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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 17 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)

Hüt du dich
First line:
Ich weiß mir ein Mädchen hübsch und fein
composer
circa 1834/5
author of text
Des Knaben Wunderhorn

Introduction  EnglishFrançaisDeutsch
One of the most important German poetic anthologies of the nineteenth century was Des Knaben Wunderhorn, a collection of more than 700 folk poems compiled (and sometimes emended) by Achim [Ludwig Joachim] von Arnim and Clemens Brentano, mostly between 1804 and 1807. One of the oldest folk poems housed in this famous compendium, Hüt du dich, is an arch warning to a susceptible man—to all susceptible men—that the pretty girl he fancies is leading him a dance. No wonder so many composers, all male, have been drawn to this poem, perhaps most famously Brahms in a duet version (Op 66 No 5) and in his Deutsche Volkslieder WoO33 No 40; Charles Gounod and Benjamin Britten would later set this poem to music in Henry Wadsworth Longfellow’s English translation. Mendelssohn’s delightful setting from circa 1834–5 is every bit Brahms’s equal in quality, with its whiplash-piano figures to get our attention, its comic use of a ‘tragic’ key (G minor), its interior expeditions to brighter major keys, its mock-conspiratorial tone, and its deliciously gossipy, bustling vivacity.

from notes by Susan Youens © 2009

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