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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 20 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)

Warum sind denn die Rosen so blass?
composer
1834; fragment completed by Eugene Asti
arranger
author of text
1827; Buch der Lieder

Introduction  EnglishFrançaisDeutsch
One of Germany’s greatest poets, Heine knew the Mendelssohns; interested in music, if not particularly knowledgeable about it, he attended Felix’s momentous revival of the St Matthew Passion in 1829 and later took acerbic note of Felix’s sacred oratorios. The two men were not friends, despite the fact that they had Jewish origins and conversion to Protestantism in common. Heine’s conversion in 1825, a deed undertaken in order to gain what he called ‘the entrance ticket to European culture’, was an act he almost immediately regretted, and his politics were far more radical than Mendelssohn’s. And yet, Heine invoked Mendelssohn’s song Wartend on his deathbed, and Mendelssohn, whatever his feelings about Heine the man, set a number of his marvellous poems to music. One of the poems from Heinrich Heine’s 1827 anthology, the Buch der Lieder, that was most popular with composers was Warum sind denn die Rosen so blass?, Heine’s ‘twist’ on the pathetic fallacy, the notion that anthropomorphized Nature reflects human emotions and fate. Fanny would complete her 1837 setting of this text, but not Felix his version from three years earlier; therefore, Eugene Asti has devised a wonderfully sensitive completion of the musical stanza to two of Heine’s verses, plus its slightly varied repetition to constitute the second half of the song.

from notes by Susan Youens İ 2009

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