power as viola soloist … responds generously to the passages of hushed intenstity in the Choral varié' (BBC Music Magazine)

'These works make a good introduction to D'Indy's post-Wagnerian art … Choral varié and Lied are concertante works in which, respectively, the saxophone and cello solos are replaced by viola, played by Lawrence Power with his customary seductiveness' (The Sunday Times)

'Scintillance and flair … enthusiastically recommended' (Fanfare, USA)
Dedicated to the cellist Adolphe Fischer, the early Lied for solo cello and small orchestra, like the Choral varié, exists in an alternative version for solo viola. There are two main themes, the first in B flat major, marked Andantino non troppo, lyrically expansive and characterized by a tritone interval; the second in G minor, plus animé, is, by contrast, simple and folk-like. In the course of their subsequent developments, the first theme emerges very gently on the viola to a background of rustling strings, reminiscent of Siegfried’s ‘forest murmurs’. But it is the rustic second theme that receives the most imaginative treatment—played on high strings in double octaves with woodwind chirrupings in an astonishing texture which anticipates Ravel, and later, in viola harmonics accompanied by two flutes in the remote key of E minor. In the final B flat major coda, a brief series of solo harmonics rises towards the ether.

from notes by Andrew Thomson © 2009

Dédié au violoncelliste Adolphe Fischer, le Lied pour violoncelle et petit orchestre, est une œuvre de jeunesse, qui existe, comme le Choral varié, dans une autre version pour alto solo. Il comporte deux thèmes principaux, le premier en si bémol majeur, un Andantino non troppo, grandiose et lyrique, caractérisé par un intervalle de triton; en revanche, le second en sol mineur, plus animé, est simple et ressemble à de la musique traditionnelle. Au cours des développements qui suivent, le premier thème émerge très doucement à l’alto sur un arrière-plan de cordes bruissantes, qui rappelle les «Murmures de la forêt» de Siegfried. Mais c’est le second thème rustique qui fait l’objet du traitement le plus imaginatif—confié aux cordes aiguës en doubles octaves avec des pépiements de bois dans une étonnante texture qui anticipe Ravel, et plus loin, en harmoniques à l’alto accompagné par deux flûtes dans la tonalité éloignée de mi mineur. Dans la coda finale en si bémol majeur, un brève série d’harmoniques solo s’élève vers les espaces célestes.

extrait des notes rédigées par Andrew Thomson © 2009
Français: Marie-Stella Pâris

Das frühe Lied für Solocello und kleines Orchester ist dem Cellisten Adolphe Fischer gewidmet. Ebenso wie beim Choral varié existiert auch hier eine Alternativversion für Solobratsche. Es gibt zwei Hauptthemen; das erste steht in B-Dur, ist mit Andantino non troppo überschrieben, lyrisch und weitläufig angelegt und enthält einen charakteristischen Tritonus. Das zweite steht in g-Moll, ist plus animé und schlicht und volksmusikartig gehalten. Im Laufe der Durchführung wird das erste Thema ganz behutsam von der Viola aufgenommen und von raschelnden Streichern begleitet, die an Siegfrieds „Waldrauschen“ erinnern. Doch wird das ländliche zweite Thema besonders einfallsreich gestaltet—es erklingt in den hohen Streichern in Doppelpktaven mit zwitschernden Holzbläsern, was für einen außergewöhnlichen, Ravel vorwegnehmenden, Klang sorgt. Später kehrt es in den Obertönen der Viola wieder und wird von zwei Flöten in der weit entfernten Tonart e-Moll begleitet, bevor in der Schlusscoda in B-Dur eine kurze Reihe von Soloflageoletttönen in den Äther emporsteigt.

aus dem Begleittext von Andrew Thomson © 2009
Deutsch: Viola Scheffel

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