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Hyperion Records

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Moonlight Walk by John Atkinson Grimshaw (1836-1893)
Private Collection / Bridgeman Art Library, London
Track(s) taken from CDA67667
Recording details: January 2008
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: February 2009
Total duration: 6 minutes 1 seconds

'There's a special refinement here that Fischer-Dieskau did not always capture … unexpected notes of smoky mystery, youthful defiance and solidarity with the working man characterise the settings of Richard Dehmel' (BBC Music Magazine)

'Strauss is so closely associated with the soprano voice that it is useful to be reminded how his rhapsodically lyrical style can be beautifully suited to baritone and bass too … both [Maltman and Miles] sing with great sensitivity and imaginative word-colouring' (The Daily Telegraph)

'Maltman has the lion's share, his molasses-rich lower range and walnut-polished upper melting into the ethereal Am Ufer and finding gruff humour in Das Lied des Steinkopfers. Alastair Miles' robust, sensitive bass excelts in Im Spätboot, perfectly capturing the eerie, dark atmosphere of Strauss's weary boat passenger' (The Times)

'Roger Vignoles can do no wrong in my book, his playing as adept and fresh as ever, strolling through his prime… this is a worthy issue … Strauss deserves no less' (Audiophile Audition, USA)

Und dann nicht mehr, Op 87 No 3
First line:
Ich sah sie nur ein einzigmal, und dann nicht mehr
author of text

Introduction  EnglishFrançaisDeutsch
Und dann nicht mehr is a poem of infinite regret for a passing moment that cannot be recaptured. Both this song and Vom künftigen Alter were composed during the gestation period of Arabella, premiered in 1933. In that opera the rich Croatian landowner Mandryka sings movingly of the death of his young wife, and it is not fanciful to hear pre-echoes of this music here, in the expansive lyricism of the vocal line and in the string-like figuration of the piano part. Rückert was fond of unifying his verses through the repetition of a short refrain—such as ‘wie schön’ in the equally expansive Anbetung (recorded in Volume 3) or ‘Um Mitternacht’ in the song of that title in Mahler’s Rückert-Lieder. Here it is the words ‘und dann nicht mehr’ that toll their regretful knell through the singer’s narration, with Strauss taking care to vary the musical colour of each repetition. Whether the listener feels the catchphrase outstays its welcome probably depends on his or her general readiness to allow an old man his reminiscences, but it is a fine song nonetheless.

from notes by Roger Vignoles © 2009

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