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Hyperion Records

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Der klyne groenmarkt, Haag (1836) by Felix Mendelssohn (1809-1847)
The Bodleian Library, Oxford, MS. M. Deneke Mendelssohn d. 11, fol. 5
Track(s) taken from CDA67739
Recording details: November 2008
Concert Hall, Wyastone Estate, Monmouth, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: August 2009
Total duration: 4 minutes 0 seconds

'Stephan Loges satisfies most consistently with his understanding, beauty of tone and care for legato. Asti is the admirable pianist throughout and in two of the items is responsible for the completion of songs left unfinished' (Gramophone)

'What a concentration of talent in one place! … the enterprise is crowned by a barnstorming account from Katherine Broderick of 'Hexenlied'' (International Record Review)

'Loges—and Asti's committed piano-playing … provide consistent pleasure' (The Sunday Times)

Der Verlassene 'Rauch manuscript'
First line:
Nacht ist um mich her, im Mondenscheine
1821, revised ?1825; from the manuscript presented to Agnes Rauch
author of text

Introduction  EnglishFrançaisDeutsch
Der Verlassene, composed nine in 1821 and subsequently revised over the next several years, is darkly serious in B minor (a key Beethoven called the ‘schwarze Tonart’, the ‘black key’, for its traditional bleak mournfulness), and was one of the three songs presented to Agnes Rauch (1804–1881), the eldest daughter of the sculptor Christian Daniel Rauch, who later was the godfather of Fanny Mendelssohn-Hensel’s son Sebastian, born in 1830. The manuscript came to light only in 2007, when it was sold at auction by Sotheby’s to the Berlin State Library, Preußischer Kulturbesitz. There are two other earlier manuscripts for this song, but this is the Rauch version of circa 1825, which may constitute Mendelssohn’s final thoughts on this song to an anonymous text. Laments by abandoned women are commonplace in poetic tradition, but abandoned men are another matter; how precocious it was of Mendelssohn to imagine such grief at so young an age. The singer’s first phrase, repeated several times thereafter, evokes in stylized manner tears flowing down the lovelorn man’s face.

from notes by Susan Youens © 2009

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