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Hyperion Records

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Amalfi (1836 watercolour after a pencil drawing done in situ 1831) by Felix Mendelssohn (1809-1847)
The Bodleian Library, Oxford, MS. M. Deneke Mendelssohn c. 21, fol. 123r
Track(s) taken from CDA67753
Recording details: November 2008
Concert Hall, Wyastone Estate, Monmouth, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: July 2010
Total duration: 2 minutes 25 seconds

'Eugene Asti plays with a refreshingly light touch and a lively sense of rhythm' (Gramophone)

‘Hyperion’s series of Mendelssohn’s neglected vocal pieces continues to spread enchantment, thanks in part to young British talent. Katherine Broderick and Hannah Morrison, wonderfully clear and expressive sopranos, top the line-up gathered by Eugene Asti … genius is frequent and Mendelssohn’s charm almost constant’ (The Independent)

Suleika
First line:
Ach, um deine feuchten Schwingen
composer
undated
author of text
included in Goethe's West-östlicher Divan of 1819

Introduction  EnglishFrançaisDeutsch
Suleika is a setting of a famous poem by Marianne von Willemer (née Jung); adopted by a Frankfurt banker, she became his third wife in 1814. The couple visited Goethe in Wiesbaden; the great poet, immediately drawn to Marianne, visited them later in 1814, and again in August and September 1815. Although Goethe and Marianne never saw each other again after that, they corresponded until Goethe’s death, and her poems as ‘Suleika’ to his ‘Hatem’ were included in the great poet’s West-östlicher Divan of 1819, inspired by the poetry of the great fourteenth-century Persian poet Hafiz of Shiraz, as if Goethe himself had written them. The truth was not revealed until a few years before Marianne’s death in 1860; Mendelssohn would have thought that this was a poem by the world-famous genius, not by one of Goethe’s most gifted Muses. This undated setting is utterly different from the published setting Op 34 No 4, a fleet creation driven by love’s joyous energies. Here, the song is ushered in by a brief, rising, swelling figure in the piano, beautifully evocative both of the wind’s motion and of passion on the increase.

from notes by Susan Youens © 2010

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