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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: 2 minutes 2 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)

Reiselied
First line:
Ich reit' ins finstre Land hinein
composer
1831; verse 1 only, completeted by Eugene Asti
arranger
repeating Mendelssohn's music from verse 1 for verses 2 and 3 and adding the closing cadential chords
author of text

Introduction  EnglishFrançaisDeutsch
The stormy Reiselied of 1831 is on a text earlier set as Nachtreise in the Neun Wanderlieder von Uhland Op 34 of 1818 by Conradin Kreutzer, a song cycle praised by no less than Schubert. The Mendelssohn scholar R Larry Todd has suggested that both Die Liebende schreibt (published posthumously as Op 86 No 3) and this song were composed as the result of Mendelssohn’s separation from the pianist and composer Delphine von Schauroth (1814–1887)—the famous Rondo capriccioso was written for her. King Ludwig I of Bavaria attempted to play matchmaker between the pair in the autumn of 1831, but a flustered Felix backed off, and Delphine, who had studied piano in Paris with Friedrich Kalkbrenner, would marry a clergyman named Edwin Hill Handley in 1833. Only the initial thirty-two bars, which constitute the setting of the poet’s first verse, survive in the autograph; for Uhland’s second and third verses, Eugene Asti has repeated Mendelssohn’s music for verse 1 and added his own cadential chords in the closing two bars to finish the song.

from notes by Susan Youens © 2009

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