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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: 4 minutes 38 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)

Im Sonnenschein, Op 87 No 4
First line:
Noch eine Stunde la▀t mich hier verweilen im Sonnenschein
author of text

Introduction  EnglishFranšaisDeutsch
Im Sonnenschein is a plea to remain at least a little longer in the sunshine before life is extinguished. This third Rückert setting of Op 87 was composed in 1935. Here again the title provides a recurring refrain, but this time one is swept along on a great tide of enthusiasm, the characteristic 3/4 marked not only ‘very fast’ but also ‘whole bars’—i.e. to be played ‘one in a bar’. The masterstroke in this song is the final peroration, where the pace changes to four slow beats at the same speed as the previous single bar beats, thus magically reflecting the sentiment of the final couplet while maintaining the overall momentum of the song. It is the kind of structural device that Strauss had mastered in his operatic writing, and with it he set his own signature to Rückert’s final words.

from notes by Roger Vignoles ę 2009

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